Anyone can be a magician.

This book has been

written to start you, the reader, on the trail of an
interesting and absorbing hobby, a hobby which
can, with practice, become a lucrative occupation.
Magic is not an easy subject to learn about: the
secrecy and intrigue tied up with the art, and
carefully maintained by its masters, make it hard
to become a magician - hard, but not impossible.
Magicians argue: You want to be a magician,
but you don't know any tricks. Ask a magician to
help and he will say "I cannot teach you any tricks
because you are not a magician."
"If everyone knew how the tricks were done
there would be no magic, therefore we must keep
our methods absolutely secret."
But if magicians keep all their methods
secret and maintain the mystery then there will
be no new young magicians, and soon there will
be no magic.
This is a circular argument. Is there no way in?
Well, you study the contents of this book, learn
the moves and methods explained, and actually
start performing. This book is the key which can
unlock the door to a whole new world.
Anyone can be a magician. It takes hard w'ork
and dedication to become highly skilled in a
chosen area. A great golfer will commit his whole
life to golf; it will affect his diet, his social life, his
work, his thoughts, it will fiU most of his days:
but you do not need to be that single-minded to
enjoy playing golf. Magic is much the same. If
you want to be the best then you must do nothing
else, but it can be, and indeed is, a great hobby for
thousands of people all over the world. You
do not need to be a special person, you do not
need special gifts, you just need the willingness
to learn.
So where do you start? Here, and now, read
on and find the type of tricks which interest you.
Learn and practise them. You will then have to
think about how and where to perform the tricks,
and when you have crossed those barriers, you are
already well on your way to becoming a first-class
entertainer.
Magic should be fun, so learn the tricks well
and enjoy them. Who knows, one day you might
be the next David Copperfield.
 Digitized by the Internet Archive
in 2018 with funding from
Kahle/Austin Foundation

https://archive.0rg/details/magictricksOOOOfiel
r

Keith Fields
Published in 1997 by
Grange Books
An imprint of Grange Books Pic
The Grange, Grange Yard
London SEl 3AG

Copyright © 1995 Regency House Publishing Limited

ISBN 1 84013 042 3

All rights reserved, No part of this publication may be

reproduced, stored in a retrieval system, or transmitted in any
form or by any means, electronic, mechanical, photocopying,
recording or otherwise, without the prior permission of the
copyright holders,

Printed in China

4
 Contents
INTRODUCTION 6 HEADS I WIN TAILS YOU LOSE 46
The One Glass Challenge 46
CARD MAGIC 7 The Three Glass Challenge 47
Handle the Cards like a Pro 7 The Five Glass Challenge 47
Card Flourishes 10 The Bottle and Straw Challenge 48
The 21 Card Trick 12 Blow Over a Bottle 48
The Four Burglars 13 Climbing Through a Birthday Card 48
The Upside-Down Card Mystery 14 The Banana Surprise 49
Five Aces 15 Chinese Handcuffs 49
Key Cards 16 Sdrawkcab Kcirta 49
Advanced Key Card Techniques 17
The Short Corner Key Card 17 MIND READING & MATHEMATICAL MAGIC 50
Cutting the Aces 18 The Magic Square 51
The Stacked Deck 19 Lightning Addition 52
Tricks with a Stacked Deck 19 More Lightning Addition 52
The One Ahead Principle 20 The Memory Test 53
Card Forcing 22 The Change Envelope 55
Stop 23 Spirit Writing 56
Three-and-a-Half of Clubs 23 Simple Psychometry 56
Simpleton’s Stack 24 Clipped Prediction 58
Out of Cards 24
MONEY MAGIC 59
DINNER TABLE MAGIC 25 The French Drop 60
Where did the Salt Pot Go 26 The Coin Fold 61
Fork Bending 27 The Miser’s Dream 62
Coin from Bread Roll 28 Money from Nowhere 64
The Bouncing Bread Roll 29 The Treasury Note Routine 65
The Zombie Roll 30 The One Hand Change 67
The Levitating Paper 31 The Fortune-Teller’s Fiddle 68
Vanishing Glass 32 Heads or Tails 68
The Knife and Napkin 33
Shirtless 33 ROPEY TRICKS 69
The String and Straw 70
D.I.Y. MAGIC 34 The Genie’s Bottle 71
The Unburstable Balloon 35 Rapid Ring Release 72
Clippo 36 The Cut & Restored Rope 73
The Change Bag 37 Rope Through Neck 75
The Cut and Restored Tie 38 The One-Handed Knot 76
The Devil’s Hanky 39 The Indian Rope Trick 77
The Square Circle Production Box 40 Chinese Handcuffs 78
The Handkerchief Pull 41 Rope Through Body 79
The Chine.se Compass 42
The Afghan Bands 43 PUTTING ON AN ACT 80
The Spot Paddles 44
The Vanishing Coat-Hanger 45
Descriptions of tricks are given as performed by the author, who happens to be right-handed. Left-handed readers
may prefer to transpose all directions to the opposite hand.
 Introduction SOME RULES
NEVER EXPOSE THE METHOD OF
MAGIC
Under no circumstances tell your
Anyone can be a magician. This book has been written to start you, the audience how the tricks are done.
Without mystery there is no magic: it is
reader, on the trail of an interesting and absorbing hobby, a hobby which
secrecy which keeps magic alive. You
can, with practice, become a lucrative occupation. Magic is not an easy may think it is all right to let someone
know how just one small trick is done,
subject to learn about: the secrecy and intrigue tied up with the art, and
perhaps one that you do not perform
carefully maintained by its masters, make it hard to become a magician — yourself, but it is not. After ail, if all
magicians did this our secrets would no
hard, but not impossible.
longer be secrets, and you would no
Magicians argue: You want to be a magician, but you don’t know any longer have an interesting hobby.

tricks. Ask a magician to help and he will say “I cannot teach you any tricks NEVER BORE PEOPLE WITH
MAGIC
because you are not a magician.”
You will find that people do not want to
“If everyone knew how the tricks were done there would be no magic,
see the same trick over and over again, and
therefore we must absolutely keep our methods secret.” will not want to pick a card for the eighty-
third time today. If you repeat a trick you
But if magicians keep all their methods secret and maintain their may give enough away for your audience

mystery then there will be no new young magicians, and soon there will be to work out the method - this is as foolish
as giving away secrets. It is worth bearing
no magic. in mind the old show business saying
“leave them wanting more". How many
It is a circular argument. Is there no way in?
tricks should you show someone? Answer:
Well, you study the contents of this book, learn the moves and methods one less than they want to see! Your object
must always be to entertain. This will
explained, and actually start performing. This book is the key which can
develop an interest in magic from your
unlock the door to a whole new world. audience, rather than encourage them to
avoid you!
Anyone can be a magician. It takes hard work and dedication to become

highly skilled in a chosen area. A great golfer will commit his whole life to NEVER PERFORM A TRICK THAT
IS NOT THOROUGHLY
golf; it will affect his diet, his social life, his work, his thoughts, it will fill REHEARSED

most of his days, but you do not need to be that single-minded to enjoy If you make a mistake in a trick you will
be giving away the method. When you
playing golf Magic is much the same. If you want to be the best then you
learn a new routine study everything
must do nothing else, but it can be, and indeed is, a great hobby for carefully so that you know what could
possible go wrong. Anything that can go
thousands of people all over the world. You do not need to be a special wrong will go wrong - usually when you

person, you do not need special gifts, you just need the willingness to learn. are doing a crucial audition! Practise as
much as possible, and do not perform a
So where do you start? Here, and now, read on and find the type of new trick until you feel completely
confident with it.
tricks which interest you. Learn and practise them. You will then have to

think about how and where to perform the tricks, and when you have ALWAYS ENJOY YOUR MAGIC
The one thing that will sell your tricks
crossed those barriers, you are already well on your way to becoming a first-
more than anything else is the fact that
class entertainer. your are enjoying them yourself If you
feel very tense or nervous the audience will
Magic should be fun, so learn the tricks well and enjoy them. Who
also be on edge. If you relax, then they
knows, one day you might be the next David Copperfield. will relax and enjoy themselves too.

6
 CARD MAGIC
C ard games have been played in Europe
lor over five hundred years and card
tricks have been around for almost as long.
They were included in the first magic book
called The Discoverie of Witchcraft by Scott,
published in 1584, and no introductory
book on magic would be complete
without a section on card tricks. Many
books have been written that are just about
card tricks and the sheer number of tricks
and the diversity of the plots is amazing,
and new ideas are always being introduced.
A pack of cards can easily be kept in the
pocket, giving you the ability to perform a
whole act without resorting to any other
props. Bear in mind though, that generally
two or three card tricks in a routine are
sufficient if the audience is not to lose
interest. It is a good idea to break card
tricks up with other effects.
Do not be put off by thinking that card
tricks take incredible dexterity and hours
of practice at complicated sleight of hand.
Many card tricks are completely self¬
working and are very simple to do, but a
little practice at the flourishes and learning
how to handle a pack of cards will pay
dividends. If the audience see you
shuffling a pack and then cut it with one
hand they will credit you with great skill
even when you perform the simplest of
card tricks!

or in a car (assuming you’re not driving!) COURT OR PICTURE CARD : The

Handle the or almost anytime your hands are free -
save time by doing two things at once. You
jack, queen, and king
SPOT CARD : The number cards, ace
Cards like a should practise dealing the cards, shuffling
the cards and cutting the cards until you
through ten
STOCK; A small packet of cards that are
Pro can do them with confidence. There are
many ways of shuffling cards and we are
held together in either hand
CUT THE CARDS : Lift off a stock of
going to start by looking at a couple that approximately half the pack and place it
If you are going to do card tricks then you you should learn. beside the lower portion
must learn to handle the cards with COMPLETE THE CUT : Place the
confidence. It is not a good idea to try to CARD TERMINOLOGY lower portion on top of the upper portion
impress someone with your sleight of hand BACK: The back of the card is the side that has just been cut
one moment and spend the next moment with a single geometric design so that from TOP OF THE DECK : When the deck is
picking the cards up off the floor! Learning this side they all look alike face down, the uppermost card or top
to handle a pack of cards takes a little time FACE : The opposite side to the back, portion of the deck of cards
and effort but you can practise while printed with the suit (clubs, hearts, spades, BOTTOM OF DECK ; The lowermost
watching the television, travelling by train diamonds) and the value of the card card or portion of the deck

7
THE OVERHAND SHUFFLE

The cards are held in the right hand and

you are going to shuffle them off into the
left hand. The right hand lowers the whole
pack towards the left hand and the left
thumb is raised to pull off a small packet of
the cards. As this happens the right hand is
raised taking with it the remaining stock of
cards. The situation after this first move is
that a small stock of approximately 10
cards are held in the left hand with the
majority of the cards retained in the right
hand. The next part of the move is a repeat
of the above only there is a small stock of
A small stock of cards
cards already in the left hand. The right
is pulled into the left
hand is lowered again into the left hand hand with the left
where the left thumb is going to pull off thumb.
another small stock of cards, note that the
The second and
right hand cards are lowered into the left
subsequent moves
hand to the left of the small stock that is place more cards into
there from the previous stage. This action the left hand on top of
is repeated several times until you run out the stock already
of cards in the right hand. there.

THE RIFFLE SHUFFLE This will take a little practice but is well applied by gently pushing down with the
worth learning as it does two things, firstly first fingers and pulling back with the
it shuffles the cards and secondly, when thumbs. In readiness for the next stage the
combined with the riffle weave, it is an two hands must be brought a little closer
impressive flourish. Fun to do and pretty together so that when released the cards
to watch, mastering this shuffle will will weave together.
impress your audience. This shuffle needs The thumbs of both hands are
to be learnt on a table top but with simultaneously pulled up a little more so
practice you can do it in your hands. that cards can trickle off the bottom of the
Place the pack on the table so that the two stocks. With practice you will learn
long edge of the cards are running parallel the right amount of pressure to apply to
to the edge of the table nearest your body. get a smooth flow of cards from each
Now cut off about half of the pack and thumb. As the cards are released they will
place them next to the deck on the table, weave with the cards from the other hand.
the short edges of the cards should be side This will not happen the first time you try
The starting position forthe riffle shuffle. The
by side and about 2cm fiAin) apart. You are this shuffle! Cards will fall from your
slight bend inthe cards is as a result ofthe
downward pressure ofthe first fingers and the going to pick up the left pile in your left thumbs in uncontrolled jerks, do not be
upwards pressure ofthe thumb. Do not put on too hand and the right pile in your right hand. put off, put in a little practice and you will
much pressure or you will find it difficuitto control The thumbs go into the gap between the soon master the technique. The cards
the riffle. two piles and are should interlock by about 1cm (Vain), if
placed in the centre this is not the case then the hands should
of the short edge. be moved apart or together to compensate
The second, third When all the cards have been released
and fourth fingers from the thumbs you can either go on to
As the cards slip off the are used to grip the the riffle weave or take the easier option,
bottom ofthe thumbs
outer short edge of which is to put your hands on the outside
the edges should
weave together. With each stock of cards. edges of the cards and simply push them
practice the alternate The first fingers are together and square the pack. Master the
weaving ofthe cards placed on the riffle shuffle before attempting the riffle
from each hand will be centre of the cards. weave.
quite accurate.
A little pressure is

8
THE RIFFLE WEAVE Flight: Readyto start
the riffle weave. Note
the bend in the cards
If you rush into this stage before mastering
which makesthem
the riffle shuffle then you are about to wantto spring up and
spend time picking cards up off the floor! the position of the

This is not an easy move but the work that thumbs which are
holding the cards
you have put in to learn the riffle shuffle is
down.
the groundwork for the riffle weave. This

Left: As the fingers are

slowly moved apart
the cards flow down
and are squared up In-
between the fingers.

1cm (Vsin). If as a result of a slightly slightly and push up against the thumbs.
sloppy riffle shuffle the cards are not As long as the cards are bent and under
squared up it is a good thing to do it now, pressure they should stay in the position
it is not easy to do the weave if the cards shown in the picture above. If you find
are not evenly mixed and square. that the cards do not go into the correct
The cards must be picked up without position you need to apply more pressure
move is a flashy way of completing the interrupting the weaving that was with the fingers and increase the bend in
shuffle so that the cards are seen to weave achieved during the riffle shuffle. The the cards.
together and square up in your hands. thumbs of both hands overlap on the top Now comes the fun part! Slowly release
The starting position for the riffle of the cards and the fingers are wrapped the pressure on the cards by moving the
weave is the finishing position of the riffle around the outside edges. The thumbs fingers apart. This should result in the
shuffle. That is, the two stocks of cards must be in place or rhe cards will pop up cards weaving down and squaring up in
should be on the table with the ends and end up all over the table. Push gently your hands, and making a waterfall noise
alternately overlapping by approximately in with the fingers so that the cards bend in the process. The speed of this action is
under your control, you should aim for a
constant smooth action so that people can
see the cards weaving together. If rhe cards
THE MECHANIC’S GRIP are weaving too quickly then start off with
more pressure (i.e. push the fingers closer
The Mechanic’s Grip
together) at the start and release the
orthe basic dealing
position. It is important
pressure a little more slowly.
to practise dealing The firsr few times you try the riffle
cards until you have a shuffle and weave will be unsuccessful, it
smooth and takes practice and you have to learn to do
professional action.
the move by ‘feel’. You will quickly learn
Many tricks involve the
the correct amount of pressure and bend
dealing out of several
piles of cards and this to put into the cards so do not give up too
needs to be done soon. An important thing to note is that
quickly so thatthe brand new cards are stiffer and springier
tricks do not become
than a used pack and can be more difficult
boring. Practise
to handle; on the other hand a used pack
dealing both face up
and face down piles of
can be srickier and not flow freely, ideally
cards until you can do this shuffle should be learned using a
it without thinking. slightly worn deck. This is the hardest card
move in the book so when you have
mastered this then everything else
contained in these pages is easily within
your grasp.

9
 THE CHARLIER PASS quite difficult. As soon as you have

Card The Charlier Pass is the technical name

given to this version of the one-handed
successfully completed the move with a
pack in your hand and you know the

Flourishes cut. Like many flourishes it is a lot harder

to do slowly than it is at full speed, this
makes the initial learning of the move
correct sequence of events you should put
the book down and practise the move from
memory.
When performing card tricks it is a good
thing to throw in a few flourishes wirh rhe STAGE 1
cards. The audience are then likely to Hold the cards between the
credit you with great skill even when tips of your thumb and fingers
performing a simple trick. The moves as shown. The first finger is
described below are not tricks, they are all curled under the pack in
moves designed to show off your skill wirh readiness for the next stage.
cards and to make you look like an expert! By rolling the thumb out and
These moves are not as difficult as they away from the bottom of the
will seem when you first try them. The pack a stock of cards will fall
first few attempts are likely ro end in cards into the palm of your hand.
all over the floor so ir is besr ro srart
practising over a table (it saves a lot of
bending down and picking up!) You will
find that card flourishes are easier if your STAGE 2
hands are clean and smoorh, this also With the cards in rhis position you will
keeps the cards free from grease and makes notice that there is nothing to hold the
them last a lot longer. Enough about cards of the lower stock together. A slight
personal hygiene — pick up the cards and tilt in either direction will cause the cards
we’ll start with the one-handed cut. to slip out of your hands. When
performing ar full speed this problem
automatically disappears but during
practice you must remember to keep the
bottom stock from slipping. The firsr
finger is now used to push the bottom
stock up to meet the thumb, the cards will
then form a tent shape in your hand.

STAGE 3
The bottom stock is pushed up and gripped berween the first
finger and thumb. This causes the thumb to release its hold on the
top stock. Push a little further with the finger (which should be at
the apex of the tent shape) and the top stock will slip over the edge STAGE 4
of the bottom stock and be caught on the end of the first finger in The first finger is now used to lower the top stock into the palm of
preparation for the next stage. The top stock is now loosely the hand while the thumb holds the bottom stock in a vertical
balanced and will slip off the hand if it is tilted. position. As soon as the top stock is horizontal the thumb pushes
the bottom stock onto the top of the pack thus completing the
cut. The cards can now be squared up using all rhe fingers,
rerurning you to the starting position.

10
THE RUSSIAN SHUFFLE The catching hand is made into a
This is the flourish where cards are sprung cradle, the thumb and the second through
out of one hand and caught in the other little fingers form the two sides and the
(they are rushing after one another, hence first finger is at the end to stop any cards
the name - a dreadful pun!) The overshooting. Initially, you should start
positioning of the fingers and thumbs of with the hands almost touching. Bend the
both hands are very important in this cards in the right hand and then let them
flourish but it will certainly get you plenty slip off the fingers into the left hand.
of attention when you have mastered it. When you have managed to do this, and
A lot of people have tried and failed at get an even and smooth flow of cards from
this flourish because of one little known one hand to the other, it is time to start
fault: the direction of the bend in the cards separating the hands a little. After a little
at the start of the move. If the cards are while you should be able to do this over a
bent away from your hand (convex) it will 10cm (4in) gap, the greater the distance
be impossible to control the direction of between the hands the more the accuracy
the flow of cards. The cards should be held that is needed in both hands, so increase
with the fingers and the thumb on the the distance slowly.
opposite short edges of the cards and the
The starting position
bend must be towards the palm of your
forthe Russian Shuffle.
hand (concave). The thumb must be Note the bend in the
protruding past the edge of the deck while cards in the right hand.
the tips of the fingers must be on the very
edge of the deck. The cards are released by
straightening the fingers slowly and letting
them slip off the fingertips (never let the
cards slip off the thumb end). By
The Russian Shuffle in
controlling the release of the cards, using progress. See how the
pressure between the fingers and thumbs, left hand fingers cradle
you will soon be able to cause a steady flow the cards and stop
them falling out.
of cards from your hand.

CARD FANS
This is a very pretty flourish and it always
impresses an audience. Imagine taking a
pack of single playing cards and with a
single sweep of the thumb creating a fan so
that each and every card is clearly visible. It
is a good way to show that a deck is normal
and well shuffled. This is impossible to do
if the cards are old and sticky or if the cards
are of a cheap quality. Good linen or
plastic cards fan well when new, plastic
cards seem to get stickier quicker so if you
are buying a pack for fanning practice get
linen finish. Coloured and picture backs
STAGE 1 STAGE 2
look pretty when fanned and can be
turned around to create different patterns. Hold the cards in the left hand as shown. The right thumb or first finger can be used

The fan can be used with the deck face up The fingers are all straight and held to make the fan. The action should be one

or face down so if you are doing a trick together to create a flat bed on which the clean continuous sweep with the thumb as

where a card is chosen, why not use a fan. fan is made. The cards are angled back at it makes the fan shape by letting cards
the start so that the largest possible fan is trickle out beneath it. Keep a light grip
made. The thumb is lightly pushing down with the left thumb so the cards continue
and is the pivot point for the fan. to pivot around the same point.

11
 STAGE 3 point to the column containing their card.
Keep the sweeping action going with the Gather each of the three columns into
thumb (or first finger) until you can go no three piles of seven cards and then stack
further. The fingers of the left hand are still them together making sure that the
held as a flat bed under the fan and the column that they pointed to goes in
thumb is pushing down to stop any cards between the other two columns.
from slipping away. With practice you can Pick up the 21 cards and deal them out
fan the cards to make three-quarters of a again in exactly the same way as before.
circle, but start small and build up to it. Ask again which column their card is in
As with many card flourishes the and place that column between the other
important thing is ‘feel’. The amount of two. This process is repeated once more
downwards pressure by the thumb (the and the trick is done. Because of the
pivot point) varies depending on the angle dealing and stacking of the cards the
at which the cards are held and the speed chosen card has repositioned itself to be
of the fanning action. Spend an evening in eleventh from the top. You could just
front of the television with a pack of cards count down to the card but I prefer to do
and you will soon be fanning and Charlier the following. At this point in the trick I
passing to your heart’s content. ask the audience if they know any magic
words. Someone will always say
Abracadabra’ or ‘Hocus Pocus’, these are
the most common ones and the ones to
METHOD listen out for. Using the chosen magic
The 21 Take the pack of cards and deal three
columns of cards with seven cards in each
word you are going to find their card. The
card as you know is at position 11 in the

Card Trick column. It is very important that the cards

are dealt in the following way. Deal three
stack and as Abracadabra has 11 letters
simply spell it out using one card for each
cards onto the table, from left to right. letter. When you get to the final ‘A’ that
Sometimes it is harder to explain how a Following the same left to right pattern will be the selected card. ‘Hocus Pocus’
trick works than how to do it and this is place a second card on each of the three only has 10 letters so if using this magic
one of those tricks. The good news is that cards on the table. Repeat this process word spell it out, one card for each letter,
it is completely self-working (as are most until there are three columns of seven and the next card will be the selected card.
of the tricks in this book) with no cards on the table. The action is the same You can make up your own magic word
complicated moves. Just follow the as if you were dealing three hands in a as long as it has enough letters in it or if
instructions and the trick will work. It uses game of whist, apart from the fact that the you know the name of the person that is
21 cards dealt into three ‘haftds’ of seven cards are face up. Place the remainder of watching the trick and that has either 10
cards. One of the cards is selected by a the pack to one side as it is not needed. or 11 letters in it then you can use that.
spectator and after dealing the cards twice Ask the spectator to select a card. They Finding the chosen card by spelling their
more the card is found using a magic spell. do not need to touch it, they just need to name will get a really good reaction.

lefr Deal the cards left

to right in three
columns. The column
containing the
selected card must go
between the othertwo
columns.

Spelling out a
magic word is a great
way to getto the finale
ofthetrick-maybe
they do worki

12
 Three extra cards are

The Four concealed behind the

jack of spades. Be
careful not to flash

Burglars them when spreading

the cards.

This is a nice trick because it gets away

from the old ‘pick a card’ style. The
audience see you place four jacks on top of
the pack, these are then inserted one at a
time into the centre of the deck but with a
snap of your fingers they all re-appear back
on top. This action happens as you tell a
story about four burglars who break into a
block of flats and escape from the police
with the aid of a bit of magic. A good little
story and strong magic, what more could
you ask for?

METHOD
Before you perform this trick you must get
ready by sorting out the four jacks. This
can be done in front of the audience by
running through the cards, faces towards
you, and moving each jack to the front of
the pack as you come across it. You now
take the four jacks plus three extra cards
from the deck, the audience must not see
you take the extra cards so when you
/IboKe. As you tell the
remove them make sure that they are all
storytake the three
squared up. If you find this process a little
extra cards off the top
difficult then prepare for the trick when (pretending they are
the attention of the audience is on jacks) and placethem
something else, only draw attention to into the middle of the
pack.
yourself when you have the four jacks plus
three different cards squared up and ready
in your hands.
Hold the four jacks (plus three cards)
in the Mechanic’s Grip (see page 9) and
pull the first three cards down with the
fingers of your other hand, this is a simple
action that shows the jacks without
exposing the extra cards which remain
hidden behind the fourth jack. Tell the
story as follows: ‘There were four burglars Left: Quick as a flash
(point to the jacks and square them up) who the jacks reassemble
decided to rob a block of flats (point to the on the top of the pack

pack of cards). They decided to start at the to make their escapel

top and work down (place the jack stack on

top of the pack). The first jack broke into the distance he heard a police car and he knew secret cards behind the jacks, it is these
top flat (put the top card, not a jack, in the top that someone had tipped the police off that are placed into the centre of the pack
half of the deck). The second jack broke into about the robbery that was in process, so and not the jacks, which are left on top of
the middle flat (place the top card in the he tapped the pack three times (suit actions the pack throughout the whole trick.
middle of the pack). The third jack broke to words) and the other jacks ran up the Make sure not to flash the faces of the
into the bottom flat (againplace the top card stairs to join him and they made their other cards as you place them in the pack
in the pack). The last one stayed on top of escape.’ (Deal off the four jacks from the top oj and the audience will think you have
the flats to act as a lookout (lift the top card the pack). incredible skill as a card magician.
and show it to the audience, it is a jack). In the The trick works by using the extra

13
 because the card is not only discovered but face up card. Having done that you are

The Upside- it has magically turned over in the pack.

Using this method you can have three
ready to perform.
Spread the top half of the cards

Down Card cards chosen by three people and find

them all as quickly as you can blink. This
involves more people in the trick and
between your hands and ask someone to
select a card. Make sure that you keep the
bottom portion of the deck squared up in

Mystery makes it more interesting for everybody. your hand so that the face up card is not
seen. Square up the cards again and hold
METHOD the pack in your left hand, ask the
Having a card selected and then finding it Before you start to perform this trick there spectator who has chosen the card to show
after it has been lost in the pack is the is one simple thing to do, turn the bottom it to anyone else who is watching so that
simplest form of card trick. It is also the card over so that it is face up. Hold the they will all be able to share the excitement
most boring. This is a version of that trick pack in your hands so that you have 51 of the magic that is about to happen. As
which has a great deal more impact face down cards and beneath it the one you say this casually drop the hand
containing the cards to your side and turn
it over. When you bring your hand
forward again you will have one face down
card on the top of the pack and the rest of
the cards are face up. No one will notice
this manoeuvre as they will be looking at
the card that has just been selected.
You are now going to return the card to
the pack. Bring the left hand which
contains the cards back up from your side
and at the same time ask the spectator to
give you the card face down so you will not
be able to tell what it is. Take the card and
slide it into the centre of the deck. Make
sure that you do not spread any of the
cards at this point or someone may notice
that the majority of the cards
are face up and this would give
away the secret of the trick.
Above: Only spread the /?/g/?f.When replacing
The next bit of patter is
top half of the cards the card into the pack
and there will be no be careful notto important as it covers a secret
chance of the spread the cards. move that you are going to
audienceseeingthe make. Say ‘I am going to find
face up card on the
your card in less time than it
bottom of the deck.
takes you to blink. So watch
carefully, I’m not even going to
cheat by putting the cards
behind my back like this’. This
line will usually get a laugh
because you are going to do
exactly what you told them you were not
/.eff;Spread the cards
going to do. Put both hands behind your
on the table or
between your handsto back and turn over the top card of the
showtheface up card pack, this action puts all the cards the same
-then take your well- way up apart from the chosen card. It takes
deserved applause. a split second and everyone will assume
that it was just a joke as you obviously did
not have time to do anything. Magicians
are the only people in the world who are
allowed to lie!
The trick is now done. All you have to
do is spread the cards across the table and
they will see one face up card in the pack -
and it is their chosen card.

14
 point you do not know where it is. You do was!’ This adds to the fun of the trick

Five Aces know however that it is five cards below

the face up card.
because someone has fallen into a trap. Say
‘This is a card that tells me where your
Everyone knows that there are only four To find the card spread the cards across card is’. Count down five cards pushing
aces so you may think that the title of this the table and point proudly at the face up the cards out of the spread as you go,
triCK is misleading, you would be right. card. Spectators are rarely backwards at turning over the fifth card will get you a
The five refers to a five of hearts (or any coming forwards, they love to catch you round of applause, it is their card. Turning
five) and the aces are the usual four. Now 1 out so someone will probably say ‘that is over the other four cards will get you a
have explained that I can get on with the not my card’. If they do, say ‘I didn’t say it standing ovation as they are the four aces!
trick! In this trick a card is selected and
The set up on the
then found in an unusual way, but there is
bottom of the pack:
an extra climax to the trick that will knock four aces face down,
the socks of any audience. A card is the five of hearts (or
selected and placed back into the pack. On anyfive)face up and

spreading the cards out the audience see a the rest of the pack
face down.
face up card — the five of hearts — not the
chosen card, it seems that the trick has
gone wrong. But you explain that this is a
card which tells you where their card is.
Count along the pack pushing out five
cards and the fifth card is the correct card.
Before the audience have a chance to
respond you turn over the four cards that
you pushed out and they are the four aces.

METHOD
Before you perform
this trick you must
lefr. Asyou count the
stack the bottom of
cards below the five
the deck in the push them forward,
following way. The turn the fifth card over
bottom four cards -it is the chosen card.

are the four aces,

above them you
place a face up five
(in this case 1 am Below:lhe other four
using the five of cards are the four aces

hearts). You can do giving this trick a really

strong climax.
this by having the
pack already set or
run through the
cards and quickly
arrange them under the pretence of
checking that they are all there.
Spread the top section of the cards
between your hands as you did in the
Upside-Down Card Mystery, remember
that there is a face up card fifth from the
bottom of the deck that the audience must
not see. Have a card selected and
remembered by the audience. While they
are doing this place the pack on the table.
To lose the card in the pack ask the
spectator to place it on top of the deck and
then cut the cards and complete the cut.
1 he chosen card will then be somewhere
in the middle of the deck and no-one
knows where, which is true because at this

15
 it will be the ‘key’ to finding the chosen watch the cards and to say nothing if he

Key Cards card. Place the cards in your right hand on

top of the cards in your left, the chosen
sees his card. Wfien you spot the key you
will find that the next card is the card that
There are many methods for finding a card card is now underneath the key card. At was selected. Instead of turning that card
that has been lost in the pack, my favourite this stage you can give the cards a brief and saying ‘here it is’ you now have the
is the key card. There are also many overhand shuffle, the chance of separating chance to play an extra joke. Keep dealing
different types of key card tricks that can the key card and the chosen card is only past their card but mentally note which
be done using the key card principle. Here slight (do not do a riffle shuffle as that will one it is. After an extra half a dozen cards
is a trick that will explain how it works. A almost definitely separate the cards). have been dealt say that the next card you
card is chosen and then lost in the pack, To conclude the trick you must find turn over will be their card. This will be
but the magician can find it in a number the chosen card. Start dealing the cards on met with some disbelief as they have seen
of ways. to the table face up, as you do this you are you deal their card on the table — you
looking for the key card. Tell the helper to could even offer a small wager. Whatever
they say reach into the face up cards and
turn over the card that you know to be
theirs. It is a joke that always gets a good
laugh as long as you are not serious about
the wager!

AN ALTERNATIVE ENDING
Another way of bringing this trick to a
climax is to turn the pack over and show
the cards to your helper. What you say is
that you want them to be sure that the card
is lost in the pack. Wfiat you are doing is
looking for the key card. When you find it
look at the card that is above it, this will be
the chosen card, in our example it is the
five of clubs. Keep push ing cards across
from your left hand spelling their card
silently, one letter to one card as you push
the cards across, the first letter (F) is the
key card, the next is the ‘I’ and so on, until
you reach the end of‘FIVE OF CI.UBS’.
Cut the cards at this point moving all the
cards beneath to the top of the pack, turn
METHOD /Ibove. The key card is Se/owThe chosen
the cards over and square them up. Ask
here marked with an X. card (five of clubs) is
There is no need for any set up with this Try and make your them to name their card and when they do
directly above the key
trick so you can freely shuffle the pack or glance atthe card as card (not marked in spell it out, one letter for each card, the
let someone else shuffle it. Have a card natural as possible. your act, of course). next card will be their selection.
selected by spreading the cards out
between your two hands and asking
someone to take a free sample.
Square up the deck while they look at and
remember the card. It is always a good idea
to have the card remembered by more than
one person, it helps to keep everyone
involved in the trick and eliminates the
chance of someone forgetting the name of
their card (believe me, this happens!)
The card must now be returned to and
lost in the pack. To do this, hold the pack
in your left hand and lift off about half of
the cards with your right hand. Ask your
helper to replace the card on top and hold
out your left hand. As you do this take a
sneaky look at the bottom card of the stock
in your right hand. Remember this card as

16
 to look at the bottom card of the top
Advanced portion of deck. The key card we are
going to use is the top card which is going

Key Card to be placed in the correct position by

shuffling.
The stock of cards in your right hand

Techniques are turned into the position for an

overhand shuffle (the key card in the
picture is clearly
The key card trick on the previous page is marked with an X).
one of the basic tricks of magic and is To start the shuffle
known by many people. Most of them do pull off a single
/4f)oi/e; Shuffle the
not realize that there are other ways of (key) card first and
single key card on top
using the same principle and they will then continue the
of the chosen card...
easily be fooled if you change the handling shuffle until all the
slightly. In this version the cards are cards are gone
shuffled and you do not need to take that from your right
sneaky look at the key card. hand. This is a
much more natural
SHUFFLING OFF A KEY way of having the Left:...then continue
CARD card put back in shuffling until you run

The key card for this effect is the top card. the deck and the out of cards.

You need to catch sight of it while audience will

shuffling the cards prior to performing the remember that the cards were shuffled people will be really fooled. They will
trick. Have a card selected as before and after replacing the card, yet it is this action credit you with great skill and amazing
then cut the cards and proffer the bottom that is achieving the trick. ability in controlling cards when you are
half of the pack for return of the card. Follow the routines above with this merely doing a slight variation of a trick
When the card is returned there is no need handling of the key card principle and thar they probably know.

above and the short card) pass as one, the bottom of the pack, simply cut the cards
The Short double thickness will be audible to you as
you know what to listen for, but the
and try again. When you have located the
short card, cut the pack at this point and

Corner Key audience will not notice it. As well as the

noise there is a ‘feel’ to the short corner,
the short corner will be at the bottom. If
the chosen card was below the short corner
with a little practice you will be able to card it will now be on the top of the deck.

Card riffle down the cards once to locate

approximately where it is, and
then riffle again and stop at exactly
This is another version of the key card the right place. There is no right or
technique but it is much more devious and wrong technique for doing rhis,
will take a little practice to master. But first play with it for a while and it will
you will need to make a short corner key just click into place. If you cannot
card. Take any playing card, for practising find the key card it is probably
I suggest that you use a joker, and remove a right at the top or right at the
couple of millimetres from two diagonally
opposite corners that have been marked (as
in the illustration). A pair of scissors will
do this but nail clippers could have been
Above: By shortening opposite
designed specifically for making this corners of the card it will not matter
gimmicked card, they cut cleanly and which way round the pack is, you
because of the shape put a neat curved will still find the key card.
corner on the card.
If you riffle your thumb down the
outside corner of the cards you will notice Left: Riffle down the corner of the
a definite click as the short corner goes cards with your thumb and you will

past. This is because two cards (the card hear and feel the short corner card.

17
SOME MORE WAYS OF USING 2. With the key card either on the top or they have remembered it, to drop the rest
KEY CARDS the bottom, hand the whole pack to a of the pack on top. The selected card will
spectator. Ask him or her, while your back be directly beneath the key card.
1. Start with the short corner card on top is turned, to remove a card from the centre
of the pack. Let the spectator cut the pack of the deck, look at it, replace it on the top NOTE: When using key cards the pack
and take any card from the bottom stock, and give the pack as many cuts as he would can be cut as many times as you like
look at it, place it on the top stock and like. If the key card starts on top the without fear of separating the key from the
complete the cut. The deck can be cut as chosen card will be on top of the key card. chosen card. The only time they could be
often as you like and the key and chosen If it starts on the bottom then the chosen separated is when the key is cut to the top
cards will stay together. The chosen card card will be underneath it. and the chosen card was above the key
will always be on top of the key card. If card. If this happens then the chosen catd
you start the sequence with the key card on 3. With the key card on the bottom, give will now be on the bottom of the pack.
the bottom then the chosen card will be the cards to a spectator to deal any number The reverse is true if the chosen card is
underneath the key card. of cards onto the table. Tell them to look at underneath the key card.
the card where they stopped and when

METHOD the following way. Ask them to pick up the

Cutting To start the trick have all four aces on top
of the deck. If you are using this trick as a
first pile of cards (not the one with the aces
on top), place three cards from the top to

theAces follow up to the Five Aces trick then

simply pick up the aces and drop them on
the bottom, then one card on each of the
other three piles. This is repeated for the
the top of the pack and you will be all set other three piles but you must make sure
To prove your skill as a card sharp you for Cutting The Aces. that the ace pile is the last.
need to learn how to cut the aces. This The first step is to ask someone to cut The above procedure will put three
takes a great deal of practice and is beyond the pack into four piles. While this is being extra cards on top of the aces so when the
the scope of a beginner. In this trick you done, keep a careful eye on the section that ace pile is picked up the three extra cards
get the spectator to cut the aces and they has the four aces on top. The spectator is are the ones that are put on the bottom
will have no idea how they did it. now going to mix around the top cards in and then the aces are placed on top of each
pile. Ask the spectator if they know what
they have just done, when they say no
show them that they have cut the aces by
turning the top card of each pile. A nice
line to finish with is well if you can do that
Fm not playing cards with you!’

Above: Jhe cards are cut into four Hightlhe spectator will be very
piles and you must indicate which surprised to find that he has cut to
pile they are to pick up first. the four aces, and he will have no
idea how it was done.

18
 Arrange a pack of cards in the correct
The sequence and play with it until you get the
hang of the system. Practise by testing
Do not shuffle the pack or you will
upset the stack, you can however cut the
cards as often as you like and the stack will

Stacked yourself, call out the names of the cards as

you turn them over, learn to work out
not be spoiled. The top card will always be
the next in the sequence after the bottom
which card is above and which card is card, and as long as each cut is completed

Deck below the card you are looking at.

Another thing worth noting about this
then the sequence will not be broken.
When you have reached a level of
stack is that every thirteenth card has a competence with the stack try some of the
A stack is a magician’s term meaning a similar value and every fourth card has a tricks on the next page.
group of cards in a pre-arranged order. A similar suit.
stacked deck is a whole pack that is set up
The Si Stebbins Stack.
so that you can tell what the next card is by
Cards increase in
looking at the one before. The easiest stack
increments of three
would be to have the cards in suit order, and run clubs, hearts,
ace to king of clubs followed by ace to king spades, diamonds.
of hearts etc. This would be very easy to
use but because the order is obvious you
could not show the faces of the cards to the
audience. The most popular stack used
today is the Si Stebbins Stack. There are
rwo things to remember in this stack:
firstly, the suits run in order clubs, hearts,
spades, diamonds. This can be easily
remembered by using the mnemonic
CHaSeD; secondly, the cards increase in
value in steps of three (i.e. ace, four, seven,
etc.): jacks, queens, and kings are valued at
eleven, twelve and thirteen respectively.
When you get to thirteen (king) start
counting at the ace again so the card after a
king is a three, after a queen a rwo and
after a jack you have the ace. When the
cards are laid out as in the illustration the
order is very clear but if you pass the cards
from hand to hand and take a casual glance
then it will look like a shuffled deck.

then show the cards to the audience so immediately, instead pretend that you are
Tricks they know the cards aren’t all the same.
Then fan the cards face downwards
reading the spectator’s mind. Ask them to
concentrate on the card and then gradually

WITH A between your hands and invite a spectator

to remove and look at a card of their
reveal the cards by saying things like ‘I
think you have a black card, yes?... It’s a
choice. Casually take all the cards above spade and it’s a spot card, no that’s wrong...

Stacked the card that was selected and place them

underneath the rest of the pack and square
it’s a club, but it’s definitely a spot card,
imagine the pattern of the spots for me,
them up. As you do this you should have imagine them on a cinema screen... I see

Deck no problem glancing at the bottom card.

To determine the value of the chosen card
six spots, your card was the six of clubs, am
I correct?’
you must add three to the glimpsed card Ask the spectator to show the chosen
MIND READING and then work out the suit using the card to the audience, proving that your
REVELATION mnemonic CHaSeD. If the card on the experiment in telepathy was successful.
Using a deck of cards that is stacked in the bottom of the pack was the three of Tike the card and drop it on top of the
Si Stebbins method it is easy to show your diamonds then the card that was chosen pack and the stack has automatically reset
‘powers’ as a mind reader. To start with, would be the six of clubs. itself, no need to re-order the cards you arc
you must cut the cards several times and Do not reveal the name of the card ready to go on to the next effect.

19
MULTIPLE REVELATION a very clear image coming from you sir, is
As a follow up to the previous effect you
could try the multiple revelation. This
the card you are holding the king of
spades?’ This adds to the effect as you are
The One
effect seems much harder to do as a
number of cards are chosen. But using a
now divining who has the cards as well as
what the cards are. Ahead
stacked deck it is just as easy to name ten
chosen cards as it is to name one.
Ask a volunteer to cut the pack and
THE REVERSED CARD
Ask a spectator to put the deck of cards Principle
remove about ten cards at that point. He behind his back, he is to cut the cards and
or she keeps the top card and then mixes complete the cut as many times as he This is a principle that has many
and hands out the other cards to other wants to. When he is satisfied that no-one applications for the magician or the mind
spectators (this is a great trick because it knows the whereabouts of any card he is to reader. To explain how it works the first
involves a large number of people). As you take the top card, turn it over and push it trick is a card trick where the pack is cut
retrieve the rest of the pack, complete the into the middle of the pack. The simple into three random piles yet you can divine
cut and make a mental note of the bottom action of retrieving the pack will give you a the names of the top cards of the piles.
card. You know from the identity of the chance to glimpse the bottom card which
bottom card which cards come next, so ask will tell you the name of the card that the METHOD
the spectators to concentrate on their spectator reversed in the pack. Because of Before starting this trick you need to know
cards. When you call out the name of their this you know which card was reversed in the name of the top card. It is a simple
card they must hand it back to you. This the pack without touching the cards or matter to glimpse it while shuffling or
not only verifies the fact that you are looking through the pack, even the simply look at the bottom card and move
correct, it also means that you put the volunteer has no way of knowing which it to the top of the pack, for our example
cards back in the correct order so the Si card was reversed. we will say the top card is the three of
Stebbins Stack is retained for future use. diamonds. Having done this you are ready
If you slowly reveal the nature of the to start.
card (ie. ‘I’m getting the image of a black Place the cards on the table and ask the
card and I think it’s a picture card...’) you Se/oiv; A stacked deckmakes it easy to find a lost spectator to cut the cards into three piles,
card. If a card is chosen and replaced inthe
will often find that someone in the they don’t have to be even, any number of
wrong place It stands out because the sequence
audience reacts when you start hinting at cards per pile is fine. While this is being
of clubs, hearts, spades, diamonds (CHaSeD) Is
their card. Use this to your advantage by broken. The eight of diamonds is out of place and done you must keep an eye on the position
pointing them out and saying ‘I’m getting musthave been the chosen card. of the top card, in the illustrations it is
clearly marked with an ‘X’.
Tell the spectator that you are going to
name the three cards that he cut to. You
only know the name of one card at the
moment, the card that was on the top of
the deck. Point to a pile, not the pile with
the known card, and say ‘this card is the
three of diamonds’, it’s not, but the
spectator does not know this so it doesn’t
matter. Pick up the card and look at it
(don’t let the spectator see it), smile to
yourself as if you were correct, and
remember its name, for example, the five
of hearts.
Point to another pile, again not the pile
with the known card, and say ‘this card is
the five of hearts’, follow the same
procedure as before. Pick it up, look at it,
remember its name (e.g. its the king of
clubs). Now point to the last pile. The top
card is the three of diamonds but you call
it by the name of the card that you just
picked up, the king of clubs.
At this stage you have picked up three
cards and named them. The names you
called out are the names of the three cards,
you just changed the order but you have

20
the right three cards in your hand. All you fefr When the cards
need to do is prove to the spectator that are cut into three piles
rememberthe position
you are correct, so lay down the three cards
ofthe top (known) card
face up calling out their names as you do. and pickthis pile last.
The one ahead principle is just as it
says, each time you pick up a card you
know what to call the next card, and by
knowing the name of the last card you stay
one ahead of yourself throughout the trick. Below:lhe last card
thatyou pick up is the
card you named first,
but you call it by the
name ofthe previous
card. Result-three
correctly named
cards!

Above naming the card, pick it up and look at it.

Acknowledgeto yourself thatyou are correctand get ready for
the next card.

MESSAGE READING call this ‘using a stooge’). When collecting and memorize the actual words written
This is another use of the one ahead the papers make sure that the known down. These are to be read out as the
principle. Ask a number of people to wtite message is on the bottom of the pile. contents of the next paper. Proceed with
a few words on a piece of paper and then You are now going to divine the words the same pattern until every message has
to fold the papers in half You are going to or me.ssages on the papers. Pick up the top been read out and ask the people to verify
divine what is written on the papers and to paper and hold it to your forehead. You that each message was correct. Don’t be
do this you need to know the words on now tell everyone the contents of the tempted to go on too long with this, half a
one paper to start it off The easiest way to message, only it is the pre-artanged dozen mes.sages are more than enough!
achieve this is to tell a friend to write a message that you announce. Open the
particular message on his paper (magicians paper, pretend to check you are correct

21
 didn’t make you do it in any particular

Card place, is that correct?’ They will answer

positively but the truth is you have forced

Forcing this choice on them.

feft Askthe helpertoturn overonethird ofthe

cards.
You can force rhubarb, and force open a
door, but what is forcing a card? This is a BelowiNext, turn over about two thirds ofthe
term used by magicians that means you are cards, make sure the second cutis beneath the
seemingly giving a totally free choice but first cut.

in reality the card selected is the one that

the magician wants you to choose. You are
forcing the spectator to take a particular
card. The easiest way to force a card is to
offer a choice from a pack of cards that are
all the same, but you will not be able to do
any other tricks with the pack! Here are a
couple of methods that will enable you to
force a card using a normal pack.

THE TURN OVER FORCE

The force card is the top card which you
have already memorized (we have marked
it with a cross so that you can keep track of
it in the example). This can be done on the
table or in the hands depending on the
situation. As a rule I prefer to get someone
to do it in their hands as it gives the
impression of a freer choice.
Give the cards to the spectator to hold
and ask them to cut off about one third of
the cards, turn them over and put them
back on the top of the deck. This is
repeated, but this time they are to cut two
thirds of the cards, turn them over and
drop them on top of the deck.
Take back the cards and spread them
across the table. Ask the spectator to slide
out the first face-down card (this will be
the card that was the top card at the start of
the force). Before they take the card you
can emphasize the freedom of their choice
by saying ‘You cut the cards twice and I

THE CROSS CUT FORCE particular point. When they have agreed
The card you are about to force should be with the freedom of choice pick up the top
on the top of the pack and the cards portion of the ‘cross’ and casually throw
should be on the table. Ask a spectator to the next card on the table, ask them to
cut off about half of the cards and to place look at the card that they cut to. As this
them beside the rest of the pack. As soon as happens you can square up the deck and
this is done pick up the bottom half of the be confident in the knowledge that you
cards and drop them on top of the top half have successfully forced a card.
of the cards to make a cross. You must
emphasize at this point the freedom of The force card looks as if it has come from the

choice that the spectator had, they could middle ofthe packwhen only a few moments ago
it was on the top.
have cut anywhere but they chose this

22
 cards but the more the merrier in this

Stop trick. While this is happening reach into

your pocket and get the wallet/card out. As
Three-and-
This is another favourite trick of mine,
simple to do and very impressive. The
soon as the spectator stops dealing, drop
your wallet and the card on top of the pile A'HALF oe
cards can be shuffled by a spectator who of cards that are on the table. The trick is
then deals a pile onto the table until they
decide to stop. You dtop your wallet on
now done, from here you can concentrate
on the presentation. Re-affirm the fact that
Clubs
top of the cards and ask the spectator to the spectator shuffled the cards, that he At the start of the
look inside. They open the wallet to find a dealt as many cards as he wanted and trick you place a
piece of paper with the words ‘You will stopped when it suited him. Ask him to prediction card face
stop at the two of clubs’. Sure enough, open the wallet and read the message. Pick down on the table.
when the last card dealt onto the table is up the wallet and turn over the top card to You say that the
turned over it is the two of clubs! show that you are correct. prediction card will
be the same suit as
PREPARATION the chosen card and
You will need a wallet containing a half the value, so if
message that says ‘YOU WILL STOP AT the chosen card was
THE TWO OF CLUBS’ and you must a 10 of diamonds
take the two of clubs out of the pack. The the prediction will
card and wallet are put in your pocket next be the 5 of diamonds. A card is chosen but
to each other, practise removing them it seems that an error has crept in, the
from your pocket at the same time without chosen card is the seven of clubs which
flashing the card. means your prediction should be the
three-and-a-half of clubs! You tutn over
METHOD your prediction to show that it is correct.
By now you will have probably worked
this out for yourself! Ask the spectator to METHOD
shuffle the cards and then deal a pile onto You will need to make a special three-and-
the table, it does not matter how many a-half card. You can do this by cutting up
another card or using rub down lettering.
This is your prediction card and is simply

Above: 1. While the

cards are dealt on the
table getthe
wallet/card ready. Do
notflashthe card to
the spectators.

Right: Let the

spectatorturn the card
and take your applause.

Above: 2. As soon as
the spectator stops
dealing drop the wallet
on the cards.

Right: 3. Open the

wallet to reveal the
message.

2.3
placed face down on the table at the start look as if the order is random. All the cards
of the trick. You then need to force the
seven of clubs using one of the methods on
Simpleton's listed above are easily remembered and
identified as they all have a hook, for
instance the curly part of the 5 or the
page 22, and get ready for a big laugh at
the climax of the trick. Stack bottom of the J. Any card selected from
the top of the pack will not have a hook.
This is a simple method of stacking a deck Have one of those cards selected by
that will help you find a chosen card. Take spreading the top half of the cards and

Out OF all the twos, threes, fives, sixes, nines, jacks

and queens and mix them together. Put
make sure it is returned to the bottom half
and you will find the chosen card easily, it
them underneath the rest of the cards. If will be the only hookless card amongst the

Cards you spread through the cards they will hooks.

This is an unusual trick which gets away

Left: \t does not matter
from the ‘pick a card’ idea and has a nice
how many cards are
surprise climax. The spectator is asked to taken as long as it is
cut a number of cards from the top of the less than twenty-one.
deck and put them behind his or her back.
As this is done you should avert your gaze Right: Deal twenty-one
cards onto the table to
so you will have no idea how many cards
reverse the order of
have been taken. You then take a number
the cards.
of cards and take it in turns with the
spectator to put cards on the table. The
fle/ow;Your prepared
spectator deals down his last card and your
card will automatically
next card has a message written on it that be on top of your pack
says ‘YOU IdAVE JUST RUN OUT OF asthe spectator runs
CARDS’. out of cards.

PREPARATION
You will need to make the special card. To
do this you can write or type the message
on a piece of white paper and then glue it
onto the face of a joker. If you have access
to a computer then you can print it with
large bold type and it will look very
professional. This card is positioned as the
twenty-first card in the deck.

METHOD
Ask your spectator to cut off a number of
cards from the top of the deck. The only
thing you need to make sure of is that they
take less than twenty-one catds. To do this
just say ‘don’t take too many cards or we’ll
be here all night, between ten and twenty
would be a good number’. When he has
done this get him to put the cards behind his
back or in his pocket so you can’t see them.
It is now up to you to take some cards.
You must take twenty-one cards and at the
same time you must reverse the order. To
do this deal the cards onto the table and
count silently to yourself until you have
the right number of cards. When you have table alternately. You must deal the first works because as you reverse the order of
a pile of twenty-one cards on the table put card, then the spectator, then you and so the twenty-one cards you put the prepared
the remainder of the pack aside and pick on. The spectator will run out of cards just card in the correct place for the climax of
up the twenty-one cards. before the prepared card is dealt onto the the trick — regardless of how many cards
The cards are now to be dealt onto the table. This is a mathematical trick and it were taken.

24
 DINNER TABLE
MAGIC

ne of the best places to perform the after-dinner environment. In fact any tricks that are designed for use at the

magic is at a table after dinner. The tricks that can be performed without too dinner table. Most of them use props that

atmosphere is relaxed and people are much moving around are suitable. Card will already be on the table, so at any meal,

usually in the right mood to sit back and tricks, money tricks, rope tricks, any tricks after the food has disappeared, you will be

enjoy a couple of tricks. There are many that are good fun and entertaining are ready to dish up some diverse deceptions

tricks in this book that lend themselves to ideal. In this chapter you will find a few to enthral and entertain.

25
 Left: As the salt pot is
wrapped in the serviette and secondly to

Where did focus attention on the coin.

As you tap the pot on the coin tell the
wrapped uptightly in
the serviette try to
match as much of the
audience to watch the coin very closely as
THE Salt in a couple of seconds it is going to pass
shape as possible, this
helps to keep the
illusion thatthe pot is
through the table. You are now about to
still there.

Pot Go lap the salt pot so the timing of the next

few moves are important. After tapping
the coin with the wrapped salt pot held in
/.eff.Tapthe cointhree
This is without doubt one of my favourite your right hand you move the right hand times, drawthe
tricks. It is very strong from a magical back to a position so the salt pot is over attention of all to the
point of view and yet it is still easy to do. your lap and past the edge of the table. At coin.

When you read the directions you may the same time your left hand draws
think that you will not get away with it — attention to the coin on the table as you Below. Jhe moment the
salt pot is lapped. Note
but try it once and you will realize how point out that the coin is still on top of the
the left hand 'pointing'
good this trick is. A coin is placed on the table. When the pot has cleared the table
to the coin while the
table and while explaining that the coin is edge, gently release the pressure of your salt pot is discreetly
going to pass through the table you wrap a grip and it will fall into your lap. This dropped in the lap.
salt pot up in a serviette (napkin). The move takes a split second and will not be
coin is tapped three times with the salt pot noticed by anyone. They have been told
but it does not want to pass through the that the magic is going to happen to the
table. Then all of a sudden, you smash coin, they will not be bothered about the
your hand down on the salt pot and it salt pot, so you have plenty of time to lap
vanishes. With your other hand you reach it. The move must be smooth as any jerky
under the table and produce the salt pot. It or rushed movement will draw attention
seems that the coin did not want to go so to the salt pot/serviette in your right hand.
the salt pot went in its place. After you have
Left: Make as much
lapped the salt pot
noise asyou can when
METHOD the serviette will you 'slap'the salt pot
This trick employs a technique that retain the pot throughthe table. Use
magicians call lapping. At the right time, shape. But do not the element of
which is when the attention of the squeeze, your grip surprise.

audience is somewhere else, the salt pot is on the serviette Below: Reach under
dropped into the lap. The serviette holds must be very light the table asyou say
Tm sorry, the salt pot
the shape of the salt pot so the audience or it will lose its
wentthroughthe table
think that they can ‘see’ the salt pot right shape and give the
instead ofthe coin-1
up to the moment it is slapped through the game away. Place can nevergetthis trick
table. Follow the moves carefully and you the serviette over right!'
will have a lot of success with this trick. the coin and as you
Don’t try this trick when you are standing say ‘watch this’ slap your hand loudly on
up because your lap won’t be there and you the table. The bang of your hand will
will just drop salt all over the floor! make people jump, adding a surprise
element to the trick. Then you
PERFORMANCE immediately tell them that the coin has
The first stage is to borrow a coin and stayed put but the salt pot seems to have
place it on the table as you explain that the passed through the solid table. Reach
coin is going to pass through the solid under the table with your left hand and
wooden table. While you are talking you pretend to pick the salt pot from the centre them directly before you do the lapping
also wrap up the salt pot in a serviette. It is of the underside of the table. All you really move, tell them to watch the coin very
important that you wrap the serviette do is pick it up from your lap. closely, after all, they are the nearest so they
tightly around the salt pot because you The trick is very effective from most must make sure you do not cheat. After
want the serviette to retain the shape of the viewpoints and with a little experience it telling them this and giving them good
pot when you drop it into your lap in a few can be performed with people all around reason for watching the coin they will
moments. Don’t tear a paper serviette, just you. Anyone sitting to one side of you may ignore the movement of your other hand
pull it tight and it will hold the necessary catch a glimpse of the pot as it is dropped with the salt pot/serviette.
shape. Tap the coin three times with the into your lap. To avoid this you must draw This trick is just as effective with a
salt pot, this is done for two reasons, firstly their attention to the coin on the table as mixer bottle or a small vase so you can do
to emphasize the fact that the solid pot is you lap the pot. Do this by looking at it even if someone has pinched the cruet.

26
 Another great place to do this is when right hand which acts as a pivot point. The
Fork your mother-in-law has laid the table with
her best silver knives and forks for an
whole movement is covered from sight
from all angles apart from your immediate

Bending important dinner party - but be ready to

run afterwards - she may not find it that
left. Anyone sitting there will see what is
happening, but don’t worry, they are
funny! One of the best things about being unlikely to say anything when they notice
Do not read this trick expecting to become a magician is that you learn all sorts of the shocked faces of the other people at the
the next Uri Geller. This is not so much a practical jokes for any and every occasion; table.
magic trick as a dinner table stunt which is this is one of the best. When the shock of your audience has
a lot of fun to do. My favourite place to reached a peak put the fork back on the
perform this is in a restaurant. Just as the METHOD table and let them see that it is not really
waiter is walking up to take your order, The fork is held in two hands as in the first bent - if they don’t laugh be ready to hide!
this is what he sees : One of his customers picture. To give the illusion that the fork is Do not delay too long before revealing the
picks up a fork and without a care in the really bending you must act as if you are fork is OK. You must not give the
world bends it in half As he approaches exerting great pressure, a little shaking of audience time to look away or they will
the table he will be about to ask what they the hands, and push down and forward miss the joke.
think they are playing at (or he might be with your hands. From the front view it I have had a lot of fun with this stunt,
about to throw them out!) But as he will look as if you have just bent the fork at the funniest moment was when a friend of
arrives the customer looks up and the an angle of 90°. From the side view you mine, having seen me ‘bend’ the fork said
waiter is stunned to see that the fork is not can see what really happens. As the hands ‘That’s easy, anyone can do that’ and
really bent at all. I have ended up teaching push downwards the handle is allowed to before I could stop him he picked up a
this trick to many waiters as they can’t wait slip back through your fingers so the fork fork and bent it in half — that day we did
to wind up the other staff by showing it to does not really bend. The handle of the get thrown out of the restaurant!
them. fork is only held by the little finger of the

27
 You are now going to reproduce the at this stage. You are now going to break

Coin FROM coin from the bread roll. It is always best

to use someone else’s roll. They may
the roll in half and push the coin into the
roll in one smooth action. Firstly, you need

Bread Roll accuse you of fiddling with your own roll

but to use another avoids any suspicion of
to break rhe crust on the underside of the
roll. This is achieved by gripping the roll
foul play. Take the roll in your right hand on the sides, pushing down with your
A coin is borrowed and, if you like, it can and place it into your left hand on top of thumbs and pulling up with your fingers
be marked for later identification. With a the coin (see fig 1). The coin will be (see fig 2). As soon as you feel the crust
little bit of help from some magic salt the completely hidden by the roll so there is underneath break the coin is pushed into
coin has vanished. Someone passes you a no need to worry about being found out the centre of the roll (fig 3), you then
bread roll which is reverse the pressure and start to break the
broken open and roll from the top, using your thumbs to
from the centre of break open the roll (fig 4). As you do this
the roll you final break the roll should be tilted towards
produce the same the audience and the coin can be produced
coin. It is handed from the middle of the roll. Let the
back to its owner spectator remove the coin without your
who will verify that even having touched it. Have the coin
it is the same coin. checked by its owner and you have
performed a miracle.
METHOD
There are two parts
to this trick, firstly
making the coin
disappear, and
secondly, making it
appear from the
/lD0i/e:1. Viewed from
bread roll. To vanish the coin you must
underneath, the
learn the French Drop, described on page starting position for
60. There is a slight modification to the loading the coin into
move that makes the handling a little the roll.
easier. After the French Drop, the coin is
retained in the fingers of the left hand but
the audience think that you have placed
the coin into your right hand. At this point
your left hand
(containing the
concealed coin in
the finger palm
Above: 2. Pull up withyourfingers and the
position) picks up
underside ofthe roll will begin to breakopen.
the salt pot and
shakes some ‘magic
salt’ on the hand
that the audience
thinks contains the
coin. By doing this
the spectators will
be convinced the
coin is in the right
hand. (If you have
Above:3.As you feel the break open
got a salt pot in your left hand the coin
up, push the coin into the centre of
can’t be there). This is the same reason
the roll,
magicians use a magic wand, to hide the
fact that there is something else hidden in
their hand. If there is no salt pot you could
use a chopstick or a pencil as a magic
Rights. The coin is produced from
wand. After the vanish the coin will be the centre of the roll-it must have
secretly retained in your left fingers. been cooked intherel

28
 down and try and tap your foot at the up, go on to the next stage, pretending to
The same time as it hits the floor. After about
ten throws you will find this quite easy.
throw the ball down and flicking it back
up again. When you have managed to get

Bouncing Now forget about the foot for a moment

and practise flicking the ball back up from
the timing right on these two moves you
can put it all together and practise the
below the table line. When you have throw, tap, flick sequence until you have

Bread Roll mastered this so that the ball flies straight

fl/g/if. Throw the bread

perfected the timing.

roll down, rememberto

I never knew bread rolls could be so much
look atwhere it should
fun! This is a quickie that will always raise be, not where it is.
a laugh. As you sit around the table, pick
up a bread roll and get excited as you tell
the assembled people that this is a new
type of bread roll that you have read about
in the paper. It has all the nutritional value
of a normal bread roll and some rather
unusual properties. ‘Watch this’, you
exclaim, and then you proceed to throw
the roll to the floor and it bounces straight
back up again! Don’t forget to watch the
faces of the people watching, and it’s even
more fun if they try to bounce their bread
rolls — it won’t work for them — unless like
you they have got a copy of this book.

6e/ow Follow the flight

METHOD of the roll back up into
This trick sounds very simple but you will the air. If you believe it
have to practise the timing to perfect it. then the audience will.
Although it will look and sound as if the
roll has bounced off the floor, what has
actually happened is your hand has taken
the bread roll out of sight below the line of
the table and then thrown it back up
again. There are three parts to the effect.
Firstly, you hold the roll in either hand and
make a downwards throwing action. The
completion of the throw is below the line
of the table so no-one sees you keeping
hold of the roll. Your eyes follow the roll’s
imaginary journey to the floor. Secondly,
as you imagine the roll hitting the floor,
you tap your foot on the ground to create
the sound of the bounce. Out of context
the sound is unconvincing but if you get
the timing right no-one will give the fake
sound a second thought. Finally, as your
eyes follow the imaginary journey of the
roll bouncing up, you gently flick your
wrist and throw the roll up into the air.
This last move is again hidden by the table.
The timing is important on this move and
must be practised to perfection.

HOWTO PRACTISE
The easiest way to learn this move is to use
a tennis ball. With the ball in your right
hand throw it to the floor, watch it go

29
 fl/g/if; Always watch

The Zombie the roll as it floats and

keepthe hands asfar
apartasthe napkin

Roll allows. Do not let the

centre of the napkin
sag ortheforkmay
come into view.
You will have probably seen the trick
where a magician covers a silver ball with a
cloth, and then looks on with amazement
as the ball floats up and dances on top of
Se/ow Show surprise
the cloth. As with so many tricks, finding
when the roll beginsto
out how they are done can be
float. With a little
disappointing. This is an impromptu acting you will
version of that trick, the method is convince peoplethat
virtually the same only instead of a silver the roll is actually
tugging atthe napkin.
ball we are using a bread roll, and instead

fact that it has a fork stuck in the side of it

will still not be noticed. Lower the napkin
so that it covers the roll and the fork, one
of the top corners should land on the end
of the fork handle. Pick up the fork and
napkin with your fingers and lift the roll
up. The napkin will rise with the roll in the
centre — spooky stuff. With a little mime
work you can pretend that the roll is
pulling you and has taken on a life all of its
own. The roll then starts to calm down
and gently bobs on the top edge of the
napkin.
To end the trick you can do the
following. Make the roll float about a bit
and just when you seem to have it under
control make it duck down behind the
napkin and completely disappear. This is
done by lowering the napkin so the
bottom edge is on the table and then
dropping the fork and roll into your lap
(make sure that the fork does not hit the
table or miss your lap and land on the
floor). As soon as the roll is out of sight,
raise the napkin back up a little and watch
of a fancy silk cloth we are using a napkin. else is doing. The roll and fork can be left the place where the roll is meant to be
The traditional floating zombie ball uses a on your plate in full view while you pick hovering (just out of sight behind the
wire gimmick that runs from the ball to up the napkin and get ready to start the napkin). On the count of three you can
the magician’s hand and it is this that raises trick. screw rhe napkin into a tight ball and the
and ‘floats’ the ball. For the zombie roll the Draw attention back to yourself by roll will have vanished.
gimmick we are going to use is the fork. announcing that you are going
to amaze them with your
METHOD magical powers. When they are
While the attention of everyone on the all watching, show both sides
table is directed to someone else, pick up a of the napl-dn, holding it away
fork and stick it into the side of a bread from your body, with the fork Don’tgive awaythe
secret. It may be funny
roll. Do not worry about being seen as and bread roll on the table
atthe time but
most people will also be buttering or between the napkin and your
rememberthatmost
breaking open their rolls. At the same body. The bread roll will people lose interest in
time, your action, although slightly remain hidden behind the magic once they know
different, will fit in with what everyone flourish with the napkin so the how it is done.

30
The
Levitating
Paper
The first part of this trick is a well known
gag but the follow up is impressive enough
to blow people’s socks off. You can perform
it with a paper, a menu, a place mat or any
similar-shaped object. To start with you
show the audience what they will consider
to be a very old schoolboy joke where the
paper seems to stick to your hand. A few
moments later you do the same trick only
this time they will be totally fooled.

PLANA
fhis is a simple trick which most people
remember learning at school. The paper is
held against the palm of your left hand by
the first finger of your right hand. The
other fingers of that hand are gripping
your left wrist. This is made very clear in
the picture. If someone in the audience
does not know this old trick then they will
be quite impressed at this stage but
someone is bound to know how it is done
and take delight in giving the game away.
This is when you revert to plan B.

PLANE
This is the second stage of the
trick. The effect is very similar
in that a paper sticks to your
hand. Your movements will be
identical to the previous
method only this time you can
remove your right hand
completely! The sight of the
paper sticking to your hand is
quite weird. The second
AboveA^you are
levitation is achieved by secretly sliding a
performing this and a
table knife under your watch strap. When
knife is not to hand
then try a chopstick, a it comes to doing the second levitation, all
pencil, a ruler... you need to do is slip the paper between
your hand and the blade of the knife. Keep
your right hand in the position that you
used in plan A until you are accused of
cheating again and then you can remove it
Left: Be prepared for to show the paper levitating all by itself
a very surprised
audiencewhenyou
remove your right hand
and show the paper
still levitating.

.31
 clear of the table, pull it back so that it is If you have the courage you could try

Vanishing now clear of the edge of the table. At this

point you let the glass slip out of your
the following presentation. It is really
cheeky and I have often used it. To do this
fingers but retain your grip on the plastic you need the table to be littered with a
Glass disc. The glass is either dropped into your
lap if you are seated or caught in your left
number of glasses which are all close
together. Cover one of them up with the
An empty glass is covered with a hand below the edge of the table if you are fake hanky and lift the disc leaving the glass
handkerchief and then the glass and hanky standing (this is shown in the pictures). with the others on the table. As you lift the
together are lifted off the table. The The audience will be convinced that the hanky make sure your eyes follow it and
magician throws the hanky into the air and glass is still under the cover because they the spectators will also watch the hanky
the glass has vanished from sight. can see its shape. All you have to do now is and assume you have picked up the glass
say a magic word because they can see the shape of it through
METHOD and throw the the hanky. To make the glass vanish, just
To make the glass hanky into the air. shake out the hanky. This method relies on
vanish you will It will flutter bare-faced cheek but works really well in a
need to make a lightly down and bar when there are normally a number of
special fake the glass has empties on the table. Be brave and give it a
handkerchief It vanished. try, you will have lots of fun with it.
consists of two
left. By covering the
identical hankies,
glassthis way itis easy
onto one of which to place the plastic
you stick a circle disc directly on top of
of card or thin the glass.
plastic that is
approximately the
same size as the
Above.lo make the
mouth of the glass that you intend to make
fake hanky use a
vanish. If you intend to perform this trick patterned material.
a lot you should make the disc out of White hankies tend to
plastic; you can then wash the hanky be a bit see-through

without fear of the fake disintegrating. You and are therefore

unsuitable. BelowiJo drop the
will find that most glasses are of a similar glass release the grip
size and it will be easy to find a glass of the Below: The outline and slightly and let itslip
right size if you are at a party or a shape of the glass can through yourfingers,

restaurant (getting the glass to match the be seen underthe keeping hold of the
hanky. Make sure you plastic disc. Make sure
hanky saves making ten different sized fake
get a firm grip on both thatyour other hand is
hankies). When the plastic disc has been
the plastic disc and the ready to catch the
glued into position, sew the other hanky glass and lift them up glass or, if seated, drop
on top so that the plastic circle is hidden together. it into your lap.
between the two. If you hold the plastic
disc through the material of the
hankerchief it will give the illusion of a
glass or cup being held underneath. This
illusion is part of the secret of the
vanishing glass. To complete the illusion
you will need to follow the performance
details below.

PERFORMANCE
The performance of this trick requires a
little practice but should be easily
mastered. Firstly, you must cover the glass
with the special hanky so that the plastic
disc inside comes to rest on top of the
glass. Now pick up the glass and the plastic
disc together, the hanky should surround
the glass but the form of the glass will be
visible in the hanky. As you lift the glass

32
The Knife Shirtless
AND Napkin This is a party stunt that will always get a
great response. Imagine walking into a
party and after chatting to a couple of
A knife and three small pieces torn from a people taking hold of someone’s shirt and
paper napkin are used in this little mystery. pulling it off- without removing their
Both sides of the knife are shown and the jacket or damaging the shirt!
audience is told about the strange things Versions of this trick have been
that happen when a reflective surface is performed by many famous magicians
combined with a sharp blade. Polish up Carefully lick each Make sure the napkin
from Tommy Cooper to Harry Blackstone
piece and stick it on pieces do not protrude
the knife with the rest of the napkin and Jnr. Why not add your name to the list?
the blade. Keep your overthe edge of the
then lick and stick one of the small pieces blade of the knife.
eyes open in case a
of napkin onto the blade. You then turn piece starts to come Practise the Paddle METHOD
the knife over and it seems that another loose, it may need Move to make the The secret of this trick is that you are using
piece has appeared on the reverse side of more moisture to hold pieces appear and a stooge. Get a friend to put on a shirt
itin place. disappear.
the blade. This is repeated with the second without putting his arms down the sleeves.
and third pieces of napkin. You only stuck At this stage it will look a little odd but if
on three pieces yet there are now six pieces 3. Repeat stage 2 with the second piece of you do up the top three buttons and then
of napkin on the knife. Three pieces are napkin. put a jacket on and fasten the buttons of
removed from one side of the blade and 4. Stick the last piece of napkin on the the jacket, all will look normal. To get
the three on the other side disappear. Then knife blade and show that there are now maximum impact you should make sure
with a snap of your fingers there are six three pieces on each side of the knife (you that everyone is watching. Undo the
pieces of napkin back on the blade, three do not need to do the paddle move here buttons and with one sharp tug the shirt
on each side. because there are three pieces on each side will come free. Pull it straight up and out
of the knife. It is best to use it anyway for of the top of the jacket. Make sure that
METHOD the sake of continuity of movement). your stooge acts surprised as his reaction
This is a trick that uses a move called the 5. Remove the pieces from one side of the will add to the overall effect.
Paddle Move (see page 44). It is a simple knife and discard them so the blade is now
sleight of hand move which gives the clean. Using the Paddle Move again, show
illusion that you are showing both sides of that the pieces of napkin have also
the knife blade when you are really vanished from the other side.
showing the same side twice. This trick 6. With a snap of the fingers you can now
also requires a little preparation that make the napkin pieces re-appear on the
should be done out of the sight of the blade. All you have to do is roll the handle
audience. You need a knife and six little between your finger and thumb to turn
pieces of napkin or tissue. Three of the the blade over, cover this rolling action
pieces are stuck onto the knife using a little with a shake of the hand and it will not be
dab of water from your water glass. The seen. The sudden appearance of the three
other three pieces are set aside for later use. coloured pieces of napkin will be quite a
surprise.
PERFORMANCE 7. To add to the surprise, do the Paddle
The sequence of moves that you do can be Move one more time and show that the
varied depending on how you want to three pieces have also returned to the other
present the trick. This is the sequence of side.
moves that I use when performing this This trick is often performed as the ‘salt
/Iftove Undo the top
trick after a dinner. spot trick’. The moves are identical to the
buttons and with one
1. Lay the three pieces of napkin on the above trick but instead of using pieces of sharp pull someone at
table and show both sides of the knife paper napkin, salt is used. To get the salt to the party will be

using the Paddle Move (the three pieces on stick to the knife wet the end of your shirtless!

the back of the blade will remain out of finger and touch the knife blade in the
To get ready, place the
sight and the blade will look bare). three places where you want the salt to
shirt loosely overthe
2. Pick up a piece of napkin and dab it on stick. Shake some salt onto the damp area
shoulders and do up
your tongue and stick it to the knife. Do of the blade and tip off any excess. I have the top three buttons.
the paddle move to show that another tried both versions and can’t decide which Put on the jacket and
piece of napkin has appeared on the other one is best, so play with them both and then tuck in the

decide which one you prefer. sleeves.

side of the knife.

33
 LY.MAGIC

W hat is “Do It Yourself” magic?

Many tricks are performed with
few other bits and bobs you can find
around the house, you will be able to do
expensive versions of this illusion have
been performed all over the world but the
ordinary objects. Sometimes we cheat miracles. prototype of this trick was built out of
and do some secret preparation before the Many magicians have invented cardboard in his garage !
audience sees the trick, and sometimes astounding tricks by playing around with The following tricks are not as
the trick needs a special prop to make it ideas at home. Robert Harbin invented complicated as the Zig-Zag Lady but
work. The tricks in this chapter all need the trick known as the Zig-Zag Lady, they can all be made with no special skills
a simple prop to be made or some secret where his assistant would stand in an so don’t panic if you do not consider
preparation which you can do yourself upright cabinet. Then she was divided into yourself a D.I.Y. handyman or woman,
Using some sticky-backed plastic, a three pieces and the middle portion slid just remember that the best magic of all
few pieces of card, some glue and a out to the side. Beautifully presented is being able to say ‘I made that’.

34
The Unburstable Cut-away of working of prop.

Balloon
A long balloon is dropped through a tube
and inflated so that it is clearly seen
sticking out of the top and bottom of the
tube. You hypnotize the balloon and tell it
that it will feel no pain. Two sharp kebab
skewers are then thrust through the
balloon but to the surprise of the audience
it doesn’t burst.
Remember that some children can be
frightened by balloons bursting. The point
of magic is to entertain people, so be aware
of the feelings of your audience.

PREPARATION
/4/501/e; An inside view /.eft: When the balloon is fully
The prop you will need to construct for
showing the innertube inflated it will fill the tube, and hide
this trick is really 2 tubes. The outer tube is
which protects the the inner tube from the audience.
12cm (d’Ain) high and 6cm (2'/2in) in balloon from the
diameter. The inner tube is 3cm long and deadly skewers
2cm in diameter. You will also need some
long airship balloons. The tubes shown in
the picture were made from cardboard and balloon at the end Below: Sticking the skewers through
covered in sticky-backed plastic but you of the trick and you the balloon.

could use any suitably sized cylinder. For can deflate it and
example, cut the top and bottom off of a hand it out for
washing-up liquid bottle and you will have examination. If you
an excellent outer tube. The small tube prefer to tie a
must be glued or taped in the centre of the normal kttot, then
larger tube and then, using one of the you will have to
skewers, make 4 holes in the outer tube so burst the balloon to
that they will pass through the centre of get it out of the tube — there’s
the outer tube and miss the inner tube nothing like finishing with a
completely. bang!
The performance of this trick is very Now it’s time for you to do
easy as the prop does all the work for you. some acting. Build the
Always pre-blow the balloons before the suspense before sticking the
performance, they are a lot easier to blow skewers through the balloon by
up second time around. Remember to pretending to be afraid (maybe
avoid allowing spectators to see inside the you could give out ear plugs !)
tube or they will work out how the trick is Then push the skewers
done. Once the balloon is in place and through, do it slowly, pretend
inflated the small tube will be hidden from that it takes some effort. When
all angles. the second skewer is through
you can then show from all
PERFORMANCE sides how the balloon has been
Drop the end of the balloon through both pierced but has not burst.
tubes (it must go through the smaller tube
as it is this that protects the balloon) and AN ALTERNATIVE balloon will not burst. If your needle is

inflate it so that it is visible at the top and For another balloon-puncturing trick, long enough you can feed it out through

the bottom of the tube. blow up a round balloon and then stick the other side of the balloon. Make sure

When the balloon is inflated you will two pieces of clear sticky tape on opposite you hit the sticky tape on the other side of

need to tie a knot in the end. If you tie a sides of it. Using a long sharp needle you the balloon or the trick will end sooner

slip knot, one tug on the end of the will be able to penetrate the tape and the than you expect.

35
 and restore the paper a number of times.
Clippo You can repeat the trick but remember
A strip of newspaper is shown, it is one that each time you make a cut you are
column wide and about 40cm (I6in) long. cutting away some of the glued portion of
The magician explains that they are all the paper. When all the glue is cut away
adverts but most of them are of no interest the trick will no longer work.
— but hang on a second, this advert is for a To make sure that the paper is not
very nice car, and it’s very cheap. Fold the examined by anyone when you finish the
paper in half, pick up the scissors and cut it trick, screw the paper up into a ball, and
out from the strip. As you re-read the throw it away.
advert the strip of paper falls open and it is
still in one piece. You explain that you can’t
drive so you will need to get some learner
plates. Fold the strip in half, make another
Above: This advert looks
cut, and the strip is now restored but as an
interesting!'
‘L’ shape.
Right: Fold the strip with the prepared
PREPARATION side on the inside.

Cut a long strip of small ads

out of a local newspaper. One
side of the paper is treated in
the following way: Put a thin
layer of rubber cement or
contact adhesive over the
central 20cm of the paper and
allow it to dry thoroughly (at
least 15 minutes). When that is
done, gently rub some talcum
powder all over the glued area
— this will prevent the glue
sticking to itself when the
paper is folded in half. The
glued side of the paper will be a
slightly different colour from
the other side but in
performance this is not seen by
the audience. It is a great trick
so don’t just make one, make
several, they keep for a long
time and still work.

PERFORMANCE
Above: As you read the
Before you cut the paper you must make
advert, let the strip
sure that it is folded with the glued side on casually drop open.
the inside of the fold. As the paper (and
glue) is cut, the glue comes in contact with
itself and sticks together immediately.
Make the fold and the cut as straight as
possible by following a line of type. After
cutting out a small piece let the strip fall
open and it will be back in one long strip.
The finale of the trick is to cut the
paper so it ends up in the ‘L’ shape. To do
this fold the paper in half as you did earlier
and instead of making a straight cut, make
the cut at an angle of 45°. It is a trick that You don't need to buy
can really send you round the bend! 'L' plates if you are
In performance you may want to cut magicians.

36
 sewn to stop them fraying. This will be the the change bag. The second set are placed
The lining of the bag and the secret workings.
To finish the bag, give it a magical look.
singly in the front pocket.
To perform the trick, pick up the bag
Decorate the outside by cutting out and and openly remove the single
Change sewing on some brightly coloured stars or handkerchiefs from the front pocket. Turn
cover it completely with a patterned the bag inside out so that the empty front

Bag material as I have done. A well-made

change bag will last a long time, so it is
pocket ends up on the outside. While
doing this, keep the secret entrance to the
worth making a nice one. other pocket away from the audience. To
The change bag is one of the most versatile all intents and purposes you have shown
props available to a magician. It is not a PERFORMANCE the bag to be completely empty.
trick in itself but a prop that is used for In this first routine with the change bag we Turn the bag back so it is right side out
many different tricks. The bag is used to are going to use it to magically knot and and openly place the single handkerchiefs
secretly exchange one item or items for unknot some handkerchiefs. To do this back in the front pocket of the bag. Now
another. You can use rope, coins, playing you will need two sets of matching to do some magic. Wave your wand or
cards, coloured ping-pong balls, or colourful hankies. The first set is knotted make a magic pass with your hand. Reach
anything that fits in the bag. Details of a and secretly hidden in the rear pocket of into the rear pocket of the back and slowly
couple of tricks are shown below but let’s pull out the knotted handkerchiefs. You
first learn how a simple cloth bag can be can then show the bag empty again by
used to make magic. turning it inside out by using the rear
pocket. By reversing the process you can
HOW IT WORKS also make the knots disappear!
Unbeknown to the audience the bag is
divided into 2 sections or ‘pockets’. It is
these pockets that make the bag work. /.efrTurningthe bag inside-out.
During a trick, objects are switched by
placing them into one pocket and taking
the other item out of the other pocket. fie/ow; Placing handkerchiefs in the bag.

Never let the audience examine the bag or

they will discover the secret.

/Itoi'eThe two sections (or pockets) of the change

bag. This view of the bag is not forthe eyes ofthe
audience.

HOW TO MAKE A CHANGE

BAG
The overall size of the finished bag should
be approximately 30cm (12in) deep and
20cm (Sin) wide. Cut 3 pieces of black
lining material a little larger than the size
of the bag and place them on top of one
another. Sew round three of the sides
leaving the fourth side open. The hems of
the open side will need to be folded and

37
 the magic words and remove

The Cut the cut pieces of tie. After

apologizing profusely you have
another go, this time you
AND remove the restored tie from
the bag which you again show

Restored to be empty.

Tie OTHER TRICKS

WITH A CHANGE
BAG
This is one of my favourite tricks. Imagine The cut and restored tie
the fun you can have at a party by going up routine can be performed with
to the host and after announcing that you a handkerchief. Borrow one
are going to do some magic, cutting his tie from a spectator and after
in half! This is only the beginning. Keep cutting it in half it can be
cutting until his tie is in several pieces and
/Itoi/e. The victim will
then offer to restore it using your magic
be very surprised
bag. when you boldly cut his
The bag is shown empty, the pieces are tie in half!
placed inside, you wave your magic wand,
you reach inside and remove ... a tie cut
into several pieces. Oh no, the trick has
gone wrong, but before you are thrown
out of the party you have a second try and
manage to restore the tie to a thunderous
round of applause from the other guests. /.eff.Bynowhis
surprise will have gone
PREPARATION and he will be entering
a state of shock!
You will need a change bag and
2 matching ties. One of the ties
is put in the rear section of the restored in the bag. The use of the change
bag and the other must be bag is only limited by your imagination. A
worn by your volunteer/victim. rope can become knotted or unknotted.
To get the tie around his neck Two pieces of rope can be joined together,
you have two alternatives. You ribbon loops can be magically linked. Put
can ask him in advance and tell your mind to work and see if you can
him to act surprised when you come up with your own ideas.
cut the tie, or, if you have a
wicked streak, get a friend to
give him the tie as a present
and make sure he puts it on.
This way he will be genuinely
surprised when you eventually
cut the tie (his new present!)
/Ihove; If you're going
and very relieved when it is restored. This
to do anything you
trick is ideal for performance at Christmas might as well do it
or on birthdays when presents are usually properly, so cut the tie
given. into many pieces!

PERFORMANCE
The pictures tell the story. All you have to
remember is to show the bag empty by
Right: The tie is
turning it inside out as described earlier.
restored to the relief of
Then put the cut pieces of tie in the front the victim and the
section of the bag. To add a little drama to amazement of the
the trick wave your hands over the bag, say audience.

38
 R you always fold the bag the same way
The Devil's and always keep the bead in the same
position, the secret opening will lie in the

Hanky front right fold. Using the fingers ol your

right hand, open the secret pocket and ask
for the coin (or whatever) to be dropped
This is another magician’s prop which will into the middle of the hanky. After the
help you do many tricks. It is a gimmicked coin has been put in the hanky it will rest
hanky that will make vanish a key, a ping- at the bottom of the folds.
pong ball, or any small item that you wrap Let the member
in its folds. In this example we are using it of the audience feel
to make a coin disappear but the moves are the coin so they are
the same whatever you are using. The great sure that it is in the
Above:lhe Devil's
thing about it is that the spectator can be hanky. Then
Hanky-an inside view.
holding the item that is about to disappear suggest that they
up until the very last moment. One second hold on to the coin
it is there, the next it is gone ! so it will be safe
and will not get
HOW IT WORKS Right: The spectator lost. Aftet all, you
The hanky is in fact two identical hankies can drop the coin, or can’t be too careful.
whatever, into the
that have been sewn together. It is best to If you wish to, you
folded hanky (actually
use colourful ones as these help to disguise can shake some
into the bag) so he has
the fact that it is a ‘trick hanky’ by hiding no doubt that it is in magic salt or wave
any give away lumps in the hanky after it there. your magic wand
has been made to vanish. over the coin. This
Three sides are fully sewn but has no effect
the fourth side is only sewn to whatsoever, but
the half way point. This magicians do that sort of thing!
provides us with an entrance to Now to actually make the coin vanish.
a secret pocket within the You have done all the hard work by
hanky and anything placed in positioning the coin in the secret pocket.
this pocket will vanish. Note All you have to do is take hold of the
the coloured bead that is hanky by the corner with the bead, this
attached to the corner. keeps the opening at the top and stops the
This helps to locate the coin falling on the floor after. One quick
opening during performance. pull so the hanky/coin is dropped by the
Obviously, we have to be a spectator and the coin will have
little clever to get our coin into disappeared ! Casually show the hanky on
the secret pocket, so follow the both sides and replace it in your pocket to
moves detailed below carefully hide the evidence.
and no-one will catch on that
Above: G\\/e the coin to
you are not using a normal hanky.
the spectator to hold
Remember that at the end of the trick through the hanky. He
the vanished item will still be in the hanky put it in, he is holding it,
- don’t let anyone pick it up after the trick. surely you cannot
make it disappear.
If you remove it from your pocket at the
start of the trick and pop it back when you
have finished, no-one will suspect that it is
anything othet than normal.

PERFORMANCE
At the start of the trick the Devil’s Hanky
will be in your pocket and the item to be
ff/ghf. Tugthe coin free
made to vanish will be in the hands of a
and it will remain
member of the audience. Fold the hanky hidden in the hanky.
into quarters so that the corner with the Hold the hanky by the
bead is at the front (away from your body) top and show both

and hold it by the corners in your left hand sides-it has vanished.

.39
The Square Circle
Prod uction Box
This nifty little prop will enable you to covered with cartridge paper to match the
produce a lot of coloured handkerchiefs, a inside of the ‘square’. The size of this inner
pile of sweets, or even a teddy bear. tube will dictate the size of the things you
Depending on the size of the prop that you are going to produce.
make you could even use it to produce The box works _ _
your assistant - but to do this you would because of a
need to make a very large box (or have a principle that
/4/joze.-Keep this view
very small assistant). The production box magicians call
hidden from the
that we have shown is only 15 cm (6in) black on black. The spectators.
high, but the principle is exactly the same load chamber can
whatever size you make. be filled to the
brim with goodies
HOW IT WORKS and then placed in
Centre.-Nothing in the
The square circle production box consists the ‘square’. If you
tube.
of three parts although the audience are look through the
only ever made aware of two of them. windows in the
The ‘square’ or the outer box is a outer box the eye
patterned box with some ‘windows’ cut in will think it is
one side. These windows allow the seeing the back of Se/ow Nothing in the
audience to see into the box from the the box. box.

front. The inside of this box must be matt Remember that the
black, either painted or lined with black audience will not
cartridge paper. My box was simply made be aware of the
from cardboard and then covered in sticky- existence of the
backed plastic to give it a nice finish. load chamber, so
The ‘circle’ is a brightly coloured tube will have no doubt that the outer box is
that nests snugly in the outer box. It can be empty, especially when you demonstrate
made from card or if you want it to be this by following the sequence shown
more solid, use a large can with the top below.
and bottom removed. If you are using a
can, be aware that some can openers leave PERFORMANCE
sharp edges, make sure these are filed off The three pieces are nested together at the
and covered with thick tape. Decorate the start of the trick, the load chamber is in
tube so that it will be clearly seen through position and, in this case, is full of
the windows of the outer box when they coloured silk hankies. Note that the load
are nested together. chamber is invisible due to the black on
The final part is the load chamber, a black principle. The only thing to
slightly smaller tube that will fit inside the remember when performing this trick is
‘circle’. It must be painted matt black or that a view from the top will give the secret
away. Make sure that the audience are
seated and cannot see into the top of the
box before you start.
The sequence of moves to show that
the box is empty is as follows: Pick up and
display the box (square), apparently
empty, show the tube (circle) to be empty,
insert it in an out of the box to show box
empty, replace it in box and start the
production.

/.eft-The secret Right: So where do

workings of the box. these come from?

40
 and your arm close to your body so the

The Handkerchief Pull elastic runs along your arm and under the
jacket.
One of the most effective tricks a magician is taken round your back and fastened so Now push the hanky down into the
can perform is to make something that the elastic is tight enough to hold the canister so that no loose ends are trailing
disappear and there are many ways of canister in position. Do not pull the elastic our of your hand. By simply letting the
doing this. The handkerchief pull is a too tight or you will not be able to use the canister slip through your fingers it will be
device that will let you make a hanky pull when you need it. Now put a jacket pulled under your jacket and out of sight,
vanish without using any visible props and on to hide the apparatus and put a hanky the hanky will have vanished. Make sure
end up with your hands really empty. The in your left trouser pocket and you are you keep your arm close to your body or
device that is used for this effect is ready to start the performance. the canister will catch on your jacket and
ingenious because while doing all the work the audience may notice it.
for you, it remains hidden from the PERFORMANCE
audience. It is also simple to make and use! The first stage in using the pull is to PERFORMANCE TIP Do not rush to
secretly get the canister into your right open your hand and show that the hanky
hand. To do this, place both your hands in has disappeared. As far as the audience is
your trouser pockets as if you are looking concerned you must still be holding the
for your hanky, take the hanky out of your hanky in your hand even after the pull has
left pocket with your left hand and bring done its work. Act as if you are still
you right hand forward in a fist which holding the hanky wrapped into a tight
contains the canister, open side to the top. ball. Ask someone to blow on your hand,
The elastic will not be seen as long as you then slowly open your hand to show that it
keep the back of your hand to the audience is empty.
HOW TO MAKE A PULL /.eft: Do not move your
A pull works by pulling the item to be
hand too far away from
vanished out of your hands and hiding it yourbody orsomeone
under your jacket. It consists of two safety may notice the elastic.
pins, a piece of elastic that is about 30cm
(12in) long and an empty plastic 35mm-
film canister. White elastic has been used
in the illustrations so that it can be seen
more clearly but black elastic should be
used as it will be less visable. Tie the first
safety pin (the anchor) onto the end of the
elastic, then thread the second safety pin fie/oiv. When the hanky
(the runner) onto the elastic using the has been pushed into
round ‘eye’ of the pin. To complete the the canister let the
elastic pull it out of
pull you must connect it to the film
sight.
canister. Make a small hole in the bottom
of the canister and feed the elastic through,
tie a small washer on the end of the elastic
to stop it passing back through the hole.
The pull is worn around your waist so
that the canister hangs on your right side.
The runner pin is pinned to your waistband
in the position shown and the anchor pin

/eft. The pull in position

on the waistband.
Make sure that it does
notpull too tight

41
 The
Chinese
Compass
The Chinese have a reputation for being
clever and this trick is just that, very clever.
It is also very simple, the kind of trick that
you can perform at any time and any
place. It is a perfect pocket trick as it is a
small prop that you can carry with you at
all times.
The Chinese compass is octagonal in
shape and it has an arrow or a pointer on
both sides. This is shown to the audience
and they notice that the arrow points the
same way on both sides. You tell the story
of a traveller who stole the compass from a
powerful magus. The compass was meant
to be magic and would always point in the
direction of buried treasure. The traveller
decided to seek his fortune with
the compass and as the story
unfolds the arrows keep
magically changing direction.
When the magus discovered the
theft he cast a spell so that
4/70i/e.Tlold the
without the magic words the
compass between
compass was worthless. The finger and thumb and
traveller never did make his use your other hand to
fortune. He threw the compass swivel it round.
i hV
away and that is how you come
to have it, and it still doesn’t
work! As you finish the story you
give the compass out for
examination and whenever
someone turns it it points in a
/.efr Experiment by
different direction. holding a different pair
of corners and see
where the arrow
points.

HOW IT WORKS point the same way hold the compass at

The compass is made by cutting an the points marked a and turn the compass
octagonal about 5cm (2in) in diameter as before. The final variation is to hold the
from a piece of thick card. Two arrows are compass at the points marked B and the
drawn, one on each side of the compass, needle will point in opposite directions on
they must be at right angles to each other either side. Armed with this knowledge
(see illustration). To make the compass and a little practice you are in complete
needles point in opposite directions the control of the compass and can make the
thumb and forefinger of the left hand hold needles point in whichever direction you
the points marked C, use the right hand to please. When a spectator tries they will
turn the compass without changing the have no control over the direction of the
grip of the left hand. To make the needles arrows.

42
 would happen if one of the loops was cut in of people. In another presentation you
The half?’ asks the magician. The answer is
obvious, you would end up with two
could give out a number of loops and all
the girls discover that when cut they have
separate loops. This can be checked by two linked loops and all the boys have
Afghan cutting a loop in half which is exactly what large loops. Only the magician ends up
the magician does. Now the spectator is with two separate loops. The magic

Bands challenged to do the same thing, nothing

could be easier. But when he tries he ends
happens in the hands of the spectators so
no-one can accuse you of cheating.
up with two loops that are linked! The only
The magician asks for the help of a way to separate them is by breaking the HOW IT WORKS
spectator and hands him three strips of loops. He is given a second chance but this There are three different types of loop in
crepe paper, each strip having been glued time he ends up with only one loop, but it this trick. Each one is made from a strip of
together at the ends to form a large loop. is twice the size that it was at the start. coloured crepe paper 10cm (4in) wide by 2
The magician and spectator take a loop This is a colourful and baffling illusion metres (80in) long.
each and the other is set aside. ‘What that is fun to do and can involve a number
LOOP A : The first loop is the one that
divides into two separate loops. To make
this loop take the strip of crepe paper and
glue the ends together. Make sure that
there are no twists in the strip of paper
before you glue it together.

LOOP B : This loop becomes one large

loop when cut in half To make this loop
put a half twist (180'’) in the strip before
glueing the ends together. The loops are
nice and long so this will not be noticed
when it comes to cutting them in half

LOOP C : This loop divides into two

loops that are linked. It is made in the
same way as loop B only this time put a
full twist (360°) in the strip before glueing
the ends together.

The three types of loop, showing twists and dotted lines

for cuts.

Half twist Full twist

/.efrMake the trick 4tove.'Cut along the

colourful by using dotted lines and the
different coloured magic happens right in
crepe paper strips and your hands.
you have an effectthat
will fill the stage.

43
 lefrl. The starting

The Spot pointforthe paddle

move. The fingers
Follow the above moves through the three
stages shown in photographs 1, 2 and 3.
should form a flat bed
Start off slowly doing each stage separately,
Paddles on which the handle is
rolled. then reverse the order of the stages,
starting at 3 and going back to 1. When
Two plastic paddles are shown, one has a you have mastered each stage individually
spot on both sides and the other is blank it is time to put them together and
on both sides. As the paddles are shown perform the whole action as one
the spots seem to appear and disappear at continuous movement. Hold the paddle as
the whim of the magician. Just when in stage 1 and roll the paddle (stage 2) and
Right: 2. Halfway
someone thinks they might know what is twist the wrist (stage 3) at the same time.
through the move.
happening the spots jump off one paddle When performed as
Now reverse the process combining the
and there are now four spots on the other ! one this stage is never roll and the twist to return to the starting
Another great pocket trick, they take up seen,the largerwrist position. You will probably surprise
no space and can be slipped in a purse or action hides the small yourself with the illusion. You will see the
rolling movement of
wallet and be ready to use at any time. same side twice while giving the
the thumb.
impression of showing both sides.
THE PADDLES When you have mastered the move
Left: 3. The end of the
The paddles can be made out of thick card with your right hand it is time to learn it
move. Note the
but ideally should be made from plastic. position of the hand in
with your left. It is also possible to do the
(Sheets of plastic of business/letter/A4 size relation to the body is move with both paddles in one hand, not
are available from model and craft shops). the same. essential, but it is fun to do.
Plastic paddles last longer and handle
6e/ow;4. With a flick of
better and should be made from plastic
the wrist (and a roll of
PERFORMANCE
3mm ('Ain). The dimensions of my the thumb) the spots
In performance you start with a paddle in
paddles are as follows: total length I4cm can be made to jump each hand, paddle A (blank side up) is in
(5‘Ain), length of handle 5cm (2in), width from paddleto paddle. your right hand and paddle B (single spot
3cm (2V8in), width of handle 0.5cm (7i6in). You can also do the up) is in your left. Both paddles are shown
paddle move from this
The spots can be drawn on with a using the paddle move to be identical on
position-roll the
permanent marker or cut out of sticky- both sides, ie. paddle A is shown blank and
fingers andthumbto
backed plastic. The arrangement of the turn overthe paddles paddle B has a single spot on each side.
spots is as follows: paddle A has one spot and atthe same time, You are now going to make a spot
on one side and the other side is left blank; turn your hand over by appear on the paddle in your right hand
twisting atthe wrist.
paddle B has one spot on one side and two (paddle A). Touch the underside of paddle
spots on the other side. A with the top side of paddle B and then
show both sides of paddle A, only this time
THE PADDLE MOVE do not do the paddle move - miss out
This move is designed to look as if you are stage 2 of the move and you really do show
showing both sides of a paddle when in both sides. The spot has appeared on
reality you are showing the same side paddle A. Turn the paddle A over so that
twice. The move is broken down into three the spot side is face up and repeat the move
stages and when put together in a smooth so that both paddles can now be shown to
flowing action is one hundred per cent have one spot on each side.
effective. You can shake the spots off paddle A by
giving a quick flick of the wrist and
1. Hold the paddle in the right hand with starting the above sequence again. Then as
the thumb on top and the fingers a finale you can make both spots jump
underneath. The paddle should be onto one paddle. Hold the paddles (both
pointing away from you and angled down showing a single spot) as in figure 4. Flick
so that the audience can clearly see the face the wrist in the direction of paddle B and
up side. at the same time roll the handles of the
3. Twist the wrist so that the paddle is paddle as if you were doing the paddle
2. Roll the handle of the paddle between pointing upwards and the side that was move. This will give the illusion that the
the thumb and fingers so that the paddle is underneath is now shown to the audience. spot has jumped from one paddle to the
turned over to display the other side. This This last stage does not involve raising the other — leaving your audience with spots
is done by sliding the thumb to the left arm, the hand should remain the same before their eyes!
and pulling the fingers back to the right. distance from your body.

44
 A wire coat-hanger is wrapped in a piece of METHOD
The newspaper which is immediately screwed
up into a tight ball to show that the coat-
The secret is in the coat-hanger. It looks
normal but instead of being made from
hanger has vanished. This can also be stiff wire it is made from solder. Solder is
Vanishing performed as a show of strength by getting very pliable so that when it is folded up in
a member of the audience to try and do as the newspaper it will crush easily and you

Coat- you do. You will screw your wrapped-up

hanger into a small ball whereas a member
will look as if you have great strength.

of the audience will just end up folding it

Hanger in half and then struggling with it to make

it smaller.
Left: Fold all the edges
into make a neat little
package.

....

Above: Casually screw

upthe paper-and
apparently the coat-
hanger.

Make it obvious
that the coat-hanger is
going in the middle of
the sheet of tefr Throw away the

newspaper. paper, dust off your

hands, and onto the
next trick!

45
 HEADSIWINy
TAILS YOU LOSE
H ave you ever been had? Isn’t it
annoying when someone comes up
to you and starts a sentence with the words
‘I bet you can’t...’ The chances are that you
have just been challenged with an
impossible task, or there is a trick involved.
Whatever the situation you know you are
going to lose.
Some tricks of this nature are used on
street corners to get money out of naive
strangers. You have probably heard of
Three Card Monte (also known as Find
the Lady or Chase the Ace). In this trick
three cards are casually thrown onto a table
and all you have to do is find the money
card. Do not try and play this game as you
cannot win — it is a con. As is the game
where there are three walnut shells and a
pea. Trying to make money with bets like
these is illegal in all countries, but you can
still have fun by trying some of the
challenges in this chapter on your friends.
But be ready to run when they realize that
they too have been had!

The One paper bag. Impossible, he will cry.

What you do is crawl under the table
and pretend that you have taken the glass

Glass through a trap door in the table. Make

slurping noises as if you are drinking and
then come out from under the table. Your

Challenge friend will not be impressed and when he

picks up the paper bag to check you calmly
reach forward, pick up the glass and drink
Place a glass full of your favourite drink on the drink.
the table and cover it with a paper bag. Tell You have now done exactly what you
your victim that you are going to drink the said you would do - you drank the drink
contents of the glass without touching the without touching the paper bag.

46
 Three glasses are set up on the table, two of
The Three them are faced one way and the middle
one is the other way up. Show the
demonstrate. No matter how many times
you show them the glasses will always end
up upside-down when they try.

Glass audience that it is possible to turn all the

glasses so that they are all the right way up. HOW?
You have to turn two glasses at a time and Look at the directions of the glasses in the

Challenge all they have to do is copy you. Get them

to watch you very carefully as you
first picture, the start, and the last picture
which is how your victim starts. Do you
see the difference? It is impossible to get
Left:]: Pick up the
the three glasses the right way up using
middle glass in your
right hand and the left these moves unless the glasses are the same
hand glass in your left Below:!: Pick up the way up as they are in the first picture. The
hand and turn them two end glasses and last move of turning over the centre glass
over. turn them over.
for the victim to try results in the glasses
being the opposite way up to how they
were when you started.

The Five
Glass
Challenge
Rights: As in move 1
pick up the middle
Five glasses are placed in a row, the first is
glass with your right
hand and the leftglass empty, the next three are full, the last is
with your left hand and also empty. Challenge someone to re¬
turn them over. arrange the glasses so that they are
alternately empty and full — but they are
only to touch one glass.

Below:The picture tells the story, all you have to do

is pick upthe middle glass, drinkthe contents and
then replace it!

Aboveilhe result of the fl/ghf; Now turn the

three moves is three middle glass over and
glasses, all the right askthe spectatorto do
way up. exactly what you have
just done. When he
tries all the glasses will
end up face down!

47
The Bottle Climbing Through a
AND Straw Birthday Card
Challenge Did you know that it is possible to cut a
hole in a birthday card that is big enough
do this and he will fail. Follow the
instructions below and you will succeed,
to climb through? Challenge a friend to
You will find people give up on this one
very quickly! The challenge is to pick up a
bottle with an ordinary drinking straw.
They are not allowed to touch or move the
bottle, they just have to lift it up off the
table using the straw.

HOW? Bend the straw

in half and lower it into
the bottle. When the
straw gets past the
neck it will spring out
and hookthe bottle and
it will be a simple
mattertolift it up off
the table. If the straw
straightens out in the
Above.'With the birthday card still folded in half, Above.'Open outthefold and cutalongthe crease.
bottle then the bend
cut it as in the picture. Ten cuts will be more than Do not cut the crease atthe two ends or you will
must be further up the
enough. end up with two pieces ratherthan a hole.
straw.

Blow Over
A Bottle
To start this challenge you will need to
have a bottle in a paper bag. Take out the
bottle and put it on the table. Put the
paper bag down and challenge your victim
to blow the bottle over. Try as he might the
bottle will not budge.

HOW? Place the bottle on the cornerofthe paper

bag and then blow into the bag. The bottle will
topple over as the bag inflates. This can also be
Carefully open upthe
performed with a house brick, book or any other
card and you will have
heavy object. WARNING: Be very careful if using a
a ring of card that is
bottle as it could topple over, roll onto the floor and
large enough to step
break.
through.

48
The Banana Chinese Handcuees
Surprise This stunt is great fun at parties as
everyone can have a go. You need two
pieces of rope each about 60cm (24in)
This is more of a stunt than a trick but it long and two willing volunteers. Tie the
never fails to get a good laugh. Imagine the ends of the ropes around the wrists so that
reaction when someone peels a banana the pair are linked together as shown and
only to discover that it has already been see if they can separate themselves without
neatly sliced. untying the ropes.

HOW: To separate the

ropes you need to use
the loop that goes
around the wrists.
Tuck the centre of your
rope through the inside
of the loop around your
partner's wrist. Make a
large loop and slip it
overyour partner's
hand. The ropes should
HOW? Inserta needle into the banana and move
then be pulled tight and
back and forwards across the fruit. Bananas are
you will be free of each
very soft and this action will slice one without any
other.
effort. Repeat this down the whole banana
depending on how many slicesyou want. Then
replacethefruitinthe bowl and wait forthe fun.

iefr Many contortions

will be tried before
they give up! But
unless they already
know the secret they
will fail.

Sdrawkcab Kcirta
Yes, it is an unpronounceable title! It is ‘a
trick backwards’ spelt backwards. And this
is a fun little interlude that everyone will
want to try. Give each person in the room
a piece of card and a pen. Ask them to hold
the card on their forehead and then to
write their name on the card. You will be
surprised to see that nine out of ten people
write their names in mirror writing
(backwards and inside out). But the people
who write their names backwards will be
If you try this on yourself you will probably write
even more surprised, because they will not your name in the normal way, this is because you
realize what they have done until they look know what to expect. Try it on someone else and
How on earth did that happen ? both of you will be amazed at the effect.
at the cards.

49
 MIND READING
AND
MATHEMATICAL
MAGIC
I f you were alive three hundred years ago
and performed some of the tricks in this
book you would probably have been
convicted of being a witch and punished
accordingly. Nowadays people are not
quite so scared (or impressed) by
conjuring, they are happy to regard our
miracles as mere tricks. This is not the case
for magic that is presented as mentalism.
Mentalism is the term that magicians
use for tricks that involve mind reading or
effects that involve Extra Sensory
Perception (E.S.P.) Most of us would like
to believe that our minds are more
powerful than we think and all that we
need to do is unlock the power that lies
within. This may or may not be true, I
have no way of proving or disproving the
existance of E.S.P. But I can duplicate the
effects of mind readers by using simple
trickery.
In this chapter you will learn some
easy-to-do effects that will impress your
audience at the same time crediting you
with superior mental powers. If you wish
people to think of you as a mind reader,
then do not let them see you doing other
tricks as they will quickly make the link
between the two, and in no time your
mind reading will be just another trick.

50
The Magic
8 11 B 1
Square
A 2 7 12
Wouldn’t it be great if alongside your magical ability you had
increased your mind power as well ? Performing this feat will have
people thinking you are a mathematical genius as well as a master
3 D 9 6
magician. What you do is ask a member of the audience to call
out a number betweeen 25 and 75. Then, using your incredible 10 5 4 C
mathematical skills (joke — you don’t need any!) you immediately
and without hesitation write out a four by four magic square for
that number. To make the magic square work you have to replace the letters in
A magic square is a grid of numbers that adds up to the same the key square above with numbers that you must calculate in the
amount along all the rows and columns. Here is an example of the following way.
magic square you would write if the number selected was 34.
A. This is the base number and is calculated by subtracting 21
from the chosen number. In the example given earlier the chosen

8 11 14 1 number was 34. To find the base number we must subtract 21

from 34 to get a base of 13 which replaces the letter A. The rest of
the numbers are a lot easier to calculate.
13 2 7 12
B. This number is the base number plus 1. So in our example
where the base number is 13 the letter B is replaced by 13 + 1
3 16 9 6 which is 14.

10 5 4 15 C. This letter is replaced by the base number plus 2 (13 + 2)

which is 15.

This is a perfect magic square, get out your calculator and check if D. This letter is replaced by the base number plus 3(13 + 3)
you want to. Every row and every column add up to 34 as do the which is 16.
diagonals. But it doesn’t stop there. You can also reach the chosen
number by any of the following ways. PERFORMANCE
The best way to perform this effect is to memorize the key square
1. Adding up the four corners and practice the calculations of the base number. With a little
2. Divide the square into four quarters and then add up the four work you will be able to ask for a number between 25 and 75 then
numbers in each corner (eg. 8,11,13,2, or 9,6,4,15) call out the sixteen numbers of the square. The person who chose
3. The pan-diagonals also add up to 34 (13,11,6,4 and 14,12,3,5) the number can write them down as you call them out and then
4. The top centre pairs and bottom centre pairs (11,14,5,4) check the square to see if you are correct. I don’t do it this way -
5. The side centre pairs (13,3,12,6) but it is the best way.
Within the four by four square are four three by three squares and Magicians achieve their tricks by cheating and I add a little
the corners of these add up to 34 as well (e.g. 8,14,3,9) extra cheating which means that I do not even need to remember
6. Any square of four numbers add up to 34. the key square. To perform the trick my way you will need to
draw or print a magic square grid on a postcard (I have the design
This is just one example of a perfect magic square. You will be able shown printed on the back of a business card).
to produce a similar magic square for any number between 25 and Fill in by hand all the numbers of the key square leaving the
75 and you will not have to memorize more than a simple system! letter squares blank and keep the same pen that you used near to
In the presentation that I have given below you do not even the card. To perform the trick all you need to do now is ask
need to remember the key square that is the secret behind this someone to name a number between 25 and 75 then write the
mathemagical feat. chosen number in the box. A quick calculation as described above
will give you the key number that is written in the blank space in
HOW IT WORKS the first column. The other blanks are quickly calculated and
Creating a magic square for any number relies on a system and filled in and then I pretend to fill in all the other numbers. Make
some simple maths. The first part of the system is known as the sure you use the same pen and that the numbers are all written in
key square. By using the key square as a foundation you will be the same style. After the square is completed I give it out to be
able to build a magic square for any number. By memorizing the checked. By performing this you will quickly get a reputation for
key square you will be able to do the whole thing from memory. being a mathematical genius.

51
 by the friend who is helping with the similar to the final solution it is important

Lightning trick. The numbers that you write down

are the ones needed to add to the existing
that it is lost amongst the others. The final
list may look something like this:
numbers to make 99999. This is best
Addition shown by an example. Spectator’s 1st number
If the first number written by your 74635
This is a nifty piece of trickery that will helper is 74635 then the number you Spectator’s 2nd number
help you demonstrate your highly tuned need to write to go with this number is 96439
mind to anyone you choose. It takes 25364. Spectator’s last number
almost no practice and no preparation and 48578
can be performed at any time. All you 74635 Your 1st number
need is a piece of paper and a pen. + 25364 25364
Ask a friend to write down two five 99999 Your 2nd number
digit numbers underneath each other. To 3560
this you add two five digit numbers of This may sound difficult but it is not as all
your own. Your friend then adds another you need to do is look at each individual To work out the total ignore all the
number to the list. This gives you a list of digit and write under it the number numbers apart from the spectator’s last
five five digit numbers. Ask your friend needed to make 9. Under a 7 you write a number. Your answer must be a six digit
how long it would take to add them up. 2, under a 4 you write a 5, under a 9 you number. The first digit will be a 2 followed
Whatever he says you will be able to add write 0. This procedure is carried out for by the first four digits of the spectator’s last
them up in less time than it takes him to the two numbers written by the helper five digit number. The last digit is the last
answer. giving you a list of four five digit numbers. digit of the last number minus 2. In the
The final number should be written in example given above the correct answer is
METHOD a space that you leave between the two sets 248576. Check it out for yourself and
The two numbers that you write down are of numbers. This number will give you then get someone to test your lightning
directly related to the two numbers written the key to the answer and as it will be mathematical ability.

to the end of the number 82 x 10 = 820)

More Lightning then add the number to your result (820 +
82 = 902). In the example above the sum

Addition of the numbers is 902.

PRESENTATION TIP
A spectator is given a pad and asked to All these numbers are wrirten down while You could present this number juggling
write down any two digits, one above the your back is turned. When the list of ten feat as a test of your memory. Idave the
other. Then he is to add those two digits numbers is complete you turn round and numbers written down as described above
together and place the answer underneath draw a line under the column and ask the and then get someone to show you the list
the first two digits. Then he is to add the spectator to add up the numbers. As soon of numbers for 2 seconds (this should give
second and third numbers to arrive at a as he starts adding up you call out the you ample time to locate and memorize
fourth number. This process is repeated correct answer, and you only saw the list the fourth number from the bottom).
until he has a vertical row of ten numbers. for a split second as you drew the line. After being shown the list you can quickly
The result is called a Fibonacci sequence After witnessing this trick you will find calculate the sum of the numbers using the
and if the two digits that you start with that spectators claim that you didn’t even method described above. You can then
were 2 and 9 the sequence would look like look at the numbers. announce that you have memorized the
this : numbers and by using your brain as a
METHOD calculator you know that the total is nine
2 To calculate the answer all you need to do hundred and two. The audience will
9 is look at the number that lies fourth from probably not believe you so you may need
11 the bottom and remember it — in our to have a calculator handy for them to
20 example that is the number 82. To work check your answer!
31 out the total of the column of numbers all
51 you have to do is multiply this number by
82 11. Don’t be put off thinking that you
133 need to practise your 11 times table as
215 there is an easy way to do this. First,
348 multiply the number by 10 (i.e. add a zero

52
 The Memory Test
The effect that you can perform with this system is quite
incredible: try it for yourself and even you will be amazed. We are
going to give you the ability to memorize rwenty random objects
named by members of the audience, but not only that, you will
also be able to recall that list in numerical order, in reverse order
or name any item at any position in the list. This is a very
impressive feat of mental agility and is not just a trick - it has
many other uses in daily life. You can memorize a shopping list,
key words for a speech or important facts for an exam.
To understand how memory tests work you will have to do
some further reading, as that is beyond the scope of this book. We
will, however, show you an application of a simple system that is
perfectly suited to entertainment purposes. The first stage is to
prove that the system works, and to do that you must take part in
a simple test.
Below is a list of ten items. Look at the list for twenty seconds,
and then close the book and try to list the items on a piece of
paper.

1. telephone 5. suitcase 9. hat

2. book 6. scissors 10. radio
3. typewriter 7. pencil
4. cards 8. curtains

Well, how did you do? If you got seven or more you are doing
quite well, but could you get them in the right order? Read the
rest of this chapter and try the test at the end and you should
achieve a score of ten out of ten — use an extended system, and you Here are some examples using the list we gave you earlier. The
could remember hundreds of items. first key word is ‘bun’ and the first item is a telephone; these items
must be linked together following the rules given above. Try to
THE PEG SYSTEM imagine a telephone made to look like a sticky bun (substitution).
The first job is to make sure that you actually organize your mind You are trying to put down the hand piece but it has stuck to your
to take in the list. To do this, we are going to set up a list of hand (movement). Exaggerate the picture with your movements
twenty pegs which all have a number and a keyword name; these and build an absurd image in your mind. The word bun and
will all be easily remembered and become the hooks on which you telephone are now firmly linked.
will hang the items to remember. Next, we have to link shoe (keyword) with book (object).
Imagine that you are trying to put on your shoe, but you cannot
The first ten items are easily remembered as they all rhyme with get your foot into it because there is a book inside the shoe
their numbers. already! Or think ol yourself lacing up a pair of books on your
feet. Now, to link ‘tree’ and ‘typewriter’, imagine yourself as
1. bun 5. hive 9. time Newton standing under a tree just about to discover the law of
2. shoe 6. bricks 10. hen gravity! Suddenly, a typewriter falls on your head. The more
3. tree 7. heaven absurd the picture is the easier it is to recall. Co through the
4. door 8. gate whole list, making up your own associations.
It is now time to try to recall the list of items one at a time.
Because of the rhyme you will find that these items can be This is done in the following manner. Start with the number (e.g.
memorized easily. This list will never change; the numbers and number 1); this will lead your mind to the keyword (bun), which
their names will be permanent. The next job is to learn to attach will remind you of the absurd picture of you on the telephone (or
an object to a keyword. This is done by making a picture in your buniphone!). Try it for the rest of the list, and then try recreating
mind following the four rules below. the list forwards and backwards - easy, isn’t it? If you want to
surprise yourself put the book down for half an hour and try
1. Be absurd listing the words later - the pictures will remain with you far
2. Exaggerate the picture longer than they would if you had remembered a random list

3. Substitute your items parrot-fashion. You will even be able to recall the list exactly in a
4. Include movement where po.ssible few days’ time.

53
EXTENDING THE SYSTEM picture on fire, flames burning everything want to know more about this and other
You can now extend the system to cover a black, totally destroying the picture.) ‘You techniques for remembering numbers,
list of twenty wotds by using another ten missed out some of the items.’ (Run names, dates, etc., try a visit to your public
keywords for numbers eleven to twenty. through the list in yout head and call out library, where you will find books on
Below is a list of keywords attached to the number and the object word for every memory techniques for many different
numbers based on shapes; the number picture that is not ‘butned’). situations and full explanations of how and
looks like the keyword. To finish the routine, you can call the why the systems work.
list out backwards by running through
1. pencil your keywords in reverse order. If you
2. swan
3. camel
4. sail boat
5. hook
6. golf club
7. boomerang
8. hourglass
9. tadpole
10. bat and ball

These keywords can be used to cover your

second ten items. You now have a total of
twenty keywords to use, so try the
following experiment with your friends. It
is ideal when they are pestering you for a
trick or two as the performance can last for
about ten minutes or more.

PRESENTATION FOR
MEMORY MAGIC
You will need a pencil and paper so that
your mental acrobatics can be checked by
someone with a less agile mind! Proceed
with the following patter:

‘We are going to try an experiment to

show how I have trained my mind to work
for me. To double-check this, I need
someone to write down a list of twenty
items that you will all call out in a random
order,’ (give paper and pencil to someone).
‘I want you all to memorize as many of the
items as you can so that you can compare
your performance with mine. When I say
“Go” I want you to call out a random
object and, when the item has been listed,
a second and third until we have a list of
twenty words on the paper,’ (Say “Go”,
and start matching the objects to the
keywords and making up absurd pictures).
‘How many items do you think that
you can recall? It is a little unfair, as you
have only heard the list once; would you
like to hear it again? Don’t bother reading
it. I’ll do it.’ (Go through your list of
keywords and recall the complete list).
‘Now who thinks they can do better?’
(Get a volunteer to attempt to recall the
list — as each item is called out image your

54
 /.eft; Inserting the

The dividerto make two

pockets in the
envelope. When the

Change envelope is glued

togetherthe divider
should not be visible.

Envelope
The easiest way to read someone’s mind is
to tell them what to think of, and then
pretend to mind read. This would not be
Below: A change
very impressive so we need to dress up the
envelope-the inside
scenario a little. To do this you will need to
view. When used the,
gimmick an envelope. The change divider will fall flat
envelope looks like an ordinary envelope against the side and be
but with it you can force a person to undetected.

choose a particular word, card or number,

and they will think that they had a free
choice of many items when they only had
a choice of one. Using this method many from the outside of the envelope. The
tricks are possible. In construction it is divider will rest flat against either side of
similar to a change bag (see page 37), but the envelope depending on which pocket
to use what is obviously a magician’s prop is opened.
is not a good idea if you are a mind reader.
Use things that look ordinary and people PEREORMANCE
will assume that they are ordinary. To use a change envelope to force a
number you will need about thirty small
HOW TO MAKE A CHANGE slips of paper. On fifteen of them write
ENVELOPE different numbers and place them in the names are written on slips of paper and
Take a large envelope, preferably made back pocket of the change envelope. On dropped into an envelope. Someone
from good quality paper, and gently steam the remaining fifteen slips write the same chooses a slip of paper from the envelope
all the flaps open. Be very careful when number, the one that you want to force and you are able to read their mind to
doing this as the steam will burn your and place them in the front pocket of the ascertain what is on the slip. This is no
hands if you get too close. When this is envelope. You are now ready to perform mean feat in itself but you then tell of a
done, open out the envelope and put it the force. vivid dream you had last night. In that
aside to dry thoroughly. It is important that your spectators dream you were in a foreign country and
think that the choice is free, so at the start you marked the place on an atlas. Pick up
WARNING : STEAMING OPEN THE you can pick out a number of slips from your atlas and show that the pages are
GLUED PART OP THE ENVELOPE IS the back pocket and have someone read unmarked. Then turn to the city that has
DANGEROUS AND SHOULD NOT them out. Replace all these slips in the been chosen and there is a large ‘X’ over
BE ATTEMPTED BY CHILDREN back pocket and then give the envelope a the chosen city.
good shake to mix them all around. Open To prepare for this trick, have fifteen
Cut the back from a matching envelope to the envelope and insert a couple of fingers blank papers ready for the audience’s
provide a piece of paper the same size as in the front pocket. This will ensure that suggestions and fifteen prepared papers
the envelope with no flaps attached. This the dividing flap is pushed back and closes that all say ‘PARIS’ loaded into the front
will become the divider between the two the back pocket. A spectator can now dip of the change envelope. You will also need
pockets of the finished article. into the front pocket and select a single to mark an atlas with an ‘X’ over the
Glue the divider into the opened out slip of paper which will bear the number French capital. When the audience has
envelope with a good quality paper glue or that you wish to force. called out a number of cities and you have
contact adhesive. Put the glue along a 2cm Here are a couple of routines that use written them down, drop them in the back
strip at the bottom of the envelope. There the change envelope, but with a bit of of the envelope. If no-one says Paris then
is no need to stick the sides of the divider thought I am sure you will think of some you will need to pretend that you have
to the envelope. of your own. heard it or just say it yotirself, but don’t
Now glue the envelope back together worry, this has never happened to me yet!
so that it looks identical to a normal THE TRAVELLER’S DREAM All that you have to do now is have a slip of
envelope. The divider may need to be Members of the audience call out names of paper selected from the front pocket and
trimmed slightly so that it cannot be seen places that they would like to visit. The think of the city.

55
Spirit
Writing
This is a spooky trick which is great fun at
a late night party, especially if people have
been telling ghost stories. In this trick you
are going to make a spooky message appear
on a blank piece of paper. The paper and a
pencil are placed into an envelope which is
passed around the room. Everyone takes a
turn at holding it and concentrating and
then shaking the envelope. When the
envelope is opened there is a scrarchy
message for one of the people in the room.
By now the method will be clear. You
are using a change envelope to switch a
blank piece of paper for one with a
message on it. When you write the
message, make sure it is very scratchy and
has extra lines and dots over the page. To
get maximum impact the message should
be only just readable but remember not to
frighten anyone too much — after all it’s
only for fun.

Turn your head and offeryourvolunteer a free

choice. Note that a couple of fingers are in the
envelope to hold the dividerflat against the back
of the envelope. There is now no chance of
choosing from the wrong pocket.

that you can tell them apart. Ehere are

Simple Psychometry many different ways to mark the envelopes
but the simplest is as follows. Place a pencil
Do not try looking up the word you have developed the skill of dot in the top left corner of the first
psychometry in the dictionary to find out psychometry (and telling them all about it) envelope, the top right corner is marked
what it means — it will not be there! It is a you ask for five volunteers ro help you in for the second envelope. The third and
word that has been made up by magicians an experiment. Each volunteer is given an fourth are marked in the bottom left and
to explain a pseudo-psychic phenomenon. envelope and asked to place a personal right corners respecrively. The fifth
According to magicians, psychometry is item in it and to seal it down. Items like envelope remains unmarked. Even if
the art of sensing information from an rings, watches, keys, anything that has someone does notice the dot it is unlikely
inanimate object. As a bloodhound uses been kept close to them for a period of that they will realize what it is for.
smell to locate the owner of an article of time. The envelopes are collected and
clothing, a psychometrist can ascertain mixed up so that no-one can tell which PRESENTATION
information about a person by holding an envelope belongs to them. One at a time After your introductory spiel about
object that belongs to that person. This is you hold the envelopes to your forehead psychometry, ask for five volunteers to join
all a lot of gobbledygook but, luckily for and describe the owner from the you on the stage for a demonstration. Line
us, most people seem to think it is true. Vibrations’ that your sensitive mind picks them up across the stage and mentally
If you can act a little and play the part up from the objects, and then hand the number them from one to five. Explain
of a mind-reader convincingly then this correct object back to the correct person. that you want them to drop a personal
trick is a lot of fun. Don’t be put off by the item into an envelope and seal the
method as it is the simplicity of the trick PREPARATION envelope down. Hand out the envelopes so
that deceives, not clever and devious The preparation for this trick takes about person number one gets the envelope
magic. ten seconds. All you need are five marked in the top left corner and so on.
After explaining to the audience that envelopes-but they need to be marked so The envelopes are now collected and

56
mixed around so no-one knows who owns and thin and has short dark hair.’ (Tear swimming, but boating. Anything you can
which envelope. It would be possible to open the envelope and take out the item). pick up on should be dropped casually
look at the envelopes, locate the secret ‘The item is a key, and I think it belongs to into the descriptions.
marks and hand them straight back to the you, sir.’ (Hand the item to the man you When you get to the last two envelopes
rightful owner but this would not be very have just described and when he verifies you need to take a slightly different
entertaining. You must now start acting to that it is his, ask the audience to give him a approach. Have the two people standing
convince the audience that you are picking round of applause as he sits down). either side of you and hold an envelope in
up vibrations. Take the first envelope and ‘This object belongs to someone who each hand. As you describe the people
locate the secret mark so that you know likes reading and is a fun-loving person, either side of you, be indecisive about
who put the item in the envelope. Then someone who enjoys life to the full. I get which envelope belongs to which person.
start to describe the person, initially be the impression that reading small print is a Then, when you have finally felt enough
very vague and then after a few bit difficult.’ (Say this if the owner wears of the vibrations, give the right envelope to
introductory remarks be a little more glasses). ‘I see someone with fair hair, the right person and ask them to check the
precise about the owner. After you have another man I think, no, it’s not a man it is contents and tell the audience whether or
‘divined’ as much as you can from the a woman, (tear open the envelope) so this not you are correct.
vibrations, open the envelope and ask the watch must be yours.’ (Hand the watch to Properly performed, this trick is a show
owner of the item to step forward and its owner). stopper and has been performed in slightly
claim it. You can use anything you know about different ways by mind readers all over the
Here are some examples of what you the owners in your ‘vague’ descriptions. If world. The key to making this trick great is
might say as you hold the envelope to your they like fast cars you can say that they not the method but the acting out of the
forehead. enjoy the feeling of speed, if they are scene. The audience must believe that it is
‘This item belongs to a person who, I wearing a badge that gives away a club they not a trick but a genuine feat of
think is a man, yes, it definitely belongs to belong to, for example a rowing club p.sychometry.
a man. Someone who enjoys watching sweatshirt, you might say that they like
sports’ (a safe bet, most men enjoy sport but that it is an unusual one,
watching sport!)‘The person is quite tall something to do with water, not

57
 headline and the start of the story at the

Clipped Prediction bottom. Carefully glue it back onto the

headline. Cut off the bottom line (the first
You hold a column from the local line of the clipping. You are able to read line of the story) so that the story starts
newspaper and tell the audience that it is a their mind and tell them exactly what they mid-sentence. Remember that sentence as
story about football, or whatever, and that are thinking. it is the one that will be thought about by
you ate going to use it in a mind reading your volunteer.
experiment. Explain that you are going to PREPARATION The trick works because the audience
move a pair of scissors up and down the Choose a suitable story from the paper and member picks up the part of the story that
column until someone shouts stop. Even cut it out. The headline should be bold has fluttered to the ground after it was cut.
when this is done you will then move the and the story should be fairly long (at least Everyone thinks that it is in the middle of
scissors again if the audience requests it. 15cm) and contain no words in bold type the story but, thanks to your preparation,
When everyone is happy, you cut through or lists, just a straight story. Separate the when they look at the top line of the paper
the column of print and a piece flutters to story from the headline and turn it round they will be reading what was the bottom
the floor. A member of the audience picks so that the story is upside-down. The end line of your upside-down column.
up the piece and concentrates on the first of the story will now be just below the
PRESENTATION TIPS
When working on a trick like this it is best
to use a clipboard and a black marker pen
to write down your thoughts as they come
to you. Mind reading is not a science and
does not always work exactly, so when
reading a mind, make a few mistakes. Ask
your volunteer to concentrate on the top
line of the paper and as they do, write your
thoughts on the clipboard. Take some time
and pretend that you arc having problems.
Get them to concentrate harder. This is a
great ruse as the audience will be more
impressed when you eventually do get it
right. WTien you are happy with your
prediction ask the volunteer to read aloud
the first line of the story. You can then turn
round your clipboard and show that you
are correct.

/4toi/e. The story is cut /?/g/7f. From a distance

from the headline, it is impossibleto
turned upside down, noticethefactthatthe
andthen glued back column of printis
into position. upside-down. The
column can be cut
anywhere and you will
still be able to divine
the words on the first
line.

58
 MONEYMAGIC
W hen people discover that you can do
magic you will get a lot of funny
Money is an important part of our
society, it is the oil that keeps the
imagine being able to m.ake coins
disappear in front of the cashier’s eyes at
requests. A father will ask you to make his machinery functioning. Without money the checkout till, or making a wad of paper
children disappear, a wife may want you to you would not have bought this book! money appear at your fingertips. With a
make her husband go away. Some people Money has been around since the earliest lot of practice and a bit of luck you might
might even suggest that you make yourself civilizations found it better than bartering, one day be a professional magician and
vanish. But the most popular request that I and it is certainly easier to give change find yourself really making money by
get is to conjure up some money. If I could than it is to work out the exchange rates magic!
do that I would be living in the West between goats and chickens.
Indies and driving a P.olls Royce ! Money can be fun for magicians.

59
 Flight: As the right hand

The French covers the coin the left

thumb is raised to let
the coin drop back.

Drop
The French Drop is a move that will take a
little practice to master but will enable you
to make any small object disappear. Most
of us have seen someone do this trick, it is
probably the first trick you ever saw.

The coin starts in the left hand on the left side of

Did you ever see someone take a coin
the body-the eyes are on the coin.
and put it into his other hand, from there
to vanish only to re-appear behind your
ear. Well, to do that you must master the
French Drop.

WHAT THE AUDIENCE SEE

From the point of view of a spectator a
coin is taken in your left hand, placed into
your right hand and from there it simply
disappears. Notice in the picture sequence
on the left that the coin starts at the left
Above: The coin is caught in the finger palm
side of the body, moves to the centte where
position so the lefthand canthen hold the coin
it is placed in the other hand, and is then without anyone noticing
The hands cometogether and the coin is 'taken' by
taken off to the right side of the body in
the right hand - keep watching the coin.
the right hand. Practise this simple
exchange of the coin from one hand to the the front. As soon as the coin is hidden
other a few times. Make sure that your eyes from view, the left thumb is raised a
follow the position of the coin, this is fraction and the coin falls back into the
actually a piece of misdirection as when fingers of the left hand where it remains.
you learn the next part of the move the (See Finger Palm page 67). The right hand
coin will be retained in your left hand. If mimes the action of taking the coin away.
your eyes follow the coin then so will the The left hand, still holding the coin loosely
eyes of the audience, they will not suspect in the fingers, is casually dropped to your
you of cheating. side.

THE SECRET MOVE PERFORMANCE TIP

The French Drop is the secret move by There should be a time delay between the
which you retain the coin in your left hand secret move and showing the coin has
in the above sequence. It takes place at the vanished or people might become
moment the coin is transferred from one suspicious and accuse you of cheating.
hand to the other (see picture centre left). Never rush to open your right hand, wait
From the very beginning, the coin is held until the left hand (with the coin) has
in the left hand between fingers and relaxed to your side. If you keep your eye
thumb. As the hands come together, the on the place where the coin is meant to be
The eyesfollowthe coin as it is raised in the right
thumb of the tight hand goes behind the and really believe in your mind that it is
hand.
coin and the fingers cover the coin from there, the audience will also believe it.

60
 allowed to casually drop to your side. The

The Coin paper package can now be torn up to show

that the coin has vanished.

Fold PERFORMANCE TIP

When you steal the coin out of the
The magician borrows a coin from a package remember to keep yout eyes and
member of the audience and slowly wraps your mind on where the coin should be,
it up in a piece of paper. The paper is not where it really is.
visible at all times and the coin is clearly
seen to be inside the folded paper. You can
even see the outline of the coin if you look
/Atoire;The first fold.
carefully at the little package. The
spectators will be certain that they know
where the coin is - but the magician
quickly tears the paper package into tiny
pieces and the coin has vanished.

PREPARATION
You will need a coin and a piece of paper
about 10cm (4in) square. The diagram
shows the positions of the folds that you
are about to make. It may be helpful to
pre-fold a piece of paper, as shown, to
learn the trick. In performance there is no
need to do this. Rightlhe second fold.

PERFORMANCE
The coin, which should be borrowed, is
2nd 3rd
held against the paper slightly above the
FOLD FOLD
central position. Coin and paper should
start off in the left hand with your left
4th
thumb holding the coin in position. Using FOLD
the right hand, make the first fold as shown.
Complete the fold and take the paper in 1st
your left hand ready for the next fold. FOLD
Next, you must fold the right side of
the paper under the package and to do this
use the fingers of your right hand. At the
end of the fold take the package in your
right hand.
This fold is almost identical to the
second fold. You must now fold the left
side of the paper under the package using
/4toi/e.'The third fold.
the fingers of your left hand. The package
is retained in the right hand in preparation
for the last fold.
For the final fold turn the paper round
and use the left hand to tuck the top of the
package back and under. This will leave a
secret opening that the coin can slip
through. As soon as the opening is
pointing downwatds, gravity slides the
coin out and into your waiting fingers
which should be cupped and ready to steal
the coin away. The package (now empty) is
taken in the right hand and shown to the
audience. The left hand (with the coin) is %/7f;The final fold.

61
 THE RIGHT HAND
The Miser's The gimmicked coin is used in your right
hand by looping the invisible thread over
your thumb and holding the coin between
Dream your first finger and thumb. The back of
your hand is towards the audience and the
The Miser’s Dream enables the performer fingers are pointing slightly upwards. You
to reach into mid-air and pluck a coin are now going to drop the coin into the
from nowhere, to reach behind a knee and bucket, and as you do this the angle of
find another one, to help himself to coins your hand changes so the fingers are point¬
that are behind people’s ears, under their ing slightly downwards. The moves you
lapels, in fact, everywhete you look you make must resemble gently throwing the
Above:Jhe coins in the left hand are spread along
can find a coin. If I were a real magician coin into the bucket. Because of the thread
the fingers in preparation fortaking hold of the
this is a trick that I would like most to do. bucket.
looped over the thumb, the coin will hang
Unfortunately real magicians do not exist, in a position where it is hidden from the
so I have to keep pretending I can do it, audience by the back of your hand.
and here is how you can pretend to do it To produce the coin, use the thumb to
too. push it back up into the starting position.
With this gimmick you can produce coins
PREPARATION from mid-air or from under your arm,
To perform this trick you will need about from the bottom of the bucket, or where-
ten coins all of the same size. Large silver ever you like.
coins are best as they are more visible than
copper coins. One of the coins is gimmicked
by glueing a loop of invisible thread or
thin fishing line to one side. This is the
coin that will keep appearing at your
fingertips. You will also need a bucket to
drop the coins in, a metal champagne
bucket is ideal as it looks nice and showy
and the coins make a chinking sound
when they land in it.
Above.lhe correct position of the hand and the
There are two parts to this ttick and
bucket. You must be able to drop the coins singly
you should practise each part separately and atthe right moment.
before trying to do them together.

Left:lhe Gimmicked
third fingers are used to stop the other
Coin-use invisible
thread forthe loop. coins from moving about. Your audience
/4toi/e; Starting position, displaying the coin at your
String has only been should never be aware of the fact that a
fingertips and showing it to the audience.
used in the pictures to number of coins are held in this mannet,
make the handling so movement of these fingers should be
easyto see.
kept to a minimum. You must ptactise this
move until you can drop the coins, one at a
time, into the bottom of the bucket. This
move will be performed at the same time
THE LEFT HAND as you are pretending to drop a coin into
Take the stack of unprepared coins and the bucket with your right hand. The
hold them in your left hand, spread along noise of the coin hitting the bottom of the
the length of your fingers. Place the hand bucket must be timed to match the
and the coins against the inside of the dropping action of the right hand. Practise
champagne bucket so that the left thumb this by ptetending to throw a coin into the
is free to grip the outside of the bucket. air with your right hand, follow the
You should be able to hold the bucket imaginary coin with your eyes and pretend
securely without using the fingers of your to catch it in the bucket. As the invisible
left hand. coin lands in the bucket, drop a coin from
Using your second finger slide the first your left fingers, the clink of the coin as it
Above: After 'dropping the coin into the bucket' it
coin free of your fingers and let it drop to lands in the bottom of the bucket makes
hangs conveniently in your palm.
the bottom of the bucket. The first and the illusion complete.

62
 As a finale to The
Miser's Dream you
can produce a
stream of coins from
the elbow of a
member of the
audience. Placethe
bucket in your right
hand (fingers inside
the bucket) and
shake itup and
down to let the
audience hear how
much money you
have found. This
action will cause the
coinsto rise and fall
and you will find it
possible to catch
some coins under
your right fingers. At
the same time, and
using yourlefthand,
bend the arm of a
member of the
audiencetothe
position shown
above.Transferthe
bucketbacktothe
lefthand keepingthe
coins inthe curled
fingers of the right.
Your right hand goes
straight to the
helper's elbow,
gives it a shake and
releasesthe coins,
catching them in the
bucket.

PUTTING IT ALL bucket sounds as though it has come from Pause to let the audience see the coin, look
TOGETHER a coin that you just threw in. When you at it and with an air of someone who is
The illusion of the Misers Dream is have mastered the timing of the two pleased with themselves, smile and drop
created by combining the two moves moves, you are ready to start performing the coin into the bucket. This can be
described already so that the audience see the trick. repeated ad lib and get faster and faster
you produce a coin and hear it as it is In performance, you can move around until you have exhausted the supply of
dropped into the bucket. The timing of the room grabbing coins from everywhere coins in your left hand. Between
the left hand is therefore critical. After the and dropping them in the champagne productions, you can shake the bucket a
coin has been produced you bring your bucket. When producing coins from mid¬ little to let the audience hear the coins.
right hand to a position above the bucket air, it is important that you do a bit of They will notice that the bucket is filling
and gently throw the coin into the bucket. mime. The first thing to do is pretend to up by the difference in the sound. When
The right hand must be close to the bucket see the coin floating in mid-air. Without you have run out of coins you can shake
as you make the throwing action or the taking your eyes off the spot where you the bucket and catch a few under your left
audience may notice that the coin has been imagine the coin to be, reach up with your fingers and continue your productions. At
retained in your hand. By experimenting, right hand (the hand that contains the the end of the trick the gimmicked coin
you will soon learn the correct time to gimmicked coin) and quickly push the can be really thrown up into the air and
drop the coin so that the noise from the coin to yout finger tips with your rhumb. caught in the bucket.

6.3
 seen or slip from its hiding place and end pulling up the left sleeve. Practise this

Money up all over the floor — not such a good

trick! Keep the arm bent at 90° at all times.
without the notes in position to get a
natural feel to the move.
This is made easy by holding a drink in When you pull up the left sleeve the
FROM your left hand. Now forget about the notes will naturally fall into your hand.
money and try to avoid spilling the drink You should not need to grab the notes as

Nowhere and everything will be safe. they will be right where you put your
hand. Do not look to your elbow when
PERFORMANCE pulling up your sleeve. The audience will
The Miser’s Dream is a trick where you To produce the money you need to look wherever you look, so do not draw
produce coins but, with the rate of practise the following moves so they look their attention to the place where the
inflation on the rise, it would be better to natural. You must avoid making a big deal secret move is happening.
produce paper money. So here is a trick of the fact that you are showing your WTien you have picked up the notes,
where you do just that. After showing both hands empty even though that is what you bring your hands together and unroll the
of your hands empty you can produce a are doing. Keep in your mind the fact that money. When you try this action you will
wad of bills big enough to make anyone’s you are pulling up your sleeves and the find that the left arm will naturally cover
eyes pop out. This is a lot of fun if you are moves will be a lot more natural. the right hand (which now contains the
in a restaurant or a bar and it is your turn The action of pulling up your right money) giving extra cover to the
to buy the drinks. The only bad news sleeve allows you to naturally show that the subterfuge. Pulling up your sleeves is a
about this feat of legerdemain is that it is right hand is empty. Grasp the sleeve near natural action. No-one will suspect that
only a trick. After mastering it you will not to the inner elbow with your left hand (at that was how you got the roll of notes. Try
really be producing money from nowhere, roughly the same position as the notes are not to rush the last action as any change in
you will be pulling it from the place where concealed in the left sleeve). The action of tempo wall arouse suspicion. The whole
it was hidden moments before you do the pulling up the right sleeve should be sequence should be performed at a steady
trick. If you can’t find eight treasury bills identical to the next action which is and even pace.
to practise with there is no need to worry.
Cut some bill shaped pieces of newspaper
and you will be ready to learn ‘Money
from Nowhere’.

PREPARATION
You will need about eight treasury bills of
any denomination for this trick. The notes
do not need to be all of the same value but
should be similar in size or they are more
difficult to handle. Roll the bills into a
tight tube and place it on the inside of the
crook of your left elbow (see below). The
sleeve material of your shirt or jacket can
now be pulled back a little to cover the roll
Above: PuW up the right
of money. When you have loaded the
sleeve and show the
money for this trick, you must remember right hand empty.
that movement of your left arm is limited.
Above:Pu\\ up the left
If you drop your arm, the money may be
sleeve and steal the
'load'. Do notlookat
yourrighthand while
stealingthe load.

Left: As you lift the

/.eft.’The notes are notes from the fold in
hidden in the sleeve your jacket, the thumb
nearthe crook of the goes underthe notes
elbow, hide them by and the fingers cover
pulling backthe sleeve them from the
and bendingthe arm. audience's view.

64
 Roll the note into a tube

The and it will fit neatly

inside the holes
through the sweets

Treasury
Note
Routine
For as long as money has existed,
magicians have been borrowing it, loosing
it, finding it, burning and restoring it.
Anything that can be done has been done.
But when it is your money that has been
lost or destroyed you will be very keen for back into position. At the start of the trick, place into your left hand on top of the
the trick to work. If it is a friends money the Polos and the corner of the note duplicate corner. The duplicate corner
then you can relax and watch him worry should be in your left pocket. You will also remains hidden from the audience while
about the final outcome of the trick. need a salt pot, and a Devil’s Hanky to you tear the matching corner from the
Borrowing a high denomination bank make the borrowed note disappear, borrowed note. As you are doing this, tell
note adds a certain excitement to the trick, instructions on how to make and use one the audience that the corner is a type of
so always go for the biggest value note that are on page 39. insurance and ask the spectator to look
you can manage. after it. As you say this you are going to
In this version of the trick, a note is PERFORMANCE switch the corners so that the volunter gets
borrowed and a corner is torn off and the corner from the note in the Polos.
given to your volunteer to keep. The note 1. BORROWING A NOTE
will now be easily identified at the end. The first stage of the trick is to borrow a 2. THE SWITCH
The note is wrapped in a hanky and held treasury note that matches the one you After tearing the corner off the borrowed
firmly by its owner, magic salt is shaken have secretly loaded into the Polos. While note you will have the corner in your right
over the note and the next moment it has your volunteer is hunting through his
vanished. The magician proudly money put your hands in your pockets and
announces that everything is under get out the Polos and the corner of the
control and asks the volunteer to open the note. Put the Polos on a table and retain
salt pot and look inside. What do you the corner in the loosely curled fingers of
think he finds? Salt. This will cause much the left hand (see Finger Palm page 67). By
amusement to the spectators as your now your volunteer should have his note
worried victim thinks that he is not going which you take with your right hand and
to get his note back. To make up for the
unfortunate mishap, you offer your victim
a Polo Mint (or Lifesaver), but before he
takes the packet you snap it in half Inside
the sweets is a roll of paper which you
/Iboi/e; After the switch,
unroll. It is a note with the corner missing.
the borrowed corner is
Ask to see the corner that was given to the hidden by raising your
volunteer at the start of the trick and you hand and holding the
will see that they match exactly. back of the note
towards the audience.

PREPARATION
You must prepare for this trick by tearing a
corner off a note and putting it aside for left;The duplicate
corner is shown in the
later. Carefully open the end of a packet of
left hand in readiness
Polo Mints or Lifesavers so that the holes
forthe switch. During
through the sweets are exposed. Roll the bulk performance, the
of the note into a tight tube and slide it corner would be
into the centre of the packet of sweets. Re- completely hidden by

-seal the packet by folding the silver paper the note.

65
 4. THE FINALE
The note has vanished and you can
proudly state that it has flown around the
room and come to rest inside the salt pot.
Give the pot to the volunteer and ask him
to look inside and tell you what he finds.
When he tells you that the salt pot
contains nothing but salt you must look
surprised and worried at the same time.
The audience will enjoy the fact that the
trick has gone wrong and your victim may
be a little worried as well. Offer to make
amends by giving him a packet of Polos.
The Polos are worth a lot less than the note
so he will probably not be too pleased. Try
to convince him by telling him that the
Polos are worth more than the note was,
and when he has made it clear that he
doesn’t believe you, give him the Polos and
ask him to snap them in half He will be
very surprised to find that inside the Polos
is a rolled up note.
Unroll the note to show that a corner is
missing from it. Retrieve the corner that

Above:The bestwayto
hand and the duplicate corner and note
vanish the note is to
will be in your left hand. The switch of the
use a Devil's Hanky.
corners is made under the guise of
swapping the note and the corner between
hands. This is a very deceptive move as the
audience is not aware of the duplicate
corner. The borrowed corner is placed on
top of the note and both are taken in the Hight: Atthe finale of
the routine checkto
right hand, leaving the duplicate corner in
see if the corner
the left hand. As your hands are matches, you will find
separating, the left hand pushes the that it fits exactly.
duplicate corner to your finger tips and the
right hand turns the back of the note to page 39. The treasury note, now folded your volunteer has been looking after and
the audience, concealing the extra corner. into quarters, is placed in the secret pocket you will find that it not only matches but it
The duplicate corner is handed to the of the hanky and given to the spectator to fits exactly. Return the borrowed note to
owner of the note for safe keeping and the hold. Stress the fact that he can feel the the spectator and take your well earned
borrowed note is folded into quarters. note and ask him to hold it tight so as not applause.
(This hides the torn corner in the folds of to lose it. When the note is in the hanky
the note and keeps it safe. At a later date you have done all the necessary moves to AFTERTHOUGHTS
the note can be repaired with sticky tape). complete the trick so you can concentrate Using the above method you can have the
on building the suspense. Take out your note appear almost anywhere. A favourite
3. THE VANISHING TRICK magic salt and shake it on the hanky and amongst magicians is to put the rolled up
To make the note disappear, we are going on the count of three pull the hanky from note inside a lemon. Use your imagination
to use a Devil’s Hanky. A description of the the spectator’s grip and show that the note and see if you can find an original place to
moves used for this trick can be found on has vanished. hide the duplicate note.

66
 STAGE 4 The first time you try this, the coins are
The One To complete the moves, we need to get back
to the starting position with the coins
likely to fall between your fingers but with
a little practice it will become smooth. The

Hand transposed. This is accomplished by

pushing the silver coin towards the tip of
whole move takes a split second and you
can practise while watching TV. When
the first finger with the thumb. As the coin you have it mastered you can go on to

Change slides past the second finger and onto the

first finger, the other fingers are curled back
learning the move with folded treasury
notes, ping-pong balls and keys. Then
to pick up the coin from the thumb palm look at the next page for a few suggestions
This is not a trick but a move which is used and place it in the finger palm position. for tricks with the One Hand Change.
in a number of tricks. The Fortune Tellers
Fiddle (page 68) is one such trick and some
left. Starting position
ideas are given for you to work on your
forthe One Hand
own tricks using this move. The move is Change.
designed to help you secretly and silently
switch one coin fot another, but the same
move is used fot switching ping-pong
balls, bits of paper or any small objects.

Right: Jhe Finger Palm.

Used for retaining
small objects in the
hand. With the back of
the hand to the
audience and relaxed
fingers, the hand looks
quite empty.

STAGE 1
At the start of this move, one coin (copper)
is held between the thumb and first finger.
The second coin (silver) is held in the
Finger Palm. The copper coin is held so
that it will balance on the first finger when
the thumb is removed.

STAGE 2
Raise the thumb and balance the copper
coin on the tip of your first finger. Bend
the first finger back and push the copper
coin into the thumb in the thumb palm
position (see illustration). It can be
gripped quite lightly in this position
without slipping. The silver coin does not
move in this first stage of the One Fland
Change.

STAGE 3
Without loosing the grip on the copper
coin in the thumb palm position, the tip of
the thumb is lowered onto the centre of
the silver coin. At the same time the fingers
are straightened in readiness for the last
stage.

67
 The Fortune Teller's Fiddle
This trick is a story trick that shows how ■ fingers of the right hand (the Finger Palm duplicate. The marked coin can then be
people can be conned into losing money, position). Screw up the note into a ball in put aside for later discovery while you
and teaches them to be more careful. The your left hand and place it at the fingertips make the duplicate coin vanish using the
cover for the sleight of hand is totally of your right hand. You are now ready to Devil’s Hanky or the French Drop. The
logical so it is a very convincing piece of execute the One Hand Change. Cover marked coin could be produced from
magic. Here is the story as I tell it but your right hand with the hanky and do the inside a bread roll (see Coin from Bread
always personalize a story by putting change, this will bring the ball of paper to Roll) or from a sealed envelope or
yourself or someone you know into it. the tips of the fingers and the note to the anywhere.
finger palm. Take the ball of paper A large denomination note could be
THE STORY through the hanky with your left hand switched for a small denomination note
When my grandfather was a young man he (leaving the note behind) and place your during a money trick giving an extra
went to a travelling fair. He had won a right hand into the right pocket. Leave the surprise when the note is unfolded.
coconut on the coconut shy, got merry on note in the pocket and bring out the band A napkin could be screwed into a ball
the merry-go-round and was wearing an to wrap around the hanky. The charm is and when unscrewed magic writing could
awful tie because the man couldn’t guess now made and the note has been secretly be found to have appeared on the napkin,
his weight! He was about to leave when a switched out. such as the name of a chosen card or
gypsy fortune-teller attracted his attention someone’s phone number.
and he decided that he would like to take a OTHER USES FOR THE ONE The One Hand Change could be used
look into his future. HAND CHANGE in a spooky ghost trick to make a mystic
The gypsy showed him into her Here are a few ideas that use the One message appear on a piece of paper that has
caravan, sat him down, and asked him Hand Change: been folded up.
questions about his life and his dreams. Have a coin marked with a sticker Put your imagination to work and see if
She then gazed into a crystal ball and told which can be signed and execute the One you can come up with a new trick all of
him his fortune. Just before he left, she Hand Change to switch the coin for a your own that uses the One Hand Change.
made him a magic charm for good luck.
The magic charm was made like this. turn two coins at a time. This is the system
He was told to take a treasury note, the
biggest he had, and screw it up into a ball.
Heads OR on which the trick is based.
When the coins are first placed on the
The gypsy took the note and covered it
with a hanky, and tied it up with a piece of Tails table, remember if there is an odd or an
even number of heads. Then turn your
string. This little package was to bring him back and go through the turning
good luck but only if it was kept safely tied This is one of the simplest coin tricks to procedure, making sure that coins are
up for seven days and seven nights. perform and yet it is still totally baffling to turned two at a time. Then ask your
My grandfather was a superstitious the spectators. Five coins are borrowed and volunteer to cover one of the coins.
man so he followed her instructions. Seven placed on the table. While your back is Emphasize that it could be a head or a tail
days and seven nights he waited and when turned, you instruct someone to turn over and you have no way of knowing which.
he finally opened the package he found a coins two at a time, and as many times as Turn back and look at the coins. If the
ball of worthless paper. He rushed back to they like; this can be done silently so that original head count was even and there is
the fairground but by now the fair had you are not aware of how many coins have still an even number of heads on view then
gone and his money was lost. But the story been turned. You then tell a member of the the covered coin is a tail; if the number of
does have a happy ending. There was a audience to cover one of the coins with a heads on view is odd then it is a head. If
young girl in the field and she was crying. beer mat or a playing card. You turn round the original head count gave you an odd
She too had been caught by the fortune¬ and correctly divine whether the covered number and you still see an odd number of
teller’s fiddle, and that girl became my coin is heads or tails. heads then the covered coin is a tail; if you
grandmother. Maybe the fortune-teller see an even number of heads then the
brought them both good luck after all. METHOD covered coin is a head.
The secret is so simple that it fools This may seem a little complicated to
THE METHOD everybody. Try this for yourself Put five remember but after trying it you will see
At the start of this trick you will need a coins on the table, making sure that there that it is easy to remember. Especially
treasury note, a hanky, a ball of paper and is an even number of heads. Turn the coins when you look at the table below.
a rubber bandfthis should be in your right two at a time and you will notice that it is BEFORE AFTER RESULT
pocket). When you come to the point in impossible to change the fact that there is Even Even Tail
the story where you make the magic an even number of heads. Try it again with Even Odd Head
charm, suit the actions to the words. Hold an odd number of heads and there will Odd Odd Tail
the ball of paper loosely and secretly in the always be an odd number as long as you Odd Even Head

68
 ROPEY TRICKS
E very rope has two ends and a middle,
hut give it to a magician and
ready to perform at the drop of a . . . rope!
The best rope to use for most of the
our purposes. This is easily accomplished
by cutting the rope to the desired length
something strange begins to happen. following tricks should be of soft cotton. and gently pulling it out. The result is a
Magicians love to do tricks with everyday It is available from most good hardware much more pliable rope that will make the
objects, and as all you need for some tricks stores and usually comes with a stiffer tticks a lot easiet to do. Have fun with the
is a piece of rope or string, you can be central core which must be removed for following tricks, I know 1 have.

69
 Right:W\Xh the lace

The String threaded through fold

the straw in half. Make
sure the cut is on the

AND Straw inside of the fold

This is a simple yet effective trick that can

Se/ow; Exposed view
be performed almost anywhere. You will
pulling the lace into the
need a drinking straw and a piece of string
slit. During
about 45cm (1 Sin) long. The string is performance the straw
threaded through the straw and folded in should be folded fully
half and the centre of the straw is then in half.
snipped away cutting the string in two.
The magician (that’s you) can then restore
the string back to its original state.
This trick will amuse spectators if,
instead of string, you borrow a shoelace
and proceed to cut it in half! You can then
pretend that the trick has gone wrong
before you restore the lace, to the relief of
your victim.

PREPARATION
Any piece of string or shoelace will do for
this trick as they do not need to be Below: cutthe straw
prepared. The straw, however, needs a little close to but above the
work. With a sharp modelling knife, cut a lace
slit about 8cm (3in) long in the straw (see
illustration). Be careful to only cut one
side. This preparation will not be noticed
by your audience.

6e/owwith a gentle
rubbing action of the
fingers you can
magically weld the
lace backtogether

of the lace into the slit and thus avoid any

damage when you snip the straw. To show
things clearly, the straw is slightly ‘open’ in
the picture, but in performance, the straw
Carefully cut through half of the straw. The
would be fully folded in half
slit should be aboutScm (Sin) long.
The lace is now clear of the ‘fold’ in the
straw so you can safely cut it away and the
PERFORMANCE audience will think you have cut the lace
Thread the lace through the straw and fold in pieces. The best place to make the cut is
it in half Make sure that the slit in the 0.5cm (Ysin) above the place where the lace
straw is on the inside of the fold. goes through the slit.
When the straw has been completely To restore the lace, carefully straighten
folded in half, place it into your left hand out the lace, make a magic pass with your
and, with your right first finger and hands and you can pull it free of the two
thumb, gently pull on the lace where it pieces of straw and return it to its rightful
enters the straw. This will pull the centre owner.

70
The /.eft; Making the rubber
ball-take care with
the modelling knife,
these blades are very

Genie's sharp.

Bottle
This is the story of a magic bottle which is
the home of a tiny genie. He is not very
powerful but, for his size, he is quite
strong. If you place the end of a rope in the
bottle and speak to him in his own
language, he will hold on to it, and not let
go. He is so strong thar if you hold the
rope and let the bottle hang he will still not
release his grip on the rope. If you tug hard
enough, you may be able to get him to let Flight: A clear bottle has
go. But no-one else will be able to do it - been used to show the
working of the trick.
well that’s probably because they do not
For performance, an
speak Genie! opaque bottle or a
brass vase should be
PREPARATION used.
For this trick you will need a little rubber
ball. This can be made with a modelling
knife from an eraser. Cut a cube out of the
eraser and then trim away at the edges
until it is roughly ball shaped. This ball
must be kept secret from rhe spectators.
You will also need an opaque bottle, the
one I am using is a brass vase, and a piece
of rope that is almost the diameter of the
bottle-neck.

PERFORMANCE
At the start of this trick, the ball is already
in the vase/bottle. Take the rope and as
you tell the story of the genie, drop the end
of it into the top of the bottle. Invert the
bottle and the ball will fall into the
position shown, locking the rope in
position. If the rope does not lock you will
need a larger ball or a thicker piece of rope.
As you continue the story, you invert
the bottle and show it hanging on the
rope. If the ball is the correct size the bottle
will hang firmly and you will be able to
gently swing the bottle from side to side as
much as you like.
To remove the rope, make a fist around
/.eft; Stealing the ball
the neck of the bottle, with the opening in
from the vase before
the centre of your fist. Hold the bottle so it handing it out for
is horizontal and pull the rope firmly. The examination. Pull the
ball will come out of the bottle and end up rope and the ball
in your hand and the rope will now be free. should pop into your
hand, Using a heavy
You can give the rope and the vase to
brass vase adds to the
someone else but without the ball they will
impact of the trick.
not be able to duplicate your actions.

71
 single knot around the rings.

Rapid Ring To effect the release, all you have to do

is slide the wand out of the knot. However,

Release it looks more effective if you do it in the

following manner. Take hold of the rings
and remove the wand — holding the rings
Two pieces of rope are tied onto a magic will ensure the knot (really a slip knot)
wand and onto these are threaded two does not unravel too soon.
rings. Another knot is tied in the ropes
ensuring that the rings cannot slip off. A
quick wave of the magic wand makes the
knots disappear and the rings are free of
the rope. A modern matter through
matter miracle!
Above:Jhe secret ofthe trick is in the
waythatthis knot is tied. Afterthe
PREPARATION knot is pulled tight the wand will not
There is no secret preparation for this slip out.
trick, it can be performed with borrowed
items. You will need a magic wand (a
chop-stick or a pencil will do), two pieces /.eft’Make sure both ends ofthe rope
of rope about 60cm (24in) long — long gothroughthe ring.

shoe laces or string work just as well — and

a couple of finger or key rings.

Right: By now it looks impossible to

PERFORMANCE release the rings.
Get a volunteer to hold the end of the
magic wand and drape the two ropes over
Below: Pullingthe wand out ofthe
it. These are then tied in a single knot, as
knot will tree the rings butto make it
shown, and pulled tight. In this position more magical, hold onto the knotfor
the wand will not slip out, so get your a moment before the release.
helper to hold the
ends of the ropes. If
you look carefully at
the way the ropes
are tied, you will see
that the helper is
holding the two
ends of one rope in
each hand whereas
he thinks he is
holding one end of
each rope in each
hand. This is the
reason the rings
eventually fall off
the rope.You now
ask to borrow a
couple of rings;
finger rings, key
rings, any type of ring will do. One ring is
then threaded onto each of the double
ends of the ropes and along it and slipped
right up to the magic wand.
Your helper will hold the ends of the
ropes most of the way through the trick so
that he will be certain that you do not slip Right: Touch the knot
the rings off the ends of the ropes. Just to with the wand to make

make sure that this is impossible, take a it unravel 'by magic'.

single rope from each of his hands and tie a

72
The Cut &
Restored
Rope
This is a magic classic. No matter how
often people see it performed, it is still a
miracle. It is not the easiest of tricks to
learn but with a little practice you will
soon be amazing people with your magical
powers. All you need is a piece of rope and
a pair of scissors. Soft cotton rope or
pyjama cord works best and is easy to cut. Above: Grip the rope between two fingers before /Ahoi'e. Making the cutthroughthetop loop only
pushing the loop free. cuts of a short length.
It is possible to do the trick with string but
you will find it a little fiddly. rope in the loop you are only cutting a
short piece off the end of the rope and not
PERFORMANCE actually cutting it in half
Hold one end of the rope in your left hand The above ‘move’ takes a little practice
as shown. At all times during this first to perfect but it is well worth it. The rest of
move keep the back of your left hand to the trick is a lot easier as all you have to do
the audience. With your right hand, grasp now is cut and restore the rope. Remember
the middle of the rope and start to raise it. that the move you have just done is not the
trick but the means by which it is achieved,
so do it in a casual manner. The trick does
not really start until you actually cut the rope.
When the hard part is done,
concentrate the audience’s attention and

Above: Jbe looped rope before you transfer it into

the left hand.

Raise the loop that you are holding in

your right hand and place it into your left
hand. The left thumb grips the loop which
should protrude by about 5cm (2in) above
your left hand. This action should be
performed smoothly and with no
hesitation when you switch your finger
positions to make the loop. To the
audience it should look as if you have
/Above. The starting position-not the audience's simply picked up the centre of the rope
view.
and placed it in your other hand. The
Note that the right thumb is on top and motion of yout right hand should be a
Above:lhe short rope is looped through the long
your first two fingers are underneath the straight line from the point where you first
rope, the hand covers the join. It looks like two
centre of the rope, and that the fingers are picked up the centre of the rope to the
long ropes.
pointing slightly upwards. point where the loop was placed in the
As you raise your right hand, grip the other hand. cut the rope. After snipping through it at

rope about 8cm (3in) below the left hand The secret switch, detailed above, the top of the loop, let the end nearest the

(where marked) between the first two should leave the place where the loops tips of your fingers fall. To the audience it

fingers of that hand. As soon as you have intersect hidden in your left hand. If this will look as if you arc now holding two

the rope held between your fingers, push intersection is not concealed then the pieces of rope of approximately equal

the loop of rope held by the thumb off the right-hand fingers must grip the rope a lengths. In reality, you have a short piece

end of your fingers and continue to raise little nearer the left hand. looped through a long piece.

your right hand. Note that the fingers of This is the finishing position of the There are a number of different ways to

the right hand are now pointing slightly ropes before you cut at the loop. If you restore the rope. Practise each one and

downwards. look carefully you will see that by cutting choose the one that is most natural to you.

73
RESTORATION 1
Tie the ends of the short loop of rope into
a knot around the long piece of rope. You
can now display the two ropes tied
together quite freely. If you performed the
move described above smoothly, no-one
will suspect that all is not as it seems. Hold
one end of the rope in your right hand and
with your left hand, wrap the rope around
your right hand. As you come to the knot,
simply slide it along the rope (keeping it in
your left hand). When you get to the end
off the rope the knot will fall off and you
can steal it away in your left hand. To
dispose of the knot, reach into your pocket
for some magic dust and leave the knot
there. You can now sprinkle the dust on
the rope and unwrap it to show the knot
has disappeared. The rope can now be
handed around for examination.

RESTORATION!
Take the scissors and snip away the ends
cutting 2cm ( Vdn) at a time and letting the
ends fall to the floor. When you have
snipped away at the small loop till it has all
gone, you can show the rope back in one
piece. It can then be used for another trick
such as the rapid ring release.

RESTORATION 3
/Itoue; Cut away the
This is the simplest of all the restorations
small piece of rope,
and probably the most effective. It does, letting the waste drop
however, have the disadvantage that you to the floor, and you
cannot give the rope out for examination will be leftwith one
at the end. long rope.
With the right hand, take hold of
either end of the long rope so that the rope
goes into the top of your fist (the thumb
end) but does not stick out at the bottom.
Raise your right hand and grab one of the
ends of the short rope from your left hand
so that it is sticking out of the bottom of
your fist. The long rope entering the top of
your hand should line up with the short
rope sticking out the bottom. Release your
grip on the rope with your left hand and
the rope will look as if it has been restored.

/.efr Unbeknown to the

STRETCHING THE ROPES audiencethere are two
If after cutting the ropes you find one rope
ropes, one long and
looks longer than the other you might like one short, the join is
to try the following. held in the righthand.
After displaying the rope, apparently
cut in half in your left hand, pick up the between your hands will now hang at anything as this will give the game away).
ends of the long rope and hold them in different heights. Make a sharp tugging The place where the ropes loop together
your right hand in a similar manner. With action by pulling your hands away from will slip so rhe ropes now appear to be the
your two hands side by side the loops each other (being careful not to let go of same length.

74
Rope
Through
Neck
WAJU^ING Do not perform tricks
like this in front of young children as
they may try to copy you and harm
themselves.
Above:V\lrap the rope around the loop behind your
neck. This is a view the spectators should not see.
This is a quick trick with an element of
danger, so performed at the right time it
Above: Both hands move left, but do different jobs.
can be very effective. The magician takes a By bending your head slightly
length of rope and wraps it around his backwards you will be able to keep the
neck. One sharp tug and the rope passes Note: the left: hand is above the right hand. loop in position with your neck and safely
straight through — to the relief of all who Both hands now move at the same time let go. It should be teasonably tight around
are watching. Take care when performing toward the left and up around the head but your neck without cutting off the air
this trick and make sure you learn it they are doing different jobs. The left hand supply!
thoroughly. The trick looks more effective firmly grips a loop of the rope on the right Take hold of one end in each hand and
with a long scarf but for reasons of clarity side of your body and takes it to the left take up the slack. Do not pull it too tight
it is shown using a piece of rope. Any scarf side of your neck. The right hand loosely or the loop will slip and be released before
or rope will do but it will need to be about takes the rope from the left side of your time. It is best to tighten the muscles of the
2 metres (6V;ft) long. body and takes it right over and around neck and use your acting ability to feign
your head. pain as you pretend to pull. All it then
PERFORMANCE Keeping hold of the loop in your left takes is to relax and straighten up your
Drape the rope around your neck and take hand, slide the rope around your neck so head, the loop slips out of the rope and the
hold of it in the following manner. The the loop is brought to the back of your rope frees itself from your neck. The last
thumbs go behind the rope but they do neck. action should be a quick tug and the
not grip it. The rope to your left is actually This whole movement is carried out in audience will see the rope pass through
gripped with your right hand first and one smooth continuous action and should your neck.
second fingers and the rope to your right is look as though you are simply wrapping
gripped the same way by your left hand. the rope around your neck. Below: Act up the pain before the final tug.

Above: Begin with the thumbs behind the rope,

which is gripped between two fingers of the
opposite hand.

75
 /.efr Turning your hand, with the rope lodged

The One- between your fourth and little finger, you grip
down the other end of the rope.

Handed
Knot
Below:lhe loop is slipped off the back of the hand
This is not so much a trick as a neat piece to fornn the knot.

of juggling which will give the impression

of great skill. The best bit is that it is really
very easy to do. What you are going to do
is hold a piece of rope in one hand and,
with a quick flip of the wrist, a knot
appears tied in the rope. This trick can be
performed equally well with a neck tie or a
twisted handkerchief but has been shown
here with a rope which is the easiest way to
practise it.

PERFORMANCE STAGE 2
Your hand now revolves in an anti¬
STAGE 1 clockwise direction and your first and
A piece of rope about 60cm (24in) long is second fingers quickly grip the rope (it has
draped in the crook between finger and been marked for clarity). The place where
thumb of your right hand as shown. The the rope is gripped is the spot that you can
tip of your little finger (pinkie) is used to comfortably reach. Note that during this
catch one end of the rope and pull it away twist the fingers are now pointing slightly
from the other end. Note the slight downwards. This helps the next part of the
upward angle of the fingers. move which involves slipping the part of
the rope which crosses the back of your
hand down over your fingers and free from
your hand, thus forming the knot.
6e/ow Bringing the hand upwards, with the loop
STAGE 3 free and only the upperpartofthe rope between

The hand is now turned back to its yourfingers tightensthe knot.

original position and the loop is slipped off

the back of the hand. This is easier if you
give the whole movement a downwards
flick as soon as you have grabbed the rope
in Stage 2 and as you proceed to Stage 3,
jerk the fingers upwards, pulling the end of
the rope through the loop.

STAGE 4
Continue the upwards movement and the
knot will form and tighten. The whole
movement lasts a split second and looks
very impressive. If you find it difficult to
pull the end through the loop, it is
probably too long and you will need to
adjust your starting position — try a little
less rope trailing behind your hand and
start again.
When you have mastered it with a rope
try it with a handkerchief
AboveiThe placing of the rope to start the knot.

76
 With your left hand, pick up the stiff
The Indian end of the rope and hold it parallel to the
ground. Change your grip with your right

Rope Trick hand so the part of the rope containing the

solder is between your fingers. To do this,
simply slide your hand a little way along
One of the mysteries of magic is the Indian the rope. Gently let go of the end and the
rope trick. The story tells of an Indian rope will mysteriously stay in position. You
fakir who would stand in a clearing and may want to wave your hand above and
throw a rope into the air. By his magic below the rope to show that there are no
powers, the rope would stiffen and stand invisible strings holding it up.
upright and a small child would quickly
/Adove. Startthe trick with the stiff end of the rope
climb up the rope and disappear. Many
hanging from your little finger.
people have re-created the trick on stage
but no-one has ever succeeded in
performing the trick in the open air. Most stiff end (the end with the solder in it) is to
people belief the trick is a fairy tale, part of your right (the pinkie end of your hand).
Indian folklore, or at best a wildly Pick up the loose end of the rope and
exaggerated story. Because of that story the attempt to balance it, you will fail and the
idea of a rope standing upright and rope will fall back down. This failure
defying gravity has a strange fascination emphasizes to the audience that the rope is
for most people and this is a simple way of ‘unprepared’. Drop your hand and the
reproducing the effect. rope down to your side and explain that
the Indian who taught you the trick wasn’t
PREPARATION a good teacher, or you were not a good
You will need a piece of rope about 1 metre learner! While talking, turn the rope
(39in) in length. Most rope tricks can be around in your hand so that the stiff part
done with any rope but this trick needs a of the rope is now at the top of your hand
rope that has a hollow core, a space (the thumb end).
through the centre of the rope. Into this
space you push a piece of solder that is a
little less than half the length of the rope.

Adove. With the stiff end at the top, the rope stays
vertical.

Take the stiff end and raise it up so that

the rope is vertical. Again, carefully let go
and the rope will stay suspended. When
the applause dies down (!) you take the
A piece of solder is pushed into the rope to
rope at the top with your left hand and
provide the stiffening.
using your right, you wrap the rope
around your hand and toss it aside.

Solder is very flexible but is stiff Because the solder is very pliable you will

enough to give the rope the rigidity needed find that you can carry out this last action

to perform this trick. You must remember very easily and the fact that you have you

not to hand the rope out for examination have tampered with the rope will go

before or after this trick. unnoticed.

NOTE: Solder is available in different

PERFORMANCE thicknesses. Generally the thinner the

With your right hand, hold the rope in the better, but experiment to find the right

centre and let the two ends drop down Above: Holding the stiffened end, the rope stays thickness of solder for the weight of the
horizontal. rope that you are using.
either side as shown. At the moment the

77
 tight. The first few times you do this trick I

Chinese suggest you have your hands covered with

a head scarf As your speed increases you
can do it without a cover.
Handcuefs
TO MAKE THE RELEASE
This trick has an unusual name but it does By pressing your wrists together and
not use handcuffs, and as far as I am aware, moving them back and forwards against
it is not Chinese. But it is a great trick. It is each other you will be able to work a loop
a simple release that can be a real of rope through the bandage.
reputation maker. Perform it well and Continue the action until the loop is
people will be talking about you for a long large enough to slip the fingers of either
time. Your wrists are tied together and a hand through the loop.
long rope is threaded between your hands. As you can see in the photo, by passing
It is obviously impossible to escape from the hand through the loop, the rope is now
the long rope, but in a split second the only held by the loop tucked under the
rope seems to pass right through your bandage. One sharp tug and you will be
Above: Alonq piece of rope is threaded through
wrists. free.
your arms.

Right: As soon as the loop is large enough, slip it

PERFORMANCE over one of your hands.
You will need a piece of elastic bandage
about 50cm (20in) long and a 3-metre
(10ft) length of rope. And a member of the
audience to tie you up.
After having everything examined, you
ask to have your wrists tied with the
bandage - get it tied as tightly as possible. Se/ow A sharp tug will release you from the rope.

Above: First the wrists are tightly bound together.

You need very little slack in the bandage to

do the release and because it is elasticated
it is almost impossible to tie elastic
bandage tightly.
The long length of rope is then fed
down between your arms and your
assistant, who takes the ends of the rope,
walks away from you until the rope is

78
Rope Here the two ropes are tied by the cotton loop

Through
Body
To do this trick you will need two pieces of
rope, each one about 2 metres (67:ft) in
length. The ropes are wrapped and tied
around your body and with one sharp tug
they pass straight through and you are free,
to the surprise and amazement of any
Here the ropes are tied
onlookers. If you feel inclined, you can
in a single loose knot
perform this trick on someone else, or have
two people standing each side of you to
pull the ropes. PERFORMANCE When you are in this position, a sharp
By holding the ropes, as shown, it will look tug will release the ropes from your body.
PREPARATION as though the two ropes are both passing You might use two volunteers to hold on
Fold the two ropes in half and tie them through your hand rather than being folded to the ends and then, on the count of
together with a loop of cotton. It is best to in half Pass the looped part of the ropes three, they can pull on the ropes. Using
use a colour that matches the rope in case behind your back and bring the ends of the members of the audience to participate in
anyone catches a glimpse of it. rope to each side of your body. Make sure tricks like this makes them more theatrical.
When the ropes have been prepared, you keep your back (and the part of the Don’t let them pull on the ropes too soon
place them in a box or bag so that when ropes tied by the cotton) out of sight of the because the ropes will fall free from your
you begin to perform the trick they will be audience. body and you will loose the big finish.
in a position to be picked up with the Take a single piece of rope from each
cotton hidden in the palm of your hand. hand and tie a single knot in front of your AN ALTERNATIVE
body. The rope from the left goes through PRESENTATION
the knot and on to your right hand. The Another way to present this effect is to slip
rope from the right goes to the left hand. the ends of the rope down the sleeves of a
The drawing should make the positions of jacket, carefully keeping the cotton loop in
the ropes clear and you will see that it is only the centre.
the thin cotton that holds them in position.

Above:Jhe two ropes are linked with cotton at

their centres.

Below: Hold the ropes to hide the link.

Above: Ropes threaded through jacket sleeves.

Different coloured ropes have been used for
clarity. In performance the ropes are identical.

Put the jacket on and you will have two

pieces of rope coming out of each sleeve.
Take one rope from each sleeve and tie
them in a single knot and you will end up in
the position shown above. It two members
of your audience pull on the ends, the
cotton will break and the ropes will look as

Right: Knots are tied in front as shown in the though they have pa.sscd through your
diagram above. jacket and through you as well!

79
 tting on an Act
Being able to do a magic trick is one thing, the some hints and tips for certain groups. on your act!
ability to perform it is quite another. You Another good place to try out your act is in
must now learn to perform the tricks so that MAGIC FOR CHILDREN the talent shows which are held in local pubs,
the audience will believe that what you are This is great fun if you can play the part of the bars and clubs all over the country. Never
doing is magic. Always remember that your clown. You don’t need to dress as a clown, but enter a talent competition expecting to win;
audience want to be entertained. be zany in your performance. Do only simple just try to entertain your audience and gain
A simple trick, well performed, will be and colourful magic. Good routines for experience. If they do not like you, do not take
much better received than a complex one children are the Change Bag Routine, Cut and it personally. Any professional entertainer has
where you have to concentrate on the method Restored Rope, Productions etc. A lot of fun ‘died’ many times; it is an occupational hazard
rather than the presentation. It’s not what you can be had if you misname colours and play that you just have to get used to.
do but the way that you do it that really the Tool’ in the best sense of the word. Let the A good way to improve your act is to show
counts. It is much better to concentrate on a children catch you out and then fool them it to other magicians. There are clubs all over
few tricks and really master them than to learn with some magic. which welcome new members, but you will
twenty tricks and not manage to entertain. have to track them down. Try calling your
The first stage in putting an act together is FAMILY AUDIENCES local children’s entertainer, who may be able to
to work out your character — a magician is an This is the best kind of audience for a magician point you in the right direction. Most
actor playing the part of a magician. The and give the most scope. 1 favour a light magicians are connected to the following two
traditional magician is seen dressed in a dinner comedy approach using as much audience magic clubs. Both publish magazines which
jacket or wearing top hat and tails, presenting participation as possible. Good routines would will keep you in touch with events and new
an infallible air of having complete control include the Treasury Note Routine, Mind developments in magic and who is doing what.
over the objects and people that he is Reading and Mathemagics, the Miser’s Dream
manipulating. Many modern magicians have etc. The magic should be simple enough for The Magic Circle
left this style behind, presenting themselves as the younger members and fun for the adults. Probably the most famous magic club in the
comedy magicians, relying as much on their Use some childern as volunteers - it charms world, but very exclusive. The Circle has a vast
patter as on their magic. Then there is the the adults. library and a museum of magic and its history
silent magician, performing his magic to that is available to members. It meets every
music, be it in a comedy or a straight act. Your STREET SHOWS Monday evening, but is strictly members only.
character will depend on a number of things: When performing in the open air you should Write for details, enclosing a stamped
your natural looks, your patter ability, your aim to be as big as possible. Escapes are always addressed envelope to:
clowning ability, your audience, etc. The most good as the challenge angle is exciting to Mr. C. Pratt (Hon .Secretary), 13 Calder
important thing is to experiment and develop watch. Illusions are also good, but watch for Avenue, Brookmans Park, Herts, AL9 7AH
your act. There is no such thing as the perfect people standing behind you who could see
act, so always keep working on improving it. how the trick is done. The International Brotherhood of
When you have decided on your character you Magicians
must then dress to fit. The clothes you wear WHERE TO PEREORM The IBM is the largest magic club and has
when performing should be clean and smart as Children’s parties are a good start. Friends rings all over the world. Many organize
this is the first impression that the audience welcome you with open arms when you conventions, held annually. These are exciting
will have of you, and first impressions last. volunteer to entertain at little Johnny’s events where you can see great magicians,
The next job is to decide on the tricks that birthday party! The best ages are between four exchange ideas and buy new props from dealers
you are going to perform. You should start off and eight; any younger and they don’t always in magic.
with something snappy that will grab the follow, any older and they do not believe in In America, there are rings in many
attention of the audience, then move into the magic and tell you so in no uncertain terms! different States. Contact the IBM’s
main part of your act, remembering to include If you do not feel that you want to headquarters to locate your nearest ring
as much variety as possible (people will not entertain children (and many people find it
relish ten card tricks), and build up to a strong impossible) you will need to look for a family International Brotherhood of Magicians,
finish. Remember to enjoy yourself and do not audience. This is easy to find at any social P O Box 227, Kenton, Ohio 43326
rush through your act - look at your audience gathering in churches or in clubs; it is up to
and keep smiling. If you enjoy performing, the your ingenuity to find an audience. When you The Secretary of the British Ring is:
audience will enjoy watching you. have done a few shows you will find that H. J. Atkins, Kings Game, Fricham Court,
You will always need to tailor your people will hear about you and search you out. Fricham, Lyndhurst, Hampshire, S043 7HH
performance to suit your audiences, so here are If they don’t, then you need to do some work

80
It
 WP'<''''^(!®K
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Keith started performing magic after buying a
book like this. That was over 20 years ago! The
hobby that he found totally absorbing became a
career when he gave up work (computer
programming is not much fun!) and became a
street entertainer (a lot of fun but not much
money!) In 1988 his unique blend of comedy and
magic gained recognition as 'Street Entertainer of
the Year' at the International Street Festival in
Covent Garden, London. This led to people
asking him to appear at all sorts of posh parties
and cabaret venues.
Keith was springboarded into the world of
show business - and luckily no one has emptied
the swimming pool! No one told him that it is the
hardest thing in the world to make people laugh,
so he tried and so far has succeeded.
Over the last 5 years he has worked in the
U.K., the U.S.A. and most of Europe and has
appeared on TV over 20 times.

Printed in China