Rex the Ace Magician - The Wicked Uncle

MAGIC you can do.

The

Wicked Uncle

Tt tE

-ACE-

MAOICIAN

A sophisticated C onjuring Act that will make you a hit at any entertainm ent.

** lLB«'

WILL ALMA M.I.M.C. fLO N D O N )

“The Wicked Uncle” By Rex, The Ace Magician. Member of the Society of Indian Magicians and the Independent Magical Performers of Sydney. Illustrated by E. Swinboume. • Practically anyone with average ability, if properly taught, can learn how to entertain with conjuring. And that is the aim of this book—to teach you how to present a fully professional conjuring act. The size of the book is such that it can be easily slipped into the pocket and studied in spare moments. Modem sophisticated audiences demand the best from performers. No longer are hackneyed pro­ grammes of tricks permissible. Acts must be in routine. Each trick must be linked to the next. "The Wicked Uncle" is a complete act of about five minutes duration. It has been built around a well known magical effect—the "Twentieth Century Silks." It fulfills all modern needs. It is clean cut, spiced with humour, quick moving, and easily understood and followed. Its color appeals to women, but for men, it is definitely an act with "It." And what a climax. The climax has the additional effect of doubling the applause for the performer—something for which all professionals strive. For the performance, no assistants are needed, there are no tables to be arranged, and there is 1

practically nothing to fear should the audience surround the performer. It is an ideal act, which has stood the acid test of successful public performances, for clubs, smokos, dinners, or parties. Yet even more important, the apparatus required is inexpensive. It can be purchased from magical dealers, or easily made to order and at home. The complete act to perform, by either and movement has concise terms. Even been marked.

is easy to learn and simple man or woman. Every detail been described in the most the pauses in the patter have

THE EFFECT. The effect of the "Twentieth Century Silk" trick is that two handkerchiefs are tied together by their corners. A third handkerchief is vanished and is found tied between the previous two. This is the backbone of the plot for "The Wicked Uncle," which is a short humourous story illustrated by tricks. The magician tells how the hero (a blue silk) loves the heroine (a pink silk) but the wicked uncle {the knave of spades) allows the villain (an egg which turns into a yellow silk) to marry the heroine (both being tied together). The heroine leaves her husband (the knot having mysteriously vanished) and marries the hero (the blue and pink silks being tied together). The villain intercedes (vanishes from the performer's hands and is found tied between the blue and pink silks) but in a snappy climax, finds that a little difficulty thwarts his plans. APPARATUS NEEDED AND PREPARATION. 1. Two 12 inch squares of blue silk sewn together around the edges, with the exception of one comer, to form a double handkerchief with an opening. 2. A 3| inch square of blue silk, hemmed. 2

3. Two hemmed 12 inch squares of yellow silk. To a corner of one is tied the small blue silk. The opposite comer of the yellow silk is tied to one open comer of the blue double handkerchief. The yellow silk is then tucked into the blue one until the ex­ treme comer of the small blue silk coincides with the open comer of the double blue silk. Fig. 1. Held

by the open comer, it appears that only one blue handkerchief is held. 4. A hemmed 12 inch square of pink silk. 5. A handkerchief vanisher. This is a hollow metal or wooden container, similar in shape and size to a pullet's egg. One end is cut off to provide an opening through which the handkerchief to be vanished is tucked while the container is held in the hand. Attached to the other end is a piece of elastic about 6 inches in length. Three thin elastic bands, one linked through the other, are best, a s they stretch well and are quick and cheap to re­ place when perished. A safety pin attaches the free end of the elastic to the back of the vest be­ tween the shoulder blades. 3

The aluminium top of a McCollum's whiskey bottle, painted black, can be used for the container. Two holes punched in the bottom allow a piece of wire to be threaded through and fastened into a circle to attach the elastic. Fig. 2. The most satis­ factory plan, however, is to buy this piece of a p ­ paratus from a conjuring depot. ENLARGED VIEW SHOWING HOW E L A ST IC BANDS ARE LINKED

Alternatively, the handkerchief may be vanished by sleight of hand—a more practicable means for women magicians. To do so, sew a small bead into one corner of the second yellow handkerchief. Hold this corner clipped through the crutch of the left thumb, so that the bead lies at the middle of the palm, and the remainder of the handkerchief drops down the back of the hand, which faces the audience. The right hand is placed on the palm of the left hand and with a circular motion rapidly rolls the handkerchief into a compact ball. The right hand is then closed a s though it held the balled silk and moved aw ay from the left hand, which, by bending in the two middle fingers, re­ tains the silk. The right hand is opened to show that the handkerchief has vanished. 7. A pack of cards. Should the performer be un­ willing to learn how to execute the color change— a simple sleight in which the card on the bottom of the deck, facing the audience, changes to another by merely passing the hand in front of it—a faked card should be made a s follows. The Ace of Clubs, Jack of Spades, Queen of 4

Spades, and a blank card (or Joker) are removed from the deck, and with the exception of the blank card, are each bent in half, face inwards. Half of the back of the Ace is pasted to half of the back of the Jack. The other half of the back of the Jack is pasted to half of the Queen. The halves of the backs of the Ace and Queen are pasted onto the face of the blank card. Each pasting should be done separately with good quality paste and the sections dried under the pressure of some heavy books. The performer now has a card with two flaps. By bending up both flaps and holding the card upright in the palm of the left hand, it appears that only the Queen is held. By holding the right hand in front of it and catching the top edge of the first flap in the inner bend of the top joints of the fingers, the flap can be pulled down and the Queen ap ­ parently changes to the Jack. To accomplish the effect by sleight of hand, the Ace is placed on top of the deck which is held face down. On top of the Ace is the Jack, and on top of the Jack is the Queen. If using the faked card, it is placed on top of the deck. In both cases, the Queen of Diamonds is on the bottom of the pack. To digress for a moment. It is also necessary to palm off the top card of a pack. To do this ef­ fectively, the pack is held in the left hand, face down. The right hand, shown casually on both sides, approaches the deck from which the top card is pushed slightly sideways by the thumb of the left hand. The remaining fingers of the left hand are curled under the overlapping card and push it upward into the palm of the right hand, which has 5

now come close enough to cover it. Fig. 3.

The

ends of the card are gripped between the first joints of the fingers of the right hand and the fleshy por­ tion at the base of the thumb. The fingers must be kept together to conceal the card. The card is now “palmed". It is lifted slightly away from the deck, which is at the same time turned sideways. The right hand then takes the deck, hold­ ing it on either edge between the thumb and first finger. To the audience it seems that the right hand has merely taken the pack from the left hand for the purpose of showing the left hand empty, which the performer does. The deck is returned to the left hand, and the right hand, with the card palmed, reaches behind the left knee, where, under its cover, the first finger is curled back and pushes the card to bend outward. The end of the card is then gripped between the tips of the first and second fin­ gers, and the pressure of the palm and other two fingers is released, and the card flips out to be effectively produced from behind the knee. The produced card is then placed on the face of the deck. Now, to change the Queen to the Jack by sleight of hand, the pack is held on one side by the thumb of the left hand and on the other side by the third and fourth fingers, the Queen facing the audience. The right hand moves outward across the face card 6

from end to end. As the first joints pass over the top edge of the pack, the tip of the first finger of the left hand, which is pressed against the centre of the back of the Jack, pushes it forward and into the palm of the right hand which palms it a s it clears the deck. Fig. 4. The right hand moves

upward to show that there is no change in the face card, and then moves down across the Queen from side to side, leaving the palmed card on top of the Queen. When the hand has completely passed over, the audience sees that the card has changed. 8. A special egg and egg cup apparatus. This consists of a wooden or metal egg cup in which is seen an egg. The egg, however, is only half a hol­ low wooden or metal egg. A lip extends around the edge of the half egg so that it can rest on a ledge cut inside the top of the egg cup. Fig 5a.

Turned over, the egg fits inside the cup, the lip around it fitting snugly into the ledge. It then looks like the inside of the egg cup. To vanish the egg, the egg cup is held by its stem in the right hand. The left hand approaches and so 7

conceals the egg from the audience. The palm pushes against the top of the egg, causing it to turn over and slip inside the egg cup. Fig. 5.

Alternatively, take an egg, and with small scissors cut a small hole the size of a sixpence from it and wash out the contents. Allow to dry. 9. An empty glass tumbler. All the foregoing directions should be practised in front of a mirror, one step at a time, and with the apparatus in the hands. First attempts will be clumsy but later one continuous movement will develop. Practise well. SETTING UP. The pink silk is placed in the front breast pocket, one corner at the left side of the pocket mouth. Holding this corner so that it will not slip in, the performer then pushes in the blue silk (with yellow and small blue silks inside it), the open comer being at the right side of the mouth of the pocket. The second yellow silk is rolled around two fin­ gers into a ball and placed in the hollow half of the egg, which is set upright in the egg cup, and the whole is placed in the right outside coat pocket. Or, if using the real egg shell, tuck the silk inside it and over the hole paste a circle of white paper. In the act, the shell is merely broken to produce the silk. The author, however, prefers the trick egg cup, a s it in itself, is a small mystery. 8

The pull container is pulled around and placed opening up in the left lower vest pocket. The other vest pocket contains the pack of cards, arranged a s previously described. A chair or small table is set where the magician is to perform, or the top of the grand piano will do. In the case of the woman performer, the articles can be previously set on a table or carried on in a small suit case. The glass is carried in by the per­ former. A few bars of music, the more ghostly the better, followed by a few chords, give an effective introduction. The performer should speak slowly and distinct­ ly, but not unnaturally. Generally, the emphases are placed only on nouns or verbs, NEVER on articles, adjectives, adverbs, or prepositions. In the following directions, one stroke denotes a short pause, two a longer pause. Naturally, the punc­ tuation stands for the usual pauses. The speaking or "patter" should accompany and blend with the movements a s far a s practicable. The performer should restrain his movement to a minimum.

The A ct Itself. Enter with glass held in hand and advance to middle of stage where chair or table has been placed. Keep to the right of table. With a spontane­ ous smile (it must not look forced) bow slightly by merely inclining the upper portion of the body to acknowledge the applause, and at the same time place the empty glass on the table. ”A drama in three acts / entitled / 'The ideal wife is alw ays found / / / married to somebody else'." 9

With right hand, pluck the double blue silk from the pocket and by moving the hand in an arc back to beyond the right side of the body, the handker­ chief floats through the air with a graceful effect and is then held stationary for the audience to have sufficient time to view it fully. "Now here we have the hero, / a true blue British lad." Place the blue silk on the table and take the pink silk from the pocket in a similar manner. "And the heroine, / a blushing maid, / who wasn't hali so bad." Place the pink silk down beside the blue. "But no drama is complete / without a villain." (Say last two words in a sinister tone). Take egg cup from pocket. "A bad egg (pause for laugh). A yellow / livered / cur." (prounounce a s "currrr"). Turn over egg, exposing yellow silk. Transfer cup to the left hand, and holding the right hand thumb down and palm towards the audience, gently grasp the silk with thumb and first finger and slowly extract from cup. Hold silk stationary in right hand, while left hand tips egg cup forward to casually show it empty and then drops it into the left outside coat pocket. If using an egg shell, crack it to pro­ duce the silk. The yellow silk is then placed on the table beside the other two silks. The right1hand is casually shown empty and at the same time the pack of cards is taken from the vest pocket with the left hand. The right hand palms off the top card (Queen of Spades or faked card), and the left hand is shown empty. "The girl's guardian, / her unde. / w as a male gold digger." Produce card from beneath knee. 10

“ That's why he is a spade / / / (pause and give the audience a knowing look). He w as fond of money, so we will leave him with the diamonds." Place card on face of deck, on top of the Queen of Diamonds. Color change to the Knave of Spades. "Despite that, he w as a knave." Place down pack. "He promised the villain that he could marry his ward, but added / with a cunning hint, / that only on condition / of receiving a share / in a hops concern-" Pick up pink and yellow silks. “ So the two were married. I will tie them together / / in a good / matrimonial / knot." The ends of the two silks are tied in a dissolving knot as follows. The two ends are crossed and then brought back, like two hairpins hooked together. On top of this link the first stage of the ordinary granny knot is tied. Fig. G. This knot will hold together, but a little shaking will cause it to dissolve.

" ’Uncle,' / / said the villain—he called him Uncle / for financial reasons / / —‘here is your share in 11

the bops concern.' It w as only then / tbe uncle found / that the villain had given him / a share / in his / flea circus." Place the two knotted silks in the glass tumbler, the yellow one first. "We will put the couple in one of those modem glass houses, where the villain lived very happily with his ailing—er, wailing—he did the aleing / with . . . . {say the name of a well known ale) / / lived very happily for two or three days. / / / That is the end of Act 1." Cross to the left of table. Pause. "Acts two and three / / show the wife slipping / her matrimonial bonds." Pick up pink silk with right hand and withdraw it from the tumbler with a shaking movement. The knot will dissolve and the yellow silk will remain in the tumbler. Transfer silk to left hand. "And holding clandestine meetings / with the boy friend." Pick blue silk from the table with right hand and transfer it to the left, at the same time taking the pink silk from the left into the right hand. This move is purely for showmanship. Now pull the small blue silk up and tie it to the pink silk. "She eventually married the hero. / / Quite a knotty problem." The knotted silks are held in the left hand by the lower comer of the blue silk and the yellow extrac­ ted from the tumbler by the right. The knotted 12

silks are placed gently into the tumbler, blue one first, care being taken so that the yellow silk does not make a premature appearance. “Hearing about this scandalous / affair, / the villain / went to consult / the girl's uncle". P lace yellow silk in vest pocket and into mouth of pull container, and pick up pack of cards.

"But the uncle / w as at the club." Color change lack of Spades to Ace of Clubs. Place down pack again. “ So the villain decided / to take matters / into his own hands." Take yellow silk and pull from vest pocket with left hand, the handkerchief being allowed to hang over and conceal the pull. With right hand, tuck the silk into the pull. Rub hands together. Part them slightly at the wrists and allow the pull to be drawn inside the coat. Continue to rub hands. If using sleight of hand, the silk is retained concealed until the conclusion of the act. "In fact, he is taking them / into my hands." Show hands empty. “He has gone. / / and a s all true dramas / must end sadly, we find the villain / has come between / the hero / and his love." Pull pink silk with right hand from tumbler with a jerk. This causes the yellow silk to come out of the double handkerchief and it appears tied between the pink and blue silks. Take the lower end of blue silk in the left hand. Hold it stationary, but not too 13

high. Take one step to the left and one down stage. Wait till the applause stops. Take pink silk in the left hand and with the right point to the small blue silk. Move towards side exit. “My mistake. there was / a little difficulty / in the way." Bow and exit.

FINAL REMARKS. Don't perform this act until it has been thoroughly practised. An unrehearsed act is likely to reveal the secrets of tricks to the public. This should never be allowed to happen a s it spoils the entertaining value of magic. Of inestimable assistance in acquiring “profes­ sional polish" is a producer. Ask a friend to watch your rehearsals and point out the faults or suggest improvements. Readers desiring a professional producer, should be ablq to obtain the services of one through their magical depot, or, if living in Sydney (Australia), the services of the author. For further paticulars, write to the nearest depot or to Rex, Box 3805T, G.P.O., Sydney. Instruction, of course, need not be limited to this act. Particular attention should be paid by the per­ former to his personal appearance. It gives the audience their first impression of him, and con­ sequently should be the best possible. Neatly pressed and spotless clothes, clean hand, nails and shoes, well laundered shirt and handkerchiefs, white teeth, and well groomed hair make all the difference. 14

If ten deep breaths are taken just before beginning a performance, confidence is greatly increased. Much of the spice of the act is by innuendo. If thought necessary, these innuendos may be omitted without detraction. For instance, instead of pro­ ducing the Queen of Spades from behind the knee, produce the King of Spades; on the front of the deck have the Ten of Diamonds instead of the Queen of Diamonds; don't draw attention to the small blue silk. And so concludes what has been a happy task. The reader has been shown how to present a com­ plete short act. There has been no beating about the bush and only what was essential has been written. Beginners with these instructions get right down to tin tacks without wasting money on useless tricks and then trying their inexperienced hand at making presentable acts. Here professional experience has been availed of and now beginners have been brought to the threshold of a fascinating new world -—the realm of conjuring. The author only hopes it brings his readers the joy it has brought to him.

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