Terri Rogers - More Secrets

MARTIN BREESE I KENSINGTON PARK ROAD, NOTTING HILL GATE, LONDON W11 2ER TEL: 01-727 6422

MAGICLOSEUP £t MAGICASSETTES

MORE SECRETS BY TERRI ROGERS Written by Terri Rogers Illustrated by David Britland Published by Martin Breese ()Copyright Martin Breese, 1988. All rights reserved. No part of this book may be reproduced or utilised in any form or by any means electronic or mechanical, including photocopying, recording or by any information storage and retrieval system without permission in writing from the publisher. Martin Breese: 164 Kensington Park Road, Notting Hill Gate, London W11 2ER, England.

Printed and bound in Great Britain

TO STANLEY HAMMOND, RON BISHOP AND VAL DUVAL from whom I learned the meaning of presentation and without whom?

INTRODUCTION I hope you enjoy this my second book. The success of the first book SECRETS has led me to believe that the format must have been right. So here is more of the same, over twenty ideas and tricks covering cards, rope and mentalism. If I tried to think of the one thing that influenced my thoughts towards a finished effect I suspect it might drift into dozens of areas so, rather than bore you with the thought processes that went into the evolution of each item, I will only mention who, if anyone, put a thought my way. Thanks are in order once again to Martin Breese who pushed, paid and published this magical mix of mine and to David Britland for his enthusiasm, help and knowledge. Terri Rogers

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CONTENTS

SUM SUM

PAGE NO SUM SUM................................................. 3

This illusion of a truly open prediction of a sum of numbers chosen by the audience is a stunner even to those in the know. I have used a couple of familiar ruses but there are new and dishonest twists and turns to be found.

TITLE

ROPE DISASTER OF 1984 ................................... 8 ALWAYS IN THE MIDDLE ................................... 15 RING IN EGG TIMER...................................... 20 THE ECHO COUNT......................................... 23 MOUSE-FISH-TEERS....................................... 26 HUMMEROUS PHONEY TELEPATHY ............................. 30 THE SPIRIT MOVES ....................................... 34 OFF KEY MAGIC.......................................... 40 JIGGERY POKERY......................................... 46 FALSE WITNESS.......................................... 50 KIDNAPPED.............................................. 56 GRAB GAMBLE............................................ 61 SQUARING ............................................... 64 MULTABLE............................................... 69 TRY THIS............................................... 74 IN CLOSING ............................................. 79

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EFFECT: Sixteen small numbered plaques are distributed amongst four spectators. A special transparent display unit with sixteen pockets is shown and attached to a white board. At the bottom of the board is a five figure number - 26,664. Each of the spectators chooses a plaque and then decides in which pocket of which row the plaque is to be placed. The spectators are certain that they have a free choice in the matter. When all sixteen plaques have been placed in the display unit it is turned around and the numbers totalled. Incredibly they add up to the total 26,664 which the performer had so openly predicted. The use of numbers or mathematical effects can send shudders up and down the spines of magicians and audiences alike but here the spectators only have to make a simple addition and, in the hands of a good mentalist, this effect can be a great applause getter. REQUIREMENTS: 1: A square transparent display unit containing four rows of four pockets. These are obtainable from coin-collectors suppliers. They usually have five rows of four pockets and you need only cut off one of the rows to arrive at the prop illustrated in the first diagram.

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2: The sixteen plaques fit into the pockets. They are constructed from the plastic card that is sold in art and hobby shops. Each plaque bears a number on one side and a question mark on the other side. However, unknown to the audience, the question marks are printed at right angles to the numbers (2). Use transfer lettering such as Letraset to produce the numbers and question marks. The plaques can then be covered with transparent matt film to protect their surfaces. 3: A white Velleda board. This is a board covered with write and wipe plastic. See THE SPIRIT MOVES elsewhere in this book if you're not familiar with Velleda. You'll also need a Velleda pen. 4: A large bulldog clip, a music or display stand and four pay envelopes complete the list of props. METHOD: The plaques are divided into four groups and each group placed into a different envelope. Group 1 consists of the numbers 9-7-5-3. Group 2 are 0-9-7-8, group 3 are 8-6-6-4 and group 4 consists of 2-8-5-9. The transparent unit is clipped to the Velleda board with the bulldog clip and this is set on the display stand (3). You start the trick by choosing four spectators and asking them to select an envelope each. They open the envelopes and find that each one contains four plaques each of which bears a number. Ask the spectators to turn the plaques over so that they can't see the numbers and then mix them. As they do this you detach the display unit from the stand and hold it up so that the rest of the audience can see that it is transparent. Explain that it is made up of sixteen pockets into which the sixteen number plaques will be placed. Clip the transparent unit onto the Velleda board and announce that you will make a prediction. With the Velleda pen write the number 26,664 on the board just below the transparent pockets. 5 4

The first spectator, this can be any of the four spectators as long as you remember who it is, is asked to choose one of his plaques and hand it to you. He then nominates a horizontal row on the transparent unit and a pocket in that row. The chosen plaque is inserted into the pocket with the question mark facing the audience and the correct way up. The spectator shuffles his remaining three plaques and hands them to you one at a time and chooses which pocket in his selected row the plaques should be placed. So, to recap, the first spectator chooses a horizontal row on the unit and freely selects in which order his plaques should be placed in that row.

corner. The numbers are now the correct way up and all the vertical columns will total 24. You can now clip the unit back against the board and hand it to a spectator for totalling. He will agree that the total matches your prediction of 26,664.

You repeat this procedure with the second and third spectator. Each chooses one of the remaining rows and freely arranges his numbers into the four pockets. When you come to the fourth spectator there will only be one row remaining but he can still determine the order of his four plaques before they are inserted into the pockets. At this point let me explain what has been happening as far as the mathematics of the effect are concerned. Let's look at the example shown in (3). Each set of four plaques adds up to a total of 24. As long as the spectators follow your directions each horizontal row will total 24. However, because the numbers are printed at right angles to the question marks on the backs of the cards, the horizontal rows become vertical rows when the transparent unit is turned around. Now, when the numbers are added in the conventional manner they will total 26,664, your prediction. When all the plaques are in the pockets, you unclip the transparent unit from the board in the following manner. The right hand finger and thumb take hold of the top right corner of the transparent unit and it is pulled clear of the clip. Relax the right hand grip and allow the unit the fall and hang in a diamond shape. The right thumb and finger now turn the unit around so that the numbers are facing the audience and the corner that is now on the left hand side is lifted so that is level with the right hand 7 6

ROPE DISASTER OF 1984 This routine was the highlight of my lecture in 1984. A series of surprises that get weirder and weirder until the performer finally accomplishes what he set out to do. I will give you a detailed description of the effect and this will also serve to outline the presentation. EFFECT: The performer holds a length of soft white rope so that the centre portion forms a loop which protrudes from the top of his closed fist. The ends of the rope hang downwards and the rope is obviously ready for cutting in the traditional cut-and-restored manner. The performer, obviously at a loss for something, starts to search his pockets looking for a pair of scissors as he says, "Ladies and gentlemen tonight you are about to witness one of the classics of magic namely the 'Cut and Restored Rope Trick'. But, unlike other so-called magicians, this socalled magician does it differently...." The performer transfers the loop of rope (the centre) from the right hand to the left and then throws the ends of the rope over his shoulder. Now, with his free right hand, he continues to search his pockets for the missing scissors as he continues to patter. ...mainly because this so-called magician seems to have mislaid the scissors. Never mind, with your help I will try to give you an idea of what usually happens." Extending two fingers of the right hand in a scissor-like fashion the performer says, "I want you to imagine that these two fingers are a pair of scissors and that I am cutting this piece of rope in half." 8

He mimes cutting the loop of rope but nothing happens. "Okay. Now I want you to imagine that the rope has been cut and that two ends are sticking up above my fist. Trust me please, you trusted your insurance agent didn't you? Forget I said that." Extending his open right hand the performer says, "With this unprepared hand I am now going to attempt to join these two pieces of rope together. Watch." The magician covers the centre of the rope with his hand but, to his horror, when the centre of the rope is uncovered it is seen to be in two pieces. Confused, he stares at his hand then at the rope, gathers himself together and says, "Have you ever had one of those days? Watch me and my hand as I now join the two pieces together." He quickly covers and uncovers the two ends of the rope but nothing happens. Thinking quickly, he adds, "Ladies and gentlemen, with this hand and these teeth I will now join the two pieces of rope." He openly ties the two pieces together but now things get a little strange. The knot transfers itself to the performer's thumb. The performer examines this and allows the ends of the rope to fall so that the rope is hanging over his shoulder. "Well you have to admit that's novel." He casually throws the knot over his shoulder and then, taking one end of the rope in either hand, he pulls the rope from his shoulder so that its whole length is now in view. To his surprise, there, in the centre of the rope are tied the scissors that he was looking for earlier. "Ah that's where they were. I remember now." Not only that but the rope appears to be double its original length. "I'm sure it wasn't this long when we started." "Now we can start." The performer unties the knot to release the scissors and places them under his armpit while he displays the cut rope. "As I was saying, I would 9

like to present one of the classics of magic 'The Cut and Restored Rope'. Now watch." He retrieves the scissors and snips away at the knot still in the centre of the rope until it finally vanishes leaving him with one length of rope. PREPARATION: You'll need an eight-foot length of soft white rope. One piece eight inches long and another piece that is nine inches long. You'll need one pair of scissors to use in the routine and another pair of scissors to help prepare the trick. Be very careful that you don't cut yourself when preparing the rope. Take the eight-foot length of rope, double it in half to find the centre and hold the resulting loop so that it projects above the left fist. Thread the nine-inch piece of rope through the loop and pull the ends upwards. Thread the ends of the nine-inch rope through the finger holes of the scissors you are using in the routine and then tie them into a tight knot (1). The scissors are now tied to the centre of the eight-foot length of rope. With the working pair of scissors trim the ends of the nine-inch rope until there are only two two-inch pieces projecting from the knot. Grip the closed blades of the tied scissors in one hand and with the other hand grip the two lengths of rope below the knot. Pull on the rope quite firmly and proceed to wrap it around the blades, keeping the rope as flat as possible to the scissors. When you are about half an inch from the end of the blades start binding the rope back up over itself and towards the finger grips again, keeping the rope as flat as possible and free of twists. When you reach the two finger grips, tuck the rope between them and pull (2). Take the eight-inch piece of rope and tuck its two ends under the binding rope and as close to the finger grips as possible.

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METHOD: Although this routine is full of surprises there are only five moves required to bring them about and none of them are difficult. Study the moves and then refer back to the effect to see how the routine is presented. Prepare the rope before you enter by removing the eightinch piece from where it was tucked for traveling. Unwind two two-foot lengths of rope from the scissors and arrange things as shown in (3). The eight-inch length of rope protrudes from the top of the right fist and the two twofoot lengths hang from the bottom of the fist. The scissors are blades uppermost. It looks as if you are holding a doubled length of rope. 11

i Enter with the rope in position and begin your patter. Your first task is apparently to toss the ends of the rope over your left shoulder. In fact it will be the centre of the rope, complete with scissors, that will hang out of view behind your back. Do this by appearing to transfer the centre of the rope from the right to the left hand. The left hand runs down the rope and takes it by the ends. Bringing them up to the same height as the right hand you appear to bring the hands together and exchange ends. In fact you only pass the loop of rope across to the left hand (4). Immediately you take the right hand up to your left shoulder and drop that end of the rope behind your back. The weight of the scissors unravels the rest of the rope. Done casually, as you patter, the switch will go unnoticed. You're set to begin the cut-and-restored phase of the routine. Start the patter about losing the scissors and go through the business of getting the audience to imagine that your fingers are the blades. Continue the pretence by miming the restoration of the imaginary cut rope. Here you have your first surprise as the rope cuts itself. You do this by reversing the position of the short piece of rope that protrudes from the fist so that it looks like two cut ends. Briefly cover the left hand with the right palm and then lift the left thumb and position it in front of the loop. Pull the loop free by moving the left thumb towards yourself, allowing the ends of the short rope to pop into view (5 & 6). Pull the end of the short rope back into your fist before moving the right hand away from the left and allowing the spectators to see that the rope has been magically severed (7). Tell the spectators that you intend to restore the rope to its former condition. Here you appear to merely tie the ends of the rope together but actually tie the short length around your left thumb (8). As outlined in the effect you move your left hand forward revealing that the knot is now around your thumb. The ends of the rope are allowed to fall back against your jacket so that the rope is hanging over your shoulder.

Pause and explain that the knot should remind you of something before slipping it off the thumb and throwing it away. Take one end of the rope in each hand and slowly pull the rope back into view. The spectators should realise that the rope has somehow become twice its original length. To cap it all the scissors suddenly pop into view, tied between what appears to be two lengths of rope. Comment that the rope appears to have doubled in size but at least you've located the scissors. You untie the scissors from the ropes. Remember you are supposed to have two lengths of rope, knotted together with the scissors at their centre so do handle them as such. With the scissors free, you knot the short length around the centre of the long length in the usual cut-andrestored slip knot fashion. Trim the ends of the knot and vanish what remains to end with one fully restored rope. Most Cut & Restored Ropes end up shorter at the finish, this one ends up longer.

ALWAYS IN THE MIDDLE A variation of Trevor Lewis' Monte Plus ruse and a little bit of Dai Vernon psychology are used to construct a very convincing version of Find The Lady. EFFECT: The elusive Queen of Hearts can never be found when mixed with two Jokers. After several wrong guesses the spectator is given a cast iron certainty but still gets it wrong which is strange because you finish by showing him that you were using three Queens all along. SET-UP: You require three Queen of Hearts and one Joker. Place one Queen in your top pocket and set the other three cards up in Queen, Joker, Queen order. METHOD AND PRESENTATION: Bring out the three-card packet and hold it in a face down spread in the left hand (1). You now use the following variation of Trevor Lewis' Monte Plus to show that you apparently have two Jokers and one Queen. The right hand turns palm down and grips the upper two cards of the spread (2). These two cards are removed and the right hand turns palm up, rotating at the wrist, to bring the two cards face up. As the turn is made the right thumb pulls the lower card of the pair to the right and the right fingers push the upper card to the left as in the usual Two Card Monte effect. Set the two cards face up on the face down card in the left hand (3). The spectators can see that the middle card of the three is a Queen and the upper card is a Joker. To turn the two cards face down you repeat the sequence, the right hand taking the two cards in a palm down grip and rotating the cards to a face

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down position. The two cards are slid across each other as before so that you arrive back at your original starting position. So far the spectators have only seen two of the three cards. Transfer the three-card fan to the right hand and then take the two lower cards in-between the thumb and fingers of the palm down left hand (4). Turn the left hand palm up to bring its two cards face up and in doing so push the lower card to the right with the thumb and pull the upper card of the pair to the left with the fingers. Place the two face up cards below the right hand face down card (5). It appears that you've shown the lower two cards of the fan and again the spectators see that a Queen is the middle card. You appear to have shown all three cards, a Queen surrounded by two Jokers. Repeat the move to bring all three cards face down and back to their original position.

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Very slowly and deliberately deal the three cards face down in a row, from left to right with about two inches between neighbouring cards. If you were to ask the spectators to point to the Queen they would indicate the centre card. It's better, however, to make them think you have something else up your sleeve. So, with the forefingers of each hand, openly switch the middle card (Joker) with the right hand card (Queen). The spectators should now think that the Queen is on the right. Ask one of them to try and point to the lady. When he indicates the right hand card, turn up the centre card to reveal the Queen as you say, "She is always in the middle." If the spectator tries to be awkward then, thanks to Dai Vernon, it doesn't really matter because whichever card they point to you can always show the Queen to be elsewhere. You do, after all, have two Queens on the table. Assuming things go well and that the spectator does indicate the right hand card you can of course turn it face up and reveal it to be a Joker.

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Gather the cards up by placing the face down card (left end of row) in your left hand. Pick up the face up Queen (centre card) and place it on top of the left hand card and finally drop the face up Joker (right end of row) on top of the two cards in the left hand. Spread the cards in a fan and then turn the upper two cards face down by executing Trevor Lewis' Monte Plus as described earlier. This sets the cards back in their original order with the Joker in the centre. If you feel it necessary you can repeat the initial display of the three cards before once again slowly dealing them into a face down row on the table. This time switch the centre card for the card on the extreme left and ask the spectator to point to the card he thinks is the lady. He will point to the left hand card and you can turn it face up to show it is a Joker. Turn the centre card face up to reveal it as the Queen. This time gather the cards up from right to left, placing them in the left hand and executing Monte Plus to turn the upper two cards face down. The Joker is once again the centre card of the face down packet.

You have two cards on the table which the spectators think are Jokers. They are in fact both Queens. Place your forefingers on the cards and switch them around a couple of times, asking, "Okay, you cannot possibly go wrong now, which one is the Joker?" Whichever the spectator points to you turn it over and stare in disbelief as you show it to be a Queen. "Wait a minute, what's happened here?" Quickly take out the Queen from your top pocket and place it face up on the table and then turn over the remaining face down card and show that it too is a Queen. Look up at the spectator and say, "How on earth did you ever get it wrong?" NOTES: Those of you who read 'SECRETS' will remember 'The Chinese Twist' routine. If you want a real teaser to end that particular routine then at the finish remove the two face up red backed Jokers from the pack and place the scab card face up between them. Perform Trevor Lewis' Monte Plus as described in 'Always in the Middle' to show that the scab card has a red back and the Jokers have blue backs. Drop the three cards face up onto the table and then turn the Jokers face up to reveal that they now have red backs as well.

Deal the cards to the table, from left to right, as before but don't switch any cards around. Instead, say, "Maybe you need a little help here. I think you may have better luck guessing where the Jokers are." Pick up the centre card of the row, saying, "And to make that even easier let me get rid of the Queen," and put it in your top pocket. In fact you push this card down into the pocket and pull up the Queen already there so that it is in view. Hesitate for a second before taking the Queen from your top pocket and showing it to the spectators, saying, "I wouldn't fool you, would I?" The spectators would have in mind that you weren't taking away the Queen but now you have allayed their suspicions completely and also set up the finish to the trick. Replace the card, back towards the spectators, in your top pocket and allow it to protrude so that it is always in view.

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RING IN EGG TIMER EFFECT: The performer borrows a finger ring which, as you might expect, disappears despite assurances from the magician as to its safety. The ring is discovered inside a large egg timer. This is quite extraordinary because the egg timer doesn't have any holes or any other way into it. It appears to be genuinely sealed just like a real egg timer and indeed has to be broken before the performer can return the ring to its owner. METHOD: This effect started out as a conversation with David Britland. He told me about an effect he had been thinking about for some time which used a borrowed ring and an egg timer. He wanted to make a ring transfer from the upper part of the egg timer to the lower, squeezing through the small neck of the timer with the sand.

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I took a different tack and came up with the following method of getting a borrowed ring into what appears to be a hermetically sealed egg timer. John Fisher bought the effect for use on the Paul Daniels TV show but, as is often the case, the original idea had to be altered in order to fit in with television requirements. Here then is the original method. The timer consists of a wooden frame and two glass globes. There is a hole in each globe which is just large enough to take a finger ring. The globes are set in the wooden frame, holes edge to edge to form the neck, as shown in (1 & 2). One of the globes is partially filled with sand (dry sand) or a sand substitute. You can see that the only way into 20

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the globes is through the small holes that constitute the neck through which the sand will run. With that in mind the lower globe can be pivoted within the wooden stand so that the hole can be accessed and the borrowed ring dropped into it (3). That then is the solution. There is a hole in the egg timer but after the ring is dropped inside the lower glass globe, the globe is swivelled back into position until the hole aligns with the hole in the upper globe and forms the neck. Small glass knobs on the lower globe enable you to swivel it within the stand. I had several models made up for the Paul Daniels show and they worked quite effectively. A trip to your local glassblower will provide the glass globes. They are not overly expensive although obviously because you have to smash the globes to get the ring back this is not a trick you are going to use all the time. Save it for those special occasions when you really have to impress. The egg timer can be set up under a silk handkerchief, the lower globe rotated back. Vanish the ring by any method appropriate to your presentation and then uncover the egg timer. As you remove the silk you drop the ring inside the lower globe and rotate it back into position. Turn the egg timer over, apparently timing how long it will take for the ring to reappear or whatever, and allow the sand to trickle from one glass to the other. The ring should go with it, burying itself completely. When you are ready you can draw attention to the egg timer and shake it until the spectator can see the ring lying in the sand. You must make the most out of the fact that there appears to be no openings into the timer. If you don't do this then the whole thing is pointless. Eventually, smash the glass to retrieve the ring.

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THE ECHO COUNT

I evolved this count some five years ago. It's used in the MOUSE-FISH-TEERS routine which follows so I think a description is in order. Using the Echo Count you can take three different playing cards and show them to be all identical. 1: Hold the three cards face down in the left hand dealing position. Spread the cards with the left thumb so that they are about half an inch apart (1). 2: With the right second finger and thumb get ready to turn over the top card. The right thumb is at the inner right corner and the right second finger at the outer right corner of the top card. Pull the card free of the left thumb and turn it over, book wise, regripping it below the left thumb when the card is face up (2).

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You now have only two cards in the left hand. Execute steps 1 to 4, showing the top card again and switching it for the card below it before placing a card on the table next to the first. 6: Turn the final card over in the same book fashion before placing it next to the two cards already tabled. You've shown all three cards to be identical. You can repeat the Echo Count to make the packet change to three other identical cards and then make the cards change once more. The moves should be done smoothly and without hesitation.

3: Repeat step 2 to bring the card face down again but move it further left as it turns face down. 4: Moving the card to the left means that the second card is now the one projecting furthest to the right. In a continuing action the right second finger and thumb grip the second card of the packet and pull this to the right until it is clear of the other two cards (3). It is similar to executing the Koran Top Change except you are doing this immediately the card is turned face down. The left thumb pulls the top card to the left slightly so that the withdrawal of the second card from the packet is fumble free. Place the card now in the right hand face down on the table. The spectators think it is the card just shown. 24

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MOUSE-FISH-TEERS The idea for this routine came about in the strangest way. It happened when I heard a comic insult a pop star in a humorous (?) manner. He suggested that the pop star, who was a favourite of mine, had been put together by spare part surgery. With that weird thought in mind I set to work on this offbeat effect. The story line is quite funny and the routine is magically strong. Additionally, the only sleight used is the Triple Echo Count described earlier in this book. EFFECT: The performer tells a story based on inventing a version of the famous Three Card Trick. He shows three cards, each bearing an identical picture of a famous character. The pictures change twice before finally being arranged together to produce an altogether different picture depicting the elusive lady. PREPARATION: Copy, onto blank cards, the three pictures shown in the illustrations. Use transparent self-adhesive film to protect the surface of the cards after you have prepared them. Bark the backs of the cards so that you can identify each one. PRESENTATION: The patter should make the mechanics of the trick fairly obvious. Each time you show the three cards to be all alike you are using the Triple Echo Count. The cards are marked on the back so you can always get the necessary card to the top of the packet in preparation for the Triple Echo Count. Make sure that the drawings are the right way up for the spectators to view them as the Count is made. 26

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Take out the cards face down with the Mouse card on top. "Ladies and gentlemen, a few years ago a young magician asked me to invent a three card trick for him. Without any hesitation I whipped out three cards. 'How about this?' I said."

Deal the cards face up onto the table and arrange them to form the lady shown in the illustration. Finish with, "And before you say anything... her name is Gertrude, she's got acne, halitosis and no money."

Execute the Triple Echo Count to show three Mouse cards as you say, "Once upon a time there were three blind mice." "'Hang on,' he says. 'I don't like that.' 'What's the matter?' I said. 'That's sick that is. I've heard that one before. They're blind aren't they? And doesn't the farmer's wife cut off their tails with a carving knife? Ugh... I hate cruelty to animals. I can't have that.'" "'Oh dear,' I said. Or words to that effect. 'Well, how about this?'" Pick up the cards and cut the Musketeer card to the top of the packet before executing the Triple Echo Count once more, saying, "Once upon a time there were three musketeers. One, two, three... 'Hold it,' he shouted. 'I can't have that either. I've read that book, they murder two dozen people in the first chapter. That's horrible. Oh no I hate violence in my card tricks.' 'Yes I thought you might,' I said." Pick up the cards and cut the Fish card to the top before executing the Triple Echo Count for the third time, saying, "There were three little fishes. 'Stop,' he cried, 'I don't want to see any more, it's sick I tell you. Poor little devils swimming over a dam and getting eaten by sharks. Oh no thank you, I hate cannibalism and cruelty to fish. I've got a good mind to report you to the R. S. P. C. F.' 'A good mind?' I said, but he was too busy drying his handkerchief." Mix the cards nervously as you say, "After a while I plucked up enough courage to ask him what sort of three card trick he wanted. 'All I wanted was a new kind of find the lady,' he sniffled.' Well why didn't he say so earlier, look."

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HUMMEROUS PHONEY TELEPATHY Bob Hummer's magic is a source of endless delight. Many people have created miracles using his thinking as a foundation. In my last lecture notes there was an item called 'Hummerisk'. It was a new working of the Hummer classic 'Mental Monte'.

There are three stages to follow in order to determine which is the chosen object. The first stage is to get the object into a predetermined position and for that we must thank Karl Fulves. Having asked the spectator to get three objects the patter would be something like this, "First of all have you got three small objects, say a matchbox, lighter or some coins. Anything will do. Just tell me what the objects are in order that I can pick up the shapewaves." Memorize the names of the objects and choose the most prominent one as your mental key. In this example we will use a lighter as the key object and assume that a paper clip and a coin are the other two.

In the original Hummer miracle, and all of the very clever versions since, the performer had to have sight or knowledge of the start and finish position of one of the objects. In this improved (?) version the performer needs to know nothing other than the objects being used. It also features a ruse which enables you to actually determine the name of the chosen object.

"Place the three objects in a line from left to right in front of yourself. Arrange them in any order you like and tell me when you are ready." Wait for a reply.

The trick need not be performed solely over the telephone. Its great strength lies in the fact that it is a useanything-anywhere routine.

"Good... now if you can, exchange the paper clip with the object on its right. If there isn't an object to its right just leave it where it is and say nothing. Tell me when you have finished."

EFFECT: With the spectator at the other end of a telephone the performer is able to divine which of three freely chosen objects the spectator is thinking of. Note that the objects start off in a random order which the performer does not know, the spectator freely chooses an object yet the performer can always name the thought-of object at the finish. METHOD: If you follow the series of instructions given here the chosen object will always end up in a position known to you. Unless you don't mind having a costly phone bill I suggest you get a friend, turn your back to him and practise that way. You don't need to work out why the routine works, just trust me that it does. 30

"Now I must tell you not to say anything that may give me a clue other than to tell me when you have finished doing what I have asked. Do you understand?"

"Okay, now, if it's possible, exchange the lighter (the key) with the object to its left. If it isn't possible just leave it where it is and let me know when you're finished." "Would you now, if possible, exchange the coin with the object to its right. If not just leave it where it is and say nothing. Tell me when you have finished." At this point the lighter (key object) is on the left of the line. The second stage is to get the chosen object into the central position. 31

"Now choose one of the objects. Just think of it and tell me when you have it firmly pictured in your mind." Wait for the spectator's reply.

and ask them to mix the cards then each take one and remember the number it bears. Do the routine as outlined but with the spectators exchanging the number cards. You will always be able to discover the location of the lady.

"Now, to cement it into your mind, switch the other two objects for each other. Tell me when you have done that." "Exchange the lighter (key object) with the object to its right if you can. If you cannot, then just leave it where it is and do not say anything other than you have finished." At this point the chosen object is in the centre of the line. You could stop here but the third stage allows you to actually name the chosen object. "Just to check that you are following my instructions can you tell me if it is possible to switch the lighter with the object to its right?" If the reply is "Yes" then you know that the spectator chose the lighter. Tell the spectator to make the switch and then go into the revelation. If the reply is "No" ask the spectator if it is possible to switch the coin with the object to its left. If the reply is "Yes" then the coin is the chosen object. If "No" then the paper clip is the chosen object. Once you know the thought-of object don't just blurt it out. You've worked hard so make the revelation as effective as possible. Ask the spectator to hold each object in turn to the ear piece of the telephone in order that you can pick up the shape-waves. After a little time, announce the name of the chosen object. It is possible to make this routine into a full stage effect using people in a sort of real life version of 'Find the Lady'. Get three volunteers, two men and a lady, and present them with three cards. Each is numbered (from one to three). Turn your back on the assisting spectators 33 32

THE SPIRIT MOVES This routine uses the erasable marker pens described in my booklet 'WIPE OUT'. It makes use of a very natural or should I say supernatural way of wiping off the ink. EFFECT: The spectator selects a playing card and places it in his pocket. Using a Ouija board the magician attempts to contact the spirits and ask them to disclose the name of the selected card. After some confusion the spirits respond by writing the name of the selection on the Ouija board. REQUIREIMENTS: You will need a Velleda (there may be other makes available) marker pen and some transparent plastic Velleda covering material. You can write on the covering material with the Velleda pen and then erase the ink by merely brushing it off with your hand. These marking materials have many of the properties of the once popular 'It's A Pip' fluid. A visit to a large office stationery store should prove fruitful. The Ouija board is made from a blank piece of card measuring approximately four inches by three. With a permanent marker draw the design illustrated in diagram 1. Cover the card with the transparent Velleda film and then alter the design to that shown (2 & 3) using the erasable Velleda marker. Place the prepared Ouija board in a small folder or wallet so that you don't accidently wipe off the ink before you perform the trick. With a permanent marker pen write on either the Two of Hearts or Two of Diamonds, from the pack you intend to use, the following message, "IT'S IN HIS POCKET YOU TWIT." 34

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You'll be using a Joker in the trick. If you wish you can dress the Joker up a little by making it look a little spooky or giving it a skull face. It's up to you and makes no difference to the mechanics of the effect.

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Set the pack so that you have the Joker on top followed by the message card and then the Jack of Clubs (this will be your force card). Place the pack in your left jacket pocket and the wallet and Ouija board in the right pocket. You'll need to be working on a close-up mat, or dark table cloth, because you'll use it to erase the ink on the Ouija board. METHOD AND PRESENTATION: Take the cards from your pocket, remove the top card (the Joker) and place it face down on the table. Casually shuffle the deck but keep the top two cards in place. Finish by Double Undercutting the top card (message card) to the bottom. This leaves the Jack of Clubs on top of the deck in position For forcing later. Whilst you are shuffling the deck you say, "You may well wonder how we magicians bring about some of the amazing effects we do. In most cases you would not believe us if we told you. Still, it is only fair to tell you that I personally have to have outside help in the shape of spirits. They have not always been kind I can tell you... I well remember the time my father went on holiday abroad and drunk so much spirit that we had to pay duty on him to get him back in the country. But I digress. I would like to demonstrate just how helpful my little spook can be with the pasteboards. Would someone like to help?" You now force the Jack of Clubs on the spectator using a Bill Simon force from 'Effective Card Magic'. Say to the spectator, "All you have to do is choose one card and the way we do this is to ask you to push this Joker into the middle of the pack and whichever card it is on top of will be yours." Pick up the tabled Joker and hand it face down to the spectator. Hold the deck tightly at the inner short end. The spectator will be able to push the Joker into the 36

outer short end of the deck but because of your grip he will be unable to push the Joker more than half-way flush. At this point you take the pack and protruding Joker from the spectator and start to spread the cards between the hands. Split the spread so that the Joker is outjogged on top of the lower half in the left hand. The right hand holds the upper half of the pack. Say, "Wait a minute let us see the face of the Joker to avoid any confusion," and extend your right hand beyond the left and turn it palm down towards you. The right hand takes the Joker, clipping it between the right thumb and packet, (4) from the left half of the pack and then turns back to bring the Joker face up (5). This is the first time the spectators have seen the face of the Joker. If you have made up a spooky Joker then here is the time to make some remark such as, "Oh look, the spirit's left his calling card."

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Drawing attention to the Joker gives you the slight delay necessary for the force to be effective. Casually place the right hand cards, including the face up Joker, under the left hand cards. At this point the card directly below the face up Joker is the Jack of Clubs and the card directly above the Joker is the message card. Once again spread the cards between the hands and split the spread so that this time the Joker is projecting from the bottom of the upper half of the deck. Extend the left hand packet and ask the spectator to take the top card and, without looking at it, put it in his pocket. Place the left hand cards on top of those in the right, remove the Joker from the bottom of the pack and put it in your right pocket. Remove the wallet at the same time and table the deck. The message card is the bottom card of the deck. Spread the deck around the table, forming a circle of cards and leaving the message card in a prominent position so that you can easily locate it later. Open the wallet, show the Ouija board on both sides so that the spectators will know later that it did not have the name of a playing card written across it when you started and place it Velleda side down in the middle of the circle of cards. Say, "I would ask you to be very quiet during this part of my performance. Sir, I will need your help again. Would you join me and the spirit by placing your little finger on the back of the Ouija board and do not remove it until I tell you. I can assure you that it is quite safe." As the spectator reaches to touch the board, scream as loudly as you can saying, "A-A-RGH... my feet are killing me. Sorry about that." This should get some kind of reaction. When you both have your fingers on the back of the Ouija board start looking blank, staring into space, and in your best trance-like manner say, "If there is someone out there move to the right. And if there isn't anyone there move to the left." Look puzzled and then say, "Forget that... if you are not there you will not be able to move 38

anything." Start to push the Ouija board around the table and then say, "Ah the spirit is with us." Halt the board in the centre of the circle. "Can you help us find my friend's chosen card?" Start to move the board around and finally push the message card out of the circle. "Thank you, I couldn't have done it without you." Turn the card over to reveal the message, "IT'S IN HIS POCKET YOU TWIT." Look sheepish and say, "Yes, yes, of course... but can you tell us in some way which card he selected?" Start to move the Ouija board around in a circle, faster and faster finally coming to a sudden stop. In fact you're just guaranteeing that all the Velleda ink will be wiped off the underside of the board. Look slightly baffled, shrug your shoulders and say, "Thank you for the help, that's terrific." Then to the audience, "I wonder what that's all about? Is that it? WHAT ON EARTH?" At this point you move your fingers back from the Ouija board and then suddenly push them forward again under the board. This will make the board flip over. No one will see you make this move, they'll be looking at and listening to you. Jerk your hands back from the board as it flips over and let everyone see that the spirits have actually revealed the name of a card. Ask the spectator to remove the card from his pocket and confirm that the spirits have guessed correctly. If you don't want to go to the trouble of flipping the board over or find difficulty in doing this (You have to practise with someone else pushing down on the opposite side of the board) then, with a weary look on your face, say, "I don't know about you but I've had enough spirits for now." Openly turn the Ouija board over to reveal the name of the card and finish by asking the spectator to remove the selection from his pocket.

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OFF KEY MAGIC The basic idea for this trick was shown to me by Mel Stover. I've admired Mel ever since I began an interest in mathematical recreations. Over the years he has contributed many ideas to magic but his real interests are chess and the collecting and inventing of puzzles. Mel lives in Winnipeg, Canada, a fact which seems to be mentioned every time his name crops up and leads me to suspect that he is getting some sort of commission from the Winnipeg Tourist Board. However, every now and then he manages to visit England and treats those of us that have an interest in mathematical effects to a performance of his latest brainchildren. On his last trip he showed me a chain and key puzzle he had invented. A couple of days later I was able to show him the following effect, developed from his original puzzle, and he kindly gave me permission to publish it in this book. EFFECT: A chain necklace is shown from which hangs a large key. The necklace is placed over a spectator's neck and then the key is made to penetrate right through the chain. The chain is a continuous loop and the key is unfaked. REQUIREMENTS You'll need a loop of chain which is long enough to go twice around your neck and hang at least ten inches below your chin. The key is a large Yale type, the kind found on twenty-first birthday cards. If you can't obtain the right kind of key then you could always use a medallion which has a hole through which the chain can be threaded.

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METHOD: I'll explain how the mechanics of the trick work and then detail the presentation. First, thread the chain through the hole in the key until the key is hanging midway between the looped ends (1). Place the two loops over the left hand (2) and then place your head between the loops and thus arrange the chain around your neck (3). The chain passes twice around your neck and the key appears to be held in place quite securely. In fact you can't remove the key from the chain without removing the chain from around your neck.

During the trick you will allow the spectator to see that the key is genuinely secured by the chain. However, when you remove the chain from your neck, in order to hang it around his, you secretly change the way in which the chain and key are threaded together. The new arrangement will allow you to remove the key and leave the necklace around the spectator's neck. When you are ready to remove the necklace from your neck, you clasp the key with your right hand, inserting the right thumb between the chain that enters at the front of the key and the chain lengths that enter the back of the key (4). The right second fingertip contacts the right thumb to enclose the front lengths of chain. The left hand grips the double length of chain at the back of the neck and pulls the loops over your head. Keep a tight grip on the two loops as the neckace is removed. Now comes the most important part. The right hand is raised so that the key slides down the chain to the left fingers. At the same time the loop of chain that hangs over your right thumb and is nearest to the right second finger is allowed to slide onto that second finger (5). The second finger and thumb now part to allow the right thumb to enter the loop on the second finger and transfer it to the thumb (6). Knitters will do this easily. Insert your right fingers into the space created directly beneath the right thumb and spread your hand (and therefore the chain) so that you create a loop through which the spectator can place his head. If you were to let go of the two loops in your left hand the key would just fall off and blow the whole effect, so wait until the chain is around the spectator's neck before you do the next securing move. When the key is around the spectator's neck (and only then) slip one loop through the other and pull a little. The natural friction between the lengths of chain will 42

prevent the key coming free. The weight of the key, as it lies against the chain, also helps to keep it in place (7). You can make this arrangement one handed or with both hands as you arrange the necklace neatly around the spectator's neck. A slight tug on the key will free it and leave a double loop of chain around the spectator's neck. Good presentation will make it a memorable effect.

PRESENTATION: This routine is ideal for a lady performer. After all, women have worn necklaces throughout history and if you manage to obtain a good key it will look like a piece of modern chunky jewellery and not a piece of special apparatus. Possibilities for gags are endless. "This is the key to my husband's room. You wouldn't think I'd have a key this big for a kennel." "This is the key to the drugs cabinet (sniff the key longingly and with half closed ecstatic eyes)...I think it's been taking anabolic steroids." "This is a key with an over active pituitary gland." The routine may also be good for a children's entertainer, the necklace being looked after by a little girl. The necklace hangs around her neck and she places her hands on her head to stop anyone stealing the key. You could also use it to augment a substitution trunk routine. A spectator wears the necklace and places his hands on his head to prevent the key being removed. It also prevents him removing the key. After the performer swaps places with the assistant the key is magically removed from the chain and the trunk opened to release the assistant. You needn't wear the key (or medallion) all the time. Instead it can be removed from a small box just prior to your routine. The key is worn whilst you perform a few effects and is only transferred to the spectator when you wish to perform the trick. It has a lot of possibilities but let me detail my own close-up presentation.

Japan.'" Place both your hands on top of your head, choose your victim and say, "See this? This is a head lock. Sir, do you think it is possible to remove the key without breaking the chain, the key, or my arms? Come on, try." If you're a female performer do not ask a man to do this. Trust me, not him. Otherwise let the spectator try for a while and then say, "I am kidding you. I can tell you that it is actually impossible to do. Scientists, physicists and convicts have been trying for years." Take the necklace off as you continue, "When I said that it is impossible to take it off, this does not exclude brilliant magicians. Let me show you." Place the necklace around the spectator's neck using the method explained and have him/her put their hands on their heads. "I like that underarm deodorant you use. You look like an award I got once. There is something missing though." Think a while and then say, "Music, that's it. It's not going to work without musical backing. Can anyone here sing? Now you wouldn't want him/her to go home like this would you? Let's all join in and sing a song... anyone know 'Unchained Melody?'" Then, to the victim, you say, "You're going to wish you had your hands over your ears soon." Get some sort of the key and make key is free and wonderful what a

singing going and carefully take hold of it penetrate through the chain. When the the singing has stopped say, "Isn't it bit of off-key music can do?"

Draw attention to the key on the chain, saying, "Here's an unusual piece of jewellery. It has an interesting story attached to it." Start hunting along the chain for the 'story'. "Hmmm it must have fallen off. Anyway it was something about 'This is the key to my heart, do not remove it unless you mean to treat it with care....Made in 44

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JIGGERY POKERY I marketed this trick on a limited basis some time ago but then a certain famous charge card company, who had been happy to cooperate when the trick was first released, decided that they no longer wanted to be associated with the gambling theme of the effect. In spite of this we managed to sell dozens before they changed their minds. What I have done here is to refurbish the trick, improve a few things and also make the handling easier. EFFECT: In essence the routine is a combination of effects. Cards turn face up one at a time, their backs change colour, messages appear and finally the cards change to poker chips. PREPARATION: You prepare four Aces by sticking coloured contact plastic to their backs and decorating them to look like $100 gambling plaques (1). Take a blank faced red backed card and write "IOU $400" boldly across the face. You also need a red/blue double backed card. Set the cards up in the following order from the top: The double backed card, red side up; the IOU card, red back up; the Aces, face up. PRESENTATION: You tell a story of a nightmare poker game, using the cards to illustrate the strange events that occured. "It all happened on the night I went out with my friend Fingers McGonagle to Slippery Sam's Poker Palace. I suspected trouble when I heard Fingers shout snap as he laid his Ace of Diamonds on someone else's Ace of Diamonds 46

but that was nothing to what was to follow. He asked me to make up a foursome. I wasn't very happy about this as I had already had an unlucky night but I thought nothing ventured nothing gained." "Fingers told me not to look so worried because he would look after me. He never did know much about honesty so I wasn't too surprised at what happened next. Four card blind poker was the name of the game and Fingers was the dealer." "I got my four cards all right but one was face up, and an Ace at that." Elmsley Count the six cards as four. When the Ace appears, upjog it. Slide out the Ace, sideways, from the packet slipping your left little finger in the gap formed as the Ace is removed. Place the Ace face up on top of the packet and then execute a Double Turnover, at the break, apparently to show that the Ace has a blue back. Turn the double over again to bring the Ace face up as you say, "Not only was the Ace face up but the back didn't match the rest of the cards. I quickly laid it aside." Place the Ace face up on the table. 47

"Then, to my horror, I found that another Ace had appeared. I turned it over to find that it too had a different coloured back." This time you Elmsley Count the five cards as four, outjog the face up Ace, strip it out and place it face up on top of the packet, retaining a break as before. Repeat the Double Turnover to show that the Ace has a blue back. Turn the Ace face up and lay it on the table next to the first card.

Fingers grinned, 'You've had your chips Sam, now pay up or else.' Else was the Swedish waitress and there I'm afraid the story ends."

"I'll risk two, I stuttered. The other players mistook my nervousness for lack of confidence in my other cards and bet heavily. I gingerly looked at my hand, it was shaking, wouldn't yours? I still had four cards and a third blue backed face up Ace." Elmsley Count the four cards as four to show three red backed cards and a face up Ace. Strip the Ace out and use a Double Turnover to show a blue back as before. Again the Ace is placed face up onto the table. "As I laid my third Ace down, three of the other players screamed something anti-Russian and a leering Slippery Sam, who had three Kings showing, just sat and looked at me. 'Four of a kind can beat that,' he croaked." Elmsley Count the three cards as four and repeat the moves to show another face up Ace with a blue back. Lay the Ace face up on the table and keep the two cards in the hand squared together. "I looked again at my hand and yes, you're right, I still had four cards left and there was the last Ace face up. The back didn't match but I hoped no one would notice and I placed it on the table with the other three. 'Four Aces,' I called." "'What?' shouted Slippery Sam. 'I don't see any money on the table.' I offered an IOU but he wouldn't take it." Turn over the two cards in the left hand, as one, to display the IOU. Put the cards in your pocket after the spectators have seen the IOU. "'But you do take chips don't you?' said Fingers. Sam agreed but was as amazed as I was when Fingers flipped over the cards to reveal $400 worth of gambling chips. 48

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FALSE WITNESS

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EFFECT: Two spectators are asked simple questions concerning a modernistic sculpture which stands on the performer's table. At the beginning they seem to agree on the details of the sculpture but eventually it becomes clear that they are seeing two entirely different objects. Finally, the performer shows that neither spectator is correct. METHOD: The effect is based on the simple fact that it is not possible to see both sides of an object at the same time. The piece of sculture appears to be two rings held at right angles to one another by a spindle which passes through them both. However, as you can see from the illustration the two rings are in fact made up from one large square. The square is folded to resemble two rings, one set upon the other. The slots in the rings enable them to be threaded onto the support spindle (1). Diagrams 2, 3 and 4 show how the square is transformed into the rings. This topological arrangement is an idea of Lubor Fiedler's to which I have added the business of the colour test. The rings appear to be entirely different colours when viewed from the right or left and it is this that makes the presentation so interesting. The sculpture is mounted on a six inch square baseboard. This baseboard has a strong paper clip at its centre so that the rings can be clipped into place. Around the edge of the board are colour guides to assist you in keeping track of what each spectator is seeing. The apparatus is easily constructed from thin white plastic card, or any other material that will not wear or 50

The sculpture viewed from the side and top. It appears to be two rings, one set on top of the other, through the centre of which is a vertical rod.

buckle, and then coloured with self-adhesive tape. Leave a white border either side of the coloured area. Cut the slots and stick the black squares in position to hide the point at which the colours meet. The working should become obvious from the following presentation. 51

ROUTINE: The performer invites two people with twentytwenty vision to help in a demonstration of 'sleight of vision'. He introduces the two victims to the audience and positions them about seven feet from each other. He then places between them a tall table on which rests an object covered with a silk. or

Addressing the audience the performer says, "One of the truly amazing things about magic are the illusions that people see during a magic show. Ask any magician and he will tell you that no two people in an audience ever see the same thing. Let me show you what I mean. We have here two very good sports, at least I hope they are. I would ask you to both face the plinth, and please DO NOT (MOUE FROM YOUR SPOTS AND DO NOT ANSWER UNLESS I AM TALKING TO YOU." The performer stands behind the plinth and removes the silk handkerchief to reveal the sculpture which appears to be two intersecting rings supported by a rod which passes through the rings and into the stand.

2: The square 3: Bend two sides together 4: Nest the two sides 5: Bend to form a second ring and then nest the outer rings to finish the sculpture

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"I would like you to feast your eyes on this amazing piece of art. It was created by the well known surrealist Salvageall Darlik and is entitled 'Colour Blind'. You can see that the form is very simple... or is it? We shall see." Turning to the spectator on his right the performer asks him, "Can you tell me what shapes you can see here?" The spectator should describe the two rings and the rod.

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The spectator on the left is questioned, "Do you agree with our friend?" and of course says that he does. The performer faces the audience saying, "I think we are all agreed, yes?" and they voice their approval. The performer turns to the spectator on his left and says, "Can you see a red ring." He answers yes and the performer asks the audience the same question. They also shout out "yes." 52

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The performer ask the spectator on his right, "Can you see a green ring?" He says that he can and the same question is asked of the audience. They also agree that they can see a green ring. Turning to the spectator on the left again the performer asks, "Can you see a yellow ring?" The answer, surprisingly, will be yes. He turns to the spectator on the right and says, "Can you see a black ring?" Again, surprisingly, the spectator says that he can.

return to their seats." When the two men have left the stage the magician removes the rings, still covered with the silk, from the stand and moves towards the audience. "You have all disagreed with me in the last few minutes but I have the last laugh because you see you were all wrong." The performer removes the silk and spindle from the sculpture, revealing, not the expected rings, but a large square made up of all four colours. The rings have disappeared.

Now the fun starts. The performer faces the audience and says, "I think we are all agreed, yes?" to which the reply is a resounding no for they can't see either of the colours just named. Astounded, the performer turns to the spectator on the left and desperately says, "Can you see a black ring?" The answer will again be no. Puzzled, the spectator on the right is asked, "Can you see a yellow ring?" The answer is once again a firm no. Taking out a pair of spectacles (without any glass in them) he places them on the spectator before mopping his own brow with a handkerchief. He tries again, still addressing the spectator on the right, "But you can see a red ring?" The answer will again be no. The performer removes the spectacles from the spectator and replaces them with an even larger pair (obtainable from novelty shops). Looking at the spectator on the left the performer asks, "Please tell me honestly, can you see a green ring?" The answer will be no, yet again. Calming down, the performer returns to his position behind the sculpture and covers it with the silk. Smiling he says, "You see, as I said at the start of this battle of the senses, no two people see the same thing. I think these two gentlemen deserve your appreciation as they 54

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"With your permission I would like to illustrate the story not with actors or pictures but with playing cards. Would someone play the part of the casting director?"

KIDNAPPED David Britland showed me his 'Flesh Eaters' routine from his book 'Cardopolis'. I have taken, with his permission, the Biddle Move and card case idea and added some dirty work to create what I have found to be a real applause getter. EFFECT: Two freely chosen and signed playing cards are placed under a card case. The four Jacks are introduced and the two signed cards placed between them. With no obvious false moves the two signed cards disappear from amongst the Jacks. A comedy interlude follows during which the performer unsuccessfully tries to locate the missing cards. Unexpectedly they are found back beneath the card case. SET-UP: The four Jacks are together in the middle of the pack in Hearts, Clubs, Spades, Diamonds order from the top. You'll also need two special gag cards. These are spot cards, one of which has the name Madonna written across its face and the other bears the name Quentin Crisp. These two cards are face up at positions three and four from the top of the face down deck. Use a felt pen, one that has a quick drying ink, to write the names on the cards and have it with you during the performance. PETHOD: Remove the deck from its case and spread the cards face down without exposing the gag cards as you say, "Just to add a bit of spice to the proceedings let me tell you a tale of the triumph of love over parental prejudice. A story that has been retold and enacted throughout history, from Romeo and Juliet to West Side Story and Gretna Green." 56

Spread the cards face up and ask the spectator to remove any two spot cards. Continue, Would you like to give the two character cards names, any names you like... Ethel and Charley... Sam and Janet." Here you get carried away and start singing, "S-a-a-a-men-Janet evening." Ask the spectator to write a male name on one card and a female name on the other. As the spectator does this you remove the four Jacks from the pack and place them face up on the table. Cut the pack at the point from which the Jacks were removed and then place it aside. This centralises the gag cards. Tell the spectator that, "the four Jacks play the four crazy brothers of Mary (naming the spectator's female card) in this little drama. And this (pointing to the card case) will represent a little country cottage. I know it looks like a card box but if I used a real country cottage none of our characters would be able to reach the door handle... some people don't take these things into consideration." "Thanks to our casting director we have our young couple, Claude and Mary. Claude is a real card and Mary one of the loveliest little playthings you could ever wish to meet. They met at a bridge party and he took her to a little cottage in the country." Pick up the two signed cards, square them and place them face down under the card case. Unknown to the spectators you secretly trap the cards between the flap and the underside of the case (1). When you place the case and cards back on the table the flap end is against the table surface and pointing away from you. "The four brothers didn't think a great deal of Claude and didn't trust him with their sister so they followed the happy couple and when they got to the cottage they hid up 57

on the roof like this." Place the four Jacks face down on top of the tabled card case (2). Scoop the card case, and the cards that lie above and below it, off the table and into the waiting left hand. From here the case and cards are taken in the right hand Biddle Grip in preparation for the Biddle Move as used in David Britland's 'Flesh Eaters'. Saying, "The four brothers slipped off the roof and into the garden," you proceed to draw off the four Jacks, one at a time, with the left thumb, into the palm up left hand (3). However, as the second Jack is peeled off you retain a left little finger break beneath it. The third Jack is peeled off onto the second. When the fourth Jack is peeled off you steal back the two Jacks above the left little finger break so that they end up under the card case. Table the card case. The spectators think that you have four Jacks in the left hand but in fact you have only two. Place your right forefinger on the tabled card case and pull it towards you. This reveals two cards on the table. The spectators believe these to be the two selections but in fact they are the two Jacks you stole earlier. The selections, trapped by the flap of the card case, remain hidden from view. The drawing back of the case to reveal two cards is very deceptive and is what makes the trick so strong. As the two cards are revealed you say, "In the morning the young couple left the cottage and were immediately surrounded by the four brothers." You further convince the spectators that you have six cards in play by using a variation of David Britland's Interlace Subtlety from his original routine. Pick up one of the tabled cards and place it face down on top of the left hand packet. Remove the bottom card of the left hand packet (from the inner end), turn it face up and place it on top. Keep a little finger break under this card. Pick up the second tabled card and place it face down on top of the packet. Remove the lower two Jacks as one (the finger break facilitates this) and place them face up on top of the packet. Hold 58

the packet face up in preparation for an Elmsley Count. Elmsley Count the four face up (?) Jacks to reveal that the signed cards have disappeared completely as you say, "But the brothers had forgotten one very important thing true love will always find a way - and the birds had flown, disappeared entirely." Slide the bottom card of the packet to the right and use it to flip the upper three cards face down. Deal the cards, one at a time, face up onto the table to show that the selections really have disappeared. "Still, I think I know where the lovers are hidden." Spread the deck face up across the table to reveal two 59

face down cards in the centre. Ask the spectator to remove them and read out their names. Look astonished when he tells you that they are called Quentin Crisp and Madonna. "Madonna and Quentin Crisp. Would you believe it now we're into trivial pursuits. I'm sorry but a very strange thing has happened. Here, you see, our lovers are way ahead of us. Look where they are, back in the cottage." With the right forefinger flick the inner short edge of the card case, shooting it forward toward the spectator and revealing the two cards beneath it. Ask the spectator to turn them over and verify that they are the lovers.

GRAB GAMBLE

Al Koran used to perform a very clever coin grab effect and in his hands it was a winner. The following routine uses the same approach that Al Koran used. The method used is quite old but the presentation covers the mathematical nature of the effect and turns it into a very effective piece of mentalism. EFFECT: The spectator is handed a bowl which contains some coins. He is asked to grab a handful of the coins and then let some drop back into the bowl so that no one can possibly know how many coins he now holds. He places these coins into his pocket. He then takes a few more coins and drops them into his pocket. A second spectator then decides on a number from one to ten and that number of coins is removed from the bowl and added to the ones already in the first spectator's pocket. The performer then wagers the money in the spectator's pocket that he can tell how many coins have been left in the bowl. Of course, the performer wins and the spectator returns all the coins. METHOD: The mathematical method used is well known to mentalists and card men alike, however, I have reworked it a little to make it easier for the spectator to follow your instructions and more difficult for the curious to follow. You will need a nice decorative bowl, twenty half dollars or ten-pence pieces (or whatever currency your audience is likely to understand) and the ability to make a few simple calculations. The method is very simple and will take little in the way of understanding but you must follow the presentation very carefully. It is this that makes the trick so effective.

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With the coins in the bowl you open by saying, "Is there anyone in the audience who likes to play the slot machines." Spot a likely subject and ask, "And would you like to have a little gamble? Please believe me you cannot lose, you do not have to play anything and I will even give you the money to gamble with." "Please take this bowl of coins for a moment and I will explain what I want you to do. Do you have an empty pocket? Yes... Ah then you shouldn't play the slot machines." "To start with it may occur to you that I know how many coins there are in the bowl you are holding so let's get that out of the way first." This, of course, is true because there are exactly twenty coins in the bowl. "Grab a handful of coins from the bowl. I will turn my back on you in case you think I may cheat. Now drop most of them back in the bowl so that you only have, say, between one and six coins in your hand. I do not want to know how many you have, just put them in your pocket... they are a gift from me towards your stake money." You'll use this line "a gift from me" etc several times during the presentation and it helps build the suspense and the audience's anticipation of what is about to happen. "I think you will agree that I can have no idea how many coins are left in the bowl or your pocket. Okay? Would you please quietly count how many coins you have left in the bowl." Ensure that you are always looking away from the spectator. You don't want the audience to think that you can somehow see the coins during the routine. "Have you done that. Yes? Please tell me if I am correct in saying that you have more than ten coins left. Yes?" If you start with twenty and the spectator has only put up to six coins in his pocket then this will always be the case. You are just checking that the spectator is following your instructions.

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"Good, please do not tell me the number of coins left in the bowl but instead merely think of it. The number you are thinking of is made up of two digits right? Let's forget the first digit altogether... I want you to concentrate on the second number." "I have no idea what that second number is, so please take that number of coins from the bowl and place them with the other money you have in your pocket. It's another gift from me to you towards your stake money." "Now, I need a lady to help." Point to a lady in the audience and say, "Will you please give me a number between one and ten." Let's assume the lady calls out five. "Five? Sir, take five more coins from the bowl and place them in your pocket, they are another gift from me to you to help make up your stake money." "Well, I think you must have enough stake money to make my wager interesting. Here is the wager, I will gamble all the stake money in your pocket that I can tell you exactly how many coins you have left in the bowl. Remember, I gave you the money in the first place so you cannot lose." Here you make a simple calculation. There were exactly ten coins in the bowl before the lady chose a number. Whatever number the lady calls out you merely subtract it from ten. In our example you would subtract her chosen number five from ten to give you a remainder of five. This is the number of coins left in the bowl. "Sir, you have five coins left in the bowl." The spectator acknowledges that you are correct and you then add, "Would you also take the seven dollars fifty/one pound fifty out of your pocket because I will need it again tomorrow." You started out with twenty coins in the bowl so if only five are left there must be fifteen in the spectator's pocket. Convert this into the currency value and you have your line to finish on.

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SQUARING EFFECT: Simple and to the point. The performer shows a plastic disc with a hole through its centre. It's about the size of a 45 record disc. Without any cover whatsoever the disc changes from a circle with a round hole at its centre to a square with a square hole at its centre. It looks absolutely impossible. METHOD: This won't take very long to describe as the whole thing is mechanical. I marketed the trick in a limited way about six years ago but the models sold were never as good as the model I made myself. I made mine from black opaque perspex. The apparatus is made up of two pieces (1). Each piece is curved at one side and straight at the other. Put the pieces together and, if you overlap them, you can make a circle with a round hole through its centre (2). Push the overlapping pieces past each other and the circle gradually changes to a square with a square hole (3). The two pieces are held together by two loops of strong nylon thread (or catgut). Small holes in the plastic allow you to thread the nylon through. Although the nylon holds the two pieces together it also allows enough movement to slide the pieces past each other, enabling you to change the circle to a square and vice versa (4). To effect the change hold the circle with your fingers at the front and thumbs at the back, one hand concealing the projecting corners (5). Give the circle a slight shake and at the same time push upwards with the fingers and down with the thumbs, sliding the two pieces of the apparatus

__Two identical pieces, like the one shown here, are used to construct the apparatus. They can be made to any size.

past each other and transforming a circle into a square (6). The missing corner of the square is hidden by one of your hands. 66

My original model is made from black perspex and is still in excellent working order. The black helps conceal the fact that the apparatus is made of two pieces and not a single piece of plastic as the audience believe. When I marketed the trick I had it made out of a thinner plastic and had a spiral design screen printed onto it in order to hide the joins but it was not satisfactory. A smooth, well polished plastic helps the working of the trick considerably. Obviously this is not a close-up item but it makes an ideal compere piece. You can also use it as a sucker item, perhaps in a childrens show. Construct the unit so that it is a different colour on both sides. Now you can show it as a red square and pass it behind your back, or beneath a cloth, and change it into a green square. The children will shout out that you merely turned it around... and that's just what you do next... turn it round.

MULTABLE In 'SECRETS' there was an item called 'THE HOLEY TUBE' in which a triangular green tube changed into a red tube full of holes. Here, the same principle is used to transform a packing case into a spectacular table. EFFECTS: You'll notice that I say effects as opposed to effect. The reason is that there is more than one way of using this idea. The way I presented it was to stand on a bare stage and start doing a coin production. A porter entered with a belabelled trunk. Holding his hand out for a tip I gave him the cascade of coins just produced. The trunk was then transformed into a magician's table and the act finished with the table changing yet again, this time into a beautiful decorated casket full of flowers. Alternatively, you could start with a trunk, transform it into a table and finish by changing the table into a large coloured die. METHOD: Illustrations 1, 2 and 3 show the various stages of the prop, from case to table to flower casket. The box is made up of four triangular sections and two square cross-sectioned tubes (4). The triangular sections are hinged together in pairs at their top edge (5). Illustration 6 shows how the units are assembled and hinged together. I made my original Multable out of stiff board but I would have liked to have constructed it from two ply wood to

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make a more durable prop. However, I am not a carpenter and so I did the best I could with board. If you use board then carpet tape makes suitable hinges but obviously if you use wood in the construction you will have to use metal hinges; possibly like those used on pianos. I'll leave the details up to you.

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