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Jean
SORCERY"
Hugard
MA'
E
O n e of t h e
a noted autho
talented N e w
his b o o k s , th
t a i n e d t h e rat
T h e greate;
hand effects
balls, t h i m b l e
and miscellan
sectionsson
classic.
Pric<
Close-up
of magic,
lay is beM I.M.C. (LONDON)
lt Clubs"
. Brooks.
i Allison.
nasaeii. uevant Albenice, Carlyle and m a n y o t h e r s . A book
full of ideas for the Close-Up worker, 57 pages well illusA book that the Modern Magician requires.
$1.00
WILL ALMA
trated.
Price
5/6.
DEMON
MAGIC
BY
ROBERT
HARBIN
2nd EDITION
DEMON
SERIES
COPYRIGHT
(The right to reproduce the contents, or any part thereof is
strictly reserved)
L.
DAVENPORT
&
CO.
incorporating
M A S K E L Y N E E MYSTERIES, 2 5 , N E W O X F O R D ST., W . C . I
INTRODUCTION
G e o r g e D a v e n p o r t a s k e d m e if I w o u l d p u b l i s h i n b o o k
f o r m a series of effects that I h a v e
t i m e to time.
from
are.
with
countless
things.
I think
that
you
will
agree
B u t of b o o k s c o n t a i n i n g a f e w " h o n e s t to
g o o d n e s s " e f f e c t s t h e r e is a g r e a t s h o r t a g e .
M y o f f e r i n g c o n s i s t s of a c o l l e c t i o n o f " o r i g i n a l " e f f e c t s
which I guarantee will w o r k , and I h a v e done m y level
to g i v e y o u a b s o l u t e w o r k i n g d i a g r a m s .
a n d t r y a t l e a s t o n e of
best
these.
1938.
1 dedicate
this e f f o r t t o t h e
mystery
have
never
MY WIFE.
little
solved
INTRODUCTION
By O S W A L D
When
thusiasm
WILLIAMS
t h e a u t h o r of a b o o k p o s s e s s e s t h e w o n d e r f u l
for
his
subject
that
Robert
Harbin
possesses,
enfor
M a g i c , it w o u l d b e i m p o s s i b l e f o r t h a t b o o k to b e o t h e r t h a n
good.
H a r b i n l i k e s b r o a d e f f e c t s a n d d o e s n o t i n d u l g e in o v e r d o s e s of m a n i p u l a t i o n a n d c a r d
tricks.
H e b e l i e v e s in g i v i n g his a u d i e n c e s o m e t h i n g t o l o o k a t .
S o d o I.
I t h i n k m y o p i n i o n of h i m m a y b e s t
fact,
that several
years
ago
he
came
to
be judged by
Maskelynes
for
e n g a g e m e n t o f o n e w e e k , a n d h e is still w i t h us.
OSWALD
WILLIAMS,
Maskelynes
Mysteries.
the
an
T O THE D A V E N P O R T FAMILY
I w a n t t o t a k e this o p p o r t u n i t y o f
the m a n y things y o u h a v e d o n e f o r me.
t h a n k i n g y o u all
for
W h e n I first a r r i v e d
f r o m S o u t h A f r i c a t h i r t e e n y e a r s a g o , y o u w e r e all m o s t k i n d
t o m e in e v e r y
I will
way.
never
forget how
Lewis Davenport
came
out
to
the f r o n t of the s h o p a n d b e g g e d m e n o t to w a s t e m y
money
o n a l o a d o f t r i c k s until I h a d g a i n e d s o m e p r a c t i c a l
experi-
engagements.
t o y o u all t h a t I w e n t t o G a m a g e s ,
there
that
I started
my
little
career
And
in
this
it
and
was
magical
business.
T h a n k s a l s o f o r m a n y h a p p y d a y s s p e n t in y o u r
home,
give.
A l l in a l l , " T h a n k s f o r t h e m e m o r i e s . "
ROBERT
HARBIN.
T b c State L i b r a r y of V i c t o r i a
A L M A CONJURING COLLECTION"
CONTENTS
1.
W a l k i n g T h r o u g h a Hope
2.
The
Ray
10
3.
T w o of t h e E e s t
13
4.
T h e S t o c k s of H a r B i n
14
5.
Most U n u s u a l !
16
6.
7.
T h e K n i v e s of O p a h
20
8.
22
9.
25
10.
27
11.
30
12.
32
13.
Novelties
33
14.
If Y o u W a n t a W i f e ?
35
15.
M y Floating Glass
37
10.
39
17.
T h e r e and B a c k
41
Blue
...
...
...
18
18.
19.
A Torn Newspaper
45
20.
Have Some M o r e !
47
21.
If Y o u W a n t a P r o d u c t i o n B o x !
49
22.
The Packing
51
23.
24.
Crockery
...
...
Case Escape
...
...
43
52
...
...
55
F o r m a n y m a n y years, m a n y m a n y m a g i c i a n s h a v e sought
a really g o o d solution to this p r o b l e m .
O f all the m a n y exp l a n a t i o n s that I h a v e seen d e s c r i b e d , n o n e h a v e s e e m e d to
b e really p r a c t i c a b l e .
W i t h the assurance that the r e a d e r
will a g r e e with m e on this point, I n o w ' p r e s e n t m y o w n
version, w h i c h is a b s o l u t e l y f o o l p r o o f .
T h e d r a w i n g s are
m a d e f r o m a full-size m o d e l w h i c h I m a d e up s o m e time a g o .
H o w e v e r , I will first d e s c r i b e the effect as it is seen b y the
audience.
A length of r o p e is g i v e n f o r e x a m i n a t i o n .
It is then
t h r e a d e d t h r o u g h the h o l e s in t w o upright posts w h i c h -are
fixed to a b a s e b o a r d .
E a c h e n d of t h e r o p e is n o w held b y
an assistant a n d p u l l e d tightly.
N o w , s t a n d i n g b e h i n d the
r o p e the o p e r a t o r pulls across a curtain w h i c h shields f r o m the
a u d i e n c e the r o p e b e t w e e n the posts as w e l l as the m i d d l e
part of the o p e r a t o r . T h i s is s h o w n in illustration 7.
Almost
i m m e d i a t e l y the curtain is p u s h e d a s i d e a n d the o p e r a t o r is
seen to b e s t a n d i n g in f r o n t of the r o p e .
T h e r o p e w h i c h is
still intact is d r a w n out t h r o u g h the holes in the posts a n d
re-examined.
T h a t is the e f f e c t .
N o w f o r the construction
of the apparatus.
First of all, t w o pieces of w o v e n c o t t o n r o p e in.
d i a m e t e r are required.
O n e piece measures I 1 ft. 6in., whilst
the other measures 15 ft.
O n e e n d of the f o r m e r p i e c e is
b o u n d , and' also o n e end of the 15 ft. piece. T h e other e n d
of the 1 5 f t . r o p e has a piece of brass tubing -Jin. w i d e b y
2in. l o n g s l i p p e d o v e r .
T w o b a y o n e t c a t c h e s a r e cut in it
at the e x t r e m e e n d ( F i g . 2 ) .
It is then c o v e r e d w i t h b i n d i n g
so that b o t h e n d s l o o k the same. N o w w e c o m e to the p i e c e
of a p p a r a t u s w h i c h is m a i n l y r e s p o n s i b l e f o r t h e effect,
n a m e l y the posts a n d b a s e b o a r d . T h e distance b e t w e e n the
uprights should b e 2 ft. 6in. whilst the h e i g h t of the posts is
3 f t . T h e y a r e m a d e f r o m 3in. b y Jin. b o a r d . T h e measurem e n t s of the b a s e w h i c h is h o l l o w are 4 f t . b y 2J-in. b y 3in.
T h e b a c k s of the uprights are m a d e to o p e n in case repairs
are n e e d e d at a n y time.
D u r i n g p e r f o r m a n c e t h e y are h e l d
in p l a c e b y t w o screws.
2 |-in. d o w n f r o m the t o p of e a c h
upright brass tubes 2-Jin. b y f i n . are s u n k .
T h e s e tubes
o s t e n s i b l y act as g u i d e s f o r the r o p e .
T h e t w o tubes at 4 in
the illustration a r e u n p r e p a r e d , but those at 1 a n d 2 a r e prepared.
T h a t at 1 is cut a w a y slightly a t the b a c k as illustrated whilst 2 has t w o little pins fitted inside to r e c e i v e the
b a y o n e t catch on the rope.
In F i g . 3 is seen a b l o c k , w h i c h
is r e a l l y the secret of the w h o l e thing.
Its m e a s u r e m e n t s are
3in. b y 2 J i n . b y 4in. a n d it is m a d e f r o m t w o pieces of w o o d
3in. b y 4in. b y l i n . , h e l d t o g e t h e r w i t h t w o b o l t s w h i c h f o r m
the p i v o t s f o r t w o gin. pulleys. F o u r springs a r e a t t a c h e d b y
o n e e n d to the sides of the b l o c k a n d are then b e n t as illustrated.
W h e n this b l o c k is p l a c e d in p o s i t i o n in the u p r i g h t
p o s t the springs p r e v e n t it f a l l i n g to the b o t t o m ( F i g . 4 ) .
If the r e a d e r n o w studies the m a i n illustration h e s h o u l d
u n d e r s t a n d w h a t h a p p e n s to the 1 1 ft. 6in. p i e c e of r o p e . O n e
e n d is f a s t e n e d to the b a s e a n d then t a k e n u p a n d p a s s e d
o v e r the l o w e r p u l l e y w h e e l .
It is n o w b r o u g h t d o w n u n d e r
a roller, a l o n g the b a s e , u n d e r a n o t h e r roller, u p the u p r i g h t
p o s t a n d out of t h e tube.
N o w , so that the e n d of the r o p e
does not protrude too far, fix a little lip o n the rope.
This
also has the effect of stopping the rope f r o m slipping b a c k
inside and d o w n the post.
W i t h a small curtain fixed on a swivel as shown at Fig. 5
y o u are all set for w o r k i n g .
1
K e e p the b a y o n e t - e n d of the rope in y o u r h a n d a n d
let a m e m b e r of the audience examine the rope.
L e t him
tug on it well.
A s k i n g him to l e a v e go, y o u turn your b a c k
to the audience whilst the b a y o n e t - c a t c h end of the r o p e is
threaded through tubes at 4. Y o u then turn left a n d push the
bayonet-catch end of the rope into tube 2, a n d with a slight
twist fix the r o p e in place.
A t the same time y o u r assistant
grasps the end of the rope at 1 b y the lip and pulls on the
rope.
A s the assistant keeps on pulling the p u l l e y - b l o c k is
brought d o w n to the b a s e of the upright.
T h e audience,
especially if the operator passes his h a n d s a l o n g the piece of
rope which is fixed b e t w e e n the two posts, a p p a r e n t l y see o n e
piece of r o p e being pulled through the holes.
Directly the
p u l l e y - b l o c k reaches the ground, no more r o p e must b e
pulled ( F i g . 6 ) .
T h e operator n o w stands b e h i n d the r o p e
and swings the curtain in front of himself. A s soon as he is
c o v e r e d , he u n h o o k s the rope with his l e f t hand, passes it
round quickly to the right h a n d which reinserts it in 2 a n d
fixes it in place. T o conclude, the operator pushes aside the
curtain showing himself in front of the rope.
T o pull the
rope out f r o m the posts the first procedure is reversed.
The
rope is again h a n d e d for examination.
T H E BLUE
RAY
that
1. T h e s t a g e s h o u l d b e f r e e f r o m s t r o n g draughts.
2. T h e c o t t o n or thread m u s t b e strong.
3. T h e controller must l e a r n the c o r r e c t k n a c k of
easing the k n o t s loose, a n d n o t j e r k the silks.
If the d i m e n s i o n s of the f r a m e a r e a d h e r e d to, the l o o p s
are w i d e e n o u g h to stop " t w i s t i n g . "
Scientific patter c a n easily b e w o r k e d into this e f f e c t a n d
the l a m p c a n b e a s e l a b o r a t e l y c o n s t r u c t e d as possible to fit
in w i t h the t h e o r y that the o p e r a t o r s a y s h e is p u t t i n g into
e f f e c t ; a c t u a l l y a p o c k e t torch w i t h a p a i n t e d lens w o u l d
suffice.
packet, and if it does not quite reach the floor, a small rest
should be made for it at the back of the table. I now want
to teach you my move for producing an apparently endless
quantity of cigarettes. First of all, look at Fig. 1. You have
here produced a cigarette from thumb palm position in the
right hand. The left hand with another cigarette thumb
palmed approaches it. The cigarette A heldiin the right hand
is now taken by the thumb and fingers of the left hand and
at the same time the third and fourth of the right hand grip
the cigarette B, which was thumb palmed by the left hand.
Needless to say, the positions of the hands in the diagrams
are facing the operator. The cigarette held in the right hand
is thumb palmed whilst the cigarette! held by the left is apparently dropped into the cigarette box. Actually, it is palmed,
the cigarette in the right hand produced and the first move
repeated. These moves are carried on as for such time as the
operator thinks fit. When the operator thinks he has produced (from the audience's point of view) enough cigarettes,
he drops one into the compartment X and the other into Y.
The reason for these compartments is to stop the cigarettes
from rolling through the bottom of the box and onto the floor.
The big cigarette is producedand climax.
If the operator does not wish to carry a table about, it
is possible to obtain and use a spring cigarette, but from
experience I know how telling the production of a really solidlooking cigarette is.
MOST UNUSUAL
Here is a most unusual and interesting effect, utilising a
" Jumbo " deck of cards.
T h e operator has three cards chosen from a deck of
" Jumbo " cards. The deck is shuffled and then placed on
its long side in a holder (see illustration). On the command,
the chosen cards rise from the deck the right way up (the
illustrations show the course of the effect).
Although apparatus is required to produce the effect, it
is not difficult to make. T h e measurements, taken from my
own piece of apparatus are accurate. The holder is m a d e
from three-ply wood and picture-frame moulding. In Fig. 1
is shown a side view in which it can be seen that the base! is
hollow, and that a holder, T, carries and contains the cards
during their rising journey. T h e cards which rise are, of
course, duplicates of those which, I regret to say, the operator
has forced onto unsuspecting members of his audience. These
cards are interlaced with other cards and threaded in the
usual manner, the thread which controls this action coming
out of the holder just below point X. It should now be
obvious that when the card holder, T, is raised so that its top
is level with those cards lying1 in a horizontal position, a pull
on the second thread will cause the cards to rise vertically.
There was one difficulty which had to be overcome and that
was the separation of the horizontal cards, so that there was
no impedence to the passage of the holder in its upward
course. This difficulty was easily overcome by fixing two
smaller pieces of triangularly shaped wood at points X (see
Figs. 1 and 2 ) . Two small hinged lids are m a d e at the top
of the holder and are secured in front by means of a catch.
^OS/^lWsML
THIS DIVIDES
THE PACK
TO ALLOW FOR
THE PflSSflO-ECF
THETHREAOtt
CARPS.
CFLTCW
QfrtV
in
If-PLY
When these lids are lifted and the deck dropped in, it is
automatically split into two halves, leaving a space clear for
the rising of the cardholder. From the description of the
apparatus, the presentation should be clear. I have not explained any particular method of forcing the cards, because
there are so many really good methods.
If you make up this effect you will find that, not only
is it extremely effective, but as its title implies, it is " most
unusual."
glass is placed on top of the box and covered with a handkerchief. Now placing his hand on top of the shape he presses
on the glass which apparently penetrates the box. T h e handkerchief is then removed showing that the glass has apparently gone into the box. But now comes the climax. The box
is dismantled piece by piece. The glass and its contents have
disappeared !
First of all, we will discuss the construction of the box.
It is m a d e of six partsfour sides, a base and a lid. The
only preparation about the first five parts is the fixing of pins
and the making of the necessary slots or holes, so that the
parts can be held together. T h e top of the box, however,
has to be carefully constructed because of the mechanism it
contains. Three separate and similarly sized pieces of threeply wood are taken and from two, a circular hole is cut. This
hole should be of the same diameter as the top of the glass
that the operator intends using (Fig. 1). O n e of the circular
cutouts is retained and a piece of wire is fixed across the top.
Two bent nails are tacked into the topmost piece of wood,
and bent over so that when the circular piece is fitted into the
wood from which it was cut, it is engaged until a twist is
given to it. The three pieces of wood are now glued together
and left to dry in a clamp. The covering is now stripped from
a spring ball and the spring stretched to the length of the
tumbler that is to be used. With two staples, one end of this
spring is attached to the underside of the circular disc, whilst
the other end is attached to the bottom board of the three
glued ones. When the circular disc is pressed and the spring
compressed, a slight turn fixes the disc in place (Figs. 2b.
and 2c.). Now assemble the box. A t the back, near the
top, a screw-eye is placed. This engages a wire ring which
has a slightly hooked projection. Whilst the ring must maintain a horizontal position it also must be capable of being
easily unhooked. Sewn to this ring is part of a lady's stocking from which the foot has been cut away. This forms a
shute (Fig. 3 ) . With a couple of handkerchiefs and a glass
you are ready to perform a twentieth century miracle.
A
servante is fixed to the table.
Take the glass and place one of the silks inside. With
the glass in the right hand, pick up the other handkerchief
with the left, and allow the silk to drape well (Fig. 3 ) . The
glass is brought to the top of the box (Fig. 3) and the little
finger of the right hand presses on the rod attached to the
circular disc, giving it a slight move. The disc comes up on
the spring, the handkerchief held by the left hand completely
covering the movement.
At the same time the glass is
dropped down the shute and into a servante underneath (see
Fig. 3 ) . The reader may think at this stage that there may
"RelWsO^DPAH
l h l 8 - w \
SPRI6.
tration explains more effectively than words the general structure of the cabinet.
Working
The knives are shown, the cabinet inspected and the
assistant introduced. The front parts of the stocks are now
removed and the knives placed around the assistant's middle.
She is then placed inside the cabinet and the front parts of the
stocks replaced. The ropes are taken now and passed out
through the slots, their ends being taken up by assistants. The
door is now closed. The assistant now has to work fast,
whilst the operator is padlocking the door (about 1 0 seconds'
work) she has to press back the back part of the top stocks,
remove her hands, grip hold of the knives, bring them over
her head, place them down on the middle board and grip
them tightly with her hands. These series of moves must be
practised so that they do not take longer than the interval
used by the operator in padlocking the door. The operator
now opens the little door at the top so that the audience can
see the assistant's head. On command the assistants start
pulling on the ropes, the girl inside the box exerting a certain
pressure so that they do not come out too quickly. Directly
they are free of the box, the assistant replaces her hands back
in the stocks, the main door is opened and all is ready for
examination. Although the secret is so simple the reader will
find that if he makes up this illusion he will add a most baffling
item to his reportoire.
B U R N T
A/VO
R E S T O R E D
(S)
POINT
fcun-lCflTE,.
/
CLIP
thin black metal spike. Besides the stand you need two pieces
of similarly sized tissue (one-fourth of a standard size, I suggest) . One of these pieces is screwed into a ball and placed
on the table underneath the other sheet. T o present the effect,
the sheet of paper is picked up with the screwed-up sheet
behind it. It is then fixed in the clip, and because this latter
measures three inches in length, the paper can be well spread.
A t the same time that this fixing is done, the ball of paper is
impaled on the spike. (The paper in front effectively covering i t ) . A match is now lighted and applied to the paper.
When completely burnt it will be found that a certain amount
of charred ash is left which conceals the ball of paper. Show-
THE.DE
WON
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C fi)HDS.
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iiiilt
-441
"R.tt.
he takes the cushion and (with, of course, taking care not to
show the design of pins which are in it) places it on the box.
The effect from the operator's point of view is now over, and
it is up to him, with good showmanship, to bring the effect to
its startling conclusion.
&
T H E
" D E M O N
"
L A M P
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MY FLOATING GLASS
With a remarkable simple gimmick, a glass of water is
made to float off a table. A hoop1 is passed over and around
it. That is not all, for the glass floats around the operator
and' settles down again on the table. And in case you are one
of those people who like having things examined, you can pass
the glass out for examination. The gimmick previously mentioned is simply a tight-fitting ring of celluloid which fits
round the top of the tumbler. The shape of the tumbler should
be such that the ring can slip down, but not up over the top.
Two pieces of hairpin are taken and little hooks formed at
the sides of the ring (see illustration). In the performance
'
IF
)ou
WAUT
SH
flOOW i CK :
BLOCKS
ON
SH4MW OF BLOCKS
T.E1NG PUT ON
/ILL
L^i
-Y//5/V0
(B)
het^u
njBf-,
vJAND
"SLIDES
L/VTO B L O C K
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JJ-^Sjmpe MADE
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MflKC SHADOW
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17
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i6
E
N
EHOS.
WHITE
THERE A N D BACK
Some time ago Mr. Alan Stainer asked me to work out a
solution to the following p r o b l e m :
A large glass tube is h a n d e d for examination a n d the
operator requests the loan of a box of safety matches. With
one h a n d placed over one end of the tube the b o x of matches
is d r o p p e d inside. T h e operator now places his hand over
the other end of the tube a n d holds it in a horizontal position.
Now, on the operator s w o r d of c o m m a n d the matchbox moves
slowly along the tube, stopping if thought necessary, and then
moving on again.
W h e n it reaches the end of the tube,
another c o m m a n d is given and it comes right back again.
I solved this problem in a very simple manner. The first
requisite that the reader will require is a glass tube. T h e kind
I use measures sixteen inches long and has a diameter of three
inches. A Wire f a k e painted black and shaped as in the illustration is also required. Its measurements allow it to be introduced easily into the tube. The only other requisite is a
length of black thread attached to a piece of blackened match.
T h e other end of the thread is either held b y an assistant off
stage or anchored b y attachment to a chair or table. T h e exact
length that is necessary will have to b e found f r o m practice.
T h e piece of blackened match with thread attached is placed
on the operator's table together with the wire fake and the
glass tube. T o present and work, the operator picks up glass
tube a n d fake. Because of the size of the tube two h a n d s
can b e used and thus the fake can b e easily picked up without
any suspicious movement. Retaining the wire f a k e in one
hand the glass tube is passed out for inspection b y the other.
O n walking back with the tube after its examination the wire
fake is slipped in one end. Because of the reflective nature
of the tube's surface, the wire fake is invisible to the audience.
T h e tube is n o w placed on the operator's table, the fake end
being b o t t o m m o s t . A box of matches is borrowed, and to
show that they are quite ordinary the drawer is removed and
the contents d r o p p e d on the table. In picking up the matches
to replace them in the b o x the blackened piece to which the
"7HHF?E A N D
B/9CK.
WlRS-
FflKE
MATCH
THREAD.
NOTE.
Fi/YC-ERS.
Tosm<j/v@TuRweo OVER
TflPE/10 TIED
TO fAflTCH
SOME P A P E R MAGIC
Tricks with torn p a p e r are nearly always pleasing to all
types of audience. For those readers who may be partial to
this kind of magic, I am giving three little winners.
Effect No. 1
The operator takes three or four different coloured pieces
of tissue and crumples them into a ball. A shake of the h a n d
and they are transformed into a large floral ball.
The explanation and method of achieving this effect are
very simple. Supposing that four pieces of coloured tissue are
used respectively Green, Yellow, Blue and Red. O n t o one
side of the piece of red tissue is pasted a folding floral ball
(see Fig. 1 A ) . These forms of decoration can b e obtained
f r o m nearly all novelty stores. This piece of tissue is placed
at the back of the others and they are held with the floral ball
nearest to the performer.
T h e pieces are displayed quite
casually, and then screwed into a ball. Now on the floral ball
is a small tag. This the operator grips and at the same time
shakes his hand. T h e result is that the crumpled pieces fall
u n d e r the ball. Then comes the applause. By smoothing out
the tissue p a p e r this can b e used over and over again.
Effect No. 2
A sheet of yellow and a sheet of black tissue paper are
taken and screwed into a ball. Holding this ball of paper in
one hand, the operator takes a pair of scissors in the other
and makes imaginary cuts around the crumpled pieces. On
opening the pieces a beautiful design is shown to be cut in the
yellow, the sheet of black setting off its beauty.
Here again simplicity is the keynote both in method and
working. First of all, fold a piece of yellow paper as if you
were going to tear a paper pattern. With a sharp pair of
scissors a design is cut. Open out this sheet and place it against
a sheet of black tissue the same size. Both sheets are how
folded into a small package. Two sheets of tissue, one yellow
and one black of similar size are required. To the back of the
black sheet the package with the cut paper is pasted. To
present, have the two sheets lying on a table and a pair of
scissors in your pocket. Pick up the papers, keeping the package at the rear. Now crumple both sheets into a ball. The
left hand retains this, whilst the right hand goes to the pocket
for the scissors. Whilst making the imaginary cuts, the ball is
turned over bringing the designed part to the front. The
scissors are placed down and the papers opened.
More
. applause. Because the method used to obtain this effect is so
simple I hope the reader will think it worthwhile.
After
all, it is the effect that matters.
Effect No. 3
This effect is called " Boxo." Many years ago it was on
the market, and 1 am now publishing it for the first time.
Three pieces of paper are taken and torn into pieces. On
being screwed into a ball, they change in a flash into a fancy
box which dangles from the operator's finger on a ribbon.
First of all, the magician will require one of those fancy
boxes used for hat productions. The bottom is cut out as in
illustration. This box is folded and the inside is pasted to a
piece of black tissue paper (see Fig. 3 ) . Another piece of
black paper is now pasted on top. The box is now set much
as you would set the hat in the Cecil Lyle hat trick. Two
pieces of tissue the same colour as the box are also required.
These are placed in front of the black paper when presenting
the effect. The papers are torn into halves, and the pieces
are bent over to the part which is pasted to the box. They
are given a squeeze, the string on the box is grasped, and
automatically the box comes into view and papers vanish,
drawn up as they are inside the box.
I do want you all to try this effect which is both charming
and surprising to a mixed audience.
wmmm mmm.
7/o w
Box
SHOWf/
EMPT /
2. The Lift, which fits inside the box so that it protrudes about one inch a b o v e (see Fig. 2 ) .
3. The Box proper (see Fig. 3) which has a lid at the
top and a door at the back. A large slot at the top
and flanges down the front allow the handles of the
lift and slide to move upwards. In Fig. 5, slide,
lift and box are shown in an assembled state. In
order to present the effect originally outlined it is
necessary to place a large glass filled with milk on
the lift, the slide is lowered into position and the
box stood on the operator's table, a small liqueur
glass containing milk should be at hand.
Presentation
Show the box empty by gripping slide and projecting
part of the lift, and pulling upwards. The lid of the box is
automatically opened as the glass moves upwards and presses
against it. When the slide and lift have reached their topmost position the right hand opens the door at the rear of
the box, thus allowing the audience a clear view. Close the
box and pick up small glass with milk in the left hand. The
right hand opens lid at the top of the box and the small
glass is placed inside and lowered into the large glass of milk.
All that remains is for the operator to elevate slide and reveal
that the glass and its contents have grown.
[f
box?
LE^GTH
AAfO Wl DTH
LESS
||NtH
EVch W/)y.
A '3ECOMSTR/iy0frf:LOwe.RS.
p^ Becomes CALE/vdot?
FYT Finish " b o x G i v e w
fvR
ON.
BY
0TEA/IN6
Ut>
catch
Reue^ses
shown all the way round, as both loads affixed to the back
h a v e been removed. It is closed once more and this time the
lid P is lifted and the contents in the b o t t o m of the b o x removed. Finally, the lid P in its disguise of a calendar is rem o v e d and if thought necessary the b o x can b e h a n d e d for
examination.
I think that the reader will realise that this b o x without
any resort to mirrors or concealed panels has endless possibilities. A d d e d to this is the fact that it is so easily constructed.
The
PACKING
C a s e . E s c a p e
removed all the papers from the omen pole of Hung TocJ.
He thought that when Hung Too saw the pole he would be
prostrated and unable to go about his business. But the gods
of Hung Too saw the evil work of Hung One and they cast
a spell over the omen pole of Hung Too, and thus as fast as
the papers were removed they reappeared in their original
places. Hung One was much alarmed by these strange happenings and fled to his altar to ask forgiveness of the gods."
That is a patter " story " which should be adopted.
The paddle used is of ingenious construction, and must
be carefully made. From the illustration you can see that
three revolving " d o o r s " are fitted into the blade part of the
paddle. They should revolve stiffly so that a push is necessary to cause a complete revolution. The camouflaging of
these " d o o r s " is obviously a most important thing, and in
experimenting I found the perfect means of hiding the joins.
It is done with the aid of the gold lettering and Fig. 2 gives
some idea of how such lettering should be done. If the
reader cares to copy the Chinese characters shown in that
diagram he will be amazed when he finds that the joins
cannot be seen. This natural method of camouflage is far
better than ornamenting with lines, which has only the effect
of emphasizing that something is concealed.
The same
Chinese letters or characters are painted in relative positions
on each side of the paddle, but they must, because of the
revolving panels, stand on their heads on one side; because
of this, when a panel is pushed around no change will be
apparent.
Working Presentation
Dampened squares of paper are placed over the three
characters on one side of the paddle. Now turn the paddle
over and make a pretence of picking up a dampened square
of paper. As you apparently go to stick this on one of the
characters, allow your thumb to press open the panel (see
Fig. 1A) and as your hand moves upwards make the panel
revolve. When your hand moves away it looks for all the world
as though the operator has placed a paper on the paddle. This
move is repeated twice more.
New by using the usual
" twist " move, the paddle is apparently shown to have three
pieces of paper on each side. The pieces of paper can now
be vanished from one side or both. The pieces of paper are
apparently removed, a reverse action to that used when the
pieces were apparently placed on being utilised. It will be
seen that the effect can be repeated ad nauseum, but I feel sure
that if you make up or have made this piece of ingenious
apparatus, you will be amazed and delighted with the beauty
of its deceptive effect.
CROCKERY
First of all I should like to give you the patter for this
effect. It is as follows:
" A friend of mine collects plates. In fact he is quite
a maniac in that direction. One night I visited him and he
invited me to see his collection. It was amazing ! There
were plates everywhere. Every inch of wall had an inch of
plate. The remarkable thing was that, with the exception
of one, they were all valueless. Well, as I collect plates
myself (the operator removes from his pocket an obvious
hotel plate) I felt that I would like that particular plate. Being
a magician, it was easy. I simply said a magic word and I
had the plate I wanted, whilst my friend had the plate I didn't
want, which left Lyons Corner House still one plate short.''
During this patter, the audience's attention is drawn to
a piece of wood decorated with wallpaper which stands on
the operator's table. Three plates are fixed to the wood as
in illustration, and the middle one is very " l o u d l y " decorated.
The operator takes an undecorated plate from his coat and,
without so much as a move, it appears to change places with
the decorated one on the board.
As the reader can easily see from the illustrations the
change is brought about by the use of specially prepared
plates. Both are faked in almost the same way. An extra
centre of the plates is divided into four parts and they are
hinged as follows:
Plate 1, which is the one attached to the board, has the
pieces spring hinged to fly inwards, whilst
Plate 2, the one which the operator takes from his coat,
has the pieces spring hinged to fly outwards (see Figs. I
and 2 ) .
In the case of the first plate the release of the pieces is
accomplished by another circular disc fixed behind the plate
(Fig. 3 ) .
This disc has four catches which fit into rings
soldered to the edges of the pieces. A slight rotary motion
produced by means of a pull of a thread causes the pieces
to fly inwards.
The pieces attached to the second plate are released in
a different way. A length of metal with three prongs at the
end is fitted in a slide under the plate in such a position that
four eyelets attached to the hinged pieces are engaged and
held when the position is as shown in Y. A movement of
this slide releases the hinged pieces allowing them to fly outwards.
In Fig. 5 I have given some idea of the necessary
decoration of the plates, the painting is, of course, done in
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