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 JACK HUGHES
WORLD OF MAGIC
VOLUME THREE

Edited by Derek Lever

 THANK YOU

To Guy Barrett and Jack Griggs whose excellent line drawings have proved invaluable in presenting
easy explanations of some complex apparatus.

To Peter Woolley and Julie for a fine print job.

DEDICATION

To my wife Anne, the best friend a magician could ever have!

CONTENTS
INTRODUCTION ...................................................................................................................................... 8
THE CHINESE RISING CARDS ............................................................................................................... 9
THE WRIST SPIKER ILLUSION ............................................................................................................. 11
NEEDLE THRU' BODY ............................................................................................................................13
DOVES TO POODLE ................................................................................................................................15
THE SWORD MAIDEN ILLUSION ......................................................................................................... 17
VISIBLY SAWING THRU' A PERSON ................................................................................................... 20
THE GIRL THROUGH GLASS ILLUSION ............................................................................................. 24
THE BUZZ SAW ILLUSION ................................................................................................................... 27
THE CARD TARGET ................................................................................................................................31
EDWIN'S SPONGE BALL ROUTINE 'Roger the, Lodger' ..................................................................... 33
BEADO..................................................................................................................................................... 36
KNIFE THRU’ GIRL ILLUSION ............................................................................................................. 37
THE MIDDLE FOR DIDDLE ILLUSION ............................................................................................... 40
THE MODERN CABINET ILLUSION .................................................................................................... 43
THE VANISHING CAGE AND GIRL ILLUSION ................................................................................... 44
SLICING A SLAVE ILLUSION................................................................................................................ 47
CABARET GIRL VANISH ....................................................................................................................... 50
THE STRIPTEASE ILLUSION ................................................................................................................ 52
THE GIRL’S GONE ILLUSION ............................................................................................................... 54
THE REVOLVING BROOMSTICK SUSPENSION ................................................................................. 57
THE GIRL ‘N GATE ILLUSION .............................................................................................................. 62
ROBERT HARBIN'S AD INFINITUM .................................................................................................... 64
CHAIR TO SUITCASE ............................................................................................................................. 67
THE SPIRIT BELL .................................................................................................................................. 70
RIBBONS TO DOVES.............................................................................................................................. 72
THE THREE LITTLE PIGS ..................................................................................................................... 74
COMEDY UMBRELLA ............................................................................................................................ 77
THE JUMPING STOOL .......................................................................................................................... 78
KWIK PAPER CUT .................................................................................................................................. 79
THE MIGNON ILLUSION ...................................................................................................................... 81
THE COMEDY LEGS TABLE .................................................................................................................. 85
THE BARRICADED BARRELS ILLUSION ............................................................................................ 88
THE STOCK ESCAPE .............................................................................................................................. 90

5
THE HEAD TWISTER ............................................................................................................................ 92
LIVESTOCK PRODUCTION CAGE ........................................................................................................ 95
CIG-A-LOON ........................................................................................................................................... 98
PETTICOAT LANE ................................................................................................................................ 100
PEG BOX ................................................................................................................................................ 101
THE JACK HUGHES' PEG BOX ........................................................................................................... 103
NO - SMOKING ..................................................................................................................................... 105
MICKEY'S TROUSERS ......................................................................................................................... 107
SLEEPY SLIM ......................................................................................................................................... 111
COLORAMA ........................................................................................................................................... 113
WHERE HAS THE DUCK GONE? ........................................................................................................ 115
JACK HUGHES' FLY-A-WAY BIRDS .................................................................................................... 118
WINE AND WOMEN ............................................................................................................................ 122
COMEDY CARD WAND ........................................................................................................................ 124
TEAR-APART VANISH ..........................................................................................................................127
VAKIL'S INDIAN ROPE TRICK............................................................................................................ 129
DOUBLE BOX PRODUCTION ............................................................................................................. 133
THE PADDLE OF FOO ......................................................................................................................... 134
SPONGE BALL TO RABBIT .................................................................................................................. 136
TRANS-THOUGHT ............................................................................................................................... 138
COSTUME TRUNK ILLUSION............................................................................................................. 139
IMPOSSIBLE DOVE VANISH ............................................................................................................... 141
THE GROWTH OF FLOWERS ILLUSION .......................................................................................... 143
THE GOLLIWOG BALL .........................................................................................................................145
'DOUBLE STUNNER' PREDICTION.................................................................................................... 148
JACK HUGHES! … MAN TO THE MOON ............................................................................................ 151
THE ASSISTANT'S REVENGE ..............................................................................................................155
M'LADYS HAT ........................................................................................................................................ 157
CORONATION CROWN ....................................................................................................................... 158
MINNIE MISCHIEF .............................................................................................................................. 162
TOPSY TURVY CLOWN .........................................................................................................................165
CLATTER TABLE .................................................................................................................................. 168
ULTIMATE DIVIDE .............................................................................................................................. 170
FORGETFUL JOEY THE CLOWN ......................................................................................................... 173
HOP SCOTCH BOTTLES .......................................................................................................................176
KERB DRILL ......................................................................................................................................... 178

6
Mr. P ...................................................................................................................................................... 186
A BRAND NEW RISING CARD ............................................................................................................ 188
MENTOULETTE by LEN BELCHER .................................................................................................... 190
MAGIC MOMENT ................................................................................................................................. 192
FLAMES THROUGH GLASS ................................................................................................................ 196
TORN AND RESTORED CARD ............................................................................................................200
HOLIDAYS ABROAD ............................................................................................................................ 201

7
INTRODUCTION
Another seven years have passed since the publication of Volume Two in 1992. I have not been idle
during that time, but have spent many months compiling this third and final volume of the "Jack
Hughes World of Magic". It was obviously very important that I ensured that virtually everything Jack
manufactured would be included in all three volumes and I was reluctant to go to press with Volume
Three until I was sure that most items had been covered.

I have again, as in Volume Two, reproduced much of Jack’s original advertising matter, but as a
consequence the quality of the print and drawings will not be very good due to the age of the material.

Some of the items are not Jack’s originations, but are effects which he manufactured and sold having
purchased the sole rights. Where possible we have credited the originator, although in many cases
Jack improved the original concept substantially. As a result of much research, I have also included a
number of "one off" items and apparatus which had never actually been advertised in the Jack
Hughes Catalogue.

It has given me enormous pleasure to write the three volumes of the "Jack Hughes World of Magic". I
believe they are a fine tribute to a master craftsman who devoted his entire life to the creation of
magical apparatus.

Everyone who met Jack loved him. My early dealings with him began when I was in the Royal Air
Force doing two years National Service in Germany. My pay was about £2.00 per week and I was
saving up to get married! I wrote to Jack, told him about my situation and asked him to reserve a
Dagger Chest for me and I would send the money as soon as I could save it. Two weeks later a large
parcel arrived containing a Dagger Chest. A note from Jack said that he too had served in the Armed
Forces and he knew how tough it was financially, so just send the money when I could! What a kind
and generous man. I eventually saved the money and sent it to him and dealt with him for many years
after I turned professional.

I consider myself very fortunate to have spent many hours with Jack when he moved to Blackpool and
I will never forget his reaction when I took the first copy of Volume One to his home. He both laughed
and cried as he thumbed through the pages, reliving the moment that each piece of apparatus had
been created. As he reached the end of the book, he said, ‘Derek, you’ve done me proud, I never
expected to see my work presented in such a beautiful book’. It was Christmas 1981 and a few weeks
later Jack passed away. I hope I have ensured that his MAGIC WILL LIVE ON FOR EVER!

Purchasing this book entitles the reader to make ONE COPY of the apparatus detailed for THEIR
OWN USE. Dealers are reminded that manufacturing rights to ALL JACK HUGHES APPARATUS are
held by the publisher, Derek Lever at Taurus Magic Supply Company.

DEREK LEVER

8
THE CHINESE RISING CARDS
EFFECT: Three cards are chosen, noted and placed into the pack. The cards are placed into a
container at the rear of a cut out Chinaman's head. Attention is drawn to the Chinaman's queue which
is attached to the head. The performer pulls on the queue and one by one the chosen cards slowly rise
up at the top of the head.

APPARATUS: This consists of a cut-out wooden head of a Chinaman which has a container fastened
to the rear of the head. This has a secret compartment in which are placed four cards which have a
length of thread running through them as shown in the illustration. The loose end of the thread has a
small glass bead attached to it. This bead is lowered into the Chinaman's queue which is made from
two black ribbons which have been sewn together at the edges to make a tube.

WORKING: When the three cards have been chosen they are replaced into the ordinary deck but a
'little finger break' is kept on top of the three cards. The deck is cut at the 'little finger break' so that
the three chosen cards are now on top of the deck. As the deck is placed into the container the three
chosen cards are pushed between the first, second and third threaded cards, pushing the thread down
to the bottom of the container in each case.

It will now be apparent that when the performer strokes the queue, the thumb and finger grip the
glass bead through the material and slowly pulls it downwards thus rising each card in turn. If
desired, instead of returning the three cards to the deck, you could place the deck into the container
first, then push the three chosen cards into the deck afterwards, but in actual fact pushing them singly
into the threaded cards set-up.

9
10
THE WRIST SPIKER ILLUSION

EFFECT: A person's hands are secured in stocks. Two spikes are examined and without any exchange,
the spikes are driven one by one right through the hands. The spikes are then withdrawn and shown
to be free from deception.

APPARATUS: A set of stocks should be made as shown in the illustration. The centre piece of the
stocks is made from hardwood and it is made in two sections with holes cut out for the wrists. They
are hinged at one side and have a locking hasp fitted at the other side. Channels are sawn into this
centre piece about 1/2 inch deep and wide to allow spring loaded spikes to be located. Two sets of
holes 1/2 inch in diameter are bored placing them so that one hole will pass right through the centre
of the wrist and the hole next to it will bend around the wrist, so that when the solid spikes are pushed
through they will push against the spring loaded plates. The spring loaded plates have a small piece of
spike welded to the plate and when this is pushed out it appears to be the point of the genuine spike.
The fake holes should be lined with metal piping so that the spike will bend around the wrist inside
the pipe.

On the top edge of the stock a metal plate about 1 1/2 inches wide and 15 inches long is screwed
loosely in position. Two holes are drilled in this metal plate in a position which matches the holes in
the stocks. The idea of fastening the metal plate loosely is so that it can slide sideways enabling the
holes in the plate to either match up with the fake holes or the genuine holes in the stock. The spikes
should be about 6 inches long and made from aluminium or any soft metal.

WORKING: The spikes are shown and are knocked through the genuine holes in the stocks to prove
that there is no trickery. The spikes are removed and the person's wrists are locked into the stocks.
The metal plate on top of the stocks is now slid to one side so that the holes in the plate now match up
with the fake holes in the stocks.

The spikes are knocked one by one into the holes and they will bend around the wrists being guided
by the metal pipe inside the holes, finally hitting the spring loaded metal plates which will be pushed
downwards revealing the fake spike points.

11
It will now appear that both spikes have penetrated the wrists and the points are sticking out at the
bottom of the stocks.

The spikes are removed with the aid of a claw hammer. Extra leverage can be applied by placing a
stepped wooden block under the hammer head and by using the different steps on the block in the
withdrawal of the spikes it removes them in a practically straightened condition.

12
NEEDLE THRU' BODY

A startling effect using two steel needles. A wooden stock is placed around a girl's waist. Two steel
needles are now thrust one at a time right through the girl's body and out at the other side. Smoke can
now been blown through the holes and it appears at the other side. Finally, the two needles are
removed, the stock unfastened and the girl is seen to be unharmed.

APPARATUS: This is really a larger version of the Neck Spiker detailed in a previous volume. It was
never commercially produced. Only one prototype was manufactured and it is in the Derek Lever
collection. The wooden stock is constructed from wood and is hinged in the middle. A locking clasp
holds it in position. The stock is hollow and is fitted with two metal tubes which run from an entry
hole at the rear of the stock right round the end of the stock and out at an exit hole at the front. The
needles are in fact springs, painted silver to look like needles.

WORKING: Two duplicate needles were manufactured out of solid steel and these are handed to the
spectator to examine. Taking them back in one hand the performer bends behind his roll-on table to
pick up a towel and switches the solid needles for the spring needles. The stock is locked around the
waist of the girl and the towel inserted in the gaps between her flesh and the stock. The spring needles
are now pushed into the entry holes and will bend their way through the metal guide tubes and out at
the front. Smoke can now be blown through the holes. Finally the needles are removed and the girl is
seen to be unharmed.

13
14
DOVES TO POODLE

EFFECT: An elegant looking casket is shown. Four doves are produced and inserted one by one
through a hole in the front door. Suddenly the back and front doors of the casket are flicked open to
reveal the fact that the DOVES HAVE VANISHED and now completely filling the casket is a FULLY
GROWN POODLE.

APPARATUS: This was a beautiful prop manufactured in glitter plastic and brass trimmed and it is an
item much sought after.

The casket has a moveable load chamber which is held in position in the centre of the casket by two
metal pins. When the doves are placed into the casket through the hole at the front, they pass straight
into the load chamber.

WORKING: Place the poodle on top of the load chamber. Lift the load chamber upwards with the
poodle on it and insert the metal pins. Place the doves one by one through the hole and into the load
chamber. Lift the casket up and as you show it all the way round secretly remove the holding pins
allowing the load chamber to drop to the floor of the casket. Flip open the front and back doors to
reveal the poodle. The doves can be removed after the show via a trapdoor in the top of the load
chamber. The trapdoor is locked in position by means of a small turn catch.

15
16
THE SWORD MAIDEN ILLUSION
EFFECT: A cabinet is shown all around, the front doors opened and the girl steps inside. Her head
pokes through the top of the cabinet and her legs remain on view throughout. The front doors are
closed thus hiding her stomach. Now five swords are thrust through the sides of the cabinet. Finally
the front doors are opened and although her legs and head are in full view, her stomach has
completely vanished and all that can be seen are the five swords filling the centre of the cabinet.

APPARATUS: The vanish of the middle section of the girl's body is achieved by the use of two mirrors
which swing over from the sides of the cabinet after the doors are closed, to locate at a 45 degree
angle. The joint at the front where the mirrors meet is hidden by the sword running down from the
top of the cabinet. The two swords pushed in the rear of the cabinet are shorter than the other three
and they pass either side of the girl's body but do not touch the mirrors. Due to the reflection in the
mirrors of the two normal swords thrust through the sides of the cabinet it appears that the rear
swords can be seen penetrating right through.

The base is made from 3/4 inch blockboard and measures 21 1/2 inches by 20 and 3/4 inches. Castors
are mounted at each corner.

The two sides are 56 inches high by 21 inches wide made from 1/2 inch thick plywood and covered on
the inside with striped wallpaper. Use 1 1/2 inch square battening along all edges so this can be drilled
to locate bolts and wing nuts to hold the cabinet together. A sword slit is made in the top centre of the
sides.

A 1 1/2 inch by 1/2 inch quartering strip is fixed across each side as runners for the centre piece. The
rear is made in exactly the same way as the two sides but with two swords slits.

The centre piece is made in two parts from three ply 20 1/4 inches by 20 inches and is strengthened
along the front edge by 3/4 inch by 1 1/2 inch quartering and along the back by 3/4 inch by 1/2 inch
quartering. The body aperture is cut approximately 10 inches in diameter. Angle brackets are secured
to each side of the back part of the centre piece. These are used to bolt through to the sides. Holes are
drilled into the strengthening stay at the rear so that the centre piece can be bolted securely through
the back. Also two clips are located at the front which serve to grip against the sides when it is slid into
position.

It is important that the centre piece is bolted and held securely as this forms a platform to take the
weight of the mirrors. Also guide or angle blocks are situated behind the sword slit and in front of the
body aperture, so that the mirrors can be located in the correct position during the performance. A
brass plate with a hole drilled in to take the mirror pin hinges is screwed about 4 1/2 inches on each
side from the rear.

The mirrors are made from 1/4 inch plate glass (or use perspex), not bevelled but finished at the ends
by a brass binding made from channelling. At the top and bottom of the channelling is the socket for
the mirror pin hinges. The rear of the mirrors are covered with striped wallpaper similar to the sides
of the cabinet.

17
The neck piece is constructed from three ply 19 1/2 inches by 20 and 1/4 inches, again in two parts,
similar to the centre piece, but with the aperture to take the girl's neck approximately 6 inches in
diameter. Two angle pieces are fastened to the rear edge of the rear neck piece. These slip over the top
edge of the back piece holding it secure. Brass plates drilled to receive the mirror pin hinges are
screwed on about 4 1/2 inches from the rear.

Two doors are required and they only serve to hide the operation of the mirrors when they are swung
over. They fit on pin hinges and fasten at the front with a simple hook fastening.

The five swords can be genuine, but two must be shorter than the other three. They can of course be
made of wood and painted silver if desired.

WORKING: The cabinet is shown from all sides. The mirrors have been pushed back flush with the
sides, the striped wallpaper on the rear of the mirrors matching the striped wallpaper on the sides of
the cabinet, thus rendering the mirrors invisible.

Girl is placed in the cabinet and the front part of the centre piece is slid home. Then the front part of
the neck piece is placed in position, securing the girl in the cabinet. The front doors are now closed. As
soon as this is done the girl (assisted by the performer if necessary), swings open the mirrors across
her stomach. These will come to rest at a 45 degree angle due to the angle stops located on the front
part of the centre piece.

18
The first sword, which should have a flat blade is passed down through the top of the cabinet (going
into the slot in the neck piece and down into the slits in the centre piece). This hides the two front
edges of the mirrors.

Next swords are inserted into the sides of the cabinet, the points being located in the same slits in the
centre piece as the front sword. Finally insert the two shorter swords into the two back slits, turn the
cabinet around to show that swords have been inserted in different positions, then open the front
doors revealing the swords but NO BODY!

Close the doors, quickly remove all the swords, girl quickly pushes mirrors back against the sides of
the cabinet, open front doors and show she is back unharmed.

19
VISIBLY SAWING THRU' A PERSON

A number of names have been mentioned as to who originated this brilliant illusion. Plans were
published in the 'Harbin Book' but Bob only laid claim to having improved the original apparatus
which he purchased from Hamleys in Regent Street, London. Two years prior to this, Abbotts in the
U.S.A. had already been selling a version which had been designed by JACK HUGHES. This was at a
time when Jack and Percy Abbott had a deep and long lasting friendship and an arrangement wherein
various items were produced and exchanged between them. The Visible Sawing In Half, using a bow
saw, was therefore, a Jack Hughes creation. Jack manufactured a few for Max Andrews incorporating
a few improvements suggested by 'Lenz' and both Robert Harbin and Gil Leaney added their ideas to
versions sold by Davenports.

In fairness to Robert Harbin it should be stated that he made a major improvement to the apparatus
by inventing a mechanical method to lock a duplicate blade onto the frame of the saw underneath the
body of the person being sawn in half. In Jack's version the blade is released and withdrawn from
under the body.

EFFECT: A large lumber saw is shown along with a wooden stock. A spectator is invited to lie down
on the table and the stock is placed around her waist. A number of wooden dowels are placed into
holes at either side of the stock. The lumber saw blade is inserted into the top of the stock and the
performer vigorously saws away at the spectator. The wooden dowels are seen to be cut in half as the

20
saw blade rips through them and the poor spectator. Finally the saw reaches the bottom of the stock.
The blade is released from the lumber saw frame and pulled out from underneath the body of the
spectator and passed for examination. The lady is completely unharmed.

APPARATUS: The frame of the bow saw is made of wood and has a metal support rod running across
near the top to ensure the frame is held firmly together. There are two blades. The genuine one fits
into a slot in the base of the stock. The fake blade is in three parts and is made from laminated steel
strips riveted together. The centre of the blade is a precision fit into the two end pieces. The end pieces
are slotted and the ends of the centre section are ground down so that they fit into the slots. The
whole arrangement must be really well done so that you have what appears to be a perfectly normal
saw blade in one piece. The joints can be successfully hidden by grinding 'swirl' marks on both sides of
the blade. The two end blades are faked by being able to swivel upwards into the frame. They are held
in position by two small nails. When these are pulled out the blades automatically flip into the frame,
due to springs hidden inside the frame. The stock is of fairly simple construction. The base is hollow
and conceals the duplicate blade. The top of the stock has a secret compartment which picks up the
loose centre section of the fake blade when the saw is inserted into it. The stock is hinged to the base
at one end so it can be simply swivelled upwards to allow the spectator's body to slide inside. Two
locking catches hold it firmly in position. All the apparatus fits into a special wooden carrying case
which when opened up and legs screwed underneath, makes a neat performing table. The bottom of
the base of the stock has two battens and a locking catch which clamps the stock to the underside of
the table via slots in the side of the table.

WORKING: The stock is clamped to the table and the saw lies hidden under a cloth. Spectator lies full
length on the table with her waist inside the stock. The saw is picked up and kept moving to prevent
her spotting the joint in the blade. Pieces of dowel are inserted into holes at each side of the stock. It is

21
best to use balsa wood as this cuts very quickly. The saw blade is inserted into the top of the stock and
the performer begins to saw. As pressure is exerted on the blade, the middle section will release itself
and stay hidden in the compartment at the top of the stock. The two end sections of blade will cut
through the balsa wood as the performer continues with the sawing action. Finally, the blade reaches
the bottom of the stock. The performer now apparently releases the saw blade from the frame, but
what really happens is that he pulls out the two holding nails at each side of the frame and the two
sections of blade will automatically spring inside the frame and remain hidden. The performer now
grips the genuine duplicate blade inside the compartment in the base of the stock and pulls it out as
though it was the blade just released from the frame. The saw can now be lifted out of the stock and
shown and the blade passed for examination.

This is an excellent illusion but it does need to be made by a craftsman so that it will work correctly.
Only twelve were manufactured so if you own one, you have a fine collector's item.

22
23
THE GIRL THROUGH GLASS ILLUSION
EFFECT: A large framed sheet of glass or perspex is brought out onto the stage and several members
of the audience are invited to inspect it and ensure that it is solid and contains no holes. The framed
glass is now placed onto a small supportive base and two screens approximately 24 inches x 14 inches
are placed either side of the glass near the centre. Two boards on legs are now placed either side of the
glass under the screens.

A girl is now hypnotised and placed on one of the boards. She is suddenly pushed along the board,
right through the glass and out onto the board at the other side. Immediately the screens and boards
are removed and members of the audience are allowed to examine everything.

Owners of Volume One of the Jack Hughes World of Magic will realise that this is a larger version of
the 'Dove Through Glass'.

APPARATUS: The penetration is achieved by the glass sliding upwards in the frame. There are
actually two pieces of glass in the frame, one is a stationery piece bolted to the metal supports. The
other sliding piece is 71 inches high by 48 inches and has a 21 inch by 52 inch cut in it to fit around the
stationary glass within the frame. Within the base holder are two supports so that when the frame is
set into the holders one way, these supports push the sliding glass upwards. When the frame is placed
into the base the other way, the supports miss the glass.

WORKING: The frame and glass are placed into the base section which does not have the supports in
it. It is lifted out whilst the screens are attached to it, then replaced into the section of the base which
has the two supports in it, this will automatically push the glass upwards and leave a hole, which is
hidden by the screens. The two boards are now placed either side of the glass and the girl is slid
through from one side to the other. The boards are removed. The glass and frame are now lifted out of

24
the base, allowing the glass to slide back in position. It can now be examined once again when the
screens have been removed.

25
26
THE BUZZ SAW ILLUSION
This was not, of course, a Jack Hughes origination. It was created by Horace Goldin. But Jack did
build several of these for well-known names who were working the number one theatres and for
completeness sake details are included in this volume.

EFFECT: A girl is brought on stage and 'hypnotised'. She is laid flat on a table and strapped in
position. Suspended above the table is a large circular saw. The saw is switched on and is moved
slowly towards the girl. The blade is seen to tear at her dress, then through her flesh and out at the
other side, severing her body in two. In Sorcar's presentation he used to leave the girl cut in two. But
most performers join the girl back together and she walks off unharmed.

APPARATUS: The wooden table is 7 feet by 3 feet and is positioned 2 feet 6 inches up from the floor
within the framework. In the top of the table is a trap made of stretch material. This allows the girl's
abdomen and thighs to sink within the trap. This is not seen as the girl wears a papier mache corset
moulded to fit the shape of the girl and fitted to her stomach with elastic webbing. Thus when she
sinks down into the trap, the papier mache form will remain on top of the table and the saw blade cuts
through this. A metal safety bar is located at the centre rear of the table and this is pushed in place
over the girl thus making certain the saw blade cannot harm her. The metal arm on which the saw
blade is mounted is attached to a strong spring which pulls the blade away from the table and makes it
necessary to exert pressure to force the blade towards the girl. This is for safety reasons.

27
WORKING: The assistant wearing the special corset is brought on and apparently 'hypnotised'. She
lies down on the table. At a point just below her navel, where the two halves of the corset join, her
wide skirt is pulled back and broad leather straps clipped in place. The girl relaxes allowing her
abdomen and thighs to slide down through the trap and the performer pushes the safety bar over her
middle. The girl's arms and feet are now fastened to the table. The motor is switched on and the blade
pushed forward right through the corset. If some material matching the girl's skirt is fastened around
the corset, the dress will apparently be ripped to pieces also.

You could have a small balloon filled with stage blood fitted inside the corset and this makes the
illusion really gory.

Jack finally designed a much smaller version for use in cabaret with a tubular metal framework and
two metal covers which slid over the girl's middle thus making the use of a corset completely
unnecessary.

The depth of the table will vary according to the size of the girl used. Ideally it should be no more than
9 inches but the way the table is painted is what makes the illusion convincing. Study the side views of
the illusion and you will see that white woodwork has been silhouetted by the black sections so that it
looks very thin. The black section can be painted but it is far more effective to cover it in black felt, so
that it does not reflect white light.

WARNING: A GENUINE CIRCULAR SAW BLADE SHOULD NOT BE USED FOR THIS ILLUSION.
FABRICATE ONE FROM ALUMINIUM SO THAT IT IS NOT SHARP.

ALL SAFETY PRECAUTIONS SHOULD BE BUILT INTO THIS ILLUSION AND THE PUBLISHERS
CANNOT BE HELD RESPONSIBLE FOR ANY ACCIDENT OR INJURY CAUSED BY THE
INCORRECT USE OF THIS APPARATUS.

28
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30
THE CARD TARGET
EFFECT: A card is chosen, replaced and shuffled back into the deck. A small throwing knife is shown
along with a small target. The deck is tossed into the air in front of the target as the performer throws
the knife. The knife is now seen to be lodged in the target and it is pinning the chosen card firmly to
the bullseye. The illusion requires two persons to operate it.

APPARATUS: The target is 14 inches square and stands on two swivel feet. It is made of wood and the
centre section is made so that it will revolve one half turn by means of two spring loaded rods located
in the top and bottom of the disc. There is a stop on the disc and a catch to release it. The stop allows
the disc to perform one half turn before bringing it to a halt. The catch is operated by a length of
thread which is pulled by your assistant as she throws the cards into the air. Two knives are used, one
is stuck into the disc holding the force card at the rear of the target. The other knife is held by the
performer.

WORKING: The card is forced by your favourite method. The centre disc is locked in position at the
rear of the target and a duplicate of the card to be forced is pinioned to the disc by the duplicate knife.
The performer holds the knife and apparently throws it at the target as the assistant throws the cards
in front of the target. What really happens is that the knife is allowed to drop down the performer's
sleeve as the assistant pulls on the thread and releases the centre disc. The centre disc revolves a half
turn revealing the duplicate knife and card under cover of the cards being thrown. If desired the knife
can be vanished by means of a 'pull' instead of just dropping it down the sleeve.

The knife and card can be pulled from the target and passed for examination.

This apparatus was manufactured by Jack Hughes for Max Andrews 'Vampire' Magic Company in the
1950's and never actually appeared in his own catalogue.

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32
EDWIN'S SPONGE BALL ROUTINE 'Roger the, Lodger'

Here is a sponge ball routine that has Novelty! - Humour! - and a laughable and surprising climax!
Briefly it illustrates the adventures of a certain Mr. and Mrs. Green, not forgetting Roger, their lodger.
Mr. & Mrs. Green are two green sponge rubber balls.

Roger of an orange hue. Roger is always taken away and placed on his own in the pocket, yet always
he manages to turn up between our couple again. The climax of the story comes as a BIG SURPRISE!
- a little naughty perhaps, but oh!, so very nice!

YOU WILL NEED:

 2 Green sponge balls

 2 Orange sponge balls
 A large number of small orange balls of assorted sizes

33
SET-UP: To commence, place all the small sponges where you can easily get to them, in either the
right hand trousers or coat pocket. Place the two green sponges and one of the orange sponges on the
table. The other orange ball should be retained in the closed right hand. No need for any clever
palming here, just keep it pressed into the hand with the fingers. The hand is kept in a natural
position partly closed.

This is the story of Mr. & Mrs. Green, - not forgetting Roger their lodger!’

The first green sponge is picked up between the finger and thumb of the right hand and openly placed
into the left. The second green sponge is picked up in the same manner and also placed in the left
hand. However, this time the concealed orange ball is also taken away at the same time. The left hand
is closed over the balls and immediately turned over.

The orange ball is now picked up and openly placed into the pocket (the pocket containing the small
sponges). Immediately, the ball is pressed into the palm and the hand is withdrawn.

‘Mr. and Mrs. Green stop at home whilst Roger goes off to the pictures, but do you know that Roger is
a bit of a dodger ... he always comes between them. The left hand is slowly opened to show that the
orange ball is there. With a little practice you will find that you are able to ensure that the orange ball
will come between the two green ones. If it doesn’t, well don’t worry because it doesn’t have a terrific
bearing on the effect.

The effect is repeated. Once again Mr. & Mrs. Green are placed in the left hand, once again Roger is
placed into the pocket. This time, however, he is allowed to stay there; instead, the left hand grasps as
many of the small sponges as it can comfortably hold; no need to get them all, just a handful. You will
find that you are able to take your time over this. Remember, all eyes will be on the left hand as it is
slowly opened to show the three sponges there once more.

The two green sponges are now picked up, one at a time by the LEFT HAND and pushed into the
closed right hand. This time the orange ball is placed into the left hand pocket. The Years roll on,
Roger the Lodger has left the Green's household .... but he’s also left a few little souvenirs! The left
hand is slowly opened to show the Greens .... and all the little orange sponges!

And the moral of the story is NEVER TAKE IN LODGERS!!!

Billy McComb's Routine

YOU WILL NEED: 2 Green balls, 1 Orange ball, A large number of small orange balls This is the story
of a very happily married couple called Mr. & Mrs. Green. This is Mr. Green (Hold sponge ball up
close to the eye and say) Sorry Mrs. Green ... THIS is Mr. Green and this gentleman obviously isn’t a
green .... He’s Roger the lodger. You’ve heard of Board and Lodging. Well, Roger was very bored of
lodging with the Greens, so he evolved a plan.

One day when Mr.& Mrs. Green were sitting in their snug little house … (Push Mr. & Mrs. Green into
the left closed fist at the thumb end with the right thumb. This brings the fingers of the right hand
under the bottom of the left fist. As you push in Roger, you let Mr. Green drop from the bottom of
your left fist into the waiting right fingers; from here draw back into a finger palm position held
against the palm with the third and little fingers of the right hand) … Roger dashed in and said “What
d’you know! They’re giving away free beer in the local’. Mr. Green shot out of the house so quickly that

34
nobody saw him go! (Here pocket Mr. G, open fist and Roger and Mrs. Green roll out). That left Roger
and the cute blonde, Mrs. Green, all alone in the sitting room. Well don’t let’s disturb them. That
wouldn’t be fair. (Replace Mrs. Green and Roger into the palm again, but slip back Roger with the
middle and third fingers clipping the sponge back into the palm. If the left hand is closed at the same
time you get the illusion that both Mrs. Green and Roger have been placed into the left hand once
more.

On the return of Mr. Green things didn’t give any cause for alarm, because Mrs. Green was sitting in
the sitting room and Roger was upstairs in bed. (Take the palmed Roger openly from the pocket with
Mr. Green finger palmed) Mrs. Green raised Cain with Mr. Green for hanging around the low joints,
(Produce Mr. G. from behind knee or elbow) which was quite fair as he was doing just that. And the
matter was forgotten.

In the few months that followed, Mr. Green and Mrs. Green often sat in the sitting room and Roger
often ran in with some fantastic statement varying from Boy Scouts holding Communist meetings to
Peers giving up their seats in the House of Lords so’s they could stay at home and watch their wives on
television. (Here repeat the first set of moves) and in every case Mr. Green shot out of the house to see
what it was all about. Then, one day Mr. Green arrived home and found Roger and Mrs. Green sitting
in each other’s laps in the sitting room ... and if you think that's easy, it’s not ... (Here you have left
Roger and Mrs. Green in the fist and haven't made the second and fake replacement mentioned
earlier). There was an almighty row and as a result Roger left ... no longer had the Greens got a lodger,
with the result that Mrs. Green and the gullible Mr. Green, who by the way was back from the low
joint ... (reproduce from the elbow) were once more left to their own devices. (As you mention the
departure of Roger, put him into your coat pocket and snatch up as many of the small sponges as you
can). Suppose we now go to visit the Greens. We'll put them in the sitting room at home as usual
(Push the two Greens into the right fist in among the small sponges). I’m perfectly certain that they
are once more a happily married couple and that Mrs. Green never sees Roger any more ... though,
mind you, not everyone would agree with me because the rest of their family bear a certain
resemblance ... (open hand and let Mr. and Mrs. Green and all the little Rogers fall out.

35
BEADO
EFFECT: A round 'pill' is shown and dropped into a bottle of water. The cork is pushed into the top of
the bottle and a spectator is challenged to remove the pill without emptying the water out of the
bottle. When the spectator fails, the performer places the bottle behind his back for a moment and
removes the ‘pill’ without any trouble.

APPARATUS: The round pill is really a small round magnet and another magnet is concealed inside
the cork.

WORKING: When the cork is placed into the neck of the bottle initially it is reversed so that the
magnet is on the outside. When the performer attempts the stunt the magnet area of the cork goes
inside the bottle. Holding the bottle behind the back, the performer simply turns the bottle upside
down allowing the ‘pill’ to drop onto the magnet in the cork. It will cling to the cork when the bottle is
turned upright, remove the cork, grip the ‘pill’, replace cork upside down and take your bow.

This clever item was never shown in the Jack Hughes Catalogue but around 50 were produced.

36
KNIFE THRU’ GIRL ILLUSION
This very clever illusion was designed by Harold Beaumont of Huddersfield and manufactured by
Jack Hughes for Max Andrews of Vampire Magic Ltd, London. It should not be confused with
Abbott's Knifer Illusion where the knife appears via a slot in the target. This method shoots the knife
through the bullseye of the target.

EFFECT: A large target on a stand is seen on stage. A stand is shown on which rest four large knives,
each with a different coloured handle. One knife is freely selected by the audience. A balloon is held in
front of a girl assistant who stands in front of the target. The performer suddenly throws the knife
across the stage towards the girl. The balloon bursts with a loud bang and the knife is seen to have
penetrated right through the girl's body. It is now stuck quivering in the centre of the target.
Remember the knife with the coloured handle chosen by the audience is the one that appears in the
target!

APPARATUS: The knife stand is numbered from 1 to 4 on both sides. The knife handles are all
coloured green on one side and different colours on the other side. The target stands on tripod legs.
The black bullseye in the centre of the target is comprised of strips of 1/2 inch wide black elastic. A
duplicate knife with a green handle on both sides is clamped, pointed end first into a wooden lever
located at the back of the target. This lever is spring loaded via a strong length of catapult elastic. Two
metal plates screwed to the rear of the target are also made to be spring loaded by lengths of catapult
elastic. When released by a wooden holding block the two metal plates will spring sideways allowing
the knife to be propelled through the gap in the plates and straight through the gaps in the black
elastic bullseye, appearing at the front of the target. The wooden holding block is moved by means of a
length of thread.

WORKING: Place the knives in the stand with the green sides to the rear. Lift out each knife in turn
showing that they each have a different coloured handle. If you want to be really clever you can
perform the paddle move to show it is a different colour on each side, but it is not necessary. After all
four knives have been shown and replaced in the stand, turn the stand around as you ask a spectator
to shout out a number. The green sides will now be facing the audience so whichever number is
chosen the knife at that number will show a green handle.

The duplicate knife should be clamped into the spring loaded wooden arm. The illustration shows the
knife clamped in the centre of the blade but in practice it should be clamped right on the knife point.
The two metal plates should be in the closed position and the wooden locking block pushed up to hold
them closed. The thread is run down to the bottom of the target, through an eyelet and is held by the
girl assistant. The tripod legs need to be sturdy so the target will not fall over when the thread is
pulled. The balloon is burst by the girl with the aid of a pin or just squeezing a well inflated balloon.

The knife which is apparently thrown, never leaves the performers hand. There are several methods of
vanishing it. You can either sleeve it as you bring your arm up high to throw it. Or if you are working
on a stage with wings, simply stand close to the wings and as you bring your arm back to throw, allow
the knife to project back into the wings and have someone take it out of your hand ... bold ... but it
works! Probably the best method is to use a pull down your sleeve similar to the type used for the
Vanishing Bird Cage. Have a strong clip or a very strong magnet fastened to the end of the pull to grip
the knife blade. As the knife is 'thrown', the girl bursts the balloon and pulls on the thread. The release
block is pulled downwards which releases the two metal plates, which allows the spring loaded arm to

37
fire the knife through the elasticated bullseye. The noise of the balloon bursting covers the noise of the
spring loaded arm and in any case the knife would make a noise if it genuinely hit a target.

This is a very clever mechanism and is far superior to the standard 'Knifer' Illusion. This item was
only manufactured in very small quantities.

38
39
THE MIDDLE FOR DIDDLE ILLUSION
EFFECT: A waist high cabinet is shown with two doors closed at the front. A girl enters from the rear
and her legs and upper body are clearly on view. The front doors are opened revealing that the cabinet
is illuminated inside and the girl's middle section can be seen quite clearly. The performer turns a dial
on the side of the cabinet and slowly the girl's middle section begins to go transparent, then finally
vanish, although the cabinet is still brightly lit inside. A mirror can be held in front of the cabinet and
the girl verifies that she can see her head and legs but her middle section has no reflection in the
mirror. Once again the dial is turned and slowly the torso becomes transparent and then fully
restored. A spectator can be used for this neat variation of Robert Harbin's 'Invisible Ray' illusion.

APPARATUS: This can be made to any dimensions required, it consists of a wooden base to which are
attached two wooden sides. On top of the wooden sides is a box with two front doors. A support strut
runs down the centre of the front of the box. The back of the box has two hinged sections which open
allowing the girl to enter the box and also two hinged flaps on top of the box which swing upwards to
allow the girl access into the box.

Two pieces of clear perspex or glass run at a 45 degree angle from each rear corner of the box and
meet behind the support strut at the front of the box.

Two 12 inch fluorescent light strips are located BEHIND the perspex at the rear corners of the box.
Three 12 inch fluorescent light strips are located in FRONT of the perspex as follows; one behind the
support strut at the front of the box and one in each corner at the front of the box. You will need two
household light dimmer switches wired so that the two rear lights are operated by one dimmer and
the two front lights are operated by the second dimmer.

An oval hole the size of the girl's body is cut into the top and bottom of the box. Both holes should be
lined with foam rubber to prevent any light from seeping into the box behind the perspex sheets. The
walls and back of the box should be lined with striped wallpaper.

WORKING: When the rear lights are fully illuminated it renders the perspex or glass sheets invisible.
When the dimmers are operated by turning the rear lights down slowly and the front lights are
brought up to full brightness it turns the perspex or glass sheets into two 45 degree angle mirrors,
thus reflecting the sides of the box as though they were the back of the box. The girls's body will
become transparent at one stage when the front lights are just brighter than the rear lights and then
her body will vanish as the rear lights are turned out and the front lights brought fully up.

Holding a mirror in front of the cabinet does not affect the situation since the mirror reflects the
mirrors and the body appears to have vanished. The stage lighting should NOT have any white lights
shining at the box. It is best to have the stage lighting slightly dimmed.

40
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42
THE MODERN CABINET ILLUSION
EFFECT: An open fronted cabinet is wheeled on stage and spun around thus proving it is definitely
empty. The front curtain is pulled across, a shot fired and the curtains fly back to reveal a lovely girl is
filling the cabinet.

APPARATUS: The cabinet consists of two sides measuring 2 feet 1 inch and a back measuring 2 feet.
All three pieces are 56 inches high and they are bolted to a base which is 3 inches high by 2 feet 7
inches square. The roof is bolted to the sides and back and fits inside the panels. Fastened to the roof
at the front is a curtain on runners. A roller blind is fitted approximately 9 inches from the back of the
cabinet. You can use a black roller blind and paint the interior black, but it is actually more effective to
use a striped coloured roller blind and use matching wallpaper to decorate the interior of the cabinet.

WORKING: The girl is concealed from view by pulling the roller blind down and locking it in position
with a magnetic catch. The blind appears to be the rear of the cabinet, the stripes matching the
wallpaper. The curtain is pulled across by the performer, the girl releases the magnetic catch and the
roller blind flies up. The girl steps forward and flings open the curtain making her magical
appearance. Although a very simple illusion this can be used to produce the Managing Director on a
Corporate function etc., it is well worth making up.

43
THE VANISHING CAGE AND GIRL ILLUSION
EFFECT: A large cage is shown empty. A girl enters the cage and completely fills it. A cloth is thrown
over the cage and girl and two wires are fastened to the cloth from the flies. The cloth is slowly lifted
into the air, the performer fires a shot and the cloth drops to the ground, the cage and girl have
vanished.

APPARATUS: The cage is made from wooden frames and dowelling. It sits on a base which consists of
four 1 1/2 inch diameter pipes for legs fastened to a wooden frame.

The underside of the frame has a canvas hammock suspended from it, of a size that will hold a girl
comfortably.

The cage sides are made from 1 inch by 1 1/2 inch wood strips with dowel painted silver, drilled and
glued into it to represent the bars of the cage. The dowel bars are mounted at the top only.

The cage sides are fastened to the cage top with spring hinges so that when the cage is lifted up
slightly, the bars will fold up flat against the inside of the cage top.

The bars must be spaced so that they alternate when they come together in an upright position. The
bottom of all the bars just sit into a slot cut into the base. Moulding fitted along the edges of the base
prevent the audience from seeing this.

The top of the cage is a complete oblong frame glued to a thin solid sheet of 1/4 plywood. Cut into this
sheet is a hinged lid to enable the girl to step inside the cage.

The cage top is fastened to the corners of the cage which consists of 3/4 inch pipe and these drop
down inside the hollow pipe legs of the base taking the cage top with them.

Fringing can be stapled around the edge of the base to hide the hammock when the girl is lying in it.

WORKING: The girl enters the cage through the lid in the top and keeps her feet on the frame of the
base rather than stepping onto the hammock. The cloth is lowered over the cage and girl. The cloth
has a metal frame the same size as the cage, sewn into it so that it will keep its shape when raised up.

Wires are attached to the cloth and as soon as the wires are tightened, the girl sinks into the hammock
and lifts the cage slightly with her hands. This has the effect of releasing the bars from the slots in the
base and the spring loaded hinges ensure that all the sides fold up against the inside of the lid. As this
happens the four pipe corners of the cage are able to drop down inside the pipe legs and this allows
the folded up cage to drop down over the girl. Due to the top of the cage being solid plywood the cage
and girl are hidden from view underneath it.

The cloth is lifted up by the wires, the shape of the cage apparently seen under it, the base containing
the cage and girl is wheeled off, the cloth is dropped and you take your bow.

44
45
46
SLICING A SLAVE ILLUSION
EFFECT: A tall wooden cabinet resting on a wooden base is wheeled onto the stage. A girl dressed as a
slave girl is pushed, shouting and screaming into the cabinet where her hands are locked into
shackles. The front door is closed and five metal blades are thrust through slots in the cabinet,
obviously completely penetrating the girl. The blades are removed and when the door is opened the
slave girl is seen to be completely unharmed, still shackled to the walls of the cabinet.

APPARATUS: The base is made of plywood and is basically a box on small legs and castors. It
measures 30 inches square and has two trap doors in the top. The trap measures 22 inches by 20
inches. The depth of the base will depend on the size of the girl you intend to use since she kneels in
the base and bends her head down below the level of the bottom blade slot. The dimensions of the
cabinet itself can only be arranged when the size of the girl is known. As a general guide the cabinet
should be around 25 inches wide by 26 inches deep and 70 inches high.

The roof of the cabinet is made from plywood with moulding around the edges to fit over the sides of
the cabinet.

The blades should be made of 1/8 inch aluminium sheet. You will need five of these measuring 28
inches long by 15 inches wide. They should be mounted into 3/4 inch plywood handles.

Two metal plates should be screwed to each side of the interior of the cabinet.

Two shackles should be made as shown in the illustration. The metal plate at the end of the chain has
magnetic rubber glued to it so that it will be attracted to the metal plates screwed inside the cabinet.

In order to assist the smooth insertion of the blades into the slots it is best to glue 3/4 by 3/4 inch
strips along the bottom edge of the slots inside the cabinet.

To hide the depth of the base you can either decorate it with fringe or aluminium angle.

WORKING: Once the girl has been shackled, the door is closed and she pulls the magnetic pad off the
metal plate so that her arms are now free. She lifts up the trapdoors and kneels in the base and brings
her head down as far as possible so that it is below the lowest blade slot. She maintains this position
until all the blades have been withdrawn, then she stands up, closing the trapdoors and relocates the
magnetic pads onto the metal plates. When the doors are opened she is still apparently locked in
position.

The theme of the illusion is that the reluctant slave is being tortured but she emerges unscathed. The
girl should act the part of being unwilling to be put into the torture cabinet and shackled etc.

47
48
49
CABARET GIRL VANISH
EFFECT: On stage is a round platform on legs so that the audience can see right underneath it. A girl
stands on the platform and into a cloth bag. Suddenly the bag drops flat onto the platform and it is
seen that the girl has vanished. The illusion can be performed completely surrounded.

APPARATUS: The platform is made from a circle of wood 32 inches in diameter with a 24 inch hole
cut into the centre. It stands on four 14 inch long legs, the type which can be purchased from any DIY
shop and just screw into sockets.

The 24 inch disc of wood cut out from the platform becomes a movable base. First cut a 2 inch hole
into the centre of it. This is a finger hole used to lift it downwards. Cut three notches into the edge of
the circle of wood at spaced out intervals.

The 32 inch circle of wood on legs is now just a 4 inch wide ring. Screw three small metal flanges at
the inner edge of the ring at spaced out intervals, matching the notches cut out of the 24 inch circle.
Place the 24 inch solid wood disc into the ring so it rests on the flanges. By rotating the disc via the
centre finger hole, the notches will match up with the flanges and allow the disc to be lowered down
through the ring.

Angle brackets are now screwed to the legs approximately 4 inches from the floor. The 24 inch disc
will rest on these and form a hiding place for the girl.

The cloth bag has no bottom but has a zippered top. It should reach from the floor to approximately
66 inches above the platform. Weights are sewn into the bottom hem. A metal ring is sewn into the
top hem. The bag is stapled or tacked to the platform edge so that the weighted hem hangs about 2
inches below the support brackets on the legs.

WORKING: At the commencement of the illusion the solid wooden disk is fitted into the wooden ring
so that it appears to be one solid platform. The bag is folded down flat on top of the platform and the
weighted ends of the bag are folded up on top of it thus enabling the audience to have a clear view
right under the platform. (The small brackets fastened to the legs will not be noticed).

The girl steps onto the platform, opens the zipper and slips into the bag, ensuring that her feet are
placed on the wooden ring, not the solid disc centre. The performer stands on a small pair of wooden
steps and holds the bag as he slowly zips it up.

Meanwhile the girl has bent down, put her finger in the finger hole and turned the disc so that it is
released from the flanges, she now lowers the disc down until it lodges on the angle brackets fastened
to the legs.

Next she climbs down onto the solid disc, lies on her side with her legs tucked up to her chin and
makes herself into a small ball.

The performer has been zipping up the bag, pulling a pistol out of his pocket and counting from ten to
zero. He fires a shot and allows the bag to drop flat on top of the platform and the girl proving she has
vanished.

50
There is a very clever subtlety involved with the bag. You will recall that the weighted ends were
folded over on top of the platform so that the audience could clearly see right underneath the platform
as the illusion commenced.

Of course when the girl lifts the bag up to get inside it, the weighted ends are automatically forced to
drop down ensuring that the bottom hem of the bag is now lower than the brackets on the legs. So
that when the disc is lowered onto the brackets and the girl lies on it, she is completely hidden from
view in a very natural manner. There is still a gap between the weighted hem and the floor, so it still
conveys the impression that the girl could not be under the platform.

Jack Hughes manufactured only two of these illusions and on the second one he incorporated a novel
idea. Instead of the performer holding the bag until the final vanish, the girl had a Vanishing Cane
hidden in the bag. She lowered the disc, then extended the Vanishing Cane, holding it upright so that
it would keep the bag extended as she curled into a ball on the disc.

When the performer fired a shot from the other side of the cabaret floor, the bag dropped as she
released the Vanishing Cane into her hand.

If castors are fitted to the legs, the apparatus can be wheeled off the cabaret floor in front of the
audience.

51
THE STRIPTEASE ILLUSION
EFFECT: An open fronted cabinet is shown. It is seen to contain a dressing table and mirror and a
number of lights. A pretty girl enters the cabinet and draws down a white roller blind hiding her from
view. Due to the lights within the cabinet her shadow can be seen as she begins to disrobe. Items of
clothing are thrown out one by one over the top of the roller blind. By now the performer and the
audience are getting quite excited as the last item of clothing is thrown out. Suddenly the lights are
extinguished. The performer shouts at the girl to put the lights back on. Sure enough the lights come
back on and there is a silhouette of the girl, naked, standing against the roller blind. The performer
releases the roller blind as the lights go out again but the CABINET IS COMPLETELY EMPTY.

APPARATUS: The composition of the cabinet is shown in the illustrations. It consists of a base 4 feet
square made of 3/8 inch blackboard, with casters at each corner. 1 inch square wooden battens are
screwed and glued to the edges on top of the base on three sides. This is so that the three sides of the
illusion can be bolted to the base. The roof is made from 1/4 inch plywood, 4 feet square with 1 inch
square battening around the edge on three sides.

The two sides and the back are made of 3/16 inch plywood and are bolted and wing-nutted to the
battens on the base and the roof. The dressing table inside the cabinet is a half round table with 3 legs.
It is 4 feet wide by 2 feet deep by 3 feet high. Two perspex or glass mirrors are hinged to the two back
legs. The front edges of the mirrors fit into a groove on the rear of the front leg, thus hiding the joint.
Light bulbs are placed around the mirror.

Two roller blinds are fitted to the roof at the front edge. One is a normal thin white blind. The other
one behind it, has the shadow of a naked lady painted on it.

WORKING: The girl has items of clothing hidden in the compartment behind the two mirrors. She
enters the cabinet and draws the front roller blind down, then opens the two mirrors and switches on
the lights. She mimes removing items of clothing (really the duplicates), switches the lights off and
pulls down the second roller blind with the shadow painted on it. She now sits in the compartment
under the table and pulls the two mirrors back in position to form a 45 degree angle then switches the
lights back on. The shadow of the girl is seen on the roller blind. The girl switches the lights back off

52
and the performer releases both roller blinds together revealing an empty cabinet - the girl being
hidden behind the mirrors under the dressing table.

If desired a second person dressed as an old man can be inside the mirror compartment at the
commencement of the routine and he can be discovered in the cabinet when the girl has vanished.

53
THE GIRL’S GONE ILLUSION
EFFECT: A table is wheeled onto the cabaret floor. It has curtains draped around the four sides. A
large cloth bag lies collapsed on top of the table. A girl now stands on the table and is covered with the
bag. The performer fires a shot and the bag collapses onto the table top. The girl has gone! The
audience are not very convinced and demand that the performer pulls back the drapes around the
table. Sure enough he pulls back the curtains and it is seen that the underside of the table is
completely empty - the girl really has GONE!

APPARATUS: The table is made of wood. The top piece measures 36 inches wide by 48 inches long
and 1/2 inch thick. It has an oblong trap cut in it towards the rear, of a sufficient size to allow the girl
to pass through it.

The bottom board measures 40 inches by 32 inches and is 1/2 inch thick. It is fastened to the legs by
angle brackets.

There are four legs 32 inches high by 2 inches square.

Two perspex or glass mirrors are fixed at a 45 degree angle between the top of the table and the
bottom.

The joint of the mirrors is hidden by a 2 inches thick support post fastened between the top and
bottom boards.

Curtains are fastened all around the table. These can be stapled at the back and sides of the table, but
the front curtain needs to be on runners. The curtains only need to hang down as far as the bottom
board of the table, not right to the floor.

The cloth bag has a wire frame sewn into the top and is stapled to the table top around the trap door.
The trap door is obviously cut in a position so that it enables the girl to drop down behind the mirrors.

WORKING: All the curtains are closed around the table. The girl climbs onto the table and pulls the
bag up around her. The performer climbs on the table and holds the bag erect as the girl drops
through the trap onto the bottom part of the table and behind the mirrors. Performer fires a shot at
the bag and allows it to collapse onto the table top. He takes his bow but then pretends to hear
murmurs of discontent. He draws the front curtain back and reveals that the inside of the table is
empty. The reflection of the curtains on the 45 degree angle mirrors makes it appear that the audience
are seeing the back curtain.

Instead of using a support post to hide the joint of the mirrors you could fit a light tube and illuminate
it as you draw the curtain back.

Only two of these illusions were manufactured by Jack Hughes as ‘specials' and it did not appear in
his catalogues.

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THE REVOLVING BROOMSTICK SUSPENSION
EFFECT: The performer places two broomsticks onto a base. The assistant stands on a small footstool
in between the two brooms and places her arms over the top of them. She is hypnotised by the
performer and the stool is removed. One of the brooms is removed and the girl remains suspended on
one broomstick. The performer now lifts the girl to an angle of 45 degrees and again she remains
suspended. The assistant is next lifted to an angle of 90 degrees where she remains suspended by
some invisible force. Suddenly the performer pushes her and she slowly revolves around the
broomstick. Finally she is lowered back to the platform and the stool, brought out of her trance and
she walks forward to take her bow.

APPARATUS: The platform is manufactured from wood and metal. A metal socket is fitted into the
centre of the platform and this should be very strong and at least 3 inches deep.

One broomstick is unfaked. The other broomstick is made of one and a quarter inch diameter high
tensile steel rod, 69 inches long. The socket fitted into the base should be a close fit around the broom.
At one end of the broom drill a 1 1/2 inch hole this is the armpit pintle. A ball-bearing race is now
sunk into the top of this drilled end. The bristles of the broom are now glued and wired around this
end section.

The steel harness is fixed to the jointed body arm, and has a waist and crutch band. The waistband fits
onto the assistant with an adjustable strap.

Over the girl's shoulder there is a strap attached to the waistband at each end. The crutch band goes in
between the legs and supports the rear of the girl. It is held in place by a strap against the abdomen.

The jointed body arm consists of the armpit toggle, the upper arm and ratchet lever, and the lower hip
joint and arm.

The armpit toggle is made to 4 inches overall, the length of the upper plane surface is 2 1/2 inches by

1 inch in width. Through the toggle and upper arm a pin is passed, so hinging them together. The
upper arm then reaches down to the hip joint. The knuckle is moved from the vertical to the
horizontal by an angle of 90 degrees.

The upper arm ratchet is part of the upper arm and attached to its underside, finishing at a finger
level. Pulling the upper arm ratchet down, a tension is created on the spring clearing the ratchet free
of the armpit toggle.

The lower hip joint and arm is an extension of the upper arm and moves backwards and forwards so
that the girl can move her legs. Attached to the end of the lower hip joint is the knee strap. The
equipment should be strong enough to take the weight of the girl. Take into consideration the
measurements of the girl. Adjustment is allowed on the straps.

The jointed body arm should reach from the armpit to just above the knee.

There is a strap supporting the girl's arm on top of the armpit toggle.

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The metal waistband, straps, crutch and upper surface of the armpit toggle are all padded with foam
rubber.

The ratchet lever comes through a hole in the girl's dress which has been specially cut.

When at an angle of 90 degrees the assistant will find it easier to cross her ankles enabling her to keep
her legs straight and extended.

WORKING: The girl wears the harness under her dress and this helps her to remain rigid on the
broomstick. The harness is strapped down her right side by means of several straps.

The ratchet lever should be accessible through a slit in the side of the girl's dress. By pulling on this it
releases the mechanism so that the girl can be lifted to a 45 degree angle and then to a 90 degree
angle.

The unfaked broom can just be supported by the weight of the girl's arm resting on it, or a small hole
can be drilled in the platform.

The faked broomstick should be securely pushed into the metal socket on the platform.

The girl steps onto the stool and places her arms onto and over the bristles of the brooms. When
adjusting the faked broom under the arm, the plug is located into the socket on the end of the broom
and through the hole in the ball-race.

When the stool is taken away the girl will remain suspended on both brooms. Take away the unfaked
broom and she is still suspended. Reach under the side of the girl and disengage the ratchet lever
raising the assistant to an angle of 45 degrees, making sure that the tongue on the end of the lever is
firmly pushed into the next groove.

Now lift the girl to an angle of 90 degrees in the same manner, by using the ratchet lever. Always
make sure the ratchet falls into the next groove.

By pushing the girls legs she can now be made to revolve completely around the broomstick due to the
ballbearing race acting as a pivot. Do not rotate the girl too fast or centrifugal force will spin the girl
off the top of the broomstick. Experiment carefully before performing in public.

When lowering the girl keep the lever under tension until her feet are back on the stool. She can then
straighten herself whilst the performer assists in pushing the plug out of the broom head.

The apparatus needs to be manufactured to a high standard and it is advisable to have a trusted
engineer make the harness and fake broomstick.

It is a difficult illusion to perform since the girl has to balance on her side in the harness and the
broomstick pole will move as it flexes. Ensure that she has plenty of confidence before attempting to
spin her round otherwise she may well panic and hurt herself.

This illusion was a 'special' and only one was produced. It was not advertised in the Jack Hughes
catalogue.

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THE GIRL ‘N GATE ILLUSION
EFFECT: This production of a girl can be performed under virtually any conditions. A wooden base
with curtains at the rear and a garden gate at the front is wheeled around and shown. The audience
can see through the gate right through to the curtains at the back. Suddenly there is a flash and stood
leaning on the gate is a live girl.

APPARATUS: The base is a simple half-moon shape on castors. Three sections of folding trellis are
bolted to the back of the base to hold the curtains. The curtains are black and have a secret pocket
sewn in the centre to hide a girl. The gate is attached to two small pieces of fencing and it has a black
sliding panel fitted behind it. By sliding this black panel across the gaps in the gate it effectively blocks
off the gaps so that the girl can hide behind it. Because the curtain is also black, it does not appear as
though anything has changed. An electrical flashpot is placed in a holder at the front of the base which
can be triggered off by a secret switch located near the girl.

Working: The girl kneels in the secret compartment in the curtain. The performer opens the gate,
walks inside onto the base and thus proves nothing is concealed and that you can see through the gaps
in the fence and gate. He steps off the base and closes the gate. The illusion is now wheeled completely
around to show the back. As this is being done, the girl comes out of her hiding place in the curtain
and pushes the sliding black panel across the gate, thus blocking it off then hides behind it.

Once the illusion is facing the audience again, she presses the switch on the flashpot and as the flash
goes off she quickly slides the black panel back out of sight and stands up. She should wear a really
bright dress to create the most impact.

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If the illusion is performed at very close range, the illusionist and assistant should stand one either
side of the gate to prevent the audience from looking through the unfaked sections of fencing at each
side of the gate, otherwise the audience may catch a glimpse of the girl.

This item did not appear in the Jack Hughes catalogue as it was a 'special' manufactured for the late
Frank Baumforth of Sheffield, England.

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ROBERT HARBIN'S AD INFINITUM
Jack Hughes manufactured this item in 1947 when he was in partnership with Harry Stanley at
Unique Magic Studio, London. Robert Harbin had approached Jack with a basic design which was
very 'rough and ready’. Jack made several improvements to the original design and produced a very
attractive prop which worked very well indeed. Only around 50 were produced as this was in the early
years of Unique Magic Studio, but it proved to be a slow seller and no further models were produced.
Permission was granted to Abbotts Magic in the U.S.A. to market the item and they called it 'Imagino'.

EFFECT: A tray is shown and two collapsible wooden tubes are erected and shown empty, then placed
on the tray. The performer says that this is the most boring trick in the world and he produces a silk
from his top pocket and places into the right hand tube, then immediately reaches into the left hand
tube and removes the SAME SILK. This is repeated 'Ad Infinitum'. Finally, he once again places the
silk into the right hand tube, but then suddenly collapses both tubes and shows them empty, saying,
'It was just your imagination, there never was a silk handkerchief!'

APPARATUS: A thin wooden tray approximately 3/4 inches thick, two linen hinged tubes measuring
4 1/2 inches square and a silk handkerchief. The tray is hollow and contains a spring loaded lever on
the end of which are two small bent nails. There are two hinged traps in the top of the tray. Two finger
holes in the bottom of the tray allow the forefingers of each hand to poke through the holes and push
the lids of the traps upwards where, they rest on the sides of the tubes allowing access into the inside
of the tray.

When the silk is placed into the right hand tube it is pushed down onto the bent nails on the end of
the spring loaded lever. The spring loaded lever can be moved to the left by the forefinger of the left
hand poking through the finger hole in the bottom of the tray. As the lever moves to the left the bent
nails grip the silk and pulls it through the hollow tray over to the left hand trap and tube. It can now
be pulled out from the tube on the left. Releasing the lever allows it to fly back to its original position
on the right.

WORKING: The lid of the traps are closed on the tray and the tubes folded flat on the table. Pick up
the tray and the fingers of each hand cover the finger holes as the bottom of the tray is shown. The
tray is held flat, the two tubes are opened up and shown empty and placed onto the tray over the
traps. The forefinger of each hand pokes through the finger holes in the bottom of the tray and push
the trap lids upwards so that they rest against the sides of the tubes. The silk is placed into the right
hand tube onto the bent nails and the lever is operated pushing the silk into the left hand side. The
silk is removed from the left tube and the lever is released allowing it to fly back to the right. This is
repeated a number of times.

Finally, operate the lever sufficiently to bring the silk to the centre of the tray, drop both lids down
trapping the silk within the tray. Remove both tubes and show them empty.

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CHAIR TO SUITCASE

Here is the perfect finish for an act. A solid looking chair which can be used to good advantage
throughout your act. The magician may even sit on it and place props on it. At the end of the act the
magician picks up the chair and in so doing it instantly changes into a closed suitcase. The magician
bows and exits to sure fire laughter and applause. The audience will be surprised and amazed at such
ingenuity.

APPARATUS: The case is hinged down the centre so that it folds into a suitcase. Inside the case,
folded flat are the legs and the back of the chair. The back of the chair is also hinged down the centre
and cords run from the legs to the back of the chair to help it remain upright. If this cord is black it is
really not noticed. If desired the seat of the chair can be lightly upholstered.

WORKING: Of course the effect can be reversed so that you walk on with the suitcase and open it up
into a chair. However, if working it as advertised, have the chair erected on stage as shown in the
illustration. You can place props onto the chair without any problem and if you want to 'sit' on the
chair it will hold part of your weight, but don't rest all of your body weight on it or it will strain the
hinges and cords. At the end of the act pick up the chair with both hands, swivel both legs inside, then
the back inside and close the case up, locking it with the catches. This is a really nice novelty item.

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THE SPIRIT BELL
EFFECT: An electric bell complete with bell push and battery is mounted on a base board. The bell is
rung once or twice by pressing the bell push and then a thin wooden cover is fitted over, encasing the
bell and all its working parts. The bell can now be made to ring in answer to questions, etc., just as the
performer desires, and can at any time be handed to a spectator for examination. Although apparently
all connection to the bell is cut off, the bell can be made to ring as easily as if one had one’s finger on
the bell push. This trick can be performed under any conditions and is entirely self-contained. Only
one bell is used and it is the actual bell on the board that rings. Nothing is added or taken away during
the performance and there are positively no finger movements.

APPARATUS: The baseboard measures 7 inches x 4 1/2 inches x 2 1/2 inches and the lid is a simple
wooden cover which fits into a groove surrounding the baseboard. The bell push is apparently
fastened to the baseboard by means of two screws, but they are actually just screw heads. The bell
push can be slid sideways about 1/8 inch and by doing this it moves a metal strip from inside the
baseboard into the groove which surrounds the base. This metal strip is wired into the bell circuit so
that when the lid is placed on it rests in the groove and also on the metal strip. The slightest pressure
on top of the lid with the thumb presses the lid edge onto the metal strip and it makes contact with a
wire which triggers off the bell. The bell push is also directly wired to the bell so pressing this also
makes the bell ring.

WORKING: The bell push is set in the normal position. It is pressed several times to prove that it does
operate the bell. On the final press, the bell push is moved sideways with the thumb ensuring the
metal strip is projecting into the groove, then the lid is placed on. The unit is held with the fingers
underneath and the thumb on top of the lid. A slight press with the thumb will make the bell ring.

DEREK LEVER’S COMEDY ROUTINE: Ladies and Gentlemen I would like to introduce you to the
amazing Spirit Bell, please examine it. It has the strange ability to DETECT A LIE. (Use a 3 way
Forcing Pack and have 3 cards chosen by 3 different spectators).

You will now know which spectator has got which force card. Ask the first spectator to concentrate on
his card and to hold the Spirit Bell in his hand. You state that the Bell will ring once for NO and twice
for YES.

Tell the spectator that he can tell the truth or he can lie. You ask him if it is a King. If he answers ‘Yes’
and you know it is not, ring the Bell once. Carry on with this format for all three cards with the Bell
ringing YES or NO as you ask questions about the cards. Make the Bell seem alive by talking to it as it
responds to your questions. Hold up a slate or blackboard and ask members of the audience to give
you a few numbers, these are written on the slate under each other and the Bell now rings out the
answers.

You say, ‘I am the world’s greatest magician … the Bell rings out NO. Oh, well on to another
experiment. The Bell will now act as a BURGLAR ALARM. A £5 note is placed inside a tumbler and
then placed on the table. A spectator is invited to try to steal the note without the alarm going off. The
first time allow the spectator to nearly grab the note, then trigger the Bell off. The second time it rings
just when they are half-way etc. This routine is particularly suited for children.

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The finale is that you say that no doubt the audience would like the Bell to provide some useful
information. So you will ask the Bell to ring out next week’s Lottery Numbers. The Bell rings once
(No). You ask the Bell why it said no. The Bell rings several times. ‘Oh, I see’. ‘Unfortunately Ladies
and Gentlemen the Bell says that his battery is running down and he is feeling a bit weak now, so he
will have to say goodbye … say goodbye then’. The Bell rings several times then stops and the
performer takes his bow.

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RIBBONS TO DOVES
EFFECT: A cage rests on top of a wooden pedestal. It has three solid sides and bars at the front.
Behind the bars is located a sliding panel. The sliding panel is removed revealing that the cage is
completely empty inside. It is wheeled around, shown clearly empty, then the sliding panel is
replaced. A number of multi-coloured ribbons are shown and the ends are inserted into a hole in the
sliding panel at the front of the cage. Magically the ribbons are slowly drawn into the cage where they
vanish. The roof of the cage is removed and three coloured doves are seen resting on the floor of the
cage as all the sides fall down.

This item did not appear in the Jack Hughes catalogue as only three were manufactured.

APPARATUS: The base of the cage contains a clockwork gramophone motor to which is attached a
large bobbin. A length of nylon thread runs from the bobbin to a hole in the sliding panel at the top of
the front of the cage. All the four sides are hinged and will drop down flat against the base of the cage.

Two flaps are hinged at the top of the two side panels and the three doves sit on these flaps. The flaps
are held in place with a sliding locking pin, which when pulled out releases the two flaps so that they
drop down against the side panels and allow the three doves to fly down onto the base of the cage. The
doves are hidden from view by the solid front of the lift off roof. The roof sits on top of all four sides
holding them upright.

WORKING: The clockwork motor is fully wound and the length of nylon thread pulled upwards to the
hole in the sliding panel at the front of the cage. A dog lead clip is fastened to the end of the thread. A
release lever at the side of the base of the cage will allow the clockwork motor to begin rotating. The
ribbons have a metal ring fastening them together at one end. The dog lead clip is hooked onto the
ring as the ribbons are threaded into the hole in the sliding panel at the top of the front of the cage.
The clockwork motor release lever is pulled as the performer walks away and the ribbons are slowly
drawn into the cage and down into the base onto the spool.

As the last of the ribbons vanishes into the cage, the performer moves the cage forward and at the
same time releases the sliding locking pin holding the two flaps together. As the doves fly down onto
the bottom of the cage the roof is lifted off allowing all four sides to drop down revealing the three
coloured doves.

The clockwork motor could be replaced with a battery operated electric motor.

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73
THE THREE LITTLE PIGS

EFFECT: Three large cards, each with a picture of a little pig are shown, together with a card bearing a
picture of the Big Bad Wolf. The Wolf card is reversed, placed back outwards onto a neat stand and a
pig card is placed on each side.

The third little pig is placed into his ‘House of Bricks’, after it has been shown empty. The back of this
card can be seen throughout the effect through the cut-out back window.

All the cards on the stand are turned back outwards, the cards are moved around in ‘Three Card Trick’
fashion and the children are invited to try to find the Wolf.

After a terrific load of fun, all the three cards are turned over to show the three little pigs the Wolf has
vanished! The front of the house is completely removed and inside the house the Big Bad Wolf is seen
… STEWING IN A CAULDRON OF WATER!

This effect was routined by Edwin Hooper when he worked for Jack Hughes. When Edwin left to open
his own business as Supreme Magic Company, Jack kindly allowed him to manufacture this item
along with a few others such as 'The Ugly Duckling’, but the actual manufacturing rights to these
effects have always been retained by Jack Hughes.

APPARATUS: The Big Bad Wolf card is double faced with a Wolf on one side and a pig on the other
side. The house is a stand on a base. The rear of the stand has a cut-out window at the rear. The house
front is hollow. The trick is set by placing the ‘Wolf in the Cauldron’ card into the stand behind the
house front. The house can be shown empty by sliding the house front upwards and gripping the ‘Wolf
in the Cauldron’ card behind it. The three pig cards are spread out on the stand.

WORKING: The three pig cards are picked up and displayed in a fan.

The Wolf card is displayed and placed in front of the pigs. In closing the fan of cards place the
forefinger between the top two cards (double face card and pig card), and turn these over as one card.

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The top (reversed) card is placed, still back outwards onto the centre of the stand. The two unfaked
pig cards at the bottom of the fan are placed onto the stand, back outwards, one on each side of the
supposed Wolf card.

After showing the house empty the remaining (double face) pig is slid into the house and right inside
the hollow house front. Immediately the house is turned around and attention is drawn to the window
at the back of the stand. It appears that the audience can see the back of the card through the window,
but what they are actually seeing is the back of the ‘Wolf in the Cauldron’ card.

The children are now invited to find the Big Bad Wolf, but every card on the stand is turned round to
reveal that they are all pigs. Finally the front of the house is lifted upwards to reveal the ‘Wolf in the
Cauldron’ card.

PATTER: This is the story of the three little pigs. These are their pictures. Aren’t they funny, they all
have different names. Mummy pig was called Mo, so she named her children EENEY, MEENEY and
MINEY!

I’ve got another picture here … oooohhh … I don’t like him!

That’s Mr. Wolf ... what sharp teeth he’s got ... He's the big, bad WOLF. Let’s put him over here on the
stand.

Now the first little pig built himself a lovely house made of ... er … what was it made of ???? Kid will
shout ‘STRAW’. That’s right, he built his house of straw. He sat inside and began to sing:

Whose afraid of the Big, Bad, Wolf,

The Big Bad Wolf, the Big, Bad, Wolf,
Whose afraid of the Big Bad Wolf,
Tra-la-la-la-la.

Yes, he built his house of straw, but it wasn’t much good was it? Along came the Big, Bad, Wolf and he
huffed and he puffed and soon blew the house to pieces. Then he took the little pig as his prisoner.
(Place the pig card on the stand beside the (supposed) Wolf).

The second little pig wasn’t going to be caught. He built his house out of sticks. Then he began to sing.
(Sing the song). It was a very nice house but the Big, Bad, Wolf, huffed and he puffed and he blew that
house to pieces too. Then he took that little pig as his prisoner too. (Second pig is placed on the
stand).

Now the third little pig was very clever and he built his house out of bricks. Here it is. If we peep
inside you can see the little window at the back. (Pull up slide and concealed card with it to show the
empty interior of the house). This little pig sat inside, (place pig inside the hollow compartment of the
house). You can see him through the back window (turn house around and show back of the Wolf in
Cauldron card through the window). This little pig sang too. (Sing the song).

But back in the wolves lair, Mr. Wolf was beginning to feel hungry (turn the pigs over). ‘Now, little
pigs’, he said, ‘I am going to eat you both for my supper’. The little pigs became very frightened and
ran out of the way when he tried to catch them. They dodged here and there and the Wolf just couldn’t
catch them. Let’s see if you can find Mr. Wolf, boys and girls.

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The children will shout to tell you which card they think is the Wolf, but of course, they will be wrong
every time. Eventually, two of the pigs are turned around leaving one .... apparently the Wolf, still
reversed.

Mr. Wolf said, ‘I’ll huff and I’ll puff and blow this house down too, then I'll have THREE little pigs for
my supper. So he huffed and he puffed … can you huff and puff too boys and girls. (Children blow).

He blew so hard that he blew himself away altogether, (turn the last card over to show it is a pig),
right down the chimney of the little brick house and into a STEW POT OF BOILING WATER!!!!!

The house front is removed to reveal the Wolf in the Cauldron.

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COMEDY UMBRELLA

This item was produced by Jack Hughes when he was in partnership with Harry Stanley. Basically,
the stem of the umbrella is cut off and the tip and the handle sewn to the closed cover. When held by
the handle the umbrella hangs down and appears to be quite normal, but it can be crushed down in a
hat or a bag quite easily.

In performance the magician walks on and is wearing a hat and carrying the umbrella. He removes
the hat and nonchalantly places the umbrella into the hat. The laughs come thick and fast as the
umbrella FADES FROM SIGHT INTO THE HAT.

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THE JUMPING STOOL

This was another comedy item produced when Jack Hughes was in partnership with Harry Stanley at
the Unique Magic Studio, London.

The stool was a normal ‘Camping Stool’ with a canvas seat but strong catapult elastic was threaded
through the side hems of the canvas. When the performer rests one foot on top of the stool it will
slowly collapse flat onto the floor. The foot is quickly removed and the catapult elastic having being
stretched to the limit, now retracts and makes the stool jump upwards into the air where it can be
caught.

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KWIK PAPER CUT
EFFECT: A newspaper (already folded in half), is picked up from your table. The paper is now folded
diagonally in half and the top section of the paper is cut off. The performer shows the complete top
piece of the paper, separated from the rest of the paper. This top piece is now folded in half and then
in half again (or torn into a number of pieces). Then it is pushed into the folded paper. The paper is
opened up and found to be back in one piece.

APPARATUS: The paper is made up from two pieces of newspaper, both the same page (although this
is not really necessary). Glue the two sides and bottom of the pages together leaving about one quarter
of the page at the sides unglued at the top. Fold the top edge of the inner page down as far as the
unglued sides will allow (see illustration 1). The folded down section will be about four inches in
length.

Now fold the two glued-together papers in half following the regular crease in the paper, so that the
folded edge will be to your RIGHT when the paper is lying on the table (see figure 2).

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Now take the bottom right corner of the paper (B) and fold it diagonally in half to the left so that the
bottom edge of the paper is even with the left edge of the paper (BB at figure 3).

With the paper in this position cut the top section of the paper all the way across (dotted line at figure
3). Show the cut off pieces and fold them in half and then in half again (or cut into a number of
smaller pieces). Tuck these pieces into the pocket of the main part of the paper, which was formed
when you glued the two papers together originally.

Now turn the paper with the cut edge towards the floor (the cut pieces will not fall out), and the
diagonally folded edge towards the audience (see figure 4).

Open the paper a bit so that you can grasp the two folded down top corners of the paper with your
thumb and first finger of each hand, the tips of the fingers will be facing your audience.

The thumb and first fingers of each hand will be grasping that part of the corners which have the page
numbers on them.

Hang onto these corners and just let the rest of the paper drop open. The paper will appear to have
just melted together. The section which was cut will finish up on that part of the paper that is facing
you.

Now just fold the paper in half with the cut off section on the inside, crumple the paper into a ball and
throw it aside.

Once you make a few sample papers and practice with them, you will be amazed at how quickly you
can perform the Kwik Paper Cut.

After you grasp the idea of the way the papers are prepared, and the preparation of the four inches as
explained, if you cut more than the amount suggested, you will not be able to fold the paper
diagonally. Instead, just fold the bottom section upwards and then cut the top portion off.

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THE MIGNON ILLUSION
EFFECT: Four legs support a small cabinet. There is a clear view under the cabinet. Four doors are
dropped down revealing four more doors. These doors hinge down halfway as shown in the
illustration.

The audience now have a clear view right through the cabinet. The inner doors are now closed. The
outer doors are also closed. A shot is fired at the cabinet and when the doors are opened out steps a
lovely lady.

APPARATUS: The legs of the cabinet are held together with a wooden support which is glued and
screwed to the legs approximately 12 inches from the bottom of the legs. The girl stands on this
support when the four outer doors have been lowered. The outer doors must therefore, be made long
enough to hang down just past the leg support, so the girl cannot be seen. The second set of doors
hinge down only halfway and are there basically to stop the audience seeing the girl when the first set
of doors are lowered. The box should be of a size to comfortably accommodate the girl. The bottom of
the box has a sliding flap of a size sufficiently large to allow the girl to pass through it to stand on the
leg supports. There is also a second flap which is hinged to the back of the box. This is allowed to drop
down over the sliding flap when the girl is crouched on the leg support, so that the audience see a
solid bottom to the box.

WORKING: The girl is crouched in the box when it is wheeled on stage. The performer lowers the four
outer doors one by one. The girl opens the sliding flap and lowers herself through the hole onto the leg
support. Meanwhile the performer has been wheeling the box all around to fill in time. The girl has
also lowered the back flap of the box to hide the trap.

The performer now lowers the inner doors, they just hinge down halfway allowing a clear view
through the cabinet. (The cabinet is basically a framework with doors and a base).

The inner doors are locked back up into position and the girl now climbs through the trap, pushing
the hinged flap to the back of the box. Once inside the box she slides the trap closed as the performer
swings the outer doors back into position. When a shot is fired the girl pushes the lid of the box
upwards and makes her appearance.

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THE COMEDY LEGS TABLE
EFFECT: The performer walks on carrying a four legged table. As he walks towards the centre of the
stage one of the front legs suddenly falls off onto the floor with a loud clatter. The performer appears
confused by this turn of events and has difficulty in trying to put the table down to pick the leg up.
Suddenly the other front leg falls onto the floor. The performer looks at the audience with utter
despair, then smiles as magically a pair of shapely female legs suddenly spring out at the front of the
table. The table can now be placed down onto the stage and used as a normal table.

This comedy prop was a great favourite of the late, great Tommy Cooper and Jack Hughes
manufactured the model used by him. Credit should be given to Yimka for the original idea. Jack
Hughes refined the original model to a smooth working piece of apparatus.

APPARATUS: The table is basically a wooden frame with a plywood top. Inside the hollow table are a
set of wooden female legs which are spring loaded at the top and knee. They are released by a wire rod
which has a knob on one end and a pivoting flange at the other end. When the knob is pushed by the
performer’s stomach the wire rod is pushed inwards and the flange pivots releasing both legs
together. The spring hinges at the top and knee ensure that the legs fully extend and are held firm
enough to enable the table’s weight to be supported by them.

There is also a flat metal spring screwed to the centre of the underside of the table in between each
leg. When the legs are fully opened this flat spring is pushed automatically against a wooden block at
the top of the legs thus locking them in place.

Four metal tubular legs are situated at the four corners of the table. The two rear legs are held by
screws or bolts into wooden support blocks. The two front legs fit into support blocks but are held in
position by two flat metal springs. One end of the spring is screwed into the inside of the frame of the
table. The other end has a spike welded to it which locates into a matching hole in the top of the
tubular leg. A finger hole is bored through the sides of the table so that the forefinger of each hand can
poke through the hole, push against the spring and release the spike from the hole in the leg, thus
allowing it to drop onto the floor.

WORKING: Follow the routine as outlined in ‘EFFECT’. The table is held at the sides with both hands.
When you require one leg to drop, poke the forefinger into the hole in the side of the frame and push
the flat spring until the spike is released from the hole in the leg, whereupon it will clatter onto the
floor.

After a suitable pause, whilst you stagger round trying to pick up the table, drop the other leg.

Again allow a short pause then press your stomach against the knob on the sliding rod and the female
legs will drop down and lock in position. The table can now be used as a normal table.

Taurus Magic Supply still manufacture this table with the inclusion of cap detonators on the legs so
that when they spring open a loud bang actually points what has happened.

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87
THE BARRICADED BARRELS ILLUSION
EFFECT: Two barrels, one black and one white, mounted on their sides on top of skeleton stands are
wheeled around and shown. The black barrel has a wooden target clamped to the opening. The white
barrel has four steel rods clamped to the opening. The barrels are placed together so that the steel
rods and the target are face to face. A girl enters the black barrel and the open end is sealed with a
wooden disc. The white barrel’s open end is also sealed with a wooden disc. When the wooden disc is
finally removed from the white barrel the girl steps out having magically penetrated the target and the
four steel rods. The black barrel is shown empty and the steel rods and target are shown to be still in
position.

APPARATUS: The barrels are unfaked but the white barrel has a frame bolted to it with holes at the
top and bottom to take the four steel rods. The black barrel has location points for two hasps which
are fastened to the sides of the target. The target is padlocked to the sides of the barrel by means of
the hasps.

The target is faked by having the centre section removeable. It has chamfered edges with magnets
located around the chamfered edges so that it will locate flush into the outer section of the target. The
bullseye of the target is actually a small hole and the assistant simply places her fingers into the hole
and pulls thus removing the centre section so she can pass through it.

Two of the four steel rods are faked by having the centre segmented and held together inside the rod
by thick strong elastic. If held upright the rods appear unfaked but by pushing sideways on the centre
section of the rods, they will bend thus allowing the girl to pass through them. The two outer rods are
unfaked.

WORKING: Follow the routine as outlined in ‘EFFECT’, the girl pulling the centre section of the
target out and climbing through the target. She pushes the rods apart, climbs through them then
reaches back and resets the centre of the target back in position. The penetration is complete.

Some performers have two small holes bored in the top of the barrels and place a flag on a stick into
the hole, the girl keeps waving the flag to prove she is still there, then withdraws it as she passes
through the target. She then quickly pushes the flag out through the hole in the other barrel proving
she has passed through the obstacles.

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89
THE STOCK ESCAPE
EFFECT: The performer is locked by his head and hands into a substantial wooden stock which is
then padlocked via a hasp and staple at the side of the stock. A cloth is held in front of the stock and
seconds later the performer emerges completely free, yet the stock is still firmly locked.

The stock can also be located within a spirit cabinet and all manner of spirit manifestations can take
place within the cabinet. Yet when the cabinet is opened the performer is always seen to be locked in
the stock.

This item did not appear in the Jack Hughes catalogue as only two were manufactured.

APPARATUS: The stock consists of two halves, hinged at one end and a hasp and staple at the other
end. The bottom half of the stock fits inside a wooden support. The support bolts onto two wooden
legs which are strengthened at the bottom by a wooden strut.

A flat metal bar, with a flange at the bottom, is screwed at each side of the wooden support apparently
to strengthen the underside of the bottom stock. These bars have false screw heads inserted into them
except for the top screw which is genuine. This enables the bars to swivel sideways so that the flange
at the bottom of the bars are no longer underneath the bottom part of the stock.

The bottom part of the stock is held in position by means of two very strong springs at either side. The
springs are hidden inside the stock and are fastened to the inside of the wooden support.

Pushing down with the wrists and neck on the bottom stock will allow it to travel downwards for
several inches, thus releasing the neck and hands.

WORKING: Ensure that the metal bars are moved across so that their flanges are located under the
bottom part of the stock. The metal bars should be away from the audience.

Allow a spectator to examine the stock. The metal bars will hold the bottom part of the stock firmly in
position so nothing untoward will be found.

Pass the padlock for examination and stand at the back of the stock. Both hands rest against the
wooden support and the thumbs swivel both bars to the side thus releasing the bottom stock. Of
course the bottom part of the stock will remain in position due to the strong springs holding it.

Lift up the top part of the stock and place your head and wrists into the holes. Have the spectator
lower the top part of the stock down onto you and padlock it.

Once the cloth has been held in front of the stock, to make your escape simply push down on the
bottom part of the stock and the springs will stretch allowing you to make a quick escape.

Push the metal bars back so that the flanges locate under the bottom part of the stock and everything
can again be examined.

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91
THE HEAD TWISTER
EFFECT: An open fronted box is shown. This box contains another open fronted box. A cut out in the
base of both boxes allows a person to insert their neck and head into the inner box. Fastened to the
top of the inner box is a large cog wheel to which is attached a handle. The performer begins to turn
the handle and a loud clicking noise comes from the cog as the inner box is slowly rotated inside the
outer box. The person’s head is seen to rotate completely around as the performer turns the inner box
faster and faster. However, when he finally stops, the person’s head emerges from the box completely
unharmed.

APPARATUS: The outer box is made from 1/4 inch plywood and consists of two sides, a back, a top
and a base which has a cut out to fit a person’s neck. A metal collar locks in position around the front
of the cut out.

The inner box is made exactly the same but is smaller. It rests inside the outer box and rotates on a
large wooden washer at the top and bottom of the box. A bolt runs from the top of the inner box,
through a hole in the top of the outer box and locates into a large wooden cog on top of which is fitted
a wooden handle. A metal spring locates into the teeth of the wooden cog so that when it is turned it
makes a loud clicking noise.

The sides of the inner box should be lined inside with a thick black felt so that it gives the impression
that the walls of the box are solid and very close to the person's head thus preventing any movement
of the head. In actual fact the thick black felt will give allowing the person to turn their head
completely sideways.

WORKING: By studying the drawings from 1 to 8 you will see that as the inner box is rotated, the
head moves with it until it is hidden from view by the side wall (figure 3). As the inner box is further
rotated, the head is moved back to face the front then completely over to the left (figures 4, 5 and 6).

As the front of the inner box begins to reach the open front of the outer box the head is moved along
with it (figure 7), as though it has been in complete rotation within the inner box.

The same movements are repeated as the box is rotated faster and faster. Gradually the performer
slows down and finally stops. The collar is opened and the person’s head is removed unharmed.

It is important that the movements of the head are practised thoroughly so that they synchronize
perfectly with the rotation of the inner box.

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94
LIVESTOCK PRODUCTION CAGE

A great production of a live rabbit or half-a-dozen doves; a guinea pig, a load of silks ... and it’s all
entirely self-contained. Size of the production will depend upon the cage size (several models are
available).

The magician shows a covered cage. He lifts the cover partially back, allowing the audience to see
inside the cage. The cover is placed over once more. When removed a second later, a live rabbit, or the
doves, or what-have-you, is found to be inside the cage.

Interesting possibilities come to mind enabling the effect to be an effective number in any children’s
show.

The standard-size cage will take a large-size rabbit or indeed several rabbits. There’s plenty of room
for the livestock prior to the performance.

The trick is entirely self-contained and can be performed under any conditions.

THE SET-UP: For convenience in packing, we supply the item to you FLAT. We do suggest that you
assemble the apparatus AND THAT YOU KEEP IT THAT WAY, and that you use this for transporting
your livestock to your show.

With the cage assembled, it is possible to place several thicknesses of strong brown paper in the
bottom of the box to prevent soilage, and the box will present a useful cage for you to transport your
livestock to your show.

Also, it is nice to have livestock on display at the end of your show so the children can see this.

95
OUR ILLUSTRATION SHOWS HOW FOUR BOLTS AT THE BOTTOM KEEP THE CAGE IN
POSITION. Place the heads of the bolts through from the bottom, one in each corner, so that the bolts
are protruding upwards.

You will see that for strength, the sides of the cage interlock, one over the other. Place the two end
sections over the bolts. Then place the two middle sections in place. Firmly screw the nuts in position.
Place the top in position. When the flap is down, the opening in the top of the cage should.be at this
side. In other words, it is towards the pieces of insulating material on the bottom of the cage.

Place four bolts through from the top downwards, then screwing the nuts in place. Your cage is all
assembled.

LOADING THE CAGE: You can easily open the door in the top by inserting a fingertip through the
bars and pushing up on the door. You will find it an easy matter then to simply pull this right up and
back.

Examination will show that the cloth supplied is not square but oblong and it should be correctly
placed in position so that it will cover the cage completely. Fold the cover back so that the pin which is
sewn to the underside at the centre of this is exposed.

Place your livestock to one side of the cage and bring up your flap. With the flap still partially up, you
are able to place more livestock into the cage. Bring the flap up so that it is upright. Push the pin
attached to the cloth down through the hole in the top of the cage, ensuring that this goes through the
hole which has been drilled in the top edge of the flap. The livestock is now retained at the rear of the
cage.

Now stretch the cloth out so that this covers the cage completely. If you find that the cloth is a little
short, it is because you have this the wrong way around. It is only necessary to turn the cloth, keeping
the pin in place to correctly position this.

In performance, you draw attention to the covered cage. Carefully pull back the cover so that this
comes just clear of the top door of the frame. Especially if the cage is at a slight angle, a perfect
illusion of an empty cage is created. The audience appear to be looking at the bars at the rear of the
cage, whereas they are looking at the bars on the flap. The cloth prevents the livestock from being
seen at the sides.

Place the cover back completely over the cage. When you remove the cloth, lifting this up from the
centre as you do so, the flap is released and falls, allowing your livestock to appear inside the cage.

A USEFUL TIP ON WORKING: If you have small livestock in the cage, you may find that there will be
a slight tendency for the flap to go back instead of forward, but a fingertip through the material
against the flap will always ensure that this can come forward correctly.

Also, the fingers at the rear at this time can actually come into position and stop the flap from falling
completely, so that the flap is resting for a moment on the tip of the finger. This means that the flap is
able to be lowered absolutely noiselessly, and then when the cloth is removed completely the livestock
can be seen.

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THE INVISIBLE RABBIT: This is a good novelty presentation - Show the cage, partially uncovering
this as detailed. Explain that you have an invisible rabbit inside the cage, who can do marvellous
tricks. You prove that he is there ‘by letting him drink a glass of milk’.

You show a half pint tumbler of milk and place this inside the cage through the door at the top. Slowly
the milk diminishes. (This is a ‘Milk Wonder’ or ‘Crystal Wonder Glass’).

‘Your invisible rabbit’ you say, ‘is good at doing tricks’, and you prove it. You tie three silks together,
put them inside the cage and your little invisible rabbit unties them. This is the usual ‘Sympathetic
Silk’ knotting.

A piece of rope is cut, the ends knotted, the rope wound around and dropped into the box. This is the
usual Cut and Restored Rope idea.

You explain that the little magic rabbit is going to untie the knot and restore the rope and this he does.

Many other effects can be effectively woven into a presentation of this kind.

Then you ask the children if they would like to SEE the rabbit. Of course they would, and you will
make him appear by magic. The cage is covered, ‘Magic Spells’ and sure enough the little live bunny is
produced inside the cage.

97
CIG-A-LOON
Remove drawer from specimen packet supplied and you will see that a metal fake has been fitted in
the outer case, and lies flat against the front. If you press on the edges of case as shown in sketch 2 the
fake will swivel over to position shown in sketch 3. A small hole has been punctured in case into which
point of fake will enter and it will be thus held firmly in position. Do not confuse this hole with the two
slits, one on each side of the packet which have been made as a guide to show you where penetration
will take place. You will be able to prepare your own packets in future to suit yourself and you may
find it unnecessary to make these preparations. In these instructions we will assume that you are
using the packet exactly as supplied.

PERFORMANCE: Take packet from your pocket and remove drawer of cigarettes. Casually show
packet as in sketch 1 holding it in right hand, packet should be held at a slight angle to the floor with
fake on bottom so that it is unseen by audience.

Now, transfer packet to left hand and hold it in vertical position with front to audience. Slightly tip the
packet top end away from audience and, by pressure, cause the point of fake to penetrate the prepared
hole and become locked in position.

The balloon is now lowered through the front portion of the packet (see sketch 3) and the appearance
of the setup is now as shown in sketch 4 except that balloon has yet to be inflated. As you blow up
balloon you may find that the half nearest floor enlarges first. If so squeeze balloon with right hand to
adjust. Inflate balloon sufficiently to cause it to fill both ends of packet and it seems impossible that
there can be a division in the centre. Having inflated balloon, seal by twisting neck round a matchstick
and then stretch mouth over the matchstick. Penetrate the packet with pencil through the two holes
already referred to and the pencil will thus travel through against side of fake, by-pass the balloon,
and come out at the other side of packet, there can be no doubt in the spectators minds that the pencil
has passed through the balloon.

After penetration, remove pencil, unseal balloon and allow it to deflate quickly while packet is in
upright position. Audience thus get no chance to notice the division or see the fake. Allow packet to
take up its original shape and replace drawer of cigarettes when fake will take up its former position
against the back of packet.

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HELPFUL HINTS: When using a new balloon, blow it up and let it down before inserting it into the
cigarette packet. Balloons for this effect can be obtained from Woolworths.

When fixing the fake into another packet, we find it best to unseal the casing, lay it flat, then fix fake
and reseal.

99
PETTICOAT LANE
This is a new setting for the ‘Vanish and Reproduction of a Wand’. The wand is displayed on a stand
that consists of a cross bar supported by two uprights, mounted on a base board (sketch).

The wand is suspended midway between the cross bar and the base by two loops or bands of ribbon.
These pass over the cross bar and under each end of the wand.

Here is the patter with a description of the action:

‘Petticoat Lane is noted for its strange wares and also for its stranger method of doing business. So,
strolling along Middlesex Street on a Sunday, I was not surprised to see a magician’s wand among
other things on a stall selling charms and tokens. The wand was displayed exactly the way you see it
here on my table. Attached to the stand was a notice that read.... ‘Special Offer - One of a Kind’ - a real
magical wand. I asked the salesman ‘How much! He replied ‘ONE POUND!’ but then as a special
favour he could let me have it for 40p. After the usual haggle he wrapped it up while I handed over
20p which was the price we eventually agreed upon. (Remove the wand from the ribbons and wrap it
in a half sheet of newspaper. The other half of the paper is then draped over the crossbar of the stand.)

"I was pleased with my bargain, but as I found myself in the midst of a crowd, someone walked right
into me. He didn’t hurt me a bit but he crushed my parcel, just like that. (Crush paper into a ball). I
was annoyed at the affair but even more so as I saw I had been taken in. Back at the stall, there was
the salesman again, with another wand being offered for sale again!". (Remove the sheet of paper and
show a duplicate wand on display).

The secret lies in the fact that the cross bar is hollow and open at the rear. When set up, the solid
wand rests inside the crossbar. Inside the loops rests the shell wand. The second half of your sheet of
newspaper covers the action of tipping the stand back a bit to allow the real wand to drop silently into
the loop.

Note that to vary the effect, a candle may be used in place of the wand.

Reprinted from Abracadabra Magazine with Permission

100
PEG BOX
The performer tips a small wooden box upside-down and out fall two dozen clothes pegs. A number
between 1 and 10 is freely chosen - say 4 - and the pegs are thrown back into the box. Next a length of
clothes line is shown and laid inside the box with the ends protruding from either side. The performer
mutters some magic words, lifts the rope high in the air and there, securely clipped to the rope are 4
pegs!

The illustrations make the construction of the box clear. The base board is 11 1/2" x 5 1/2" with a
groove 1/2" wide by 1/4" deep. If you are handy with tools you can groove this out. If not an easier
method is to glue two pieces of 1/4" ply to a piece of hardboard. Build the box around the base but,
before fixing the ends in position cut a slot in each, as illustrated. The slot should be shaped like an
inverted T, the reason for which will shortly be made clear. You will need about 30 pegs, 10 of which,
you fit into the groove along the base of the box, clipping them in so that the ‘jaws’ are open at the top
(Figs. 1 and 2). Drop the remaining pegs in the box. The rope should be about a yard long, clothes line,
sash cord or magician’s rope will do.

Reprinted from Abracadabra with Permission.

The dimensions for the box depend of course on the size of the clothes pegs. The bottom of the
elongated slot should be level with the jaws of the pegs (Fig. 3).

TO PERFORM: Pick up the box and throw the loose pegs out by tipping the box over towards the
audience and continuing to turn it until it is right side up again. In this way they will not see the pegs
left in the box. Ask for a number between 1 and 10 then, as you throw the loose pegs back into the box,
secretly knock the necessary number of pegs out of the groove in order to leave the chosen quantity.

101
Hold one end of the rope in each hand and lower it into the box with the ends coming out through the
slots and the centre of the rope going into the open ‘jaws’ of the requisite number of pegs. By moving
the rope forwards and backwards in the elongated parts of the slots, the pegs will automatically
release themselves from the groove and remain clipped to the rope for the finale.

102
THE JACK HUGHES' PEG BOX
Routine by Johnny Geddes

(We assume that you have read the instructions and know how the effect operates.)

You will require the following: J. H. PEG BOX with nine pegs set inside the groove; about 5 feet of
rope; the other pegs lying on the table; nine silks and a bucket, or box or basin to act as a receptacle
for the washing effect.

PATTER: “Now boils and goils, I'd like to show you how the natives hang their washing in the country
of BINGA BONGA BANGA ... and I would like two girls from the audience who come from BINGA
BONGA BANGA .... are there any here? NO!.... Oh well we’ll take YOU and YOU, and we’ll pretend
that you come from that far off country’.

“Here is a bucket to represent the River BUNGA BUNGA, where they all do their weekly wash. (Pick
up nine silks). Here are the articles of clothing to be washed, and I would like you all to count them
with me. (Do so). Now we pop them into the river BUNGA BUNGA .... I mean River Bucket ... now go
ahead and get them washed. (The girls have their hands inside the bucket pretending to wash the
silks). ‘Now you have to wring them out. (They do so and lay them aside on a tray or on the table). The
next thing that the natives do is to get a long rope, a peg box and some pegs. (Show the box empty by
turning it upside down, open end towards yourself first. The pegs are dropped into the box and when
half of them have been thrown in, say to the girls). I don’t think the rope is long enough to take all the
silks, so how many would you like to hang up ... choose a number between ONE AND TEN … how
many? .... Ah, EIGHT ... Good! (Now as you throw in the rest of the pegs you take this opportunity to
flick away the two pegs not required from the number in the groove. As you do this let out a loud yell,
bringing out your hand from the box you show that one of the pegs has gripped your finger. This peg
is, of course, one removed from the groove by putting your finger in the open jaw of the box and
pulling it from the groove. You can do this as often as you think it will continue to draw a laugh).
‘Right, now we want EIGHT silks ... get them ready please .... good. (As you say this the peg you have
just placed in the box suddenly jumps out again. As it does so you give a shout). ‘Alley ‘oop’. (This
jumping effect is brought about by having a hand inside the box and as you throw the peg into the box
it lands on your hand. You will find that a sudden flick makes it jump out again. Play this as long as
you dare). ‘Now we need the rope .... you take that end and you take this end. We will lay the rope
inside the box and believe it or not if we all say the magic words BINGA BONGA BANGA the selected
number of pegs will jump on to the rope all by themselves. WATCH .... READY .... BINGA BONGA
BANGA. Now we rattle the rope. (You stand by the box holding the rope at the outside ends of the box
and rattle backwards and forwards. The girls are doing the same with the ends of the rope, but not too
roughly. This will allow the EIGHT PEGS to attach themselves to the rope). ‘Let’s have the magic
words again .... just to make sure .... BINGA BONGA BANGA ... If you said that correctly the pegs
should have mysteriously jumped on to the rope. Let’s see (withdraw the rope from the box). ‘You
have done a marvellous job .... because here we have 1,2,3,4,5,6,7,8 PEGS ON THE ROPE! ‘Now all we
have to do is to clip the pegs on to the silks (clip the pegs on to the silks) and there we have the
washing all ready to hang out to dry’. ‘I suggest that you give the two BINGA BONGA BANGA girls a
big round of applause’.

103
OTHER IDEAS: Take up 10 coloured silks and pretend to bleach them by putting them into a
changing bag and bringing them out again 10 white silks. You then hang them up to dry as in the
above routine.

104
NO - SMOKING

APPARATUS: This consists of two pieces - the holder and the banner. Roll the banner fairly tightly
from the bottom until it is the same width but twice as long as a cigarette; and push it into the holder
as far as it will go. The piece of wire forming the top of the banner must be on the side away from the
audience (see diagram).

All is now ready for:

WORKING: Remove the holder from mouth with right hand. Take hold of the centre of the banner by
the thumb and forefinger of the left hand. Draw the banner out of the holder and give it a slight flick
releasing hold on the banner except for the top wire. The banner will rapidly unroll displaying the
notice.

PRESENTATION: This effect is particularly suitable as an ‘opener’ and I suggest it should be

presented as follows.

Performer enters smoking. During his opening remarks a loud voice interrupts him with “Oi! No
smoking allowed on the stage’. Performer: "I beg your pardon?” Voice: ‘I said no smoking on the
stage’. Performer: “I know old boy, I’ve got the notice here”. Banner produced.

ALTERNATIVE PRESENTATION: Performer tells the following story:

‘Normally I quite enjoy long rail journeys but last Saturday I had a real shocker. I was travelling up
North and being rather late jumped into the first compartment I saw. It wasn’t long before the ticket
inspector pointed out, in quite a charming manner that I was in the Ladies Only compartment and
that I’d better nip into another compartment pretty sharpish, or else. This I did feeling not a little
embarrassed. As soon as I was settled once more the inspector returned. He took one look at my ticket
and said in a very irate voice. ‘Don’t you know you can’t travel first-class with a third-class ticket?’.

I stumbled once more into the corridor and yet another compartment. Peace at last I thought and,
taking out my cigarette holder, I was just about to light up when in he came again. “Don’t you know
this is a Non-smoker?’, he thundered. I thought it was about time magic took a hand so I said ‘Yes I
know old man, I’ve got the notice here!'.

NOTES: In the first presentation to give the illusion of actually smoking the ‘cigarette’ the end could
be coloured red with grease paint and smoke, obtained prior to entering from a real cigarette, blown

105
from the mouth. It is also necessary of course in this presentation to arrange with someone to make
the interruption.

106
MICKEY'S TROUSERS
EFFECT: The audience is divided into two halves. One half on the left are asked to close their eyes,
while the picture of Mickey Mouse is shown wearing RED TROUSERS, to the other half of the
audience. Then they are asked to open their eyes and the other half of the audience are asked to open
theirs to look at the same picture (?), which has meantime been turned round to show Mickey Mouse
wearing BLUE TROUSERS. The right hand half of the audience are asked to repeat the colour they
saw.... they say “RED’, but you show them that the trousers are now BLUE. Then the fireworks start.
They tell you that you must have turned the picture round. So you eventually add to the confusion by
turning the picture over to reveal Mickey wearing YELLOW TROUSERS. Once more you ask the left-
hand half of the audience what colour they saw they say ‘BLUE’. You now turn the picture over and
show that Mickey is wearing GREEN TROUSERS.

FIXING THE PLASTIC TROUSERS ON THE PANEL: First display to the first half of audience Mickey
Mouse wearing RED TROUSERS. After showing, openly turn the panel over and display to the second
half of audience, this time showing Mickey wearing BLUE TROUSERS. When the shouting dies down
a bit you offer to turn the panel round, and you do so by rotating it in the form of a circle. The
audience will quickly tell you that they don’t mean “that way”. While they are telling you that they
want you to turn it OVER, you peel off and finger palm in the right hand the RED PLASTIC
TROUSERS off the back of the panel. Now turn the panel over to show that the trousers have changed
to YELLOW. While you are asking the other half of the audience the colour they saw, you peel off and
finger palm in the right hand the BLUE PLASTIC TROUSERS, off the back of the panel. It only
remains for you to inform the audience that they must be COLOUR BLIND and then turn over the
panel once more to reveal Mickey Mouse wearing GREEN TROUSERS.

NOTE: If you feel a little self-concious about stealing the plastic trousers each time, start the effect by
having Mickey Mouse covered with a large silk handkerchief, which you remove to display the picture.
You retain the handkerchief in your right hand to automatically act as a cover for the subsequent
stealing of the plastic trousers.

Card is made from 8’ x 10’ Cardboard: Trousers are made from T.C.V. Plastic

Mickey is printed with yellow trousers on one side then printed upside down on the other side with
green trousers.

107
108
109
110
SLEEPY SLIM
EFFECT: A Spaceman figure is stood upright on a square of formica plastic. Performer tells audience
he is called Sleepy Slim because he always falls asleep in his Spaceship. Performer begins to perform
another trick and Slim slowly tilts over and falls down fast asleep. This can be repeated as desired.

APPARATUS: The figure is cut out from a piece of 1/16" plastic and measures 10" high x 3 1/2" wide.
Painted in bright colours. A block of wood is glued at the bottom of the figure and a rubber sucker is
attached to the underside of the block. The rubber sucker should be 1 1/2" diameter and in
performance is pressed to a formica square as illustrated, which should be smooth and polished.

WORKING: On no account wet rubber sucker or the figure will not fall over.

Grip the block of wood at the base of Sleepy Slim and place him on the piece of plastic provided,
pressing down slightly.

Release your hold and the rubber sucker will adhere to the plastic and maintain the figure in an
upright position. After about 12 seconds the figure will commence to topple slightly and suddenly fall
flat. If the figure takes too long to fall, you have pressed too hard. You will soon get used to the idea,
and will be able to control the time by suitable pressure. With increased pressure you can, if desired,
delay the fall for about a minute.

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112
COLORAMA

EFFECT: One of the three colored balls is mentally thought of by a spectator and after switching the
positions as many times as he, or she may wish the performer can return to the room (or if he has had
his back to spectator may turn round) and without hesitation tell the spectator which color ball was
mentally selected.

EXPLANATION: On the stand provided place the three balls in the order as follows … Red Ball in
position No. 1, Yellow Ball in position No. 2, and the Green Ball in No. 3. Numbers are marked clearly
on stand.

Now you use the first three fingers of your right hand to represent the three positions. Your first finger
in No.1 position, 2nd is No. 2 and third No. 3, (in other words your hand acts as your secret stand with
your three fingers representing the positions 1, 2, and 3.). Place your thumb on the second finger
which represents the No. 2. position where the Yellow Ball sits. This is your Key ball (by the way it is a
good idea to always use the same color as your Key.... make sure the Yellow Ball in is position No. 2
when you start and that’s all you’ll have to remember). With this in mind, you are now ready to begin.
As an example, let us assume that the Yellow Ball was the one thought of. Now move or reverse the
other two (Red to No. 3. and the Green to No. 1). After this first move you use your fingers to keep
track. Now move any two balls .... Let’s say you are moving or reversing 1 & 2, your thumb is on
second finger so you move thumb to the other number mentioned which would be No.1 or your first
finger. Continuing to move reverse the Balls in Numbers 2 & 3 (your thumb is still on No.1 so you
move it to your third finger). Regardless of how many moves are made you will finish with your
thumb in the corresponding position of the Yellow Ball which in this example was the one thought of.
Keep in mind that the thumb is moved only when the switch involves the Number you are on, then
you move to the other Number mentioned. If your thumb is not on either number mentioned in the
switch stay put! Practice first on example until fully understood.

PRESENTATION: After getting acquainted with the moves in the explanation you are ready to
perform your mental Colorama Effect. Place stand, with balls in position, on table or some suitable
place. Tell the person you are doing the effect for, to think of one of the colored balls. To move the
other two (in other words reverse them) without mentioning the color thought of or the other two
balls that he has moved (you have turned your back at the very beginning before even telling him to
think of a color so at this point you do not know what ball he has thought of or which balls have been
moved). Now tell him to continue to move or reverse any two balls calling out the numbers he is

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moving, and to stop when he wishes. Repeat the moves after him to allow you time to move your
thumb to correct position and also to verify. When the spectator has decided to stop moving the Balls
you then turn around and with a glance at the positions he left them in be able to tell him the Colour
of the thought of Ball!!

SECRET FORMULA: If, after a succession of moves, you turn around and the Yellow Ball (which is
your Key) corresponds with the position your thumb landed on then, and only then, is the Yellow Ball
the one thought of. If, when you look, your thumb is on the Green Ball discard the Green and the
Yellow Balls leaving the Red one as the thought-of Ball. Should your thumb finish on the Red Ball
discard the Red one and the Yellow one leaving the Green one as the thought-of Ball. To simplify,
unless your finger and thumb correspond with the position of the Yellow Ball (making it the Yellow
Ball) when the spectator has finished then you discount the Color Ball you landed on and the Key Ball
which is Yellow (we presume in this case that you have taken our suggestion and always used the
Yellow Ball in the middle as your Key when starting the effect), and accept the indifferent one as the
one thought of.

THE BALL STAND

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WHERE HAS THE DUCK GONE?

EFFECT: A duck is shown in a cage. It is removed and placed into a box which rests on a four legged
table. Each piece of the box is now shown as the box is broken down. All the pieces are dumped on top
of the cage as the performer walks forward to take his bow. However the audience are not convinced
that the table is free from suspicion. The performer finally lifts up the table and shows it is completely
empty.

APPARATUS: THE CAGE comprises 2 long sides, 2 short sides, a base and a hinged lid. The bars are
all made from wooden dowel except the lid. The bars in the lid are actually 1/2' wide white elastic.
This is done so that when the load chamber containing the duck is placed on the lid after the box has
been broken down, it will sink down into the elastic and allow the box pieces to lie flat on the lid.

THE BOX comprises 2 long sides, 2 short sides, a top with hinged lid and a base which has a secret
trapdoor and on the underside a load bag made of stretch fabric.

THE TABLE is unfaked and comprises four angled legs and 8 support stays.

WORKING: The box is assembled by means of turn catches and is displayed on top of the table. The
duck is removed from the cage and placed into the box - but really it goes through the trapdoor (which
has been left open) and into the stretch fabric load bag. The trapdoor is fastened and then the lid of
the box is closed.

Performer now breaks the box down handing each piece to his assistant. When he picks up the base it
is lifted from the back and tilted towards the audience so load bag is hidden at rear. Assistant
immediately dumps the other pieces of the box onto the base whilst held by the performer, then she
takes all the pieces including the base and puts them on top of the cage. The rubber bars allow the

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bulk of the bag containing the duck to sink into the top of the cage and the pieces will lie flat on top.
Finally the table is shown empty.

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117
JACK HUGHES' FLY-A-WAY BIRDS

THE APPARATUS CONSISTS OF: A display board fitted with a base. On one side is a picture of a wall
and on the other is a picture of a wall with two birds on it. The latter picture is really on a sheet of self-
adhesive plastic which, stuck to the board, covers an illustration of an Owl. The only move required is
that of secretly removing this plastic under cover of removing a handkerchief draped over the panel.

Some find holding the plastic in position by lightly pressing the top half to the board suits them while
others prefer sticking it to the panel around the edges. However attached, the action of removal is the
same. Hang a handkerchief, large enough to cover both sides, over the panel, the plastic being to the
rear. Rest the finger tips on the top of the plastic panel and, through the handkerchief, bend back the
top edge of the plastic. The fingers and thumb now grip this edge through the handkerchief ... draw
both off to the rear and down to your side in one continuous smooth sweep. Always remove the
handkerchief in this manner throughout the trick.

TO WORK: Covered with the handkerchief, the panel stands on the table with the picture of the birds
on the wall to the front. Pick it up, remove a handkerchief and recite: "Two little dickie birds sitting on
a wall" (Replace handkerchief) “One named Peter and the other named Paul. Fly away Peter: Fly away
Paul”: (Pause here and lift the drape for a moment so that only you can see the picture) "Yes: They
have gone: Come back Peter: Come back Paul". (Remove handkerchief triumphantly) "Here they are
back again": At this point someone may ask to see the picture when the birds have gone: If no one
does either pretend to hear such a request or repeat this business until someone does.

When the request is made, repeat the business as before but remove the handkerchief after the third
line and show that the birds have gone. This is done by either twisting the panel rapidly round when
you place the handkerchief over it or by turning it while passing it from hand to hand as you recite.
Without pause, replace the handkerchief, turn the board again, repeat the last line and removing the
handkerchief show that the birds have returned. Make sure that the audience notice the turning
movement but do not make it too obvious. By this time the audience is fully aroused and several

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demands to ‘turn it round’ are made. Offer to do it again and go through the first three lines with the
necessary moves and remove the handkerchief to show the birds have gone once more. Bundle
handkerchief up and put it in your pocket or place it aside. The shout ‘turn it round’ has now become
general, stall a bit and then say ‘I could show you where they went, but if I did you would be as wise as
this old bird’: At the same time show the picture of an owl on the other side.

The special plastic provided - a material new to Magic - can be screwed up as tightly as you like. When
slightly warmed and smoothed out afterwards it is not damaged. Clean occasionally by wiping with a
few drops a amyl acetate on cotton wool, PLAIN SIDE ONLY When demonstrating this trick, it is my
habit to bundle up the handkerchief every time I remove it and then I take the display board in the
same hand so that the base rests on the bundle. At the finale ‘all the evidence’ is held right under the
spectators nose unsuspected.

IMPORTANT: Always keep plastic separate from plaque when not in use.

Sydney Sterk's Routine for 'FLY-A-WAY BIRDS'

‘Now I am going to tell you the story of Peter and Paul: ... ‘Two little dickie birds sat upon a wall; one
named Peter and one named Paul. Fly ... Oh; you all know it? Well that’s going to help the fun a lot. ....
(Now produce birds).... Well this is Peter and that is Paul and we are going to frighten them away one
at a time, like this; - (to the tune of “Baa Baa Black Sheep’ sing;). ‘Two little dickie birds sat upon a
wall, one named Peter and one named Paul; Fly away Peter (Clap) Fly away Paul (Clap) Sh, Sh, Sh, Sh,
Sh, Sh!! Come back Peter come back Paul ... You see you give a loud clap and frighten Peter away,
then another loud clap and frighten Paul away; then a big Sh, Sh, Sh, Sh!! and they both come back
again. Now; Shall we try that? ... Now don’t forget the actions. Arms forward, flap arms and hands like
a bird, until you come to ‘the one named Peter” then point left hand finger up like this, then with a
nice loud clap ... like this. Then again “Fly away Paul’ and another loud clap. Then with a great ‘Sh, Sh,
Sh, Sh, Sh!! ‘.... Now all together ... ‘Two little dickle birds sat upon a wall, one named Peter and one
named Paul; Fly away Peter (clap) Fly away Paul (clap) Sh, Sh, Sh, Sh!! Come back Peter and come
back Paul. That was fine .... but I want you to give a louder Sh, Sh, Sh, Let's try and Sh, Sh, Sh, the roof
off, it doesn’t belong to me. Now all together Sh, Sh, Sh’. Say aloud with expressions ‘LOVELY’. Now
let's all sing it for the last time, but by the way, (if Childrens Party) I never heard the Aunties and
Uncles, and you have all got to join in (Children usually all look round here) draw their attention ....
cover birds with foulard ... Now all ready? ... don’t forget ... Clap for Paul ... and a big Sh, Sh, Sh, Sh!!

“Two little dickle birds sat upon a wall, one named Peter and one named Paul. Fly away Peter’ (clap).
Say ‘wait a minute’ (lift foulard quickly as you peep under one corner, say ‘Yes - Peter has gone, ‘Fly
away Paul’ (clap) Quickly peep again and say ‘Yes - Paul has gone. Sh, Sh, Sh, Sh, Come back Peter
Come back Paul' Pull foulard off and say “There they are, they have come back again'. At this point
(Children especially) will say ... ‘They didn’t fly away’. Then the argument begins. You say ‘Oh yes they
did” and they will answer “Oh no they didn’t’ Work this up by repeating or alternately say - not too
loud - but snappy and very quickly They did' Children answer ‘They didn’t’... 'They did'... They didn’t’.
Getting louder and faster, when they have quietened down say 'You couldn’t have been looking - we
will try again’. (Cover with foulard and turn Peter and Paul as you do so), then repeat. Two little dickie
... etc. and when it comes to ‘Fly away Paul” pull foulard off and say “There they have been frightened
away”. Children will shout ‘You’ve turned it around' Then you repeat 'Oh no I didn’t’ and the Children
will answer back. Then cover birds and bring them back.

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The children will get really worked up now and I finally go through the song and actions again. Pulling
off the birds under cover of the foulard. Then say “Would you really like to know where they have
gone? ... Would you? Well, if I told you, you would be just as wise as this’. (Turn the board round)
‘FUNNY OLD OWL’

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121
WINE AND WOMEN
The combination of two old favourites provides us with a new trick with plenty of scope for comedy.

In keeping with the patter story a small cabinet is shown to contain two bottles. One is removed, a
drink is poured out, then the bottle is hidden in a tube. The second bottle completely disappears from
the cabinet which is shown empty one door at a time, accompanied by the usual 'sliding gag’
associated with the Die Box. The bottle is removed from the tube. Finally both cabinet doors are
opened at the same time to prove conclusively that the bottle has disappeared. However, when the
tube is lifted again it is seen to have ‘flown’ there!

APPARATUS: For this you will require a standard set of Passe Bottles. Also of course the cabinet,
which is made as follows: From 1/4" plywood make a frame 12' long by 10" high and 4" wide. This is
just a skeleton frame, on the back of which is now glued and pinned a piece of 1/8" ply. From a piece
of ply 10' x 12' cut and hinge two doors to form the front. Cut a slot in the base of the cabinet before it
is assembled, large enough to take a protruding 3/8" peg. This peg is fixed to a sliding platform on
which the small bottle rests. With the cabinet held in your hands and one bottle missing, it is possible
to slide the small bottle on its platform across the cabinet to take up the position of the larger bottle.
In fixing the top lid, it would be better to use bifurcated rivets because of the slenderness of the back
panel.

If you use cut-out pieces for the front doors you will have to fix a piece of metal inside to act as a stop.
Of course a far better job can be made if you cut fresh doors, 1/4" bigger all round, so that they
become 'patch doors’. The illustrations should make everything clear.

SUGGESTED PATTER OUTLINE: A man was left at home to do the housework as usual. You know,
clean the windows, wash the dishes etc. while his women’s lib wife goes off to burn her bra - or
whatever women’s lib wives do these days.

Before she left, however, she was very careful not to put temptation in his way and locked the drinks
cabinet. Feeling thirsty, the man tries to open the cabinet but can't. Then he discovers a door in the
top and removes one bottle. He is just about to take a drink when he hears his wife return and quickly
puts the bottle back. (Remove large bottle from lid, secretly slide over small bottle and in replacing
large bottle put it over small bottle).

The wife decides he deserves a drink after all, opens one door and removes a bottle (actually both
together). She pours a drink but finds the bottle is almost empty so she goes back to the cabinet to get
the other bottle, in the meantime she places tube over first bottle(s).

Now, using the Die Box ‘sliding gag’ you can show that the bottle has disappeared. The audience think
it is still there so the fun is fast and furious. Half-way through you remove the bottle (only the large
one) from the tube and say “Well we’ve got one, wherever is the other one?”. The audience will insist
that it is still in the cabinet, finally you show that the bottle has indeed vanished and ‘flown’ to the
tube.

Reprinted from Abracadabra Magazine with permission

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123
COMEDY CARD WAND

APPARATUS: Paint a picture of a playing card on a large sheet of black flint paper (the same shiny
paper used for making your ‘vanishing wand’ shells) my model measures 12 inches by 17 inches. A
thin strip of wood (e.g. Balsa wood used in model aircraft) is glued at the top and bottom edge as
shown in Figure 1. This prevents the corners of the paper banner from curling when opened out.

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Roll the paper tightly and place white ‘cap’ over each end of the rolled ‘wand’) See Figure 2). The
white caps can be made from a ladies lipstick top or similar item in plastic or metal or a size to fit over
the ends of the paper roll and thus keep it together. The caps are painted white to resemble wand
ends.

This will result in a business-like looking wand as shown in Figure 3. Thanks to the ‘ends’ it becomes
quite a solid affair with which to tap the heads of those sleeping in your audience.

Examination of the wand will reveal that this is actually a banner rolled round a dowel. The banner
has been painted as a reproduction of a playing card, the top edge of the banner black. When the
banner is tightly rolled around the dowel it looks exactly like an ordinary wand.

In order to keep the wand from prematurely unrolling two small cardboard tips are supplied which
push over the ends. When these are in position the wand can be handled freely as an ordinary wand.
Just prior to the climax, these tips should be removed.

METHOD OF UNROLLING: Very little practice will show you that the best method of unrolling the
wand is as follows:

Hold the wand between the two hands, in parallel position. The top of the banner should be towards
you and facing upwards. Grasp the corners of the banner between the fingers and thumbs and then
suddenly release your hold on the wand proper at the same time giving it a quick flick. The change will
be instantaneous.

ROUTINES AND IDEAS: Naturally you will require to know how to force a card. There are hundreds
of ways of doing this, from the most elementary to the clever sleight of hand force. To the audience the
effect is exactly the same.

Should the reader be unable to force a card he is advised to read any of the standard text-books on
Magic.

1. Force the duplicate of the card on the banner and have it shuffled back into the pack. Say that
everyone has heard or has seen the trick where the Magician catches the chosen card on a sword.

When I count three the chosen card will appear on the wand.

Count slowly 1 - 2 - 3 - then throw the cards over your shoulder and allow the banner to unroll! A
great gag!

2. Similar to above except that you do actually try to catch the card on the wand, needless to say
without success. The spectator names his card and WHAM, there you are.

3. Magician states that the wand was presented to him by his Magical Society for the best card trick
(You can use this as a running gag all through your show) finally you may say that you will show the
audience the card trick you won the wand with. However several attempts to find the chosen card
meet with failure, then you suddenly remember that you should have also used the magic word.
WHAM! the banner unrolls and the trick is done.

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Individual performers will be able to work out their own little twists on the above routines but we
have tried to show you the value of this great little gag.

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TEAR-APART VANISH

APPARATUS: A framework box as shown in the illustration. Each panel is covered with newspaper.

The frames are held to each other by means of hook and eyes. The lid is fixed to the box by slotted
hinges locating over screw heads.

Attached to the front panel, (the panel to which the lid is attached), is a wire framed bag - see
illustration. The bag should be printed with news print, otherwise when the paper is broken through,
the bag will show up. The trick was produced by Abbotts, but Jack Hughes solved a major difficulty
with the trick, which is why it is included in this volume. Professional performers found it tiresome to
have to paste panels of newspaper onto the frames.

Jack redesigned the prop by making beading frames for each panel which were a ‘push fit’, so to
replace the newspaper no paste was needed - a paper panel was placed on the inside of the frame and
the inner frame pushed in tight thus locking the paper in position.

WORKING: Assemble the box so that the lid opens towards the audience - the load chamber being
directly under the lid. Have a loose drape on the table.

The lid is raised, the rabbit is placed in the pocket and the pocket is snapped shut. The lid is then
closed. Box is now taken apart, each piece being placed over assistant’s arm’s etc. You can use a boy
from the audience for this, or you can use yourself.

1. Remove the lid and push over left arm, breaking through the newspaper.

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2. Disengage hooks and take fake piece and push over left arm (in this action, the arm is thrust
through the hole so that the piece will hang, the long edge on the arm, with the fake nearest the body).

3. Remove one end piece and push over left arm.

4. Remove the other piece and push over right arm.

5. Remove back piece and push over right arm, and the bottom piece over the head.

The pieces are then removed from arms, etc. and placed to one side. Add the pieces together the right
way and they will lie flat and stack up okay.

Now you can use the sucker gag with the table cloth, eventually removing the cloth showing the plain
table.

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VAKIL'S INDIAN ROPE TRICK

This is an effective stage effect using two spectators from the audience to hold the ropes before you
cut. While tying the knots you should have some bright music accompaniment. Follow the diagrams
as you proceed. NOTE: A single 12 foot length of soft magician’s rope is used. The diagrams on one
half of the rope have been darkened to make the procedure easier to follow. All diagrams are drawn
from the performer’s point of view.

1. Hold up the length of rope as shown. Three feet hanging over the right hand, three feet extended
between right and left hands. The balance goes to the floor. Bring the hands together.

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2. The left portion is placed over the right. The broken line will show how the darkened portion will be
brought through the rope.

3. Note the position you now have.

4. This shows the position of your hand before you begin to start to tie the second half of the knot.
This time bring the right portion over the left (a square knot) and complete the knot.

5. This is the knot when completed. Check light and dark portions before going further.

6. Tighten the knot carefully, pulling the ropes away from one another.

7. Note the position of the right hand. The little finger is almost touching the knot. Draw the left hand
away to allow about one foot of rope for tying. Tie another knot (square knot) as before. This one will
have a smaller loop than the first one. Tighten the knot again and proceed with another 12 inches to
tie a third small loop. Keep tying loops until you have used all the rope.

8. You should have a number of loops as in this diagram. Have two spectators come up, each one
taking one end of the rope. The rope is held taut, make the cuts as shown with sharp scissors. Trim all
the loose ends of the knots fairly close.

9. Ask the spectators to pull together at the count of ‘three’. The knots should snap off the rope leaving
them with a single length.

NOTES: The knots must be fairly tight. As the third knot is made, the right hand should be in the
same position next to the knot as in Fig. 7. Once the knots have been made smoothly with practice, the
hands will cover them as they are being tied.

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131
132
DOUBLE BOX PRODUCTION
EFFECT: Two boxes on a wooden base. The outer box has no lid or bottom and has a large hole in the
front. The inner box has two lids and a bottom and fits within the outer box.

Outer box is lifted up and shown empty, then replaced. Inner box is lifted up, both lids opened and is
shown empty with a solid bottom. This box is replaced. Immediately inner box is opened and large
production of silks etc. is made.

WORKING: The boxes are made on the familiar ‘squared circle’ principle using ‘Black Art’, but with
one clever addition - a bottom fastened on the inner box. This bottom is hinged to one long side so
that when it is placed over the black velvet covered load chamber, the bottom will swing upwards out
of the way.

The black load chamber is filled with silks etc. and rests within the inner box. When inner box is
shown empty black load chamber cannot be seen through the hole in outer box due to ‘Black Art’
effect.

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THE PADDLE OF FOO

APPARATUS: A small wooden paddle approximately 6 inches long, blank on one side and with
'Chinese" lettering - as illustrated on the other side.

EFFECT: A card is selected and returned to the pack. A small paddle is shown to be blank on both
sides and then thrust in the middle of the pack. Upon being removed some Chinese Characters are
seen on one side. By translation of this message the performer discloses the name of the chosen card.

PRESENTATION: Force a card. After pack has been shuffled, show paddle blank on both sides by the
use of the usual ‘paddle move’. Thrust paddle into pack stating that it will reveal the name of the
selected card.

Remove the paddle (blank side away from the audience) and display the letters holding bat pointed
downwards. The letters will appear to be Chinese Characters.

Performer then pretends to turn the paddle over, but really make the ‘paddle move’ and displays the
same side with the paddle pointing upwards. ‘Chinese Characters’ will now appear as the name of the
chosen card in English!

PATTER: Ladies and Gentlemen, I am going to ask you to do what no conjurer has ever asked before.
I would like a Lady or Gentleman to choose a card from the pack. Let no one else see it other than my
dear old friend Chu-in-Gum. He is here with us - I can feel his presence a stickiness in the
atmosphere. Yes he is close - too close - but he will not harm you he is my friend. I think he has
finished looking at the card so will you kindly place it with the others. (Allow spectator to return card
and now shuffle the pack). I should explain that some time ago my Chinese friend Chu-in-Gum
decided to leave this Country and embarked on the ‘Slow Boat to China’. When he sailed he presented
me with this - one of the paddles!

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(Using ‘paddle move’ display both sides as blank). He has now gone to the Far Better Land but Chu-
in-Gum still sticks to me and his spirit guides me constantly.

In navigating this paddle among the cards I now call upon the spirit of Chu-in-Gum to reveal the
name of the selected card. (Push paddle into pack for a few seconds and then withdraw it). Ah! A
message in Chinese. You don’t understand Chinese? Then I must translate it to you. (Reveal name of
the chosen card).

NOTE: In case you do not know the ‘paddle move’ it is worked as follows:

Hold the handle of the bat between thumb and forefinger, the palm of the hand and the blank side of
the bat face upwards.

Turn your hand over to show the bat’s other side and as you do so, the thumb and forefinger give the
handle a quick twist so that the bat gives a half-turn in the same direction. Thus while you appear to
show both sides of the bat, only one is seen. A reversal of this move brings the palm of the hand and
the blank side upper-most as at first.

ADDITIONAL NOTE TO ‘PRESENTATION: To save secretly turning the paddle when it is being
thrust in the pack, casually turn the pack over after insertion. The paddle is then ready to draw out
with letters facing audience.

AN EASY FORCE: At the commencement the card to be revealed is at the bottom of the pack. Place
the cards on the table and allow a spectator to cut them in half, making two piles of cards. Show the
paddle blank as detailed and sandwich it between the two piles of cards. Ask the spectator if he cut the
cards anywhere he liked, then with the paddle turn the top half of the cards completely over exposing
the ‘Cut-at Card’ and the Chinese letters on the paddle.

To make a paddle which reveals two cards, use the illustration below:

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SPONGE BALL TO RABBIT

APPARATUS: Two small Sponge Rabbits which are hollow inside. By pushing the ears down between
the front legs and turning the rabbit inside out it will appear to be a round sponge ball.

Also required are 3 ordinary Sponge Balls.

SET UP: Two rabbit sponge balls in right hand coat pocket, two ordinary sponge balls on table and
one sponge ball in pocket.

Billy McComb's Routine

To start the routine Magician rolls two sponge balls on to the table and remarks that one of these balls
has the remarkable quality of moving its position so quickly that the human eye cannot follow it.
Lifting the left hand sponge from the table with his R.H. he puts it into his L.H. Actually he c lips it
between the R.H. 2nd and 3rd fingers and withdraws it back into the R.H. whilst the L.H. closes as if
it contains the ball. Without hesitation the R.H. picks up the remaining ball. Snap the fingers of both
hands with the hands in the closed position and open them to show that both balls are now in the
right hand l lay them on the left and right of table.

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Remarking again on the weird properties of one particular ball (he does not specify which one) the
performer states that this property is somewhat contagious. Picking up the left hand ball in his L.H.
the Performer executes a tourniquet pass into his R.H. which he opens to show the ball has vanished.
Claiming it has travelled to his pocket he removes the normal sponge ball from his right coat pocket
whilst picking up the remaining sponge on the table with his L.H. He now has TWO in his L.H. and
one in his R.H. Mentioning that the effect is reversible he replaces the sponge in his R.H. back in his
pocket and opens his L.H. to roll out the two sponges contained therein. As the L.H. opens to show
the two sponges in the denouement of the last section, R.H. (which has been replacing the extra or
third ball in the right hand coat pocket) sneaks one of the Rabbit sponges from the ticket pocket in the
right hand coat pocket and immediately picks up the right hand sponge from the table. Along with the
palmed sponge this is placed in the L.H. and the right hand sponge is taken in the now empty R.H.
and put in the right hand coat pocket. As the L.H. is opened to show the two sponges in it, the R.H.
sneaks another Rabbit sponge on its journey out of the right pocket. The above move is repeated
leaving you with two Rabbit sponges in the L.H. whilst the right hand sponge reposes in the right
hand coat pocket along with the other normal sponges.

NOTE: In placing the Rabbit sponges on the table you must, by feel, ensure that the opening of the
sponge is against the table.

Picking them up one by one, remark that the sponges must have some tangible help in their
peregrinations and pushing them separately thru’ the left fist, remove them from the heel of the fist by
the ears of the rabbit so formed. For ‘stag’ demonstrations some may care to cut small pieces of black
sponge and load them inside a Rabbit sponge so that they may drop from the L.H. when it is finally
opened to show the second Rabbit with the remark; ‘Very nerve-racking for the Rabbits’.

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TRANS-THOUGHT

WHAT YOU NEED: Thirteen Cards. Six of these have a black design on one side and the same red
design on the other side. Six have a design in red on one side and a geometrical design on the other.
The last card has a geometrical design on each side.

THE SET-UP: The cards are divided into two piles. The first pile (of seven cards) consists of the six
cards with the geometrical back designs plus the double backer.

Arrange the cards in the following order, beginning with the top (face up) card. Circle, Cross, Triangle,
Diamond, Three Wavy Lines, Double Backer.

Place these face up to your right on the table. The second pile of six cards is arranged in the same
order as the first six cards of the other pile so that the black designs are face up. These go to your left.

WORKING: Pick up the pile on your left and deal the cards in a row along the table, each card is about
half an inch away from the next. Comment that the cards are used in experiments in mindreading.

Now show the other set of designs by fanning them roughly. The audience will soon see that these
cards are duplicates (in red) of the six cards on the table, make sure that the spectators do not see the
double backer.

Say you will make a prediction in the form of one of these red cards. Fan the cards to yourself and cut
the cards, remove the double backer and place it on the table taking care not to expose the other back.
Put the remaining red design in your pocket.

Ask a spectator to think of and announce one of the designs he sees in the row. When he has settled
on the one he wants, drop your ‘prediction card’ (Actually the double backer on the card). Collect the
rest of the face up black designs, taking care not to show the other sides and place them in your
pocket. Slide the L.H. fingers beneath the two cards, place thumb on top. Slide the thumb to your left
and drop the cards on the table. You have turned the cards over and revealed the red prediction to be
correct. In case this move is not understood it would be as well to explain that the sliding move with
the fingers and thumb causes the cards to change places so that the spectator thinks he is looking at
the BACK of his own card and the face of your card. In actual fact the face of the card he sees is the
back of his own card.

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COSTUME TRUNK ILLUSION

EFFECT: A trunk on a base is opened and three large trays containing dresses are freely shown. A
spectator selects a dress by removing a card from a pack. The trays are returned to the trunk, the lid is
closed and a shot fired at the trunk. Instantly the lid flies open and out pops a lady wearing the chosen
dress.

APPARATUS: The trunk comprises of 2 short sides 23 1/2'' high x 21 1/4" wide. Two long sides 23
1/2" high x 41 1/4" long.

A lid 22 3/4" wide x 41 1/4" long which is hinged to one long side. Use 1/4" marine plywood.

The base is 50" long x 31 1/2" wide with a box section on top 38 1/2" long x 20" wide x 8 1/2" deep,
use 1/2" marine plywood.

The trays are 39" long x 20 1/2" x 7 3/4" high, you need three of these made from 1/4" marine
plywood.

A wooden beading runs around the inside of each tray 3" from the top. This is used to support the
black fabric false bottom of the tray which has wooden battens glued at intervals and two magnetic
catches at one end. The magnetic catches retain the fabric false bottom in the extended position so
that the dresses can rest on top of it.

You also need some blank faced cards on which you write the names of the various dresses or
costumes. If desired just the colour can be written on the card. The dress which the girl will actually
be wearing is written on half of the cards and these are kept on top of the deck.

PERFORMANCE: Lift off the trunk from the base, leaving trays stacked on the base. Open the lid and
tilt towards the audience to show empty. Lift trunk back over the tray and onto base. Remove trays
one by one and show dresses. Place each tray back into trunk. Show the cards have different dresses

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written on by retaining the force cards at the top. Fan the cards for selection ensuring that the card is
chosen from the top force cards.

Meanwhile the girl who is concealed inside the base and the bottom tray, has been folding the false
bottom of each tray back, allowing dresses to drop into the base, as the girl moves into the trunk area.
All that remains is for the girl to make her appearance when the shot is fired.

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IMPOSSIBLE DOVE VANISH

EFFECT: A dove or a small rabbit is placed into a wooden box. The box is now broken down piece by
piece. Each piece is clearly shown on both sides and there is no doubt about it, the livestock has
COMPLETELY VANISHED!

APPARATUS: This consists of a frame with a hinged lid. Attached to the frame near the hinges is a
cloth bag with velcro strips at its mouth so that it can be closed tightly, thus preventing the livestock
from escaping. The sides of the box are hinged together with fabric tape so that it can be folded flat.
The bottom of the box is a flat piece of plywood to which has been glued beading to hold the sides
firmly in position.

WORKING: The box should be assembled on the base with the cloth bag inside the front of the box.
The mouth of the bag should be open ready to receive the livestock. The lid is opened and the dove is
placed inside the box and inside the cloth bag. The mouth of the bag is closed by means of the velcro
strips. A magic pass is made over the box, which is then broken down in this manner.

The right hand grips the back edge of the frame as the left hand opens the lid as far as possible. In one
action the right hand lifts the frame upwards and clear of the box as the lid hangs right down with the
cloth bag hidden behind it. This unit is now handed to your assistant or hung over your right arm.
Next, pick up the sides of the box and fold them flat, proving they are empty, then unfold them and
drop them over your right arm. Finally, lift up the base and show both sides. For a sucker finish you
could have a cloth on the table with a silk underneath it and pretend not to notice the lump as you lift
up the base. When the audience have finally drawn your attention to the lump, remove the cloth and
show that it is just a silk.

Jack manufactured several versions of this apparatus some of which were sold by Max Andrews
(Vampire) Magic Ltd., Harry Stanley (Unique Magic Studio) and Davenports.

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The apparatus may also be used as a production of livestock by reversing the above moves.

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THE GROWTH OF FLOWERS ILLUSION

The performer displays a two-fold screen on all sides then places it onto the stage. A thin tray is now
shown on both sides and this is placed on top of the screen thus forming a table. A large tube and a
plant pot are shown to be free from deception. The plant pot is now filled with sand and a few seeds
are planted. The tube is placed over the plant pot for a moment and when lifted a lovely growth of real
flowers is seen to be growing in the plant pot. If desired the flowers can be cut from the stems and
handed out to ladies in the audience. Bear in mind that everything is shown empty and the screen is
on legs so that the audience can see under it at all times.

APPARATUS: The screen is made from two pieces of plywood and hinged in the middle. The legs can
either be cut out from the plywood sheet or made separately and then screwed or glued on afterwards.
At the rear of the screen a small platform is spring hinged so that when painted black like the interior
of the screen, it will fold up and not be noticed when the screen is quickly shown back and front.

This platform is made of a size to hold a black cone which actually contains the flowers. The black
cone is a snug fit inside the large tube. A length of wooden dowel runs from side to side across the top
of the black cone. The bush of flowers is genuine or you can use imitation flowers.

The flowers are fitted into a wooden disc which has been drilled with suitable size holes to take the
stems. This disc has sand glued over its surface and has a length of nylon thread fastened to the centre
of the disc. The thread has a small hook fastened at the other end and should be of sufficient length to
hook onto the dowel at the top end of the black cone and hang just hidden inside it. The diameter of
the disc is of a sufficient size to just slip comfortably into the bottom of the black cone and be a snug
fit into the plant pot.

WORKING: Place the flowers fastened on the disc inside the black cone and hook the thread onto the
dowel rod running across the top of the cone. Place the black cone onto the spring loaded platform at
the back of the screen so it is hidden from view.

Place the thin tray close by along with a bag of sand, a plant pot, some seeds and the large tube. Pick
up the large tube and show it empty as you stand close to the screen. Put the tube down behind the
screen, over the black cone, grip the tube and cone together and lift both off the platform and onto the

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floor as the left hand lifts up the screen. This should be done in one smooth action and look as if you
had simply placed the tube behind the screen, as you pick the screen up to show it empty. The spring
loaded platform will have automatically flattened itself to the back of the screen and the screen can
now be shown both sides.

The screen is opened up and placed back on the floor and the thin tray placed on top to make a table.
The plant pot is placed on the tray and partly filled with sand. The tube containing the black cone
filled with flowers is kept well away from the screen at this stage.

Pick up the packet of seeds and sprinkle a few onto the sand in the plant pot, then pick up the large
tube, gripping the black cone inside it and place it over the plant pot.

Release the hook from the dowel rod in the black cone and allow the wooden disc holding the flowers
to sink into the plant pot on top of the sand. The thread will fall amongst the flowers and not be
noticed. All that remains is to lift off the large tube and black cone together and reveal that the seeds
have now grown into flowers.

If desired, strong magnets can be located inside the plant pot and on the wooden disc so that the disc
and flowers are firmly held in the plant pot. This is only necessary if the flowers are top heavy.

This item did not appear in the Jack Hughes catalogue as he only manufactured three of them, one of
which was made for the Great Levante.

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THE GOLLIWOG BALL

This was a 'one off' which was owned by Derek Lever for a time.

EFFECT: A small tower and a large tower are shown and placed a few feet apart. A board is shown
and placed onto each tower, thus causing a steep incline. A multi-coloured ball is now shown and
placed at the bottom of the board. On command the ball magically begins to climb up the board until
it comes to rest on top of the tall tower.

APPARATUS: Two wooden towers are used which break down for packing. The tall tower is 2 feet 6
inches high and the small tower is 8 inches high. A length of 1/2 inch beading runs along each side of
the board to prevent the ball rolling off. The board is five feet long and 8 inches wide. The ball is 7
inches in diameter and is covered in pieces of coloured material giving it a multi-coloured appearance.
It has a slot running right round the ball about 5 inches deep. A long loop of thread runs from a small
motor built into the top of the tall tower. One end of the thread is anchored to the woodwork, the
other end is wrapped around the spindle of the motor.

WORKING: The ball rests initially on top of the tall tower with the loop of thread already in the
groove of the ball. The towers are laid out about four feet apart as shown in the illustration. The ball is
taken from the tall tower and placed at the bottom of the board. The hidden motor switch is now
pressed on and the performer walks right away as the ball slowly rolls right up the board to the top. A
concealed micro-switch in the top of the tall tower will automatically switch the motor off as the
weight of the ball lands on top of it.

If working on stage you can dispense with the motor and have an off stage assistant pull the thread, in
which case the ball can go up and down and in code, answer questions etc.

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146
147
'DOUBLE STUNNER' PREDICTION

EFFECT: A pack of cards is thoroughly shuffled by the performer and divided into two portions
consisting of Red and Black cards respectively. A number of plain visiting cards are shown and upon
one of them a prediction is written with RED PENCIL; the written on card is then dropped into a glass
and is not touched again by the performer.

A member of the audience now genuinely thinks of any red card, and this card is removed from the
red packet.

A second prediction is now written in BLUE PENCIL and also dropped into the glass; as before this
prediction is not touched again by the performer. A second spectator now thinks of a number between
one and twenty-six, and the card at that number is dealt down to in the black packet; the card is then
placed face down on the table or onto a stand, without being looked at.

The climax comes when a third member of the audience removes the written cards from the glass, and
it is discovered that the performer has correctly predicted both cards under apparently impossible
conditions.

REQUISITES: You will need:

1. A number of plain visiting cards.

2. A Red Pencil which writes BLUE.
3. A Blue Pencil which writes RED.
4. A Pack of cards which consists of:
a. A complete suit of Hearts.
b. A complete suit of Diamonds.
c. Twenty-four duplicate Black cards.

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 d. Two indifferent Black cards.

You will also require a glass of a suitable size to contain the cards. This may be borrowed.

ROUTINE AND PRESENTATION:

1. The performer commences: To you a pack of cards is simply a matter of fifty-two pieces of
pasteboard, but to me it is an object as sensitive as any radio or T.V. receiver.

Each card has a separate vibrating note. Red cards throw out positive vibrations and black cards
throw out negative vibrations. When these vibrations are attuned to the human mind the results are
really remarkable. First however I will separate the positive cards from the negative ones.’

2. Having shuffled the cards, the conjurer proceeds to divide them as described. The two indifferent
black cards should be placed at the top and bottom of this packet. Both packets are now placed face up
on the table.

3. The mentalist continues: 'I will now propose to make a positive prediction in red pencil upon this
card, and impossible as it may seem, what I shall write will be definitely bound up with something
that will happen a few moments from now. Will you Sir, be good enough to simply think of one of the
red cards as I pass them before your eyes. Have you thought of one? You have, Good. Your mind is
now throwing out positive vibrations which I will endeavour to catch and record upon this card’.

4. The performer now takes the red (?) pencil and one of the blank cards, and writes upon it the name
of the black 'force' card. As far as the audience is concerned he is of course writing the name of an
unknown red card in red pencil.

The card is then dropped into the glass, written side away from the audience.

5. Continuing: Thank you very much. Now in order that everyone else may take part in the
experiment, will you please be good enough to name the card you thought of. The 'Five of Hearts’
(say) Thanks very much’. If the request to tell is phrased in words such as these the spectator can
hardly refuse to announce his choice, even assuming he is one of the awkward individuals who delight
in putting the performer 'on the spot’.

6. ‘So far so good. I will now see if I have equal good fortune with the negative vibrations. Will you
help Sir? Thank you. Now I want you to tackle the problem from an entirely different angle. Please put
all thought of cards right out of your head, and simply think of a number. Obviously it must be higher
than one and of course it must be less than twenty-six'.

7. While the spectator is concentrating, the performer casually shuffles the cards, and it is here that
the rather subtle misdirectional move takes place. It will be recollected that the packet of duplicate
black cards has been lying face up with the indifferent card on the front. To shuffle, hold the pack face
down in the left hand and pass the top card into the right. Shuffle off all except the last card which you
place on top. When the pack is turned over the second indifferent card will be showing, thus subtly
suggesting that the cards are all different.

8. ‘Have you thought of a number. You have? Good. I will now endeavour to predict in blue pencil the
name of the card whose position corresponds to the number you are thinking of. This time however I

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have to try and attune my mind to negative waves, which is more difficult owing to the fact that
although you know the position of the card you have no idea of its identity. All this means that I have
to penetrate into your subconscious mind before making the prediction’.

9. A second blank card is now taken, and upon it is written the first spectators choice, (i.e. ‘five of
Hearts) using the blue (?) pencil. This second card is also dropped into the glass behind the first one.

10. The black cards are now dealt face downwards upon the table until the required number is
reached and the spectator says ‘Stop’. This card is placed face down upon the table without being
looked at. Alternatively it may be placed in the assistants pocket.

11. The actual working is now complete. All that remains depends upon the performers showmanship.
Special stress however should be laid on the following points:

1. The fact that each prediction was made before the choices of the spectators were known.
2. Each prediction is in a distinctive colour.
3. Neither of the written cards is touched by the performer after it is completed.

In any case the effect is just what the performer makes it. ‘Sell it' with showmanship and sincerity and
you will find that you have a modern miracle in your hands.

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JACK HUGHES! … MAN TO THE MOON

APPARATUS:

1. Rocket, which folds into three and has a secret compartment in the centre section
2. Unprepared cut-out figure of Spaceman.
3. Duplicate cut-out figure of Spaceman, with bent pin fixed to his head.
4. Cut-out of Moon.
5. Plastic needle with rubber washer.

TO PREPARE: Open folds of Rocket and lay the Spaceman, fitted with pin, on centre section, so that
the pin just hooks over edge. Close Rocket.

SPECIAL NOTE: Do not put Spaceman into secret compartment, but load him into Rocket exactly as
described. Now slide plastic needle into hole in centre of Moon and slide on the washer from rear as
far as it will go.

PERFORMANCE: Ask boy to hold Moon by grasping needle from rear. Show unprepared Spaceman
and Rocket. Ask boy to revolve Moon by turning needle, and explain that Spaceman will fly in the
Rocket and land on the Moon. As you say this, hang Spaceman in front of Moon, by placing hole in
chest over knob of plastic needle. As you lean across boy to do this with one hand, the other naturally
comes behind his back. Secretly allow Rocket to touch boy’s back, so that the pin becomes engaged in
his clothing. A slight downward movement with the hand and the Rocket slides away from the
Spaceman which remains hanging on boy’s back. Now slide Spaceman which is unprepared into
Rocket by pushing him into secret compartment of Rocket, feet first, without unfolding Rocket.
Audience count aloud a given number of seconds, backwards to Zero, when Spaceman should arrive
on Moon. Make pretence of Rocket soaring upwards while boy continues to revolve Moon. Express
surprise when Spaceman is not there. Boy must search for Spaceman. Tell him to turn plastic needle
pointing upwards. This transforms Moon into Helicopter. Boy continues turning needle and is

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instructed to search in all directions. Get him moving slowly around the stage, making sure he
eventually turns to show his back to the audience, when missing Spaceman becomes revealed.

JOHNNY GEDDES ROUTINE - "Super Sammy-Spaceman"

“Now boys and girls, I want you to imagine that the year is 2099, and the reason for that is a friend of
mine named Super Sammy was always imagining that he was a Superman, that’s why they called him
Super Sammy. No, not Supper Sammy Super Sammy. He was determined to fly to the Moon in a
Spaceship. So all together we’ll say, “Time Marches on ... it’s now 2099' (Get them all to shout) “TIME
MARCHES ON ... IT’S NOW TWENTY NINETY NINE”.

(Bringing up the Cut-out, you show Super Sammy, also the Spaceship. The Spaceship has the hooked
Sammy inside the first flap, with the hook hanging over the edge, after showing these ask a boy to
come up who will represent the Moon).

“Now as you well all know the Moon revolves around the earth, so I want you Johnny to go round and
round, just as the Moon will do’. (Boy proceeds, and after a few times you shout ‘Stop! STOP! STOP!,
you’ll get dizzy. You’ve got me dizzy watching you. Let me see, what can we do ah the very thing’ (Get
a handkerchief and tie it around boy’s head. Between handkerchief and brow stick a cardboard T.V.
aerial, then stand back and say) “Ah, that’s better, you look like the Moon, or more like a Moon Man.
To save having to go round and round, here is a miniature Moon, and we’ll place it on this rod, then
you can make it go round and round”. (Show boy how to make it revolve, by having the Moon on the
rod and the rubber ring up against the Moon. After this, pick up Spaceship and as you are positioning
it with the boy at the far end of the stage or platform, hook the Spaceman on his back, making sure
that it has a good grip). “Now to get Super Sammy off into space’. (Pick up Super Sammy, and
showing the Spaceship stand it on the table, pretending to speak to Super Sammy ... say) ‘Well this is
the great moment Super Sammy, your chance to fly to the Moon. What’s that? Oh, yes we’ll get all the
boys and girls to help you on your way .... won’t we, Boys? (Yeeesss, they reply) won’t we Girls?
(Yeeeessss, they reply) (pick up the Spaceship, have it in closed position, and take Sammy, starting to
push him into the cone, BUT NOT INTO THE SECRET DOUBLE SECTION, having disposed of him,
you get all the children to work the Magic Spell). 'Ready Girls and Boys, when I say RIGHT .... you all
say the Magic Words .... ‘Have a banana, sorry Abracadabra’., and you keep spinning the moon,
Johnny. Ready, 1,2,3, RIGHT .... Abracadabra .... and now believe it or not, Supper Sammy.... Pardon,
Super Sammy is now - on the Moon. (You point over to the Moon that the boy is holding, give it a
double look, and then look shocked, saying,) ‘Crikey, that’s funny, cos he’s not in the Spaceship
(opening the Spaceship up, when Sammy is allowed to fall to the floor, and the children will soon tell
you where he is. Finally you pick him up, and pretending to whisper to him, you apologise for not
getting him to the Moon, then remark: "Oh, I am sorry .... I did not know that … Turning to children
you say, "Super Sammy tells me that we are saying the wrong things and that we’ll never get the
Spaceman to the Moon as long as we say ‘Abracadabra’. Can anyone tell me what we SHOULD say to
get a Spaceship on the way into Outer space, ‘waaay up in the skyyyy'? (Someone is bound to tell you).
‘Oh, thank you, of course, we ought to count from ten to zero .... RIGHT, boys and girls, we’ll try that
.... are you already ... ????, is the Moon ready ????, is the Moon going round ????, is the Spaceship
ready ????. Right, we are all set. 1,2,3 .... NOW .... COUNT 10, 9, 8, 7, 6, 5, 4, STOP ... STOP ... STOP
(you shout). We were nearly in trouble there, we forgot to put Sammy in the Spaceship’, (Pick up
Super Sammy and then proceed to push him up in the Spaceship, very, very slowly, making sure that
it is actually going into the fake section of the cone. Push him in HEAD FIRST. You are holding the
cone at the pointed end, now in order to keep the children’s attention while you are pushing him into
the Spaceship .... you proceed as follows, while pushing him in SLOWLY, look at audience and say)

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“Are all the girls, ready? (They reply, Yes). ‘Are all the boys ready?’ (They reply, Yes), ‘is the Moon
Man ready?” (Johnny replies, yes). “Is the MOON ready? (he says, Yes) ‘is the MOON REVOLVING?
(Say this looking at the AUDIENCE) (They reply YEES). (By this time you should have the Super
Sammy well tucked into the Cone or Spaceship, and ready for action) ‘All together, now, 10, 9, 8, 7, 6,
5, 4, 3, 2, 1 ... ZERO ... and there we have Sammy safely on the Moon’.

(Everyone looks at the Moon which is still revolving) ‘Crikey, he’s not there ... he missed the Moon
completely ... where on earth has he got to?’ (Open up Spaceship and look for him, but no signs ... he’s
vanished). ‘Well I’m awfully sorry about that, let’s see if he is on the back of the Moon. (Take rod and
Moon from the boy and look on the back of the Moon) ‘No, he’s not there, either ... he must be
somewhere. Come on, Johnny Moon Man, see if we can find him’. (Take Johnny by the hand and
while looking for him turn his back to the audience and they will soon tell you that he is on the boys
back ... take the Spaceman off the boy’s back and say) ‘Ah, well we’ll just have to put Super Sammy on
the moon ourselves”. (At this point take Super Sammy and hang him on the end of the Moon ROD.
“Let’s give Johnny the Moon Man a big clap for all his revolving’.

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154
JACK HUGHES PRESENTS ROBERT HARBIN'S

THE ASSISTANT'S REVENGE

Jack had Robert Harbin’s full permission to manufacture this illusion and also the Zig Zag Illusion.

EFFECT: The magician’s assistant turns on him and holding a gun at his head forces him back against
a board. The straps are fastened tightly around the magician ensuring he is trapped and cannot
escape. The assistant, moving quickly pulls a full length curtain completely around the board and the
magician. But the tables are turned, as suddenly the magician appears unwrapping the curtain from
around the board to reveal the magician’s assistant is now securely fastened to the board.

APPARATUS: This consists of a board made from 3/8" marine plywood, and it is 73" high x 29" wide.
The board is secretly hinged down one long side of a frame made from two posts measuring 2 3/4"
wide x 3/4" thick with a top panel 8" wide holding the two posts together. The drawing will make this
clear. The base is a trough to stand in (so that the feet don’t show under the closed curtains), and
measure 19" wide x 29 1/2" long x 4 1/2" high x 1/4" thick. The posts fasten to the sides of the base by
means of nuts and bolts.

The roof of the illusion measures 35' wide x 48 1/2" long, with rounded corners, and fastens to the two
posts with bolts. Curtain rail is fastened to the underside of the roof in such a way that the curtain can
overlap as shown in the drawing.

Leather straps are fitted to each post, as illustrated. The back board is kept tight against the two posts
by using cord elastic. A piece of tubing is fitted to the curtain so that the performers can remain
hidden when closing the curtain.

If desired magnetic cupboard catches can be fitted to the rear of one post to help retain the hinged
backboard in position. Jack ran the cord elastic actually inside one post (the post was made hollow)
culminating in a metal spring fastened inside the post. This gave extra tension to the cord elastic
which in turn ensured that the back panel closed firmly after being opened during the escape.

PERFORMANCE: Magician is strapped to board. Please ensure that the straps are tight otherwise
there is no point to the illusion. (The magician should not be portly otherwise the straps will hang
slack when assistant changes place with him). Assistant holds curtain rod and begins to draw curtain.
Assistant is actually inside curtain. As the curtain hides the magician he pushes backwards on the
hinged board and the assistant moves in through the gap as the magician holds curtain rod and
carries on drawing the curtain. The drawings will make all clear. Then at speed, the magician runs
round opening curtain and revealing the assistant strapped in place. Obviously the whole substitution
should be worked at a fast pace.

DEREK LEVER’S COMEDY ROUTINE

Jack sold quite a few of these illusions, but many performers felt the effect was over too quickly. So
here is a way of increasing the performance time and yet making the illusion even more entertaining:
The girl assistant wears a dress, a frilly underskirt and a bikini. The dress and underskirt need to be
held with velcro so they can be ripped off quickly. In performance the assistant is fastened, screaming,
into the straps. To the tune of The Stripper’, the curtains are drawn, then instantly opened and the

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grinning magician now holds the girls dress, the curtains are drawn and then opened again - the girl is
down to her bikini and magician holds the skirt. “Do you want more?”, the magician says. The
audience do! He draws the curtain and assistant opens them - magician is seen strapped in place.

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M'LADYS HAT
This is a highly visual quickie. Your top hat suddenly turns into a basket of flowers for your assistant -
just like that! It sounds like a pipe dream but I assure you it works. In fact I made up a few.

You will need a top hat, solid type, not opera. Reinforce it with cardboard then cut it in half straight
through the middle. If you place the two crowns face to face this gives the finished shape of the
‘basket’. Obviously it needs some simple mechanics to hold everything in place. First you need a
plywood frame on which to attach the two halves of the hat and also to provide a handle to the basket.
Make this by cutting two pieces of wood the same shape as the half-crowns of the hat. Cut another
piece slightly less than the depth of the hat and not quite as wide. A rectangular slot cut out near the
top of this provides the basket handle. The two crown-shaped pieces are hinged to the bottom of the
handle piece so that when folded down their faces ‘kiss’. The two halves of the hat are glued to this.
When the handle is held the two halves of the hat drop down to form the basket.

Next we must look at the means for holding the hat together before release. Cut two semi-circular
shapes to fit the brim and ‘mouth’ of the hat. These can be thin ply or preferably thin sheet metal for
added weight for the drop. These shapes also have smaller semi-circles cut out at the centre of the
straight edges, giving access to the handle when the hat is closed, glue in place. Paint the wood frame
and metal shapes black. A simple pivoted bar with a cut-out locating on to a lug will provide a suitable
method of release. Pack both halves of the hat with as many spring flowers as you can muster, lock it
all together and you are set to perform the startling transformation.

Hold the handle between thumb and first two fingers of one hand and move the release bar with the
other. The hat springs open, the sides will drop and the flowers expand filling the basket and
overflowing the front to hide the hat.

Reprinted from Abracadabra Magazine with Permission

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CORONATION CROWN

EFFECT: A tastefully decorated two-compartment frame is shown. When the doors are opened, a
clear view through is obtained.

The door on the right represents the entrance to the strong-room in which the Coronation Crown is
kept, while the door on the left opens to the Guardroom where a Sentry always remains on duty. The
representations of the Crown and the Sentry can be slid in and out of their compartments separately,
as desired. The set-up is shown in the illustration above.

The Sentry leaves his post for a few seconds only yet, in that short space of time, THE CORONATION
CROWN VANISHES AND A CLEAR VIEW THROUGH THE STRONG-ROOM IS SHOWN. As the
performer is closing the door, the audience shout for him to open the Guard Room. He obeys after
sliding his free hand suspiciously along the underside of the frame. The spectators now shout for the
Strong-Room door to be opened again and the same procedure is repeated by performer. Eventually,
the audience yell for both doors to be opened at once. After some hesitation the conjurer obeys and,
sure enough, the CORONATION CROWN HAS POSITIVELY VANISHED BEYOND A SHADOW OF
DOUBT. It has found its way into an envelope which was previously shown to be empty.

This is the bare effect but the thinking performer will see the unlimited possibilities which this
ingenious piece of apparatus offers. An excellent routine and patter story by Wilfred Tyler are
supplied although you may prefer to weave your own story.

The representations of the Coronation Crown and the Sentry are beautifully silk-screened in colours
on METAL PLATES and the result is an ATTRACTIVE, EXCITING AND SHOWY EFFECT. THE
FRAME MAY BE MINUTELY EXAMINED BY THE AUDIENCE AT ANY STAGE OF THE TRICK IF
SO DESIRED.

The apparatus consists of:

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1. THE FRAME, into which the Plaques can be slid or removed from above. When a Plaque is in the
frame, always keep it in position to fill the aperture while door is open but note that, unknown to the
audience, Plaque can be slid from one end to the other when doors are closed, by pushing it with left
thumb. During operations the frame is held by the base with the left hand, thumb behind and fingers
in front. For ease of working the doors should always be opened in the following manner. Grasp the
knob with the thumb and second finger of left hand and pull while, at the same time, the first finger
presses on the surround. The fastener will automatically open and remain thus until door is closed
when it may be snapped to again.

2. THE GUARD ROOM. This is fitted with slots at the rear in order that a Crown Plaque may be slid
therein and the two Plaques shown as one.

3. CROWN PLAQUE WITH TWO STRIPS ON THE BACK, the horizontal one for lifting when
contained within Guard Plaque and the vertical one to assist when secretly sliding across frame.

4. CROWN PLAQUE HAVING A PLAIN BACK to facilitate secret dropping into envelope as explained
in the Routine.

5. ENVELOPE marked ’ROYAL KITCHEN’.

TO SET UP: Slide Plain Crown into Guard Plaque and place them, as one, into compartment of frame
furthest from you when held in left hand. Place the other Crown into remaining compartment.

The moves that follow are fully described in the Routine to which you should now refer.

JACK HUGHES' CORONATION EFFECT

with presentation and patter by Wilfred Tyler.

Performer commences with the stand held in Left Hand in which Crown Plaque is in position in space
nearest to performer and Soldier Plaque with duplicate Crown Plaque together in the other space. A
Plain Manilla envelope with the words ‘Royal Kitchen’ printed thereon is at hand on right side, on
table or chair.

PATTER AND PRESENTATION: “Just before the Coronation, the Crown had to be taken from ‘The
Tower of London’ to The Palace’ ready for the great day, and so that any alterations could be made
after the Queen had tried it on. It was taken to a room in the Palace in a passage which had been
specially chosen as it had another room next to it which had a connecting door and therefore allowed
a guard to be placed on it. These were the only two rooms in the passage except the door at the other
end leading to the ‘Royal Kitchen’. This represents the two doors in the passage’ (indicating stand in
Left Hand) ‘whilst this empty envelope is the Royal Kitchen’ (envelope is picked up with Right hand
and by pressure on sides, opened out towards audience to show as empty, and then placed down again
on R.H. side). ‘One of the rooms, this one’ (indicating the door nearest to you) “contains the Royal
Crown on a beautiful velvet cushion. Would you like to see it? You would? Alright, you shall’. (Door is
now opened to reveal Crown Plaque) ‘Isn’t it a lovely Crown? No wonder it had to be guarded. Next
door is the Guardsman who was put in charge of this special job of guarding the Crown. As a matter of
fact’ (door is opened during this patter to reveal Soldier Plaque) “I’ll let you into a secret. His name is
Henry! He liked to call himself Henry the Ninth but no one else did because they said there had been
hundreds and hundreds of Henry’s, so they just called him Henry and nothing more.

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 Yes, He’s simply known as Henry. He’s really quite a Lad,
He’s been a guardsman many years, As also was his Dad.

There, did you like my bit of doggeral or poetry? You did? ... No did you say? ... I thought it was jolly
Good … Never mind, let me carry on with the story. Now, Henry was a trifle hungry .... Ha! Ha! I
suppose he must have been hungry for a trifle .... Aren’t I a terrible story teller? Fancy trifling with a
trifle like that! Tut! Tut! Ah well, Henry’ (so saying, here performer reaches over with his right hand
and withdraws the Soldier Plaque With the duplicate Crown insert, and holding them in R.H. as one,
lays stand down on the table on left and picks up envelope with the same hand. The Soldier and
Crown together are just inserted in end of envelope as if to place Soldier Plaque inside, but Soldier is
immediately withdrawn allowing the duplicate Crown to slide into envelope … if this move is done
quickly, the audience will swear that the Soldier actually never went in envelope which is partly true ...
all these aforesaid actions are done to fit in with the patter ...) “suddenly felt hungry and decided to
venture down the passage and peep into the Kitchen to see if the Chef was there and if there was some
food for him.

One quick look showed him that he had been forgotten. Just as he was about to return to his post, a
draught caused first one of the doors to slam and then the other’. (Stand has been taken up in L.H.
and doors closed with the Right Hand, although the Soldier Plaque is in that hand, a little practice
with this and it can be done quite smoothly). Henry hurried back to his post for fear someone,
attracted by the slamming of doors, would come and find him out of position” (The Crown Plaque is
now carefully slid across to opposite side and Henry Plaque dropped down neatly over it so that
Crown is now in insert on back of Soldier). ‘Phew, that was a near thing, thought Henry, as he heard
footsteps outside. It was an Officer and he knocked on the door where Henry was and said, Private, is
all well? Yes Sir, said Henry (opening door to show him) except that a door must have slammed in this
corridor from the wind. Ah, said the Officer, perhaps it would be as well if you paced up and down this
corridor, just in case! So Henry came out of the room and did as he was bid” (Here, withdraw the
Soldier Plaque with Crown, insert as one, and holding them in R.H. close door with same fingers. The
plaques should be held at tops of R.H. fingers, facing audience, and as the following doggeral is said,
passed across body from R. to L. and across again and again, as if to suggest a Sentry marching up and
down. Finally, as the patter tells you - stand them up, leaning against chair on R.H. side, or against
some other piece of apparatus if on the table but not too near the envelope although in vicinity

“Left Right, Left Right,

Marching up and down,
Keen to do his duty
Guarding Royal Crown.

Every now and then he would pause as he turned round at the end of the passage, and it was at this
moment that wicked thief, who had got into the Palace, rammed Henry’s Busby down over his eyes
and brought him to the ground, tying him up and leaving him whilst he rushed to the room containing
the Crown. Opening the door he was amazed to find that the Crown was not there. Slamming the door
in disgust he tried the next room but couldn't see it there. Back he went to the first door he tried, but
there was no doubt the Crown was missing (here performer has obviously been sliding his hand along
bottom, as if to suggest that the Crown at rear has been slid along from one space to the other. This is
done continually through patter. “So Children, you see the Crown wasn't there after all .... What’s
that? It’s on the other side? Oh No it isn’t ... It’s moved back again? Oh No it hasn’t, that side is empty.
Open both doors at once? Oh play fair children, you wouldn’t like me to stand in a draught would
you? Both doors at once? Well. I suppose I must suffer! There you are .... you see the Crown has gone.

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Yes, the thief soon went away being foiled ... but the Crown was safe because Henry had seen that it
was magically moved to the Royal Kitchen where he could keep his eye on it whilst he had his meal"
(Show duplicate in envelope).

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MINNIE MISCHIEF

The apparatus supplied consists of a small stand, a neat plastic plaque with a picture of Minnie Mouse
on one side and a picture of a cat, Sylvester, on the other. Also supplied with the trick is an extra dress
for Minnie. This is a cut-out of Special T.V.C. Plastic and is completely self-adhesive. At the
commencement, this skirt is placed in position on the plaque directly over and completely covering
the painted one.

Press it firmly into position. In very cold weather, you might find it necessary to warm the plastic
slightly. Carry it in your pocket, or rub it between the hands for a few moments and it will be just
right.

You will also require a foulard or silk to cover the plaque.

Have the plaque standing on the table covered with the silk. Minnie side facing the audience. When
the plaque is lifted from the table to be covered with the silk, leave the small stand behind.

There are two ways of removing the small plastic skirt.

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1. Remove the foulard with a downward sweep, at the same time allowing the nails of the hand
holding same, to scrape against the plaque. You will find the plastic easily removed.

2. Method two. With the fingers of the left hand, (underneath the silk holding the plaque, commence
to peel the plastic off. The right hand holding the silk grasps the plastic through the silk and this is
removed with an upward sweep. Both methods are practical and clean.

Size of cards is 10" x 7"

ROUTINE AND SUGGESTED PATTER: … "and now Boys and Girls, I should like to tell you all about
someone whom you know very well, very well indeed, a very famous filmstar, our old friend MICKEY
MOUSE. Do YOU know … (Sssssh, you won’t TELL anyone. Will you?). That Mickey is a terrible flirt!
Oh yes he is! One night (when that terrible CAT Sylvester, isn’t about, he likes MICE too! But in a
different sort of way he likes them for dinner!). He’d take Minnie to the pictures, and the next night,
(when that old cat, Sylvester isn’t about) he’d take out her sister, WINNIE I've got a picture of
MINNIE over here under this handkerchief ... Would you like to see it? (Kiddies shout YES) Did you
say NO? (Kiddies shout out YES) Alright, I won’t show her to you, then. LOOK, would you like to see
her? (Children again shout YES. Alright, there she is! (Uncover plaque).

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Isn’t she cute, she’s wearing a nice BLUE dress, that’s her favourite colour, her sister WINNIE always
wears RED .... Would you like to see WINNIE? Right then, I'll try to make the picture change to one of
Winnie. (The plaque is covered and in transferring it from hand to hand is deliberately and obviously
reversed).

All I have to do is to say the magic word … and the picture has changed to one of Winnie (Lift up a
corner of the silk and peep underneath). Ah, but now, I’m going to change the picture back to one of
MINNIE again .... Once again we say the magic word. (Plaque is again transferred from hand to hand
and again reversed) .... and the picture has changed to Minnie again. Isn’t that wonderful? (This
business is usually enough, but if the audience is rather slow, it can be repeated.

You are building up to ... without actually showing the plaque ... the idea that there is a picture on the
other side. When you peep under the silk at ‘Winnie’ say I can tell it’s Winnie because she’s wearing a
nice RED dress, also, when you have reversed the plaque again peep underneath as though to confirm
that you have the right side facing the audience.

Shall I do it again? Alright then! (Again cover plaque, only this time, as you do so, give the plaque a
half turn, thus, when later you deliberately reverse the plaque you will have the same side facing the
audience. Another idea is to twist the plaque round a number of times, eventually bringing it back to
the same side. The foulard, or silk, is removed, this time, with the small piece of plastic to show the
change).

There you are, the picture has changed and there is Winnie with her RED dress!

(By this time, the children should be quite certain that there is a picture of Minnie with a blue dress
on the other side.

Turn it around? Like this, (picture is turned round without being reversed Oh! The other way (This
time, YOU turn around holding the plaque fairly tightly to the body, so that the picture on the other
side cannot be seen).

Oh, SHOW THE OTHER SIDE.... WHY DIDN’T YOU SAY SO BEFORE? Mickey wouldn’t go out with
HIM ... that’s that nasty old cat SYLVESTER I was telling you about! (Reverse Plaque).

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TOPSY TURVY CLOWN

APPARATUS:

 One Clown Card with patterned back or plain back,

 One Clown Card with back painted black.
 One Monkey Card with back painted black, top edge made concave.
 All Cards measure 10" x 7" with black edging except Monkey Card.
 One Wooden Stand, painted black, inside measurement 9 7/8" x 7 1/8"
 Stand tapered at the top edge inside.

As well as providing jolly good fun, we have real magic in this simple effect - but only if you handle the
clown at all times as though only one card was on the stand. This is made extremely easy for you so
please follow these simple instructions carefully. Put all three cards on the stand upside-down, and
backs to the audience. Monkey first, then black-edged clown, and fancy backed clown on top. Now,
place an outstretched finger on top edge of cards near centre. If back of hand is kept a little BELOW
level of top of cards only the front card will come away. If hand is raised above the horizontal, two
cards will be brought forward. The monkey card will not come away until required as the centre of its
top edge is lower than the back of stand. When, finally, all 3 cards are to be removed, place finger
(with hand a little higher than before) to side of centre and the three cards will come away and can be
easily gripped as one. Finally remember this, if at any stage you are not quite sure if you have the
correct number of cards in your hand, don’t spoil the surprise element (see patter) by glancing behind
at face of cards. All you need do is to glance at the stand and note top edge of card or cards remaining.
The telltale dip in centre of monkey card will show if you have two cards in hand, a straight edge
proves you only hold one. O.K. Apart from this sure fire handling there is one simple rule to
remember. It is this:

1. Top card proves to be clown standing on his head. Turn right way up and replace backout.
2. Taking two cards produces clown on his head again. Turn right way up and replace as above.
3. Remove top card and he’s on his head again. Replace (back out) without righting then say ‘shall
we give him another chance, children?’ Remove 2 cards and turn right way up without showing
face.
4. You are now all set to repeat twice more by removing first two cards then just one.

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The whole thing is really a 'continuity gag' performer doing a trick or something each time between
showing the clown.

CLOWN: Show him and say what a clever chap he is, always up to his monkey tricks. One of his
favourite tricks is standing on his head. We’ll put him back on his feet like that you say, but you
quickly turn him end for end and the children are shouting their heads off to tell you that you have put
him back upside down. Give them the ‘Oh no I haven’t’ business, then remove two cards and prove it.
Replace using same move again and once again prove that you’re right by showing top card. Replace
turning upside down again and when they shout, say. ‘Very well then, if you’re so sure about it, we'll
turn him the other way up”. You turn card without showing its face. “Are you satisfied now?” “He’s
really standing on his feet now isn’t he? ... “We’d better just have a look’. Slowly and carefully turn two
cards as one and he’s on his head. ‘There you are. I told you the monkey would be on his head again”.
Turn cards very deliberately keeping them the same way up and replace, BUT THE YOUNG
MONKEY'S ON HIS HEAD AGAIN. Put him back in disgust and say, ‘He’s done it again. I’ve told him
if he stands on his head all the time he’ll turn into a real monkey’. Turn all three cards. ‘Oh dear, I
never thought it would really happen’.

PATTER: Would you like to see my Up-side-down clown? You would? Right you are, he’s over here
somewhere. Ah yes, here he is. Standing on his head as usual. They call him Anti-gravity because

166
when he has a drink the water runs up hill! He’s a nice chap really, but I do wish he’d stand on his
feet. We will put him right way up this time just to teach him a lesson’. Later ... ‘Shall we see how old
upside down is getting on? I’ll bet he isn’t standing on his head this time. Well, the young monkey,
he’s done it again’. (Turn him right way up extra carefully this time, no mistake this time). “There,
must have forgotten to turn him last time’. Repeat this kind of thing until finally you hold all three
cards face not yet revealed. ‘Now if this young monkey’s on his head again, I’ll skin him alive’. Slowly
turn cards but don’t look at the same time until children start to titter, then say “Don’t tell me he is
upside down again’. Wait a little longer, then turn cards right way up before looking, then put all
you’ve got into the punch line ‘WELL THE YOUNG MONKEY I” Stagger over to stand and leave
monkey facing audience.

167
CLATTER TABLE

INSTRUCTIONS FOR WORKING

The stem has two sections which slot together. The table top is composed of two halves which are held
together by means of two plates fastened at the top of the stem.

The three legs lock into plastic clips at the bottom of the stem.

In performance the performer picks up the table by the top of the stem. As he lifts the stem comes
apart at the joint.

The performer tilts the stem to look at the bottom of it. One half of the table top falls off. Rotate the
stem slightly and the other half of the table top falls off.

The performer during all this has picked up the bottom part of the stem and rests one metal leg
against his own leg. By pressing one leg will fall off. This is repeated with the other legs as the
performer attempts to pick up the table top. Finally he throws stem down in disgust and carries on
with his act. Try to make everything look ACCIDENTAL.

168
169
ULTIMATE DIVIDE

APPARATUS: A table 37 3/4" long x 22" wide. Hinged at each end of the table are two flaps 18" long x
22" wide, these are held upright by metal stays as shown in the photograph. The legs of the table are
made of 1 3/4" x 1/2" timber and are supported by diamond shaped struts 6' wide at widest part, and
fastened to legs with wing nuts and bolts.

On the top of the table is located a framework which holds two trapdoors. One trap measures 18 3/4"
long x 18 1/2" wide. The other trap measures 15 1/4" long x 18 1/2", wide. Both traps are hinged to the
framework at one end and the centre ends of the traps are held in position with turn catches. Cord
elastic is fastened to the traps so that when the turn catches are released the traps will sink down in
the centre of the table and be supported by the cord elastic.

170
The hanging flaps are hidden from view by a ‘V’ shaped panel (8" deep) at each top side of the table
(see photo).

On the top of the table running along the side are two wooden runners 37 1/2" long x 1 1/2" wide and
3/4" high, these are grooved (to take the cord elastic from the flaps), and are used to hold the box
firmly in position.

The box itself has no bottom and measures 48" long x 20" wide, the centre section lifts out and
measures 5" long x 20" wide. When this centre section of the box is lifted out, the girl’s body remains
hidden under the false floor which holds the main box together.

You will need four metal blades 9 1/4" high x 19 1/2" wide.

ASSEMBLY: Bolt the diamond shaped pieces to the four legs as shown in the photograph. Place the
flat section with trapdoors in onto the four legs and locate into cut outs. Place box onto flat section.
Place four metal blades on a table close at hand.

WORKING: Lift off box with carrying straps and place onto floor whilst girl lies on flat section. There
are two wire turn catches at the centre of flat section on each side. These should be turned so that they
lock the spring loaded trapdoors in the horizontal position.

With girl lying on flat section place box over her so that her head and legs stick out at each end of the
box. In apparently placing the box carefully over girl she releases two turn catches so that the
trapdoors are released and the girl’s rear will now sink down as the box is placed over her body.
Alternatively if the girl is able to keep her body stiff, she can release the two turn catches as soon as
she lies down, then when the box is placed over her she relaxes her body and allows it to sink down
through the trapdoors. You will notice that the centre section of the box has a false floor and this will
hide the girls stomach when the middle is lifted out.

You now take up a saw (any long saw will do as one is not supplied), and saw through the centre area
TWICE. If desired small pieces of thin wood could be inserted between the centre box and the other
two halves so that the saw does make a noise as it cuts through. Now pick up the blades and slot these
into the slides in the centre of the box. Step back and take your applause at this point as you show the
lady cut in half. Now for the mind-blowing climax. Lift out the centre section by sliding it forward and
drop the little door down revealing the section of the girl’s stomach (actually just a piece of the girl’s
costume stuck around a bent piece of card). Again take your applause, then replace the centre section,
take out the blades. SLOWLY lift up the box tilting it sideways from the back so that the front area still
rests on the front of the table, this allows the girl to get back in position and keep her body stiff as her
hands lock the turn catches so that she can now rest on the trap doors.

(NOTE: The same move can be made when placing the box over the girl, i.e. place the front side on the
table first, giving her more time to lower her body).

Thanks to Chris North and Geraldini for the use of their Photographs.

171
172
FORGETFUL JOEY THE CLOWN

EFFECT: Joey is standing on the table holding a balloon. His head is removed and placed into his
Joey bag. The balloon which he is holding is removed and placed on to the top of his shoulders to
replace the head. On command the balloon bursts and the head has returned and Joey’s bag is found
empty.

PREPARATION: The head is spring-hinged. This is folded back and held by a turn-clip and a
duplicate head is fixed in its place.

A balloon is inflated and a knot tied about 1" from the end. This knot is slipped through the hole
which has been cut in his hand. You are all set.

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The Joey Bag has a black panel hidden behind the front slide. To vanish the head draw the panel and
slide up together, place the clown’s head inside and let the slide and panel down, making sure the
panel passes down in front of the head. To show empty remove the front slide only.

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175
HOP SCOTCH BOTTLES

APPARATUS: Two wooden bottles on wooden bases. One bottle is coloured and labelled 'Raspberry'
on one side and 'Orange' on the other side. The other bottle is 'Lemon' one side and 'Lime' the other
side.

Two fake paper bottles, one coloured ‘Lime’ and one coloured ‘Orange’. Two paper bags

WORKING: Lime bottle is slid into grooves of Raspberry bottle and Orange paper bottle is slid into
grooves of Lemon bottle.

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In performance Lime bottle is shown (Orange on rear) and covered with a paper bag. Then Orange
bottle is shown (Lime on rear) and covered with a paper bag.

The performer says he will make the bottles transpose, but he obviously turns each bottle round, Bags
are removed and the bottles have changed places. Bags are replaced and again bottles are obviously
turned round. This is repeated until audience demand to see the reverse side of each bottle.

Bags are removed (taking fake paper bottles with them) and crushed. Bottles are shown to have
Raspberry and Lemon on rear.

177
KERB DRILL

178
You will find enclosed four metallic cards depicting a street scene. If you place them, in the order as
indicated by the verse, on the stand provided, keeping the coloured side to the front, you will find that
on reversing the entire stand, a completely different picture is constructed in the form of an
Ambulance!!

The Performer will not need persuading that an 'action' chorus is very popular with children and that
the following action will help the chorus to go with a swing and at the same time press the moral
home.

ACTION 1: In this the children are taught to turn their heads and look to the right or left as indicated
by the words in the first two lines of the chorus. They place their hand to their forehead in much the
same manner as a sailor on ‘Look out’. When looking to the left using their left hand and their right
hand when looking to the right.

ACTION 2: On the last line the children still keeping their seats, swing their arms backwards and
forwards as if marching briskly across the road.

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 KERB DRILL ROUTINE by FREDERICK BARLOW

PREPARATION: First arrange the four plaques in a paper folder so that when you open it the first
plaque you will find facing you will be the ‘REFUGE'; the second plaque will be the ‘BEACON’; the
third, the TRAFFIC LIGHTS’; and the fourth, the ‘POLICEMAN’, all faces upwards. Next have five
pieces of white paper, each a little smaller than each plaque, and type or write on each paper one of
the following verses:

Verse No. 1:

TO CROSS THE ROAD DO NOT FORGET, TO USE THE MID-WAY ISLAND SET; YOUR CROSSING
THEN IS CUT IN TWO, WHICH MAKES IT TWICE AS SAFE FOR YOU.

Verse No. 2:

THOUGH LATE FOR SCHOOL, STILL TAKE ALL CARE; DO NOT CROSS JUST ANYWHERE. WAIT
TILL YOU REACH A ZEBRA WAY, THEN THE CODE YOU MUST OBEY.

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Verse No. 3:

NOW CLEVER CHILDREN WHO ARE BRIGHT, WAIT BESIDE THE TRAFFIC LIGHT; THE RED
LIGHT GLOWS, THE TRAFFIC STOPS; ACROSS THE ROAD THE YOUNGSTER POPS.

Verse No. 4:

EACH DAY WHEN YOU COME OUT OF SCHOOL, A POLICEMAN WAITS THERE AS A RULE.
UNTIL HE GIVES THE SIGN O.K., ON THE FOOTPATH YOU MUST STAY.

Verse No. 5:

NOW WHEN YOU’RE WALKING TO AND FRO, TRY SAFETY FIRST WHERE E’ER YOU GO.
REMEMBER THOSE WHO TAKE A CHANCE, OFT END UP IN AN AMBULANCE.

Place one piece of paper (bearing the verse above) in between each plaque, the verse being
appropriate to the plaque above it, i.e. the plaque of the ‘REFUGE’ will be the first in the folder and
underneath it will be Verse No. 1. Next there will be the plaque of the ‘BEACON’ and underneath it the
paper bearing Verse No. 2, and so on. Verse No. 5 is beneath No. 4.

The special Stand provided, into which the plaques fit, is placed on your left, and the folder containing
the plaques and verses is on a chair or table on your right.

A banner bearing the words of the CHORUS, (or ‘KERB DRILL SONG’) would be useful but not
essential. Here are the words:

KERB DRILL SONG:

WHEN ABOUT TO CROSS THE ROAD, DON’T FORGET THE HIGHWAY CODE. BEFORE YOU
CROSS A STREET OR LANE ... LOOK RIGHT ... LOOK LEFT ... LOOK RIGHT AGAIN.

HA-HA-HA... HE-HE-HE ... LET’S BE AS SAFE AS WE CAN BE:

SAFETY FIRST WILL STOP ALL FEAR; QUICK MARCH IF THE ROAD IS CLEAR.

If you do not wish to go to the trouble of having a banner with the words on it, you may type or write
out the words of the above Chorus on sheets of paper and hand them out to the children ... don’t panic
... there will only be a few needed as I will explain.

At the commencement of the routine you will ask several boys and girls to step forward to form a
’CHOIR’ to sing the ‘KERB DRILL SONG’, so they should be old enough to learn the words quickly.
They should stand on the right of the chair or table on which you have your folder, and they should be
facing the audience. If there is a pianist present a copy of the old English song ‘Little Brown Jug’
should be available, and a quick run through made in order to acquaint the children with the tune. If
you are using the banner, get the tallest boy or girl to hold it so that the others can see the words
satisfactorily. If not, hand out the sheets of paper bearing the words of the ‘KERB DRILL SONG’.

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JACK HUGHES SKATEBOARD DRILL

Routine by Eric Sharp.

This is a fun item with a surprise finish which will give laughter in your programme plus audience
participation also a lesson in the ‘Green Cross Code’.

Have the cards in the following order from top to bottom;

Boy with large helmet

Skateboard upside down
Elbow Pads
Boy in road on Skateboard

Performer: I must tell you a story of a boy with a very nice name, he had a VERY nice name, you don’t
want to know his name do you? You do? Well as I said he had a VERY nice name … his name was
‘SILLY’ (children will laugh and question his name) ‘HIS NAME WAS SILLY’ ... Yes that’s his name.
(Children laugh again). Well as I was saying he had a very nice name, his name was ‘silly’ ...
‘SAUSAGE’. (Children really laugh this time). Yes that’s right ‘Silly Sausage’ (this time the children are
in hysterics) ... some will say you can eat that so you say ‘I said it was a nice name’. Now ‘silly’ er er
Now what was his name now?

Children: ‘Sausage’

Performer: ‘Oh yes Silly Sausage had his photo taken, would you like to see it?’

Children: ‘Yes’

Performer: ‘You won’t laugh will you? ... If you do he will punch me on the nose and you would not
want him to punch ME on the nose would you?

Children: In one loud chorus will say ‘YES’

Performer: ‘You ARE HORRID’. You won’t laugh will you, promise?

Children: Children will make all sorts of replies and then suddenly show picture of boy in large helmet
and the children laugh and you are very annoyed and you say ‘You are nasty’ ... if he does hit me on
the nose I’ll tell my Mum (this last makes the children chuckle).

Performer: Now as I was saying Silly er er Tomato

Children: ‘SAUSAGE’

Performer: ‘TOMATO’

Children: ‘SAUSAGE’

Performer: ‘TOMATO’ (getting quite worked up) ‘Oh, alright Sausage if you say so’. He always wanted
to ride in a big car, but, of course he was too young to drive and Daddy had not got a car, (as you say

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this, slot the card into No. 2 spot on the stand), so he spent a lot of money and bought this from the
local sports shop. (Show skateboard upside down).

Children: ‘It’s upside down’

Performer: ‘Is it? Oh, I thought it was for riding on the ceiling’ He bought er er well what is it?

Children: ‘it’s a Skateboard’.

Performer: ‘Er that's right a plateboard’.

Children: ‘SKATEBOARD’ (ad lib here as much as you wish until you get the word Skateboard right
and place card in No. 1 position).

Performer: ‘He also spent a lot of money and bought these Boxing Gloves, they are Boxing Gloves
aren’t they?’

Children: ‘PADS’

Performer: ‘Oh, are they?’ (place this card in No. 3 position on stand).

Performer: ‘Now Silly er er Banana’

Children. ‘SAUSAGE’

Performer: ‘Er yes, that's right Banana’ (ad lib as much as you like).

Performer: ‘Silly er Sausage preferred to play on this plateboard’.

Children: ‘SKATEBOARD’

Performer: ‘Oh yes, Skateboard, instead of going to school and he used to pretend he was in a BIG
MOTOR CAR by whizzing down the middle of the road on this er.

Children: ‘SKATEBOARD’.

Performer: So he was not at school to learn the Highway Code which everyone else who went to school
had learnt, so let's see if you all know it ... Put your hands out in front of you and do exactly the same
as me and let’s hear you all with your Highway Code.

Performer: Puts arm out in front and his actions suit or follow the words and the children do likewise.

Performer & Children: ‘Twiggle my finger. Twiggle my thumb, the GREEN CROSS CODE is a MUST
for everyone’. Oh lets have that again a bit louder and let’s see you all twiggling your fingers and
twiggling your thumbs (repeat as many times as you like here).

Performer: ‘Now Silly Sardine’

Children: ‘SAUSAGE’

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Performer: ‘SARDINE’ (ad lib as before until you get it right).

Performer: ‘Silly Sausage' was out in the middle of the road on his Skateboard dreaming that he was a
great big car just as all the good well behaved children were coming out of school after learning their
lessons when suddenly he saw the ‘lollipop’ crossing lady in the middle of the road.

(Show boy in road on Skateboard and place in 4th position on stand).

Performer: Continuing ... ‘She was seeing the children across the road in safety. Silly Sausage couldn’t
stop in time and was heading straight for his school pals and he was very frightened and all he could
do was swerve and crash into the school wall ... had he learnt his Highway Code he would have known
it was dangerous to ride on his skateboard in the road or even on the footpath. Now he was very badly
injured and when he woke up he was riding in a very big motor car, something he had always wanted
to do, but he was not very pleased because this WAS THE MOTOR CAR .... (turn stand round showing
Ambulance...) so now YOU know why his name was Silly Sausage and now you know why people who
do stupid things such as riding on Skateboards on the public highway are called Silly …

Children: ‘Sausage’.

All through this routine the performer should hesitate when trying to think of the name of the boy and
the Skateboard so that his mistake in getting the names wrong appears to be unintentional not
deliberate. Leave the timing of turning the stand round to the last second to give a very big surprise.

ROUTINE by HENRIQUE

This is the tale of skid lid Sid.

Who thought that he was a clever kid.
His skateboard was safe (Show skateboard)
But sad to say. He’d play and skate
In a dangerous way.
He’d skate on the pavements, and down all the hills.
And skate in the roads, that gave him a thrill.
But skid lid Sid, was a silly kid.
His helmet he'd never put on.
Neither his pads, for his elbows and knees. (Show them)
He thought he'd skate, wherever he pleased.
Now Sid, on his board, I am sorry to say
Skidded on to a busy roadway.
His knees they were cut, his head felt so sore.
He vowed he’d never go skating no more.
But skating is fun, if you do it the right way.
Use your helmet and pads. Sid did not use his.
And ended up in something like this. (Show Ambulance).

As you relate the story, and the above is only a guide, show each part of the card, placing them into the
stand. Please do not be in too much of a hurry to show the reverse side.

When you get to the part, ‘Sid did not use his’, pause, and ask the children if they use a skateboard,
and all the safety gear.

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Once they are all nodding they do all the right things, reverse the card, and ask them to call out what
Skid Lid Sid ended up in.

In my own act, I get the children to point a finger at Sid and get them to call out ‘You Silly Boy’.

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Mr. P

APPARATUS: A small wooden block which has a tapered end and a hole in the centre.

Block is 1 1/2" long x 5/8" square. Hole is 1/2" deep x 3/8" diameter.

You will also need two dried garden peas.

The working of this effect depends upon the proper manipulation of the little green house. The time
tested sleight employed in the colour cubes is the key to this miniature mystery.

THE EFFECT: The pea is placed in the opening in the house, house is then turned over so opening is
on the bottom and the pea remains suspended inside the house, apparently defying the laws of
gravity.

To present Mr. P. hold the house by its sides between the thumb and forefinger of right hand, fingers
and thumb pointing ceilingward, hole in house uppermost. Drop the pea in house; next let your right
hand drop downward so fingers point toward floor; as right hand is dropped push forward on house
with thumb, this causes house to make a quarter turn (unknown to audience), thus causing hole in
house to be covered by tip of forefinger, thereby making it impossible for pea to drop out of the house.
Your audience is surprised that the pea does not come out of the house, being unaware of the secret
quarter turn you gave the house they naturally suppose the hole is on the bottom. To further
demonstrate pea is unsupported you shake house so pea rattles.

At this point you show the second pea (lady pea) on palm of left hand and with a sweeping motion of
the right hand you bring the little house directly over the left hand. Just as house arrives over left
hand you pull right thumb backward thus causing house to again make a quarter turn back to its
original position, thereby releasing the pea in house (gentleman pea) which drops back into left hand
alongside the lady pea.

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YOUR SET UP: Finger palm lady pea in left hand, hold greenhouse concealed in left hand also. Mr. P
is held in right hand as you begin your patter. Study the following patter and foregoing moves and you
will find the two blend naturally together.

PATTER: I wish to introduce Mr. P (show pea). He was born in a greenhouse (show house). Since
nothing but peas were ever raised in this little house we might also call it a pea house and as it has but
one opening we could truthfully say it is a one hole pea house. Mr. P. however prefers to say he was
born in a greenhouse as he feels it sounds more dignified! Mr. P. has a personality all his own, he can
never be depended upon to do the proper thing at the proper time. For example; if I put him in his
little Greenhouse (put pea in house) and turn his house over (drop right hand) he does not tumble out
as he really should. If I shake his house he just rattles (shake house) and defies every law of gravity,
however, he has one weakness the ladies. If I place a lady pea in my left hand (show lady pea) he
immediately comes out to see the lady pea (?).

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A BRAND NEW RISING CARD
Here is another version of that evergreen trick. THE RISING CARDS that is right off the beaten track.
In an unusual setting, a simple method, the selected card rises in a novel and unexpected manner,
thus providing a new effect. To make a complete job of it, I will describe a simple way in which the
principle can be put to use.

EFFECT: A member of the audience deals any five cards from a shuffled pack face down in a row and
chooses one. After this card is shown and replaced the assistant picks up five cards, mixes them and
once more deals them face down in a row.

I now show a thin rod on which I pass (or thread) five Bulldog clips, spacing them at regular intervals.
Taking the cards one by one I attach them to a different clip with their backs to the audience. Holding
the rod bearing the five suspended cards in front of the assistant I ask him to think very hard of the
selected card. After a slight pause one card is seen to move. Taking the clip with it, the card slowly
turns in a semi-circle around the rod and rises to a perpendicular position above it. Its face now being
towards the audience the spectators are able to recognise the selected card and are not slow to express
their appreciation of this novel revelation!

METHOD: Unknown to the audience a small pin is driven half way into the rod at the point where
(say) the second clip is placed. This pin projects just enough to allow the clip to swing freely when the
pin is pointing towards the ground. By twisting the rod (which is another thing of which the
spectators are unaware) the pin head catches in the clip and causes the clip to turn with the rod.
Needless to say it is this clip into which the selected card is placed.

The rod I use is a piece of dowelling about 18 ins. in length: its thickness depends on the size of the
clips you intend to use. The size of the clip also governs how far the pin will project. For a 2 1/4"
Bulldog clip, the rod should be 1/4" thick and the pin should project 3/16 ths. Since having the block
of the illustration cut I have obtained better results with the 1 1/4" Monica clip which has a triangular
shaped spring. In this case the dowelling has a diameter of 3/8 ths and the pin projects 1/4". With
regard to the pin: cut off enough of its point to make it double the length you wish it to protrude and
drive it halfway into the rod. Thus, in the case of the Monica clip you cut the pin down to 1/2". Give
the rod a coating of silver paint and you are ready to go to work.

I found it was a help to smooth handling to get an assistant to hold the rod at each end while I placed
the clips into position. Of course I hold the rod at each end at the point where the pin is until the
second clip covers it. This conceals it from anyone with a keen eyesight and also permits me to make
sure that it is not pointing to the ground. The fact that the rod is twisted is not apparent at even close
quarters, providing that the dowelling used has a regular surface and it is quite straight. When
twisting the rod, hold it at each end with the fingers in front and the thumbs at the rear. I found that
by holding one end loosely a rolling motion by the thumb at the other end is sufficient to turn the rod.
Naturally, the thumb’s movement is concealed by the fingers.

Always out to make improvements I experimented by replacing the clips with wooden discs and found
it worked perfectly. My discs were about 1 inch in diameter - in actual fact I spoilt our set of draughts
at home by pressing five of them into service. I drilled a hole in the centre large enough to make a
loose fit when placed on the rod - slightly larger discs would permit you to replace the dowelling with
your wand. The next job was to cut a slit from the edge of the disc to the hole at the centre with a

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fretsaw. This is not a straight cut, but it is curved slightly so it binds a card that is inserted in same. In
this method the pin is not required but the disc is held by pushing the end of the card you wish to rise
right through the slit and hard against the rod. The other four are kept just clear of it.

Nicely decorated, this could be made quite a showy bit of apparatus, but the use of the clips seems to
me much more innocent.

I locate the selected card in this manner. When the five cards are face down on the table, the assistant
indicates his choice by tapping the back of one of the cards. Standing behind the table, I lift this card
and keeping its back towards me I show its face first to the assistant and then to the audience. This
gives me ample opportunity to crimp the card by bending a corner or marking it with the imprint of
my thumb nail.

The plot is the weakest part of this leaf, but this is where you come in. There are many possibilities
and I feel sure that some of you can cook up a better presentation than that described. If you succeed,
I would be very interested to learn the details.

In conclusion, the magician who does things on a big scale could use jumbo cards and a broom-stick!

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MENTOULETTE by LEN BELCHER

EFFECT: A written prediction is made by the performer and is given to a spectator to hold. A number
of specially designed cards (see illustration) are displayed on a stand, and are shown to be all
different. The cards are removed from the stand, shuffled, and returned to the stand, backs towards
the audience.

Performer now points to each card in turn, and a spectator is requested to shout ‘Stop’ as he does so.
The card at this point is removed and found to be corresponding to the prediction previously written.
A REAL CRACKER! THAT MENTAL EFFECT YOU MUST HAVE!! ROUTINE, STAND WHICH
FOLDS FOR PACKING, CARDS.

APPARATUS: Display stand with clear plastic front to hold seven different design cards. 7 Force
Design Cards. Strip of card with seven different designs printed on it.

WORKING: There are a row of cards showing designs on their faces, in a stand. The performer calls
attention to the cards, briefly mentioning the fact that they are all different, but not calling attention
to any individual one.

He then reverses the stand, and removes the (force) cards, keeping the faces hidden. They are
shuffled, and then replaced in the stand, so that they go behind the fake cards as at first. Now a
member of the audience calls out ‘Stop’ as the performer points to the cards each in turn. At the call
from the member of the audience, the performer removes the card at this point, it is shown, and a
small clip is placed at it’s top. It is then returned to the stand, this time in front of the fake card. The
stand is now turned round again, and the audience has plenty of time to see all the cards, although
again no particular attention is called to this point. A prediction can now be checked, or what have
you.

SUGGESTED PATTER: ‘The next item I want to demonstrate comes in what some people have been
kind enough to call the ‘miracle class’. I am going to attempt to predict something which will occur in
the future, and I shall be careful to ensure that everything shall be done on scientific lines. Thus no
one at the end will say that I have used sleight-of-hand. You will see that I have a number of designs
here, and first I want to make certain that the order in which they lie cannot possibly be known to
anyone present. (The faces of the cards are shown briefly, and the stand is then turned away from the
audience). ‘So I shall collect these designs, and mix them. Now if I put them back, I think you will
agree that the new order is quite haphazard. I shall point to each card in turn and will you, sir, simply
say ‘Stop’, when you feel like it? ... Here? ... Thank you. (The card is lifted out, and its face shown).

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‘You have chosen to stop at the … I will identify it by placing this clip on its top, and if I put it back
among its neighbours you will see quite plainly that it is the only one of its kind. (The force card is
replaced in the stand in front of the fake card in the empty compartment).

THE STAND IS NOW TURNED ROUND AND THE PREDICTION MAY NOW BE REVEALED.

 Stand is made from 1/8" plywood

 17" long x 3 1/2'' wide mounted on a base
 17" long x 3/8" thick x 3/4" wide.
 Two metal turn-button feet swivel out from under base to keep stand stable.
 Clear plastic front is 1/8" thick x 17" long x 3 1/4" wide.
 Opaque tape is fixed to plastic to mask bottom and side edges of the cards - see illustration

Seven cards printed like this. Size: 2 1/4" x 3 7/16"

Strip of card printed like this: Size: 16" long x 2 3/4" wide

191
MAGIC MOMENT

EFFECT: The magician fans a deck of cards face down in front of spectator. Spectator selects two face
down cards, and, without looking at them, puts them in front of him. The magician also selects two
face down cards, does not look at them and puts the two cards in front of himself.

The deck of cards is turned face up and the spectator selects ANY two face up cards, which are put
next to his two face down cards. The magician takes the two face up cards that the spectator selected
and interlaces them with the spectator’s two face down cards. The spectator is told to put his right
hand over his four cards. The magician now selects two face up cards, interlaces them with his two
face down cards and also puts his right hand over them.

The magician’s right hand and the spectator’s right hand should be fairly close together so the
magician can stretch his right thumb just enough to touch the spectator’s right thumb. The thumbs
touch. Magician removes his right hand and the cards the spectator thought he had are now where the
magician’s cards were and the cards the magician had are now where the spectator’s cards were.

SECRET: This effect may seem a bit bold at first glance, but the boldness is what makes it such a
sensational effect. You will need a deck comprising 26 double backed cards, 26 double faced cards and
one regular card.

Remove the cards from the case and spread them on the table ‘face up’. You will find the deck consists
of 26 double-backed cards, one regular card (which has a pencil dot in the top left corner on the back
of the card) and 26 double faced cards.

To give you an idea of how the trick works, remove the first two double faced cards. Turn the first one
over and you will find that the other side of the first card matches the ‘face up’ second card. The other
side of the second card matches the ‘face up’ side of the first card. These two cards are considered a
‘pair’. You have 13 such pairs of double faced cards in the deck. The first and second pairs match each
other on the other side. The third and fourth pairs match each other on the other side right down
through 13 pairs.

The only card you have to remember is the 27th card which is a regular card. As you spread the cards
in front of the spectator in your hands ‘face up’, you automatically know where to stop spreading or

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the spectator will see the double-backed cards. With the cards ‘face down’, they are spread in your
hands before the spectator and, as you spread the cards, you will note the pencil dot on the back of the
regular card (the 27th card down), this is as far as you can go on the back side of the deck. If you go
one card further, the spectator will see the double-faced card.

Keep in mind that you must not let the spectator select two 'face up’ cards that are side by side. It is a
rare instance when they will even try this and you can make sure they don’t by having the first card
selected near the front of the deck and then just pushing a few of the cards together where the first
selected card was taken, or, when you are using the routine where the spectator selects two ‘face up’
cards, have the spectator remove one card and you take the other cards in the ‘pair’. If he selects the
6th card, you select the 5th card. If he selects the 7th card, you select the 8th card. Once you try the
idea for yourself, you’ll catch on quickly.

ROUTINE No. 1: Spread the cards in front of the spectator ‘face up’ and have him remove two ‘face
down’ cards. (We know they are double-backed, but he doesn’t). As you spread the cards in front of
the spectator, keep them close to the table and you will have no trouble with the spectator trying to
turn the card over. As he does start to remove one of the ‘face down’ cards, make sure you tell him not
to look at the face of the cards. Just remove the two cards (one at a time) and put them ‘face down’ on
the table in front of him. Now it is your chance to remove two ‘face down’ cards and these two cards
are put in front of you. Square the deck and turn it over. Now spread the cards ‘face up’, (not too far,
mind you). Have the spectator remove one ‘face up’ card and put it next to the two ‘face down’ cards
he selected a second ago, OR just have the spectator point to the card he wants, YOU remove it from
the deck and put it next to the spectator’s two ‘face down’ cards. It’s your turn to remove a ‘face up’
card and you are to select the card right next to the one the spectator picked (the other card of the
pair). As the opposite side of the one you are removing from the deck must match the ‘face up' side of
the one the spectator took. The card you took is put ‘face up’ next to your two ‘face down’ cards. The
spectator removes another ‘face up’ card, (or points to one .... you remove it) and this goes on top of
the other ‘face up’ card he took. You remove the card next to it (in the ‘pair’ remember) and put it on
top of your first ‘face up' card. Put the deck of cards back in its case and put it in your pocket. Take
one of the spectators ‘face down’ cards and put it between the two ‘face up’ cards. Take the other ‘face
down’ card and slide it UNDERNEATH the spectator’s three cards. Pick up the four cards, even them
up, turn the whole packet over and have the spectator IMMEDIATELY cover the cards with his right
hand. Do exactly the same thing with your cards. The ‘face down’ card goes between your two ‘face up’
cards and the other ‘face down’ card goes to the bottom of the three. Square up your cards, turn them
over and put your right hand over them. When your four cards are on the table prior to your covering
them with your hand, make sure they are set near the spectator’s hand, so when your hand covers
your cards, you can touch the spectator’s right thumb with your right thumb.

You could tell the spectator that as soon as his thumb and your thumb touch, there is a magical
current that is created, causing the molecules in the inks of the cards to travel from one card to the
other, thereby making the cards the spectator selected change place with the cards you selected. Have
the spectator name the two cards he selected. As soon as he does, remove YOUR hand (spectator still
keeps his cards covered), spread the cards in front of you and the spectator will see his cards in your
stack. Pick up your four cards, put them in your pocket and bring out a REGULAR DECK OF CARDS,
which was in your pocket before you started the trick. Name the two cards you selected and have the
spectator remove his hand. Your cards will be found in the spectator’s stack. Just pick up the cards
and put them in your pocket.

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There is no need for the following, but if it will make you feel safer, you could have eight regular cards
(removed from the regular deck prior to the trick) in your pocket. As you drop the spectator’s set of
four cards in your pocket at the end of the trick (make sure they go next to the set of four cards you
just dropped in), just take out the set of eight cards these are regular cards), open the deck of cards on
the table and push them into the deck. Now you are all set to go on to any other trick with cards using
a regular deck.

ROUTINE No. 2: Spectator selects one face down card and one face up card which are put into an
envelope. The magician does the same thing. The magician says the magic word (chumpmiks) and
when the cards are removed from the envelopes, they have changed places.

If you are not sure of yourself in removing the matching 'face-up' card from the deck (after the
spectator has selected his) just glimpse the other side of the spectator’s card as you are putting them
in his pocket or the envelope. Try the different routines in front of the mirror for your own satisfaction
and you will almost fool yourself. Make sure you work the trick just as these instructions suggest and
you will have no chance of anything going wrong.

ROUTINE No. 3: Have a spectator merely touch one of the face up cards. Remove it from the deck
holding it in front of you so that the audience can see which card it is. Have the spectator name the
card again. While you are doing this, note which card is on the ‘back’ (the side facing you of the
spectator’s selection. Put the spectator’s card back into the pack (make sure it goes back into the
double face section of the pack and facing the same way as it was when you removed it).

Magician removes a face-up card (remove the card that you saw on the back of the spectator’s card)
and places it on the table. Close the pack and place it face down in your hand. Cut off all of the double
backers and place face down on the table. (To make this easy, trim the top left hand corner of the one
regular card in the pack, also the diagonally opposite corner. Just riffle the deck from the bottom up
and you will automatically stop when you come to the short corner). This short corner card is left on
top of the double-facers in the left hand. Spread the double backers on the table, pick up your card
(the one you have set aside on the table) and insert it into the centre of the double back cards. Pick up
the double back cards with the right hand so the face-up card is facing the palm of the right hand (it
stays in the centre of the deck).

The double facers with the regular card on top are placed in your left coat pocket or your top breast
pocket, with the back of the regular card toward your body. Now slide this card AROUND the pack, so
it is now the other side of the pack ... and if you could look right thru’ the deck .... the face of that card
would be facing you. Another way would be to have an extra regular card already in your pocket with
the face side towards your body. Just put the double face card in your pocket, leave the original
regular card in the pocket, and when you take the packet out, take the regular card out with it. By
adding (or transferring) this one card, you have actually turned your double face pack around.

During this time, it is easy to turn over the packet of double backers in your right hand by putting
them in your left hand which is palm up, turning your left hand palm down, removing your right hand
and setting the cards on the table, or you could drop the whole packet of double backers into the
spectator’s breast pocket and when you remove them, you automatically turn them over. Say the
magic words, remove the packet of cards from your pocket, spread face up and show that the card
originally selected by the spectator has vanished and the card chosen by the magician is in the face up
cards. Remove the packet from spectator’s pocket, spread out and show the spectator’s card reversed
in the pack.

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ROUTINE No. 4: Substitute 25 regular cards for the 26 double faced cards that comes with the deck,
keeping the short corner card. Put this on top of the 25 regular cards. Put the 26 double backed cards
on top of the regular cards. Turn the pack face up, spread the cards so the spectator sees some of the
faces of the cards, change your mind and turn the pack face down. Have a spectator select one of the
cards. Just spread the bottom 26 cards, keeping the top 26 close together, or cut the pack at the short
corner card, hand the bottom section of regular cards to the spectator. Ask him to remove one,
remember it, and place the rest of the cards on the table face up. Spread the double backed cards and
have him insert the card he selected face down into the centre of the cards. Now riffle shuffle the two
sections together. Spread them out and show that some cards are face up and some face down. Scoop
up the cards and, as you do, turn the whole pack over. Ask the spectator to name his card and spread
the pack. His card is the ONLY card left face up in the pack. You could have two spectators or three if
you wish, each select a card, and work the effect with the three cards at the same time.

195
FLAMES THROUGH GLASS

196
APPARATUS: A frame containing a sheet of clear plastic. This has been faked. There are two pieces of
plastic, one being concealed inside the frame - see illustrations. Two wooden straps. A wooden stand.
Some wax tapers.

In these instructions we refer to the penetration of glass but actually perspex is supplied to save
weight and breakage.

Notice that one end of the frame contains a fake piece of glass which is, of course, out of view at
commencement of presentation. Place left fingers against slot inside which fake glass reposes and
allow frame to hang vertically therefrom. Fake glass, will therefore rest on left fingers and remain out
of sight. Show frame freely and take large sheet of glass in right hand.

Left hand now turns frame to horizontal position and holds it thus while right hand pushes large sheet
of glass into slot about three-quarters of the way in. Remove left fingers from inside frame and turn
frame vertical so that sheet of glass falls fully into frame and meets fake glass.

Take up position behind your table and place frame horizontally on stand, (if you stand in front of
your table you will get a wrong position for the following moves).

Examine the wooden ‘straps’ and you will notice that one is fitted with two normal star traps while the
other one has one star trap and, on the other side, a small hole containing a taper. The taper is
knotted on the inside to prevent it pulling through and is bent into a circle on the outside and pressed
into round aperture to prevent its being seen. This last mentioned ‘strap’ will in future be referred to
as the ‘faked strap’.

Standing behind table, grip frame, one hand at each end, and press right thumb against glass. Lift
frame and turn it vertical, right hand at bottom and left hand at top. Now remove left hand and, with
the fist bang several times lightly on centre of glass and, at the moment when it is edge-on to
audience, release pressure of right thumb. Sheet of glass will drop on to right fingers and fake glass
fall into ‘working position’. Any noise will be covered by the tapping of left hand on centre of glass. Do
not turn frame right round or curled taper may be seen. Frame is now replaced on stand in same
position as before.

Take a taper and push it, from the front, as far as it will go into the star trap of faked strap and, at the
same time, straighten taper at rear with other hand. Push another taper, from front, through star trap
of normal strap and it will go right through and out at the back of glass and through rear star trap.
Strike a match and light the tapers at the rear first and then at the front. Lift frame from stand by
taking hold of top centre with left hand and, still keeping it horizontal, turn it slowly round so that all
four flames can clearly be seen. Replace frame in same position on stand, blow out rear flames first
and then front ones. Pull tapers out from front, fake strap first, not forgetting to push rear taper back
into circular aperture with other hand at the same time as front taper is removed.

Push a silk from front star trap of faked strap. It cannot, of course, go through glass but a good
illusion can be produced by pushing as much of it as possible through trap and against glass. Remove
silk. Now push silk from front star trap of normal strap and it will, of course, go through and out at
the back. Remove faked strap entirely and lay it aside.

Take up your position behind table and lift frame from stand, one hand at each end. Press left thumb
against glass and turn frame to a vertical position. Now twist frame end-on to audience to let them see

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silk being pulled to and fro by right hand. Remove silk entirely and bang centre of glass with right fist
and, while doing so, release pressure of left thumb. Fake glass and large sheet of glass will
immediately return to their original positions.

Holding frame horizontal, pull out large glass sheet a little way with right hand. Then insert left hand
in gap and, holding frame as first described, turn it vertical. Fake glass will rest on left fingers and be
kept out of view while large sheet of glass falls into right fingers and is drawn completely out by right
hand.

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199
TORN AND RESTORED CARD
EFFECT: A card is chosen (forced). A metal tube is shown empty along with a clear tumbler. The
tumbler is placed onto a plate and the tube dropped over it. The card is torn into pieces and dropped
into the tube as it rests on the plate. One piece is retained and handed to a spectator for safe keeping.
Another plate is placed on top of the tube and a ball of flashpaper is ignited on top of it. The top plate
is removed and in the tumbler is seen the restored card, minus one piece. The spectator matches the
piece he holds, to the restored card, it is a perfect fit.

APPARATUS: The metal tube is a Ghost Tube or Phantom Tube. It has a tapered inner lining. At the
narrow end of the lining a hair net is fastened in place with a rubber band. If the tube is lifted up and
shown empty with a black jacket behind it, the hair net is invisible. The tumbler is unfaked as are the
two plates. You will need a duplicate of the card you are going to force. Tear off one corner then push
the card into the load space of the Ghost Tube (between the inner lining and the inside of the tube).
The torn corner is palmed.

WORKING: Place a plate on the table. Show the tumbler empty and place it onto the plate. Show the
tube empty and place it over the tumbler so that tapered inner lining with the hair net on, goes inside
the tumbler and the duplicate force card with the torn corner drops from its hiding place into the
tumbler. Force a card by your favourite method. Tear this into pieces and hold up one corner (this is
the torn corner you palmed from the duplicate card). Hand the corner to a spectator and drop the
other pieces into the tube. They will land on the hair net. Place the other plate over the top of the tube
and light a ball of flash paper on top of it, for effect. Remove the top plate, then lift up the tube. The
audience will see a fully restored card, minus one corner in the tumbler, as the torn pieces are
automatically lifted away by the hair net in the tube.

All that remains is to allow the spectator to match the torn corner with the card.

This is a great version of the Torn and Restored Card but it never actually appeared in the Jack
Hughes Catalogue. Around 30 were manufactured and they sold purely by word of mouth.

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HOLIDAYS ABROAD

EFFECT: A number of Travel Labels are taken out of an open ended box and shown bearing the
names of various countries. Performer has a label chosen, and together with the others are dropped
into the box. Being open at both ends, the label falls through, so, the Performer threads a length of red
Tape through two holes at one end of the box to prevent the labels failing through. He then inverts the
container and shakes all the labels out, which fall to the floor with the exception of the chosen label
which has mysteriously threaded itself onto the tape.

APPARATUS: The open ended box is made with a small compartment on one side and can be shown
empty by passing wand or looking through it.

Twelve printed labels, and a length of tape.

PRESENTATION: The performer picks up Label Case with labels inside and addresses the audience
thus:

"Ladies and Gentlemen, each year my Wife and I have an argument as to where we shall spend our
holidays. My Mother-in-Law doesn't help either, she is always suggesting Brighton. When I tell her
where she ought to go, she gets offended. To solve this problem, I have collected a number of travel
labels and they are these (Performer slides labels out of case and places case on the table, then shows
labels one at a time). “Denmark”, “Switzerland”, “Cuba" where they play on the Tuba’s, “Italy" or take
a slow boat to “China”, “U.S.A." stop there for a couple of years and then come back as a film star and
then go for another holiday to the “South of France”, "Sunny Spain”, I am told you must be careful of
the customs, the “Old Spanish Customs”, they smell of onions. “Paris”, well of course, I couldn’t take
the Wife with me there. “Wigan”, noted for its famous Pier, “Jersey” where you’ll find plenty of
“Sweater Girls”, and last but not least, “Honolulu”, a place where a lawn mower is not needed. “Now
Sir, will you please choose any one of these labels, perhaps the place you’d like to go to? (Have the
label returned and bring it to the bottom by an ‘over Shuffle’). “Now, to return the labels to the case”
(Suit the actions to the words and at the same time slip chosen label in the concealed compartment by
having it about half an inch up from the others, similar to the ‘glide’, and allow the rest of the labels to

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pass through). “Of course, the easiest way to keep the labels in is to thread this piece of tape through
the holes’. Pick up tape and with wire end thread through the two holes and chosen label. Bend wire to
prevent it coming out, then turn case upside down keeping finger across the end and drop remaining
eleven labels in.

"Now Sir, I should like you to wish you were enjoying that holiday you have chosen while I shake the
labels. You are wishing? Good, then hope for the best". (Release finger and allow all the labels to drop
out and you will find that the chosen label comes out threaded on the tape).

“Ah, Very sorry Sir, it seems that your Holiday is held up by Red Tape!!

Box Size: 2 5/8" wide x 5" long x 7/8"deep

Compartment: 3/16" deep x 2 5/8" wide

Slot runs down centre of partition level with bottom of hole in case.

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