Beruflich Dokumente
Kultur Dokumente
a Magic Show
by
Michael Pascoe
1. Card Tricks
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Everyone knows a card trick or two. Magicians and non magicians alike. The Magic Castle in Hollywood,
California is an exclusive club for magicians. They have a beautiful library with stacks and stacks of books. Of all
of the categories, the section on cards out number the other sections by a staggering amount.
We guess the reason is most people have cards. Also, people expect the magician to be good with them.
The most important reason is that so much can be done with playing cards. We will show you simple tricks first.
Tricks you can learn right away. The key is to learn, not perform right away. Even though these tricks are simple,
you shouldnt rush to perform them. Like a script in a movie, you must know your lines well.
Another thing, resist the temptation of performing too many card tricks. We feel a balance in any show is
important. About four good tricks is enough in any close-up program. Its best to mix it up with other close-up
tricks and do not get in the habit of being the pest that doesnt know when to stop.
Once you get going, someone will know a trick or two. Some may want to interrupt your performance
and want to show you a trick. Most of them are mundane and lose the audience attention.
However, we think the problem with card tricks is the lack of a good routine. Nothing is more annoying
than seeing someone doing a boring card trick. It just goes on and on with no real point to it. Each of these tricks
have been routined, so stick to the basic premise.
Self Working
The following tricks are called Self Working, but thats not quite correct. Self Working implies that the
cards work on their own without you touching them. You have to do something of course. The main point is
that it doesnt take sleight of hand to perform these tricks.
Lucky Seven
Effect: The magician writes down a prediction on a piece of paper and keeps it in full view. Then he
deals the cards in two piles. A member of the audience chooses a pile. The magician shows the prediction proving that he knew ahead of time which pile the spectator would choose.
Props:
A deck of cards
A piece of paper or a business card
A pen or pencil
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Fig. 1
Turn to a spectator, Would you help me? Point to any pile. It doesnt matter which. He points to one.
Are you certain that you want that pile? I want to make sure that you have a free choice. Let them change their
mind if they want.
You are sure you dont want to change your mind? nod your head no. Get the audience to copy you.
You are happy with the mind you have. Shake your head yes and get the spectator to shake his also. This should
get a laugh. Good!
Now the outcome depends upon which pile they choose. In magic, it is best not to tell what you are going
to do ahead of time. This way you stay one step ahead of the audience. If the spectator chooses the pile with the
four sevens, turn over the other pile face up and show the faces. This is the pile you could have chosen. But you
didnt. Then turn over the pile with the four sevens. (See figure 2.)
Instead, you chose the pile with the four sevens. Take the
prediction card and read it out loud please. When they do, they will
be astonished to find out what your prediction says, You will choose the
seven pile.
If they chose the pile with the seven cards, pick up the pile they
didnt choose, This is the pile you could have chosen, but you didnt.
Count the four cards face down. One, two, three, four. This is the four
pile. Do not show the faces. Then pick up the pile they chose, This is
the pile you did choose. Count the seven cards face down out loud,
Fig. 2
One, two, three, four, five, six, and seven. You chose the seven pile.
Turn to the spectator and have him read the prediction out loud. It will of course say, You will choose the
seven pile. I knew that the seven would be your lucky number. Now the next time you go to a casino, you know
what number to pick.
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You Do As I Do
Effect: The magician promises a spectator to teach him a trick. Two different color decks are brought
out. Both spectator and the magician chooses a card. The chosen cards are returned.
The decks are switched. The magician and the spectator pull out their cards. When the cards are turned
around, they match each other.
Props:
Two decks of cards: A red deck
A blue deck
To perform: Take out the blue and red decks, Have you ever heard of the term, monkey see, monkey
do? Well, in magic, we have a term; spectator see, spectator do. Sorry, I couldnt think of anything cleverer than
that.
I will show you how to be a magician, but you must do as I do. Hand him the red case, You look like
the type of person that is seeing red, so youll get this one.
Ill take the blue deck, because Im always blue. Take the deck out of the case. Make sure the spectator
follows you. Shuffle the cards. Once again, make sure the spectator follows you.
As you shuffle, peak at the bottom card of the deck. It must be on the last shuffle. In fact, dont shuffle
more than once, or youll bore the others. A good way to peak at the card is to tap the cards as in figure 1. Your
motivation for doing this is to straighten out the cards after they are shuffled. Peak at the bottom card. This is
called the key card.
Very good, youll be a good magician yet. Change
decks with him. Fan the deck and take out a card. Look at it.
Make sure the spectator does the same thing. Look at your
card and remember it. The trick doesnt have any meaning if
you forget your card. Even though you ask the spectator to
memorize his card, dont memorize your card. The only card
you need to remember is the key card.
Place your card on top of the deck. Make sure the spectator is following along, Place your card on top. Cut the deck
and complete it. Then square it up. Once again make sure the
Fig. 1
spectator is doing what you are doing. Cut the deck to lose your card in the middle.
Alright, lets exchange decks again. Change decks from the spectator. Fan the cards with the faces toward you, Pull out the card that you looked at and close the deck when you are finished. Ill do the same.
Look for the key card. When you find it, look at the card below it. That will be the spectators card. Pull the
spectators card out and place it face down on the table.
Thats the card I chose. Put the card you chose next to it. After he does, ask him to turn his card over.
When he does say, Thats impossible! That is the card I chose. Turn your card over. If youve done everything
correct, itll match.
Youre a better magician than you probably thought. Take a bow. After he does, stage whisper, (that is
whisper so the others can hear) Remember, a magician never tells how he does a trick.
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The Four Burglars is one of those tricks that just seem to always be with us. Its like your favorite limerick... everyone knows it, but cant tell you who started it. When Michael was a little kid, this was the first trick he
learned. He never did magic seriously at that point, but he loved to do this trick. He still does this even today.
Effect: The magician shows four Jacks from a deck of cards and explains that these are four burglars. The
deck is a building they attend to rob. One burglar is placed two-thirds of the way into the deck. The second burglar is placed half way in the deck, and the third burglar is placed a third of the way in the deck. The last burglar
stays on top as a lookout.
The magician taps the deck and all four burglars rise to the top. The deck is spread out face up and it is
normal without any duplicate Jacks.
Props:
Preparation: Pull out of the deck the four Jacks. Also pull out three indifferent cards. Place the seven
cards face up in your left hand in this order: three indifferent cards followed by the four Jacks. See figure 1.
Square up the indifferent cards and hide them behind the first Jacks as in figure 2. Make sure that this
four card block looks like one card. Fan out the other three Jacks and hold them in the left hand.
Fig. 1
Fig. 2
To perform: Show the fanned Jacks, being careful not to expose the indifferent cards. Tell the story
about the four burglars, These burglars are going to rob this department store. Pick up the deck for emphases.
Then put it back down on the table. They needed a secret plan to rob this store. Close the fan, So they gathered together to discuss what they are going to do. Drop the packet of seven cards on top of the deck. They
met on top of the department store late at night.
Pick up the deck in the left hand. Take the top card, dont show it. Its the indifferent card, but its supposed to be the first Jack. Push the card into the deck around two-thirds of the way and square it up. The first
burglar goes to the first floor.
Take the next card on top and put it in the middle of the deck, The second burglar goes to the second
floor. Place the next card after that and put it a third of the way in the deck. The third burglar goes to the third
floor.
Put the deck on the table. Pick up the top card and show the face to the audience. Its the Jack. If done
nonchalantly, the audience will swear later on that you showed every card before burying it. Thats the way it is
with audiences.
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Fig. 3
Props:
A deck of cards
One pay envelope
A pair of scissors
Preparation: Make sure that the envelope is the kind that has the flap on the longer end as appose to a
letter envelopes that have the flaps on the shorter end. See figure 2. Fold the envelope in half as in figure 1. Unfold it. With the pair of scissors, cut a slit in the back of the envelope on the fold as in figure 2. The front of the
envelope should look normal.
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Fig. 2
Fig. 1
Put the envelope in your breast pocket along with the scissors. Make sure a Queen of any suit is on top of the deck. This is
for ease of handling. But, if you are doing this after another trick,
then just fan the cards out and pull out a Queen.
To perform: Cut the Lady in Half is the most popular
trick in magic. The plot is simple. A lady is placed inside of a
box, then cut in half. First of course you will need a lady. Look
around, No volunteers? Pause. Pick up the Queen from the deck, Aright, then Ill just use this little
lady here. Place the Queen face up on the table.
Next we need is a box. Act as if you are searching for something that can be used as a substitute for a
box. Finally go to the breast pocket, Failing that, we will improvise with this envelope. Dont over do this. It
should be casual. The impression you want to create is that you are doing this completely spontaneous.
When you take the envelope from the pocket, keep the slit away from the audience. Place the Queen in
the envelope with its back to you. The face of it should be towards the audience. Dont place it all of the way in.
Make sure that the Queen goes in the slit so half of it sticks out. See figures 3 and 4.
Fig. 3
Fig. 4
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Fig. 6
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Props:
Preparation: While you are eating, sneak a sugar packet that youve already marked ahead of time in the
holder. Use any number, but remember it. Lets say you chose eight.
To perform: This trick is straightforward in its method. But dont let its simplicity fool you. This is a good
trick. It doesnt need any fancy dialogue.
Have you ever had the feeling of dj vu? However the spectator responds, say, I knew you were going
to say that. I get it all of the time. Have you ever had the feeling of dj vu? Didnt you just ask me that? See, its
happening right now. I can sense the outcome of things. I cant always figure out the details to take advantage of
it, but I am getting a feeling of a future event as we speak.
Grab a sugar packet. This could be Sweet and Low or any other sugar packet you have on the table. Use
any number for the prediction. We are using the number eight for example. To prove my point, I am going to
write something that hasnt happen yet, but will. Take out a pen and write your prediction number. Dont let
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Misdirection is the most important technique in magic. If your timing is off, the audience will discover
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Props:
To perform: The use of a paper napkin is important. Its the secret behind the effectiveness of the trick.
If you wrap a new paper napkin around a small object like a salt shaker and remove it, the napkin will keep the
shape of the object. This is called simulation.
You look around for something to use as a prop. Im sorry that I dont have anything else. . . wait. This
salt shaker will do. Place the salt shaker in the center of the table as in figure 1.
Cross your feet. This is not for luck.
Its so you can catch the salt shaker and not
drop it on the floor. Youll see what I mean
when you practice it a few times.
Cover the salt shaker with a napkin
from the table. See figure 2 and 3. Because
of the stiffness of the napkin, it will take the
form of the salt shaker. (As in figure 4). This
is key to the illusion that will about to take
place.
Fig. 1
Fig. 2
Fig 3
Fig 4
With the right hand, bring the salt shaker to the edge of the table as in figure 5. The grip is important. At the
same time say, The salt shaker will penetrate the center of the table. . . With the left hand, knock the table, . . .
right here. See figure 6.
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Fig 5
Fig 6
This, of course violates the basic rule. As stated before, the rule tries to prevent the audience to watch
where you do not want to because they know now where to look. The phrase forces the audience to look where
you want to, and also its good showmanship to let them know what they are going to be witnessing.
This is also perfect misdirection. Sound attracts attention. Use this moment to drop the salt shaker into
your lap as in figure 7. Keep the same grip on the shaker as if you are still holding the salt shaker as in figure 8.
Fig 8
Fig 7
Not only does this use sound misdirection, but dissimulation. The dissimulation hides the salt shaker in
the lap. Bring the right hand back to the center of the table. See figure 9. Show your left hand empty and put it
under the table, To catch the salt shaker when it falls through. What you really are doing is taking the shaker
from your lap and placing it under the table.
At this point the trick is all done. Dont rush it. In the eyes of the audience, the trick has not yet started.
Relax. Have fun. This is time misdirection. Its called that because your timing is important here. Pause. Count
out loud, One, two, three. With the right hand, crush the top of the napkin giving the illusion of forcing the salt
shaker through the table. See figure 10.
Fig 10
Fig 9
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Fig 11
Fig 12
Then with the left hand, bring out the salt shaker. If you really believe that the salt shaker goes through,
then you can convey that to the audience. I cannot stress enough how important the pause is. The audience just
doesnt believe what they are seeing and the pause lets their brains catch up. Of coure we dont it to catch up too
quickly. When they try to back track, you bring out the salt shaker and set it on the table with a thud.
The audience will ask you to do it again, but resist. Smile. Welcome to the club.
Props:
A cap
Three coins; a quarter, a nickel, and a penny
Invisible thread or long strand of hair
Preparation: Find a cap of some sort that will fit over the coins. The one that comes from a can of WD40
will work nicely. Or a plastic cap from a soda bottle is fine. The kind of cap doesnt matter because the cap is not
faked. Two of the coins are.
The original idea of this method uses a long strand of hair. Or you can use invisible thread. This will work
as well. Despite its name, the thread is visible. Buy a spool of it from a fabrics store. Dont get one too thick or the
spectator will feel it in their hands. Get the thinnest one you can find. Make sure that its as thin as a piece of hair.
By making it thin, most people will not notice it when its attached to a coin. Its this visibility-invisibility
quality you will take advantage of. Just make sure that the surface you are going to set the coins on is a light color
so that you will be able to see the thread when you want to.
Cut off about an inch of the invisible thread or hair and glue it on back of the quarter so that a little bit of
it sticks out on each end as in. See figure 1. In a pinch you can use a piece of tape, but the spectator might notice
it. (See figure 2) Do the same for the nickel, but instead, use two inches of thread or hair. Have it stick out on
both sides. See figure 3 for example. After you prepare the quarter and nickel, put all three coins in your pocket.
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Fig 2
Fig 1
To perform: State that you are going to test your psychic abilities. When I reach into my pocket for
some change, I have trouble telling the difference between the coins. Pull out the three coins from your pocket.
The quarter is obvious because its larger. However, if I only had a nickel and a dime in my pocket, I would not
be able to know for sure.
Line the three coins on the table. Make sure they are far apart from each other. Youll see why soon. See
figure 3.
Fig 3
I have developed such a delicate touch, I can even do it without coming in contact with the coins. Let
me show you what I mean. When I turn my back, cover one of the coins with this cap. Illustrate by covering
each coin. When your back is turned continue, Cover any coin you like. Have you done that? After you hear
a response say, If I turned around now, I can tell which coin is which by process of elimination. So pick up the
larger amount coin in the right hand. . . Raise your right hand for emphasis, Then the remaining coin in your
left. Raise your left hand. Have you done that? When you hear an affirmative, turn around and face the audience.
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Glance quickly at the cap, but dont stare at it. Look at it just long enough to determine which coin is under the cap. If you see a thread sticking out, its the quarter under the cap. See figure 4.
Fig 4
If you see it sticking out on both ends, then its the nickel. (See figure 5) If you dont see anything, its the
penny. The secret to the trick is to identify the idenity of the coin under the cap. Once you do that, the others will
be simple.
Fig 5
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Two paperclips
A dollar bill
Preparation: There really is no preparation. If you want to make this appear spontaneous, take the two
paperclips and attach them to a letter in an envelope. Then put this envelope in your breast pocket.
Also, for ease of handling, have the dollar bill in your pocket. This should be new so it is firm and not
soft. You can even borrow a bill if you like. Just keep in mind that it might slow down the routine.
To perform: China is the land of magic. I would like to perform one of its oldest tricks. The ancient
miracle of the Chinese Linking Rings. Usually a set of metal rings are used, but I dont have any with me. Search
around your person as if you had a set of linking rings on you. Linking Rings are rather large, so this would be
impossible.
I still wanted to do this classic trick for you. Continue searching until you notice the envelope in your
breast pocket. Take it out. Look at it up and down. Notice the paperclips and remove them, This will do. Dont
overact. If you really think you are searching for something, then it will show on your face.
This trick is so old, even George Washington knows it, take out your dollar bill. Fold the bill from left to
right in thirds. See figure 1. Place one of the paperclips over the fold. Make sure to cover the number one on the
bill. See figure 2.
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Fig. 1
Fig. 2
Turn the bill over facedown, He knows it backwards. . . Fold the bill again from left to right in thirds so
the face is towards the audience, . . .and forwards. See figure 3 and 4.
Fig. 3
Fig. 4
Put the other paperclip on the right hand side of the bill as in figure 5. Once again put the paperclip on
the number one. Figure 6 shows an above view what it should look like.
Fig. 5
Fig. 6
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George will throw the clips in the air. Watch
the flight. You will actually see the clips link in midair. With a fluid motion, pull on the ends of the bill.
Figures 8 and 9 is in stop motion, but you want to
keep it moving causing the two paperclips to link
together. Figure 9 shows this.
Fig. 7
Fig. 9
Fig. 8
This fluid motion will cause the paperclips to
fly in the air giving the impression that they linked
in mid-air, as in figure 10. Practice this a little bit to
get the right timing in pulling the bills. If they get
caught up, you didnt pull it with enough force.
Pick up the paperclips and show them
linked, Now that you know the ancient miracle of
the Chinese Linking Rings, dont tell anyone how I
did it.
Fig. 10
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Dice Prediction
Effect: The magician writes a prediction on a piece of paper and puts it off to the side. Then a pair of dice
is thrown on the table. The totals are added up. When the prediction is revealed, is matches the dice.
Props:
A pair of dice
A pad of paper
A pen
To perform: This is practically self-working, but try to make it seem like this is a difficult feet of mind
reading. Because its self-working, you cant repeat this to the same audience member because the outcome will
always be the same. They say Las Vegas is not built on winners. However, that doesnt stop many people from
trying. Wouldnt you like to know the outcome to a casino game?
Pull out the dice, pad of paper, and the pen. Ive been working on such an idea. I havent perfected it yet,
its still in its planning stage. Pick up the dice. Shake it. Nothing can be more random than the rolling of dice,
throw the dice on the table. Name the numbers that show up. Pick up the dice again and hand them to a spectator, Check these dice out. Roll them a few times to make sure they come up random.
As he throws them a few times, call out the numbers. Depending upon what he rolls, comment on it as
if was a game of craps: If he throws two ones or two sixes, say, You would have lost. Do you know why they call
this game craps? When you lose, you say, Oh crap. If he throws a seven or eleven, say, This time you won. But
you wont for long. If they get anything else, say, Thats your point. How long do you think itll take before youll
make your point?
Continue with the routine, You can throw all day and never be able to know for sure what set of numbers will be next.
Until now. Im going to write down the results of the next throw of the dice. Pick up the pen and pad.
Pretend to really be concentrating. Write down, The total number will be 14. Rip it off and fold it in half. Then
tuck it under an ashtray for safe keeping.
Throw the dice like you would in a game of craps. Hand the pad and pen to the spectator. Write down
the top two numbers of the dice. Lets say its a five and three. Have him total the numbers which will be eight.
Turn the dice over. The spectator does as you ask. Write down the numbers of that side too. Those numbers
will be the two and four. Thats because on every pair of dice, the top number and bottom number equals seven.
Thats why its best to add the numbers separately. If you added the top number and bottom number separately
on each dice, the audience will see that each total seven and the jig will be up.
Have the spectator total the two and four which will be six. Now total the two numbers together. What
is the answer? He will say fourteen of course. Have spectator take out the prediction and read it out load. It will
match the numbers added on the paper.
Its too bad we cant do that in Vegas. We might break the bank. It looks like they wont be building anymore casinos off of us.
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Nest of Boxes
Effect: The magician borrows a coin and has it marked. The magician has the spectator hold his box of
secrets, (a box of Sucrets lozenges). Then the magician puts the marked coin in a piece of paper. That paper is
wrapped in a second piece of paper. This is repeated with a third and finally a fourth. A spectator is asked to put
a finger on top of the package of paper.
The magician waves his hand making an invisible pass from the paper to the box, then from the box to
the paper. The spectator removes her finger off of the paper. The magician opens up package of paper. The last
one does not have the coin, but a bunch of matches.
The person with the box of secrets opens it up. Inside that is a matchbox. The matchbox is opened. Instead of matches there is the missing marked coin.
Props:
Preparation: Before you begin to set up the trick, you need to make the coin slide. Take a piece of poster
board 3 inches by 3 3/16 inch size. With an exacto knife, score the poster board as in figure 1.
1/16
3 3/16
1
3
Fig. 1
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1
4
1/16
11/2
3 3/16
1
2
1
4
3
Fig. 2
Trim it so it looks like figure 3. Finally, tape a paper clip to the back of it. (Figure 4).
Fig. 3
Fig. 4
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Fig. 5
Fig. 6
Now, take this bunch and clip it to your right back pocket. Make sure the half circle is face up. You want
to be able to put the coin through here. Put your jacket over this.
Next take some construction paper or better yet, some parchment paper. If you use construction paper,
use different colors. If you use the parchment paper, keep it the same. Youll use four different size papers. Two
six inch squares, two eight inch squares, two ten inches, and one twelve inches square. Fold the papers as in figure 7.
Fig. 7
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Fig. 8
Put the matches in the smallest bundle. Then put this bundle in the next size. Place this bundle into the
third size up. Turn it around and open it up the other side. Then take the other small sheet and fold it up. Put this
into the next size up and fold this. Then put this bundle into the faked sheet and fold this up. Finally, put this into
the larges one. To keep it in place, put a rubber band around it. Place this entire bundle in your pocket.
To finish the set-up, put a quarter into your back pocket next to where the box is. Then take the felt pen
and put in your jacket pocket. This is the set-up.
To perform: Before you perform the trick, take out the rubber banded packet from your pocket. Take the
rubber band off of it and toss it to the side. Open up the paper until you get to the smallest bundle. Leave this on
the table and start.
Borrow a quarter from someone from the audience. The reason it should be a quarter for several reasons.
One, quarters show up better. Second, you are going to switch the quarter for the one in your pocket. If you are
worried about a spectator not having a quarter, then make sure you have a nickel, a dime, and a penny in your
pocket in case this happens.
Pull out the pen and hand it to the spectator you borrowed the coin from, Please write on the face of this
coin any kind of mark. It can be your initials if you want. You can put a mustache on George Washington if you
are into that kind of stuff. The mustache line gets them to put the mark on the face of the coins, which is what
you want.
After he does, pick up the coin in your right hand and take a quick peak at the initials and remember it.
Do this with out the audience being aware of it. You hide your actions by continue with your dialogue, This is so
we can identify it later. Pretend to put the coin in your back pocket. Actually drop it in the coin slide, . . .if we
see it again.
Put your hand to your side. Look serious, then chuckle, Im just kidding, reach into your back pocket
and pull out the duplicate coin. . . .when we see it again, youll be able to recognize it by the markings. Make
sure the tails side is facing the audience. Look at the face and pretend to read the initials on the coin, What does
M.P. stand for? (or whatever his initials are). Its your name. Well, M___, people ask me how magicians do their
tricks. Look around as if you dont want anyone to hear, Its a secret.
Put the coin in the left hand. Make sure the tails are toward the audience. Reach into the back pocket
with the right hand. Pull the box straight down and free of the slide. Bring the box forward, I always carry my
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5. The Props
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To dress up a magic show, you need certain items. One of those items is the classic magicians wand. You
can buy one from a magic store, but its more fun to make your own. My friend John Santangelo made one for
me when we were teenagers out of wood. I still have it after all of these years.
To make your own, take a wooden dowel about a little more than a foot long and a half inch in diameter.
Sandpaper it so its smooth. Wrap masking tape to the ends about an inch from the end of the stick as in figure 1.
Fig. 1
Paint the stick with black glossy enamel. When it is dry, take the tape off. Then wrap more tape around
the other side and paint the ends with white enamel. After it dries, take the tape off then varnish it. It should
look like figure 2.
Fig. 2
The rest of the equipment youll make as we go along. One other thing youll need is tables. I use wooden
T.V. trays. The metal ones look cheep. The wooden ones look good and are easy to transport. You can keep your
table bare if you prefer. I use what is known in the trade as a Close-up Mat. It looks like a large mouse pad. This
keeps the props from slipping and prevents any noise when items are placed on the table.
A soft spongy material will suffice. Place black felt over it. If you want, you can drape the table with a
velvet table cloth with fringe. Use good taste when dressing up your tables. You dont want too much attention
drawn to them.
Stores like Marshalls or T.J. Maxx have decorative tables that would be perfect for your act. They come in
different sizes so choose the one thats best for you. They dont fold, so you would have to deal with the bulk.
In choosing tables, dont be tempted to copy the style that magicians still use. For years now, many have
criticized magicians for their lack of taste in their prop selection. Even now modern wizards still use those archaic equipment. The complaint was that the original design was built in the 1890s and have not changed. The
world has changed, but magicians have not. You dont have to be modern, just smart. Antique furniture can look
classy in your act, but keep with current styles. Dont make it look to eclectic. Youll give the impression that you
do not care. Every detail is not too small when performing.
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6. Silk Magic
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Silk magic is standard in a magic show. There are a varied of things you can do with them. They can be
the star of the show in production tricks or they can be a supporting player when they are used to cover something thats going to disappear.
I know so many silk tricks, but I thought it best just to include a few here. These two take time to prepare,
but they are well worth it.
Showing or Blowing
Everyone always thinks that everything goes up the magicians sleeve. This trick actually does take advantage of your sleeve. This is a nice effect to use as an opener. I have used a similar version for many years. The
dialogue is exactly from my repertoire.
Effect:
A silk handkerchief is taken out of the breast pocket. Within seconds, the silk vanishes right in front of
the audience. In case anyone was wondering, it went right back to the pocket.
Props:
The scarf you use is very important. The type
magicians prefer is a thin kind of pure silk. These show
up big, but fold perfectly. If you have any problems with
it getting caught up your sleeve, then the silk is probably a blend.
Preparation:
Take one of the silks and put it in your breast
pocket. Make sure a little bit of the corner sticks up. The
device that is going up your sleeve is made by knotting
the four rubber bands into a chain. This is called a pull.
See figure 1. You may need more depending upon your
sleeve length. I use six rubber bands. But this depends
also upon size of the rubber bands.
34
Fig. 1
Fig. 2
Fig. 3
Fig. 4
Loop the other end of the rubber band pull
around your belt loop on the left side of the body. See
figure 4.
Hold the silk at the knot between the right
thumb and first finger. Then put on the coat so the rubber band pull stretches behind you and through your
right sleeve. Extend your right arm out horizontally and
pull the silk knot forward so the chain of rubber bands
are evenly stretched and under tension.
35
Fig. 5
Fig. 6
36
To perform:
People always ask me how did I first learn to do magic. When I was a kid, I use to bug the owner of the
local magic store to show me a trick. This was his favorite. Hed take out his pocket handkerchief.
With the both hands, reach over to the breast pocket. With the right hand, push the protruding silk into
the pocket. At the same time pretend to pull out the palmed silk in your right hand.
Use your left hand to hold back the palmed silk as you grab the corner. Pull it up and it looks like it is
coming out of the pocket. Shake it up and down a few times. Be careful not to let go of the pull as of yet. Practice
in front of a mirror to get the general effect. See figure 7.
I said, Ew. . . thats not the hanky you blow your nose with, is it? Make a face. No, this is for showing.
. . smile. . . . not for blowing, pretend to look at the imaginary child. I said, Well, if its for showing, then show
me a trick.
He said, Alright. Im going to make this handkerchief disappear.
I said, Most magicians wont tell you that ahead of time.
Thats because I want to you to watch very closely.
Move the hands away from the body so as to put tension on the pull. Figure 7 shows it from the audiences view. Figure 8 shows it from your angle.
Fig. 8
Fig. 9
Make a motion as if you are going to toss it up in the air. As you do, release the
silk so it can fly up your sleeve. Pretend that it is tossed up by watching the invisible
flight. This is so no one sees the silk going up the sleeve. (See figure 10).
Fig. 10
37
A Plethora of Silks
Many kinds of production tubes have been used to produce scarves. Some use tricked tubes to hide the
scarves like The Phantom Tube. However, the amount of scarves from this is limited and only can be increased if
a switch is made.
This method doesnt use such a switch. Clever misdirection is applied so you can produce a bunch of silks
from an empty tube. To put meaning to the trick, two other effects are added to reach what I hope is a logical
conclusion to this colorful trick.
Effect: Two tubes used to hold a bottle of wine sets on the table. The inner one is shown empty. To demonstrate that the larger one is empty, the smaller one is dropped inside of it. This larger one is also shown empty.
The large tube is placed around the smaller tube.
The magician waves his wand over the tube and produces a plethora of colorful silk scarves. From the
scarves, a glass of wine is produced. Then the tubes are placed over the glass and a bottle from the same label that
is on the tube is produced.
This is a great finale to your act. Music can be added to make you seem like a season veteran.
Props:
Preparation: After emptying a bottle of wine, carefully cutout the bottom of it. It is best to take it to an
expert who knows how to do this. A craft store can direct you on the best way to go about this. Caution; you
dont want to cut yourself, so make sure that the bottom of the bottle is well sanded with no jagged edges.
Another way to get a bottomless bottle is to use a plastic one. There are some alcoholic beverages that
now come in plastic. Rum bottles come this way. You can cut the bottom then paint the inside with brown paint
to look like rum. This will be very deceptive because it looks like a full bottle.
Tubes can be of any sort, but the best is one with a label that the alcohol came in. This will make it logical
when you produce the bottle at the end. If you cant find one, steam the label off of a bottle and glue it on a tube.
The smallest tube will not be seen, so it should not be decorated. Also, this small tube should be slightly shorter
that the other two. This is so you can grip the middle tube while doing the routine. Figure 1 shows the three
tubes and the bottle.
38
Fig. 1
Place this bottle in the smallest tube as in figure 2. Around the bottle place the silks one by one as shown
in figure 3.
Fig. 2
Fig. 3
39
Fig. 4
Tuck this in the tube until the second corner is sticking out. Twist
this around the third silk like you did the first. Repeat this until you
have four silks left. One of the four should be a white silk, much
smaller than the rest. This will be used as comedy, so thats why the
order is important. Twist this one around the corner sticking up.
Then repeat this with the rest of the silks. Take the middle size tube
and cover it over the small tube. See figure 5. Finally, take the largest tube and cover over the other two. (See
figure 6.)
Next thing you need to prepare is the
Fig. 5
Fig. 6
40
Fig. 7
Fig. 8
Fig. 9
Then hang it on the nail in
back of the chair as in figure 10.
Fig. 10
41
Fig. 11
the audience. Stop and look at this. You should have four large
colored silks in the right hand, and the one small white silk in
left. Look confused. Put the silks thats in your right hand over
the chair so it hangs over the load as in figure 12.
Then show on your face that the white silk looks familiar. Pretend to blow your nose into it. Fold it up like you would
a handkerchief and put it in your back pocket. Collect the
scarves from behind the chair. Secretly grab the loaded one.
Make sure its well hidden behind the other four.
Now continue to pull out scarves from the tube with
your left hand and place it in the right hand. Pick up the pace.
You can do this by pulling one out with the left hand and place
it to the right. Then pull one, two with the left hand before
transferring it to the right. Then one, two, three. You can even
get the audience involved by having them clap every time a silk
is produced. If you pick up the pace, it will get the audience
clapping.
42
Slide this tube inside of the
larger tube. Then pull out the large
tube leaving the middle one behind.
For some reason, this gives the impression that the large tube is empty.
If there was something inside of the
large tube, the middle tube would not
be able to fit. This should have one
flowing motion. Not too fast, but not
too slow. Show this tube to be empty.
Put it back over the two inner tubes.
Pick up your wand and wave
it over the tube, then tap it. Set the
wand down. With your right hand,
pull out the first silk from the tube.
Because you twisted the ends together, each one will pop up like a
Kleenex box. Still holding the silk in
your right hand, reach in with your
left hand and produce the next silk.
Put this into your right hand. Then
pull out the third silk with your left
hand. Repeat with the fourth one.
When you get to the fifth
one, it is just a plain white hanky. The
smaller size should get a laugh from
Fig. 12
Fig. 14
Fig. 13
43
Fig. 15
Props:
Preparation: Before the show, write the words, You will choose the square in big bold letters on a
piece of cardboard. Tape this below a spectators chair. Then take a manila envelope and draw three geometrical
shapes; square, circle, and triangle. On the back of it print in big bold letters, You will choose the circle. Finally,
on another cardboard a little smaller than the envelope, print the words, You will choose the triangle. Put this
in the envelope. Make sure the blank side is towards the face and you are all set.
To perform: Pick up the envelope and make sure you do not show the back of it. Walk over to the spectator that is sitting at the prepared chair. Excuse me, would you stand up? I know nothing about this person, is
that correct? If she shakes her head say, Well, dont look so happy about it. Whats youre name? After she gives
it, say, Thats absolutely correct. This should get a laugh.
Usually when normal people meet they ask each other silly questions like that. But as you can tell, Im
not a normal person. Look at her, You dont have to agree. I am psycho. . . I mean, psychic.
Being psychic, I am going to ask you an unusual question. Hold envelope so they see the markings on
the front, Think of a shape. Are you thinking of a shape, or are you thinking of ways to sit down? Go ahead and
name it.
If they say square, and most people do, then say, I knew that because Im-- if you pause, the audience
may join with you, --psycho yeah. Thanks for reminding me. No really, if you look under your chair that youve
been sitting on for the entire night, you will see a prediction that I placed there before the show. Go ahead and
look at it.
She turns it over. Have her take it off. Make sure you dont touch it because you want to give the impression that you never came near it. Then have her show it to the audience.
44
Book Test
Effect: Three books are shown. An audience member is given a free chose of any of the three. Before the
spectator reveals her chose, a prediction is written down on a business card. Then after the title is revealed, a
page number is chosen. The prediction is written on another business card.
A blank business card is inserted somewhere in the center of the book. It is opened up and the page number is
announced. Finally, the spectator is asked to look at a word on the chosen page. This is also written down. Then
the word is revealed.
The three predictions are revealed to match exactly.
Props:
Preparation: The chose of books you use for this trick is immaterial. However, you probably want one
with out any pictures. A novel of some sort with a short title will suffice like Misery or Contact. Take off the dust
jackets. This is so the audience wont be able to tell if the book is right side up or upside down.
Insert a business card in one book somewhere near the center. Look at the first word on the page of the
right hand side. Make sure it is not a small word like a, but, and, the, or it for example. Choose a nice action word
that is not too difficult to read. This will be your force word.
Do the same with the other books. You have to search to find the same word near the same position. It
doesnt matter if the page number is different, as long as the same word is in the upper left hand corner of the
right hand page. Remember the page numbers to each book.
Set them on the table in a row as in figure 1.
Fig. 1
Have a stack of business cards on your table. A marking pen to make the prediction should be next to the
cards.
46
Fig. 3
Fig. 2
47
Fig. 4
. . . I need the
business cards please.
Let go of your grip on
the right hand and gesture with it. See figure 5.
Fig. 5
As she gives you the
stack, push in the business
card flush into the book with
the heal of the left hand as in
figure 6.
48
Fig. 6
49
8. Rope Routines
**************************************************************************
The kind of rope is important. A soft sash is recommended. Do not use hemp. I like nylon. The important
factor is if you are going to use the rope for the Cut and Restored Rope trick, the cutting must be done with no
effort.
Sharp scissors are important. There is nothing more frustrating than performing the Cut and Restored
Rope trick and you cant cut the rope because the scissors are dull. Make sure they are sharp by bringing your
own. Dont borrow anyones scissors.
Some people like to use white macram that seems like rope. Its easier to cut, but the draw back is that it
looks like macram. Some magicians like to pull out the inner core of the rope to make it easier to cut. But, then
that will make the rope look flat. Instead, just take out some of the insides and leave just the cotton filler.
Stretching a Rope
Effect: The magician says he wanted to do a trick with the rope, but the one he has in his hand is too
small. So he pulls on it until it stretches. And stretches, and stretches, until the rope gets longer and longer.
Unfortunately, it grows too large. The magician remedys that by cutting off a piece of rope and starts the rope
routines.
Props:
Three yards of rope
Another rope about twenty-four inches long
White plastic tape
Preparation: Take the three yards of rope and cut about twenty-four inches from it. Then carefully tape it
to the end of the long rope. See figure 1.
Fig. 1
50
Fig. 2
However, you dont
want any to hang below
your jacket. If it does, stick
some of this excess in your
back pocket.
If you are going to
use this as your opener,
then just walk out with the
rope as in figure 3. However, even though I have
used this to open my show
before, I dont think it is
a good trick to start your
show with. Tuck the ends of the rope into your sleeve as in figure 4.
Fig. 3
To perform: With both hands, reach into the container
that you use to hold your props. Pull the rope ends out of your
sleeve and quickly place it like figure 5. Then take it out of the
container. Look at the rope. Scratch your head in confusion.
With your right hand, look into your container again. Sigh, I
wanted to do a rope trick for you, but this is all I have left. It is
way too short. Dont you hate when that happens. Start to put it
back. Snap your fingers, I forgot, Im a magician. Hit your forehead with the palm of your right hand. I can make this as big as
I like.
With your right hand, grab the rope as in figure 6.
Fig. 4
51
Fig. 5
Fig. 6
To the audience, the following move will look like you stretched the rope by pulling it up with the right
hand. However, its important that you pull down on the rope with the left hand. The illusion of the stretching is
greatly affected on how you pull the ropes. The manner you do this can influence the way the audience sees it.
If you keep your left arm still and pull the rope with the right hand, it will look exactly like what you are doing;
pulling a rope from your sleeve. However, if you keep the right hand still and move the left arm, it will look like
its stretching; which is what we want.
At first, just stretch it a little bit in the vertical position until you get about six inches of rope. See figure 7.
Stop and look at it. Nah. . . not long enough. Stretch it again slowly. Feel it stretching. Look at the audience
again. You are just as amazed as they are. Now smile at them. This is not witchcraft or sorcery. Nor even nimble
fingers. This is hocus pocus indeed.
Turn your hand horizontal as in figure 2. Stretch again by pulling the rope with the left hand. Once you
get about a yard, bring the hands together and make a loop by twisting the rope. See figure 8. Then move your
left arm and stretch the rope again. Now quicken the pace. Repeat this until you run out of rope.
Stop. Dont pull the rope out of the left hand. Put this into your right hand. Take a deep breath. Look at
all of the rope you produced. Unfortunately, I made it too big. I dont need magic to solve this problem. Pick up
the scissors and cut it at the tape end.
Fig. 8
Fig. 7
52
This is good for a nice quick effect leading to another rope trick.
Effect: The magician wraps a rope around his thumb forming a loop. The loop represents an eye of a sewing needle. The magician picks up the other end of the rope and thrusts it forward. Even though he didnt come
anywhere near the loop, it still threads just like it went through the eye of a needle.
Props:
To perform: Old magicians never die, they just disappear. But they still have trouble threading their
needles when they need to sew their magic props. Wrap the rope around the thumb like in figure 1. Then wrap it
two more times as in figure 2.
Fig. 1
Fig. 2
53
Fig. 3
Fig. 4
A
A B
Being magicians, all they have to do is hold the thread a few inches away. . . Take end A. See figure 5.
Point it toward the loop.
Fig. 5
54
Fig. 6
Fig. 7
If you look closely, youll notice that there is
one less loop around your thumb. If I didnt bring
it up, youd never have seen it. The audience wont
either.
Props:
To perform: When I was a kid, I always had trouble untying my shoes. Hold the rope over your left
hand with the ends hanging down. With the right hand, reach behind the right end of the rope. Grip the right
thumb in front. See figures 1 and 2.
55
Fig. 1
Fig. 2
Lift the rope up until the right hand is parallel with the left hand. See figures 3 .
A B
Fig. 3
Fig. 4
The right index and middle finger grips the rope at point
A as in figure 4. The left index and middle fingers grip the rope at
point B.
56
Fig. 5
I do everything alright up to this point, but what I always did was accidentally pull the laces through
the bow before pulling the ends. Dont laugh! How many of you have done this? Put your left thumb and index
through the loop on the left bow as in figure 6. Grab the rope that is in front and pull through as in Fig. 7.
Fig. 7
Fig. 6
Do the same with the right loop so you end up in the position as in figure 8. Then pull through until you
get a knot as in figure 9.
Pause here because you dont want to pull
all the way as of yet or the knot will fade away at the
wrong time.
Show frustration, To be honest, I still have
this problem. But ever since I became a magician, all
I have to do to remove the knot is take the k out of
knot. . . now pull on the ends, . . . and the knot is not
there.
Fig. 7
Fig. 8
57
Props:
To perform: I went to the local magic
shop and I approached the guy behind the
counter, I saw this magician on TV take a rope.
Show rope as in figure 1. Bring up the middle
of the rope and clip the right hand piece marked
with the arrow as in figure 2. As you do, the right
hand is going to grab the rope as in figure 3.
Fig. 1
Fig. 2
58
Fig. 3
Fig. 4
The illusion is that you brought the middle up, but in reality you looped one of the ends. The move is
easy. If you just clip the end as described, you dont have to analyze it to figure this out. Just do it and it will work.
Just think you are bringing up the middle and it will show to the audience that way.
Most magicians just cut the rope at this point. But, if you do, then you will have the ends being uneven.
This is not a big deal, but think about it. If you are going to bring up the middle and cut it, wont it make sense to
have two ropes the same size? It may be nit picking, but I dont want to arouse the audiences suspicion if I dont
have to. So, fix this little discrepancy before you cut the rope. To do this, just pull on the bottom loop where the
arrow is in figure 4 and it will even it up like in figure 5. This is my little contribution to this classic.
Continue with the routine, . . . he cuts the rope. . . Pick up the scissors from the table. Cut the rope at
the loop (C and D) as in figures 5 & 6.
AB C
D
Fig. 6
Fig. 5
59
B CD
Fig. 7
and 10.
Fig. 8
D
A
Take end D in right hand and grab end C. Hold these two ends as if they are stuck together. See figures 9
Pinch
Joined
Pieces
Fig. 9
Fig. 10
60
Pinch
Joined
Pieces
Fig. 11
With the right hand, pinch the ends together
as in figure 11. Still pinching the ends with the right
hand, let go of the ends A and B with the left hand.
Let go of the ends A and B. Grab the rope by the
middle with the left hand and run your hand to the
other end so it is horizontal. This displays the ropes.
See figure 11.
You should be holding the short piece with
the left fingers. The right hand should look like the
left hand.
Joined
Pieces
Fig. 12
61
Fig. 13
Fig. 15
Fig. 14
62
Fig. 17
Fig. 16
Fig. 18
Continue with the dialogue, I told him that was the one, but he said he didnt carry it. I asked him why
not. He said, Because it doesnt make sense. If you take a rope. . . Point your right index finger near the top of
the rope and slide down until you get to the center as in figure 18. Place your right finger and thumb together
like pinchers. Place it under the middle of the rope. Grab the middle part of the rope where the arrow is pointed.
See figure 19. Then rest the index finger against the rope and raise your hand and pinch rope higher up about a
quarter of the way up as in figure 20.
This will put you back in the same position as in figure 4 except you dont have both ends up this time.
Just as before, even it up the ropes. However, this time pull the rope until it is half way down as in figures 21 and
22.
A
CD
Fig. 19
Fig. 20
Fig. 22
Fig. 21
63
Fig. 23
Fig. 24
Drop one end of the rope and show the knot in the middle. See figure 25. Continue,
No, I said to him, He restored the rope. I think if I see that magician on TV, Ill ask him how
to do it.
And I did. The magician on TV took the rope. . . hold the rope horizontally as in
figure 26. , . . . pulled on it and. . . pull the rope. Because of the way the knot is tied, it will
fall off as in figure 27. Show rope restored, . . . he restored the rope. The moral of the story is:
If you want something done right, go to the source.
Fig. 25
Fig. 26
Fig. 27
64
This trick has been done for years in one form or another. One version called Grandmothers Necklace
was even in the first magic book called Discoveries of Witchcraft by Reginald Scot. A more up-to-date version is
called The Cords of Phantasia by Ottokar Fischer. It is a beautiful routine using silks and a fan.
Grandmothers Necklace utilizes a secret thread attached to the string. This is a good method. However, all of the
other routines based on the Cords of Phantasia, suffer one fatal flaw. The stick in which the cords are tied around
have to be released first before the magic happens. The flaws are always covered up in explanation. For instance,
if the stick is a wand, then it is needed to so it can be waved over the ropes. This is weak. It would be more impressive if you can just tie up the items to be released, pull on the ropes, and have them magically free itself.
This version does that. It comes from the book Magic Digest by George B. Anderson.
Effect: A coat is borrowed from a member of the audience. Two ropes are tied to a coat hanger. Then the
two ends are placed through the coat. Each end is held by members of the audience. They are asked to tie the
rope into a knot. On the count of three, they are asked to pull on the ropes. Then the magician walks away from
the ropes still holding on to the jacket. The spectators are left holding the two ropes.
Props:
The coat hanger should be the type that has a wooden cross-bar and wire between to hang the pants on.
The wooden cross-bar swings free at one end and can be slipped back on. See figures 1 and 2.
Fig. 1
Fig. 2
Preparations: There are no preparations. Just set the props and go into the routine.
To perform: Go to a spectator from the audience and ask him to volunteer. Then have him choose a
spectator with a suit jacket or coat. Ask the spectator to take it off. Have them come up on stage. If you cant
find someone with a coat, use you own.
Some times a person will go to any length to make sure that no one steals his coat. Look at spectator, I guess its too late for you.
65
Fig. 3
Fig. 4
Fig. 5
Fig. 6
66
Fig. 7
Tell them to hold the ropes firmly, but loose. As you are doing this, reach inside of the coat and unhook
the wooden cross-bar. Slip the ropes off of it. Then re-clip it.
Now tell the spectators to pull gently but firmly on the ropes. But no matter how much you try, it seems
that you cannot stop a thief when he has his mind made up. Walk away from the ropes as they release and the
spectators are left holding the ropes See figure 8. Thank you so much. Look at spectator, I suppose you want
your coat back? The moral of the story is crime does not pay.
Fig. 8
67
When everyone thinks of magic, they always think of the Far East, especially the Indian Fakirs and their
marvels. Im not going to teach you how to charm snakes, but I will show you a few of classic tricks from the Orient.
Props:
Preparation: Any set of disposable cups will do as long as they have a recessed bottom. Dixie has a nice
set that are large and show up nice on stage. The balls
can be anything that is soft, but has some weight to
it. This trick depends on gravity so you dont want
anything that will be too light. Go to a craft shop.
They have plenty of selections of these kind of things.
They must be squishy so when the cups are stacked, Fig. 1
the balls will squash. In a pinch, you can take a paper
napkin and rip up four pieces and roll them up into
balls.
To set up, put the ball between the first and
second cup so it is hidden.
B
68
Fig. 2
Fig. 3
Fig. 4
Grip the second cup now on the bottom the same way. The ball is in this cup. This time when you turn it
over, the ball will ride along. Gravity keeps the ball in the cup for a split second as you place it down. Do this in a
lazy motion. Dont rush it. Practice doing it real slow, letting the ball fall. Then do it a bit faster. Keep doing this
until you find the right tempo. Its this even rhythm you want. This is the basic Cup and Ball method. Repeat
this with the other cup.
Once youve practice this, set up the cups for the routine. Put the ball back between the first and second
cup so it is hidden. To complete the set-up, put the three remaining balls in the top cup. You can put it in a black
cloth bag like the pros do or to make it seem spontaneous, you can put the Dixie cups into the plastic bag is came
in. Then open it up and take out three cups.
Place the three balls in the top face up cup. Then pour the balls out and do the penetration portion.
To perform: This is the oldest trick in magic.With the left hand, take out the cups from the bag, making
sure you keep the same order. It involves three cups. . . hold the cups in the left hand making sure to keep a grip
on the three cups.
Continue with the dialogue, . . . three balls,... still holding all three cups, dump the three balls on the
table. ...and a wand. Take out your wand and place it on the table. With the cups still in your left hand, tilt the
cups so the mouth is facing the audience as in figure 5. Then do the Cups and Balls move and put it on the table
as in figure 6 and 7. Each time you take a cup, briefly show the inside of the stack cups. For some odd reason, the
audience thinks you are showing each cup empty. In reality, you are just showing the inside of the same cup.
Fig. 7
Fig. 5
Fig. 6
69
Fig. 8
Fig. 9
Stack the outer cups over the center one with the ball on top as in figure 10.
Tap the cups with the wand. With the right hand pick up the stack of cups and show
the ball has penetrated. Transfer the cups to the left hand. Repeat the cups and balls
move to place the cups on the table. When you get to the center cup, cover the ball
that was just produced.
Now you should have the cups in a row with two balls in the center cup.
Place the second ball on top of the middle cup. . . . ball number two is just for
you... Stack the two end cups on the middle one. Tap it with the wand and reveal
the two balls. Repeat this with the last ball. . . . ball number three. . . point to yourself, ... is just for me.
After you produce the last one, do the cups and balls move again covering
the three balls. Look around, ...the fourth ball is... oops... there is no more balls
left.
Put hand on chin and think. Then look up as if you have an idea. Look out
towards the audience and reach out as if you grabbing something. Pretend to take
an invisible ball from the air. Do you see the it? Of course not, its invisible. Pantomime placing it on the center cup as before. Stack the cups and tap it with the wand.
Lift up the cups and show the four balls.
Unstack the cups and place then on the table as in figure 11. The oldest
trick in magic... the cups and balls. Spread your arms showing the cups. If the
spectators want to examine the cups, let them.
Fig. 11
70
Fig. 10
Props:
A jar
A knife
A bag of rice
A rubber ball
Preparation: Make sure that the jar you choose is the type with the top that turns inwards. This jar
should be narrower at the top than at the bottom as in figure 1. For the trick to work, the opening must not be
more than three to four inches. The smaller the better.
The knife can be any kind even a table knife, but it must have a point. If the blade is wide on the bottom,
it wont work. Whatever you choose, the more impressive looking the knife the better. If you can get one with a
handle with a hole in it, you can tie a rope or sash to it to make it look East Indian. See figure 2. Use a rubber ball
from a set of jacks.
Fig. 1
Fig. 2
71
Fig. 3
Fig. 4
Pour the rice from the bag into the jar until it covers the ball. Continue pouring until you have about a
couple of inches to the top. Clip the bead between you finger tips and pull on the string just a little bit to get the
ball free from the rice. Then re-grip the jar so it is on the palm of the left hand. Make sure your thumb is above
the second bead as in figure 5.
Take the dagger and wave it over the jar. Command the ball to rise to the top of the rice. The grains will
part like the oceans did for Moses. Pull down on the bead and the ball will rise bursting through the top. See
figure 6.
Pause so the audience can grasp what just occurred. Take off the ball from the jar and place it off to the
side.
Take the bag of rice and fill the top of the jar so it overflows. Make sure to pour more rice than its needed.
Rap the bottom of the jar sharply against the table a few times. It seems like you are just getting rid of the surplus
rice, but in reality you are packing it tight in the jar. Brush off any rice that may be above the lip of the jar.
72
Fig. 5
Fig. 6
Pick up the knife, Now the sea will become hard
as cement. Jab the knife into the rice a few times. This
looks like you are just finding the right spot, but what
you are really doing is packing the rice even harder. You may need more rice, so pour more in. Plunge the knife
again a few times. The last plunge should feel tight. Push it a little, but not all of the way. You dont want it to
stick yet. When the rice is firm enough, grip the knife tightly and pause. Then plunge it into the rice about three
quarters down. See figure 7. Pause for affect. Then push down until you hear a crunching sound. The knife now
should be wedged into the rice.
This takes practice to get the right feel. Now pick up the handle of the knife and the jar will come with it.
You can even swing gently on the sash. See figure 8. Catch the jar in your palm of your hand.
Fig. 7
Fig. 8
73
Rice Bowls
This trick is known as the Chinese Rice Bowls, but it actually has its origins in India. It is a good trick by
itself or with the Indian Rice Mystery.
Effect: Two ceramic bowls are face down on the table. One is picked up and rice is poured into it. This
is covered by the other bowl. They are turned over three times for good luck. When lifted, the rice doubles in
quantity. Then they are covered again. This time they are turned over twice. When the bowls are lifted, the rice
changes to water. The water is poured back and forth between the two bowls.
This can be used in conjecture with the Indian Rice Mystery. The dialogue at the end of the explanation
combines the two effects.
Props:
Preparation: Any bowls will do, but it is best to use a set that has a wide lip. The brims of the bowls
should be grounded down so they are perfectly flat. If you can find plastic bowls that fit this criteria, so much the
better.
Find a clear sheet of plastic. This should be thick enough so water does not leak through, but thin enough
so the bowls can stack on top of each other. Cut this so it is the same size as the perimeter of the bowl. I like to
leave a lip on the disk so it will be easy to take off later. See figure 1.
Fill one bowl with water. Dip your finger into the water. Wet the lip of bowl. Then put the disk on it so it
sticks. Put this face down on the tray. Stack the other bowl on top of it as in figure 2. Make sure that the tray is
dry before putting it on or might stick to the tray causing an accident during the show
Fig. 1
74
Fig. 2
Fig. 3
Pour the rice into the bowl making it overflow. Take the bowl that is face down and use this to trim off
the excess rice. See figure 4. Leave it stacked on top as in figure 5. Youll notice in this illustration that jar if filled
with rice. This is for when you combine it with the the Indian Rice Mystery. If you are going to do it as a stand
alone trick, then discard the jar and just pour the rice from the bag.
Fig. 4
Fig. 5
75
Fig. 6
Fig. 7
Pick up the two bowls again and turn over twice. Its not necessary, but this is needed to disguise the
turning over the first time. Set the bowls back down on the tray. Wave the wand and pause. Lift off the top bowl.
As you do, losen the disk by pressing down on the lip. Lift up the disk with this top bowl. Set it down on top of
the spilled rice as in figure 8.
Fig. 8
76
In ancient India, rice is used as a symbol of marriage just like in this country. However, instead of throwing it at the couple, it used by a Hindu fakir to tell if the marriage will be successful.
One day a Hindu girl named Roni wished to marry her love Rajah, the villages fakir. However, her father
forbid it. She was set to marry the rich man of the village Sahib. Before they can get married, the test performed
by the village fakir must be conducted. Being a respected member of the village, the fakir does the test with the
rich man.
Rajah tells them that this crystal jar symbolizes the prospective bride, and this knife represents the
groom. Pick up the ball, This is no ordinary ball. It is a sovereign sphere. Spheres are regarded as the circle of
life. It has supreme authority which contains complete power even over time itself. Drop the ball in the jar. Put
your hand in the bag of rice and let some of it pour through your fingers, Since rice is considered the staff of
fidelity, it is poured into the jar. Pour the rice into the jar.
If the sphere rises, that means one of them will be unfaithful. Make the ball rise. There was a hush
amongst the family. Take out the ball. Ronis father was not convinced, Who is the one that will break the
bond?
The fakir says, It is uncertain. Pick up the knife, If the groom joins the rice. . . insert the knife
several times into the jar, . . . the two will become one. But the knife blade never clings. The marriage is considered to be doomed. Take out the knife. Ronis father says this symbol proves that she will never marry and
her fate is that of an old maid.
Rajah says he will save Roni. The fakir performs the test with himself as the groom. He proves to her
parents that he is the right man for her. Pour more rice into the jar. Stab it a few times. Then pause. Plunged the
knife into the rice and push down. It will stick. Lift up the blade of the knife. They and their lives adhere in one
solid unit. Swing the sash gently. This miracle proves that their marriage will be divinely blessed.
But the father is still not impressed. He thinks that Rajah is not good enough for his daughter. Pull the
blade out. Dont offer anyone to duplicate this, go into the Rice Bowls routine. Rajah must prove he can provide
for her. Take the jar of rice and pour it into one of the bowls making sure it overflows. Cover it with the bowl as
in figures 4 and 5.
Thats fine for now, the father says, but what will you do for the future? Lift up the bowls and turn it
over three times. Three symbolizes good luck. Wave your hands over the bowls. Lift up the upper bowl and
show that the rice has doubled. He proves that he can produce food when ever he wants. The father is still not
impressed.
He wants to know what will he do incase of a draught. Scrape off the rice from the bottom bowl with
the top one as in figures 4 and 5. Turn it over two times. This means that the two shall bond together. Wave
your hands over the bowl. Lift up the top bowl and set it down releasing the disk. Rajah proved his worth to
Ronis father by producing an endless supply of water. Pour the water back and forth. Set both bowls down.
Soon they were married and they livedwell, you know the rest. The moral of the story is love always
prevails.
77
Preparation:
Broadway made
him a star
care
News. You say that this thing has traveled million of miles, but what proof do you have?
do you have?
News. You say that this thing has traveled million of miles, but what proof
78
care
Broadway made
him a star
An astronomer can go his or her
entire life and never make any kind
of discovery that will require any
kind of media attention. A space
rock here, a new star there. Though
damn exciting to them, boring to the
average media outlet. Thats why so
many of them are ill prepared for
them.
Dr. Franklin Stewart is so excited.
With the permission of the
laboratory, he announces his
findings to the media. He is nervous
because he has never been on
television before. Susan made sure
that his suit was pressed and clean.
But, he cant chase away those
butterflies. How do those reporters
remain
Fig. 1
One half sheet black and white comic section of the newspaper
One half sheet color ad from the newspaper
Double sheet from the Sunday funnies
Rubber cement glue
Props:
Using newspaper for magic tricks are very common because of the simplicity of it all. Everyone has newspapers, so the audience is familiar with them. Plus, you now have found a good way of dealing with all of the old
newspaper you have piling up in your house. Trust me, youll need them when you practice. However, when you
prepare the papers for your show, you will want to buy the duplicates.
This is my version of this classic trick. I wanted to do something that was a bit different in Torn and
Restored Newspaper magic. I love the old premise, but never had a good routine with it. I just stuck to the Gene
Andersons version because it was the best. How much more simpler can you get than take a full size newspaper,
tear it up and bam... its restored?
Effect: The idea I had was to make visual part look slightly different. So I came up with an idea of taking a black and white sheet from the comic pages of the newspaper and a colored sheet of paper and tear them
together. This time when the paper is opened up, instead of being restored, they come out as a Sunday comics...
in color.
The secret is a standard one with the restored packet glued to the back. However, I changed the way the
packet was switched which I feel is cleaner.
Take the funny section in the black and white section which is the weekly newspaper. Tear it in half. Discard the rest of it. Turn this half sheet sideways. Fold it in quarters from right to left as in figure 1.
.
streaking across the night s ky
One such witness is a Valencia man
named Jamie hears a sound like
never before. He looks up at the
southwest. A large bright fireball is
in the distant horizon. He freezes
and cant move. A lump is in his
throat. Jamie watches the meteor
racing towards the San Fernando
sky and heading towards Sylmar. At
s a meteor Jamie
s a meteor Jamie
.
streaking across the night s ky
One such witness is a Valencia man
named Jamie hears a sound like
never before. He looks up at the
southwest. A large bright fireball is
in the distant horizon. He freezes
and cant move. A lump is in his
throat. Jamie watches the meteor
racing towards the San Fernando
sky and heading towards Sylmar. At
them.
w.
w.
News. You say that this thing has traveled million of miles, but what proof do you have?
w.
Broadway made
him a star
An astronomer can go his or her
entire life and never make any kind
of discovery that will require any
kind of media attention. A space
rock here, a new star there. Though
damn exciting to them, boring to the
average media outlet. Thats why so
many of them are ill prepared for
them.
Dr. Franklin Stewart is so excited.
With the permission of the
laboratory, he announces his
findings to the media. He is nervous
because he has never been on
television before. Susan made sure
that his suit was pressed and clean.
But, he cant chase away those
butterflies. How do those reporters
remain
79
Fig. 5
Fig. 4
Now take the Sunday
sheet from the comics which is
color. Fold it like you did before.
Now your are going to continue
folding it further. This time,
you are going to fold it in thirds
starting with the top portion as
in figure 4. From there, fold the
bottom so the two ends meet.
See figure 5.
Then fold it the rest of the way left to right
as in figure 3. Youll notice that because newspapers
are not folded exactly in half, this will be off. Thats
okay because youll need this overhang later in the
routine when you restore the paper and start to
open the paper up.
Because newspapers rips better going vertical, crease these folds back and forth to soften it up
for the tear. Once you are done with this, set it off to
the side. Take a half sheet from the ad section of the
newspaper and prepare like you did the comic page.
Open this up and place off to the side.
w.
Fig. 2
Fig. 3
the night s
streaking across
ess is a V
One such witn
a sound like
hears
e
Jami
named
up at the
never before. He looks
Fig. 8
It bursts into a beaming green glow.
More like a greenish blue. Kind of
like the color of his gas stove.
Broadway made
him a star
An astronomer can go his or her
entire life and never make any kind
of discovery that will require any
kind of media attention. A space
rock here, a new star there. Though
damn exciting to them, boring to the
average media outlet. Thats why so
many of them are ill prepared for
them.
care
streaking acr
oss the night
s
One such
witness is
aV
named Jamie
hea
never before. rs a sound like
He looks up
at the
the night s
streaking across
s is a V
One such witnes nd like
a sou
named Jamie hears
s up at the
look
He
never before.
streaking ac
ross the nig
ht s
One such
witness is
aV
named Jamie
hears a sound
like
never before.
He looks up
at the
night s
streaking across the
is a V
One such witness
d like
soun
a
hears
e
named Jami
up at the
never before. He looks
streaking ac
ross the nig
ht s
One such
witness is
aV
named Jamie
hears a sound
like
never before.
He looks up
at the
ts
streaking across the nigh
aV
One such witness is
like
named Jamie hears a sound
at the
never before. He looks up
r
tches the meteo
throat. Jamie wa
the San Fernando
racing towards
m
Syl
g towards
sky and headin
throat. Jamie
watches the me
teo
racing toward
s the San Ferna r
nd
sky and head
ing towards Sy o
lm
throat. Jamie
watches the me
teor
racing toward
s the
sky and headin San Fernando
g towards Sy
lm
r
throat. Jamie watches the meteo
ndo
racing towards the San Ferna
Sylm
rds
sky and heading towa
throat. Jamie
watches the me
teo
racing toward
s the San Ferna r
nd
sky and head
ing towards Sy o
lm
the meteor
throat. Jamie watches
Fernando
racing towards the San
rds Sylm
sky and heading towa
streaking ac
ross the nig
ht s
One such
witness is
aV
named Jamie
hears a sound
like
never before.
He looks up
at the
throat. Jamie
watches the me
teo
racing toward
s the San Ferna r
ndo
sky and hea
m din
g towards Sy
lm
Fig. 6
Fig. 7
streaking ac
ross the nig
ht s
One such
witness is
aV
named Jamie
hears a sound
like
never before.
He looks up
at the
do you have?
News. You say that this thing has traveled million of miles, but what proof
News. You say that this thing has traveled million of miles, but what proof do you have?
To perform: Before you go on, undo the fold in the restore pack and set it down on your table. I like the
funnies. You dont need to spend too much time reading them and as the name implies, its funny... sometimes. I
dont understand why they only put color in the Sunday section of the paper. Im about to cure that right now.
Take the two sheets of paper and put them together the folds fit into each other. Turn it sideways so the
restored packet is to your right. Slowly and careful tear the first quarter section to your right. Because of the
grain going the wrong way, it will be difficult to tear. Just do it slow. Put the section with the restored packet behind.
80
a sound like
named Jamie hears
up at the
never before. He looks
s is a V
the night s
One such witnes streaking across
named Jamie
hea
never before. rs a sound like
He looks up
at the
s is a V
streaking acr
night s
a sound like
named Jamie hears
up at the
never before. He looks
the
streaking across
throat. Jamie
watches the met
eor
racing towards
the
sky and heading San Fernando
towards Sylm
throat. Jamie
wat
ards Sylm
s what witnesses
ky.
streaking acr
News. You say that this thing has traveled million of miles, but what proof do you have?
the night s
streaking across
ess is a V
One such witn
a sound like
named Jamie hears
up at the
never before. He looks
streaking acr
oss the night
s
One such
witness is
aV
named Jamie
hea
never before. rs a sound like
He looks up
at the
throat. Jamie
watches the met
eor
racing towards
the
sky and heading San Fernando
towards Sylm
the night s
streaking across
ess is a V
One such witn
a sound like
hears
e
Jami
d
name
up at the
never before. He looks
Broadway made
him a star
care
s what witnesses
ky.
Fig. 11
Fig. 10
81
Finally tear the last quarter and of course put the
section with the restored packet in the rear. Fold the top
half over as in figure 10. Then fold the section on the left
inward keeping the restored packet free. See figure 11. From
there, fold in the right hand section. You want to press this
in because you want to lock the torn papers together. Now
comes the switch.
News. You say that this thing has traveled million of miles, but what proof do you have?
I never liked the switches explained in torn
and restored paper tricks. I came up with this years
ago. I think it looks natural. All you do is fold the
packet over forward and it now is in front. See figure
12. Nice and easy. Hold your left hand hiding about
half of the packet. You don't want to reveal the color
comics section yet.
Fig. 12
throat. Jamie
watches the met
eor
racing towards
the
sky and heading San Fernando
towards Sylm
care
Broadway made
him a star
An astronomer can go his or her
entire life and never make any kind
of discovery that will require any
kind of media attention. A space
rock here, a new star there. Though
damn exciting to them, boring to the
average media outlet. Thats why so
many of them are ill prepared for
them.
Dr. Franklin Stewart is so excited.
With the permission of the
laboratory, he announces his
findings to the media. He is nervous
because he has never been on
television before. Susan made sure
that his suit was pressed and clean.
But, he cant chase away those
butterflies. How do those reporters
remain
Fig. 9
streaking acr
oss the night
s
One such
witness is
aV
named Jamie
hea
never before. rs a sound like
He looks up
at the
night s
across the
streaking
nd like
ie hears a sou
named Jam looks up at the
. He
never before
teor
es the me
mie watch n Fernando
throat. Ja rds th
e Sa
waard the wards Sylm
tow
to
racing to
heading
sky and
Fig. 13
82
ou say that this thing has traveled million of miles, but what proof do you have?
thank
you
that millions of people are watching them at once.
you
Franklin does.
Fig. 2
t explain
ncia, Ca
you
t explain
ncia, Ca
News. You say that this thing has traveled million of miles, but what proof do you have?
Fig. 1
Fig. 3
You should be looking at page 2 as in figure 4. Place the glue around the edges and turn it over. Then glue
it in the upper left hand side of the duplicate paper. See figure 5. Notice how the packet is slightly lower than the
edge of the paper. This is so nothing sticks out. Pre-crease the paper folding it against the natural fold. Then open
it up. This is for ease of handling during the performance. Make sure the THANK YOU letters are facing correctly when the sheet is opened up so its not upside or sideways.
83
Broadway made
him a star
An astronomer can go his or her
entire life and never make any kind
of discovery that will require any
kind of media attention. A space
rock here, a new star there. Though
damn exciting to them, boring to the
average media outlet. Thats why so
many of them are ill prepared for
them.
Dr. Franklin Stewart is so excited.
With the permission of the
laboratory, he announces his
findings to the media. He is nervous
because he has never been on
television before. Susan made sure
that his suit was pressed and clean.
But, he cant chase away those
butterflies. How do those reporters
remain
care
t explain
ncia, Ca
News. You say that this thing has traveled million of miles, but what proof do you have?
t explain
ncia, Ca
News. You say that this thing has traveled million of miles, but what proof do you have?
Broadway made
him a star
An astronomer can go his or her
entire life and never make any kind
of discovery that will require any
kind of media attention. A space
rock here, a new star there. Though
damn exciting to them, boring to the
average media outlet. Thats why so
many of them are ill prepared for
them.
Fig. 4
care
Fig. 5
Fold the duplicate in half around the glued packet locking it in. Set this off to the side on top of a stack
of newspapers on your table. If you are doing The Torn and Restored Newspaper trick, place this on top of the
THANK YOU set up. Then after you are done, put this off to the side under the THANK YOU set up.
To perform: Pick up the newspaper from the table. Make sure your left hand grips the packet as you
unfold it. Show the normal side to the audience and keep the load facing you. Fold it in the other direction so the
load is still toward you. For some unknown reason, the audience thinks they have seen both sides. It doesnt matter, because they dont know what you are doing anyway.
Take out a pair of scissors, Youve been such a great audience. Turn the paper sideways and use the scissors as if you are cutting out letters. See figure 6.
Dr.
F
Wit rankli
n
h
labo the pe Stewa
r
a
find tory, rmissio rt is so
h
e
in
n
bec gs to e anno of the xcited
Dr.
ause
.
the
F
tele
med unces h
Wit rankli
he
v
n
h
that ision b has nev ia. He is
labo the pe Stewa
is n
e
e
h
f
r
is
o
b
ervo
re. S
But,
suit
een
find ratory, rmissio rt is so
u
u
o
w
h
in
s
gs to he ann n of th excite
butt e can as pr san m n
b
e
c
d.
e
e
o
e
a
th
rem rflies. t chase ssed a ade sur
tele use he e med unces h
nd
ain
How
e
v
aw
that ision b has nev ia. He is
do th ay tho clean.
is
e
e
h
f
r
s
ose
his
e
But, is suit ore. S been nervo
lips
repo
us
to
rter
butt he can was pr usan m on
s
e
e
with keep th
rem rflies. t chase ssed a ade sur
em
n
with him.
ain
H
e
m
oist.
with ow do away th d clean
him
with
with
h
im
.
.
H
h
im. those ose
e
lo
with him.
rem him. w
repo
with ok like
him
ith
them ain
rter
a fo
.
rema him.
with him.
s
.
them ol.
in
with him.
with them.
.
him
him
with
.
.
th
h
them em. im.
. th
em.
Fig. 6
84
bum
Jamie
over
t explain
ncia, Ca
t explain
ncia, Ca
One such witness is a Valencia man across. Jamie stares right into the
named Jamie hears a sound like
never before. He looks up at the
southwest. A large bright fireball is
in the distant horizon. He freezes
and cant move. A lump is in his
throat. Jamie watches the meteor
racing towards the San Fernando
sky and heading towards Sylmar. At
least I hope its a meteor Jamie
thinks to himself.
Fig. 7
Now comes the switch. Its the same switch in the Torn and Restored Newspaper trick (see figure 12) This
fold brings the load in front. Then turn it 180 degrees so its right side up as in figure 8.
t explain
ncia, Ca
Fig. 8
85
t explain
ncia, Ca
86
thank
you
87
Impromptu at dinner:
The Four Burglars
Cut the Lady in Half
Dice Prediction
Nested Boxes
At a party:
Lucky Seven
The Four Burglars
The Linking Paperclips
89
Lucky Seven
You Do As I Do
The Four Burglars
Cut the Lady in Half
You Do As I Do
Cut the Lady in Half
Salt Shaker Through the Table
Lucky Seven
Sugar Packet Prediction
Dice Prediction
Whats Under the Cap?
Nested Boxes
Cups and Balls
Salt Shaker Through the Table
You can do the Cups and Balls as a close-up trick or platform. My own routine I use strictly for platform.
However, the one I included in this book works well with both. The Cut the Lady in Half can be used for platform. The queen can be seen from the distance. Other card tricks are not good on stage because the audience
cannot see the identities. You can also use a Jumbo Deck and a larger envelope.
The Platform Act
Short act:
1.
2.
3.
4.
5.
Showing or Blowing
Cut and Restored Rope
The Cups and Balls
A Plethora of Silks
Saying Thanks with Style
1.
2.
3.
4.
90
Longer act:
1.
2.
3.
4.
5.
6.
7.
Showing or Blowing
Rope routines
Book Test
The Cups and Balls
Torn and Restored Newspaper
A Plethora of Silks
Saying Thanks with Style
1.
2.
3.
4.
5.
6.
7.
8.
1. Showing or Blowing
2. Rope routines
3. Cut the Lady in Half
4. The Cups and Balls
5. Are You a Square?
6. Book Test
7. Torn and Restored Newspaper
8. The Indian Rice Mystery
9. A Plethora of Silks
10. Saying Thanks with Style
Thats just a sample of the different combinations. The opening trick should be short, sweet, and to the
point. Showing or Blowing gets right into the magic. This has been my opening for years. Once you establish
yourself to the audience, then you can slow things down. Combining the rope routines sets up a theme with one
prop.
The middle is a nice balance of effects. At this point you can go into the audience and ask for volunteers
to assist you. As we reach to the end, a long trick like The Indian Rice Mystery that has heavy dialogue is inserted
here. This will segue into our finale.
The two basic rules for a closer is either to do something quick and flashy or perform a strong mind
blowing effect. Logic might dictate that you open the show with a production, then close with a vanish. Actually
the reverse is true. A vanish stuns people. It causes your audience to just sit and stare at you like a deer caught in
the headlights. For the finish, you want people applauding.
Thats why a colorful production of items is best. A Plethora of Silks ends the act with music. It is colorful
and quick. The silk fills the stage and makes the act look big. The Coat Release does not do this, but it is a strong
effect. It breaks another rule about having volunteers on stage for the finish. You dont want to take your final
bow with spectators from the audience on stage with you. However, ending with Saying Thanks With Style will
end your act with you on stage alone.
It can also be used following anything. This provides a double closer. A Plethora of Silks is fast with no
dialogue. Saying Thanks with Style puts you at one with the audience. It is not a strong effect, but it is cute. The
91
1. Showing or Blowing
Three cups
Four small balls
The wand
4. A Plethora of Silks
Wine bottle
Three tubes of descending order
X amount of silks
A wine glass
Colored water
A chair
This list you dont bring on stage with you. This is for you to check before you leave home, as you set up,
and before you go home. You dont want to leave something important behind. When you are done checking
your equipment, leave this list in your container that you packed your props in.
This container can be a sports bag or suitcase. Experience has shown me to be very careful when packing.
For anything breakable, I cover it in bubblewrap. I make a bag out of it so I can reuse it. This may be a pain to do
all of this, but in the long run it pays off.
Once you set up, keep the bag or suitcase backstage. You could build a box to carry your stuff in. I have
one that has legs hinged onto it. I open it up and use it like a table. Then I put the props Im finished with in there
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