Jim Steinmeyer

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Tl1E CONJVRING
NTI10LOGY
........ JIM STEINMEYER
The Collected & Complete Conjuring
Articles from MAGIC Magazine
Tl1E CONJVRING
ANTI10LOGY
THE CONJURING ANTHOLOGY
CONTENTS
The Collected and Complete Conjuring Artícles
from MAGICMagazine INTRooucr10N, by Jim Steínmeyer, XI
Jim Steinmeyer 1. TuE lNcffisANr NEWSPAPER, l
With illU5trationsby the author asleight-ofhandtorn and restored newspaper.
2. TuE EFAaENcv STAMP, 8

asigned postcard transported by magíc,
3. TuE Losnc MoNEY MAOilNE, 16

príntíng currency using only the cra.nk from a printing press,
4. THE}W.YBF.AN}AR, 24
a precliction of the numberof jellybeans in ajar.
5. MAKING Tu.re, 30
ora demonstration in going back in time.
6. OGARSSAIABIM, 38
a routine with cigars and roses, ala The Great Dante.
Copyright 2006 by James H. Steiruneyer 7.HanUP,43

a newversíon of the farnous Hold-Up trick.
l•I Published by Hahne

8. TuE TA.5.'iaOFA.8uNDANr FNrnRP!usE, 50
514 South Parísh Place a box with three tassels, a variation on the farnous Chinese
Burbank, California 91506 sticks.
www.jimsteiruneyer.com
Printed in Canada 9. SMAIJ..fR & SMAU..m, 56
the Diminishíng Cards.
OriginalartidespublishedinMAGICMagazinefrom 19')2to2004
1 O. TuE V1CAR.1ou:; ÚXXTAIL, 62
rwo versions ofa deadly cocktail imbibed by one person, felt
Marlceti.ng rights-dle manufacture and sale of the props described in this byanother.
book-are retained bythe author, and should not be assumed without conract-
ing the publisherforfwtherinfonnation.
11. ThEPlATE~MYSTI:RY, 70 23. MARVYN Rov's Bnl.1N11-1E ÚGl-IT BuIB, 150
an illusion usíng a ladyand dangerous shards of glass. a masterful les.son in a classic routine.
12. A~ IN A Izsson IN MAGIC, 77 24. THE IN~10[-0t.rrPnooocnox Box, 157
or howto make a handkerchief disappear. an unexpectedly deceptive box trick.
13. 'fHE Hf.ADUNE PRmicnoN, 84 25. ThNCARosUP'THESUEVE, 162

the newspaper headlines foretold and sealed in a locked box. a cíassíc routine, with modern variations.
14. HEADuNE PREDICflON,11-IES~, 90 26. DoWSJNG & DMNING, 172

two moreversions of this farnous prediction. mentalism based on dowsing, anda prediction using a music
box.
15. THE SHORr-0-IANGE REPfAT, 96
a demonstration in short-changíng suckers. 27.THE~"YOilCTRU~T, 178
a hands-off version of the bumed bill problem.
16. IJNKINc FM RINGs, 103
an elegant demonstration of one of magic's oldest deceptions. 28.T1-1EPERfoRATEDBR10<, 184
a glass rod through a solid brick.
17.Gooo&louGHTOEAT, 110
popping corn in a hat, a milk pitcher, and baking cookies ina 29.Rla&WATIR, 189
pan. a newapproach to the Rice Bowls.
18.THEO:>!Ns&~. 116 30. Two MENE CARo TuCKS, 194
the coins thattly through the air invisibly. A Case of Collusion and Sext:abulous, two caed predictions.
19.ÜNWARO&UPWARD, 121 31. STRANGE Powm, 201
the Rising Cards from a suspended card case. electricity that attempts to please, by changing color.
20. ÓPENINGWTil-lANfuG, 129 32. ThEFMS~, 207
the Egg Bag routine, with the climax of a giant egg. a demonstration in just howwe'refooled.
21. F.aEcncHORTian.TIJRE, 136 33. V00000 OO)NOMICS,214
growing a candy tree. a torn and restored envelope, using borrowed bills asvictims.
22.ClilNEiEFooo,143 34. THEÜNE-MANBAND, 218
ora borrowed bííllnafortunecookíe.
or dosing with the Afghan Band routine.
35. TuE~i:TrucK, 223 47. THEHYPN011ZJDSTAO<&ÓIHERTruCK.5,301
an old racecourse swindle, a new handling. with The Trilby Deckand The Shuffied Prediction, Svengali-
inspired tricks.
36. (',()l\ffAC.101 is Rm, 230
the color thac affects three clifferent objects. 48. THEVmEOMlx, 309
a videotape penetrares through anothervideotape.
37. THEPICKPOCKETCHAUENGE,237
or just how you can loseyour banknotes, 49. SVl'Nli\l.lSM,315
rwo more unexpected Svengali card effects,
38. THETHFSPIAN URD, 243
a single card that can take on the pare of any other card, 50.APPLESANDÜRANGb'S, 319
in which die magician mixes the rwo, and makes a magical
39.ANYirnar'sSU.KTRICK, 250 cransference.
a cut-and restored effect,according to the instructions.
51. THEACCOMODA11NG Krrns, 326
40. THERF.lURNOF11iEÜNTURY, 256 <litferent drinks pouredfrom one tea ketde.
the wonderfuí 20th Century Silk routine, in reverse.
52. THETt·IRB.;..$PAaM~"TBlY, 333
41. THRfE PROCYEMS IN PROGNOSnornON, 263 an illusion with three intersecting tubes, leaving no space for
che Psych-W riter, E:xpectinga Coincidence, and che Balloon a lady.
Rack.
53. THEINDIAN RoPEExOJsE, 339
42. PHuNwm-1PHYsics,272 ora demonstration of just how the trick is supposed to look.
a time travel routine wich a litde metal box.
54. PI.AYTNG FOR l<EEPs, 345
43. FROlm CoNFETTI, 278 a challenging burned bill routine.
a new, no-mess confetti, by magic.
55. THETwoD1cnoNARvTe.T,355
44. FANIA..<;llCCoRDS, 282 a surprising bit of mentalism using thou.sands of words.
a borrowed coat through cwo ropes.
56. THE STAPlID CARo A.5 EscAPEAKnsr, 363
45. HOUDINl'sGHANI:>M<Jllil:R, 289 a signed card rnakes its way inside a stapled envelope.
a close-up version of thís cíassíc effect.
57. THE Cur & Rem:>REO INsrnucnoNs, 369
46. THE Dou.AND Dou's Houss, 294 in which the magician follows directions and is mystified.
a tiny coy doll's house, and the doll inside.
58. NAPKJNS FORACTORS, 376 69. TI-iE SNOW JOB, 457
an especially deceptiveversion of this classíc effect. orthe famous Sand trick performed with colored confetti.
59. PusI-IJNG lHEf.NvaoPE, 384 70. l.JFE INTIIE l..EFr-1\JRN-ONI.Y lANE, 463
a predíctíon using three envelopeson a ribbon. proofthat no one knows where they're goíng,
60. THE~CARAooóDocK, 391 71. CAN EXIBAROUilNE:)ÜEATI-1 BY PLWINGCsnos, 472
the famous Princess Card Trick with a new formula for decep- a new solution to a classíc problem.
tion.
72. CAN ExrnARolJllNE:)STABBEDINTIIEPACK,482
61. Bunn!NG A&m:R SWT MAOIINE, 400 Bill Taylor's impromptu Card Stabbing e.ffect.
in which a human slot machine is successfully foiled.
73. CAN ExrnA Rounrec)TI-rn RrNcs INTIIEl.oAF OF BlUW:>, 487
62. THEA.illRGICÚRDTRICK, 410 Orson Welles' and DougHenning'sroutine.
a hands-off effect where the spectators do all the work.
7 4. CANExrnA RoUITNE:)TI-iE CR~RossluuS10N,496
63.FANMAn.,416 an interesting principieapplied to a dramatic puzzle.
a letterfrom heaven anda letterfrom hell cometo the rescue
of the magician. 75. CoNJURINGTAKFSrrsBow, 508
about creatíng yourown conjuring.
64. DKlPIMIY, 425
an opening bit of mentalism demonstrating the nature of OOEX, 517
deception. By names and objects used in the descriptions.
65. THEGREATSTI.VF.RWARE5cAM, 431
ora surprising way to set the table.
66. 1 KNOw WHATYou'RE'fHINKING, 436

a demonstrationin mindreading to open the show.
67. ThUETAl.ffiFROMlHENEWSSfAND, 443

astorytold using a stack of magazines.
68. ThE UGHT .8uIB V ARIATIONS, 448

in which a lit bulb takes centerstageforthe magic.
JIM .STEINMEYER XIII
INTRODVCTION
M agic is sometímes kept afloat by íts amateurs. The ancient
and occasionally anachronístíc performance art may be
abused and místreated by its professionals, but has always been
loved and nurtured by its devoted hobbyists. Still, the various
fashions and trends of the "magic lovers" can waterlog it.
Magicians dream about presenting gigantic, full-stage illusions,
they work hard at perfecting their close-up skills, recording
tiny variations in moves and subtle changes in routines as if
every essential step is a potential roadmap to perfection. But
when audiences pay to see a magician, they often expect to
see someone standing on a stage, or at the front of the room,
holding a colorful prop in his or her hands, and offering
altemating amazements and amusements.
For sorne reason, stand-up magic has fallen out of favor-not
with audiences, with magicians! So when my friend Stan Allen
first asked me to contribute a series of articles to his magazine,
MAGIC, in 1992-a series of stand-up effects with apparatus-I
agreed reluctantly. I knew that it was goíng to be a lot ofwork,
and that these tricks would be considered necessary evils within
the world of magicians, who revered close-up and sleight-of-
hand magic. 1 deliberately called the series Conjuring, asan
old-fashioned word for perfonning magic tricks. No special
pretentions. This series of articles was to be about performing
magic tricks. Period.
The process was an education for me. 1 invariably returned
to the theme of fashions in magic, pointing out how various
effects and methods had fallen out of fashion for no apparent
reason. lt seems especially silly that secrets should be
considered unfashionable. Magicians should deliberately use
anythíng of value in the arsenal, and tricks one generation old,
or rwo generations old, are both proven and unseen by modern
audiences.
1 was also always attracted to the classics, which seem to
have bulletproof plots worthy of the latest thinking or a slight
XIV r nt CONJVnlNO ANTllOLOOY JIM .STEINMEYER XV
change of focus, The late Alan that these necessary evils had found a loyal audience. I've had
Wakeling once said to me that many inquiries about whether the collected columns wouJd be
magicians should embrace the gathered together in one volume. Through the encouragement
classics because, "íf you perform of a number of friends, this thick book of magíc was finally
a classic effect well, you are assembled and published. I've been grateful for the constant
guaranteed of success with it." nudges from john Camey, Richard Kaufman (now with
lt seemed like such a remarkable another magic magazine), and Marshall Magoon, who has used
pronouncement-but of course, a number of these routínes in his performances and, invariably,
Atan was exactly right. A classic given me good advice about what works best for an audience.
effect has stood the test of time I'rn also grateful forthe work of Lisa Cousíns, who stepped in to
and demonstrated íts appeal for do che necessary rypíng and editing, and Patrice Roe. A special
an audience. thanks to my wife Frankíe Glass, for good advice along the way
Conjuring began as a series of anda fresh perspective as the book began to take shape.
tricks, and slowly became a series MAGIC Magazine was edited by Stan Allen and John
of tricks with patter. lnvariably Moehring during the years of Conjuring, This book only
l received more comments on exísts today because Stan Allen was clever enough to say, "I
the patter and presentations than was thinking about something for our magazine ... , " and then
on the actual effects. Magícians persistent enough to say it again and again. I'rn grateful to my
have often made the mistake edítors for quiet patíence and stretched deadlines.
--- ..... of looking on the apparatus as This book contains the sevenry Conjuring columns,
the script for theír shows, and complete with my original cornments and presentations.
selecting material according I've taken the opportunity to make a few corrections or
to these whims. just as any clarifications along the way, and included sorne updated
theatricaJ enterprise is evaluated cornments on the routines, where they apply. I've also added
by its script, not the scenery, four additional routines, that were not previously published-
I'd urge magicians ro always rwo close-up tricks, one stage effect and one illusion.
carefully plan what they're about Finally, thanks to the many loyal readers of the column in
to say or how they're going to MAG/C-thousands, Stan Allen reported from his poll resuJts-
move. A few performers have who followed these effects, tried them out, offered criticisrn,
the skills to improvise in front advice and the experience born of putting them in front of
of a crowd-fewer than you'd audiences.
suspect. Most magicians don't. That's ultimately where all magíc belongs-not pressed
When 1 was firushed with within the pages of a book bur placed in front of an appreciative
sevenry Conjuring columns and audience, held in the hands of a talented performer, someone
had explored sorne of my favoríte who seeks to amaze and amuse by first bewildering.
effects as well as sorne classics -Jim Steinmeyer
from the past, I was glad to see March 2006
To thememory of.myfriend
Alan Wakeling.
"Magic is mysterious, it is wonderful;

it can never die, it is the very essence of the living,
it is ever new and fresh,
And that is whywe are optimists."
=Servaís LeRoy
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JlM STEINMEYER
1. Tl1E INCESSANT
NEWSPAPER
T rus is the torn and restored newspaper routine that l

performed for a number of years in my own shows. When
Stan Allen first asked me about contributing effects to MAGIC
Magazine, 1 started by assembling a list of potential material
from effects 1 knew well-that 1 had performed or included
in my lectures. The lncessant Newspaper was the very first
Conjuring in the series, from the April 1992 issue-a sign of my
own regard for this effect. l enjoyed presenting this torn and
restored newspaper routine for audiences, and also presented
it severa! times in lecrures for magicians in the late 1970s.
Of course, at that time. there was one torn and restored
newspaper effect which was che popular favorite, Gene
Anderson's justly celebrated effect, which was performed
by Doug Henning in each of hís live shows. Like many other
magicians, 1 srudíed Gene's routine, published in his book
with Frances lreland Marshall, Neuispaper Magic. To be
honest, l had been daunted and discouraged by the amount
of preparation. 1 don't really believe that this impatience was
a sign of character. But my solution was to devise a different
method, which minimized the set-up, allowing me to start with
a stack of old newspapers so that I could easily rehearse it over
and over agaín to my own satisfaction. When I first wrote this
up for MAGIC, 1 did point out, to properly pique the readers'
interest (and because we've all read those dealer ads) that
there are no gírnmícks and no preparation. No duplicates are
necessary, just one newspaper. It can actually be performed
impromptu, with a paper that has been handed to you.
However, for my performances 1 used to do a tiny bit of set-up,
to minimize the moves during the presentation.
Here's the effect. The magician shows a large section of
newspaper, 20 pages in all. It is torn into small pieces and then
visibly restored. The paper is again shown at the conclusion of
the effect.
THE CONJVRINO ANTNOLOOY JIM STEINMEYER
----- 3
To begin, use five large three intact sheets behind them
double-sheets of newspaper, in the right. The left-hand sheets
nested one within the other as a are placed in front of those in the
l. newspaper comes to you. This right, and the entire packet is
makes 20 pages of newspaper, folded towards you-that is, with
four to a sheet. Display the paper the torn sheets on the outsíde.
first by paging through it, with (Here's an irnportant note to
your left side to the audience. keep everything straight: on
As you finish showing the paper each tear, keep the long folded
open it to the cencer, showing edge at the top of the paper, and
the front and back pages the short folded edge towards
prominently. Ask the audience the center of the paper-facing
to note the anides and pictures, your left hand.) Again, use your
so they'll recognize the paper. finger as a paper knife to start the
Now, hide these pages from view tear through the four sheets, not
by turning the paper inside-out the intact inner sheets. Open the
around the middle sheet. This pieces, leaving the whole ones
brings the "just Iooked at" pages folded as before, and tear (Figure
to the cencer (Figure 1 ). You 'U 4). Repeat this tearing rwo more
caU no attention to the pages times, folding the pieces on the
on the outsíde, according to outside and tearíng the outer
the presentation which follows. sheets. This leaves you with a
Using your left finger as a paper folded bundle one-sixteenth
knife, insert it ínto the paper of the original size behind the
2. after the front rwo pages (Figure torn pieces (Figure 5). On the
2) and push it ínto the fold, Iast tear, it is best to use a table
forming a small tear. Open the knife or a pencil or pen to act as
paper, not in the center but after a paper knife. Not only does this
the first two pages, and rip the actually help you tear the paper,
pages apare (Figure 3). In order it reinforces the illusion that ali
to avoid this move flashing the of the paper is being torn. When
folded sheets held by your right you've reached Figure 5, fold the
hand, as you tear the sheets, packet agaín, but this time fold it
keep your right hand stationary, the opposite way, so the intact
3. 1
bundle is folded in half around
and move the left hand down.
the torn pieces. Now the long
The result is rwo torn sheets in
the left hand, rwo toro sheets and folded edge is at the top, and the
JIM .STEINMEYER
4
Tl1E CONJVRINO ANTt10LOGY
------- 5
short folded edge is near your disappeared.
right thumb. On the second beat (Figure
At this point, you'll need 10), típ the right fingers down,
to hold the packet in a specific grab the front folded edge "Y" 9.
6.
manner, which is best explained with the left fingers and raíse it
by Figure 6. The right thumb up. Assooo as it is almost opened
is inserted between the large to che full extent, release hold of
folds in the restored packet: the the folded edge under the right
right forefinger goes between thumb and, while still clipping
the restored packet and the toro the folded pieces between your
one, in front of the torn píeces: right fíngers, allow the paper to
the second finger goes berween drop open. As it opens, clamp
the packets in back: and the third the edge "Y" between the right
and fourth fi ngers hold the whole thumb and the base of the first
packet in back. finger. The above moves will
7.
With your left side towards neatly keep the toro packet from
the audience (Figure 7), the view.
packet held about shoulder hígh The third beat opens the
in the right hand (Figure 8), and paper fully. The left hand pulls y
you're ready for the restoration. the front half out from under the
This occurs, quite suddenly, in right thumb's gríp, so that it can
three distinct beats. On the first fall open to the full dímensíons of
beat, bring your left hand up a page (Figure 11).
to the packet and lift edge "X" I've expressed this as three
with the left fingers. At the same beats to emphasize the rhythm ---ii
moment, che right third and of the restoration. There should
fourth fingers release their hold, be about a second between each
and the right first and second beat, so that the paper is restored
fingers (which are clipping the in three even moves.
toro pieces between them) push With your left side still
8. straight out, in back, so the toro towards the audience, page
pieces are Wdden by the opened through the paper until you
piece. Figure 9 is a backstage reach the center. Throughout
view of this. You'll notice that, thís, the right fingers continue
in this one move, the packet to hold their pieces. Turn the
was quickly opened to four paper inside out, whích displays
times its síze and the toro edges the ínner pages and, at the same
THE CONJVRING ANTHOLOGY JIM STEINMEYER
7
time, takes the torn packet to the center. Casually show che kind of sense, especiaUy within the rhythrn of the do-ít-yourself
front and back of the paper and, holding che torn pieces from instructions. Needless to say, when 1 used a duplícate sheet, the
the outside, lay the paper aside. folding ínsíde-out was not necessary to the presentation.) Now
Needless to say, the tuming of the paper inside out is a bit you 'll need to tear ít into a number of pieces, so that you 'll
of a conceit. When 1 performed this impromptu, I generally end up with the ... one stxty-fiourth tife-sizedsea/e modelo/ a
endeavored to take a few seconds wíth the newspaper, pre- four-mastedschooner.
folding this "inside out" fold so that I could perform it easily (During the tearing.) Actual/y, I know very little about
during the routine, and arranging a very dístínctive sheet on the boats, but for those of you who aren 't atoare, a f our-masted
outside (like a front page) anda very insignificant sheet on the schooner is a rather large boat uiitñ four masts and lots of
inside (líke the classified ads). When 1 performed this during sails. You'11 notice ali the pieces of paper... these pieces are
a show, 1 used one duplicare sheet-a duplicare of the outer necessary beca use, I should mention, this one sixty-fourtblife-
sheet-placed third from the outsíde. This eliminated having sized sea/e model of a four-mastedschooner comes complete
to turn the paper inside out at the beginning or the end of the with 64 líttle paper sailors standing at attention on the deck
routine. Of course, while showíng the paper at the beginning ... and each o/ those has a líttle paper sailor cap... with a
of the routíne, 1 didn't open it to the duplica te pages. little paper tassel ... and eacn o/ them carries a tiny, one
A bit of care, makíng neat folds and clean tears, is certainly sixty-fourth sea/e coü o/ rope. Wait untíl you see tt. Now, what
rewarded as the routine progresses. As you leam the routine we 've got here is rather large confetti. This is the moment o/
yo u' ll get a feel for thís. The second and fourth tears, agaínst the truth. Watch carefully, because it takes shape in an instant .
grain of the paper, are a bit more difficult. . . a perfect, one sixty-fourth ltfe-stzed scale model o/ a four-
For years 1 used the following presentation, and as 1 was mastedschooner. A btg boat withfour masts and tots o/ sails.
happy with it, 1 will immodestly reproduce ic here. And ali thosesailors .... Let's see. (Thinking aloud to yourself.)
This euening I'd like to show you a peculiarsktll. It's not 1 lift the upper right comer and there we haue tt.... Or is it the
exactly magic, but as I'm the onlyperson in the world capable lower left corner? 1 can 't betieue that I'ue f orgotten. One way
o/'performing it, I thoughtyou 'd like to see ít. Yo u 'veprobably 1 end up with a perfect, one stxty-fiourth tife-sized scate model
seen peoptefold and tear paper and end up with different o/ a four-masted schooner,and the other way I end up with a
shapes. Well,I'ue managed to master those skills, so that I can Chinesejunk. /'lljust start ali over again.
now tear and fold,froma sectíon o/ neuispaper,a perfect, one Here the paper is restored. l used to finish by stripping
sixty-fourtñ tife-stzed sea/e modelo/ a f our-masted schooner. away the outer sheet of paper, folding it and tearing the shíp's
(This last, phrase, which will be repeated, is said with a certaín wheel. /f I can 't show you thefour-mastedschooner,/'ll do the
emphasis.) Now, I'm happy to demonstrate.First, I'd like you next best thing. This is what the ship's wheel looked like. The
to take a good look at this neuispaper,and remember tohat wheel was then folded again and torn to form the crew: a string
some o/ thepages look like, becauseIfind that this work o/ art of paper dolls. Actually, I can do even better than that. ]ust a
is so incrediblethat no one ever believes that I end up wíth the fewmore deft tears, and there's the snip'screw!This last paper
same paper I startedwíth. tearing effect, an old routine, is described in several books
If you want to try thts at home, just f ollow these including Gene Anderson and Frances Marshall's Neuispaper
ínstructíons. Pirst, turn the paper inside out, to strengthen
Magic. lt ríes in with the patter and makes a níce finish for the
ali thefolds. (The "strengthen the folds" business makes sorne routine.
8 TME CONJVRINC ANTMOLOCY JIM .STEINMEYER 9
suggest a dark wood grain with
2. Tl1E EffICIENCY .STAMP the graín running horízontally
across the board. The back, or
Tdeas for effects come in interestingways. In his book Magical plain side, of the duplicare post
lMasterpíeces, Louis Nikola told a story about che phrase that card is also covered with this
inspired his wonderful illusion, Squeezed to a}elly. Ashe wrote, pattemed vinyl. Figure 1 shows
a foreigner learníng English overheard a hostess exclaím, "Do both sides of the card; the black
have an ice, let me press you." Later he reinterpreted this, area indicates the vinyl. If the
offering his dance partner a sweet with the expression, "Do lec pattem is dark wood graín, for
me squeeze you to a jelly!" The Efficiency Stamp was inspired example, color the edges of the
in a similarly unexpected way. 1 happened to overhear part of post card dark brown using a
a conversation in which a woman said the words "efficiency marking pen. You'll notice that
stamp." At least, that's whac 1 thought 1 heard. I still have no if this card is held under the clip
idea whether these were the words she said, or how they on the board, the camouflage of
applied to her conversation. But that phrase quickly inspired the pattem allows it to disappear
an idea for a routine. from justa few feet away. Figure
1 described an early version ofThe Efficiency Stamp in my 2 is an exposed view of this. At
1988 set of lecture notes, The First Law of Gyronomonics. the beginning of the routíne,
That version was, 1 think, overly complicated, emphasizing a the fake card is in place, hidden
drawing on a piece of paper. The idea for the effecc still seemed agaínst the clipboard beneath
better than my solutíon, so 1 returned to the problem and, in the clip. During the trick this
May 1992, described this versíon in Conjuring. In my 1997 becomes a very efficient fake, l.
lecture notes, Reminding and Deceiutng, I described both responsible for the switch and
versions ofthe routine. In those notes, the two routines served later the disappearance of the
as a useful example of two different approaches to a problem, selected post card.
but 1 think thac this routine, straightforward and efficient, is the Finally you'll need a mailbox.
best versión of che trick. With a different handling, you
First you'll need a "forcing deck" of post cards. Buy about could very easily use an unfaked
10 or 15 ofvarious designs ofthe same size, and anotherdozen box, or even a metal mailbox
identical cards. These are arranged like a deck with a force from a hardware store. I'll
bank, allowing you to casually spread che different cards on che suggest a small cardboard box,
top, then tum che packet over and have a card selected from which is faked in a simple way
the duplicares at the bottom. Another of these duplicate post to allow it to be shown empry
cards is specially prepared in conjunction with the clipboard. immediately before the post card 2.
Purchase a standard masonite clipboard, about 9 by 12 inches, appears. The box is constructed
from a stationary store. On the top surface of the board, of illustration board and is about
apply a patterned self-adhesive vinyl, like Contact Paper. I 6 inches wíde by 9 tall by 3
10 Tl1E CONJVRING A-NTMOLOGY JIM STEINMEYER 11
inches deep (Figure 3). lt has because it's the most effictent
no top or bottom, but is just a postage stamp ever created.
rectangular tube. The interior Forget air mail, forget express
is painted black, which better mail. /'ve been trying to sell
disguises an angled flap fixed the U.S. Postal System on the
along the sides that fonn a secret idea, but I was shocked to jind
channel through the box from out that ... you 're not going to
top to bottom. This flap is glued belieue this ... they're notreally
securely into position. It is only a
that interested in efficiency.
small fraction of an inch from the Besides, one problem with my
back wall at the bottom. At the stamp is that it's invisible. That
top it is about 1/2 inch from the makes it hard to sell, and it
back. A srnall finger hole, about con/uses ali those nice peopte
1 inch in diameter, is in the back who work behind the counter
of the mailbox slightly below the whenyou ask to buy one. Return
center, as in Figure 4. There's it carefulJy to your coat pocket.
no real reason for subtlety here. I'd like to demonstratejust what
The box should be painted with itdoes.
3.
three horizontal stripes of red, A spectator is invited onto
~ white and blue or emblazoned the stage and seated to your left.
U·S· l"IAJL with gold letters across the front At your right is the table and
~ proclaiming "U.S. Mail" lfthe box mailbox. This little box is empty
1 sits on a tabletop or chaír, you'U right now, but tt'sgotng to serve
~ ,..,, , . . ~'- - - - .. - - .. _ ! need a soft fabric pad so that the asourmaüboxanau/e'üpretend
card, dropping inside, doesn't that tt's across toum, or on the
click and betray its presence. other side of the uiortd. Pick up
Not everything performed the box and show it casually. By
by a magtctan is mere/y holding the bottom towards che
entertainment. Actually, sorne audíence and looking through ít,
of these miracleshave practica/ the box appears ordinary and the
applications. Take this. This audíence can clearly see through
is an invention that I'ue been it. The partition is so close to
•
4. peddling for quite a few years the back wall that it is virtually
now. Oig ínto your pocket and invisible (Figure 5). Retum the
emerge wíth, clearly, nothing box tO the table agaín, insuring
held between your fingertips.
that the side with the hole is
I call it the efjiciencystamp, away from che audience. Take
12 THE CONJVRING ANTl10LOGY JIM_~S_T_E_l_N~M_E_·Y~E_R~~~~~~~1)
the packet of post cards frorn a pocket. post cards from last
We'regoing to say that you 'vejust taken a trip and you 're year's vacation. You're
sendtng a card back to make someone feel bad. Here are a now holding the fake card
bunch of exotic locations. Reach out and pick one. Show in your right hand. Swing
the packet by fanníng through the top dozen píctures, then the clipboard in front of
squaring the packet, turníng it over and slowly spreadíng your body, clipping the
through the face-down cards. The spectator must select one card in place so that the
from the force bank. Comment on the pícture, set the cards photo is facing outwards.
down and pick up the clipboard. Slide the selected card under Hand the clipboard to
the clip on the board, picture side down, aligning it with the the spectator, instructing
vinyl covered card that is camouflaged on the clipboard. It is hírn to hold it with both
quite easy to perfectly square these cards using your fingertip hands, displaying the
asa guide. card to the audience.
Remove a marking pen from your pocket and hand it, with This prevents him from
the clipboard, to the spectator. I won 't need afull message or playing around with it
address. just sign your name o ver on the left so we know that at a crucial moment.
you're aliue and well. Watch the spectator as he does thís, but I'm goíng to show you
you needn't worry about hís discovering the extra card. He's a much faster way. No
busy. Take the pen and clip board back. post ofji.ce, no mailmen.
According to the old system you 'dputa stamp on this card, I'll put thousands out of _
then put it in a collection box. As you say thís, open the clip work. From ali the way -...;;;;:::;;:;;::'"""
and remove both cards, a double-lift, holding them together. ouer here, indicate the
Slide the clipboard under your arm. Eventual/y someoneptcks clipboard, to ali the way
it up. You know, they empty those things about once a week. over here in the matter
They cancel the starnp, try to read the address, and decide of a half a second. Lift
whích direction to send it. It gets sortea and is taken to a mail the mailbox straíght up
carrier who walks around the city with it ... until he finds the by reaching around and
right mailbox. placíng a fingertip ínto the
This last action is acted out, holding the squared cards in hole in the back (Figure
your right hand, photo facing the audience. Lower them about 7). This presses the card
half way into the mailbox (behind the partition and into the against che partition and
back compartment). Your fingertips release the back card, prevents it from falling.
allowing it to drop straight down as you lift the card completely Don't make a show of the
out of the box again, as in Figure 6. As far as the audience box being empty, merely 7.
is concerned, the card has never left their síght, What an lift it straight up and then
replace it on the table.
operation. That's assuming that tt ali works and doesn 't take
a detour to Peoría. No wonder your friends are still getting Let's see, if I can just
TNt CONJVRING ANTNOLOGY JIM .STEINMEYER
find the ... uh .... You've been hand, looking for the card.
looking in your pocket and Turn and gaze with sorne assurance towards the mailbox
emerge with "the stamp" held across the stage, Look towards spectator and ask him to "do the
high. Take the clipboard from honors." lnstruct him to stand, step over to the mailbox, put his
the spectator and encourage him hand on top of it and lift ít straight up. As he does the post card
to hold che invisible starnp on his will fall out the bottom and onto the table. Take the box from
outstretched palm. The efficiency him and ask him to verify his card and signature.
stamp works the instant that it's If only the mail really worked like that. The whole routine
apptied to the letter. By magic, is certainly an example of technological wish fulfillment, the
believe it or not. sort of thing magicians would be doíng if, indeed, they really
8. There's one more move, and did magic.
it must be done casually wíthout
flashing the fake card. Hold the
clipboard with íts back to the
audience, unclip the card and
turn it behind the clipboard,
holding it high so the audience
can see the photo again, as in
Figure 8. Now return it behind
the clipboard and clip it in place.
You've supposedly tumed it
over to apply the stamp. The
vinyl-covered side faces you
and, unknown to the audience,
the card is now completely
camouflaged.
Take "the starnp" and put
it to your lips. Then pretend to
9. press it to the card against the
clipboard as you revolve the
clipboard so the audience can
see its opposite side. Figure 9
shows this. If the prop is handled
neatly, it seems as if the card
disappears as the stamp is put in
place. Regíster a slight surprise as
you turn the board from hand to
J 1 M .S T E 1 N M E Y E n 1z.
TME CONJVntNG ANTl10LOGY -- ----------
blank bilis cut to size. They don't
3. Tl1E LVSTIG MONEY need to be exact: 2-1/2 inches
by 6 inches will work just fine.
MACl1INE You'll also need two níce clean,
flat five-dollar bilis and one 100.
T
his routine is one of my favorites from ~onjuring, and If you want to be cure, give the
l've included it in several lectures. To me, rt has a perfect fives the same serial number, Bill
combination of presentation and effect. The story of the con in Lemon sryle.
game is appealingly nefarious, the effect is unexpectedly I found a nice metal crank
fanciful and surprising, and the method is of particular interest in a surplus store, but you don't
to magicians: a special fake which allows an unprepared need a metal one. You can make
envelope to be shown empty, and then invisibly introduces the the crank from a 3/8-inch dowel,
bilis into the envelope as it is innocently handled. about 1 O inches long. See Figure
The actual trick is based on The Rising Cards from l. You'll notice that the handle
Envelope, which appeared in Volume 7 of The Tarbell Course end has a "T," a strip of wood
and is credited to Bill Severn and Pete Biro. The secret makes a three inches long and a small
nice Rising Cards, but to my mind, it makes a sensational and knob. The whole thing should
unexpected counterfeiting machine. I'm grateful to my friend be painted silver. A small rubber
Alan Wakeling for severa! suggestions along the way as I was band is rwísted severa! times
working out this routine. around the center of the crank;
There really was a Víctor Lustig, and he really was an thís forms the rubber friction
infamous con man, but that's his only connection to this wheel for the rísing effect.
effect. His story gives the routine a convincing pedigree. It was In addition, get rwo small
published injune 1992. paper tags, like price tags with
A líttle tale is told of the con man Count Victor Lustig, loops of string attached, from a
who managed to improve his "money printing machine" by stationery store. On one of them
devising onc that was almost impossible to detecr. Asmall stack letter, "Exhibit A, $5," and on
of white paper is handed over for examination and it is sealed the other, "Exhibit B, $100."
in an empty, initialed envelope. Using nothing more than "the The Exhibir A tag starts with the
crank" from a printing press, the performer prints five-dollar string ends snapped under the
bilis. Adrnitting that the machine is a con game, the effect rubber band.
finishes when the magician manages tO print a pícrure-perfect You could use a number
100-dollar bill, of envelope switches or trick
You'U need a bundle of bill-sized pieces of paper. I use envelopes to do the dirty work.
píeces cut from blank index cards, which are more rigid than At the end of this routine, l'Ll
bilis butmuch easier to handle. I'd suggest about 20 píeces, and explain a variation with a little
as it is nice to give away the envelope and blank paper at the box, whích does it nicely. But for
end of the trick, you might do well by having a stack of these
TNE CONJVRING ANTNOLOGY JIM .STEINMEYER
simplicity, 1 prefer the following rnakes thern casier to show empty.

envelope that seems to be the Veryfeui magicians are real/y con men ... belteue it or
opposite of the flapless envelope not. But there are plenty of con rnen who could haue been
deception. This envelope does great magicians if they would haue only taken a pay cut.
not switch the contents, it merely Back in the '20s and '30s there was a fellow named Count
adds sornething secretly inside, VictorLustig. Oh, he wasn 't really a Count, but that was part
which is perfect for this routine. of the con. He had the dtstinction ofjleecing Al Capone and
Start with envelopes of a personal actually managed to sell the EiffelTower... twice. He was also
a couruerfeiter and he combined that skill wíth confidence
síze (3-5/8 by 6-1!2), which are
available made of opaque brown games to crea te quite a career f or himself. It was the sort of
or tínted paper. Cut away one so deceptton I'd admire if I weren 't so honest. Lustíg suspected
that you have just a back panel that hauing a printing press around was just too risky, so he
and triangular flap (Figure 2). managed to simpli.fy the operation to the essentials. First, the
Secure this panel to the top of an prtnting paper. You 'll notice that thesepteces are a/l blank on
unprepared, duplicate envelope both sides.fustptain paper.
by moistening the adhesive on Hand the papers to a spectator and encourage him to look
2. the back envelope and attaching through them and satisfy his curiosity. Meanwhile, the stack
the triangular flaps, as in Figure 3. of envelopes is brought out of your pocket. Hef ound tnat the
Put the fake face-up onto a stack press wasn 't really necessary ... instead he jusi uirapped the
of four or five envelopes. Take paper up into a bundle or sealed tt in an enuetope. Far less
another matchíng envelope, fold suspictous. Haue a look in here ... justan empty en velope. l'd
che triangular flap all the way like you to place ali those blank pieces inside. The specrator
back, and place the bilis inside. does so with the performer's help, and the white píeces go into
For the following routine, the the envelope atop the fake flap. Since you've hada chance
stack should be, from the back to look it ali over and I don 't uiant you to think that l'm
of the envelope towards the side dotng anything tricky, just place your irutials here, on the
with che flap, a blank sheet, the enoetope.
rwo fives, a blank, and the 100. The spectator is given a pen and asked ro inicial the
Then slide this envelope around envelope below the opening, while the píeces of paper are
the fake panel on the top stack still in view. As he does this fold the top trianguJar flap ali the
(Figure 4). The panel covers the way back, reversíng it (Figure 5). Tum the envelopes so the
bilis inside, with the result that initials face you and pull away this top envelope (Figure 6). This
the top envelope of the stack action slides the flap out and Jeaves the bilis agaínst the blank
can now be opened and shown slips of paper. Fold up the triangular flap, moisten and seal ít.
empty. Besides the colored Hand the envelope to the spectator to hold. Lustig figured
envelopes being opaque, the that he could do without the plates, the ink, the rollers, and
contrast with the white paper that the only really importantpan was the crank! The stack
TME CONJVRINC ANTMOLOCY JIM .STEINMEYER 21
~~~~~~~~~-
20
o f envelopes has been placed and "cranks" it up out of

down and you 've reached ínto the top of the envelope.
your pocket for the crank. After You'll notice that this
all, this is the pan which really bill is .... Y ou remo ve the
makes it work. So he managed blank piece and stare at it
to invent a counterfeiting for a moment, realizing
machine which was a Treasury the error. I forgot the
Agent's nightrnare. This is the tag. You see, it isn 't just
crank that he used. As you see, a counterfett, it's a con.
it says, 'ExhibitA, $5. "This is his lf I don 't giue it a phony
fiue do/lar crank. identity, like Count
The tag is snapped off the Lustig, it won 't work.
center of the crank and given Take the tag back and
to the spectator as your fingers hang it from one end of the
conceal the rubber band. Take crank. Repeat the actíon,
the envelope from hirn, tapping it cranking a fíve-dollar
gently to square the paper inside, bill into sight (Figure 8).
and tear away one end, then tear Remove it and hand it
rwo small semi-circular boles in to someone to examine.
the sides, about one-thírd of the You have to admit, it
way from that end. See Figure 7. looks pretty good. This
There's no reason on earth mild understaternent gets
why this should work, which a smile. O/ course, the
is why I betieue that the Count moment I leave here 1
would have made a uery good call the Treasury Agents
magician. But who wants to be and, under their careful
a magician when you can print and expert supervision,
---~y._
money? Insert the crank through all of these bilis will
-- -··· the holes in the envelope,
pushing it through so that the
be shredded. This
demonstration is onlyfor
rubber band lies agaínst the back educational purposes. 8.
single blank piece of paper. All I This naive overstaternent
need to do is turn the crank. gets a peculiar smile as
1\J
7. By supporting the crank from well. Begin cranking so
each end and gently turning it in the second bill comes up
the right direction, the rubber ínto sight. I could stand
band contacts the sheet of paper here and do this all night,
22 TNE CONJVRINC ~NTl10LOCY J 1M STE1NMEYER 23
a souvenir f or eueryone, but l stack, with a blank on top, is placed into this recess, the lid
know how uninteresting this is placed on top and a rubber band slipped around che whole
forali of you. Lustig did thisfor thing to hold everything together. To use the box, remove the
years be/ore he was ever caught. rubber band, open it and put the lid aside or under your arm.
If there was any suspicion, he Hold the box on your right fingertips. Instruct the spectator
just took the tag off ... , which to remove pieces of paper and look them over. He then places
you do, and the machine would them on your outstretched left hand. Your right hand places
stop working. Tum the crank the box atop these pieces, reaches for the lid and replaces it.
and remove a blank sheet. O/ When the box is Iifted and put asíde, the additional packet
course, that gave him an idea. of bilis and a blank sheet are naturally added to the top of the
Like ali f ailed con men, he just stack. This stack of paper is put in an unprepared envelope ...
got too greedy. Show the second and you're off and running.
tag, reacling the label, and hang it
onto the crank. This time as you
tum it, a $100 bill rises into view
(Figure 9). Remove the bill and
the crank, handing the envelope
and its contents to the spectator,
l'll giue you Lustig 's press on the
condition that, ifyou do manage
to print any more money, you
9. won 't call mefor baü.
Here's another idea for
accomplishing the effect. While
experimenting with various
versions, I made up a small
cardboard box, whích adds the
bilis to the stack of paper. See
Figure 1 O. It is about 1-1/4 inches
deep on the outsíde and just large
enough to hold the flac pieces
r
of cut paper. Like the box that
your bank gives you for personal
10. checks, it has a deep, removable
/ ... - lid. Bue thís box is specially made
_......... of stíff cardboard, with a bottom
recessed about 1/4 inch. The bill
4~ T_N_E_C_O_N_J_V_R_I_N_G_~_N_T_N_O_LO_G_Y_ J 1M .S T E 1 N M E_Y_E_R
2
25~
passes thís number to someone
4. Tl1E JELL YBEAN JAR in the audíence and picks up the
jar again. Logically the jellybeans
would need to be counted to
I 've been fascínated with the notion of a mental prediction
that "feels" like the real world. That is, a prediction that
reminds the audience of situations when predictive powers
conclude the effect. However,
the performer rotates the jar
would be especially beneficial: at a Las Vegas roulette table, revealing a small envelope sealed
with a state lottery ticket, contemplating a drawing or a agaínst the glass inside. The
guessíng game. Within such situatíons, the spectators can jellybeans are poured out into a
hardly resise che intrigue of special mental abilities. That's how small paper bag, the envelope
this trick came about. I reasoned that the most attractive of tumbling in as well. The
these guessing games, the most ironically ínterestíng because envelope is handed to someone
it echoes contests in small town pharmacies, is guessing the in the audience who reaches
number of marbles or jellybeans in a jar. lt is simple, colorful, inside and finds a srnall card with
ancl more attractive than a lottery computer or the suspicious the nurnber 4,672.
casino garues. A magician who has mental powers should be The apparatus is simple.
able to win ali these guessing games, right? Wrong, which is The jar is a wide-mouthed glass
where the plot for this trick develops. Rather than guessing che jar (Figure 1). The one I have
jellybeans, the magician explains that he has "flxed" the game was an applesauce jar, 6 inches
to his own particular mental abilities ... and everyone wins at tall and 3 inches at the mouth,
the end. with a screw lid. It is filled with
You might notice that the presencation, as ít ends up, is not jellybeans and has a sealed manila
actually a prediction, but addresses the subject of prediction all pay envelope (2-1/4 by 3-1/2 l.
along the way. Readers might easily recognize my inspirations inches) inside, pressed against
in two classic mental routínes, Confabulation and Koran's the síde of the jar (Figure 2). Use
Medallion. Befíttíng the models, it is a pretty clever method. a retractable ballpoínt pen to
The jar in the title plays the starring role. The jellybean lar was record the number; as you see, it
first published in Iuly 1992. will help in part ofthe deception.
The essence of the patter-the idea of gambling against an You'll also need a masonite
inanimate object-was one that I replayed years later in the plot clipboard, 9 by 12 inches,
for Number 61 in this book, Building a Better Slot Machine. from a stationery store. On che 2.
The performer shows a small glass jar filled with jelly- clipboard are several white index
beans and asks the spectators to guess how many are inside, cards to record che number, and
like so many of those storefront contests. In order to involve the folded paper bag. This bag
as many spectators as possible, he picks up a clipboard and contains the essentíal secret, as
asks for four one-digit nurnbers, reaching a random number in follows:
the thousands. For example, the number might be 4,672. He Use a small brown lunch bag,
26 TME CONJVRINO ANTHOLOOY JIM .STEINMEYER
availabJe in packages from the and, guess hoto many jellybeans

grocery store. These bags have a are in the jar. Now, I can 't ask
tlat bottorn and measure about 1 O you toread the thoughts of these
by 5 by 3 inches when opened. jellybeans. But I arn going to
Fixed inside the bag is a duplicate ask sorne of you to try a littte
envelope and card, prepared extrasensoryperception, and I'll
wíth carbon paper to receive do everything I can to hetp.
the prediction. The envelope has Display the [ar, beíng careful
a small slit in one end, and the not to revolve it to reveal the
carbon paper passes through the envelope inside. The jar is set on
3. slit and against the card (Figure a nearby table and the clipboard
3). The end of the carbon paper is pícked up. Select four people
is taped to the inside of the bag: to take part in the experiment.
the envelope is thus suspended Ask each one to give a number,
from chis piece of carbon paper from one to nine, when you point
. . ... ,_..._..
_r,;·- - (Figure 4). Figure 5 shows how at them. As each number is caUed
"~-J
r···~ the folded bag, with che carbon out, give a nod of satisfaction (as
r- - ·'1
'1 11
and envelope inside, is placed if to say, "perfect,") and record
!
1
1
'
within the clipboard. The dotted the number on the index card on
1
~---!
'
lines are an x-ray view of the the clipboard. Don't say, Four?
envelope. Several white note Are you sure? Do you want to
4. cards are clipped above the bag. change your mind? A.fter ali, you
You might not belieue that supposedly know the prediction,
there is such a thing as mind and should be pleased with
reading, the spiel beings, but yourself as each number is
it's interesting to notice that correctly called. We'U say, for
state lotteries and contests example, that the four numbers
won 't take the chance. After all, called out form the number
the lottery won 't let you try to 4,672. As the last number is
5.
read the thoughts of a person. wrítten click the pen closed
That's too rísky. They ask you (with the ball point withdrawn)
to read the thoughts of a buncñ and read the number aloud once
of ping-pong balls, which is again. As this is happening, you
much harder. Here's a contest are tracing the number firmly
that I'ue set up. You 'veprobably on the brown bag just above the
seen contests like this, ajar of carbon and envelope (Figure
jellybeans, and it'syourjob to try 6). Thís transfers the selected
Tl"IE CONJVfUNC ANTl10LOOY JIM .STEINMEYER
nurnbers to the card inside the pour out the [ellybeans into the
bag. lf you prepare the apparatus bag (Figure 8). As you do so,
with four small pencil dots on the cncleavor to have the envelope
bag, these will help you identify spill out near the end, with the
the precise place for this writing. last of the jellybeans. Casually
The "dull" point of the pen flash your hand empty and rea ch
will give the writing a different into the bag after the envelope.
texture, like a thick black pencil. Actually, you pull the duplicate
Pull the index card away from envelope down and away from
the clipboard and hand it to the inside of the bag (Figure 9).
someone nearby to confi rm This leaves the carbon paper
7.
the number. Put the clipboard behind. Show the envelope
down as you pickup the jar and between your fingertips as you
carry it forward (Figure 7). All step towards the audience. Rip
that remains is to count the open one side of the envelope,
jelly beans and see how close the end with the slit, and hand
we've come, you smile, looking the envelope to a spectator. He
for volunteers. O/ course, if you or she is free to remove the card
trust me, then I'ü letyou in on a and verify that the number is, in
ltttle secret. I'ue already counted fact, 4,672.
and there are 4, 672 jellybeans
in this jar. I can prove it. Look!
Slowly turn the jar revealing
the envelope. Shake it gently
so that the audience is assured
that the envelope is really sealed
inside the glass. As you set the
jar down slide the bag out from
8. the clipboard and open it, being
careful not to reveal the envelope
inside. The bag is set upright on
the table (or on a chaír) as you
píck up the jar again. I made a
note of the nurnber on a little
card and sealed it in the jar,
alongside the 4,672 jelly beans.
Unscrew the lid and slowly
Tl1E CONJVRINC ANTrlOLOCY JIM STEINMEYER
~~~~~~~~~-1-
ha n din g her the diary. The leaf
5· MAKING TIME is placed into a folding double
frame that has rwo rnirrored
T his routine was a favorite of readers, and I suspect that the

slightly poetíc nature of the effect was responsible for its
appeal. MakingTime appeared in the September 1992 issue.
surfaces, and it is held in front
of the eyes of the spectator.
She imagines time moving
Time has always seemed, to me, to be a good subject backwards, one mínute's worth.
for conjuring. lt is genuinely mysterious, has a perplexing tie The frame is shown empty and
to science (Albert Einstein) as well as fancasy (H.G. Wells).
the leaf is discovered back in
But unlike magíc with silk handkerchiefs, rnagíc with time the diary ... one minute ago the
does not particularly evoke any images, except perhaps a speU had not begun and the leaf
dock or hourglass, both poor surrogates. It is mysterious but was still inside the book. Since
ephemeral. Previous time routines, whích endeavor to "set the spell proves successful the
back the clock," looked to convenient magic props to represent magician tries to repeat it. This
time: a cut rope, writing on a slate. In this way, almost any trick time he has the spectator stare
could be a trick with time, if the magician so ch ose to represent at the leaf and imagine a year
it that way. But the real chann of a trick with time should be in passing. Now the leaf is revealed
what it <loes for the spectators. The magícían manages to erase to be fresh and green, not red. As
a period of time from their lives. They leave a few minutes (or further proof that ayear has been
more) younger than when they arrived. Of course, no one may erased, the diary is taken from
believe it, but chis is the obvious, appealing notion for such a the spectator and shown. Every
presentation. Making Time uses variations on standard props, page is blank. Every word has yet
but both are objects that symbolize the passage of time-a leaf to be written.
from a cree and a diary-and are "accidentally" involved in che The diary, no magician will
presentation. Notice that the presentatíon is simply a spell, and be surprised to learn, is a flip
is never about doing somethíng to an object, but about casting book (Figure 1). You can use
a spelJ for one spectator. In che process, the magic happens a real diary or, even better, a
with objects used in che spelJ, effective proof that time has hardbound sketchbook for
elapsed and the spell has succeeded. artísts. Mine is large, with pages
The magícían explains that he has been collecting a about 8-1/2 by 11 of nice thíck,
book of spells and charms, an entíre year's worth, contributed opaque, drawing paper. Before
by people interested in magic. He flips through a diary filled going to work on it, experiment
with handwritten spells and recipes. The most interesting one, with different color inks to
he says, is a formula for making time. It involves looking at the insure that the writing will not
flame red leaf of an Abyssinian Oak, and it just so happens that show through the pages. Blue
he has one ofthose leaves. So toníght he wants to try che spell. ink, from a fine felt-tipped peo,
He asks a spectator to assíst, sitting her in a chair on stage and seems to be bese. Using a straight
TME CONJVRING ANTl10LOGY JIM .STEINMEYER
------~>
edge, an artist's knife and a cloth buckrarn leaves from a hobby shop, and the dimensions
strip of cardboard backing, cut are roughly 4-3/4 ínches from stem to tip by 2-3/4 inches.
down every altérnate page 1/4 Despite calling them oak leaves, 1 notice that che package is
inch on the long edge, just like labeled "Poínsettía Leaves," so I'm sure that l'm showing a
a Svengali Deck. When you flip certain horticultural ignorance. These leaves are generally too
through it front to back you'll dark, so 1 painted one a lighter, brighter green on one side. The
expose a dífferent set of pages other side is sprayed with red ( or red orange) paint. The second
2. than those that your thumb leaf is painted red on both sides. The third leaf is also painted
will contact from back to front: red on one side, as only one síde is seen during the routine.
just like the Svengali Deck or Finally, the leaf that is half red and half green has about an inch
Magic Coloring Book. Over a anda half of bJack thread sewn to the stern end (Figure 3). This
couple leisurely nights, fill in the leaf is slipped into the pocket in the back cover of the book, so
appropriace pages (every other that the thread emerges and can easily be grabbed to pull it out.
rwo-page spread) with assorted When this leaf is pulled from the book, the red side should be
formulas, diagrarns and spells. showing.
It is important the book looks The first leaf, the red one, is placed into che book, like a
filled wíth writing, but not that bookrnark, berween cwo of the written pages. The third red leaf
the writing carries any particular will be used to prepare the frame. Note that all of these coul<l
message, so don 't worry abouc be cut from heavy paper, whích would work very nicely.
3. auchenticity. On one page near Finally, there's a piccure frame (Figure 4), which
che back of the book you'll need accomplishes a lot of che trick. These are folding picture
to write in the formula for time, frames, che sort available at art supply or dime seores. Mine are
which you'll read during the a particularly inexpensive kind, made of cheap metal and brass
presentation. Give this page a placed. The frames are 3-1/2 by 5, but a slightly larger size could
distinctive mark so that you can work as well. The backs of the frames are thick cardboarcl,
find it easily as you flip through which slides up to accept a pícture. Each compartment of che
the book. The book has a bit more frame is prepared with a sheet of mirrored mylar or acetate
4. inside, to look like a mirrored surface. This can be glued
preparation (Figure 2). Inside che
back cover a sheet of matching directly to the cardboard backing. In addition, one half of che
paper is glued on the end sheet frame is prepared. I'll call the halves, "compartment one" and
(the paper scuck to the inside of "compartment two." It doesn't really matter which is on che
the cover) to fonn a small pocket, right and left, as the frame is symmetrical. Compartment one
abouc 3 by 5 inches, which opens has another sheet of mirrored mylar stuck to the back of che
up towards the top of che book. front glass. In otherwords, anything placed into chis pare of the
As you'll see, one of the leaves is frame, when che back is closed, will seem to disappear as it is
5. concealed in this pocket. Now hiding behind a duplicare piece of mirror. Cornpartrnent two
the leaves: There are three. I use is nor faked.
Tl"IE CONJVRINO ANTMOLOOY JIM .STEINMEYER
35
You'Ilalso need a flap that works between these frarnes, like Oak. Gaze upon the red of the
a set of flap slates (Figure 5). The drawing shows both sides of oak while looking deep wíthin
the flap. Mine is a thin píece of cardboard, and it drops loosely your own eyes. Reverse your
into the frame in front of the glass. On both sides of chis flap, thoughts. Imagine the time
glue píeces of mírrored plastic. Then, on one side of the flap, passing, in reverse. Imagine
glue the third leaf so that the red side shows. Over this tape a until you can imagine perfectly.
piece of clear acetate or thin vinyl to simulate the front glass. By the enchantment of the oak, 6
The result is a thin flap with sides that show a plain mirror and whích must be flame red, the
time will be reuersed and giuen
a mirror with a red leaf in front of it. I've found that, to make
this flap work easily between the frames, you must use strips back to you. This lady insísted
r
of'transparent tape to seal the cracks berween the metal frames that the spell works perf ectty,
and the front glass, as in Figure 6. Otherwise, the flap tends to and to proue it, she gave me
slide down into these cracks and lock in place, refusing to drop this! Flip to the back of the book
from one side to the other. Prepare the frame by placing the and remove the red leaf. This is
flap in front of compartment one, with the plain mirror side the Abysstnian Oak, so tonight,
facing out. 1 thought I'd try it. And I'd like
The presentation explains how the various articles are someone to help me. Select a
handled: A funny thing about betng a magician is that lady from the audience and ask
almost everyone knows a rnagic speü or a charm of sorne her to take a seat on stage. Have 7.
kínd, something that's been handed down from generation her hold the book berween her
to generation. I'm not sure whether 1 believe in any of that, rwo hands as you pick up the
but I'ue heard so many of these speüs that J dectded, tast year, small folding frame. O/ course, 1
to keep track of them. Por the tast 12 months I'ue sought out haue no idea uihat much of the
the secretformulasfor turn ing lead into gold or getting rid of speü actually means, but I'ue
uiarts by spinntng around three times. There's a lot ofthem! gtueri it some thought. I'm gotng
Píck up the book and tlip through it to show the text. Show to put this lea/ inside a glass
each page is filled with handwritten notes. That's just one frame. It's pretty deltcate and
year's worth. Imagine if 1 werea real untch. I'm not quite sure it's the only lea/ I'ue got. Slide
how I'd learn ali of this. Thus, the book is shown fiUed wíth the leaf ínto cornpartment one
writing by making the point of how much material has been (Figure 7), then hínge the frames
offe red to yo u. I'd like to try a lot of these, but 's auifully hard
ü open, holding the flap in place so
today to get a pint of aquafortis or the bones of a small bat. that the green leaf is showíng on
The most interesttngformula I'uef ound was giuen to me by the flap. There is a discrepancy
an old Russian lady who tnsisted that she knew sorne rnagic. here. The leaf is placed into
Listen to this: Locate the page with the formula, near the back compartment one but, when
of the book. A Formula for Making Time. The ctock can the frames are opened, the flap
turn back througñ the enchantrnent of the red Abyssinian makes it appear in cornpartrnent
36 __ TME CONJVRINO ANTtlOLOOY JIM STEINMEYER
)7
rwo. However, this shouldn't be noticed since both sides of you tuouldn 'l belieue me if I told you that you look one year
the frame are symmetricaJ. On one side is a mirror, and on the younger? Well, you really do, and I can prove it. Turn the
other side is the leaf This way you can look into your own frarne towards the spectator, then the audience, showing the
eyes while lookingat the leaf Let's gioe ita try. green leaf. Jt 'sjustas if the pretnous year hasn 't existed at ali.
Pick up the book, paging through it again to check the Take a look. Close the frarne, putting it under your armas you
formula one last time. Be sure, in the process, that the audience reach for the book. Flip through ít, showing each of the pages
sees the pages ofwriting. Hand the book back to the spectator to be blank.
(Figure 8). Look into your own eyes, and now at the red of the I originally described chis trick using a small cheap folding
leaf. Good. Closeyour eyes. After she does this, casually move
trame, but the quality of this frame can make the apparatus
the frame away from her and close ít, allowing the flap to fall to easier or more difficult to use-that was why I was making
the other side. I wantyou topicturea clock. Tellme when you adjustments with the clear tape. The trick would work even
can see it in your imagtnation. Wait for her to say that she sees better wíth a larger set of frames, about 5 by 7 inches, and a
it. Picture the second hand moving backwards,slowly, until correspondingly larger leaf. For a prop this size, you may need
it moves back one revolution. One entire minute. Do you to use thick aceta te or thin sheet plastic to construct the flap, so
have it?Good, open your eyes. Doyou feel a minute younger? that it lays flat like a píece of glass.
Ido. You are a minute younger. I can proue it. Open the
frame, showíng both sídes empty (rnirror surfaces). The lea/
is gone. That's because a minute ago, we hadn't started the
speü. Fold the frame and place it under your arm. Pick up the
book, holding the top edge towards you. Pluck the thread out
from the back cover until you can grab the stern of the leaf and
withdraw it. Be careful not to ex pose the green side of the leaf.
]ust like it was a minute ago, still in the book.
Flip casually through the book, showing the writing,
before handing it back to her. 1f you don 't rnind, we'll try
that again. You wouldn 't mind getting a bit younger, would
you? The lea/ goes inside theframe .... This time, slide it into
compartment two, red side up (which will put the green side
against the glass), and open the frarne, holding the flap so that
the red leaf shows, on the flap, against compartment rwo. Take
a look at the lea/ and close your eyes. This time I want you
topicture a calendar.I want you toput back one page of the
calendar, one entire month. Díd you do that? That was easy.
Let's try it again. One more month. Inf act, I want you to put
back 11 months. Erase an entire year. Meanwhile you have
closed the frame and transferred the flap to the opposite side.
Open it, peering inside. The lea/is stíll here.... But I suppose
38 TME e o N J V n 1 NG A NTM o Lo G y JIM ___________
STEINMEYER )~
ed byyourperformance in that last üJusion!Hegestures out beyond
6. CIGARS SALA BIM
o:
the footlights. Do you thínk so? Miss Miller asks. She suddenly takes
interest in the package as he reveals a small box with a hinged lid. Peer-
the years I've had the privilege to work with a number of ing over his shoulder they peek inside. His face lights up, hers registers
really great performers, and have been struck with how great disappointment. / think those aren 'tforme!she says. Dante turns the
performers always bring something new to a routine: a different twist, box towards the audience revealing a box full of long, beautiful cígars.
a fresh approach of movement orattitude. The trick becomes a natural We/4these aren 'tjustany cigars! These are magiccigarsyoucan ap-
pan oftheirperfonnance, and they involve their personality in every prectate that: Very hard to come by these days. Watch ami JU show
phase of the presentation. As for bad petfonners ... well, they don't. you tohat I mean. Maestro .... The orchestra strikes up a waltz, the
Stíll, certain tricks seem just ríght for certain performers. The routine Grand Waltz from Orpheus; Dante selects a cigar and hands the box
seems to "write itself' in their hands, and becomes better by the very back to Moi Yo.
suggestion that it is a pan ofhis or her show. I've hada few regrets, that Louie, in his bellboy uniform, brings on a small table with a brandy
certain performers have never perfonned certain of my routines. Self.. snifter on a saucer, then quickly steps back into the wings, Dante picks
íshly, I'd like to have seen the results. up the snifter, showing it empty, positions the saucer over the mouth
So, l'rn going to take this opportunity to describe my historicaJ and covers it ali with his pocket handkerchief. Then he lights the cigar.
presentatíon, indulging in my interest in the old masters. Cigars Sala He blows out the match, which changes into a red rose that is pre-
Bim is a routine that I've always wantedto offer Dante, a small routine sented to Moi Yo. He takes severa! long draughts on the cigar, but sud-
for his elaborare mystery revíew. Of course, r m fully fiftyyears too late, denly eyes it suspiciously. He puífs, but doesn 'r manage to draw any
and the great man passed on years before Iwas bom. Dance, perforce, smoke. The waltz stops. Funny thing. I'm stiüsmoking, but the cigar
won't be performíng it, so sorne of you might want to consider it. Be isn 't: lf 1ueren 't in the know I'd think its a lousy cigar; but 1 know
warned, it requíres a strong personalicy, a twinkle in the eye, anda that something's up ... they're magic cigars: The oniy question 'is ...
charmíng (and today justa bit anachronistic) relationship between the he winks at Moi Yo, where 'is the smoke?He strides over to the table,
magician and his assistant. lt is of the old school. It needs every inch the uncovers the snifter revealing that it is filled with dense white smoke.
grand manner. lt makes me nostalgic for a show 1 never saw. This rou- He lifts the saucer and the srnoke c.lisperses from the glass. Chord. Not
tine appeared inMAGICMagaztne inOccober 1992. a bad little trick, 'is it? he asks Moi Yo. No, she shrugs. The cigar was
From the proper perspective: Dante has just completed the Saw- fine, but to be honest I'preferredthe-partuntn the rose. She smiles and
ing illusion and steps forward as the curtains sweep closed. Far our contemplates the rose bud. Youshouldhaoesatdso at the begtnnmg,
next mystery, toe take a littlejourney to the Far East: You can stay Dante responds.
in your seats. We do ali the hard UXJrk uf) here. I had a chance to He picks up the cigar box, opens it over her tray, and out spill doz-
go through the Far Bast severa/years ago when. . . . Moi Yo Miller, ens of delicate rose buds. Otherwise the box is empty. Tag, the final
elegant as always, steps out from the wíngs, a small wrapped package bars of the waltz and Moi Yo steps off stage, bearing her prize, a lovely
on a tray. Excuse me, Mr. Dante, she interrupts. Thispackagejustar- floral tribute.
rioedforyoubacestage. Ltnougtüümigh: be importan: He picks up I'll explain ali the details but suspect that I needn't bother. The
the box and eyes it, turníng ít over in his hands before he begins totear smoke trick has been fearured inmany acts, anda full description can
open the brown paper, be found in lippy'sModern Chernical Magic. The snifter has been
How doyou know trsforme? he asks. After aIJ, tt might be far prepared with a few drops of a solution of hydrochloric (muriatic)
you: Perhaps you haoe asecret admirerout there who was captioat- acid. The saucer has a circle of blotter paper glued to the bottom, and
--
TtH CONJVRINO ANTMOLOGY
-- -- ~~~--~--'-41
J 1 M ST E 1 NME YE R
this is prepared with a few by 4 inches dccp. Therc is a
o
drops of ammonia (Figure hingcd lid on each side, and
~ l).Whenthetwoareplaced a parntion inside three quar-
in contact, the bottomof the tcrs of an inch deep (Figure
J. sauceratop the mouth of the 4). Cigars are glued onto
snifter, the combined fwnes thís partition, with an open
form a dense white smoke. space for a single cigar to be
This is concealed under the inserted, Underneath chis 5.
...... ""':.·'~'·"'~'"" ...... handkerchief (Figure 2) un- single cigar the partition is
.: .
'
1 !
til the climax of the trick. As painted brown, with a cigar
2. ..... , r: .: always, thechemicalsaredif- band, to suggest a second
:::...... <.... _ ficulc to h.andJe and should layer of cigars (Figure 5). Of
be used only with caution. course, because of the two
The resultant "smoke" is lids, the box can either ap-
dangerous to breathe and pear full of cígars or, by turn-
should only be used in well ing it over, empty. Thís emp-
ventilatedáreas. ry partition is filledwith small
3. The match to flower silk rosebuds and, packed
trick is called Match to between them, 20 or 30 all
Aower, an íngeníous spring green tissue spring ñowers,
gimmick (Figure 3) invented When the box isopened and
by I..aurie Ireland and sup- che roses spill out, the green
plied by Magíc lnc. Twenty spring fiowers look like foli- 6.
years ago everyone, ac sorne age, íncreasíng che volume
point in the act, rumed a of the box by severa! times.
match ínto a flower. ln re- Notice that the green spring
cent years 1 doubc if I've ever flowers are used to supply
seen it done. That's too bad, "quantíty," but acrual red
because it is a perfect little roses supply the aesthetic of
moment. For the sake of this "quality." The idea of green
4. routine the usual carnation spring tlowers is not mine
has been replaced with a silk bue Devant's, anda fine idea
t rosebud.
The cigar box is special-
ly constructed of thin wood
it is. If you're careful with
a can of green spray paint,
líght colored flowers can be
or cardboard. The box is painted. It requíres patience.
about 8 inches by 12 inches Be sure to apply che paint
2 TME CONJVRINC P..NTMOLOGY JIM .STt:INMEYER
-'-----
with several fine layers, and don't compress the tlower until the paint
iscompletelychy.
This tricky cigar box could be supplied with various catches to
7. l1ELD VP
hold the lids closed, but it's hardly necessary. During the process of un-
wrappíng it can always be held dosed. Similarly, in Moi Yo's hands, the
box can be held securely. The single rose is placed in her hair, leaving
I used to think that the Hold-Up plot originated with Oswald
Rae, but several years ago, when I included this trick in a
lecture, the late Sid Lorraine corrected me, pointing out that
her hands free; she is responsible for the only difficultmove during the Rae performed the trick but that Oswald Williams carne up
routine. As Dante begins the cigar trick (Figure 6), she has the perfect with it. While it doesn't seem líke an Oswald Williams trick, 1
misdirection to step out of the spotlíght as she tums her attention to am sure that Sid would have known. He also told me that he
him. She separares the box from the tray. The box is held at her side in did a version for a while. I was aware of it from Alan Shaxon's
herupstage hand, the tray in the down stage hand. Dante mimes draw- wonderful little book and, being from Chicago, 1 had seen Don
ing on the cigar, and the smoke seems to disappear. As he reveals the Alan do a version of it for years (his was mostly for laughs, but
smoke in the glass (Figure 7), Moi Yo places the box back on the tray effective just the same). Tommy Wonder has published his own
version, a wonderful routíne that every reader should study.
(reversíng it in the process) and takes several steps to meet the magí-
The trick was about "small:" Rae and Shaxon used a finger
cian centerstage. She keeps herthumbs atop the box untíl Dante takes
ringas one of the elements in the trick. For a long while I wanted
it offthe tray for the finale, revealing the fiowers inside (Figure 8).
to make it bigger, with a surprise at the finish. The reappearing
"Sim Sala Birn!" I'm sorry that I never hada chance to hear Dante flower was che idea, but 1 didn't have a neat solution until,
say those magic words, but I have seen Miss Miller, beautiful andel- under the gun, 1 had to make a color-changing flower for a
eganr as always, accept the applause of the audience by describing that televísíon show. They wanted the star to cake his boutonniere,
characterísoc are in the airwith her hands. pass it through his hand and change its color. Because nothing
Those rnust have been the days. so ordinary as a feather flower would pass muster in a close-up,
1 started playing around with a spring flower-not that your
average spring flower could have endured a close-up.
1 took a spring flower and gutted it, ripping out the colored
8. tissue and then spray painting the surrounding leaf, inside and
outside, dark green. 1 replaced the inside flower with a silk
flower, a yellow jonquil which was especially delicate looking.
7. This flower didn't make a very practica! spring flower, but it
did make a pretty one. If it was packed carefully, folding in the
silk flower and tucking it into the green leaves, it would spring
open and look perfect.
1 took a small red silk camation and sewed a paper clip to
the back of it. The idea was the camation was clipped to the
front of the spríng jonquil, holding it closed. If the performer
r
passed the flower through his hand, strippíng away the red
camation, it seemed to change into the yellow jonquil.
So here is how that found íts way into the Hold-Up Trick,
erdnasemagicstore.com published in Conjuring in November 1992. Pírst, the effect.

TME CONJVRING ANTMOIOGY JIM STEINMEYt:R
45
lt makes a perfect opening. inside. Thc one l used was,
The performer explains how, according to the tag, an azalea,
on the way to the show, he was bur any srnall flower that is not
held up by a man with a gun. too thick will work. The outside
Demonstrating the robbery, he of the spring flower should look
pulls his handkerchief from his dark and leaf-like. 1 glued a small
pocket, folding it in quarters to lcaf onto the larger one to further
form an improvised bag. Pulling enhance this effect (Figure 1).
up his sleeve, che performer On the back of the flower, tape
removes his watch, dropping a safety pin. This is how it is
it into che handkerchief. He secured to the lapel.
then opens his coat, revealing a The release consisted of a
stack of bilis and money clip in length of black sewing thread 2.
an inside pocket. These are also and a small paper clip painted
placed ínto the handkerchief. black. The thread was tied to
Fina Uy, according to che story, che clip and then sewn through
the robber asked for the flower the lapel about an inch above
on the performer's lapel. The the top edge of the flower. The
flower is removed and placed thread passed behind the lapel
into the handkerchíef. and was then tied to the fabric
The handkerchief is then at the bottom edge of the lapel
flipped open and ali of the íterns (Figure 2). So, here was the trick:
are gone. ]ust in time, too, or I the paper clip was used to hold
uiouldn 't haue made it f or the the spring tlower closed at the
show, the performer says, pulling top edge. By putting my thumb
up his sleeve. There is the watch at the bottom of the lapel, it was
back on his arm. He opens che possible to give a lirtle pulJ on 3.
coat, revealíng the stack of bills. the thread (Figure 3), lifting the
As the coat is closed agaín, the paperclip off the spring flower
flower is seen back on the lapel. and allowing it to pop open.
Lec me begin with the flower, le was, l flatter myself to say,
since you can see it all corníng, absolutely "Bongolian."
Take a spring flower, preferably You'll need a duplicate silk
one with a leaf of stíff paper or flower with another small paper
vinyl, and tear out the tissue clip sewed to the back (Figure 4).
l. tlower. Color the inside green This is clipped around the folded 4.
with a marker or spray paint. spring flower at the start, so that
Using glue or double-stick tape, it could be pulled off easily and
carefully fit a small silk tlower dropped into the handkerchief.
46 o N J V R 1 No A N T no Lo o y
T_11_r:_c
----
JIM ~TEINMEYER 47
So, when che boutonniere is on a black loop of 3/4-inch wide
removed, one dark leaf of ic elasuc, just a síze to fit snugly
remains on the lapel, and this is on your wrist. The other is on a
the disguísed spring flower that matching band, of black elastíc
6.
can open again to reproduce the or webbing, which opens with a
flower. Velero tab. Hence, the first watch
Now a little bit about the starts hígh on your arm, nearyour
Devil's Handkerchief. One sign elbow, so that when you pull up
that magic has gone to the dogs your sleeve it can't be seen. The
is an ínabilíty to buy a decenc other watch can be removed and
Devil's Handkerchief. Years ago dropped ínto the hank.
I had a wonderful Devil's Hank As the sleeve was pulled
and it was a spectacular prop. lt down, I grabbed the elastic band
was not made, as so many dealers of the duplicate watch with a
like to make them toda y, with ñngertip, sliding it down the 7.
rwo handkerchiefs and a stitched wrist along with che coat sleeve
pocket in berween. It was made (Figure 6).
with three handkerchiefs. One, Finally, che stack of bills. I
in the center, was folded and used a píece of 1/4-inch thick
sewn into the pocket. Then two soft foarn, with bills stuck to
more were sewn together at the either side anda "money clip" of
edges around this handkerchief, silver adhesive tape (Figure 7).
leaving half of one side open to The goal was to keep che stack
the pocket (Figure 5). light, so it wouldn 't pull at the
The result does not buíge, Oevil's Hank. You'Il also need
but remains smooth and appears, a duplícate stack, ímmedíately 8.
at every moment, like a real behínd the fírst in the inside coat
handkerchief. 1 refer yo u to pocket. The pocket might need to
Eric Lewis who, in his Trilogy, be pinned so that about one-third
makes the same point and is even of the bills are visible sticking out
5. more adamant about the proper the top of the pocket.
construction. During the routine, the watch
Sínce you 'll need to have one is removed, placing it in the
made for chis trick, do it with pocket of the Devil's Hank (and
three níce heavy sllk pocket pulling che duplicare watch ínto
squares. There are rwo watches. place). The left side of the coat is
They could be real watches, but opened, pointing out the stack of
they can also easily be dummies, bilis in che pocket (Figure 8). As
cut from discs of plastíc. One is the ríght hand reached up and
HIE CONJVRING ANTt10LOGY JIM STEINMEYER 49
started to remove the bilis, the way to en tertain a u/onderful, kínd, perceptioe audience who
coat was closed, thus concealíng was ready to applaud my euery movement, but he was most
the second stack behind it. insisten t. Good at hisjob, you might say. I'rn aliforcharity. So
The bills are dropped into I thought I'd wrap upa few trínketsf or hirn.
the hank, foUowed by the silk I offered my watch, gold case, quartz mouement, 27
flower. The watch was revealed jeu/els. Worth about $35 ata respectablepawn shop=at least
back in place, and the left side it was last time I had to buy it back. Anyway, he was such an
of the coat was opened, showíng interesting character, so surprisingly expressive with a few
the bills. As this happened, the grunts and growls, that J thought I'd throw in anything else I
left thumb pulls on the thread at could think of like ali my money-mostly ones and .fives.
the edge of the lapel. When the He pointed to the flower and I was only too happy to
coat is closed, the flower is seen include itas parto/ my o/fer. Sometimes afloral offering does
back in place (Figure 9). This so much for the spirits.
should be subtly done, without As he ran off wíth the bundle 1 hada funny feeling about
fanfare, at the conclusion. Let the the whole thing. Then it daumed on me, hef orgot to giue me a
audience see the flower without receipt. Wel4 you can 'tfoolme-I'm a rnagician.
making a great fuss over it. No one ever thinks that this sort o/ thing happens to
Here is the patter, which magtcians, but it does. Wejust know what to do about it ....
suggests aU of the action: Every Portunatelyf or me I still made it here on time (showing
job has occupational hazards, the watch), and the whole aduenture didn 't cost me anythtng
even being a magtcian. Often (showing the money, which allows you to close your jacket
peopte think I haue it easy, revealing the flower). I might haue been wrong about the
being able to work rniracles, but donation, but o/ course I toas right about the uionderful,
I assure you that there 's a tot o/ kind, perceptiue audience. So glad you 're ali here tonight.
pressure ínvolved. Por instance, After many Conjuring columns, 1 must admit that this
9. I was almost late getting here. version of the Hold-up Trick is still one of my favorites. The
A very níce gentleman ín a magíc is simple and dírect, but every step allows you to connect
striped shirt and a ski mask with the audience and establish your personality. Technically,
stopped me about a block over the whole thing can be performed standing at a microphone,
in that dtrection and asked without the use of a table. It is a useful, practícal, cornmercíal
if I wouldn 't like to make a bit of conjuring that not only establishes a níce sense of humor,
donation for a worthy cause. but fulfills everyone's idea of what a rnagician should be able to
It had something to do with his
accornplish.
gun. To me the gun looked just
fine. I didn 't quite understand
the problem, but he assured me
that he needed a donation just
thesame.
I told hím that I was on my
THE CONJVRING ANTMOLOGY JIM STEINMEYER 51
5º
Enrerprise was pubJished in
B. Tl1E TASSEL January of 1993.
A friend recently returned
Of ABUNDANT ENTERPRISE from [apan and bought me a
uery expensiue gift. At least,
B ack in the days when performed, must confess, didn
1 I
much like new material. dreaded putting new tricks into
I
I 't she told me that ít was a uery
expensiue gift. They certainly
the act and relied instead on standard effects that I had slowly went to enough trouble to
tailored to my own abilities. 1 had routínes for many tricks, but urrap it. You'd think that, as the
the líst of them wouldn't sound inspirational today: The Egg shining stars o/ free enterprise,
Bag, Cards Across, Cards Up the Sleeve ... et cerera, I finished they'd have better things to
wíth (get ready for thís) the Linking Rings. do. The magician shows a long
For ali my devotion to the classics, there were always thin box (maybe the size to
certain tricks that didn't work forme. The Chinese Sticks for hold a long, folding paper fan),
example. I had a very nice set of sticks that never did quite go which is covered in beautiful
into a show. In retrospect I'm not sure why, but I never was japanese paper and wrapped
happy with a routine and 1 never felt that 1 cracked the essence with strings and tassels. As he
of the trick.Jay Marshall, as always, had amazing points to make speaks he is unwinding the three
about a "proper" set of sticks, including the right kind of beads stríngs whích seem to hold the
to gíve a good sharp click as the tassels shot up. box together. There's a specific
1 often thought that the more recent, Louis Histed-inspired ceremony in just the torapping.
Porn-Pon stick was a better trick because it more effectively got Por example, you can tell that
at the silliness of the Chínese Sticks that, often, is the root of this gift was giuen to me by
the routine. I'm nor sure why, but the suggestíon of various, someone who líkes me uery
illogicaí connections between the strings strikes audiences as much, because it's been uirapped
funny. The sucker aspect of the Chínese Sticks, never terribly with three tassels. By now the
strong to begín with (could any audience really be so stupid tassels have been unwound and
as to think that the sticks areri't attached in back?) tended are hanging from the horizontal
to muddy the whole thing. Notice that the Pom-Pons don 't box. One is short, one long,
start as a sucker trick but intrigues with the movement of the and the one in the míddle is of
tassels. After the audience becomes fascínated with the idea a Iength ín-berween (Figure 1).
of connections, the performer shows that there aren 't any. He holds the box horizontally
The routine naturally follows the audience's attention-a fine near his right shoulder. The first
construction, even in this silly little visual effect. tassel is a short one. That means
With these thoughts in mind, here is another version of that 1 am wished feto. . . well,
the fabled tassel and string trick that started with the Pillars of according to the translations, it
Solomon and will survive, for mysteríous reasons, as long as means 'compromises.' So 1 am
there are magicians to "pulí on the short one." I've included supposed to have a life filled
three tassels. Not because more is better, but because it with uery few compromises.
introduced sorne interesting effects. The Tassel of Abundant
TNE CONJVRINO ANTt10LOOY JIM STEINMEYER
The second tasset, In the one gets short.

middte, represents 'surprise.' Of Suiting the action to words, he puUs on the short tassel and
course, it's boring tf itfe offers it gradually becomes long. On the opposite side of the box
no surprise, but too rnany the long one becomes short. A miserable existence, and a
surprises can be unpleasant. life you wouldn 't wísh on a dog. Remember, emphasize the
So thts is just the rtght amount. enterprise, rnínímíze the compromise. It looks something líke
,..-:::;.~==~===:=: : :;~ And the last tassel represents this. The perfect balance and the perfect wish.
He pulls on the tassels agaín, restoríng them to their original
'eruerprise.' Anyway, that's
how it's translated. You know, positions. O/ course, this is the ideal, but this is more like real
2. good f ortune in business. So 1 life. He pulls on the tassels again, the long becomes short, and
am wished great good fortune. vice versa. Some of us haue to su/fer wíth this. l suppose thts is
You'll notice that the whole how tife would look to Rodney Dangerfield or Rodney King.
thlng ts in balance ... one short, On the other hand, he says, pulling on the tassels to reverse
one medium. and one long. them agaín, 1 don 't think that anyone ever leads a perfect
He pulls on the bead above life like this outside of Donald Trump or Donald Duck. It's
the long tassel, showing that it a f antasy exístence. A nice wish but totally impractical: He
runs straíght through the box. l slowly pulls on the short tassel, stopping when it is equal to the
couldn 't uiatt to see uihat was long tassel.
inside .... The magician opens At this point they are ali the same length. Here's a rea/ístic
the box, revealing nothíng inside approach. Sorne compromise. Some enterprise. Sorne
(Figure 2). Just the three cords surprise. All in ali pretty much of a yaum, but lots of 'potenttal.
which pass through the sides There 's only one problem. lf this littte box seems as confusing
of the box. Nothing. My frtend to you as it does to me, tnen we have a big surprise that J can
explained that the torapping move the tassels líke that. He pulls on the middle tassel and
was so expensiue that she it becomes long. Go figure. 1wouldn 't be trying to make so
3. much sense of this if l had only gotten something out of it!
couldn 't afford the gift. Anyway,
it's the thought that counts. He He opens the box again, demonstratíng that it is ernpry, and
replaces the lid. Compromtse, pauses for a reaction, releasing the box so that it slides down
surprise, enterprise ... 1 explain the center cord and dangles above the tassel (Figure 3). There it
this as a public seruice. So tf swíngs, balanced on the cord. The performer lifts the box and
you recetoe a gift from [apan replaces the lid. He puUs on one end cord, and it too becomes
and it is torapped like this, you long as the opposite one becomes short. He now has one short
know that it was from a true cord and rwo long ones. He contemplates this for a moment.
frlend. Be careful, however, This thíng seems to be able to malee any combination. To
when the cornpromise exceeds get it back to the way it's supposed to be, you need to use a
the enterprise. More misery líttle 'enterprtse.' He pulls on the "enterprise" tassel, which is
than mirth, according to the short. As he does, ali the tassels change simultaneously! As one
becomes long, the center one shrinks to the middle length,
translatton. In that case thís
tassel gets uery long, and that the far one becomes short. The magician contemplares it for
-----º
TNE CONJVIUNG A:NTNOLOGY
54 --
JIM .STEINMEYER
-- --
a mornent, and then inch diarneter, from a craft shop) to be clipped in place at the
wraps the strings around beginning of the routíne (Figure 5). The ring is on the center
the box again-just as he cord. Pay particular attention to how the cords are interlocked
began. at the center. The arrangement is not symmetrical; the center
The little box is a real cord is interlocked with the cord to the left, but not with the
do-it-yourself project, one to che right (Figure 6). This allows for the finish, in which
but as the drawings will one cord "restores" the entire box. The final fake is a cardboard
4. reveal, there is nothing false back that aUows you to open che box and show that the
complicated inside. 1 cords pass straíght through it (Figure 7). Three short lengths
suggest a box about 16 of nylon cord are glued to this fake, and cardboard spacers,
inches in length, 1-1/2 around the perímeter of the back, hold it out from the actual
o
deep and 2 inches wide. back of the box. When the box is finished, this false back is
The end tassels are 1 inch fixed in place.
from the sides. The cords To prepare for the routine, the audience's left tassel is
5. should be smooth nylon, pulled. This brings the other cords to that side, near the hole.
with promínent beads at Allowing the ring to slide near the hole, puU che ring through,
the top and large, heavy clipping it with your fingertip (Figure 5). Make sure that the
[I o
~
tassels at the bottom. The other rwo tassels operate smoothly (you rnust clip only the
f=S
box itself can be made cerner string, with the ring). Then wrap the tassels around the
of illustration board or box, locking the ring in place against the back. The drawing
6. thin wood, but sheets of (Figure 9) shows che center cord pulled ínto position but, for
sryrene would be ideal.
1n:- . ·- --- ----··1:
J ··-··--· ... ·-·-·--·--....
-------·-·------:n1
·--·--·- ·-· .. ·-·-- ;
Notíce that the lid is deep
(but not deep enough to
clarity, the false back with the straight pieces of cord has been
omitted.
The presentation explains the routine. When first
7. ínterfere with the holes unwrapping the tassels, clip the ring against the back for the
for the cords) (Figure first part of the routine; thís shortens the center cord to the
4). The box should be rniddle length. The end cords can be pulled, making one long
finished in a dark color and one short, and vice versa. By stoppíng this action in the
and the lid wrapped in a right spot, each cord becomes equal. When ali three cords are
pretry Japanese paper. che same length, release the ring, íettíng it slide into the box as
The cords are you pull the center cord. This allows it to become long. ln thís
threaded in a specific position, remo ve the cover agaín and lec the box slide down this
8. manner. They are all cord. At che finish by pulling the audience's right cord you will
the same length, but have short-long-long cords. Then, by pulling the cord on the
are interlocked as they left, they restore to long-medíum-short. (Don't worry about
pass through the box. A the ring and the hole in the back during the routine. Once it is
small round hole in the released che effect proceeds without using the ring.)
9. back allows the small
PuJI on the bead above che long tassel, showíng the
metal ring (about 1/2-
connection. Wrap the cords around che box at che finish.
JIM .STEINMEYER
THE CONJVRING ANTHOLOGY 57
t he cards really seem to be squeezed down to size.) These cards
.9· SMALLER ~ SMALLER are squared and squeezed again to a tiny fan. This fan, in turn,
becornes smaller. Finally the cards disappear ali together and
seern merely to be so much dust on the performer's fingertips.
Tricks, like songs and haírcuts and necktíes, fall in and out Since this is an arts-and-crafts job, I'll go through the
1 of favor. That's a lírtle strange, because rnagícians are preparation and include sorne tips along the way. You'll
subconsciously setting their own fashions and Limiting their need four or five poker-sized cards. I'm going to explain the
repertoires. While there míght be a reason why we've stopped preparation with four, whích is easier. Similarly you'll be
doing the Glass Through The Hat (no hats, no níckel-plated able to figure how to use five. I've used Bicycle Cards, but
stands), why have we stopped performing the 20th Century feel that a slightly cheaper card (with a thinner, cardboard
Silks? texture) takes the folds better. For years I used a set made with
Okay, okay ... thank heavens that there is a slow movíng inexpensive cards made by Western Publishing. I think that the
moratoríum on nesting alarm clocks, but why have we given up current Aviator Poker cards are just right (whích recently were
on The Linking Ropes? 1 used to use a set of Diminishing Cards marketed as Tuxedo) or Steamboat cards. Any denomination
at the conclusion of Cards to Pocket, rwo tricks which have cards can be used, but 1 suggest a royal card on the face as the
faUen completely from favor. In ali honesry, they were prerty elaborare pattern helps conceal a fold line.
weU out of sryle when 1 was doing them, so you can appreciate To prepare thern, each card is scored very lightly and
my own sense of fashion and the tumultuous ínfluence I've had neatly with a horizontal line on the back, then folded perfectly
in reviving these classics. into halves. Use a sharp hobby knife. If the scoring is light the
My routine for these card trícks was suggested by the old hínge is perfect. Don't count on doing this with the first four
books; in order to explain how the cards passed up the sleeve, cards you take, because you want cards that are scored to fold
I'd demonstrate by making them progressively smaller. The perfectly (Figure 1). Marking pens ofvarious colors can be used
Dirníníshíng Card set that 1 used, described in Conjuring from to touch up the whíte seam that forms aJong the front of the
February 1993, was of my own design, terribly simple and royal card (spots of red replacíng the red ink, blue replacing the
straightforward, and much easier to use than most of those blue, et cerera),
mechanical monstrosities of nesred, riveted, clipped and Using fine steel wool, you must remove half of the back
trimmed fans. design on each card. With a strip of masking tape, mask off
1 hope that more than a few of you will take up the pen, the seam along the hinge, then steel wool the surface of the
che knife and sticky tape in the interese of magic. Making remainíng half (Figure 2). The ink will come off, leaving a clean
these cards is the job of several hours and caUs for sorne white surface. Don't rub too hard. The abrasion of the steel
artistic touches. The final handling requíres a delicate sense wool dulls the finísh of the card, which makes ita better surface
of manipuJation tbat is quite satisfyíng and belies the notion of to take ink when you draw in the smaller cards. Stack the cards
rnost mechanical tricks. It seems to me a particularly appealing in their predetermined order. In this example, I have a Jack
trick today, when the categories of close-up and stand-upare on the face, then an Ace, a Four, and a Six. These cards will be
being blurred. lt is the perfect trick to perform standing up and drawn onto the erased halves of the cards. Permanent marking
with sorne freedom to move around, just a few feet from the pens are best, and while these should be carefully done they
audience. can be slightly abstract; with each successive reduction the
cards are harder to distinguish and compare. Also, the jack
In effect, a fan of four or five cards is shown, squeezed to
half síze and fanned again. (At this point nothing is stolen away, is the only card which must be complete, the rest need only
t: JIM STEINMEYER
TM CON J V IU NO A N T H O LO O Y 59
be drawn so that the diagonal When this small fan is folded
comer shows when the cards are in halves (along the dotted line)
6 4 and tumed over, it reveaJs an 5.
9 o fanned. Notice that the smalljack
is on the back of the full-sized Six even smaller "fan," appropriately
J. drawn (Figure 6). This ends up
(Figure 3), the Ace is on the Four,
the Four on the Ace, the Six on being one inch by three-quarters 6.
the Iack.
The notion of drawíng the
of an inch. I used pencil lines
when drawing the lines berween
the fanned cards, as the softness
ílm
cards shouldn't scare you off.
of the line suggests a shadow. ~
1 suppose that you could use
photocopy reductions of cards, Returning to the Six, the back
2. carefully pasted in place and card of the fan, a smaU pocket
colored. But if you carefuJly draw is cut from a matching card and 7.
the cards in pencil, then ink them taped in place (Figures 7 and 8).
in, it is easy to do a credíble job. Notice thac this pocket seems
Agaín, don 't be afraid to make the to complete the border, on four
Jack a bit abstraer, with blocks sídes, of the half-sized card. The
of color instead of intricate pocket is secured on three sides
J. patterns. with adhesive tape on the inside.
U- the cards are scacked You can get ínto the pocket by
(Figure 1) then folded together, the wedged-shape cut in one 8.
the result is a set of folded cards side.
nested within each other (Figure To set che trick, the smaU fan
4). I'U explain the handling later. is opened to its largest position
There'sstill sorne preparation ami placed into the pocket on
4. necessary for the other changes. the back ofthe Six.
You'll need one more fake. Mine Fan the cards berween your
is cut from another card which rwo hands by carefully spreading
has been erased blank on the them. Hold the cards in your right
face and on part of the back with hand with your left shoulder to
steel wool (Figure 5). Nortee that the audience. With a fingertip
this is not an actual fan of cards behínd the cards, tensión can be
but is a "trompe l'oeil" fan, like applied to the fold insuring that
the Deland Phantorn Card trick. the cards remain straight and flat
Ir's just one píece of cardboard (Figure 9).
drawn to look líke fanned cards. Square the cards in the right
This fan is about one inch tall and hand (Figure 10). With the left
hand over the face of the packet,
one and one-half ínches wide, at
the widest point. squeeze the packet berween
6o TME CONJVRINO ANTHOLOOY
-=-=------ JIM STEINMEYER
the left fingertips and the heel By separaríng the f ngers, the
of the hand (Figure 11 ). The right fingers making a slight
right fingertips give the packet brushing motíon, it seems as if
a quarter rurn, so that it appears che tiny fan is being opened as it
as if the cards have diminished is revealed.
when the left hand is removed Upon showing the fan in the
(Figure 12). right hand, the left deposits the
13.
These srnall, folded cards packet, in a pocket, a Topit or
9. are now fanned (Figure 4). Hold behind an object on the table.
them in the right hand with the The hands come together again
fold towards the thumb. The and che fake is folded and rumed.
left fingers are on the edges of A similar brushing motion is
the cards and pull the fan open, used to "open" the smallest
JO.
alternately "thurnb counting" to fan. Otherwise your hands are
the next card and then pulling ic empty. Finally, using a pass for
in place. With a little practice it a coin, the tiny fan is transferred
makes a neat fan. With the right from one hand to another and
fingertips over the open part of disappears. By subtly dusting
che pocket, this fan can be rurned off your fingertips, there is
11.
over, showing both sides. a suggestion that the cards
Square che cards loosely diminished to powder.
between your fingers. As you do
so the right thumb contacts the
fake inside the pocket and puUs
it out into che palm. The packet
12. of cards is now held at the top of
che right hand (Figure 13). The
fake, concealed in the hand, is
indicated by the dotted lines.
The left fingers push the packet
down, apparently into the ríght
hand. This is a move called che
Pivot Vanish, in whích the left
fingers push slightly forward,
allowing the packet ro pivot up
and ínto a finger palm in the left
hand. The hands come together
and the fake is revealed, your
shoulders square to the audience.
TNE CONJVRINO ANTNOLOOY JIM .3TEINMEYER
the audience. At the finish, I'Il

10.Tl1E explain a close-up version, closer
to Fleischman's original.
VICARIOVS COCKTAIL The performer begins by
BT AND-UP ~ CLOBE-VP VERBIONB explaining that she has a secret
formula for a wonderful new
T he Vicarious Cocktail appeared in print in March 1993.

Whenever I think about this trick, 1 remernber the
cocktail. It's called the Vícarlous
Cocktail, she says, because
confusion caused by the drawings and the description. My if you drink tt, you won 't get
future wife had gently suggested that 1 was perpetuating drunk. The person you 're wíth
magíc's male-dominated traditions, and thought that I might gets drunk! Clearly there are
find an effectíve trick that a woman could perform. I agreed. So advantages, which is why the
the Vicarious Cocktail was described (in the text and drawings) formula must remain a secret.
with a woman magician-and no further explanation. This A spectator is asked to step on
seems to have addled several readers, who commented on stage and assíst. The magician
the confusíng way I'd drawn the assistant from the audience shows a tall, clear cocktail glass,
handling the apparatus. So now I have a chance to make it all dropping it into an unprepared
ele-ar: For the next few pages, fellas, we'll pretend that a lady paper tube so that the glass is
performs chis trick. covered. 1 generally cover up
A good plot for a trick has an instant appeal for an audience the cocktail with a paper tube
by being understandable, intriguing, slightly mysterious and líke this be/ore 1 demonstrate
logícal in an illogical way. Anda good plot can lead to a number a. Many peopte think that it's
of interesting variatíons. In tbe 79th issue of The ]inx, Sid to preserve the secrets of the
Fleischman described a close-up effect using two paper straws. tngredients. She holds up a
A bit of liquid in one ofthe straws was transported to the other. chromed cocktail shaker and J.
His plot made it spectacular. He called it a Drunken Cocktail, pours in a stream of milky orange
presenting itas if the drink itself had strange qualities: "Should liquid (Figure 1). But actual/y,
you drink it, your neigbbor would feel the inebriating effects!" /'ve found that when you 're
I've called this the Vicarious Cocktail, but the idea is the same. looking at this drink, ti becomes
The following routine takes the same basic plot and enlarges much harder to drink it. That's
it to a stand-up trick, incorporating several different phases. why 1 cover it up! Putting the
(A simpler versión of this trick, explained as a transposition cocktail shaker down, she lifts
of a glass of milk, was described in a set of my lecture notes the glass up and out of the paper
years ago, pointing out che efficiency of the routine and tbe cover. The glass is now full of an
combinations of the apparatus.) The Foo Can Cocktail Shaker opalescent pink/orange liquid
was suggested to me by a routine of Alan Wakeling's; you'll which is not terribly appealing.
notice that it not only fits perfectly in the plot, but has a nice She picks up rwo long cocktail
dramatic handling in conjunction with the spectator from
Tl11: CONJVíllNO ANTMOLOOY JIM STEINMEYER
straws and slides thern into the glass. The glass is covered once those double-walled glasses ---.;:;:::
again and the process is reversed, overturning the glass and that have been produced under
pouring the contents into the shaker with a long thin stream many names and by many
·¡ 2.
u
of liquid. Tbe magician places the shaker atop a plate and asks
the spectator to hold it; she'll demonstrate by showing how the
manufacturers. Tenyo makes a
nice, small glass with a double
i I
drink transfers from one person to another. wall: perfectly suited to beíng a
lf you uiere to drink it, you wouldn 'tfeel the effects at ali. cocktail glass. Abbott's has also
lt would be just as if you had jusi a few drops to drink/ She put a larger glass back on che
steps over to the shaker, holding it high and turning it upside market (Figure 2). The glass has
down over the plate in the spectator's hand. Several drops of rwo concentric walls with a small
liquid fall to the plate. Otherwise the shaker is empry. amount of space ín-berween.
;:;----....;;::
She sets the shaker upside-down on che plate. Lifting the The walls are sealed at the top 1 ..
glass out of the paper cover, which the magician has been and bottorn. There is a small
holding in her hands during chis time, she reveals a ful! glass hole at che center of che bottom,
3.
of liquid! On the other hand, even thougb l had nothing to allowing the liquid into che side
drlnk, 1 would feel the effects of all thts. walls, Another small hole, at the
The magician offers to repeat the demonstration. She top outsíde edge of the glass, is
crumples che paper tube, tossing it away and explaining that an air hole. When the air hole is
chis time the drink will transfer while everyone watches. She sealed with a fingertip che liquid
cautions the spectator to hold the shaker, which is upside- will, alternately, not enter the
down on the place, perfectly still. Holding che glass high in her side walls, or not leave it,
hand, che level of che liquid slowly drops. She puts down the The paper tube is just that.
glass, steps over to the shaker and carefully-very carefuUy- lt merely covers the glass during
presses the plate and shaker together as she takes them from sorne crucial moves. The paper is
the spectator. She tums the two over, separating the place rolled around the glass and taped
and rurns over the shaker. There is the missing drink, which is into a nice cylinder. Notice that
poured back into the glass. che rube, when it is slid tightly
Finally che magician offers one more dernonstratíon, even up around che glass, is of just a
though it is an especially hazardous one. She takes a long sip height so that che air hole can be
from the glass, and then eyes che spectator suspiciously. Do accessed at che top rim (Figure
you still feel ali right? she asks. She waves her hand in front 3). The cocktail shaker has to
of his eyes, as if testing his vision, and carefully escorts hím be made up, as 1 don't believe
ínto the audience again, explaíníng that if, in a few minutes, anyone offers chis on che market.
he begíns to feel funny, someone will be happy to serve as a The goal is to íncrease the
designated driver. contents of the Foo Can so that
I've already explained that che cocktail shaker is a Foo it can almost handJe the contents
Can. The glass, if you haven't already suspected, is one of of the glass. For this reason the
66 TNE CONJVRINO ANTNOLOOY
--- JIM .STEINMEYER 67
fake is not just a straight píece of walls within a few seconds, and
metal but a bent piece, as in the you can remove the glass from
drawing (Figure 4). lf the fake is the tube to show chis. The straws
4. : · .. .. ··
1 ~:
1
• , •
cut from brass it can be soldered are placed inside and the glass
1 into the stainless shaker. Bue retumed to the tube again. In
1 1
1
using brass or aluminum, it can pouríng out the drink che first
1 also be fixed in place using a deception takes place. Keepíng 5.
1
couple layers of silicone cauJk your fingertip or chumb over the
for sealing sinks and bathtubs. In
aír hole (and holding che straws
order to arríve ac the shape, start in place), the glass is tipped over
wíth sorne thin cardboard. Adjust and che contents retumed to the
che cardboard, trinuning it with shaker (Figure 5). But the liquid
scissors, until it fits perfectly. in the walls of the glass will be
Then use chis as a pattern to cut retaíned: only the interior liquid
and shape che metal. will be returned to the shaker.
You'll also need a small plate, Place the shaker on che place
a couple of straws (which are and ask che spectator to hold it.
strictly for eff ect and gíve you Notice that the shaker is held
a reason to keep your fi ngers so that che top edge is above rus
at the top of the glass duríng eye-líne, discouraging him from
sorne of the operations), and the looking inside (Figure 6). During
drínk in question. Using a little ali of this, che glass is held within
mílk, water and food coloring, the paper tube, and the aír hole is
you should be able to arrive ac sealed with your fingertip.
che proper mixture to suggest For the first transposition,
a weird cocktail. Start with the
6.
step over to the shaker,
right amount of líquíd in che overturning it in the proper
shaker, so that it will fill the direction so che liquid is caught
gJass nearly to che air hole. You'll behind the Foo fake, and place
notice che handling from the it mouth down on the place.
previous explanation. The glass (Notice that if a few drops fall
is shown, and placed into the out, you've already explained
paper tube. The shaker is tipped, that.) Strip the paper tube
pouring out the drink ínto che away from the glass, showing
glass. As thís happens, keep your the Iiquid inside again. For che
finger off the aír hole. Sorne of second transposition, merely
the liquíd will flow inro che outer lift your fingertip away from
68 TME CONJVRINO ANTMOLOGY JIM 8TEINMEYER 69
the aír hole ar the top edge. The liquid level inside drops and hole in thc síde, which will serve as the aír hole. Then seal this
most of the drink seems ro disappear (Figure 7). Put down the end of the straw with a blob of soft wax, like magícian's wax.
glass and step over to the spectator (Figure 8). Convey a great You now have a straw that has an airtight seal at the end, but
deal of cautíon and delicacy, as the shaker and place are held a small opening justa little lower down, on one side (Figure
tightly together and taken into your hands. With a tlourish, 9). For this versión, as in the original, you want to use a very
turn the rwo over, separate the plate, and pour the drink from líght-colored drink, like water. You'll also need a small paír of
the shaker back ínto che gJass. Finally, the straws are used to scissors. Folding scissors will work, or the scissors that are on
take a síp from the drink, and the spectator leaves wondering sorne pocketknives.
whether he will feel the effects. Demonstrate the hydrostatic properties of the straw: lf
Notice that there should be a good deal of fuss about taking you hold your fingertip over the end, it will pickup the liquid.
the shaker back from the spectator, turning it over, et cerera. As you pick up and drop liquíd, you are actually holding your
The suggestion is that the liquid arrived while the shaker was fingers over the end and the hole, then releasing both, so that
upside down, and is in danger of pouríng out if the performer the effect is right. The last time, as you slowly 1ift the straw from
or spectator does not handle it carefulJy. the glass, you press your fingertíp to the air hole, pickíng up
For those intrigued with the close-up versíon, 1 would liquid in the lower half of the straw. Have a spectator place his
urge you to consult Fleíschman's wonderful trick in The]inx. fingertip over the opposite end, and cut the straw in half usíng
This, however, depended on waxed paper straws, which are the scissors. Then have the spectator use his other hand, so that
unavailable today. 1 have worked out a "one-straw" version both ends of the half-straw have been closed. With the half-
that avoíds the tricky preparation necessary for the original. I'U straw in your hand (the faked end), pretend to pick up sorne
explain it quickly here. You'll need an opaque, meaning dark liquid. But, as you are pressing your fingertip against the waxed
colored, plastic straw, About 1/2-inch from one end, cut a small end, but leaving the air hole open, no water is picked up. The
líquíd is commanded to transfer. The half straw in your hand is
shown empty by being cut apart into little pieces. The last of
these, the faked end, is palmed away. The spectator removes
his fingertips, allowing the Iiquid to pour back into the glass.
7.
zo TttE CONJVIHNG ANTtlOLOOY
JIM STEINMEYER 71
metal cylinders, rectangular tubes, blades, boxes, or wands.
TtIE PLATE
11. Glass is so simple and so appealing. I've stretched the idea,
GLABS MY STERY using broken shards of glass instead of neat rectangular pieces.
The broken bits accentuate the danger of che glass, and are
desígned to create a nervous tension from the spectators.
P . T. Selbit had the right idea: a good trick organized around

a good title (something whích would sound right on a
(Imagine beíng stabbed with a huge shard of glass. More
dangerous than a blunt-edged cookie sheet.)
playbill). Make it dramatic, make it topícal if possible. And In terms of rnethod, I've plagiarized a trick from Deoice
make it the feature, something to send the patrons out talking. and Illusion (with the complete approval of the author and
That philosophy, which might have begun with Maskelyne inventor, you should know) called Perforation. That trick used
and Morritt, was continued wíth Devant and, many years later, an upright cabinet and rows of butcher knives. The principie
Harbin. But after man y permutatíons, Selbit seems the master. has been liberally adapted, but readers of the book will
He was, after ali, the man who first began torturing female recognize che point of origin, so 1 won 't deny it. For che record,
assistants in earnest. call it The Place Glass Mystery: A Transparent Attempt at
From a perspective of 70 years and many enlightened Deception, with the hopes that Mr. Selbit would have proudly
viewpoints, it's important to keep in mind that he probably displayed it on an Empire bill.
was no rnisogynist. He was a great showman in a misogynistic This was published in the May 1993 issue of MAGIC. In an
age. In the l 970s he probably would have been presenting effort to make the drawings look like my previous columns,
"Woman's Lib" illusions and, today, would have been designíng I kept dimensions separate from the illustrations. Those
illusions which proclaimed the survival of the rain forest. (lf ínterested in building the ilJusion would do well to study che
only vaudeville, as well, had survived.) dimensions in the last paragraphs of this description, and
Selbit's original Sawing Through was nothing short of a include them on a scale drawing of the prop so that they can
rniracle. understand che constructíon.
Interestingly, the trick was awfully good before the saw The magícían's assistant wheels out a small horizontal
was introduced and the sawdust made its first appearance. cabinet, very simple and "unmagical," just a rectangular box
He began by securing the lady in a simple wooden box, then pierced by seven large, irregular shards of pi ate glass. The
plunged three sheets of glass and two sheets of steel through performer dons a pair of heavy leather gloves and removes
the box, dividing it into eíght sepárate arcas. He could have the pieces of glass, one by one, in an effort to open the cabinet
stopped right there and had a surprising effect. (Interested and display it. The front and back panels slide up and out,
readers can find the entire routine described in Magical displaying a simple framework. The assístant tucks herself
Publications' P. T. Selbit, Magical Innovator, by Lewís and inside the cabinet, between two of the sheets of glass (which
Warlock, or The Completejarrett, published by Hahne.) are slid into place very, very carefully!). The front and back are
Glass ... pretry good idea. Sheets of glass connote both replaced, and then the rernaíning five pieces are picked up and
danger and delicacy. Everyone knows that they are solid slid through the cabinet. Two are placed from the front to back:
and inviolable, much more so than a steel blade. With ali the three are placed from the top to the bortom (Figure 1). Once
recent "improvernents" in penetration trícks, sheets of glass the glass has been inserted, it is irnpossíble that the lady could
soundbetter than any eccentric combination of rods, sheet survive the ordeal, In this condition the cabinet can be moved
Z2 TME CONJVRING A:NTMOLOGY JIM STEINMEYER
and shown to the audience, wheeled right up to the spectators enough. You can special order
and revolved. tinted acrylic (Plexiglas) in a very
Finally the glass shards are removed again and the cabínet light green, almost transparent.
opened. The lady, of course, is a survivor. With a smile she This gives the edge of the glass a
emerges from the tight confines and takes a bow. pale green tint, which looks like
If you operate a neat, tidy magic show you'll probably the real thing. Don't succumb to
wish to make the "glass" sheets in proper rectangles rather the ternptation ofusing different,
than the horrific pointed shards described here. Not as much bright colors of glass. Less is
fun, but this is certainly an option. Figures 2 through 8 show more. The gloves are for effect,
approximate shapes of the glass. Figure 2 shows an ímportant heavy leather welder's gloves to
secret: This piece, placed vertically along one side of the give the impression that the glass 3.
cabinet, has been cut into three pieces, fixed in alignment in is dangerous to handle.
the cabinet. Asyou'll see, this piece of glass cannot be removed. Not shown is a small
Figure 3 shows the other vertical piece, for the opposite side of horizontal table, with a top about 4. 5.
the box. The next rwo preces (Figures 4 and 5) are placed, from rwo feet square, to stack the
front to back, through slots in the front and back doors. Figures pieces of glass during the course
6, 7 and 8 show the three vertical pieces that are slid down of the illusion. The cabinet is
from the top, and fi ll the center area of the cabinet. shown in Figures 9 and 10. )ust
I don't see how they can practically be made of glass. Instead above the casters is a plywood
use 3/8- or 1/4-inch acrylic sheets, which will be heavy and rigid shelf to support the glass during
the Wusion. The legs have a 6
decorative curved metal strip
between them. You'll notice
(Figure 9) that the faked piece
l. of glass is in place. These three 7.
pieces are fixed to alurninum
angle and bolted to the top
and bottom of the cabinet. The
center píece is similarly fixed
to angle, but can slide freely
against the wall of the cabinet or, 8.
as shown, be locked in place to
give the impression that it is one
continuous piece of glass.
Although the sliding and
locking rnechanísm isn't shown,
erdnasemagicstore.com there are severa! ways to handle

,_74_._ J V R 1 NO
T_H_E_C_O_N A N T 11 O LO O Y JIM STEINMEYER
------ L5
it. One is to have springs final preces, five, six and
seven, are slid in from
12.
9. along the inside top and ..
1
bottom which tend to pull the top to the bottom. .1. il 2.
the piece against stops. The position of the girl is
1 ¡
1
1
Then, the gírl inside can shown in Figure 13. Once 1
force the piece over inside, when the front 3':~:1 __
(O
;_
...... _
1 and back doors are slid
against the wall. Or, the
píece can lock wíth sorne in place, she moves from
turn-buttons, be released her crouched position to
1 a sitting position, with
and moved during the
,_
trick, then locked back in her body agaínst the far
~-" place by the lady before waJl. Notíce that, to do
she emerges. Figure 10 this, she has released the
shows a side view with faked glass so that it líes
0 0 against her back. In this
the faked glass in place.
10. Figure 11 shows the front position the other pieces
and back doors, which are of glass pass beyond her
similar. A semi-circular feet, across her lap and
pattern has been painted shíns, then on either side
on ít. Two slots aUow of her legs and berween
for the glass pieces that her legs.
are ínserted from front When the routine
to back. These doors can begins all the pieces
be completely removed of glass are aJready in 13.
or slid in place, from place. They are carefully
the top, into aluminum removed until pieces one
angle that has been fixed and two remain. Now
around the openings the front and back are
o G (Figure 9). Figure 12 removed, showing the
shows the pattern of glass interior. The lady tucks
11. .----------......, from the top. One is the herself between pieces
faked piece, along the far one and rwo (during
side. The second píece, the course of this the
two, is the similar one on rnagician casualJy Lifts
the opposite side. Three and adjusts piece rwo,
and four are ínserted ving ít solid). Now
from front to back. The front and back are
0 0
z6 TME CONJVRINO ANTMOLOOY
JIM STEINMEYER
replaced and the illusion proceeds.
The illusion depends on the "diffículry" in handling the
glass, which is supposedJy why two pieces remain undisrurbed
A LE.SSON IN
12.
at the beginníng. The extra room given by the faked piece is A LESSON IN MAGIC
[ust enough for the lady.
As always, building this kind of prop caUs for a great deal
of care and careful measurernenr. Particular attention should
be paid to the dimensions of the lady as she is sitting in the
B y now readers will be used to my manner of cobbling
together bits of old tricks, secrets and plots. This routine,
from June 1993, is a veritable goulash of sources. 1 list them
position shown by Figure 13. By using thinner materials, much not out of erudition or because 1 feel these magícal rnasters
room inside can be spared for the sake of the illusion. would want to be associated with this routine, but because
Here are sorne suggested outsíde dimensions. Figures 2 and ít's an interesting list. The title is taken, with a stutter, from the
3 show glass pieces roughly 14 by 54 inches. Figures 4 and 5 Devant masterpiece. But the trick might strike you as having
are pieces roughly 20 by 28. Figures 6 and 7 are 18 by 54, and more sirnilarity with the Repeat Silk Vanish, The ridiculous
Figure 8 is 12 by 54. presentation of nesting secrets (one within another, within
Now dimensions of the cabinet, as shown in Figure 9: The another) 1 encountered in Frank Lane's hilarious Irnp Bottle
cabinet ítseíf (above the cable) is44 wide by 34 tall. A three-inch routine from Funny Talkfor Magicians. The apparatus 1 first
wide frame is around the front and back. The depth ofthe table described in a set of my lecture notesras a production). 1 thought
adds another three inches. The table top is 21 inches from the it was original but Pat Page, who really <loes know everything
stage tloor, with rwo-ínch square metal legs. Figure 10 shows about magic, saw it and said that it was pretty similar to a prop
the cabinet from the side; it is 18 ínches wide with the table, of sold by Davenports rnany years ago. Not surprísing, really, and
course, three inches wider in all dimensions. Pat would know. The final production was first described by
The front panel (Figure 11) is 39 by 30. Figure 12, the top Harold Rice in a booklet called Capers with Colors.
of che cabinet, shows the placement of the slots. Glass pieces The magician explains that it's nota good idea to go too far
one and two are 5 inches from the side walls. Pieces three and in a show without doing a bit of explaining. So, he's chosen to
four are 4 inches further inside. Pieces five and six are 3 inches dernonstrate a simple trick. Something you can use tofool the
from the front and back walls, and piece seven is centered on kíds at home. Jt takes a bit of practice. He shows a magazine,
the cabinet in each direction. rolling it into a tube. A white silk handkerchief is taken from
Figure 13 shows the lady's position in the cabínet, and the hís brease pocket. As he takes it away a red silk pops up in íts
faked piece of glass. place. The white silk is pushed into the tube. He then holds
Of course, the slots are slightly wider than the glass ítself, the tube between his hands, descríbíng a small círcle in the
which adds to the eff ect by suggesting that the píeces of glass air. This is what <loes the magíc, he explains. The magazine
are larger. is dropped open, then paged through to show that the silk
I suggest painting the prop with dark colors on the frames has disappeared. You didn't catch me because I used what
and sides, and a bright color on the front and back panels, magtcians call 'misdtrectton.' Watch, l'll do it again, and this
whích will make the slots and the glass more visible. time l'll explain it. He takes the red silk from his pocket (and
a yellow one pops up in its place). He tucks it ínto the rolled
magazine. He rotares the magazine in the air. Whatyou didn't
notice was that, as I was doing this, my fingers were secretly
78 T H E C O N J V R 1 N G A N T H O LO G Y JIM STEINMEYER 79
toadding up the handkerchíef in my hand. His left hand, with the begtnning agatn.
a deft motion, appears to do this. There are no actual l.
He flips the magazine open. It's empty. While you were handkerchief rnanipulations
/ooking there, I slipped the handkerchief in my pocket. He involved, just one feint after
acts chis out. But, o/ course, if the audience is /ooking too another, whích is why the
closely, you simply turn your pocket inside out and show udience can't follow any of the
them that the handkerchief has real/y aisappeared: The anishes. To prepare, you'll need
red handkerchief is gone. In fact, so is the whíte one. J real/y vo sets of 12- or 15-inch silks:
fooled you on that one, didn 't J? Tbat's because you u/ere -híte, red, yellow, green and
misdirected. You thought that ali of the action stopped when urple. One set is tied in a string
I uient to my pocket. Watch, J'lldo tt again! He pulls the yellow ad then prepared according to
hank from his pocket, tucking it into che magazine. (A green íce's Capers with Colors. That 2.
one pops up in its place.) The yellow silk disappears, as before, . , the string is rolled tightly,
and his hand goes to the pocket. But I didn 't stop there. I took it nd then rolled diagonally into
out of my pocket again and tucked under my arm! He suits
ü he purple silk (Figure 1). You'll
the action to words. Now I can show you that there's nothing 11nd that if you hold the purple
in my pockett Thepoceet is empty. If someone no tices thatyou silk by the center or by che ends
place it underyour arm, yoú only need to do this! He raises his the bundle is secure (Figure 2).
arm and the yellow silk is gone. As you might suspect, that last lf, however, you cake the comer
part was uery, uery easy, once you had been misdtrected by marked "X,"andsnapit, the entire
the previous trick. That's how magic works. Watch, /'/l show string of silks appears. (lt's very
you. hard to talk about this principie
He takes the green silk (revealing a purple one in his today without mentioning the
pocket) and tucks it in che magazine. It vanishes as before, with name Marvyn Roy; so 1 did.) This
the same feínt to the pocket and under the arm. It doesn't end explaíns the finísh of the trick.
up in his pocket or under his arm. Instead, he ínsísts, Jjust held The purple silk is placed in the
it in my hand. Of course, once you saw me place it under my brease pocket, with one of che
arm, you thought I left it there! Still, when he slowly opens his free ends protruding from the
hand it is empty. Be/ore you go home and try this to fool the pocket. Twist a comer of the
kids, there's one more importan! point I want to make. He green silk around this and tuck
pulls the purple silk from his pocket (the last one), and tucks it it in on top. Repeat chis with che
in the magazine so a bit of it hangs out. Be sure that you slide yellow comer around the green
the handkerchief ali the way in. Ifyou leave any of it sticking silk, et cerera. This makes each
out the audience can see it and they can follow the whole successíve silk pop into view as
thing. In that case there's only one thing you can do. The they are pulled from the pocket.
magícían pulls che purple silk out of the rolled magazine with a The magazine is responsible
snap, revealing the other four silks tied to it in a chain. Start at for part of the secret. It is
8o r n e CONJVntNC ANl 110LOCY J 1M
~~- -~~~~~~~~~~8
.S T E 1 N M E Y E R 1
constructed from a magazine hlack thread, like sewing thread

3. the size of Time or Newsweek
(or MAGIC, for that matter, but
or button thread, is attached
to one side of the fake. This is
responsible for the neat handling
e 5.
you've got better things to do

with that magazine). lf you're of the fake through che routine.
goíng to a newsstand look The thread is just long enough
for something with a stapled to stretch to che far side of the
edge and a níce, heavy cover. magazine (Figure 5). You might
First you'll want to reduce the want to tie a small bead or tiny
number of pages in che magazine button at the farend ofthis loop.
by tearíng out sheets from the Try out the magazine fake:
cerner. lf necessary, restaple Fold the fake against the back
the existing pages. You'll want cover and roll the magazine
a magazine with about 40 pages loosely around ít. As you do the
within the cover, or abouc ten thread should rernain near the
nested sheets. A srnall cardboard edge of the magazine. Poke the
fake, rwo rectangles of black first silk inside. It enters the
posterboard taped together and open end of che fake, near the
rounded into a rube, holds che edge of che magazine. Now hold
silks (Figure 3). This rube is about the magazine in your right hand,
2 inches wide by l 1/2-inch, and with your fingertips on che open
5 inches long. One end is closed edge, grasping che thread. Allow
with a lozenge-shaped píece of che magazine to fall open. The
cardboard, taped in place. This is fake is held, with che thread,
very loosely hinged to che spine agaínst che back cover, away
of the magazine on che outsíde from the audience. Allow che
(Figure 4). The key here is very front cover and a few pages to
loosely, so that it will easily fall away from under your right
flop over in either direction. I'd thumb, as if you were paging
suggest rnakíng the hinge out of through the magazine. (Figure 6
4. cloth tape or even a strip of cloth shows a back view of this, not the 7.
with glue. The neatest way is to audience view.) As these pages
first tape it to the back cover. fall release the thread, allowing
Then take a duplicare back cover the fake to drop behind the front
and cement it over the existing
one; this hides che tape hinge.
cover (Figure 7). Finally, as you
are holding che magazine by the )]
One more thing: a loop of heavy back cover in che right hand,
TME CONJVRING ANTMOLOGY JIM STEINMEYER 8
take the bottom edge in your follow thern. Use just the moves that figure in that pare of
8. left fingers. Let the back cover the explanation. This way the spectators begin to convince
fall down, so that the magazine rhernselves that they rníssed sornething.
is cornpleteíy in the left hand The tube is used for each vanish except for the last silk,
(Figure 8). You've now shown which is pushed into the opposite end of the magazine
every page of the magazine and (opposíte the fake), leaving the center comer protruding.
shuttled the fake from behind For the clima.x, che silk is pulled out with a quick snap,
one side to the other. In this giving the effect that the entice line of missing silks have come
position, using your right hand at with it (Figure 11).
9. the top, roll the magazine around
the tube agaín (Figure 9). (This
time the back cover will be on
the outside.)
You can now repeat the trick
using thc same moves to show
the magazine empty. Et cerera, et
cerera. The whole routine shouJd
now be clear. The ñrst vanish is
very clean. The second time you
explain that it was stolen out by
wadding the handkerchíef up
in your left hand as you rotated
10. the magazine (Figure 10). You 11.
pretend to place it in your left
trouser pocket as the magazine
is flipped open. Then roll the
magazine again and repeat the
trick. This time you perfonn the
feint to the pocket, and then
pretend to deposit it under your
right elbow as che magazine is
being shown. The final time
you make all of the feints, and
then ínsíst that it is stíll in the
left hand. It's important that
you do nor make all of the feínts
each time. The audience wouJd
TME CONJVRINO A:NTMOLOOY JIM STEINMEYER
----------
the Furure Perfect Prediction Chest.
t).Tl1E Still, keeping with my irracional fascination of scheming
l1EADLINE PREDICTION and adjusting, here is one of my low tech versions. lt doesn't
involve an expensive treasure chest, a brass key, or tiny
cylinders of paper. For chat matter, you won't be ternpted to
fnotion
or sorne reason that is, 1 admit with embarrassment, not
altogether logical, I have always been fascinated by the
of headline predictions. Like any real magícian, I've
display chis prediction chest on a shelf. The apparatus for ic
aU should set you back abouc $15. In effect, a wrapped box is
brought to the performance by one of che show sponsors. On
been happy to fondle those pretty little prediction chests, the outer wrapping, which has been sealed with great blobs of
literaUy treasure chests, which ingeniously shoot a pellet of sealing wax, is the date, wíth che notation that it was tumed
paper through an oversized keyhole from an oversized key. over to the committee for safekeeping. The committee has
Admiring the craftsmanship and ingenuity, 1 always knew how then affixed their signatures to the paper. The commíttee, on
supremc::ly stupid and misplaced such a notion was. Beautiful, stage, does a brief recap into the microphone about how the
yes. But still a hopelessly improbable piece of apparatus. box was guarded up until that time, et cetera. One of thern
Many years ago 1 staged severa! headline predictions as tears open the paper to reveal a metal cash box, locked shut
promotions for shows. One, which 1 concocted diligently from and its lid wrapped with masking tape. The tape is pulled away
books on the subject, was a complete disaster: I had sene the and che box is placed down on a table. The performer hands
letter to a reponer who, despite his promise, Jet curíosity get over a tiny key, and the box is opened by one of the committee.
the bese of him and decided to open it in my absence, just as Without actually reaching inside, the performer points out
well, beca use the post office didn't comply with the ingenious that there are three sealed envelopes there. He picks up the
secret. (1 guess they had never read a book on headline box by the lid, displays the envelopes and, explaining that he
predictions.) My "duplicate, postmarked" envelope, similar doesn't want to touch thern, tips che box over, dumping out
to the one 1 sene to him, was beíng sent to me. 1 needed only the envelopes onto an ernpty table. Stepping aside, he asks that
to erase my address and write in his. Ríght. Mine was returned che envelope labeled "1" be opened. Inside is a note that is read
to sender stamped and re-stamped on every possible edge in a ínto the microphone. It describes how a series of "predictions"
pathetic effort to cancel che postage. Oops. No one had been or "impressions" have been recorded on a certain date (months
around to tell me the right way to do ít, or to advise me that ago), and wilJ be locked up for a future date. Envelope "2"
headline predictions are very hard to stage on such a small level records how the predictions will be locked up until a specific
and with so much out of your hands. And, oh yes, don't ever performance (tonight), for a certain group of people, and that
depend on the Post Office asan accomplice. (That one should che entíre contents are to be secured until that time. Envelope
have been obvíous.). "3" contains the actual impressions, vague descriptions of
Of course, there's no obvious solution. Do you send what appear to be very accurate descriptions from che day's
yourself four or five envelopes, to insure a clean one? How do newspaper. To verify this, a number of newspapers are held up
you insure that they don 't receive the mis-stamped one? to compare headlines.
l later redeemed myself with another headline prediction, You'll need a metal strongbox, a small steel box about 10
specially constructed for radio shows, whích sounded like by 7 by 2 inches, inrended to hold cash or important papers.
nothing short of a miracle. And severa! years after this article You'll find them at stationery or office supply seores, and they
was written for theJanuary 1994 MAGIC, 1 worked with Alan come with a tiny sheet-metal key that supposedly secures
Wakeling to develop a new prediction chesi--a mechnical them (Figure 1). lnside are rwo envelopes. just two. They are
wooden chest that accepts a small envelope-that we called
86 TME CONJVRINC PrNTl10LOCY JIM .STEINMEYER Bz
l. personal envelope síze, 3-1/2 by thcn and make sure no one is in a
6-1/2 inches, each with a half position to open it? 4.
sheet of paper folded and sealed. There is one fake involved to
These are the first rwo envelopes, help you steal the envelope. On
1 and 2, which describe the the back of one of the newspaper
"recording" of the prediction sectíons, a cardboard holder is
and the manner in which it just the size to take your third
will be sealed and opened. The envelope (Figure 3). Notice
numbers on the envelopes need that this is not a flat packet of
not be very prominent, just in cardboard, but has sides, like a
2.
a comer on the back, and the box. This is so the envelope will 5.
envelopes should be placed into be guaranteed to slide out easily.
the strongbox face up, so the The fake is taped to a section of
numbers don't show. newspaper just below the fold
Of course, at the time (Figure 4). This newspaper is
you prepare these sheets and placed on a table, wíth another
numbers, you prepare a similar paper atop it. The envelope is
envelope, numbered "3." Using underneath, facíng so that the 6
3. the same pen, you will fill in envelope will be pulled out on
the predictions on the <lay of the upstage side.
the show, seal the envelope As the box is untaped, direct
and then delicately "introduce" it down atop the paper, with the
it. Prerty standard prediction locked side towards the audience
chest stuff, and more on the (Figure 5). You produce the key
specifics in a moment. Do not, and place it in the lock, unlocking
however, neglect the sealing the lid. Pull the lid open and hínge
of the box. (Remember my it straight back, pointing out how
reporterl) lt should be locked, there have been three envelopes
taped, wrapped, and dripped sealed inside. Of course, there
with wax (Figure 2). The outer are only rwo, but as they have
wrapping should be signed by invariably shifted to one side
the committee as ít is turned over or the other, it is impossible to
to them. As a final precaution, notice exactly how many are
don 't tell them what is supposed there. With the lid hinged back
to be ínside. Just tell thern that it falls, almost perfectly, atop
you have an ímportant document the back edge of the paper.
that must be "out ofyour hands" With your right fingertips, reach
before the show. Would they under the paper, gripping the
place it somewhere safe untíl envelope and sliding it agaínst
88 THE CONJVRING ANTMOLOGY JIM STEINMEYER 89
the open lid as you pick up che a "dangerous situation" somewhere in the South, involving
cash box and tip it forward a rain storm, et cetera, hitting details of the story without
(Figure 6). Seerningly, you are explaining che full calamity. Two or three stories are fine for an
lifting it to give everyone a view overall effect, and this aUows you to pick out sorne good news
. of the contents (Figure 7). With as well.
the remark that you don't want
to even touch the envelopes,
you now seem to shake them
out onto the table (or, for a larger
audience, onto che floor).
Step toan empty table to your
right. The motion is a simple
one. The box is slightJy closed
between your hands as you pivot
it upright, like a book (Figures
8 and 9). Through aU of this che
third envelope, against the lid,
rernains completely out of view.
Withaslightshake, theenvelopes
fall out and the third envelope
is released simultaneously. The
neatest way to do this is to shake
the box until one envelope
starts to fall out, and then (only
then) drop the loaded envelope
(Figure 10). 10.
8. The rest is very simple-or at
least boils down to presentation
rather than any mechanics.
Remember to come close to the
headlines but to never quite hit
any one exactly. This technique is
especially valuable ifyou happen
to have the bad fortune of having
a disaster on the headline page.
(Sorne humanitarian! You could
see the bus accident comíng, but,
didn't wam anyone!) In such a
case, you must be sure to predict
TME CONJVRINO A:NTl10LOOY JIM .STEINMEYER
You'll need a cardboard gift

14. l1EADLINE PREDICTION: box, about 6 by 8 by 1 inch thíck,
TI1E BEQUELB with a deep lid (Figure 1). You
can find boxes of this or similar
Tt1E DEVELOPER BOX, RADIO PREDICTION sizes in party stores to be used
as gift boxes. Cut a rectangle of
A_ s promised-and whether you want them or not-I'm white cardboard, which matches
F ~
.fJ\:now offering rwo more prediction effects, first published 1 he bottom. This is the loose flap
in February 1994. These routines are very different in their
that will fall from the top to the
approach from the previous effect, and each is suggested for
different settings. bottorn, like the old card boxes. l.
Smear rubber cement around the te-'-----------,_
This first one might be che cleverest. lt is certainly the perirneter of the inside bottorn l..---------t
sneakíest, and is well suited to smaller situations, where the
and around the perírneter of this '---------
effect is playing to a roomful of peo ple ínstead of from a stage. As flap (Figure 2). The duplicate
I mentioned in che previous effecr, this is the one 1 should have card has your sígnarure and the
performed for my troublesome reporter, years ago. But alas, developed message on it. Do
that was before I knew any better. It starts when they receive this by writing with a slíver of
a locked box. You show up and they open it-and they can do paraffin wax (or, as Anna Eva Fay
it ali-to find an envelope containing a plain whíte 3 inche by 5 would have done it, by writing
inch card with your signature on one side. Well, you explain, 1 on a waxed piece of paper as if
couldn 't really trust you with the inf orrnatton on that card. it were carbón paper) and then
!f you got curlous and opened it, it would ali be ruined. So blowíng powdered graphite
2.
J wrote it in invisible ink. Take a look! You point out shiny
over the card. Graphite is sold in
marks on the opposite side ofthe card, a waxy writing that can hardware stores. lt's used as a dry
be developed just like fingerprints. Be careful not to smear it lubricant in locks.
untü we deoetop tt. You produce a small box, sprinkle in a bit Incidentally, you'll need
of powdered graphite from a vial in your pocket, and ask them sorne waxy lines, just a few
to drop the card inside, signature up. The lid is closed and they
vague squíggles, on the duplícate
are handed the box, with the instruction to shake it gently back card which the spectators
and forth to give the graphite a chance to stíck. When che box is
hold. Dust a bit of graphite
opened, the graphite has adhered to che writing, showing your
onto the opposite (non-rubber
prediction. cemented) side of the flap, and 3.
Well ... you're way ahead of me. Of course, you could use
rub it around with your finger
a slightly smaller card and any one of dozens of locking card so that it staíns the cardboard.
boxes. (lf the prediction is short enough, such as the results Put your duplicate card there
of a ball game with che seores, you can do it on the back of one
writing side down, then put the
of your business cards.) But this particular locking card box is flap, cement síde up, into the lid
more suited to the síruatíon.
92 TME CONJVRING ANTMOLOGY JIM STEINMEYER
9)
of the box, slipping the lid onto the bottom of the box. When This involved a stack of envelopes and the flapless envelope
you introduce the box, drop ír onto the table. Take a small take to steal away the initialed envelope so we could prepare
vial of graphite out of your pocket and sprinkle a bit inside. the prediction ínsíde of it. A11 of this was fine l guess, bue in
Not much. Have them drop the card in, paying artentíon to retrospect, pretty unnecessary.
the direction of the sígnarure (Figure 3). Slide the lid off the The result is that you 've sealed a personal sized envelope
bottorn and drop it on top, with the flap. The shaking actíon inside the cash box. The personal envelope contains a blank
lets the flap fall to che bottom, where the rubber cemented piece of paper. On the day of che interview prepare another
surfaces lock. When the box is opened the only thing that can sheet of paper inside a duplícate prediction envelope, a
duplicare of the envelope ínsíde the cash box. The predíctíon
be seen is the predíctíon card and the graphíte smear. This card
box, incidentally, is made to use once and then throw away. It should have a prominent date on it (about a week ago) and
may seern to be an extravagance, but the preparation is simple vague notions of headlines. You'Il also need to make up a
and the materials inexpensive. Not too much to ask for a good specíal 9 by 12 ínches rwo-way manila enveJope, with a flap
headline prediction. inside (Figure 4). This flap is cut from a similar envelope, and
One more thing: don 'e be tempted to fake the wax writing con sises of the large panel and flap, glued in place ínside to form
and the graphíte by writing it with a charcoal pencil ora thick rwo compartments. Notice that this large envelope is made
pencil and then smearíng it. You want to be able to give it to the so that something can be dropped inside and the envelope
spectator, and they will look it over closely. So experíment with sealed. When the bottom is cut open, however, a strip of
waxed paper anda ball-poínt penas a srylus, and do it right. · rubber cement, which glues the flap ínsíde, holds the first
This final version was originally staged for a radio interview compartment closed so that only the secret compartment can
show, and 1 thínk that the various detaíls are just perfect for be accessed (Figure 5). Standard stuff. You've seen it all before.
such a setting. But with a little irnagination, you could use it If you haven't, tum to the Tarbell Course, Volume 5, p. 174
in other slruatíons, or even in a live show. The basic secret (Two-Ends Sealed Double Envelope) and feel embarrassed.
involves a bit of confusion, human nature (laziness), and sorne ln this case put che prediction envelope in the secret
seerníngly helpful expedience. You set it up by meeting with compartment. Then, put sorne "logical" papers inside the
the intervíewers several days ora week before the appearance. envelope (a bio, press clippings, brochure, the contract for the
They are handed a sealed cash box, which they initial. The cash interview, et cerera), so the envelope just happens to be there,
box has been locked, taped shut around the edges, wrapped with your things, when you arríve,
in paper, tied with string, and sealed with blobs of wax. They Here's the scam. Get there nice and early, to remind thern
are asked to put it somewhere safe, out of the hands of anyone of the sealed box. Point out how it should be opened before the
who may be ternpted to open it. It will be opened che day show so that it doesn't have to be done on the air, and how we
of the íntervíew, they're told. As always, on no account are should prepare sorne staternent about how ít's been sealed up
they to be told that it will contaín the day's headlines or that until this time, something we can read. As they busy themselves
you've made important predictions, et cerera. Let them be a bit with the box (there is a lot to open and it is a loe of work), you
perplexed by it, but not tempted. Incídentally, you can make ernpry the envelope, pickup a pen, and write something along
the initial preparations more elaborate. When we first did it, che following lines on the outside of the manila envelope:
we used an inner envelope initialed by them. This was sealed in "The contents of this envelope were delivered to us at radio
a larger, legal-sized envelope, and then sealed in the cash box. statíon (call letters) by (name) and have been sealed on (date).
TME CONJVRING ANTMOLOGY JIM .STEINMEYER 95
The contents were secured in personal envelope, rnake sure yo u get the large manila envelope
our offices at the radio statton saf ely out of che ir hands. The rest is simple. Those listening will
4. continuously since that date, have no clue that any contents had been shifted; the statement
locked in a safe and sealed in read on the aír apparently makes it all clear, and it sounds like
a strongbox, untouched and the large envelope itselfwas sealed ali that time.
unopened." Remember, the transfer of the contents from one envelope
Whatever the statement, into the other is an expedíence, and should be handled in that
memorize it if you can't make way. Ifyou simply proceed as outlined above, you'll have them
up something reasonable on the
committed to opening che box and moving the envelope before
spot. Youneed to wríte ít casually they even know what is happening. Notice that, by writing the
on the envelope, as if you're staternent in that way and havíng them sign it, they must go
composing it externporaneously. with your plan to make it all sound right. The whole process is
Then draw a few lines for their far from suspicious because it is just so ... handy.
5. signatures. By now they have A friend of mine, after telling me sorne horrible joke which
worked theír way down to the makes me groan, not laugh, invariable admonishes, "You'Il
cash box and are ready for the tell it!" He's ríght. 1 tell it. So it is with this headline prediction.
key. Read the statement to thern You'll read the method with complete disinterest: you'll covet
on the envelope and ask if they the near mechanical devices that do the work for you (those
agree with it. Open the cash box, elaborate predíctíon chests that shoot the message in from an
ask them to take out the envelope improbably large key). Sure this is too simple, too ordinary.
and drop it into the large manila But, in the clinch, you'll use it.
envelope. Lick this shut, seal it,
and ask thern to sign along the
dotted lines (Figure 6).
Of course, that's it. Trying
to make it easy to present and
"good radio," you've managed
to set up the whole trick. Now
6. ~::~:~.,,:;~ rnakingquite ashowof itall, have
.
., ~
, - .. sorneone carry che envelope into
...
',>""'--·,,,,,.·-·
.-...,_ the studio for the interview. On
che air, the staternent is read
on the outside of the envelope,
which is then cut open (along
the bottom edge). The inner
envelope is removed.
As they're openíng this
TMt: CONJVRINC ANTHOLOGY JIM STEINMEYER
97
lt tuuotues a lot of fast moves and fast talking, counting
15. TliE Sl10RT numbers backtuards, and exchangtng one bill for another.
But Dauls was an arttst. He counted the money so slowly and
Cl1ANGE REPEAT spoke so simpty that he fooled everyone. Legend has it that
one Sunday morninghe made changefor the managerof the
T he late Tommy Tucker always seemed a bit perplexed by

the success of his creation, the Six Card Repeat, Of course,
he could be justly proud that his simple little effect has entered
Chase Manhattan Bank as he bought hís cup of coffee. That
coffeecost the bank manager $20 ... slow and easy,just like
that.
the pantheon of beloved tricks. But 1 remember him lecturing Here's Dauis Lloyd's con. I'l! show you, because I learned
about it with a slight air of bemusement. He had reaUy ínvented his secret. But don 't expectme to show you how to do it. l use
a new false count, he contended, and concocted the Six Card these phony bilis, stage money. You 'll see why in a minute. lf
Repeat only as a trick to dernonstrate the efficiency of che I gave you these bilis as changefora.fiue, you 'dprobably take
count. After ali, how many people reaUy wanted to perform a them. Look. One, two, three.four.fiue. He counts out five biUs
trick in which six cards are counted, then three taken away, et between his hands. Slow and easy. I'll count them again. One,
cetera ... repeat as necessary, or even when unnecessary. two, three.four.fiue. But you 're real/y one bill short! Counting
Today, the Six Card Repeat may be justly infamous the bilis out, one by one, into a clear gJass on the table, he
as a bad idea that, like many things wrapped with a thick counts four bilis. He picks up the bilJs again and removes a fifth
tayer of presentation, can be made palatable-<lespite what doUar from his inside coat pocket, adding it to the stack. But
common sense would tell you. Never could such monotony fourplus one equalsfiue. Euerybody knows that. Only Dauis
be rationalized as entertainment (or, as Tommy míght have Lloyd knew how to manage to secretly take one bill away just
shrugged, such a blatant dernonstration of a rnove, over and when you thought he was giutng you one. Look. One, two,
over again). The following routine, from March 1994, isn 't an three, four. Slow ana easy. Even thougb you 'd su/ear that l
improvement on the simple, improbable classic. But it does use showed you jive, there are onlyfour. One, two, three.four.
three fast riffs ofTommy's 6CR for a special punch at the finale. There are only four. There seern to be no moves, no
You'll notice that it all fits together wonderfully, in effect and manipulation. Again, he adds a fifth bill from his pocket. But
method-the perfect demonstration of "false counting," justas every time l seem to gtue you five dollars... four plus one..
Tommy intended. . you get short-changed. One, two, three, fourl He counts out
In this case, the false counting forms the eore of the routine. the bilis separately, dropping one into each of four glasses.
Dauis Lloyd is a man you 've never heard of, the performer There are only four bills.
be gin s. Probably better that way. Beca use if he was f amous He takes a fifth bill from his pocket and drops it into the
f or anything, u u/as having nis picture up in the Post Office. last, the fifth, gJass. This is the real puzzüng part. Your eyes
Years ago he was known as 'Three-FingerLloyd' because he'd tell you that there are jive bilis there. If you watch me ptck
lost tu/ofingers on hts rtght hand. Still, he toas a manipulator them up, you 'll suiear that I'm showing you .five dollars. But
and prestidigitator and the envy of any magician. Too bad once again, you 'd be short-changed!He picks up the biUs in
he chose a life of crlme. Taking a smaU stack of stage money his hand, and then counts them out again. There are only four.
from his pocket, just printed pieces of paper to simulate dollar
Picking up the bilis into a stack agaín, the magician folds them
bilis, the magícian continúes. Good old Dauis was a short- to get a crease in the center.
change artist. You might have been short-changed. Usually
THE CONJVRINO ANTHOLOOY JIM STEINMEYER
99
Of course, Dauis had his close calls. One day someone
did thisl He tears the stack in half, placing half of che bilis, in
l.
I_ a stack, on che mouth of a glass. He holds the other half stack
in his hands. Poor Dauis had almost met his match, because
a clever mark suspected something was wrong and tore the
bills in half as euidence. You see, these bilis have now been
marked, and there are onlyfour bilis here! He counts che half-
bilis ínto the glasses, showing four.
That sort of euidence might have held up in court, but
a good con man won 't euer let the truth interfere with his
con. Even though there are four ha/ves there, Daots still
managed to have one, two, three, four,fiue, here! He counts
che remaining halves, showing five. He tosses one away. The
trutb is that Davis was not justa con man ... one, two, three,
four, fiue! Slow and easy, just líke that. He counts the halves
again, but still has five. He tosses one away. He was the first
Da Vinci o/ deceit, a Kipling at the con, a Shostakovích at
the shortchange... one, tuio, three, four, fiuet He still has five.
Tossing one away, he continues. So the next time you get short-
changed, you may get angry, you may feel cheated. That's
only natural. But 1 want you to remember that you might
have just seen an artist at work... one, two, three, f our,five!
For che finale, each half is tossed up in the airas it is counted,
proving that there are stili fi ve half bilis.
If yo u' re still with me, I' d point out that the routine issim pler
to follow and perform than the description may indicate.
Much like the 6CR, it may seem tedious in its repetition, but
each step builds on the next, creating a progressively more
impossible "false count." The last counts-the five, where one
is discarded-is the 6CR part.
The first part uses gimmicked bilis. 1 suggest having che
rigbt bilis prínted. For about $20, a local primer or copy
shop can keep you covered in bilJs. You only use eight in
-¡ ¡- any performance. As a blatant display of my helpfulness, I've
included afull-sized bill here, with crop marks (Figure 1). lfyou
show this to che printer and explain what you want, he can take
it from there.
100 TNE CONJVRING A:NTNOLOGY J 1 M .S T E 1 N M E Y E R 101
By photocopyíng the bilis, counts as four bills and the other half packet counts as eight for
or scanning the irnage, the the 6CR. You'll also need five clear glasses. These are arranged
2. prínter can run "four-up" on an in a row on the table, and are used to display the bilis through
8-1/2 by 11 sheet. The bills are the routine.
then trimmed to a síze of 2-1/2 Start with the four bills with cement on the back, stacked,
by 6 inches. Print only one side. in the glass. A fifth bili, with cement on the front, is on the back
The backs can be blank, as you of the stack, but is turned end for end so that the cemented
explain that they're phony bills. areas don't contact. Following the above routine it should all
The important part is the paper be clear, but here is a brief synopsis.
stock, because that's what lets Count the first five bilis, reversing the order, then count
you perform the "6CR" with the them agaín reversing the order. Lift off the back bíll, showing
half bilis. 1 use a coated stock, it and reversing it end for end. As you place it back atop the
10 point cover, which has a nice stack, square the bills by bridging them firmly in your hand.
3. smooth enameled finish on both (Figure 4). The cement has now contacted the bilis and they
sides. This is very heavy paper, can be counted as four. These four are counted, one by one,
and works beautifully. The shiny into a glass. This reverses the order, putting the two prepared
finish clíngs to the moisture in bilis at the front of the stack. Pick the bills up and again add a
your fingertips and makes the fifth bíll, cementing it to the back bill. Count them into the
buckle count very easy. Four of glass, reversing the order, but put the last bill (a prepared set of
the bilis, the first four in your two) in the front of the stack. Now, from the back (your side)
hands, are prepared with a streak to the front (audience side) you have two single bilis and two
of good qualiry rubber cernent double bilis. Take the stack out and add a fifth bill, contacting
along the top edge on the back the cement. This time, count the bilis out separately, one ínto
(blank side) (Figure 2). Four other each glass. There are only four. lnto the last glass, put the final
bills, the ones that start in your bill from your pocket. The audience now clearly sees five bilis
pocket, have streaks of rubber in the glasses. As you pick them up, take them in a "haphazard"
cement on the top edge of the order, whích will allow the cement to contact. Pick up the
front (Figure 3). (Of course, once second, single bill. Place atop it the fifth bili so that they
the cement dries, it is invisible.) become attached. Then the first bill, the fourth and the third.
Give yourself plenry of time, in Now as you count them out ínto the glasses there will only be
advance of the show, so that the four.
cement dries completely. These Pick up the stack and fold it in half, to form a nice crease.
streaks of cement work as contact Then tear the stack into halves along the crease (Figure 5). One
cement. As each bili is added to half (the bottom, non-cernented half) is placed, in a stack, atop
the stack, it is stuck to another the mouth of the fifth glass, The other halves are counted, one
bili. This also explains how one by one, into the other four glasses (Figure 6). This shows four
half packet (the cemented ends) half bills. Pickup the stack of píeces on the fifth glass and carry
102. THE CONJVRINO A:NTHOLOOY JIM .STEINMEYER 10)
it forward.
You 're now ready for the 6CR pare of the presentation. The 16. LINKING fIVE RING.S
secret is the use of a buckle count. This has been explained in
print many times (you'll find it in Tarbell Volume 6, page 80).
D
ai Vernon's pamphlet titled 7ñe Symphony of the Rings
Quite simply, the right fingertíp, whích is holding the packet, contains a spectacular ríng routíne that is the work of a
draws back and buckles the bottom bill on the count off our very inventive rnagícían. In many ways it is perfectly indicative
(Figure 7). The bilis are counted, one by one, from the top of of Vernon's understanding of magic, and a demonstration
the packet into the Jeft hand. Onfour, the left hand takes all of of bis beyond the green felt table. It's very hard today to
the bilis except the buckled one. This leaves one piece in your find a ring routine that hasn't been heavily in.fluenced by
right hand, which is shown freely and counted esfiue. Vernon's booklet and the neat assemblage of moves. For
According to the presentation, you present the 6CR four years I performed various ring routines-the rings have been a
times, each time throwing away one píece, each time counting longtírne hobby forme, including a version of the Symphony,
them as five. At the finish, count all the pieces openly, tossing The routine that follows, published in May 1994, is one result
them down to the ground, leaving your hands empty. of my experíments: although it's deliberately offbeat, even
Whew. It's not half as complicated as it sounds. Get the here you'll notice inevitable bits of Vernon. What you won't
bílls, go through it slowly, and it will all be clear. ftnd is figures, sculptures, síde-roads and challenges. The
routine might be a bit too simple and straightforward for sorne,
bur I offer it asan antídote to many of the complex routines. It
is, quite simply, a lesson in linking five rings. You'll notice that
the plot of the routine is quite simple to follow. Only five rings,
and all seem to be out of your hands at various times. When
they are all linked, the trick is finished. (There is only one short
diversion, when you pause to dernonstrate, once, how the
rings can be unlinked.)
You'Ll use only five rings for this routine. 1 suggest rings
at least ten inches in diameter, as they need to slip easily over
your head. (Eight-inch rings can be a struggle-as was regularly
demonstrated by Jay Marshall.) My friend Bill Taylor has found
that this is an ideal routine for especially large rings, like the
popular 12-inch diameter, or even 15-inch rings, which are
unwieldy for many maneuvers,
Use the key, rwo singles, and the chain of rwo. They're
stacked: key, chain of rwo, and rwo singles. At the start of the
routine, you'll want to hold them in your left hand with the
key in the crotch of the thumb and the single ríngs near the
fingertips. For many years magicians haue tried to recreate
the legendary mystery performed by the jugglers and
104 Tl1 E CONJ V RI NO A NTt1 OLOG Y JIM STEINMEYER
conjurers of China, uihere a number of separate bands of steel in the right hand. These rings are
are línked together into a chain. There have been a number moving, hence it is the simple
of solutions, and you 've probably seen the toy versíons that rhythm of the count that tells the
have been sold in magic shops, lots of little wire rings that are audíence that each is beíng taken
cut open so you can link them. But now I'd líke to show you singly. Number one is separate
the authentíc uersion, the mystery thatfirst inspired Western frorn number tu/o, from three,
rnagicians about 150 years ago. f our and five.
COUNT: We'll use fiue steel rings,justfive so you can keep Solicit the assistance of one
track ofthem ali; they're large enough so that ali ofyou can person from the audience to
see them in the back. 1 suggest counting them twice, for the help. If you're performing in
reason that the first count shows "five" and the second count close quarters, it is nice to allow
shows "separare," which are points made in the patter. First the spectator to remain sitting
hold your right hand up, back of the hand to the spectators, and work to them in the front l.
right fingertips within the rings. The rings are dropped slightly, row. For larger groups, you'll
one at a time onto the right fingertips, which then lift them to need to get him to stand to your
the left hand (Figure 1). One, two, three, four, five, quickly left. (In a few mornents, you'll
counting them. And each ring is a separate band of steel, also pass a single ring into the
tuelded together into a seamless circle. This count is done audience to be exarnined.) I'd
more leisurely, the hands coming together and separating as líke you to hold onto two of the
the rings are taken, one by one, in the right hand. This count rlngs. Peeling off the front rwo,
is an unusual one, much more like a false card count than one you place the rwo singles into hís
with rings. The rhythrn, a continuity of sound and movement, hands. Then place the remaining
is especially important. three, the linked pair and key,
With your left shoulder towards the audience, bring your over your own head, with the
hands together. In front of your chest, the right fingertips take key on the top and the slot at the
the outer ring, and then the hands move slightly apart again back of your neck.
(Figure 2). This is repeated: together, and the second ring is We'll start with you, you say
taken in the right hand, then apart. The third time the movement to the assístant. Since you're
is repeated but no ring is taken. There is a metallíc clink, and acting as the committee for
each hand has "approximately" rwo rings, but the fact that one everyone e/se, I want you to
was not transferred is very hard to see. The motion continúes. assureyourseif that the rings are
On the fourth movement, rwo rings are transferred (the chain ordinary, welded rlngs of steel.
of two), and then finally the fifth ring, moving them all from No slots, gaps, or trapdoors. Pul/
one hand to another. The motion should not be exaggerated, on each ring and make sure it's
and 1 concentrate on moving the right rings more than those in solid. So saying, you take the first
the left hand. Upon each count, as the right hand moves away, ríng from around your neck (the
you open your body slightly, to bring the attention to the rings key) and show it solid. This is
106 T N E C O N J V R 1 N G A: N T N O LO G Y J 1 M .S T E 1 N M E_'
_Y _E_R 10_,_7
done with the tradifional pull-through maneuver, as if rotating the move is very casual and slow.
the ring between your hands. Of course, the right hand grasps Repeat this down-and-up action 3.
the ringfirmly, covering the slot in the key, and the left fingers t wo or three times, then fold
slide around the ring, as if rotatíng it. You can practice this the ríngs in your hands, passing
in front of a mirror by really revolving a ring, then matchíng che single through the slot in
the motíon. Finish by tugging the ring berween your hands. che key so that they are secretly
(Over many years of watchíng, this is the odd way that many separated,
spectators expect to check if a ríng is solid. You míght as well THE OVERHEAD SWITCH:
ln case you toeren 't watching
encourage it.) As you begin this demonstration, turn to the
spectator and encourage him to take one ring and examine it. closely, l'll do that again, using
Then take that ring from him and have him look at the second the tast two rings. So saying,
one. Hold the key and single in your hands as he concludes his you lift che rwo rings over your
examination. Call attention to the rwo rings and link them. I head, supposedly exchangíng
suggest using a sort of crash link to pinpoint the solid spots at thern with the two linked rings
which the rings link. Take the single ring from the spectator in your hand. Supposedly. This
and pass it to someone else in the front row, encouraging that is a very simple, brazen switch, 4.
person to examine it. This leaves the spectator's hands free. but it works perfectly in context.
SPINNING RINGS: While the rwo rings are still in your Holding the rwo rings in your
hands, each ring is spun on the opposite ring to show that right hand, lift the rings around
it's solid. My version is similar to the pull-through move that your neck by the front edge,
showed the ring in your hands. Hold the key in the right hand, with your right and left hands,
with the single ring dangling from it. With the left hand, grasp together. This sort of hinges
the single ring near the top and pull it down-about a quarter the rings up as they are lifted
revolution-and then return your hand to the top of the ring over your head (Figure 5). As
and repeat this move rwo or three more times. It is a slow you continue to lift, the chain of
and deliberate action, emphasized by rhe sound of the metal rwo is hinged onto the back of
surfaces sliding against each other. the stack. lmmediately drop the
Finish by grasping the lower ring in the left hand and back ring, which is linked, and
turníng the rings end for end, so the key is at the bottom. Your lower your hands agaín, sUpping
right hand will now repeat the motions, but the secret involves the top ring of the chain of rwo
graspíng the key slot firmly in the crotch of your thumb. Pull over your head (so the lower ring
the ring around in a revolution, then open the hand and reach hangs at your chest). The whole
to the top of the ríng agaín to grasp it. However, the thumb move takes but a second (Figure
does not release íts hold and the ríng (secretly) revolves as the 6). Notíce that the hands separate
hand moves to the top (Figures 3 and 4). The illusion of the as they are lowered.
TOGETHER AND APART,
hand openíng and closing (as if to grasp the ring) and the ring
revolving is a very strong one. The timing of this is critical, but THE CHAIN OF FOUR:
108 TME CONJVRINO ANTMOLOGY JIM STEINMEYER
Immediately separare the rwo together and suddenly sepárate

5. rings in your hands, showíng them forming a chain offour. The 8.
them. These are now linked in key is held near the fingertips of
from of the audience. 1 suggest the left hand (Figure 8).
a slow, simple linking of two ALL THERlNGSONONE:This
rings as you bring them together is a wonderfuJ move borrowed
and slide one agaínst the other. from Vernon's bookJet. You'ue
Holding the chain of rwo in your probably been uiondering why
hands, lift the rwo from around I'ue saued that ring f or the end.
your neck and hand them to the Does tt look solid to you? Any
spectator so that he can examine opentngs? Take the last ring
them. Encourage him to follow from the spectator in front. Of
your dírectíons to separare the course, there's a bíg opening in
6 rings. the center. That 's tohat makes it
Hold the two rings up a ring. Watch closely because it
vertically, so that yo u can secretly happens in a spttt second, ali of
pass the single ring through the the rtngs ltnked onto one solid,
slot at the top of the key. As you single band of steel! The single 9.
do thís, hinge the single ring up ring is taken in the right hand and
a bit and bring it down again pressed alongside the stack of
smartly, so that it clicks against ríngs in the left hand. However, it
the lower part of the key (Figure is passed through the opening in
7). The ring clicks at "X." At the the key and immediately the right
moment of thís clíck, pull the fingertips take the key, lifting it
rings apart. The effect is that up. It appears as if the single ring
they've been "broken" apart. The has just been passed through the
spectator, following this motíon, entíre stack of rings (Figure 9).
will still have two rings linked. The drawing shows the srack of
Don 't worry about it . . . you rings, from the top, just before
might haue guessed that, despite the single ring is pressed through
what I'ue just showed you, it's the key.
impossible to put two steel rings JangJe the rings as they hang
together or take them apart. from the key, thank the spectator
Holding the key and single in and the audience for their
your hand, secretly link them as assístance (Figure 10). That's it.
you take the chaín of two from · Dori't take them apart; the trick
the spectator. Bring your hands is over.
110 THE CONJVRINO A:NTHOLOOY JIM STEINMEYER 111
is shaken back and forth. Do

17. GOOD ENO\!Gl1 TO EAT you feel anything happening?
PbPPING CORN, BQVEEZE~AW AY MILK, the magician asks, taking the
BAKING COOKIEB bag from the child. With a few
more shakes over the candle he
Iítsftheappeal,
the United. Stat~s has a Natíonal Magic Day to celebrate
great strides
in our arcane art and the timelessness of
magícíans might secretly and ashamedly have a
declares that ít's worked. The
candle is extinguished, the bag
torn open and a cascad e of white
popped corn pours onto the
National Hat Remembrance Day, in which they bemoan how
the slíghtest changes in fashion have flummoxed so much plate.
of our repertoire. We could sing sad dírges, pore over the Use two smaU brown paper
Iatest fashion magazines hopíng for the reappearance of a bags, which are sold in bundles as
felt homburg, and ritually melt those wonderful tricks whose lunch bags. One of them is about
instruction sheets began, "Borrow a hat." Borrow a hat, indeed. one-third filled with popped
How those words cut like a knife. Add the Glass through Hat, the corn. The bag is cut down-about
Cake in the Hat, and ali those hat loading fakes and production the top half cut off-and the rest
items to the flames; no fedoras on the horizon. folded down and Sta pled to form
These three effects were published in june of 1994. The a tight bundle around the corn
first routíne was based on my own anachronistic fondness (Figure 1).
for the Popcorn in the Hat routine. For a while, during my This load is stood upright
perforrníng days, I even carríed around the paper bag fake, in the second bag, alongside a
loose corn, anda derby to include the trick in my shows. Soon I handful of unpopped corn. The
abandoned it, for the messy set-upas well as The Internacional top of this bag is then folded
Hat Moratorium. Instead, 1 worked on a variation that lost the over and stapled shut, like a
har as weU as the mess. lunch bag. The whole thing is
It was so handy and so successfuJ in a kid's show that it's very handy for travel (Figure
worth noting here. In effect, a brown paper bag, stapled shut, 2). The rest of it should be self-
is taken from the performer's suitcase. This is handed to a boy explanatory, except for the note
or girl from the audience, along with a paper plate. Explaining that you never actually show the
l.
that he likes popcorn, the magician brought sorne along and bag empty. Opening the bag and
would like to offer it to his assístant. Opening the bag and tipping it, simply squeeze the \,..,,
.,
tipping it over the place, che assistant looks expectantly as the sides enough to gríp the load as 1
!
corn rolls out. Unfortunately, it is just a handful of unpopped the loose corn típs out. Shake bag
kernels. Oh, did you uiant it popped?the rnagician asks. Then a bit, as if con cerned that you 've
comes the inspiration. The loose com is poured back into the gotten all of it out, then turn your
bag, whích is twísted shut and handed to the assistant. A candle attention to the corn on the plate.
is lighted and held undemeath it for a few moments as the bag The corn goes back inside, the
112. TME CONJVRING A:NTMOLOGY JIM STEINMEYER
bag closed by twisting the top done in both cases), wash it out
shut (which now makes the bag and take off the labels. Fill the
2. bottle about half full with milk
closer to the size of the ultimare
load), and when the bag is ripped (ora milk and water mixture, or
- ..... open you are ripping open the powdered milk and water; milk
'1 load as well (Figure 3). oíl ísn't good here as ít reacts
A culinary note: the with plastic). Now screw on the
1
spectacular technologies that cap and open the nozzle on top.
now pop corn are a boon to Sq ueeze the flat si des ofthe bottle
1
1
1 1
'· - ... I this trick. Corn popped in a in your hand (in effect, making it
microwave or an air popper, thinner). As you do the milk level
without any oil or sale, is perfect. will rise to about three-quarters
Otherwise it starts to stain che ofthe contenrs (Figure 5). As you
3. bag and dístracts terribly from are still squeezing, push down
che deception. the nozzle-which makes an air-
While on the subject of tight seal-and hold the bottle in
cooking routines and things to this position. The seal may not be
throw into suítcases, you might perfect, but you can set it at the
be intrigued with chis. I'd call ita top of your show and it will still
Poor Man's Milk Pitcher, but you be ready when you need it.
have to be very poor indeed to As long as the nozzle is
not afford a Milk Pitcher. Maybe closed, the bottle seems to be
it's the Practical Man's Milk three-quarters filled. Pick up
Pitcher, or just Squeeze-Away the bortle and show it. As you
Milk. This will take a trip to the do, grip it firmly in your hand,
grocery store. You're looking just as you did when you were
for a transparent or translucent squeezing ír flat. (This is easy 4.
squeeze bottle like those used for as the impression of your hand,
)Ll
syrup or dishwashing soap. Get more or less, is still there). Open .1
one that is fairly soft, not rigid the nozzle. Because you're
plastic, and one with a popup squeezing, the level doesn 't drop.
squeeze nozzle. These nozzles, As you tip the nozzle down to the
~.
little wedged-shaped collars, top of the prop, release pressure 1
can be lifted to open the bottle, on the sides of the bortle, then
then pushed down to seal it again tum it upright again. Since the
(Figure 4). Empty the borne of level of the milk has dropped, it
soap or syrup (easíer said than seems as if yo u 've been pouring it
THE CONJVRINO ANTHOLOOY JIM .STEINMEYER
out of the bottle. Push the nozzle Oops, I guess you were right, we didn 't cook tt enough. Here,
down and set the bottle aside. So, gtue me the lid and I'Il e/ose it up again. He closes it up and
5. despíte the title, it ísn't when you hands it to her while he lights another match. Now I'm sure
squeeze that the milk goes away, that's enough! the magician announces after a few precious
but when you don't squeeze. seconds. Once again he removes the lid, and holds the pan up
Obviously this sorc of prop is high so that the child can't quite see inside. Reach in and take
handy for travel. You could put out uihat's there! he proudly tells her. When she managesto do
sorne powdered milk into the it, she fi nds a neat array of cookies. Ali che goop is gone.
Okay, okay, ír's just your dove pan. There are realJy only
bottle, cap it and throw it into
your suitcase. At che show, just cwo rwists here, The first is that the cookíes sic low in che pan,
put in a little water and shake. so that by holding the pan above eye level, no one can actualJy
Despite the antiseptic nature telJ what's in it. The second is the use of a special Goop Napkin,
of the above effects, sometimes if 1 may. Take a large paper napkin, or rwo slightly crumpled
the point of magical cooking together. Inside is a smaU squeeze bottle or srnall ear syringe
is making a mess. Here, for filJed with sorne milk and water mixture. Sit this on the table
example, is a trick all about the alongside the other ingredients and utensils (Figure 6).
mess, which is part ofthe fun. The first time you clamp on the lid, the load is delivered and
Inviting a child up to help, the the icky sruff is sealed in the bottorn. But you don't stop there.
magícían breaks an egg in a metal After the business with the first match, take the pan back and
pan, then stirs in sorne flour, hold it high, as if you are saving the surprise for your assistant.
and a splash of milk. The chiJd Take off the lid and hand it to her as you reach for the napkin.
helps stír it ali. The magician As you get the napkin inside che pan, regíster a surprised look,
explains that he's found a new and then pull it out again. When che napkin is safely over your
secret for cooking, even better table, give it a squeeze to revea! the dripping, messy goop. By
than a microwave oven; it now dropping back the clímax of che trick, yo u 've managed ro show
takes only seconds. He places the lid of the pan and also foreshadowecl the potencial mess
a lid over the pan and has her when the child reaches inside.
hold ít while he lights a match One more match seems to do the trick. When she reaches
and waves it furtively under the inside and finds it safe, lower the pan so that she can see
pan. It's ready! he announces, the attractive display of cookies. This reminds me of David
but the kids have their doubts. Oevant's wonderful routine in his aptly named Lessons in
6 Conjurlng. He provides quite a lesson in che Dove Pan with
Removing the lid of che pan and
handing it to her, he picks up a his subtlety of showing che entire pan, and lid, to hís volunteer
napkin to reach into the pan and before che trick begins.
take out the result. Instead, he Yes, those were the days when magic was rnagic and roen
wore hats.
gets a handfül of gooey mixture,
which drips on the tabletop.
__ __ JIM .STEINMEYER ~
monofi lament, if you are carefuJ to watch the light. Sewing
18. Tl1E COINS ~ GLASS stores sell something called "invisible thread," which is
anything but; it is, however, a sort of fine fish line. Alternately
a fine black thread can be used. The single filament threads,
T his effect appeared in the Iuly 1994 issue of MAGJC,which
Stan Allen deliberately arranged as a "left-handed issue,"
with the cover on the back of the magazine and all of the
used for líghrweíght floating effects, are too delicate and will
only tangle you up. If you're so inclined, experíment with finer
columns and illustrations arranged in reverse order-from right and finer grades of thread until you find one that suits the bill.
to left. Unfortunately, thís right-to-left arrangement left Alan Since the thread is seen agaínst your pants and shirt through
most of the routine, your choice of wardrobe has a big effect
Wakeling's routine fairlyundecipherable. Here it is, forthe first
time, in readable condítíon. on the deception. One end of the thread is fixed to a haJf do llar.
A fine black thread used to be, in the parlance of the old- Alan used to solder a small wire loop onto the center of the coin
timers, the rnagicían's best friend. Now tbat threads are back (Figure 1). You could also use a good grade of epoxy to hold
in sryle, it is interestíng that they are seldom best friends, but it in place. It is important that the loop is placed precisely, so
simply the things that make dollar bilis float. Too bad. Many that the coin hangs flat when suspended by the thread. The
of the Al Baker-líke miracles were subtle effects that were not bese way to do this seems to be to make upa fine loop, tape it in
dependent on anything so crude as hangíng an object from a place, moving it to adjust che balance. When it hangs properly,
thread. In Volume Two of the Tarbell Course in Magic is a use the glue to hold it in place so that you can pull the tape
coíns and glass routine whích used, in the old sryle, a black away.
thread to accomplish the deception. Alan Wakeling first called The other end of the thread is tied to a small safety pin. I
my attention to the routine: typically, he had simplified the suggest starting with a thread about 24 inches long (that is, 24
handling with several bold, neat touches. In the process, he inches berween the coin and pin). You can shorten ita bit if it
eliminated the extra coín and the transfers. In his routine, four isn't comfortable. Pin the thread [ust inside the waistband of
half dollars passed, invisibly, from his hand into a stemmed your pants, ata point about four inches left of center. (If you're
wine glass-all wíth a mínimum of moves or other foolishness. wearing a jacket, try pinning the thread at the center of the
Simple, pure conjuring. waístband and leaving the coat open.) Place the faked coin,
Alan explaíned his handling to me, which I've transferred with three rnatching half dollars, in your left pants pocket. A
into this descríptíon. lt's a fun routine to experiment with, and glass is on your table. AJan liked using a stemmed glass, Like a
a nice sequence of stand-up magic. The magician takes four large wine glass or a stemmed water glass. The glass should
half dollars from his pocket, counting them, one by one, into be large enough that the coins rattle about and make noise. A
a glass. The coíns are then spilled into the right hand. The left straight-sided glass also works well.
hand holds the glass aloft. The right hand makes a small toss, Begin by reaching ínto your pocket and taking out the four
as if tossing one coin invisibly. It falls visibly, and audibly, into coins in your left hand. Pickup the glass in your right, holding
the glass. The other three are counted, showíng that one has it towards the audience to show it empty. In order that the
disappeared. This is repeated with the remaining coins. One by coins can be counted, you use the glass as a handy receptacle.
one they make their way-each arrival quite prominent-into Bríngíng your hands close together (the threaded coin is one of
those in your left hand), the coins are counted, one by one, into
the glass.
You already know that a thread is involved. I suggest a fine the glass. With your left hand, reach over to take the glass by
118 Tt1E CONJVRING A-NTMOLOGY JIM .STEINMEYER 11
~~~~~~~---"
íts top edge, fingers on che front it falls into the glass with a loud
l.
and thumb at the rear. As you do "clink." Turn to look at it and,
thís, slide your hand through the as you do, pivot che glass again
thread so that it passes berween so that your left hand lies to the
your center rwo fingers. The side of the glass (Figure 3). That
glass, now held in your left should leave three coins in this
hand, contains all four coins hand, you explain. One by one,
and the thread is in position to count the three remaining coins
steal the first coin. As you shake into the glass, atop the faked
the coins gently, pointing out coin. Pivot your Jeft hand above
that there is a sort of rnagnetic the glass and shake the glass
artraction berween ihe crystal gently. As you do, steal the fake
of the glass and the silver coins, coin, as before. Again, tip the
2. push your left hand forward coins ínto che right hand. That
until the faked coin is lifted into was the first coín, you explaín.
your fingers. With che fake coin Let's see if it can be done again.
finger pa1med-the thread helps Suiting the actíon to words, you
you hold rhis position-pívot the recuro one coin from the right
glass berween your ñngers, so hand into the glass. This secretly
that your left hand moves to the leaves only rwo coins in the right
side of the glass. Thís allows you hand. The faked coin, held above
to tip the contents of the glass, the gíass in your left fingers, is in
supposedly all four coíns, into position for the trick. This time
che right hand. you offer to do it a bit slower,
Allow the glass to pivot again for those who weren 't watching
berween your left fingertips, so closely. Make a tossíng motion
that your hand and the faked coin with che right hand and release
lie above it (Figure 2). Close your the coin in the left (Figure 4).
3. righc hand into a físt as you shake Show that there are only two
the coins gently, indicating that coins remaining, by counting
one of them will pass invisibly them into che glass. lmmediately
through che air and into the glass. raise your left hand above the
By gripping the faked coin in a glass and steal out the faked coín
palm, you can move your left again. Tip the remaining coins, as
hand back towards your body so before, into the right. Count rwo
that the thread goes slack. Now, coins into the glass, explaining
releasing your grip on che coin, that half the coins have passed.
12.0 THE CONJVRING ANTHOLOGY JIM STEINMEYER 12.I
The ríght band conceals that there is only one coín rernaining.
Before you get ahead of me, there are a few dífferences in
the presentation ofthe last rwo coíns. For number three, make
a tossing motion with the right hand and follow the imaginary Jknow that thís trick, from the Sepcember 1994 issue of
are to your left hand with your eyes. But don't release the iMAGIC, was a long-time favorite with readers, and a number
coin in the left hand. Look a bit confused and open your right contacted me with reports of making the apparatus and using
fingers, as if to check the progress. As you are gazing at these it in their shows. I' m sure that sorne others-who didn 't contact
coíns (thís coín), release the coín above the glass, so that it me-muse have been frustrated by the process of constructing
catches you unaware, It seems as íf the actíon has been delayed
the appararus, as it requires sorne careful work with cardboard
a few seconds and managed to surprise you. and glue. The finished produce is worth aU the bother,
You now have one coin in the right hand, which you drop Long befo re they feU within che purview of close-up magic
openly into the glass. Repeat the procedure as before, stealíng (long before there was a desígnation of "close-up magic"),
the faked coin. The last coín, you explain, will have a tendency card tricks belonged to us all, thank you very much. And che
to follow all ofthe others. As you count the coins back into the greatest card trick in magic had nothing to do with rolling over
glass, it is done with a slow, exaggerated pace, one ... rwo ... aces ora perfect Faro. They were the cards that, by themselves,
rhree.... Seemingly you have one coin remaining in your right responded to the performer's sincere entreaties and, with great
hand, but it is now ernpty. After the third coin is transferred, effort, pushed themselves up out of the pack. The Electrified
the left hand pivors above the glass and drops its coin on the Cards, Robert-Houdín caUed them. Imposstbilities, Dr. Hooker
count of four. Simultaneously, the right hand rnakes a srnaU decided, turning his inventions to the theme and variation. Yo u
tlourish and opens, showing thac it's ernpry. know, The Rising Cards.
You rnay wish to experiment with variations in the handling, The trick was an old one by the time Robert-Houdin goc
but the basic routine is strengthened by its simpliciry. The around to describing it in 1868. At that time, che traditional
pivoting rnotion of the glass in the left fingertíps, combined name for che trick, La Houlette, showed a certain weary
with the direct one-ahead principie, makes the routine a familiarity: it was known for the quaint shape of the apparatus,
pleasure to perform. Counting the coins continually ínto the not the actual effect. In Secrets of Conjuring and Magic,
glass actually enhances che size of the trick. As the audience no Robert-Houdin explained three separa te methods and routínes:
longer has to identify four half doUars by appearance-but can any one of thern would still be effectíve today.
now do it by sound-the trick plays to a larger audience. Still, no trick has ínspíred such diverse thought and
ingenuity. Sometime in this century a smalJ píece of apparatus,
the Hathaway Rising Cards, was just one of many variations. 1
never performed it but, in an early act, AJan Wakeling did. He
first called my attention to the neat opportunities and staging
for the effect. It appealed to me, as it did to hirn, for its big,
spectacular effect, created by stretching a ribbon across the
stage.
Ir doesn't seern that the Hathaway trick is being sold by
any dealer, so I've taken the opportuníry tO explain chis newly-
122 Tt1E CONJVRING ANTl10LOGY JIM .STEINMEYER 12.)
disguised version of me trick. Unlike the traditional appararus, placed into the case and the spectator invited to hold one end
thís one has no wood or metal houlette at ali. You do-it-yourself of the ribbon. The magícían holds the other end.
fellows will be rewarded, if you follow these ínstrucrtons, with You'll notice that I prefer giuing the cards a long leash.
a neat, ímpromptu-lookíng mystery. You could adapt nearly Actual/y, J use the ribbon so that you all know that neither
any routine. 1 suggest thís one, because it feels a bit different. 1, nor my assistant, play any part in the experiment. It's ali
Picking up a card case that has a ribbon wrapped around up to the cards. Addressing the spectator at the end of the
it, the magician removes the deck and steps forward wíth it. ribbon, he says, Hold it steady. I'll giue it a little sunng, just
Some of you might haue tried learning a card trlck or two. líke this. W'hat was the card that you selected and showed
W'hen pro/ essionals do it, they make it look easy, but that's to everyone? The jack of Clubs? Um, a tougñ one... royalty.
only because uie'ue speru so much time wtth the cards. We've They don't understand that there's no such thing as royalty
gotten to learn euerything about them, understand their in this country, so they tend to get stubborn. Still, the jack
personalttiesand pecultartties. You know, tt's a little known should recognize you, stnce you looked him stratght in the
fact that they won 't performfor just anybodyl Shuffling the eye. You did look him straight in the eye, didn't you? Show
cards, he takes them into che audience. Take it frorn me. You him who's boss?The cards are swinging gently on the ribbon.
must be gentte butjirm. Show them respect, but neuer /et them fust call for hirn: jack?Are yoú there?I'm sure you feel silly
get the upper hand. Punishment should neuer be resorted to; doing thts, but humor mefor a rnoment.fack?Remember, be
it breeds contempt. A stern toord and you 'll have your way. gentle, butjirm. Respectful of royalty,that makes hirn happy.
Carrying on like Barbara Wodehouse, he continues as if Once more.... The lady is encouraged to call out for the jack
the spectators were taking notes: There are no bad caras. Be and, as she does, thejack gracefully raises out ofthe deck. The
gentte butfirm, that's the real secret. Then the cards will do magician reaches over, removes the jack and shows it to the
anythingfor you. spectator. Is that htm? You don 't feet so sil/y any more, do
Torught I'm going to put them through a particular/y you? Surprising how well they mind, tsn 't it?
trlcky exercise. I'll ask three peopte to stand ... you, you and Taking his place at the end of the ribbon, the magician
you, ptease. One of you uitll selecta card and show it around. continues. The second card wíll be trlckier because you
One wíll just look ata card. And one wíll mere/y thínk of a didn 't touch it, you just happened to see it. W'hat was it? The
card. Then we'llput the caras througñ theirpaces. Two of Spades. Oh, those Twos. As he starts swinging the deck
The first spectator, a lady, selects a card, shows it around again, he loudly whispers instructions to che spectator. lt's an
and repJaces it. The second spectator, as the magician riftles, inferlorlty thing wíth the Twos. Try to be particularlypolíte.
calJs stop, and peeks at a card. As the performer approaches just call out Two of Spades ... The spectator calls for che card
the third, he asks, Are you thinking of a card? You've got it? and it rises. Again the magician takes ic from che deck and shows
Please concentrate on it and don 't tell it to anyone untü I ask it around before retuming to the end of the ribbon.
you to name it; OK? The deck starts swinging again. The last card is the hardest
Taking the lady, the first spectaror, back on stage, the of ali, because when ít hears íts name it has to act qutckly.
other two spectators are invited to sic again. Using the table, You 're thinking of a card, is that rtght, sir? And for the first
che spectator shuffles the cards as the magician untwirls the time, would you name that card? Ace of Spades? Turning
ribbons around the card case. This reveals that the case has to the cards, the magician calls, Ace of Spades! Up, up, up!
been tied in the cerner of a long length of ribbon. The cards are You don 't want to make me look bad out here, do you? The
124 ·1 ri t c.'ONJVRINO AN'l llOLOGY JIM .STEINMEYER
125
Ace rises from the deck. lt too through the ribbon and out the
is shown as the ribbon is taken other end where it attaches to
from the spectator and aU three the carel box.
assístants are thanked. Oh, yeah, the card box.
l warned you that rhís is a You'll need to make one. I used
real craft project. The Hathaway thin illustration board, making it
Rising Cards controlled che cards justa bit larger than a normal flap
through the ribbon whích led card case, but a fuU 7/8 of an inch 3.
to the performer. In che ribbon thick, front co back. J ust assemble
are beads which are gently slíd, the front, back, sides and bottom
pulling a thread that pushes the with cloth tape, then spray the
cards up. lt's very simple and whole thing with white paínt
very dependable. (Figure 3). When you're finished,
Starc wíth about síx yards cut the panels from a regular card
of grosgraín ribbon, one-inch case and glue them in place. This
wide. This ríbbon has fine gives you a flap at the top (Figure 4.
perpendicular ribs on it and is 4). The extra thickness of the box
: .aq
slightly stiff; it handles nicely for is for the duplicates in the back
chis trick. 1 used a bright green and lots of slack so that the cards
ribbon with a deck of red Bee will rise easily.
l
l.
Cards. Cut rwo six-foot pieces Puncha hole in the back of the
and sew them neatly together card case about 1/2 an inch from
along both sídes, to form a rube the top, and pass the loose end of
of ribbon (Figure 1). This is best the button thread through. This
done on a sewing machíne, loose end is knotted and passed
rnaking the stitches just along through holes in three extra
the edge of the ribbon. Three cards. l suggest punching holes
small wooden beads, about 3/8- in rwo cards and using a slightly
2. inch in diameter, are needed. larger píece of plain white card
You can get these from the same for che thírd card, whích has a slit
craft store where you bought the to hold the knotted thread finnly
ribbon. Tie the beads on a piece (Figure 5). The plain white card 5.
of black button thread (heavy makes it easier to remove the
sewing thread). One bead is tied deck frorn the case and still leave
at the end, then che other rwo these threaded cards hidden
knorted about six inches apart inside. When the three duplicate (;j •
(Figure 2). This thread runs down cards are pushed berween these z
TME CONJVRING ANTHOLOGY JIM .STEINMEYER 12.
126
----
cards, and between the last card are pushed down, forcing the thread clown. Now, holding the
and the back of the box, they ribbon about 18 to 24 inches from che end, your fingers pinch
force che thread down. Pullíng che bead closest to the end of the ribbon. As the cards swing, let
on the thread raises the cards, the bead slide through your fingers. It's like gently squeezing a
one at a time, as in the oldesr pea out of the pod (Figure 8).
version of che tríck. Needless to The weight of the cards and the momentum of the swing
say, you need to adjust the length allow the bead to slide. Acrually, you are holding the bead
of thread before assembling the still, and the cards and ribbon are dropping slightly (Figure 9).
whole thing. Alan suggested that the bead is released as part of che forward
Using a hot glue gun, stick rnomentum of che swing, and this seerns to work best. It looks
the end of the faked ribbon to the as if che swing itself is somehow propellíng the card.
6. back of the box right next to the Grabbing che ribbon from a different point, move in to take
hole (Figure 6). Stick a duplícate, the first card out and show it. As you take che ribbon back near
unprepared six-foot length of the end, your fingers contact the second bead, which is now
ribbon to the front of the box in the approximate position where the first one started. In
from the diagonaUy opposíte this way, you seem to be holding che ribbon in che same place
point: that is, from the front through the entire trick. The maneuver is repeated with the
center, going off in the opposite second and third cards (holding the third bead the final time).
direction. (In the one 1 made up, As forthe selections, I suggest forcing che top card, theJack,
che rnagícían's faked ribbon is on the first spectator, The second card, the Two, is a comer
stage left, che spectator's ribbon short in the center. You time it so that the spectator caUs stop
is stage ríght.) If the ribbons are as you reach che short card. Give him a glimpse of the card and
glued properly, the cards hang move on. The third selectíon borrows a page from mentalísts.
straight up and down, but angled It's been set up ahead of time, but the spectator isn't a stooge.
slightly between them. Now Using another deck, find a spectator before che show begins
using a small piece of ribbon, and take hirn off in a comer. Explain that you're going to need
about eíght inches long, glue a someone, for one of the tricks, to be thinking about a card. In
nice loop connecting the rwo order to save time, uiould you take one now? You force che
ribbons, suggesting thar ít's all Ace. Don 't show tt to me.]ust concentrate on it. Do you haue
tied with a loose knot in back a good rnemory? It's very importan! that you remember that
(Figure 7). In fact, it's a good idea car d. When I ask you what cardyoú 're thtnking about, I want
8.
to glue a fake knot (a tight loop of you to name ítfor the .first time. But don 't tell anyone be/ore
ribbon) at the back of the box, then! A card like the Ace of Spades is easíest to remember. It's
in case the back is seen by the also the sort of card that spectators choose "at random." You'll
spectators. notice that the patter rnentions how one spectaror will think of
a card, but by the ti.me you reach him you ask, in a preernptive
When che Iength of thread is
adjusted, three duplicate cards strike, whether he's thinking of one. This prevents him from
128 rnr E::ONJVRINO ANTHOLOOY JIM STEINMEYEI~ 12..9
changing his mind.

Few ofyou will try this garnbit, reasoníng that ír's too risky. 20. OPENING WITI1 AN EGG
But mentalísts do it, staking their exalted effects on such set-
ups and their steely nerve. In the context of a card tríck, ít's far
less risky. Ir also has a very strong effect on the tríck, and is a T he notion that an opening effect should be fast, flashy
and one designed to "hit thern right becween the eyes," I
had figured out as a kid, was a terrible one. Maybe in beer hall
perfecr finale to the progressive routine. The faint of heart can
just force three cards, the old fashioned way. days, when the opening seconds determíned whether you'd
To reset, slíde che beads back towards the card case and be thrown off the stage, the ruJe was írnportant. But there are
very few siruations like that today for the stand-up performer.
rernove che extra cards, pulling out the slack. Then load the
duplicare cards in and replace these cards. Using che beads, Almost aJways, you're guaranteed onJy two or three minutes
adjust the thread so that it is taut. Wrap both ribbons around from an audience, the first rwo or three minutes of your act.
the case to rnake a neat bundle. How much wiser it wouJd be to perform a routine which
lets thern get a sense of your personalíry. The fast and tlashy
ruJe was probably created not by beer halJ managers but by
deaJers to sell otherwise unwanted tricks (Appearing Canes)
or irnpractical tricks (anything that tied you in knots around a
pull). The standard opener supplied a split second of amazing
rnagic and then several seconds of awkward transition as you
attempted to elicit applause from people who weren't quite
ready, put down che cane, sturnble through sorne opening
remarks and make your way to your table to pick up the next
trick. The instruction sheets, of course, don't talk about the
transitions.
9. 1 opened my kid shows for many, many years with the Egg
Bag. Pretty strange, huh? Well, it worked so well that 1 never
changed it. I was completely comfortable with the routine and,
severa! mm u ces into the show, everyone was comf ortable with
me. This description, from October 1994, is the opening trick
1 always performed. For family groups and kíds, I played it to
people in the front row, who were generally just several feet
away.
As you'ue heard, I'm the magictan here thís euening. Of
course the job of a magictan is to show you ali something a
little dtfferent, something you'ue neuer seen before. That's
what l'm going to do, but /'ll start out with something simple.
Reaching into your inside coat pocket, you take out a small
plaid bag which is unfolded and held berween your hands.
THE CONJVRINO ANTHOLOGY JIM STEINMEYER 1 1
~-º--
You've probabty seen a bag like this before. It's just a Wouldyou tike to know how that's done? General/y it's
little clotb bag wtth ten sides. Nothing unusual there. just a not good to go too far without dotng a little bit of explaining.
simpleLittle bag wíth ten sides and. ... uh ... Noticing looks of so if you promise not to tell anyone, Tll tell you how to do
consternation in the front row (and they are always there with the egg trick. Firstyou need a little bag /ike this one, just a
kíds), you continue, turníng the bag inside out to show it. simple little cloth bag with ten sides. Ten sides. (Even faster
Ten stdes, yes, l'm sure that's right. There's the front stde this time:) Front side, back side, top side, bottom stde, left side,
and back side. The top side, bottom side, the left síde, right right side, inside, outstde, upside-doum side. (As if counting
stde, inside, outsíde, upside-downside!These sides are recited on your fingers:) That makes ten. Once you haue a bag wíth
ten sides, you need an egg, ltke tnis one. This isn 'ta real egg.
very quickly, twisting the bag in an anempt to illustrate the
sides. Whew! That's ten, right?Afteryou haue a bag with ten Youprobably noticed that (to the boy in the audience). Thls
sides, the rest of this is easy. Now, despite how it tooks, I have is a wooden egg. Because a real egg uiould break and this
no intentton of doing this by myself;so I uionder ifyou 'd help one uiouldn '. (Or, just use the reaUy old line: Laid by a decoy.
me out? (Indicating a child in front.) You can stay right where Either way it's a groan.)
you are.just say, 'cluck-cluck.'(He does) Rea ch inside the bag The secret is that you place the egg into the bag. (Suiting
and take out uihat's ... (His hand comes out empty. There's the description to words:) But you don 't leave it there! You
nothing inside.) Nothing in there? Hmrnm. TTy ít again, this place it into your pocket. (Your closed right hand moves into
time a líttle louder. Say, 'cluck-cluck!'(He says it very loud.) your pants pocket.) But you don 't leaue tt theret You place
Reach inside. (He takes out an egg.) Hold it up so everyone can a . . under your arm! (The hand emerges from the pocket,
see. Verygood! You didn 't know you cauta do that, did you? and seems to trap the egg under the left arm.) That's what
Of course, the easy part is getting the egg. The hard part is magicians caü misdtrectton. Eueryone always thinks that
making it disappear. In order to do that, 1'11 just place u into you teaue it in your pocket. Ali you need to do is tet them see
the bag. (Your hand seems to slip out and into your pocket, that the egg isn 't in the bag and isn 't in your pocket. (The bag
a deft move as you tum your body, but everyone catches it.) is tumed inside out, as is the pocket.) The only hard pan is
That makes it invisible. Hard to belieue, but true. When I getting the eggfrom under your arm back into the bag!
wiggle my fingers over the bag it's complete/y ernpty. The I'll show you how that's done. Have sorneone say 'cluck-
egg has disappeared. You turn the bag ínside out between cluck. '(fo the boy:)Say 'cluck-cluck. '(He does.) When he says
your hands. Now the next part... (Noticing the murmurs) My 'cluck-cluck,"you lift your arm, the egg disappears. Reach
pocket? Everyone always thinks that, but you 'll see that my tnsiae the bag (The boy's hand emerges from the bag, holding
pocket is empty. (You 've tumed your left pants pocket inside the egg) and there it is. Now thatyou all understand,you can
out, which is aU well and good, but everyone saw you place try it when you get home. Once again.just as loud asyou can,
the egg into your right pocket.) As I said, the next part... That say 'cluck-cluck.'(He does.) Reach inside. (He reaches inside
was the wrongpocket?l can see that you 're too sophisticated and takes out a gígantíc egg that seems to fiU the bag.)
for that. No, there's nothtng in that pocket, eíthl!'r. (The right You'll notice that this is a sucker routine that is never
pocket, turned inside out, is empty.) dependent on kids screaming, and never creates the
Ifyou want the egg, ali you need to say is 'cluck-cluck.'Say embarrassment of a performer who acts "caughr," or an
ít! (To the boy in the front row. He says it.) Reach insíde. (He audience who is arrogantly silenced as the rug is puUed out from
does, emerging with the egg, which you take back from him.) beneath them. In this case, the sucker elernents are suggested
·~ ---
__::!:_HE pONJ V R-'-!::_O ~NT H O LOO Y
and subverted throughout, cut
J 1 M S TE 1 N M E Y E_'_
egg. As for the eggs (Figure 2),
R ')~)
off quickly by explanations or che small egg that 1 used was

a shrug that the audience is too turned of wood, a bit skinnier (1- 2.
sophisticated for that. Of course, 1/4 inches wide and 2-1/4 inches
on a stage it's necessary to get the long) than a regular egg. The large
boy up so that he can stand on egg was about 5 ínches long, a
your right side, but in situations hollow white sryrene egg that
where everyone can see, ír's níce carne from a crafts shop at Easter
to work to the kids in front. time. Sryrene is a smooth white
It helps to selecta boy slightly plastic (the egg was made in rwo
to your right, as you'U see, so that hollow longitudinal halves, glued
your left side is naturally tumed together). You don't want co use
to the audience as he removes the Scyrofoam eggs (polysryrene), as
egg from the bag. The bag 1 used chey won 'e sllde properly.
was a Tarbell Egg Bag, which was Place the folded bag, with che
rnade from the ínstructíons on egg hídden inside, at the bottorn
page 279, Volume 2 of hís course of your inside coat pocket on
(Figure 1). Interestingly, my bag, the left side. lmmediately above
following his instructions, was it place che giant egg (Figure
very small, only 6-1/4 inches 3). Here's the sequence of the
deep and 8-1/2 inches wide. routine. (For further handling of
That's much smaller than the the Tarbell Bag, l'd refer you to its
Tarbell Bags that were sold by description, above.)
dealers. Mine was sewn of a As you reach into your coat
wool (red, yellow and green) with your right hand, remove the
tartan with yellow bias tape giant egg and place it under your
around the mouth. The pocket, left armpit inside the coat. Then
on the inside, corresponds with remove the bag. Throughout the
a Une of the plaid, 2-1/8 from the routine, your left arrn, pressed
J. bouom, a slit 3-3/4 long. This is to your side, holds the gianc egg
the pocket that the egg is slipped in position. The bag is turned
into, or squeezed out of, during inside out and shown. The boy
the routine. reaches inside and doesn 't find
- - ---
The Tarbell and Malini bags, the egg (you're still holding it at
as Tarbell points out, are the only the top of the pocket in the bag)
desígns that allow che spectator (Figure 4), then reaches in again
to reach inside to retrieve the to remove it (you've let it drop
TM!'. C'ONJVRING ANTMOLOOY JIM .5TEINMEYER
1~
-'35
out of the pocket). is allowed to drop, inside the coat, straight down and into the
Holding the bag upside down right fi ngers. lt is helpful if you rurn your left side towards the
in your left hand, the right hand audience forthis, and the rerrieval ofthe egg that follows. Step
pushes the egg up and into the up to the boy, extendíng the bag in your left hand so that he can
mouth of the bag (Figure 5). The reach in and remove the small egg (Figure 7).
egg is supposedly gripped in the As the boy holds up the egg to show it, bring the bag to the
Jeft fingers. Actually it is slid into edge of your coat and move your hands together, placing the
the pocket of the bag. The ríght giant egg smoothly inside the bag. Llft the bag, holding it upas
hand emerges, in a loose fist, and you step over to the boy for the finish. The load of the giant egg
makes a smooth movement as if may sound cornplicated. But, in practice, the egg is neatly held
the egg is being deposited in the underthe left arm and drops, simply and securely, as pan ofthe
right trouser pocket. Snap your motivated actions.
fi ngers over the bag and rurn it You'Il find that ifyou start the sequence with the bag in the
ínside out, showing it. Here is left hand, everything is nearly autornatic and the load can be
the business with the trouser accornplished inches away from the spectators.
pockets, fi nishing by rurning
the bag right side out again and
having the egg reproduced.
You repeat the last sequence,
"explaíning" that the egg was
not left in the pocket, but slipped
under the arm. Suiting che action
to words, you seem to slip the egg
under your left armpit outside
the coat. Now show the bag and
pocket ernpry. The boy says,
"cluck-cluck." The bag is held in
your left fingers. With your right 6.
hand, grip the left edge of your
open coat. At che same time,
raíse your left arm up, to show
that the egg is not underneath it
(Figure ó).
The right fingers, at the coat
edge, seem to be pulling the
coat taut, to show that the egg
is gone. Acrually, rhe giant egg
Tl1E CONJVRING ANTMOLOGY J 1 M .S T l'. 1 N~ e Y ~R _137
surprised, and even slightly nostalgic for real appararus.
21.ECLECTIC I'm especially happy because today l'ue got one seed left
from the legendary, magical nocturnal Deciduous Histedius
l10RTICVL TVRE Flexuosa. The rnagician seerns to hold up, in rus fingertips, a
liny eed. He is immensely proud of himself. In case you 've
º
ne regret is how hard it is to get nice apparatus today. neuer heard of ü, inars the tree tñat grows candy canes. You
Twenry or 30 years ago, there were any number of might not realize tt, but tuhen ali those adults were teüing
manufaccurers of apparatus. Any magjc shop could supply you things like 'candy doesn 't just groui on trees,' they uiere
you with a Square Circle, Change Bag, Card in Balloon, Liquid putttng one over on you. When you use maglc, it does grow
Appear, Die Box, Silk Cabby .... You know, the requisites. on trees, and J can prove lt. You learn somethtng new euery
You'd put them all in a suitcase and become a proud amateur. dayt The unusua! thing about this seed is that u only grows In
There are still companies that work to supply quality apparatus, the dark. It 's been specialty cultiuated so that ll btooms tonen
but fewer and fewer every day. And catalogs aren 't about these kids are in bed. Otherunse there'd be real trouble at haruest
neat boxes and tubes that someone had slaved over so our acts time! The other thing tñat t'ue dtscooered Is that lt neuer
could be dressed to the nines, the tricks that P&L used to wrap needs sunlight, never needs uiater, neuer needs minerals. Ali
teasingly in red tissue. it requires is the sound of apptause.
Shops are now about tricks that come in envelopes and tlat Fortunately forme I'ue gol a great audtence who can
plastic sleeves. We might never suspect that we'd grow damp generate a lot of applause and, fortunately for you, you're
eyed remembering the dragon stencils and the crackle fi nishes, about to see sorne uionderful maglc that will makeyou uiani
but it'll happen yet. And, of course, 1 haven't t::ven mentioned to applaud. Get the hint? When you put the tuio togetner=you
the unique smell and heart-pounding sensation realized by the know umat uie'oe got=nocturnal Deciduous Htstedius
strange combination of fresh lacquer and crumpled newspaper Flexuosa!
in a just-opened corrugated cardboard carton. Pure alchemy. Picking up the apparatus, and it looks suspiciously like
Proust had nothing with rus lime flower tea; he should have a "garden trellis" versión of a Square Circle Production, the
been a mail-order magician. rnagician continúes. t'ue constructed this ttttte greenhouse,
Eclectic Horticulture, from November 1994, is imended just perfectfor grouiing thtngs al ntght. I put the seed here. It
as a simple piece of apparatus that provides a nice, big finish is placed on the base, and covereo with a pinch of sand taken
for kid and family shows. If you follow the presentation, it from rus pocket. The tube and then a square, black trellís, are
should gjve you a pleasant running gag, an unabashed plea for placed over it. Rernoving the tube to show it, he detaíís the
applause, and an opportunity to tailor the trick to Christmas, process.
Easter, birthdays or special events. The plot comes from the I'm going to use thls tube as a light block. You'll see tbat
legendary Indian Mango Tree effect, but the handling has been there 's nothing In it, but when u couers the seed, it giues lt a
cteaned up-a nice way of saying that it's awfully simple to use- chance to groui He slides the rube back into the square box.
through the use of a classically practical piece of appararus. It's The other thtng we need is some applause. Tbat's uihere you
the Square Circle Production. come in. When l hold up my hands, like thts, you applaud
You're disappointed, l'm sure, remembering your own and cheer, and you 'll be able to tell ali your frlends about the
limited experiences pulling a paper streamer from the magic uionders of'botany.
shop version. Well, stick with me and you may be pleasantly
JIM .STEINMEYER
-~- 1 HE .CONJVRING ANT110LOGY
The magician holds up apart the apparatus, li.fting the

his hands, a human applause tube and box to reveal a large,
sign. Everyone applauds and luxuriant green plant with well-
cheers. He cuts them off, dashes formed leaves and covered with
excitedly to the appararus and wrapped candy canes. Plucking
li.fts the tube. He begins to bow, off the canes, they are given to
in expectation of the genuine the children; each of them is
adulation that should greet encouraged to enjoy che taste of
him and his bloorníng tree. . . their first freshly picked, tree-
but there's still nothing there. ripened candy cane.
Crestfallen, he peers into the Oh well, candy canes, money,
empty trellis, and then replaces Easter eggs, product brochures ..
the tube. Hmmm, it must be . it's all che same, with only slight
an especiatly resiltent seed. We variations in parter and different
seem to haue a germtnauon surprises hooked onto the tree
problem Itere. He finally agrees with green rwíst-tíes or bits of
to give it time and proceed with tape. You supply the ideas. Heck,
the show. He replaces the tube you could even patter about
and pícks up the next t rick. the tradicional magic of India
Of course, after any burst of and end up with. . . mangos.
genuine applause, the magician lf you're goíng to dust off and
runs excitedly back to the repaint the old Square Circle in
l.
trellis apparatus. He assures the the basernent, make it white and
audience that there's sornething green, or white and cerra corta.
there ... that u's srarting to grow. The idea is to suggest garden 2.
Then, sure enough, darned if implements. lf you're srarting
there isn 'ta little sprour when he from scratch, here are a few
lífts the tube (Figure l). Square Circle tips.
Several more bursts of AJthough this will work in
applause-a couple of tricks almost any síze, l'd suggest a
later the sprout has progressed rube about 16 inches tall, seven
to an ímpressive collection of to eight inches in díarneter. The
green leaves. The final trick in cube should be painted a flat,
the program, not surprisingly, terra-cotta (flowerpot) color
manages to create enough (Figure 2). The outer box should
applause. Dashing back to be slightly shorter than the robe.
the plant, the magician pulls Paint it in white and green, with a
·111E .CONJVíllNG ANTl10LOGY JIM .STEINMEYER 1 1
"rrellis" pattern on the front. The about an inch shorter than the
inside of the box-if you really black fake tube and has a smaU
J. want to do it righc-should be 6.
wire ring at the top, so you can
lined in black silk velvet, which lift it easily (Figure 6).
makes the whole thing easíer to The dowel is dressed with
light in varíous settíngs (Figure a bunch of silk leaves, to fill
3). Thefake tube, slightly shorter the interior of the fake. The
than the height of the box, has no candy canes, or whatever, are
bottorn and is about an inch anda then clipped to the tree and,
half smaller in díarneter than the when it comes time to hand
visible tube. This is also covered them out, they may need to be
in black velvet. There's an supplernented by others in a
addicionaJ fake that provides the basket or box nearby. You may
"growing" effect. Glued on the wish to experíment with spots 7.
4.
front of the tube are two srnall of Velero, on the bottorn of the
plants. The first is justa sprout a tree dísc and the top of the base,
few inches tall with small leaves. to hold it firmly in place once
About a third of the way around the apparatus is assembled. That
the circumference of the tube is should take care of everything
a second plant, glucd to che black and there should now be very
velvet. This one has "grown" few questions.
about half the heighr, with larger The apparatus is put together
lea ves (Figure 4). in front of the audience, srartíng
Beca use the frontofthe box is with the flat base in your hand.
fairly narrow, only the front third The "seed" is placed atop the
5.
of the tube can be seen. In this base, then a bit of sand from
way, the smaJI silk plants fixed your pocket is sprínkled atop it.
to the outside of the rube show When the prop is set, with the
the stages of growth. A square nested tubes and the tree ínsíde,
wooden base, painted black you need to pay anention to the
on the top, has four short legs front of the fake tube, beca use it
(Figure 5). The tree is mounted has three faces: blank (or black,
to a black circular wooden base, which looks empry), sprout, and
which fits loosely within the small tree. When looking into the
ínner tube. The whole thing is appararus from the top (Figure
built off a center pole, an upright
7), the black third should be
dowel painted green, which is oriented at the front of che tube.
~ __ Tl1E CONJVIUNO A:NTl10LOOY _
JIM .STEINMEYER
Put the base on the table and lift the rubes in your fingers,
placing one finger in the ring so you can lift the nested cu bes and
the tree together. This whole assembly sits on the base. Then
22. Cl1INESE f OOD
pick up the box, lookíng through it before sliding it around che A_ s an example of how far a persistent and a~n~yingly in-
cube. Immediately lift the outer rube, explaining how it is used ~complete idea can take you, 1 began by thinking about
to provide darkness forthe experiment. Because the black third Rice, Orange and Checkers. Thís is the old trick that forms the
of the tube is facing the audience, the box still looks empty. core of all of those beautiful Checker Cabínets of yesteryear.
When you repJace the tube after the initial disappointment, My goal was to present it with a more innocent range of props,
your fi ngers lift the inner tube slightly and turn ic a third of
and eliminate sorne of che obvious confusion that results when
che way around, bringing che sprout to the front. Sirnilarly the three objects are all changing places, as if arbitrarily. Sorne-
tube is tumed another third, showing the half-grown plant. For where in the middle of it 1 included an old notion of finding
the finale, lift the rwo nested tubes together, revealíng the fu1J a borrowed bill in a forrune cookie, which you'll come to see
tree. The tubes are set aside, and then che box is lifted away. as the central idea of this routine. The end result is a neat little
This shows off the cree without any apparatus around it and sequence--a logical transposition of objects with a surprise fin-
allows you to remove the candy canes, et cetera, for che proper ish using the spectator's bill. Best of all, I think, are che props.
crowd-pleasing, "wanna-free-treat?" effect. Authentic Chinese props, acrually.
The routine was fírsr published in December 1994.
The performer Lifts a small brown paper bag. Most of the
real mtracles in magic come from the Orient, and I'm proud
to be able to presenta genuine Chinese mystery today. It's a
miracle o/ spatial displacement, a lesson in three dtmenstons,
an exampte of the stmtlarity of here and there. These are
pro/ound questions of physics but, as you 'll see with my
authentic Chtnese apparatus, these questions are mere trtfles
to a magtcian. Observe! Opening the bag and reaching inside,
he removes a small whíte take-out container from a Chinese
restaurant and a fortune cookie, placing them on che table. 1
need one more objectfor the experiment. 1 used to use my own
money, but f ound that u was always much more tnteresting
if 1 used someone else 's instead. I wonder if someone in the
audience would be good enough to loan me a one-dollar bill
for the sake of sorne profound, Zen-like contemplation on the
mystery of life? Hopefully the profound contemplatíon doesn 't
figure ínto it and a spectator volunteers a one-dollar bill.
Stepping ínto the audience the magician continues, Thank you
for your trust. He folds the bill in half. Actual/y this is a little
demonstration usingjust 50 cents worth of Chinese food, so
Tl1E CONJVRINO ANTMOLOOY JIM .STEINMEYER 145
l'll take the liberty of returning for the rice, of course, is its container, the placefor your 50
50 cents to you. He tears the bill cents is safely in your pocket. the placef or the cookte is back
in half, and then proceeds to fold in one piece. He crumples che bag shut and shakes it gently,
up the half, slipping it into the rattling the contents.
spectator's pocket. I want you This is tohere we contemptate the profundity of here and
to keep half of this bill in your there, of now and then. The uuse men couid meditate on a
pocket. Don 't toucn tt untü I ask question like thisfor a ltfettme... A long pause, as he shakes
you to open it up-l don 't want the bag gently. A lifetime... imagine that. I'ue been standing
anyone to think that there's here f or a mere ten seconds and, atready, most of you are
been anyfunny business. ready to gof or my throa l. Luckily l haue a sort of Zen Cliff's
Returning to the stage, he Notes all figured out. Watch. Now, and then. Here, and there!
drops the other half-bill into He squeezes the bag, tearíng it open. Inside turnbles out the
the opened bag. Your other 50 fortune cookie, back in one piece. Placing the cookie on his
cents goes here. In addttton, table and the bag aside, the magician picks up the cardboard
l'll include the contents of this container and opens it, tipping it to show that it's still fulJ of
ancient, Oriental container. rice. You can see, he says to a spectator in front, that eacñ and
Popping open the small every grain is returned. Each and euery one, back in ttsplace.
cardboard container, he angles Afterthe show, /'ll count them againjust to make sure.
it slightly forward so that sorne of As he places the container back on his table, he cums hís
the audience can see its contents. attention to che spectator who loaned him the biU. Yin and
(Figure 1). Do you recognize Yang, light and darh, mate and fema/e, your do/lar bil! and
that? That's right, it's full of rice. my reputation. For the first time, I'rn gotng to ask you to
Not cooked rice, just dry rice. reach tnto your pocket, take out the half a dollar btll, open
That's the best you can get these it up and show everyone that it has been restored back to its
daysfor 50 cents. Picking up the original state! No longer a mere 50 cents, you are holding in
bag he tips over the container, your hand the complete, unscathed, good-as-neui, and fully
spilling ali the rice into it. He reconstructed.....
refolds the top of the cardboard The spectator has opened the half bill to find just a half biU.
container, setting it back on the I'rn working to a btg finisñ here, you 've got to help me out!
J. cable. The complete, unscathed, good-as-neui ... The spectator has
Ftnally, J'll include the noticed something else. lt's a small slip of paper, the forrune
fortune cookie. . . and just to from a forrune cookíe, folded in alongside the bíll. What's the
make tt more interesting . . . He fortune say? 'You ioillfind money in unexpectedplaces.' Well,
crushes the cookíe in his hands, at least tt's a goodfortune.
dropping the pieces inside the Maybe some of the molecules got mixed upas they traueled
througb the air. I'rn sure that must be it. The magician tosses
bag. A placeforeuerything, and
euerything in its place. The place the cookíe to someone in the audience, asking them to break it
1 6 TNt:: CONJVlllNG ANTNOLOGY JIM .STEINMEYt:R 147
open. lf you 've goc the fortune, there must be somethtng e/se The paper bag is doubled.
tnside that cookie. When it is opened, half the bill is wedged The neatest way to make this, 2.
inside. It is unfolded and handed to the first spectator, who the work of only a minute, is to
finds that the serial number and tear marches perfectly. That start with rwo srnall brown lunch
leaues the tastpart of the ritualforyou... something that you bags. Cut the top few inches off
can perform in the qutet contemplauon of your own room. one bag, and then fold down a
The restoration of the bíll. The joining of the Yin and Yang. collar, about an inch, at the top
Ali it takes is your careful attention, an open mind, and of the bag. Repeat, folding the
severa/ inches of this mysterious substance. Under the last collar clown twice. Slip this bag
words he's been reaching into his pocket to show a dispenser inside the matching bag (Figure
of cellophane tape. 1 carry it just in case the ancient Chinese 4), so that the top of the outer
magtc fails me. He reels off a piece of tape and offers it to the bag is trapped beneath the collar. 3.
spectator, thanking everyone for their participation. Now the bag has a neat false
1 paid 1 O cents for the authentic cardboard container, bottom.
purchased from the Cantonese restaurant at the end of my As for the cookie, years ago
block from a rnost unwilling and unimaginative waiter. Maybe l clipped a recipe for fortune
you can do better=but a dime is a worthy ínvestment in this cookies from a magazine,
routine. The contaíner is a small one, onJy 2 -1/2 inches tall determined sorne day to master
and ~ inches wide at the top. (The company that made it is a borrowed bill in a fortune
Fold-Pak -can there be more than one company that makes cookie. l'm going to spare you 4.
rhese things?-and the size is 8). It has four small flaps that close that recipe. I think it's lost in
across che top, a tiny wire handle anda pink pagoda printed on a file, anyway. If 1 had known
the front. J couldn't have done any berter with a dragón stencil berter then, l 'd have realized that
anda can oflacquer. baking cookies was the wrong
The Littlc rice container is the trickiest píece of appararus. way to do it.
1 prepared it with a piece of white (rice-colored) cardboard, just buy a package of fortune
cut a little under 3 by 2-1/2. This cardboard is hinged inside the cookies. Break one neatly in
box, with one strip of clear tape, about l/2 inch down from the half, pull out the fortune and
top. The sloping sietes of the box serve to lock this cardboard replace it with half of a bill (your
flap in place. Using white glue, glue loose grains of rice on the duplícate bill that you've toro
top of the flap. Now, if you look into che container from the in halves) (Figure 5). Fold che
top, ír appears to be full of rice (Figure 2). However, this flap half into a tight packet, wedge it
can be hinged up slightly. into the cookie and reassemble
Al the start of the trick, fill the container 1/3 to 1/2 with the cookie around the biU, using
rice, beneath che flap. (No need to really use a container full sorne white glue to stick the
of rice; more rice just gets messy.) Figure 3 shows the set-up,
pieces back together. Voilá!
indicating the hinging flap. This prepared cookíe, with
1 8 TME eoNJVRING ANTMOLOGY JIM STEINMEYER 149
--------- --
the half-bill, is put in the bottom you, in your right (Figure 7). The flap will hinge open slightly,
of the bag. In the top put another aUowing the rice to spill out. It seems as if you've emptied the
6 cookíe and the container of rice container of its contents, but as you típ it upright, the flap will
(Figure 6). drop back in place. Seal the top and place it on your table.
As for che other half of your Finally, crush the cookíe, adding it to the contents of the
bill, rype up a fortune on a slip bag. Crumple the top of the bag shut (Figure 8). As you handle
of paper, "You will find money the bag, you can graduaUy squeeze this bundle tíghter and
in unexpected places," and stick tighter, cutting off the "rattle" of the rice. When you tear the
it to the other half of the bill bag open, tear a gash at the bortorn, which aUows the fortune
with a small tab of ceUophane cookie to be seen but conceals the load at the top. Crumple the
tape. Then fold up thís half into bag and place it aside as you return to the container.
a packet and slip it into your Openíng the lid, tip it forward to show the rice back in
pocket so that you can easily get place. FinaUy, encourage the spectator to open his half-bíll,
at it. where he finds the fortune. That sets up the finish with the
Here is a brief description cookie, where the duplicare half is now safely in place.
of how the apparatus is used After this effect was published, 1 became aware of a much
during the routine. Finger palm improved method of preparing the fortune cookie, taking
the folded bill in your pocket advantage of the cookíe's famous susceptibiliry to dampness-a
as you step into the audience. trait which has dístressed many ata Chinese dinner. That's why
When you borrow the bill, fold they're currently packaged in plastic wrappers.
it in half lengthwise, and then Hold the cookie over the steam from a teakettle, or seal it in
tear it down the cerner (down ajar filled with damp paper towels. When it reaches the proper
7. Washington's portrait). Fold one consístency, the entire cookie can be opened like a circle of
half to approxírnately match leather, as unappetizíng as that sounds. The fortune can be
your palmed half, and as you slip pulled out and che bill substituted.
it into the spectator's pocket, You may need to experíment with different brands of
switch it-as in a bíllet switch-for cookies to find the best product-or in chis case, is it the worst
the duplicare half. product?
When you drop the half of
the spectator's bill in the bag,
8. secretly drop in the palmed half
as weU, which makes it ali easy.
Openíng the cardboard carton,
you can show that it is full of rice,
thanks to the cardboard flap.
Hold the bag in your left hand and
tip the container back, towards
TM E· CONJV RI NO A NTM O tOG Y
J 1 M .S T E 1 N M E Y E R 151
2).MA:RVYN ROY'S man, holding it high as she returns it to Marvyn. Thank you sir.
I altoaysapprectate the conjidence of 'genttemen who lend me
B1LL IN Tl1E LIGI1T BULB money! Marvyn displays the bill; his broad srnile and that line,
which has a faintly ominous undertone, gets a chuckle from che
T wo months after the trick with the bill in the fortune audience.
cookie-in February l 995-Conjurlng explained a Oh, by the way, you're going to toue this trlck! Marvyn
very different, spectacular and theatrical versíon of the bill holds the bill berween his hands, about chest high. I'm going
transposition. to takeyour bill, and tear it in halfjust like thts. He tears the
I've always been a fan of Marvyn and Carol Roy, and I bill into halves, pausíng to lec one piece dangle from the other.
met them in Los Angeles shortly after 1 moved here. In a You still haue confidence in me, don't you, sir? Good. We/L
conversation, Marvyn surprised me by saying he was an avid then, let's complete the job, just like this! He takes both sides
reader of the effects in Conjuring. He volunteered one of his of the bill in his hands and quickly pulls them apart, wadding
own eñects for the series, and suggested the Bill in Bulb routine them up ínto bundles in his fingertips. I'ü tear the bit! in two
that had been described in che Roys' videotape for joe Stcvens, equal parts. Now, stnce I always like to teaue a gentleman a
Volume 40 of the Greater Magtc tapes. recetpt, l'd likeyou to take half this blll. Don 't lose it! We'llget
Marvyn and Carol, whose careers have taken them around back to it. One of the crumpled halves is handed back to the
and around the world and achieved countless awards are spectator at his seat.
' Caro! has now stepped back on stage, standing ar Marvyn's
also rwo of the most enthusiastic people around. Sure, you've
heard them called "professional" and "Iegendary," like they've right. She is holding a tray with a piece of white tissue paper,
spent their careers sitting in a museum somewhere, but if that a small hammer, and a prornínent brass cable lamp with a
enthusiasm couJd be bottíed and sold, the world of magic shade. Marvyn says, Ladies and Gentlemen, I don 't know how
would do well with a dose every moming. At a time when they many of you are atoare of the fact that many of the bilis in
joke about retiring, it's easy to see chat Marvyn has rc:tained circulation today are of the fireproof uariety. They will not
every bit of his boyhood enthusiasm for magic: rehearsing burn. I don't knoui if our bill is, but let's find out! As Marvyn
a routine, effusing over a new idea, re-folding, re-soldering, turns towards her, Caro! rurns on the lamp, which gJows
packing and dashing for aplane. brightly. He holds the crumpled half bill, at his fingertips, so
This version of the Bill in che Light Bulb has not onJy been that he has a good view of it in the light. Ooh, that's a brtght
electrified, literalJy and figuratively, by Marvyn and Caro!, but light. I can tell rlgh: away that u is, indeed, of the fireproof
this routine has been performed for decades, in thousands of uariety. You might not belieue me, but !et me proue u. What
performances as part ofthe Mr. Electric act. you do is uirap half ofyour bill-justtry tt wilh half-like thts,
Marvyn begins bypointingout thatthis is theirmostdifficulc in a small piece of ttssue paper.
feat. Could l have the loan of .. a thou.sand do/lar btll? he Marvyn picks up a smalJ square of white tissue on the tray
asks, looking expectantJy at the audience. / don'I seem to have and deLicately wraps che half bill inside. /'// point out that you
one on me ... , he continues searching his pockets. Perhapsa must use whlte ttssue for this. You 'l/ find that lf you then
single dollar then? Do we have someone tn the audience who apply a slight, sltght bit of heat, only the paper will burn but
not your money. Marvyn reaches inside his coat for a cigarette
would toan me a single dollar?A spectator volunteers a dollar.
Carol, at the side of the stage, steps down to retrieve it from the lighter. Watch uihat happens when 1 apply thisflame to your
·~ TME CONJVRINO ANTtlOLOGY
money. When the paper is lit he rosses it up in che air. With a from the back piease!
JIM STEINMEYER
Actually,Mark,we 're only kidding. The other half ofyour

153
flash of flarne the paper and biJJ disappear (Figure 1). Marvyn
conternplates the fact. Too muen heat ... But you still haue bíll has not been destroyed, but u is in the air. It's invisible. I'll
half the bill, don't you, sir? Well, that's better than nothingt get it, right there. You see tt Mark? Marvyn holds an imaginary
Hold it up so that euerybody can see it, please. Would you "sornething" in front of the spectator and urges him to agree
mind standing? Marvyn coaxes hirn up on stage with a round that he sees it. With a toss, he follows che half over towards the
of applause so thac che man is standing next to him, on rus Ieft, lamp, when the light suddenly extinguishes. Did any of you
holding the halfbill. He asks the man rus first name and has hirn see that half of Mark's bill go ouer to the larnp? You did not.
hold the half bill in his right fist. Well, tet me show youl Marvyn lifts the shade as Carol steps
You 're not gotng to believe thls, but on the count of three, forward, with the tray, displaying the Lamp. There is a sealed,
uihen Mark opens his hand, he will be holding botb ha/ves of transparent glass bu1b with half of a bill folded inside.
the biil... so you'll show one half to thls stde ofthe audience There, tnstde the bulb is a portton of a do/lar btü. Not on
and one half to that side. Are you ready? One, two, three! the outside, on the instde. Marvyn unscrews the bulb from the
Marvyn hurries along the man, oblivious to che fact that che lamp, holding it close to Mark. Wouldyou uerify that that's not
trick hasn't worked. Open your hand now, Mark. Spread an illuston. that the dollar is actually instde that bulb? Tbat
the bil! open, spread it open, hold tt high in the air and show uiould be ntce if were your half. The oniy way uie're going
ü
one half ouer here and the other.... Noticing that Mark is only tofind out is to break this bulb. Marvyn faces Carol, picking up
holding half the bill, che magician looks straight out to the a small brass hammer from the tray. Carel closes her eyes and
audíence, asking sincerely, I'd llke to borroto another bill turns her head away as he taps on the glass bulb, shattering it to
expose the conrents.
Very carefuily,Mark, take tt out. Don 't cut yoursetf. Open
tt up and hand it back to me. The spectator rernoves the half
as Marvyn sets down the socket and broken end of the bulb.
J. Let's see if they really match. What's the first letter on my half
of the bül? He has the spectator say it ínto the rnícrophone.
And on yours? Now the numbers on thts half. . . . Marvyn has
hirn quickly read the numbers, saving the final letters at the
end to confinn that the serial numbers match. FinaUy he takes
the halves, holds them up and points out that the tear matches
perfectly.
Ladtes and gentlemen, would you belieue, the letters
match, the numbers match, and the two pieces of the bill...
they reaiiy match! Marvyn thanks the spectator, and offering
him, a brand new bíll foryour trouble, he hands him a fresh
bill from rus own pocket in retum for the torn pieces.
The lamp used is the old style Canary in Bulb lamp that
was probably invented by Les Levante and sold by U .F. Grant
THE CONJVRING ANTHOLOGY ----
JIM STEINMEYER 155
15~ ---
for many years. Marvyn's is away the blue insulation glass at
the bottorn. Reaching up into the 4.
made from a small brass vase.
2. Three wires across the top hold bulb with the screwdriver, break
a short píece of brass tubing the inner glass column, pulling
the wíre and bits of glass out
that is the "socket" of the bulb
(Figure 2). Inside the vase is a with the pliers. Be very careful
porcelain sockec and a photo not to cut yourself on the tiny
flood ("three-hour") bulb. These bits of glass! The whole job is
several minutes, and it's a little
are available ac photo shops
and give a superior Light inside Like taking a ship out of a bocele,
the lamp. As you may gather, it píece by piece. If the bulb is a
is che bulb inside che Lamp thac white frosted bulb, wash it out
with sorne water and Jet it dry so 5.
ílluminates the shade, giving
the impression that the Light is that the glass is clear. Marvyn has
corníng from above. The empty made a neat fake from the inside
bulb, containing the duplicate of a lamp socket. A tlat bicycle
half bill, is under the shade from clip is glued or soldered inside
the start (Figure 3). There is a this socket, so that the whole
switch ac the back of che lamp thing can he pushed up inside
and a cutoff switch in the line , the empty bulb and che socket
at the side of the tray, whích screwed around the base of it
Caro) can opérate to switch off (Figure 4). This is prepared with
che light at the proper moment half of the duplicate one-dollar
in the routine. The empty buJb bill. Marvyn folds it into a neac
starts as a standard "long-necked" triangle so that if fills the bulb,
light bulb, the síze of a three-way slides it into the clip, and screws
bulb. The bulb is opened up and it closed (Figure 5). This buJb sits
emptied. There are various ways in the brass rube atop che lamp,
of doing thís, with a band-saw or and the lampshade is clipped
grinder. Marvyn does it with a over it.
few hand tools like a screwdriver The rnatching half of the bill is
and small pliers. Start by pulling crumpled and placed in Marvyn's
away the copper dísc at the right panes pocket. The lighter is
bottorn of the bulb, cutting the in an inner coat pocket, on the
wire that leads to it. Now use a left side. The square of whíte
tissue on the tray, of course, is
smaJI screwdriver ora thin, sharp
probe in the center hole to break flash paper. A small hammer is
JIM .STEINMEYER
-- __!5l
1~
'1 ME CONJVíUNC AN íHOLOCY
also on the tray.

When Marvyn asks for the thousand dollar bill, he reaches
24. Tt1E INSIDEOVT
into both pants pockets, as if looking for one. His right fingers PRODVCTION BOX
emerge with the crumpled half-bill, finger palmed. When he
or the final offering of the second series of Conjurlng in
f
receives the spectator's bill, he slowly tears it in half (being
careful not to rwist his hand and expose the palmed bill), so that March 1995, l thought it would be wíse to rnake ita finale.
the pieces are barely connected (Figure 6). He lets the image lr's a production effect usíng an ínteresting and practical piece
of thi torn bill register with the audience. Then, bringing his of apparatus.
hands rogerher, he rnakes an up-and-down are with his hands, It used to be that such productions were de rigueur for
seeming to pull che píeces apart and crumple them. Actually magic shows, but since feather flowers, rubber fruit, zinc
(like the old torn-and-restored bill trick), under cover of the goblets, spring babies and reticules have fallen out of favor
larger movemeru, he folds the entire bill into this left hand, (drat!), conjurers today are in the embarrassing position of
where it is quickly crumpled (Figure 7). Simultaneously, the having plenty of boxes to show empty but nothing to pull out
right hand brings the crumpled half into view at the fingertips. ofthcm. This is dueto a simple lack of ímagination. More on the
Beca use the hands separa te quickly, it gíves the impression that actual productions later.
the preces nave been pulled apare (Figure 8). Marvyn gives the Wirh apologies to the memory of Robert l larbin (who
right hand halfto the spectator as his receipt. As he prerends to used the clevcr títíc Upside Down Production Box), I'd like
wrap ihe left half (actually the whole bill) in the flash paper, he to introduce the lnside-Out Production Box, which is not
palms the bill in his right fingers. onJy shown ernpry by being turned inside-out, but is actually
Reachíng for the lighter, he drops the bill in his pocket. black on the outside and bright colors on the inside! (That 's
Now he needs only to bum the flash paper, coax the spectator how it works.) l'm especially happy that this production box
on stage and complete thc effect, discovering the bill in the doubles as a table through the act, of the perfect height to hold
bulb. The simplicity of the routine allows for lots of audience apparatus and with a helpful shelf to support props. Al the
participation. conclusion of the show, rernove che lid, show the box ernpry,
and proceed directly to the finale.
This apparatus is efficient, and pleasingly, dependably
simple. Sine e 1 described it in MA GIC, it has been man ufactured
(by arnateurs and professional builders) a number of times and
6.
has become-l'm proud to say-a rnodern standard.
Fans of apparatus will recognize a similarity to the wonderful
Mignon principie, the up-and-down Load that moves within
two nested contaíners. This apparatus, however, is a "one-box
Mignon," as the load moves right in front of everyone when the
sides are being disassembled. The production box is a ñat black
finished cube, which síts a top a square stand. With a flat lid or
tray it can be used as a table during the act. i'he lid is removed,
the perforrner disassembles the box to show it empty, folding
158 T nE CON J V R 1 NO A: N T 11 O LO O Y JIM .STEINMEYER 159
down all four sides to reveal bright colors inside. The inside of outsíde of the box is flat black.
each síde is painted a diff erent contrasting color. The box is The inside panels are painted in
reassembled, the sides raised and locked. Without delay a large bright colors.
and irnpressive production (Figure 1) commences, virtually Notíce the small locks on
filling the box. Notice, in Figure 2, that the cube rests on a the sides of the box (Figure 4),
slightly smaller, three-sided box that is, in turn, on legs. The which hold it together. In taking
audience can see through the front and back ofthis three-sided the box apart, these notched
2.
stand, but it is responsible for the illusion. stríps of aluminum are pivoted
up, releasíng the back and front
The interior of this three-sided box, immediately under the
production box, is lined in black velvet. This is very important. panels as the routine requíres.
1 suggest a top box of 12 inches square, made of3/8-inch wood. One more important point: rwo
The overaU height of the appararus is 36 or 38 inches. The straps (shown in Figure 3) are
three-síded frame, beneath the box, is 1 O inches square. black webbing, fixed at the top
There's a fairly clever process by which the load is moved. edges of the back, folded around
In order to understand it, íet's start with the square produccion and attached to the closest
box itself (Figure 3). In this view, notíce che quarter-circular edge of the load. These straps
load container, similar to the load in a típ-over box, whích synchroníze the motion of the
rests against the front of the box. This load pívots at the bortom load with the back door.
front edge, so that it can hinge out che bortom ofthe box. The As you may gather, there
bortom surface of this load-the bottorn of the box that lowers is a bit of black art involved as
down with che load container-is covered in black velvet. The the load shifts. lt only lasts for a
second or two-don 'r be afraid-
and it all seems to happen as if
3.
the back door is being lowered.
Figures 5 and 6 show the
sequence from the side. Notíce
that the back door is lowered
first, by releasing the catches
and pivoting it down. At first the
straps don't release the load, but
as the door passes the horizontal
line (Figure 6), the load starts to 4.
lower in line with the back door.
Due to the closed sides of the
lower box, the black art and the
black finish of the back door, the
motion of the load is impossible
1 6o TME CONJVRING ANTMOLOGY JIM STEINMEYER
to notice. The remainder of the doors are Iowered, a side, the effect. Or you could produce
front, and a side, as shown in Figure 7. In this position the table parry favors for a kid's parry,
can be lifted and shown on all sides. It is then replaced and the srartíng with silk streamers
panels are closed, líftíng the back last so that the load is raised and proceeding with hats for
in position. The movernent of the load is automatic and almost everyone, noíse makers, masks,
instantaneous as the panels are shifted. et cerera. Conveniently, these
You'Il want to make adjustments to the positions of the tend to nest or pack srnall, but
straps, the hinges and catches, as you start constructíon. are desígned to look flash y.
Notice that you'll need a door over the load, as shown in Figure
Flowers don 't need to be
3. Ifthe production items are heavy, you'll need a hinged door. made of feathers. Using the
Otherwise you can use rwo stríps of elastic or fabríc with basic plot of number 21, Eclectic
Velero to close the top of this container. Horticulture, you could pull out
Incidentally, you can find more information regarding the a long, long streamer of greens
construction of these "quarter-circle" loads in Tarbeü 5, page and flowers, dangling with
257 (where it is applied to a Tip-Over Box); in David Charvet's candy. Bruce Posgate used to
book,jack Gwynne; and in the Thayer plans for the Box, Tray produce long strings of plastic
and Screen, which were reproduced in the Owen Magic book, beads, that cascaded out of the
Keep the WheelsTurning. apparatus and onto the stage in
So what do you produce? Silk magic has, strangely, fallen an appealing, magical way.
from favor, but good quality silks (both old and new) are still Finally, there's "lívestock,"
available and make a great show on a small stage. Streamers and the charrning word magicians use
36-inch silks take up very little room and provide a sensational in place of the word, "anímals,"
used by the rest of civilization.
5. 6 Never underestímate the effect 7.
of a rabbit to instan ti y melt a hard-
.
'.'-·. ¡., boiled crowd. Ducks have been
' I
I '·
'. having a renewed popularíty
'
l
i '.
JK;;r;
~ ..l:;;.::·-:;;.::·-::.:.·.::.-·=-=·~:;;..j
' /
......
\ 1
lately. They're very funny if you
can connive sorneone else to
clean them for the show. Or,
slightJy more lively than any
living arumals are the artificial
variery. After ali, what have you
been doing with that raccoon
since you bought it from David
Williamson?
THE CONJVRING ANTMOLOCY ___ J~ STEINMEYER 2§
right trouser pocket, back out towards the audience. If l'm
25. TEN CARDS with a group of people around sorne cards, 1 sometimes palm
v P Tl1E SLEEVE
thís card to my pocket and leave it there, on the off chance that
I'll be asked to do something. lt's easier to retum this card to
the deck later than steal it while the focus is on you. You 'U also
A._ friend of mine anda deep thinker in magíc, Bill Liles, makes need to empty your left trouser pocket,
~the analogy berween classic eff ects in magic-the Egg Bag, THE COUNT: 1 use ten cards. If you're with a group of
Cups and Balls, Linking Rings-and jazz. With che first phase of people, it's níce to have someone shuffle and hand you ten cards
the routine the plot is explained. The rernaínder of the effect from the deck. Then you count them to check to make sure
consísts of variations on the theme, allowing the audience to there are only ten. You'ue probabiy heard about magicians
apprecíate che art of the presentation. using their sleeves f or rnagic, slipping things in and out of
The classical Cards Up the Sleeve fits this scenario perfectly thetr sleeves. Well, euen though 1 shouldn 't really explain how
(to be clínícal, the effect consists of pulling a card out of your such things work, I thoughtyou mtght like a demonstration
pocket tenor rwelve times, with variations). Yet it has been out ofjusthow that can be done. There 's a certatn knack to it. l'm
of fashion for many years and has long been considered one of going to use these ten caras. l'll count them outforyou, and if
che "second tier" classics. When Erdnase described a version you get a chance, remernber one or tuio of them as they go by.
of it in his book, he lísted the necessary sleights as "rnasterly l ... 2... J ... 4... 5... 6. .. 7. .. 8... 9... 10. The cards are held
feats of palrning and unflinching audaciry," an especially up chest high, counting thern slowly from the right hand to the
trenchanr phrase from a book of trenchant phrases. When 1 left by pushing them off, one by one, so che faces are visible
was a teenager ami my hands were [ust big enough, this was the (Figure 1). Ouring chis count you do not change the order of
ñrst palming trick J learned. In retrospect, chis wasn 't terribly the cards. As the sixth card is transferred, the lcft ñrst finger
smart: like learning to drive in a Mack truck. 1 performed it for pushes against the edge of the card so that it can hold a break.
years, gradually improving the routíne as 1 understood it more Lower the packet, moving it to your right hand, face down in
and more, and aJways included it in performances. The routine a dealing position. As you do, transfer the break to a right little
became a hobby with me. Twelve or fifteen years ago I started finger break berween the fifth and sixth cards.
from scratch again, scrapping my current versión, analyzing it I'm also going to use thís pocket, ouer here. Empty, which
based on my experíence and reassembling the routine. l can in itself is not unusual. I'd llke you to keep one eye on the
now vouch ror the sequence. The beats of mísdirectíon are poceetand one eye on the cards. Oh, and don 'tf orget to watch
solid and efficient, the routine is surprising and satisfying, right this steeue. That 's the importan/ part. The left hand pulls out
down to the last card, which is usually sorne sort of sticking
poínt with these effecrs. This effect started the third series of
Conjuring articles in MAGICMagazine,in October L996.
J.
Please note rhat as I handle cards left-handed, the
description caUs for top-palmíng in che left hand. 1 apologize if
you'U need to translate.
This is a wonderful trick to perform irnprornptu, with
borrowed cards, Still, there is sorne set-up. You'll need to get
one card (an unnotíceable card, like a black spot card) in your
161 TH E CONJVRI NO ANTHOLOO Y JIM .'3TEINME'ttl{
~~~~~~~~~~
the left trouser pocket, shows it ernpry, and then pushes it the fourth card, but your
back in. You've nowturned yourleft side to the audience, with expression indica tes
the right hand held out prominently, which will be the basíc disappointrnent. Move
position through the effect. The left hand takes the packet from your hand in the pocket
che right, andas this happens the top five cards are top palmed a bit, as if looking for
in the left hand. Holding the packet between the thumb and the card. The left hand
fingertips, the left hand gestures down the length of the ríght comes out, grabs the
sleeve. shirt at the left shoulder
and jiggles it a bit. Your
THE FIRST CARD: The left hand returns the packet to the
right, then rnoves directly to the trouser pocket and reaches expression índícates that
inside with the palmed cards. Simultaneously, the right hand is it worked, and the card
raised and the comer of the packer is riftled with the thumb to has been freed. Again,
make a clicking sound (Figure 2). It's uery simple. When l snap reach into the pocket and
the cards, líke this, one card goes up the sleeve, across and immediately remove the
into the pocket. That's one! The left hand emerges with one fourth card, dropping it
card, the top card, shows it and drops it on the floor. on the floor. There it is.
THE SECOND CARD: I'ü do that again, in case you uieren 't Numberfour!
uiatching closely. just a little snap. One cara goes up the SIX CAROS LEFf:
sleeve, across ... and into the pocket. That's two!The left hand lf you 've been paying
moves over to the right packet to square it slightly. Here you attention, there should
gíve a little feint, as if a card rnay be palmed in the left hand. This be ... stx cards stül in my
isn 't a sucker rnove, just the slíghtest suggestion that a card is hand. 1 ... 2 ... 3... 4... 5 .
concealed. As you indicare the path of the card, the left hand . . 6. Hereyou'llcoumfive 2.
points along che sleeve, across the chest, then subtly euros to as six. 1 use a false count
show che palm (fi ngers pointing up). Immediately you rurn che which is more "rhythrn"
hand down, pointing ac che pocket, reach inside and withdraw than sleight, drawing
the second card. back the second card
THE THIRD AND FOURTH CARDS: This time I'l! try to do in the right hand just as
two cards at once. Very difji.cult. (Snap, snap.) The packet in I'rn about to slide it into
the right hand is rift1ed rwíce insuccession. lfitworks, Ishould the left hand. The sound
end up with nurnber three.... The left hand reaches into the is right, the movement
pccket, draws out three and drops it on the floor, returning is right, but the second
immediately to the pocket. And here's number. ... number. ... it card doesn't actually get
seems as if l lost that one. Oh, l know. Sometimes it gets hung transferred. This count
up when it makes that sharp right turn down into thepocket. does not change the
lf l jiggle it here, that mightjust.... order of the cards. Each
This is just acting. The left hand reaches in, as if to find card goes from the top
Tt1E CONJVRING ANTMOLOCY _ _ _ _ J 1 M .S T I'.. 1 N M I'.. Y I'.. R 16z
--------
of the right packet to the bottorn Reach into the pocket deliberacely, drawing out the remaining
3. of the left packet. AJso, I start card. Into the pocket. There's numberfiue! That should lea ve
wíth the cards held horizontally, me uiitñ fiue caras. l ... 2 ... 3... 4... 5. jusifiue cards left.
then graduaUy raise them so Count the cards very deliberately from hand to hand. I make
the faces can be seen (similar an effort to not show the face of every card, bue 1 make sure
to the way the cards were first that thc cards are held in a way that che audience is assured that
counted). This is why 1 steal back there are only five. At thís point I generally rnix che cards with a
the second card. By the third or casual overhand shuffle.
fourth card l've started raísíng THE SIXTH CARO: lf you're missing thts, tt's probably
<3
the packet to show it. because it 's too fast. l'll do lt slouity.fust a snap, and one card
THE FIFTH CARD: Six caras is gone. Real/y. J noto haue four in my hand. J ... 2... 3... 4.
<3
le/t. In particular, I'm going to With this card, you're changing che rhythm of the steals,
ask you to watch the one right which is an irnportant step. Riffle che cards in che right hand,
in the center. That one goes upt but before showing the card in the pocket, you offer to count
Across, and over. . . . Turning the cards to provc that one is gone Here use a false counr, five
your left side to the audíence as four, that feels identical to the earlier counts. 1 use a buckle
again, fan che cards in the right count, transferring each card to the bottom of the packet. The
fingers, sliding out the bottom cards are held horizontally: they are never raised to show the
card and then pushing it "into faces, but 1 turn over the Iast, single card in my right han<l to
the fan" so that it protrudes. (The flash the face. As you square the packer back into che right
fan is not a wide one, and as it hand, obtain a liule finger break above the bottom card. And,
is in rnotíon, ít is hard to notíce of course, tha t mea ns that one card has arrtued in the pocket.
the number of cards.) Acrually, ... Your left hand subtly shows that it is ernpry, then reaches
the card is slid back against che into the pocker. Your expression indicares that the card isn't
bortom of the packet, where it there. (In fact, it isn't.) You may wish to puU out the pocket,
is held with the right fingers. then push it back in, showing that it is empty.
Notice that, after the count, Somettmes they make a wrong turn. Transfer the packet
you do not show the face of any from rhe right hand to the left. As you do, the left hand rakes the
of che fanned cards. The right cards from che top, top palming the cards above the break. This
hand makes a bit of a flourish, a allows your right hand to reach into the right pocket, rernoving
movement forward and back as the extra card. As you do this, your expression indicates relief;
the right fingers draw back che you've found the missing card. There it is. Number six.
card suddenJy. lt seems as if the SEVEN, EIGHT, AND NlNE: The card taken from the right
card protruding from the fan has pocker is dropped on the floor. lmmedíately take the packet
suddenJy dísappeared (Figures 3 (acrually only one card) back in the right hand. Thís card is
and 4). Imrnediately the left hand raised in che air as the left han<l reaches into the pocket with
is raised, flashing that it is ernpty. the palmed cards. Watch, two cards at once. (Snap, snap.)
168 THt: CONJVRING ANTHOLOOY JIM STEINMEYER
------
There they are. Sellen and elght. card in your collar behind your
The card in the right hand is neck on the right síde (Figure 6).
snapped at the comer, and the As the hands come together, the
left hand immediacely emerges a udience will be momentaríly
with two cards, dropping them surprísed co find that the card has
on the floor (Figure 5). There disappeared. Imrnediately che
goes nurnber nine. Upthe sleeve, left hand reaches ínto che pocket,
across, and into the pocket. That as you swing your body slíghtly
leaves one card in my nana and so che right shoulder faces the
one ... in my poceet. lmmediately audience. The "vaníshed" card, in
snap the remaining card, turning your collar, will come into view.
it over in your right hand to And it ends up in my ... in my ...
show that it's a single card. The . Oh, there it is, up there. I guess
left hand removes number nine it went up my sleeve and popped
from the pocket, dropping it out at the collar.... Y ou sa y chis
on the tloor. Notice that this as if offering an excuse why
leaves one extra card in che left it's sticking out of your collar,
pockec. These last three cards but before you fi nish che line,
"go" with an increased rhythm. your expression shows that che
You're gecting near che end of audience isn 'r buying it. I see this
the routine. audience is too sophisttcateafor
THE LAST CARD: That leaves that sort of thing. l'll have to do
one card, the Pour of Hearts tt the hard uiay.
(naming the card). The last one Hold the card vertically, face
is the one eueryone uiaits f or. towards che audience, in the right
Watch uery closely, because J fingertips. With your left side to
need to do it dtfferently, J just the audience, bringyour left hand
tap the card against my hand, up to your right. The suggestíon 6.
it disappears .... First, a joke. is that the card is beíng held
Standing wíth your shoulders between che two hands (Figure
square to che audíence, hold your 7). With a slight tossing rnotion,
card in your right hand, raísíng the card is quickly turned and
it over your head and slapping back palmed in the right hand.
it against your left palm. This is (That's right, back palmed.) The
done in cwo smaller "wind-up" cwo hands separare by "hínging
ares. The third time, the hand open," so that both palms can
~ ~ D increases the are, depositing the be seen (Figure 8). (The use of
17!!__ __ TME CONJVRINC ANTMOLOGY JIM .STEINMEYE!l ~
rwo hands works to disguise the 9). The movement of the right hand slides the caed forward,
7. nature of the back palm, which through the fingers, as che hand opens.
is often recognízable to laymen The move is smooth and deceptive: the left hand starts to
when presented with one hand. pull the card from the pocket, and then pauses. The right hand
Also, starting with the card moves in place to lift the caed hígh and show íts face tO the
held vertically is irnportant to audience. That's number ten, so now yoú understand how
disguising the back palm.) That's cards cango up your sleeve! Drop the last card and take your
the last card, all the uiay up, bow.
acrossando ver.... There are a number of strong mornents in this routine: 1
lmmediately the right hand is know from experience. For exarnple, the second card, che
lowered so that it brushes against fourth and fifth cards invariably surprise the audience. The
8. the back of the right thígh. The "wrong turns" and feints are important to the rhythm of the
left hand moves across the body, routine, the steaí before card seven (the second big steal of
reaching into the pocket. As the the routine), is normally a problem, but in thís routine the
left fingers pull up the card (the misdirection is perfect. The gag with the card in your collar is
extra card) inro view at the top just che change of rhythm to set-up the final vanish, and works
of the pocket, the right hand well to throw the audience off the scent. And then that last card
performs an acquirrnent (transfer is a real surprise ... even for rnagicians, who can't quite believe
of card from back to front) that they've watched a back palm finish off this classic plot.
against the thígh, transferríng
the card from the back of the
hand to the front, in the accepted
manner. (In this posítíon, the
rnove is virtually angle-proof.)
Pause, with the card part way
out of the pocket, and tum to the
audience.
Do you rernember the name
of the last card? Look straight up
at the spectators. The Pour of
Hearts? The right hand swings
across the body to join the left
at the top of the pocket. As the
right hand "produces" the card at
the fingertips sliding it into víew,
the left fingers push the extra
caed back into the pocket (Figure
173:.._ THE CONJVRINO ANTHOLOOY J 1 M .S T E 1 N M E Y E R 173
This is the sttuation f aced by a dowser: water somewhere,
26. DOW..SING ~ DIVINING beneatn a quantity of sand or soil. Since you are a beginner
to this process, I feel it would be too much to ask you to find
T he late Orson w:eues ~ad wonderfuJ instincts ab~ut mag~c

-enlightened viewpoínts that were often rnanífested m
casual conversatíon. Many of hís magic suggestions brimrned
the water. Instead, I'd like you to circle these cans and tell me
which can giues you the least impression. In other words, tell
me whích container, you would guess, registers 'nothing. r
with sítuatíon and theatricality. After the haJcyon days of hís The lady is instructed to hold the rods in front of her and
Mercury Wonder Shoto, he never really performed much circle the board severa! times. If she picks up no vibration, she
magic, and the odd talk-show appearance were expediencies: is asked to use her intuition based on the experience: identify
alas, his best and rnost inspired ideas didn't make it to the the one can least likely to contain water.
stage. When she picks one, the magician lifts the saucer and tips
Typical of his notions was the following, one of my favorites over the can. Empty. Or, perhaps, justa few drops ofwater.
for the sheer fanfaronade of its presentation and the tiny, The process is repeated three times more. Each time she
polished secret rattling around insíde-a secret that makes any circles the board. Each time she picks out a can which gives
magician grin with perverse recognition. Not insignificantly, little positive effect. Each time the can is ernpty.
the theme was dowsing, that folk art which everyone "knows" This leaves one canon the board. The magician thanks her,
to be true. This routine originally appeared in the November steps over to it and tips it over. From inside comes a gush of
1996 MAGIC Magazine. water, saturating the sand on the saucer and running over the
How many peopte here haue tried douising? No doubt, side. By process of eliminatíon, she has managed to successfully
very few hands in response. But how many belieue that "dowse" for water!
sucn a thing Is posstbte, that sometohere beneatb the level Orson's method-it's the only perfect way to do it-was to
of our understanding, a human being can pick up a subtle use five Foo Cans! ldeally they are made from tin cans so that
strain, a tone put out by nature, that we might recognize they look suitably unimpressive. In recent years, dealers have
subconsciously the location of minerals or water? stopped making such cans, justas ít's gotten harder and harder
From the believers, a spectator is selected. Best of all, a to find standard píeces of apparatus. Such Foo Cans may be
believable and sincere spectator, like a cooperative míddle- scarce today, but are easy to manufacture. Use cardboard
aged woman. I'ue asked you up here tu engage in a test. In
a laboratory, this would be called a scientific 'blind' test,
because uie're going to see if you haue any dowsing abtlities J.
unthout any formal training. She is handed rwo bent metal
rods, stainless steel, she's told, which are especially sensitive
to the phenomenon. Behind her is the test: over the backs of
rwo chairs is a long narrow board. Five metal cans rest in a row
on the board. The contents of each can will not be explained. It
could be ernpry, it could have a few drops of water ... or more.
Atop each can is a small saucer with a small pile of sand (Figure
1).
THE CONJVRING ANTMOLOGY __ JlM STEINMEYER 175
'L4
to cut and adjust a pattern for of sand, set it face down on che board, with the place of sand
the inside fake. These can chen beneach it. This sets up che process of elimination.
2. How else? And how perfect a way to tease the spectator
be cut from sheet brass (from
a hobby store) or alurnínum ínto cooperating. At each step, she merely needs to gíve you
(Figure 2). Such fakes were che "Ieast impression," but she gradually becomes che hero.
always soldered inside. But using The theatricaliry of the routine reminds me of a close-up
aluminum for che fake, you could mental routine of my own which offers similar rniniature
epoxy thern in. Start with several spectacle; breaking tradition, it is not about bülets and pay
envelopes. The magician shows síx smaU music box motors.
tabs of adhesive tape to hold
che fake in che right posítion, These are the music boxes as purchased from hobby shops,
then spots of epoxy to secure it each mounted to a small piece of wood which works as
in place. (Epoxy is the rwo-part the sounding board. AU are índistinguishable except for a
3.
.' glue that is mixed from squeeze
rubes, available from a hardware
tag, like a cardboard price tag, hanging from each key. On
these are printed che names of the songs. For example, the
\ ,,.·'1
-;
,\.,..· magícian shows the tag for Süent Night, winds this box and
1 store.) Finally, you can seal the
whole thing with a bead of caulk demonstrates how it plays this song. The six differenc tags are
1 from a hardware store, caulkíng removed, showing síx different song titles. He shuftles the tags
1
¡ .1 che outside edge around che fake. and asks the spectators to "shuffle" the music boxes on the
•/
When che caulk dries, test to see table, genuinely mixing them.
,.. ,.Y-~ . - - - . ··. The tags are held in a pile and each is transferred from top
if it holds water. A bit more caulk
may be necessary to seal the leaks to bottom. One spectator can say stop at any time, signaling
(Figure 3). that she has selected a song títle. When thís is done, the tag is
The Foo Can (now do you lifted so that she can peek at the name. No one else sees it. She
remember it?) holds a quantiry is cautioned to remember it.
of water behind the fake. lf it Now the magician asks another spectator to selecta music
is turned upside down in one box. First the pile of síx rnusic boxes is divided into rwo piles
direction, the water gathers of three. The spectator places a hand on either pile. Those are
behind the fake and the can eliminated. Notice that, of the three rematntng, you will place
appears ernpry (Figure 4). a hand on one, and that one wíll be taken away. Then you
By turning it in the opposite will eliminate one more. (No Magician's Choice here!) Fair
dírectíon, the water can escape. and square, the spectator selects a music box. He can change
So, the prop may be tipped over rus mind throughout. Fínally, the lady names che song she
to appear ernpry (a few drops of picked. The box is wound, and che selected song is heard.
water clinging to the sídes may First, che music boxes. Buy six of them from a hobby or craft
slip out, hence the patter at the store. I notíce that the current cheap rnusic boxes are called
beginning), or fu11 of water. As "Robin's Clear See-Thru" and have a clear plastic cover (Figure
each can is turned over che place 5). How convenient for thís trick! Purchase five of them that
THE CONJVRING ANTHOLOGY JIM .STEINMEYER 77
1
- -----------
all play the same song, title on the front, along the top edge. Six different songs,
5. for example, Auld Lang including Silent Ntght and Auld Lang Syne. But the short tag
Syne. The síxth plays on the back only shows Auld Lang Syne (Figure 6). You'll
Süent Night. Remove now see how the tags are handled like caros, míxed, then
any identification of the transferred from the top of the stack to the bottorn. When the
song from the music box, spectator says "stop," push down with your thumb, so that the
so that they a1l look the short tag on top lifts up slígbtly and Jet her peek at the song title
sarne. (Mine had the song (Figure 7).
As described in the patter, the tags are taken from the boxes
stamped on the bottom
square of wood, bur it and Silent Night is played to demonstrate. When it comes time
was easy to sand this off.) for the music box to be selected, have the six boxes rníxed,
However, you rnust mark then divided into rwo piles of three boxes and cake note ofyour
the Silent Night box so marked box so you can tocare Stlent Night. Have the spectator
that you can identify it place a hand on one pile. Here yo u perform a Magícían 's Choice
during the routine. Any or equivoque.either vselecting" that pileor"eliminating" it. The
surreptitious mark will point, of course, is that you want to get rid of Süent Nigiü right
do. 1 nicked the plastic away! Ler's say, for example, that the pile is to be elimínated.
case in a lower comer, Now adjust your patter to point out that the continuing choices
near the wooden base. will also be "elirninations," that whatever box is touched will
Ali six price tags are go away. This seems to preclude the equivoque through the
faked. fairness of the last two selections.
1 used cardboard Altemately, if the first pile is "selected," warn the spectator
tags from a stationery that the next box touched will be the one "selected." You can
store. They were Avery afford to be open and gracious with these last choices, grandly
"Marking Tags," 2- by offering that the spectator can change his mind if he likes.
1-11/16 inches, with
attached loops of white
string. Each tag is actually
double, pasted at the
7. lower (string) end. The
black tag is cut short,
about 1/ l 6th of an inch
short, like a short card. 1n
fact, you may recogníze
these tags as the pairs
from a Peek Deck.
Each tag has a song
TME CONJVRING A:NTMOLOGY J 1 M .S T E 1 N M E Y E R 17q
27. Tl1E PBYCI1IC TRVBT

here. Make itas open and challenging as you'd like-the bill
really goes inside the envelope and the envelope is dropped on
top of the other three.
I love the notion of the Burned Banknote, and think that it is a

powerful and engaging plot for magic. Terry Seabrooke has
so managed to establish this plot as a comedie situatíon that,
At this point the magician retires to a comer of the stage,
standing ata microphone and facing away from che volunteer.
The effect is certaínly enhanced with the use of a blindfold.
1 fear, these wonderful laughs have overshadowed the other You must follow my instructions to the tetter and listen
possibilities. After all, if the conditions are impossible enough, closely. We're worktng together on thts experiment. I am the
it should work as a powerful piece of mentalism, wíthout the sender, and you are the receiver. At stake is this gentleman 's
"I made a mistake" and "it turns up where we least expected" biü. First, I'd ltke you to take the stack of en velopes in front
twist whích has now become traditional. of you and pick them up. Place them behind your back and
This hands-off version of the trick, one of my favorite shuffle them; mixing them so that you yourself cannot keep
routínes, was originally published in che October 1983 issue track of any enuelope. Have you done this? At·e they honestly
of Tony Andruzzi's New Inuocation, and then appeared in the mixed so that you don 't know which one contains the bill?
Decembcr 1996 MAGIC. The magician waits for the affirmative.
Thís is how real mentalism should be: A spectator is invited Good. Bring the enuelopes back to the table and lay them
onto the stage to serve as the "receíver." He verifies that out face up, wtth the smootb side up, in a row in front of
nothing has been prearranged, ami he is seated ata table facíng you. Have you done that? Yes orno? Good. To make it clear
the audience. A card table is perfect. On the table is a lit candle to everyone in the audíence, eacn enuelope should have a
in a candle stíck, sorne small manila envelopes and a marking number on it... ettner 1, 2, 3 or 4. I'd like you to ptck up the
pen. On the floor is a metal waste canora metal bucket (Figure black marking pen and ínk in a number on the face of each
1). enuelope. Make each nurnber big and black so that everyone
The magician steps into the audience and asks for the loan can see it. Haue you done that? Fine. Now tell me honestly,
of a bill. A $ 100 bíll is best, for obvíous reasons. Like any good
play, there's more empathy with the hero tf he's a $100 hero
instead o/ a $5 hero! the magician explains. When a bill is
volunteered, the magician insists that he not touch it. Please
remove the bill from your wallet, mark your inittals on ü
somewhere so that you can identtfy ít again, then fold it in

quarters.
Meanwhile, the magician busies himself with three other
envelopes that he pícks up off the table. These, he quickly
shows, contaín scraps of newspaper. These envelopes are
sealed and dropped on the table in front of the volunteer. He
pícks up one more envelope and openly slides the borrowed
bill inside of it. Thís is simílarly sealed and dropped on top of
the other three envelopes. Incidentally, there is no deception
18o T_M_E
__c_o_N_J_V_R_l o_L_O_G_Y
_N_G_Pc_N_T_tl __ JIM .STEINMEYER
do yoú haue any idea which a freechoice. You'ue left number 2 on the table. When I tell
enuetope contains the bill? you; l'd likeyou to cal! out one of the numbers in your hands,
The magician waits for the either 1 or 3. Tell me a number now!The spectator, we'll say,
negative. calls out 3.
This is the interesttngpart.l'd Would you like to change your mind? You're
like you to call out the number happy that you made the selection of number three ali
of one of the en ve lopes. Any one, by yourselj? Good. Place enuelope number 3 in your
1 througb 4. The spectator calls pocket. That leaues numbers 1 and 4. Put number one in the
out a number. We'll say 4. Would flame of the candle and burn it. When it is on jire, drop it in
you like to change your mind? the bucket. Pick up number 2, show it to everyone, and place
Thts is your last chance! Pick that in the candleas well. Make sure the enuelopeis burning,
up enuetope number 4. Hold it then drop it in the bucket. The spectator does this.
high and show it to everyone I want to emphasize that, whatever just happened
in the audience. Now place tt in over the last few minutes, I had nothing to do with it! My
the flame of the candle, make volunteer assistant is total/y responsibte! Unless, of course,
sure that it is complete/ylit, then there has been a sort of psychic trust between the two of us,
drop it in the metal bucket so an understandtng that we needed to work togetherfor the
that tt can continue to burn. I benefit of someone in the audience ... a sort of stxth sense
want you to complete/y bum which allows a coincidence to come to the forefront.Please
enuetope number 4. Don 't blow out the candle, stand up and walk to the front of the
worry about tohat's instdet}ust stage. The rnagícían is still blindfolded, facing away from the
burn it! (Figure 2.) spectator. Reach into your pocket,pull out the en velope that
This next choice is uery you selected. Nurnber 3, was it? Good. Open the enuetope,
important, soplease think about take out the $100 btll, show it to the audience and hand it
it be/ore makingyourdecision.I back to the gentleman who loaned it!
wantyou toptck upan enuetope Only when he hears the applause (and oh boy, will you
in eacn hand, teaoing one on the hope it is there!) does the rnagícían remove his blindfold and
table. Areyou ready?Pickup two turn to face che spectators. Is that your bi//? With your marte
enuelopes... now! Whích two are on ít? Thank yoú both uery much! Thank you a/l very much!
you holdíng?The spectator says, Extraordínary routines call for. . . er, extraordínary
for example, 1 and 3. Would you methods. In this case the volunteer is made an impromptu
like to change your mind? You and unknowíng stooge. le is very simple and rather sinister,
can changeone of the numbers, Of course, che first step is in securing a spectator who can
if you'd Uke! Assuming that the be trusted to act responsibly. Someone who has been used
spectator doesn 't change hís befo re for another trick, someone not pro ne to alcoholic "look
mind, the magícían continues. at me" exhibitions on stage is a necessíry. Notice that you
You 're satisfiea that you made do nor encourage the spectator to speak beyond the various
TME CONJVIUNO ANTMOLOOY J 1 M .S T E 1 N M E Y E R 183
affirmations. The spectator seen. Following your instructions, he will mix the enveíopes,
does not have a microphone. then lay them face up on the table.
The magician does or, at the Your numbering instructions are specific and carry rwo
very least, is projecting his voíce meanings. Yo u may wish to reread that patter, keeping in mind
directly to the audience, leaving the situation. To the audience you are asking for a number to
the spectator to rnutely carry out be written on each envelope. To the volunteer you are asking
orders. Watch that the table is that the numbers be "ínked in" so that everyone can see them
well lit so that the spectator is not (Figure 4). Since you know that the bill is in envelope number
3, you are simply calling equivoques according to his selections,
working in the dark. A smalJ desk
lamp may be necessary on stage. "conjurer's choicing" him into the proper envelope. For the
The envelopes are prepared. spectator on stage, this force constitutes the major part of the
Use manila pay envelopes, at least mystery: for che spectators, it's better than that.
2-1/2 by 4-1/4 inches, or even a I took the liberty of explaíning, in the above presentation,
slightly larger size. On the face the most tortured route down the equivoque trail, just to show
of each envelope (on the smooth you how bad it can get (which is not very bad at all). Best of all
side) has been lettered in pencil is if the spectator selects envelope 3 at the start, in which case
a large numeral using a broken he would be directed to bum the remaining envelopes one by
line, e.g., -----,in a "connect the one. The other routes should be clear from the patter. Envelope
dots" fashion (Figure 3). 3 ends up "freely selected" by process of elimination.
The top three envelopes on So how courageous are you? You could certainly mitigare
3. against certain factors by startíng with a $20 bill (less painful
the stack are numbered 1, 2 and
4. The spectators do not see the to replace), or askíng an assístant (on-stage or in the front
faces of the envelopes as you are row) to watch the procedure carefully, making sure that
sealing the pieces of newspaper ínstructíons are understood and the bilis are properly, safely
inside. lnto the fourth envelope, bumed. Then, with confidence and experience, the routíne
number 3, the bill is sealed. can become bolder. The goal, of course, is to accentuate the
Similarly, no one suspects hands-off presentation, the notion that you 've pítted a psychic
that there is a number on this hunch against a $100 bet. lt's a bit of a thriU to watch such a
envelope. (Frorn a distance the routine, and you should have sorne sort of thrill performing it.
pencil line is invisible. Up close,
you can easíly conceal thís side of
the envelope.) The envelopes are
stacked face down on the table;
the spectaror does not suspect
that the en velo pes are numbered,
and does not understand just
what the audience has seen or not
TNE CONJVRING A:NTNOLOGY J 1 M .S T E 1 N M E Y E R 185
taps the brick with the rod (through one of the boles on top).
28. Tf1E PERfORATED BRICK The "ríng, ting" sound proves that the brick is still there. But
tohat if I push a uttte harder?Bither the gtass rod will shatter.
K arl Germain's Block effect, a uníque penetration illusion,

was explained in Stuart Cramer' s book, The Secrets of Karl
. . or the brick will haue to giue way! He slides the glass rod
effortlessly through the cardboard cover, through the brick,
Germain. The routine has been a longtime ínspíratíon forme, through the tray (Figure 3). The rod is inserted in several
even though 1 realized years ago that it is just ... how can I say it?. other boles. It passes through as if the brick has completely
.. wrong by modern standards. In fact, the wonderful Germain dematerialized. The glass rod is carefully handed to someone
Block is a good exarnple of just how the secrets of magic (even
in the audience. The cardboard cover is removed, showing the
the secrets of apparatus) can be subject to trends and fashions. brick still in place. lt is lifted and handed out to the audience
In Germain's hands it muse have been a wonder. But the secret as weU. They can assure themselves that it is seamless and
depended on switches using a shell block, servante, duplicate unprepared. Solid and heavy. Nota pinhole in síght. No clue to
board and a flap of velvet; then at the end of the effect nothing the mystery.
could be shown freely. For better or worse-a little of each The proportions of the brick, the math behind the
-we don't think of apparatus in the same way, and Germain's cardboard cover and tray, allow the brick to secretly rurn
achievement is now a museum piece requiring sorne masterful upright, concealed beneath the cover and within the wooden
turn-of-the-century conjuring skiJls.
The following, which is from January 1997, is a very
loose inspiratlon. I particularly liked Germain's notion of a
penetration with the plank and block of wood, just unprepared
objects. Here I use a brick and a glass rod. Bue the brick trick
utilizes a completely different method. I'm fully guilty of
modern fashions, and I'm quite sure that many aspects of che
original have suffered. This routine also takes advantage of one
of the natural qualities of a brick: its perfect proportions. More
on that later. First the effect.
The magician shows a wooden tray. On top of it is a smaU
cardboard box, just a five-síded cover. Lifting the box he shows 2. 3.
a hard, heavy, baked red clay brick. This is carried forward
to the audience and shown. Solid and heavy (Figure 1). The
magician poínts out how the cardboard cover is just large
enough to contaín the brick. Half a dozen small round boles are
in the top of the cardboard. When the brick is inside it clearly
obscures the boles (Figure 2).
The wooden tray has similar holes through it. The brick
is placed on the tray, the cover is fit over it, and the magician
introduces a long glass rod, like an oversized swizzlestick. He
TMt: CONJVRING ANTMOLOGY JIM .STEINMEYER
tray. For this purpose tbe tray is a bit oversízed. About an inch of half-inch diameter holes, one ínch apart (Figure 4).
and three-quarters thick, it provides just enough room for the The tray is the tríckíest part of the enterprise. In the center
brick, and the glass rod can be slipped through sorne of the of it is a wide black art weU slot, the entíre depth of the tray.
holes. The tray measures 12 by 14 inches wide, built around a three
I'U save the math for the end. Here's the essentials of the quarter-inch-thíck píece of plywood. The center is built up,
apparatus and its handling. on the top and bortom, with 8 by 10-inch píeces of 1/2-inch
The brick is the easy pare, but everything is built around plywood, increasing the thíckness of the tray. The well is cut
it. Use a red clay brick. Mine was 25 cents at a lumber store. through ali the layers of plywood and measures 8 by 3 inches
Jt roughly measures 3-7/8 by 7-7/8 by 2 ínches. Spray it wíth (Figure 5). An 8 by 1 O inch sheet of aluminum forms the bottom
several layers of clear lacquer to prevent it from scuffi ng the of the tray; the brick rests on this while it is hidíng in the well.
apparatus. The tray is decorated as a black art table, the well carefully
The cover is made of one-ply brown corrugated cardboard, lined with black velvet and disguised with strips of tape or
with inside dimensions of 4- by 8-3/8 by 2 inches. It's nice that braid. (If there's any doubt, consult the section on Black Art
the box looks like a simple cardboard box, joined with packing tables in the Tarbell Course.y The outer edge of the tray should
tape. This seems to compliment the brick. The bottom is open be decorated with a bríght, prominent strip of braid. Notice the
so that it can be slipped over the brick. On the top are two rows rwo rows of half-inch holes, which align with the holes in the
cardboard cover. These are driUed through the tray.
4. 1 use a 24-inch long glass rod, roughly 3/8 in diameter.
Show the tray and the glass rod by displaying the bottom
surface of the tray to the audience and dernonstrating how
the rod can pass through the circular holes. The tray is then
held under your arm as you pick up the cardboard cover with
the brick. Show how the holes in the cover are completely
5. "filled" with the brick. Slip the brick out of the box and have it
examined.
The brick is now placed on tbe tray, roughly over the rows
Y11<'f\lXI01l' 1bf ~ ~ 'g • 10·
of holes. The back edge of the brick hangs over the black art
o ·¡;"o//.• o
l\OU!~·
o well. I've found that this exact position is pretty critical. (You'll
want to mark it with a strip ofbraid on the top of the tray so that
o o o you can easily find the position.) With one hand supporting
<*?P\)t.)G •• nv·r 1)/.~3~f
fllU. 'b&m or """7 (1 '/f) the tray from undemeath, place the cardboard cover over the
brick, sliding it on diagonally from the front (Figure 6). Before
pushing down the back edge of the cover, your thumb contacts
the back edge ofthe brick. The brick is levered down, into the
weU, as the cover is lowered (Figure 7). lf the brick starts in
the right position, it swings neatly ínto the well and ends up
standing on a narrow end.
188 TNE CONJVIUNG ANTMOLOGY JIM .STEINMEYER
The upright brick now

6. occupies the back row of holes, 29. RICE ~ W A:TER
leaving three holes which the
T
glass rod can penetrate. This he "ancient" Rice Bowl mystery may not be quite as ancient
can be done slowly, el ose to the as you think. Around the curo of the twentieth century the
audience (Figure 8). traditional secret, usíng rwo bowls and a mica disc, created
To finish, grab the cover from quite a stír among magicians. It was the specialty of the colorful
above, your thumb reaching Frank Ducrot. Within years it became a standard effect, then
into che back of the well so you worked íts way into magic sets where it muse have-sploosh-
can grab the back edge of the ruined the aspirations of many a tyro. Classic or not, ler's be
bríck. As the cover is lifted up honest: it's a dífficult, messy tríck to present. Rice. Water.
diagonally to the front, hinge the And hydrostatic pressure. Yeah, ríght! The perfect thíng for
brick out of che well and tlat o neo a classroom lecrure, bue on stage ic requires nerves of steel
the tray again. buried beneath an oriental insouciance; if che trick fools thern,
1 find the moves easy if the che beads of perspiration will give you away. In spite of che
tray is finnly supported by your dífficulties, ír's made the reputations of a number of masterful
free hand, bue the brick on the conjurers starting with Ducrot. Today it is performed by the
tray is sort of heavy. You may deft and artistic Jade, who picks up rwo enonnous porcelain
7. wish to start with che tray on bowls and handles them with a sweet smile which will bring
a table and place on the cover tears to che eyes of ersrwhile rice bowl workers.
using rwo hands, one on each For these bowls, described in che March 1997 issue of
side (Figure 9). This improves the MAGIC, 1 set my síghts on rwo goals. 1 wanted to creare a set
angles of the effect, as well. Your of self-contaíned bowls, far more predictable on stage, and
thumbs contact the back edge sought to include a third "beat" or step in che routine so that
of the bríck and lever it into the it felt more substancial. The late Charlie Miller interpolated his
well, then reverse the process at own extra step in which the bowlfuJ of confetti disappeared
cheend. half-way through che effect, Of course, in Charlie's hands, che
Here's the math. The cover is trick was nothíng less than perfect. Bue that was Charlie Miller.
not just oversized, it is oversized As for che mess ... well, it's still ultimately a trick about rice
in a specífic way. It is a bit wider and water.
chan the diagonal width of che The magician introduces che effect: For ali the
brick, which allows the brick to sophisttcation of modern society, uie'ue lost touch with the
9. pivot within the cover. This is magical parts of eueryday lije. Centuries ago, a simpleritual
che ímportant proportion. Start was never considered rnysterious or magical. In the Far East
with the brick, build the tray, a handfut of ricefrom lastyear's crop could be used topredi et
and make adjustrnents wíth the the new haruest. Back then, when they performed this ritual,
cardboard cover. no one stopped to explain that it was tmpossibte!
TME CONJVRING ,1o;NTMOLOGY JIM -'TEINMEYER 191
Two simple porcelain bowls sunshine, the harvest, the rains.

are shown, rnouth downward on The bowls are separated to show
a table. The rnagician picks thern a quantity of water, which is
up to display them. From a basket slowly poured from one bowl to
of rice he pours out a bowlful. another (Figure 2). It's a simple
The bowl of rice is leveled off, matter o/ trust. . . if no one stops
then both bowls placed together, to exptain that it 's tmposstbte!
mouth-to-mouth. I purchased rwo cheap
He revolves che bowls in hís porcelaín bowls from an import
hand, giving them a gentle shake. shop. I noticed thac my bowls
When the bowls are separated, were actually made in Italy, but
the rice has diminished in Oriental bowls will certainly
quantity. Now there is but a small work. Mine are white, exactly
handful of rice rernaíníng. Bad 3 inches tall and 5-1/2 inches
f ortune. A bowl o/ rice becomes across at the mouth.
just a few grains. Difficult times One bowl is prepared with
ahead. The rice is poured back rwo specific fakes. A circular
J. into the basket. fake of white sryrene is cut with 3.
The process is repeated. A scissors and fit inside the bowl.
bowl is filled with rice, the bowls For the right kind of plastic, 1
are placed mouth-to-mouth and used a thin plastic (not foam)
turned from side to side. Now dísposable party place (Figures
when they are separated the 3 and 4). The fake sits about 3/8
bowls are overflowing with rice, to l/2 an inch beneath che rim
which cascades over the sides of of the bowl, and acts like a Foo
the bowl (Figure 1). Here is good Can fake, catching the water if
4.
f ortune. With a bowl o/ rice, a the bowl is turned in a certain
2. sure sign o/ abundance. The rice dírectíon (Figure 5). You'll need
is poured back ínto che basket. to adjust the fake with a pair of
You may fina it dtfficult scissors until you get the right
to betieue that a few grains o/ fit.
rice haue such powers. A pinch Hold the fake in place with a
of rice is sprinkled ínto a bowl, few spots of hot-glue. This is [ust r·-·--·-·-·-·-· 5.
and che bowls placed mouth to ternporary, as the hot-glue won't 1
mouth again. It's justa matter o/ properly bond to the porcelain. l
trust. That in a f ew grains is the Use a tube of whíte látex caulk
understanding o/ the land, the from a hardware store, carefuJly
19_2 Tl1E _CONJVRINO ANTMOLOOY J 1 M .S T E 1 N M E Y E R 197
caulking around the edges of the The bowl holds an inch or so of water. Pour the water
6 fake. When the caulk is set, test it through the screen, then turn the bowl upside-down onto the
with water. If'there are leaks, you table. By rurning it properly, the water is trapped inside.
can use a bit more caulk to make The unfaked bowl is also placed mouth down on the table.
7. agood seal. PHASE ONE: RICE DIMINlSHES: According to the routine,
The bowl is also faked with a pickup the bowls, holding them upsíde-down. Flash the inside
disc of fine metal screen wire, the of the unfaked bowl. Pick up the basket of rice, tipping it to
screen from screen doors. Cut a show the contents. Pick up che faked bowl, turning it upright.
disc the right size, so that it sits Holding the basket with íts bottorn to the audience, slowly
about one inch beneath the rím sprinkle rice ínto the faked bowl. There's a bit of acting here,
of the bowl (Figure 6). Fi.x it in as you actually need very little rice to top off the bowl atop
8.
place with a thick bead of caulk, the screen. Put the basket down, level off the rice with your
which can be srnoothed down fingers, displaying the bowl to show that it is now "filled" with
towards the center of the bowl rice.
before it sets. 1 also noticed that Place the bowls rnouth-to-mouth. Twist them berween
a bit of caulk over the top edge your wrists (rurning them in the dírection of the Foo fake!)
of the bowl gives a "rubberized" and reverse them (Figure 11). When you lift offthe faked bowl,
grip when the bowls are placed only a small amount of rice is seen at the bottorn of the bottom
9. rnouth-to-mouth (Figures 7 and bowl. Show this by pouring it back into the basket.
8). lncidentaUy, the caulk takes PHASE 1WO: RJCE MULTIPLIES: This is the traditional Rice
several days to set properly, Bowl effect. For the second phase, pour rice from the basket
despite what it says on the label. into the unfaked bowl, filling it level with the rim. Place the
The screen wire is the barrier faked bowl on top and reverse them as before. Now when the
for the rice. Beneath this is the upper bowl is lifted away the rice overflows. Level the rice
plastic fake which retains the with your hand, then tip the bowl into the basket, supposedly
10. water. Place a small mark on emptying it by spilling out ali the rice. Actually, only a little rice
the edge of the bowl so that you leaves the bowl: the rice atop the screen wire. Set the bowls
can easily identify one side from mouth down on the table.
another. By turning the bowl PHASE THREE: WATER: Finally, place a few grains of rice
toward the mark, the Foo fake into the unfaked bowl, then cover it with the faked bowl.
will catch the water (Figure 9). Reverse the bowls, as before, so the faked bowl is on the
1 used arborio rice, which is bottom. Pause, raise the faked bowl, then tip it over (in the
a bit fatter than regular rice and opposite direction of the fake) so that the water slowly spills
won't stick in the screen wire. A out into the unfaked bowl.
flat basket with a removable lid, The finesse of the routine is turning the bowls berween
about 7 inches in diameter, is a your hands bur being aware of the correct direction of the Foo
handy addition (Figure 10). fake. Once you have a feeling for this, the handling is direct.
Tl1E CONJVRINO ANTMOLOOY
~ M ST E 1 N M E Y ER 195
by chis enhanced versión of the Gravatt trick, a nearly perfect
~º· TWO MENE CARD TRICKS mystery-with a plot dírect from a card worker's dreams. In
effect, the magician takes a card from a blue deck and, without
Á CASE Of COLU/SION ~ SEXTA:BVLOVB
showing the face, leans it agaínst a glass.
He then picks up a red deck. If l uiere to ask you to name
"Mene, mene, tekel, upharsín," according to the fifth
chapter of the Book of Daniel, were the Aramaic words a cara, tt's a proven f act that the odds favor certain playing
mysteriously inscribed on Belshazzar's wall. The message was cards coming to mind: prorninent cards like aces or queens.
libe rally interpreced to mean "God hath numbered thy kingdom And, of course, if I were to spread the caras out to haue you
selectone, like this, he says, spreading the red deck face-down,
and finished it, thou art weighed in the balances and art found
wanting; thy kingdom is divided." you 'd probably suspect that the cards were ali the same 01· I
From these words che magic dealer W.D. Leroy found were somehow influencing your choice.
che title for the Mene Tekel Deck, a special pack which was He rurns the pack face up and spreads che cards. Since I
designed to be "self-shifting." The name was actually more want you to haue a free choice, I'rn going to show you the
than attractive gobbledygook. The words literally translate to faces of ali the caras. As I spread through the cards.just tell me
numbered, weighed divisions. This is the basic secret of che to stop anywhere.... The spectator stops him, and he openly
wonderful Mene Tekel Deck. asks which card, among the group, he wouJd like selected.
The idea was to construct a deck of long and short pairs We'll say that the spectator specífies the four of hearts,
(like a Svengali Deck of che same era), but assemble each paír The magician removes the red four of hearts from the deck.
of duplicate cards. Twenry-síx duplicates made up the deck. He reaches over and picks up the blue carel, turning both cards
Thus when a card was selected and buried in the deck íts to show that they are a perfecc match. The magícian perfectly
duplicare instantly presented ítself on top. For many years predicted a free choice!
the Mene Tekel Deck has been a hobby with me, principally The secret is related to a principie 1 f rst saw used by Ed
beca use it has remained so unpopular. Ironically, the invention Mario: a red/blue Mene Tekel deck of roughed pairs. Here's
is still only a poor cousin to che Svengali deck. Around the time how you make the deck. From red and blue decks, select 26
it was created, magicians were shifting away from the pass (no
matching pairs. Spray the faces of the red cards and the backs
pun íntended), and che burdensome trick deck was hardly of the blue cards with Roughing Fluid. The modern equivalenr
necessary for most tricks. While íts benefíts may have been felt is Testor's brand spray Dullcoat (produce # 1260), which is a
by beginners, there was no way that the poor Mene Tekel Deck flat lacquer overspray for hobbyists. You can find it at hobby
could work its way up the ladder to more vital experiments. stores or sorne toy seores, with the paints for models. It works
Still, the trick deck offers sorne advantages, especialJy in uses admirably, but doesn't have thac evocatíve, sweet licorice and
far from the original "self-shiftíng" intention. 1 would call your ether-like odor of the old Roughing Fluid.
attention to Gravatt's Coincidence Mene Tekel in Hugard's Assemble the pairs so that each "card," as che deck is
Bncyclopedia of Card Magic and Grant's Kard Eureka in
spread, is actually a red/blue pair. In this way the deck seems to
Fabulous Feats of Mental Magic. In addition, the foUowing
be red, but the matching blue card is attached.
ideas, my own experiments, were published in April 1997. I You'll also need an unprepared blue deck.
The final deceptíon depends on vanishing a playing card.
suspect that they'll surprise you.
A CASE OF COLLUSION: Magicians should be intrigued You could easily build the fake into a table, like a srnall black
~96' THE eoN J V R 1 N e AN TH o Lo e y JIM STEINMEYER
art well, but 1 made one from a stack of two books. The books it with your right hand. Of
sit on the table and a glass is placed on top. The blue card course, you're actually holding
leans against the glass. But the books are actually just hollow the roughed pair between your
props, with a slot which allows che card to drop inside. With fingertips. By retainíng the deck
just a touch-flattening the card against the glass-it instantly in your left hand, the one-handed
disappears down a slot. The whole thing may remind you of move is perfectlyset-up.
one of those stands to vanísh half-dollars(Figure 1). Hold the paír of cards, back
You could build the books from real books, which is a towards the audience, in your
messy job. Or you could construct them from shaped wooden right hand. Reach over to the
blocks. 1 made mine from illustration board, taping together blue card leaning against the 2.
boxes of the right síze, then dressing them with colored paper glass. As it drops into the slot,
and paints to look like book covers. The rwo books form a the ríght fingertips spread the
box about 2-5/8 inches deep. The dimensions of my lower roughed paír apare, showing two c==ée~-====-=11~"'9
book is 8-112 by 11 inches, 1-5/8 inches thick: the top book is cards (Figures 2, 3 and 4).
5 by 9 and 1 inch thick. The slot on the top is 4 inches wide, Lift the cards dramatically
and is concealed with a black, mottled cover for the book. and turn them so that the faces
This works like a black are well. Notice that a narrow strip of show. Simultaneously, spread 3.
cardboard projects from the slot, on the upstage edge. This them further apart, to display rwo
cardboard edge sticks up about 1/8 of an inch, and is a sort of distinct four of hearts (Figure 5).
"backstop" for the card, allowing you to easily push the card The illusion is perfect. It appears
against the cardboard and insure that it will fall perfectly in the as if the blue card is being picked ~
slot. Line the interior of the slot with felt, so the card won 't talk up right behind the red card; it C-.:========~="'--..=;;t
as it falls inside. never seems to be out of sight!
1 think you'Il get the idea. Position the books on the table, SEXTABULOUS: Although 4.
and place a glass on top, so that it sits on the upstage síde of the the title sounds like a lounge
cardboard projectíon. Now remove any blue card, from the show in downtown Las Vegas,
unprepared blue deck and lean it sideways agaínst the glass. this síx-part coincidence may
Show the red deck, as described, by fanning it to display remind you of the Gravatt trick
the backs then the faces. When a card is identified, remove (cards in a glass) or the Grant
l. routine (two matching decks).
But the use of the deck here is
quite di.fferent from either effect.
Two matching decks, for
example, blue Bicycle decks,
v___..¡.._--¡w are shown. The magician also
i...·-·-·-·-·j shows an empty glass. One deck
is opened and displayed to a
·~ Tt!E CONJVRJNC A:NTtlOLOOY
spectator. The spectator is urged to cut the deck anywhere,

---
J 1 M .S T E 1 N M E Y E R 199
using a thick scratch or serape on the back, to fonn a white líne.
then deal six cards, without Iooking at them, into the glass. Find a prominent spot on the cards and connect sorne petals
The magician demonstrates that, by dealing one card further with a white line, using the típ of an X-Acto Knífe. Do this on
he could have selected a different card, or by cutting at various both decks (Figure 6).
places in che deck he would have found other selectíons. He You'll also need a glass, which is unprepared. An old-
cuts the deck to display rhis. fashioned-sized glass seems perfect.
1 will show you one of the caras you selected, just for Show both decks in their cases. Remove one deck and
the record. He revolves the glass to show the face card of the casually show it by riffling the index comer to display different
packet. He picks up the second deck and similarly shows it, cards. Rífflingthe deck does not betray che paíred cards. Allow
urgingthe spectator to cut it anywhere and then deal six cards, the spectator to cut che deck at any point, then complete the
face down in the glass so that they lie reversed against the cut, making a great show of the choice.
previous síx cards. (That is, the faces of the two packets kíss, Depending on the mark on the top card, you will instantly
so that no cards show.) When this is finished, the magícian be able to discern whether there is a single card on top (no
similarly shows the next card and other cards in the deck to rnark) ora pair(a mark). Ifthere is a single card, you need to lose
insure that the selectíon was a random one. it. Pick up the top card, and slide it into the glass, illustrating
Picking up the glass and holding it in front of himself, the how the cards are to be dealt, one by one, without looking at
performer shows each pair by reversing the cards and tuming their identities. Remove the card and slide it on the bottom of
the glass. This paír is removed, then the glass is revolved the deck. Then hand the deck to the spectator, urging him to
to show the next pair. Each pair matches-six matches in deal six cards in the glass, Needless to say, if the mark shows
all--proving that the spectator was coerced into a remarkable that a pair is on top of the deck (you have a 50 percent chance),
coincidence. you can have them deal directly inro the glass.
Years ago, sorne of my first experiments with the Mene The spectator deals three pairs of duplicare cards without
Tekel were to elimínate the long and short pairs, as riffling a lookíng at the faces (Figure 7).
deck can feel suspicious and odd toan audience. Instead, I used Take the deck back and ímrnedíately show the next card,
paírs of cards in which the top card of each pair had a small offering how, ifhe had dealt one further he would have picked
mark on the back. In this way I could tell, with a glance, where this card, or if he had cut further down in the deck, he could
1 was within the paírs and correct the effect accordingly. This have had thts, or this, or this. Each time, cut a small packet
basic idea is used here. showing the bottom card to display that there are different
Both decks are Mene Tekel Oecks wíth matching backs choices.
(for exarnple, blue Bicycle decks). Start with two decks, Turn the glass showing the face card. Put away the first
mix them, then pair them off. Take 26 pairs and gather thern deck and píck up the second deck. Open it and display it the
together to form one deck, che other 26 pairs for the other same way, offering that the spectator can cut anywhere. Again,
deck. In chis way you have two rnatching Mene Tekel Oecks, notíce if there is a single card on the deck and, if necessary, lose
but no duplicare cards shared by both decks. (The neat pare of it by demonstrating how the cards should be dealt, with their
thís is that, in making up the trick, you start with two decks and backs to the spectator, against the face of the other packet.
end up with two decks.) When he has dealt six cards, rake the deck back and
As described, the top card of each pair is marked. I suggest similarly show the next card, cutting several times to show
2.00 Tt!E CONJVRINC A-NTtlOLOOY JIM STEINMEYER 2.01
differem cards. This is important

6. to the final ímpact of the routine.
Put tbe deck away, and hold the
3i. STRANGE POWER
glass in front of your body. A._ s magical as technology may seem, it seldom forms a
The actíon of showing the .JJ\..:theme for conjuring. In many ways a magic trick "about
cards is a bit of a fraud-the pairs electrícíty" is an odd contrast to the electrical wonders of
are not arranged as they should Robert-Houdin 's conjuring of a cenrury anda haJf ago. Fictingly,
be-but the handling seems although this trick centers around our careless acceptance of
7.
perfectly logical and is nícely electricity, bred by the familiarity of the last few generations,
drarnatíc. Hold che glass in front the actual secret of the íllusíon dates from around 1865-the
of you, and slide out the rear gaslight days. jeez, that's what 1 love about magic.
card (which will show its face I originally published the secret of thís eff ect in a set of
to the audience), lifting it over, 1992 lecture notes called Strange Power and Otner Problems
then dropping it in the front of for Magictans, and then in MAGIC in May 1997. It reminds
the stack (Figure 8). Point out me of the U.F. Grant trick which was rnarketed decades ago,
8. the name of che card. Tum the The Sacred Altar Light. There are definite similarities-and l've
glass in your fingers, bringing been proud to electrify this great old concept. At the same
the back cards to the front. Slide time, I arrived at this routine by a different route, startíng with
out the front card, reverse it, and a broken and restored light bulb plot. The method suggested
recuro it to íts place in front. lt a more complicated routine and several more beats because
shows the matching card. Lift the presentation narurally called for something worthy of
out both cards, front and back, fussing with three bulbs, The final key to the effect was che
by pinching them berween your notion of sympathetic electricity, which ríes it ali together. As
fingers and lifting; show them people sort of understand how a light bulb works, if even just
and set them aside. Now repeat intuitively, this brand of syrnpathetíc electricity is bound to
the action, sliding out the rear entertain them.
card and droppíng it to the A strange sort of larnp is shown. It's actually a glass-fronted
front. This process is repeated box, about 8 inches tall and 16 inches wide, wired with
to show the six cards, and the switches at the top and supporting three standard light bulb
action dramatically suggests that sockets (Figure 1).
the cards are being shown from My work in magic has led to a number o/ tnteresttng
opposite sides of the glass. inuentions. Like applyíng the rules o/ magic to eueryday
When you reset the effect, things. Por example, I'ue come up with a new ktnd o/
arrange the pairs with the electrtcity. The old etectrictty is famous for doing whatever
marked cards on top, then return it wants to do and going uihereuer it wants to go. But
three pairs to one deck and three sympathetic electrtcity can be easüy íntimidated by the
to another. things around it. Actually, it's kind o/ shy. Let me show you
TNE CONJVRING ANTMOLOCY JIM STEINMEYER
2.02.
---
uihat Lmean. switch is turned off, the center bulb seems to be red.
The rnagician shows uuu I'll giue you a good look at it, because there is no rational
there is a red-tínted light bulb explanation as to why this bulb should emü white light.
screwed into che center sockci Turning che box to bríng che back to the front, he unscrews
of the box. Obvíously, when che red bulb, handing it to someone in the audience. Show it to
che switch is thrown che lam p someone e/se, but be carefulnot to drop it! Even thoughyou
glows red. (Throwíng the switch saw it happen, it's imposstble forthat bulb to gloui uihitet
also turas on a buzzer, so for the He takes the bulb back agaín, screwing it in the center
few seconds that the bulb lights, socket. This is the sort of tueird stuff that happens with
there is a rattling electrical sound sympathetic electricity. Because now that you focused ali
as well.) From a bag he removes your attention on that red light bulb, the white bulbs are
two matching white bulbs. jealous! Real/y! In fact, the other bulbs react to the peer
Hinging open the glass front of pressure, and they try to be red, too. The switch is thrown and
the box, he screws in the rwo ali three bu lbs glow red. Look, nota spot of uihite light coming
bulbs so that they flank che red out. ]ust red!
bulb (Figure 2). This is what I The magician unscrews the red bulb and substitutes a whíte
mean. These two umite light bulb for it. Now the switch is thrown and aU three bulbs-not
bulbs prouide peer pressure. surprisingJy-gJow whíte again.
They actually intimidate the red One aduantage of thts peerpressure is that you may ne ver
bulb into being tohite. l'll show find out tohen a bulb is burned out. It will be too ashamed to
you what I mean. When che admü tt, and it uiill just conttnue glowtngforyears. I'll show
switch is pushed, all three bulbs you. He removes che cencer white bulb, drops jc ínto che paper
glow whíte. bag and smashes it on the edge of che table (Figure 3). Pulling
You might find that hard to che shattered socket from the bag, he carefully screws it back
betieue, because you know that into che socket, doses the lamp and pushes the switch. All
the center bulb is complete/y three bulbs glow! As soon as a circuit passes chrough the bulb,
red. But look. l'll open it up, it seems to be complecely restored.
and you 'llsee that the onty light The prop is a simple one, bue must be neatly made (Figure
emttted from the box is tohite 4). One part of that is electrícal. A power cord runs to the top
light. Not a flash of red light to of the box where it passes through the necessary switches.
be seen. True to his description, There are rwo roggle switches. One operates the outer sockets
when che back of the box is circuir. The other operares the center socket circuit. In líne,
opened che magician holds hís there is a push button switch which rums on the círcuits and
hands around the box. . . che operares che buzzer. In other words, you can set the toggles
back, to the front. . . displaying before pushing any button. The button will, according to how
how che light emitted is only che toggles are set, turn on only che outer sockets, or only the
white. Still, che moment che inner socket, or all three. This is the basis of the routine.
:i.~ TNE CONJVRING fto.NTHOLOOY _____ ~ .STEINMEYER 2.0lj
Of course, there's also an optical effect necessary. lnside Lit, their bright reflections in the glass wiU give the impression
che box che audience sees the thíck power cord which runs that the red bulb is glowing white.
from che top of the box ro the bonom. Actually, this strip of What may be slíghtly less obvíous is that, with this
cord is a dummy. (The actual power cord runs in a comer of che arrangement of glass, the effect works in reverse. By rurning
box down to the sockets.) It conceals the edges of two strips of the box so the red bulb faces the audíence and opening the
Plexiglás which work like reflecuve mírrors in che box, and is back watt, if only the red bulb is lit it seems as if all three bulbs
glued in place. The basic principle-glass used as a reflector-is are glowing red.
that of Pepper's Ghosc. To complete the description of the box, it is roughly 16
I used 1/8 inch clear Plexiglas for these pieces (Figure 5). inches wide, 12 inches deep and 8 inches tall, wíth wooden
Notice from the overhead drawing that they are not sec at 90 sides, top and bortom. The interior is painted black, with white
degrees within the box, like most rnírror tricks. Instead che porcelain sockets. A back wall is hinged to drop open; this is
angle is wider and che sockets are arranged to reflect properly opened and closed during che routine as described. It should
within the glass. The only real way to do chis is to carefully be painted black inside. The fronc is a piece of 1/8 inch clear
arrange che reflections as you build the prop; the drawings Plexiglas, hínged at che bottorn to drop open similarly. This
here only show the proportíons. As a guide, the bulbs are glass disguises the stray reflecríons during the routine, but
equidiscant from che surface of the Plexiglas, and the imaginary allows you to open the box and remove che bulbs.
line between them is perpendicular to the reflector. From che A prominent handle at the top of che box allows you to rurn
overhead drawing, you'll see how, if the two white bulbs are the box or carry it forward for each sequence.
I suggest covering the outside of the box with white or
silver Formica, so that the whole thing looks like an appliance
oran experiment and not like a magic prop. A nice paint job,
in white and silver enamel, would look justas nice. But try to
avoid the red and gold stencils.
As for the bulbs, you'll want ro experiment with the colors
and wattage to give the right effect. I found it best to use
100-watt white bulbs. The cerner bulb, which is put in at the
end, then broken, is a 25-watt white bulb. (The difference in
bríghtness seems to match the effect of the reflection.) The red
bulb is a 100-watt white bulb colored red. The best way to do
this is with bulb tinting, a dip available for light bulbs. 1 found
that I could mask off the socket with tape, then lightly spray
5. the bulb with red enamel (l used Krylon). I'm sure that chis sort
of bulb is dangerous to use if it were turned on for any length
of time. However in this routíne, che bulb only burns for a few
o o seconds.
You'U also need a small brown paper bag, which is used to
erdnasemagicstore.com carry the bulbs and safely break che last bulb at che end of the
JIM .STEINMEYER
2o6 Tt1E CONJVRINO A:NTt10LOOY
routine.
Now the whole thing should be apparent. Start with the 32. Tt1E fIVE SENSES
red bulb screwed into the center socket (behind the glass
reflectors). The box is closed up and the toggle switch set so
the center socket will light. Show the bulb and push the button L ike Corinda's Powers of Darkness or Slydini's Flight of
the Paper Balls, there is really no deception here at all,
outsíde of the deception of a single person. Instead, thís
so that it lights. Open the front, screw in the rwo whíte bulbs
then close the front glass again. Set the toggles so that the' routine is a chance for the audience to appreciate "why" we
outer sockets are on, the center socket off. When you push the are fooled even if they don't completely understand "how"
button, all the bulbs seem to glow white. As this happens, you we are fooled. In a routine such as this, the síruatíon provides
can open the back of the box to display how only white light is its own entertaínment, This effect was first described in my
ernitted from the box. Of course! Those are che only bulbs on. 1992 lecture notes, Strange Power and Other Problems for
Still, this demonstration is very convincing. Magicians, then published in MAGIC inJuly 1997.
Tum the box around, opening che back so that you can There are three basic phases to the routine. Each time the
display how the bulb has been completely tinted red. Unscrew magician demonstrates by making a quantity of salt disappear,
the red bulb and hand it to someone to be examined. Now when and finally seems to change the sale to pepper. He presents thís
it is replaced, set the toggles so that only che center socket to one member of the audience, who síts on stage to watch
lights. Push the button, and it appears that all three bulbs are each phase close-up: through it all, she is encouraged to use
glowing red. By holding your hand in front of che box orto the all her senses to try and detect the secret. Through it ali she is
back (now behind the clear Plexiglas panel) you can similarly mystified, although the audience watching appreciates why
demonstrate how only red light is emitted from the box. she is beíng deceived.
Switch off the lamps, replace the red bulb with the 25-watt You'll need an opaque mug, plastic or ceramic, with a
white bulb, and set the toggles so all three switches light. Now plastic fake which fits loosely inside (Figure 1). The easíest
ali the bu lbs glow white. way to do chis is to use a clear plastic disposable cup which fits
Finally turn the box around so che clear panel is to che front in the mug. Sorne experimentation in the dime store will help
again. Reaching in from the back, remove che center buJb here; you want the soft plastic cups, not che stiff sryrene cups.
drop it in che bag and smash it. Take out the socket and broken With scissors, cut down the upper rim of the cup so that it fits
filament (be careful!), screwing it into the cerner socket. Close completely inside, about three-quarters of an inch beneath the
up the back panel. Set the toggles so that only che o uter sockets top edge of the mug. The mug 1 use is an insulated plastic one
light. When you push the button, ali three lights glow, and the about 3 ínches in díameter at the mouth and 4 inches tall.
broken bulb seems restored through the power of sympathetic
electricity.
l.
Take your time constructing it, and make sure the
arrangement of the Plexiglas is precise and the retlections look
good. This is the essence of the appararus.
208 TNE CONJVRING ANTt10LOGY JIM STEINMEYER
You'll also need a convenient small tray, about 10 or 12 tray in your right, gesturing with
inches across (round or rectangular). These whíte plastic trays it. Instead o/ using this tray to
are available at party seores. A cylindrical cardboard box of hold the mug, I'd like to use the
salt, the way you buy it at the grocery store, anda glass pepper top of your head; if you don 't
2.
shaker filled with coarse black pepper are the last items. Seal mind. This mild ímposttíon is
the holes of the shaker with tape, then place it in a coat pocket. the excuse for the giggle that
The clear fake starts inside the mug, with the mug and the box míght come as the audience sees
of salt on the tray. the next move. Holding the tray
Select an audience member to assíst you on stage, someone vertically in the right hand, lean
who looks cooperative. Have her take a seat on the stage, with towards the spectator. As the
her chair turned at a 45 degree angle towards the audience so tray comes in front of the mug
that she's looking slightly to her right. the right thumb slides out the
PHASE ONE: THE SALT DISAPPEARS: Often J'm askedjust fake, holding it behind the tray
how magic works, and of course I can 't tell you. But I can (Figure 2). The move is clearly
show you why it works. You've heard about the hand being visible to the audience but not
quicker than the eye, and that's not true. The general rule is
3.
the spectator. Don't rush this
that peopte are fooled beca use they don 't rely on their senses. move and risk the fake talkíng
I'd like to show you exactly what 1 mean. agaínst the tray. There is plenty
Turning to the spectator who has volunteered, you of time as the hands casually
continue, They're ali going to watch from out there, and come together.
you 're going to see it ctose-up. That's how everyone always Raise the mug away from the
wants to see magic, so they can watch closely. You haue the tray and place it atop her head.
best seat in the house. As you lean forward to do so,
Pickup che sale box and show it. I choose to use salt because swing the tray behind your back.
you know that 1 can 't hiae it between my fingers or slide it up This puts it clearly in front of
my sleeue without making a mess. the audience, as if flaunting the
The mug, with the fake inside, is placed onto the tray and the deception. Meanwhile, adjust
salt box is opened. Holding the tray, openly pour salt into the the mug, saying, Remember, if
mug so that there is about an inch of salt inside. When fi nished, you spüt any, you haue to su/eep
put the salt box on the table and approach the spectator, it up. Union rules. Instruct the
I'm going to do this just foryou. I want you to hold out spectator to place her hand atop
your hands and take the tray. Approach her from the front, the mug to insure that nothing
so that you are turned at 45 degrees to the audíence. As soon gets in and nothinggets out.
as she reaches out to take the tray, you apparently change your Step around the spectator
mind. Actually, since you 're on the stage, 1 uionder if you 'd from her left side. Now I'm
play a more tmportantpart in the trick? As you are asking this, going to step behina you so the
you have lifted the mug wíth your left hand and are holding the audíence has a good uieui.just
2.10 THE CONJVRING ANTHOLOOY JIM STEINMEYER 2.11
keep your eyes straight ahead. We're building up to the blg a bit as if to find the right spot. This movement covers the sense
finish. Carefuüy lower the mug... don 't sptü any ... and pour of the inner fake being lifted away. The right fingertip lifts
au of the salt tnto my handt Once behind her, separa te the fake straight up, taking the fake in the right hand. lnstruct her to put
from the tray, the fake in your left band, the tray under your left her hand over the mouth of the mug. l don 't think tt's going to
arm. Reach around her with your right hand, holding it out to balance. You 'd better help me by presstng down. Remember,
receive the salt. As soon as she tums it over and discovers that don 't let anything in or out.
the salt has disappeared, take the mug from her. As you step The fake is held in che right hand behind her, and the
around her, drop the fake inside again and move to her left side, audience sees it prominently. You saw it, you felt tt, you heard
facíng the audíence and signalling for applause. it.... Lifl your hand f or justa second. Take the mug from her
PHASE 1WO: USING YOUR SENSES: Step directly to the in your left hand, moving it down and to the left side of her
table, where you pick up the salt box. Mime pouring salt into head where it should remain in her peripheral vision. They
the mugas the mug is on the tray. In fact, you pour very little can 't hear it, but you can. Tell them that you can hear the salt
-justa bit to show that there is salt going ínto the mug-as there tnside. The left hand is gently shaking the mug up and back.
is already saJt in the mug. You did a gooa job of watching Meanwhile the right hand, just behind her ear, is shaking the
closely, but I'll tet you in on a secret. You watched too closely. fake in synchronízation. She responds that she hears it. Move
Magictans know that such a thtng is possible. We all rely on the mug slightly in front of her, holding it at her eye level.
our sense of stghi, but there are fiue senses. Much harder to Instruct her to put her left hand on top of the mug and move
fool the other senses. Luckily for magtcians, peopte se/dom the mug slowly to the top uf her head again. Once there, te U her
use the other senses. to put her right hand on itas well (Figure 4).
Pu t the salt box down. Ofcourse, you can see thesalt tnstde. Keep your eyes straight ahead. I'm going to step as far
Tip sorne of the salt onto the tray. They can see tt, too. Tip the away as I can so tnat you know I won 't do anything sneaky.
mug towards the audience. You have not tipped it towards
the spectator, who may see the fake inside. Step towards her,
placíng the tray in her lap. Butyou can a/so hear it. Shake the
mug gently alongside her left ear. By curling a fingertip inside
and holding the fake tightly, you can prevenc it from rattling
during this move (Figure 3). If I ask you to hold the mug in the
air,you can feelthe uieight of the salt. Step completely behind
her agaín, holding the mug ar her eye level and instructing
her to take it in her left hand. Tell her to hold it steady. Look
straightout at the audtence. This time, don 't rely on tohatyou
see. Useyour other senses.
From behind her, take the mug with both hands and move
it straight towards the top of her head. Let me take the mug
and do another balancing act. The right hand has a fingertíp
curled inside, the left hand holds the mug from the outside rim.
As yo u contact the top of her head, slide the rnug back and forth
2.12. Tl1E CONJVRING A:NTl10LOGY ___ J_IM .S T E 1 N M E Y E R 21)
You step far upstage, where you deposit the fake on a table. Step to her left side. 1 want you to be sure this time. Lift
Do you feel the mug getting lighter? That's the grains of salt your hand f ora moment. I want you to hear itas well. Use ali
leauing, one by one. Lower the mug and pour out tne salt jive senses thts time. You've clamped a hand to the top of the
onto the tray. She finds that the salt has disappeared. mug and are shaking it, a bit more violently than before, near
STEP THREE: VERSUS FIVE SENSES: Everyone wtll agree her left ear. The goal is to shake it for a second or rwo to mix
with me. . . the salt got away beca use you weren 't ustng ali the salt and pepper. Place it atop her head, instructíng her to
your senses. Let's start at the uery beginning. I want you to put her hands on top. Now step away askíng her to concentrate
get a good look at this salt. Hand her the box of sale and take on the salt disappearing. Have her lower the mug and ask what
the empty mug. Now don 't get distracted. Concentrate on the she finds inside. Be careful not to sneeze. Take the rnug and
evidence. Have a careful look at that salt. You can pour out the tray from her, asking her to stand and cake several steps
sorne of tt on the tray. As you step upstage, out of her eyesight, downstage. Slowly overturn the mug onto che tray, cascading
you are holding the mug in one hand. Remove the pepper the pepper onto ic. (The small amount of sale mixes with the
shaker from your pocket, open it, and dump the pepper pepper and "disappears," especially agaínst a whíte cray.) Now
inside. This should be done prominently so that the audience you know that, no matter uihat anyone says, you realiy can 't
understands what's happening. Replace the shaker in your trust your senses. Have her take a bow and thank her for her
pocket, Meanwhile, you are still instructing the spectator. I'd cooperation.
like you to smell the salt. That might sound ktnd of'funny, but Since ít's been published, The Five Senses has worked íts
you haue to admit, it srnells like salt. Now taste a bit of it. You way ínto the programs of professional performers. Still, it is
can just use the tip ofyour jinger. Don 't eat too much. It's bad an unusual routine, and will not find a place in every show.
for you. Once again, this will cover any snickers in response The instructional nature is a nice change of pace, and it is an
to the pepper. Look straight at the audience and tell them entertaining demonstration for laymen who are curious about
what tt tastes ltke. As she <loes this step back into her sight the magíc they have been watchíng.
Iíne, taking the salt box from her. It really is salt, not some
rnysterious, dangerous, disappearing chemtcal. Lift the box
of salt and mime pouring salt into che mug (Figure 5). Finish
by lifting the box slightly, showing the stream of sale as you
accually pour sorne inside. This time, I'm going topour a lot of
salt inside, to make this as difjicult as tt can be. Actually, yo u
are just pouring enough sale inside to cover che surface of the
pepper, a dusting over the surface so that the contents appear
to be sale. Take your time and do this neatly.
Lower che mug and show her che con cenes. lt won 't get
away unthout you nottcing it. Raise it up to her eye level,
askíng her to feel the weight of the mug. (Be careful not to
hold it too closely to her nose, as the odor of the pepper is
perceptible!) Ask her to put her hand on top and raíse the mug
to her head,just as you did before.
TME CONJVRING A:NTt10LOGY JIM STEINMEYER
inside the two enoetopes that I'm holding. First,I'll show you
))· VOODOO ECONOMICB
o:
how simple it is to double your money using uoodoo. Hold
your en velope in the air and fold it in halues. The spectator
the years, I've experimented, with torn-and-r~st~red does. Dramatícally, the magician repeats the action with bis
effects using the Grandmother s Necklace príncíple. rwo envelopes.
I discovered that a strip of masking tape was the ideal fake. That's it. The money has doubled! This pun gets an
Applied carefully to do llar bills or pieces of stage money, it was inevitable groan. Open your enuelope again, the magícían
a practica! solution and created a really amazing illusion. But as ínstructs. He opens one envelope, reaches inside and shows a
appealing as the quick effect may have been, it was difficult to bill, pointing out how, you now find it increases (in creases)!
find a good routine incorporating the trick. Oear, another terrible pun.
Voodoo Economícs, from August 1997, is my solution. The The bill is re placed and the real lesson begins. The spectator
answer was in usíng envelopes ínstead uf the bills themselves- holds his envelope hígh in the air. I'll prove that this is a good
acrually hiding part of the visual effect so that it more easily investment. Slowly, tear your enuelope in half atong the
integrates into a presentation. This is an interesting twist on a center line, the magician ínstructs. The spectator does. The
torn, borrowed bill routine, which also has a certain you-do-as- magícían looks expectantly at his rwo envelopes for a long beat
1-do feeling. ... then tears his two envelopes through che center as well.
Being a magician, I know justa little too muen about the You started with two ten dollar bills... two pieces of paper,
unexplainable. That's myjob, after all. Itmakes me suspicious and now you hauefour.
of things like the stock market, money market funds or IRAs. Don 't worry. I can get back your original investment.
I pref er to go with something more dependable, like the tried In order to do this, all you need to do is magtcaüy put
and true principies of voodoo. In f act, I'd like to giue you that enuelope back together again! The spectator seems
a brief demonstration in voodoo economics. Tomorroui understandably unable to do this. Actually, ali you need to do
morning you can show this to your bank president. He'li be is pretend. just touch the torn edges together. That's enough
uery interested to see it. for the speü to work. This voodoo stuff is just syrnbolic. The
The performer shows a stack of three white or manila, legal- spectator does as instructed. The performer instantly snaps his
sized envelopes. He coerces a spectator in the audience to loan half envelopes back together, showing that, in a fraction of a
him two bills of any denomination. Obviously, the larger the second, they have been restored.
bills, the more ínterest in the routine. This is much more fun The envelopes are opened and each bill is removed and
with someone else's money. returned to the spectator, with thanks. The bilis, needless to
Each of the bills is placed, unfolded, into an envelope. The say, are also back together again.
envelopes are then closed and folded in halves. This leaves one Use three standard legal-sized envelopes. Crease all of them
envelope remaining-an ernpry one-which is handed to the perfectly in halves, with the smooth side (the address side) on
spectator. the outside. Make the creases nice and sharp.
According to uoodoo, the speü can be duplicated from far Prepare the envelopes by takíng rwo of thern, butting the
auiay, using a surrogate object. In our case, we 're going to folded edges together and running a strip of paper masking
use the enuelope that you 're holding. Whatever happens to tape (that beige paper tape used by artísts and painters) on the
that empty enuelope unll happen, rnagically, to the money opposite side. Masking tape comes in different widths, but the
THE CONJVRINO ANTHOLOOY JIM .STEINMEYER 217
216
standard three-quarter-inch wide first in the top (faked) envelope. Close the flap. Don't bother
l. tape will work (Figure 1). licking it and sealing it. Fold this envelope in halves, towards
Trim the tape edges neatly. you (Figure 3). Turn the stack over, and transfer the single
lf the envelopes are properly envelope from the top to the bottom. This allows you to place
prepared, the joint will not be the second bill in che second envelope. Similarly, fold this
seen on the side opposite the envelope in halves.
tape. It wilJ just look ííke a sharp Hand the spectator che third envelope, pointing out that
crease in che envelopes. Ir is the empty one. Unfold one envelope by reversing your
2. previous action: this allows you to open che flap and show
Turn these rwo envelopes
inside-out by unfolding them the bill inside again. Refold che envelope. The second time
to show the backs, or flap- the envelopes are opened, unfold both of thern by opening
sídes (Figure 2). The tape joínt them in the center, at the tape joint. The tape is held towards
should be folded between the you, so the smooth side of the envelope faces che audience.
envelopes. Throughout the Instruct the spectator in tearing the envelopes, according to
routine, the tape should aJways the routine. When it comes time to duplicate his actíon, tear
be on the side facing your body. berween the envelopes at the tape joint (Figure 4). (It's a great
(It's easy to feel the tape through illusíon, paper tape tears convincingly and pulls ar the halves,
the envelopes.) Add the third so it sounds right and looks right.)
envelope to the stack, and the Hold the folded en velo pes in front of you sliding one ínsíde
apparatus is ready. che other as you bring them together. Place your right fingers
You'll recogníze the in che cemer of the folded envelopes (Figure 5). lf you slide
connectíon to che old Grand- your fingers up, both envelopes will quickly "restore" by being
mother's Necklace principie. unfolded in your hands. The taped sides face you throughout
It's che tape joint that's torn. this actíon. One by one, open che ftaps and remove che bilis.
The envelopes, and the bills 1 don't think ít's necessary to have the bilis signed
ínsíde. are never in danger. or marked. Throughout the routine, the focus is on the
Begin the routine by handling the envelopes. When they tear, the assumption is that the bilis
envelopes casually. Use the third are endangered. At the conclusion of the effect, the focus
envelope to casually "show" the shifts back to the bilis as they are returned to the audience.
envelopes by transferring the
single envelope from one hand 4.
to another. Of course, the two
envelopes joined with tape do
not separa te. The single envelope
should end up on che bottorn of
the stack.
Borrow the bills. Place the
TME CONJVRING A:NTMOLOGY JIM STEINMEYER
218
his hands.
34· Tl1E ONEMAN BAND So be/ore we separate, I just
uiant to remind you that there
are plenty of ordinary things
T
he Mghan Bands began with the fascinating rwísts and
tums of the Móbius strip, a topological wonder. In the early in this world that are actually
years of che 20th century, there was fervid activity towards pretty extra-ordinary. He tears
improving and perfecting the trick as a píece of stand-up magic. a loop off of the fabric, one-third
Carl Brema, Ellis Stanyon and James Wobensmith brought of its width, and slides it onto
bis ann (Figure 1). Stopping
notable variations to the effect, and it was a "standard" by che
time John Northern Hilliard devoted a chapter to the effect to contemplate this a moment,
in Greater Magtc. Another wonderful summary of the eff ect, he retums bis attention to the
including che latest varíatíons, can be found in Gene Anderson fabric.
and Frances Marshall'sNewspaper Magic. l'll do that again, because
More than one reader will recall Harry Blackstone, pere, I hope you 'll rernember. . . all
with a strip of red cambric pattering about the belts for the those ordinary things that
circus performers-the Siamese twins and the fat lady-as he are really extra-ordinary.
tore the fabric into narrow bands. It was, for him, a pleasant He's toro the loop again. Now
diversion in the middle of his big illusion show. there are three narrow loops of
For sorne reason the Afghan Bands just aren't performed fabric. Two are hanging over his
today. But they should be, and they'd be new to audiences. arm. One, in his hands, he begíns
Considering that the appararus consists of a strip of fabric, that tearing in half.
ít's perfect for standing ata microphone, on a large stage or The secret is your
inches away from the spectators, it is perfectly suited for many tmagination. lf you look at
performing conditions. The sirnplicity and puriry of the effect, things in the right way, you 're
I'd suggest, lends itself to sorne sweetly suggestíve patter, and bound to be surprised. As he
the trick is worthy of an encore presentation. continues tearing this loop, ít's
Rather than just saying goodnight, I thought I'd answer obvious that instead of becoming
the question that everyone always asks. You know, "How do rwo independent bands of fabric,
you do tt?" the magician begins, reaching ínto his pocket to he is holding two linked loops
remove a folded strip of fabric. It's actual/y really simple. You of fabric (Figure 2). He holds
see, there really isn 't any magic unless there's an audíence, the linked bands in his hand,
like you. The audience is part of the formula. Because it 's all then drops them on the floor.
of you who aren 't a/raid of lending me their imagtnattons Returning to one of the loops on
for a few minutes-for that process of pretending somethíng his arm, he continues.
impossible is actual/y possible. I thank yo uf or being here this /'ll do that again; because I
evening, becoming part of the circle which makes the magic. hope you 'll ali rernember.... just
He opens the fabric to revea) a large loop, which is displayed in useyour tmagination; and I can
2.2.0
r nr CONJVRING ANTHOLOGY JIM .STEINMEYER 2.2.1
guarantee you'll be surprised at easy to handle, but I found it stringy, and when torn the bands
3. the results.Using the next band, were often tangled in stray threads. The best results seem to be
he steps over to the opposite side with a nice, linen-like cotton fabric which is called 65-35 cotton
of the audience, dramatically polyester blend. The employees at the fabric store can help
rips the bands in half, ending up you. This is a sort of do-it-all fabric, an inexpensive material
with rwo linked bands. These are which is available in many pastel colors. Ir's a few dollars per
dropped on the floor. yard, or less if you can find it on sale.
So I hope that, when you Use a yard and a half of fabric. Cut it in 12-inch widths.
here tonight, you may
leaue Don 't tear it; cut it, as it gíves a much cleaner edge. (Y ou should
remember something I'ue said get three widths out of each piece.)
or something I'ue shown you. At one end of the strip, measure and mark 2-inch widths
But most of ali, I hope you 'll along the top edge. Cut each of them down 6 inches, with the
4. remernber that there are still result that there are síx 6-inch "tabs" at the end of the fabric
plenty o/ extraordinary things (Figure 4). These are then glued to the opposite end of the
in this world-plenty o/ btg fabric, but this is where the topology comes in.
surprises uiaiting for you. ]ust From left to right, the first set of tabs is crossed twíce, then
use your irnagination, and glued to the opposite side. The second set of tabs is similarly
always heep an open mind. crossed twice and glued. The third set of tabs is crossed once
Tearing the third and last (switching one for the other) and glued (Figure 5).
band in half, it is seen to form I found that a thin piece of wood or a heavy píece of
one large, seamless band (Figure cardboard helps with the gluing. Slide the cardboard between
3). The magician holds this up the layers of fabric to form a flat surface under the tabs. Use
5. for the audience to contemplare, white glue (or even better, the yellow Carpenter's Glue
and turns it between his hands, available at hardware stores, which is like white glue but slightly
then bows and steps offstage. tackier). Spread the glue evenly over an inch of the fabric end,
The repetition sets up the then cross the tabs and stick them in place. Use plenty of glue,
effect. The toro fabric strip and it helps if the glue satura tes both layers of fabric. After a few
handles effortlessly and creates minutes lift the fabric gently so that ít doesn't end up getting
a very magical image as the band stuck to the cardboard. Fifteen or rwenry minutes later, the
is toro apart-to the last fraction glue should be dry. With the scissors, snip into the glued end of
6 of an inch-before the change the fabric, extending the cuts around each tab so that the bands
is revealed. It is an amazing will tear neatly (Figure 6).
moment. It occurs to me that a piece of heavy cardboard, marked
Years ago cambric was with the six 2-inch divisions, would be a handy prop to
recommended for the bands, but assemble these bands. You can make several at a sitting, then
the equivalents are a bit too rích fold them up in preparation for your performances.
today. Muslin tears well and is As you know, the Afghan Bands are virtually self-working.
Unfold the fabric in your hands, keepíng the prepared section

(the twisted tabs) towards your body near your hands. The
fabric then appears to be a nice, flat band (Figure 7). To show
35· Tl1E PVRSE TRICK
C
the band, compress the twisted tabs in your hand, then hold harles Morritt, the British magician whose career spanned
the band up to display it (Figure 8). the 19th and 20th centuries, aptly billed himself as "The
Tear the band apart in thirds, starting with the single rwist, Mystery Man." A century later, the title still applies. Morritt's
which should be closest to your right hand. Start tearing at the been a fascination for me because I've long suspected that he
cut for the second tab. Pull your hands straight apart and the was using sorne novel-and otherwíse unknown-principles
band will be torn away. Slide this third of the band onto your in his stage magic. For a number of years Morritt worked as
right arm, the twisted tabs are concealed at your elbow. a partner to Maskelyne and Devant, then in opposition to
Repeat the process, dividing the remaining band in half. them across the street. He was a remarkably well-rounded
Slide one section onto your right ann. Yo u' re left wíth a third of entertainer: equaUy an inventor, manager, producer, íllusíoníst
the band held berween your hands. and sleight-of-hand artist.
Following the presentatíon, you now tear this band in One of his specialties was a deft and daring bit of
half. Ignore the rwísts in the tabs: just start tearíng by pulling manipulation using four coins and rwo tiny leather purses.
your hands apart. At the Iast moment, the bands suddenly snap It was adapted from an old racecourse swindle. In Morritt's
apart and are revealed to be linked. Show the bands openly by hands he used the coins to dernonstrate how two people
holding them apart and pulling them through your hands. Then could seemingly change places. Morrítt's Purse Trick used
drop these bands and remove the next one from your right arm. an unusual palm which has since been called the Purse Palm
This band, similarly, will tear into two linked bands. or Morritt Palm: the coin pinched at the fleshy base of the
Finally, cake che remaining band from your right arrn and second finger. Recently I worked to recreare Morritt's Purse
dramatically tear it in half. As it divides, it seems to melt into one Trick and carefully rehearsed the Purse Palm, bue by the time
large band. Hold thís up and display itas you take your bow. I'd constructed the routine I'd come to the conclusion that it
was bese to use different-sized coíns and elímínate chis move.
So, ironicaUy and uníntentionally, this modern version of the
Purse Trick, first published in October 1997, doesn't use the
distinctive Purse Palm. (You can find a good description of
7. 8. Morritt's original effect in the Stanley Collins section of Bobo's
Modern Coin Magtc. The original racecourse con is nicely
described on page 76 of Meyerbooks' 1987 compilation, The
Wízara Exposed.)
If you 're a magician, you always get the same questíons
aseed over and over again. One of the most popular is, 'Can
you make me change places wíth sornebody else?' I'ue founa
that it's human nature that, whoever you are and whatever
your station in ltfe, you 'd líke to be someone else. Actually, I
thínk it's not the person you 'd like to change places totth=it's
221 TME CONJVRING ANTMOLOGY JIM STEINMEYER 225
the bank account. After all, not many of us really want to magicran contínues. We'll imagine that for a moment a
be Donald Trump, but uie'd all like access to his American fleetíng twinge of jealousy passes between you, and yoú 'd
Express card! With that thought in mind, I'd like to invite a like to change places. It's ali about that ostentatious, 50-cent
couple of gentlemen onstage f oran experiment. ticket. Because when the spell is cast, you 're now the 1 O-cent
The performer invites rwo men. One, from che front of the man. Delicately opening the purse and típping it over, two
audience, is seated on a chair to his left and given a small leather nickels fall ínto the performer's hand. He gíves them to the man
snap purse with the ínstruction not to open it until instructed. on his left, then turns che purse inside out to demonstrate that
The other gentleman is pointedly chosen from the very back it's empty. The nickels are replaced, the purse shut and handed
of the audience and seated on the perforrner's right. He is to the spectator again.
similarly handed a purse. Immediately the magician turns to the spectator on hís
You 've been watching the show from a seat in back, the right, instructing him to open the purse and take out what's
magician addresses the man on his right. It's an adequate seat, ínsíde, He does, and holds up a 50-cent piece. Otherwise the
an acceptable seat, the best seat you could aff ord. Is that seat purse is empty. The roagician takes the purse and the half-
worth ten cents to yo u? Remember, you ha ven 't seen all of the doUar, openJy placing it back in che purse and closing it. He
show yet. Please upen thepurse and hand me tohat 's inside. returns the purse to the man on his right.
He does and takes out rwo nickels. These are handed to the I'm obliged to reverse every speü that l cast. Those are
performer, whose hands are otherwise empty. The spectator is the rules. Please stand up and take two stepsf oruiard. Don 't
instructed to examine the purse and hand it overas well. get too smug about that 50-cents that you 're holding. Open
Ten cents to your name, and trresponstblyyou 've spent tt your purse and look inside. Whal do you find? Ten cents. Two
ali on that seat in the back. l'll hold the coins up hígh in the air nickels. And ouer on the other side, show me tohat's inside
so that eueryone in back can have a good look. Ten cents, two your purse. You 're back to one half-dollar. Thank you both.
nickels in the purse. The purse closes with a snap. lf you listen lf you missed it, the moral of that demonstration is that you
closely,you can hear the nickels inside. Please hold the purse can always walk a mile in another man 's shoes, but it's more
ttghtly. Don 't let anything in and don 't let anything out. insightfut to spend an evening with another man 's wallet!
Suiting the words to the actions, the coins are very openly Taking the purses from the spectators, they are sent back to
placed in the purse and the purse closed. Shaking it near the their respective seats,
spectator's ear, he hears the coins inside, then is handed the Morritt boldly performed his copper/silver routine in large
purse. Turning to the man on his Ieft, the magician continues. theaters. The trick is about the open handling of the coins and
You, sir, represent uianton capitalisrn. A nice, comfortable the verifications and expressions of the spectators. Today the
seat in thefront of the theater. A magnificentseat, aprominent rattle of the nickels can be heard through a mícrophone. There
sea t. Dare l say... a 5O-cent seat? Open thepurse and take out is no reason why this trick wouldn 't work in a small room or, in
uihat's inside. Hold it up hígh in the air. It's a half-dollar. the hands of a good performer, on a big stage.
Anything else in the purse? No. Absolutely empty. Please do You'll need rwo leather snap purses (that is, purse frames
il the same way we did with the níckels. Drop the half dollar with the bag still attached). Mine measure about 4-1/2 by 3-1/2
inside. I don 't want to touch it. Close the purse and place it on inches. I found purses of soft leather, one black and one dark
my hand. You 're sure that nothing can get tnside or outside? brown so that I cou1d easily tell them apart. In one purse place
Holding the purse prominently on his left palm, the two nickels. In the other place a 50-cent piece. A duplicare
226 TME CONJVRING ANTMOLOGY JIM STEINMEYER 22.7.
half-dollar is sleeved in your 2). lmmediately raíse your right

right coat sleeve. Mike Caveney hand again with the nickels, as if
helpfully suggested a neat set- hesitating to emphasize the next
up for this. If the purse is in an point: I'll hold the cotns up htgh
inside coat pocket on the right in the air so everyone can haue
side, you can take it out at the a good look. Pause, showing
start of the routine; at the same your fingers open and the nickels
time you drop the coín down the delicately held at the fingertips.
right sleeve, inside at the armpit. Slowly lower the nickels into the
Keep your arm bent at the elbow purse. As they reach the mouth
through the first part of the of the purse, che right fingertips
routine. bend behind che purse, placing
According to the routine, the nickels between the left
rwo men come on stage. The thumb and first finger. Snap the
man on your right receives the purse shut prominently. Lay the
purse with rwo nickels. Have purse on the palm of your right
him take out the coins and hand hand, allowing the nickels to
them to you. Take them in your fall into a fingerpalm position
right hand at the thumb and beneath the purse (Figure 3). As
J. first finger, openly showing you shake the purse gently from
your hand empty. As you reach side to side, you can allow che
across to take the purse in your top nickel to slide against che
left hand, your right hand drops lower one, producing a sound
to your síde (Figure 1). The half- as if both coíns are moving 3.
dollar drops into a fingerpalm inside (Figure 4). Fingerpalm
position. lmmediately raise che the nickels tightly, handing the
hand agaín, displaying che nickels purse to the man on your right
ar your fingertips. with your right hand.
Take the open purse in your Turn your attention to che
left hand so that your thumb man on your left. Have him open
2. and forefinger are free at che the purse, show the coin and
back of che purse. There's a replace it, closing the purse.
4.
small feint responsible for che The patter states, Please do tt
first switch. As you lower your the same way we did with the
ríght fingertlps into the purse, ntckels, suggesting that the
you release the fingerpalmed níckels were similarly replaced
half, which drops inside (Figure in the purse with the same hands-
2.2.8 TME CONJVRINO A-NTMOLOOY J 1M STE1NMEYER z29
off manner. Take the closed the purse. ActualJy, as your right fingers enter the purse,
purse in the left hand. Open it fingerpalm the nickels. Snap the purse shut and rerurn it to the
slightly with the right fingers. spectator on your left. (The move is a bit like the Bobo switch,
At the same time, pinch the as explaíned in the aforementioned Modern Coin Magic.)
half-dollar through the leather Ask the spectator on your right to open his purse and show
purse with the left fingers. what is ínsíde. He shows the half-dollar. Have him replace it
Típ the purse over the right in the purse before you take it back in your left hand. As you
fingertips, as if dumping out the reach inside the purse to take out the half and show it again,
contents (Figure S). However, secretlydeposit the rwo nickels which are fingerpalmed. (That
the half-doUar doesn 't fall out as is, carefully and quietly deposit them.) The half is now returned
fingers are holding onto it. The to the purse in a very open manner; the coin is balanced on the
right hand, with fingers curled tips ofthe second and third fingers ofthe right hand, palm up.
5. up slightly, snaps down as if Display this to the man seated on your right (Figure 6). The
"receiving" the coins. This allows purse is held open by the left hand. The right hand tums over
the fi nger palmed nickels to rattle with a counterclockwíse rnotion as it approaches the purse.
slightly. The move is two-thirds This autornatically doses the fingers and places the coin in
mime and one-third sleight. As a classic palm posítion. The right fingertips, now pointing
the spectators are seated they down, enter the purse and emerge again, as if the half was
cannot see into your right hand slowly, deliberately dropped inside (Figure 7). (This is really
with the nickels and it is simple Bobo's Standard Vanish, from Modern Coin Magic.) Close the
to simulate the movement of the purse and return it to the man on your right.
6.
coins falling onto your hand. According to the routine, have them stand as you reverse the
Extend your right hand to spell. They each open their purse to find the coins retumed.
the spectator on your left, asking The deliberate, theatrical handling may sound meticulous
him to take the nickels and look but is actually quite basíc and effícíent. As at certain phases the
them over. Immediately face spectators themselves place the coins ínside or open the purses
forward again, reaching into the while holding them to reveal the contents, the routine seems
purse to turn it ínsíde out. As you especially respectable. Not bad for an old-fashioned swindle.
7. if do so, your right fingers palm Hopefully the mysterious Mr. Morritt would have approved.
~ the half-dollar. The action of
palming the do llar as you turn the
purse down, then ínsíde-out, is a
natural one. As you reverse the
action, deposit the half inside the
purse agaín.
Take the nickels back and
pretend to replace them in
TME CONJVRING ANTHOLOOY JIM STt:JNMEYER 231
~'-º----
was first explained as one of the routines in a set of my 1997
36. CONTAGIOUS RED lecture notes Reminding and Deceiutng, and then published
inMAGICMagazine in December 1997.
A_ bouc a hundred years ago, when Greac Conjuring (capital The latest color from the f ashion houses of París is
AG, capital C) was in full flourish, it became fashionable to a peculiar thing called Contagious Red. Jt doesn 't haue
dye handkerchiefs different colors by passing them chrough a anythtng to do with the meas/es or a rash. They call it
cube of rolled cartridge paper. 1 believe it is none other than contagious because of how easy tt is to dye. just the slightest
David Devane who popuJarized-if not actually invented-the touch=a momentary contact-and the color takes effect. I'ue
arranged a brief demonstration. You can think of it as magic
notion. As always, his original routine is hard to match for
clarity or finesse. You'll find it in Hoffmann 's Later Magic. Yo u meetingf ushion.
could present it today for a modern audience word-for-word, The routine is so simple and visual that it certaínly can be
move-for-rnove and it would still be a fantastíc sequence of demonstrated without patter. A sheet of paper frorn a magazine
magic; of course, it would help to perform it with all of che deft is shown. In particular, the magician points out a photograph
Devane touches, which features a small spot of red ink. The sheet is folded into
Ironically, Devanr's patter concerned itself with fashion a tube and a small white silk handkerchief is removed from the
and che la test colors popular on Regent Street, For many years performer's pocket. He pushes the silk through che rube; as it
the dye tube. a big, heavy brass contraption with a sliding cup emerges from che far end che silk has been dyed red. The paper
or a folded tape, was a necessary fashion for rnagicians. (It is tube is opened to show that it is still empty and the red coloron
interesting to compare che girnmicky magic shop dye rubes the photograph is still evident.
with Devanr's original, just a simple flattened brass tube, Moving on, the magician shows a simple white light bulb
which somehow did che trick for him.) Over che years the trick which has been screwed ínto a socket and attached to an
was "improved" many times, and dyeíng seems to be accepted extension cord. He carefully covers the bulb with the red
as a staple of magic even though no one performs it anymore. handkerchief, then reaches beneath it to switch on the bulb.
Of course, it's still a wonderful idea for a plot and an Of course, the bulb shines through the handkerchief with a
attractive notion for the audience. Years ago it occurred to red light. .. nothing surprising there until the rnagician whisks
me that it míght be interesting to affect different objects as away the handkerchief to reveal that the glowíng bulb is
they passed through che plain paper tube=to emphasize how actually glowing red.
simply passing through the tube changes che color distinctly. Finally, che magician picks up a compact disc, showing
(Maybe a good idea, but r never solved it to my satisfaccion.) the silvery disc on both sides and inserting the silk through
Another variation would be to emphasize one color which can the center hole. He spíns the CD through his hand, wiping
be "handed off' from one improbable object to the next, an íts circumference with the silk. As he <loes, the disc is slowly,
interesting variation on che notion of dyeing a color. In other gradually colored red. The audience can watch the entire
words, start with the dye tube, then leave ír behind as the color process, and it looks as if a paint brush is mysteriously swiping
spreads. che surface. At the finish, the silk is removed and the CD, now
Along these lines, any three good color changes could red on both sides, is freely shown.
Ler's take it step-by-step. First che paper and the silk dyeíng
constitute a routine. I'U suggest these as a nice way of
demonstrating a peculiar color, Contagious Red. This routine routine. Here you could use several solutions or devices,
THE CONJVRING ANTHOLOGY JIM .STEINMEYER
but I'd suggest a very simple, you talle about the red printing
self-contaíned change as the (Figure 3). Lift the bottom edge
routine wilJ rapidly move along of che paper straight up with the
to another phase. Years ago 1 left hand; your right hand doesn 't
l. made upa simple dye tube whích move. This naturally shows the 4.
handled very nicely and works back of the sheet-actually it
perfectly in this setting. Use a shows most of the back of the
níce, heavy sheet of enameled sheet as the paper folds at the top
paper from a magazine, a cover and the panel with the dye tube
if you can, about 8 1/2 by 11 doesn't move (Figure 4).
inches. Find one with a photo Raising the lower section of
with spots of red so you can poínt the paper is actually the first of
them out. Fold the sheet into four "beats" as you rol! the paper
quarters, so that it can be rolled closed with four folds. A moment
like a flattened tube (Figure 1). later, your right fingers turn in,
2. On the back of the tube is a rolling the section with the tube
small flattened dye tube, folded towards the end of the sheet. As
from similar paper. The finished you do thís, turn your body so 5.
size of this tube is about 1-1/2 that your shoulders are square to
inches across and 2-1/2 inches the audience. You'Il end up with
long (Figure 2). This is taped the rolled tube held berween
against the "top" panel of the your rwo hands (Figure 5).
four panels slightly to one side, Show a 15-inch square whíte
as shown (Figure 3). When you silk and push it into the tube near
3. hold the paper in your hands, the inner dye-tube. This pushes
your fingers naturally líe agaínst the red silk out as the main paper
the tube. A red 15-inch square tube conceals the white silk.
silk is folded and pushed inside Slowly remove the red silk from
o
this inner tube. the opposite side. By reversing
The idea is that this ínner tube the previous moves you can
is concealed as the paper is rolled unroll the paper dye tube,
into quarters. Hold it in your right gradually turníng your body to
hand with your fingers at the top the right as you unfold the tube
edge, wíth your left shoulder and allow it to hang from your
towards the audience. Reach right fingertips.
across wíth your left hand, taking The light bulb part is an
the bottom edge of the paperas especially simple fake. Buy a
TME CONJVRING A:NTMOLOGY
--- JIM STEINMEYER 235
transparent red light bulb at the magic bulb. You don't really
hardware store. (l found one with want to leave this bulb lit for
a label calling it a "Party Bulb," more than a few moments, as
which might gíve you second there is a potentíal danger of the
thoughts about socializing.) outer paint smoldering. Leave
6 With paper masking tape, mask the bulb on for the duration of 8.
off the socket part of the bulb. the effect, but be sure to switch it
Then lightly paint the bulb with off so you have nothíng to fear.
white spray paint enamel. The
The third phase of the routine
goal is to very lightly apply coats is the color changing CD. You
of whíte paint-one fine coat can actually make this with a real
after another-so that the paint CD-I'U describe this later. The
doesn't run or build-up in any easíest way to explain it is with
one spot. Plan on at least three two cardboard discs decorated
or four very light coats of paint. to look like compact discs. Cut
When the bulb looks sufficiently two díscs from red posterboard 9.
white, you're finished. by tracing the outside and inside
7. So, yo u see, it' s very easy. The dímensíons of a CD. Cover one
bulb can be shown and screwed side of each disc with adhesive
into the socket and cord (Figure silver mylar, whích duplicates
6). The red silk is placed over it the mirror finish of a CD. With a
and you reach under the silk to straightedge, carefully cut a slot
rurn on the socket. When the through each cardboard disc
bulb is íllurnínated the red color along the radius (Figure 7).
naturally shows through the Place the rwo discs together,
white paint. Pulling away the red sides touching. Now the
silk shows the bulb still glowing díscs are attached using a flange
red. But, of course, you must be of two smaller acetate discs. You
careful not to turn off the bulb in can buy clear sheet acetate at
front of the audience (as it goes artist's supply stores. I suggest
back to white in that moment clear acetate rings about 2 inches
and the deception is painfully in diameter on the outside with
exposed). Place it behind a a 5/8-inch hole on the inside
table and switch it off or hand (Figure 8). Sandwich these discs
it to an assistant who can take it on the outsíde of the cardboard
offstage.
discs, then attach them with
just one more note on the five or six narrow strips of clear
=:).6 T M E C O N J V R 1 N G A: N T M O LO O Y JIM STEINMEYER
~~~~~~~~~~~~~~2)L
tape through the center hole (Figure 9). Notíce that the tape
does not touch the cardboard discs; it holds the acetate rings )7·Tl1E PICKPOCKET
together through the center hole, just like a grommet. Because
of this, the cardboard discs are free to rotare independently. Cl1ALLENGE
Show the CD by holding it so your fingers cover the slit.
Show both sides casually, then thread the silk through the
center hole. This covers the slit. Under cover of the silk,
T he late Arthur LeRoy claimed that the Change Bag was the
joint ínvention of two magíc stars from the earliest years of
the 1900s: Frank Ducrot (the magician and magic dealer who
separate the two slits, then rotate them together so that they also editedMahatma magazine under his real name, T. Francis
overlap and begin turning "ínsíde out." With your fingers, Fritz), and Billy Robinson, the redoubtable Chung Ling Soo.
rotare the discs berween your fingers (Figure 10). It appears as If true, it's grand parentage; the Change Bag remains, today,
if you are revolving the disc through the silk. Simultaneously, a seductively efficient píece of apparatus. It didn't appear in
che color appears working its way around the circumference. Hoffmann until Later Magic, the Professor mentioned that
At any time you can stop and show both sides of the CD. Finally it was a specialty of Harnley's, but gave no specific use for it
che discs close again; by holding your fingers over the slits, you except to note that it was handy to exchange iterns which could
can show che red dísc as you remove the silk. then secretly be taken backstage. Such tricks have faUen from
You'll notice, as you spin che disc, that when your fingers favor, bur not necessarily the Change Bag itself. Unfortunately,
cross the colored area you need to start moving your fingers it is asad anachronism-a goofy prop forever bound to magic's
in the opposite directíon: when you make it up this will all be Victorian pase. Perhaps in the lavish early 20th century shows,
clear. You'Il surprise yourself with the effect, whích rnakes a the audience could have excused a velvet bag on a handle to ...
wonderful visual illusion. ah ... collect billets or borrowed rings? Who knows?
Of course, you may wish to make the trick with real But didn't P & L do a heck of a job with them? All brass
cornpact discs. You can cut the slits (carefully) with a sharp and golcl braid and red velvet. And, of course, if you've ever
handled a Change Bag, you know the ternptatíon, twirling it
síngle-edge razor blade. Using a straight edge, make a number
gently between your fingers as the compartments switch from
of cuts, graclually working through the thickness of the plastic. one to another. There's just nothing like it.
Yo u can then snap the plastic open along the scored slit. The In this routine, from january 1998, I've ígnored Professor
hardest pare of using a CD is gecting a good paint which will Hoffmann's advice that the bag be a utility item; in my mínd,
stick to the plastic. I had better luck with adhesive vinyl from today a red velvet bag can only take center stage.
art supply stores. Overall, I found the compact discs to be a Every magician who is skilled in sleight o/ hand has to
little too stíff and springy to work perfectly. Try it first with make a choice: whether to use his skílls for entertainment
cardboard: if you feel advenrurous you can experiment with or whether to apply them for more lucratiue endeavors. As
the real thing. for me, the choice was a simple one. I'm an honest person.
Honest-for a magician, that is. But many o/ the secret
maneuvers that I might use to make a coin disappear or
find a playing cardare the same as the skílls used by master
criminals. Cheating, pickpoceeting ... they 're ali the same.
I thought I'd gtue you a líttle lesson in picepocketing to
demonstrate the technique. O/ course, this isfor educattonal
purposes only. I don 't want any o/you deuoting yourselves to
2)8 T t1 E C O N J V R 1 NO A N T t1 O LO O Y JIM .STEINMEYER
a life of crime. spectator,

A spectator from the audience is brought on stage, and this I'm going to slowly take the handkerchieffrom the bag.
person will serve as the victim for this demonstration. I need Watch closely. You 'llsee that the rubber band is still in place;
someone who is not easity distracted. Someone who has the bag is empty, but the money is gone. He takes the bag from
been trained to watch closely. A lady or gentleman steps up the spectator, tuming it inside out, and hands him the empty
to assist. We'll say it's a gentleman, and he's handed a packet handkerchief.
of folded bilis. I know you thought that you were watching ctosety, but
I won 't be using your money. Instead, I'll give you this obuiously you were distracted. I'll demonstrate again. This
bundle of bilis. I want you to do your best to protect that time, I'll try to sneak the money back into your possession.
money. We'll use sorne psychologícal barriers to guard it. That's much harder, and I suppose that's why so few
Por example, thís is my grandmother's lace handkerchief ptckpockets attempt to giue peopte money. I'll need a bit of
The magician pulls a small lace-edged handkerchief from his misdírection f or this, so I want to gtue you this.
pocket anda rubber band. I wantyou to take thatmoney, and The magician reaches into his pocket and shows a bundle of
cover it with her handeerchief. Good. Nowputa rubber band blank slips of paper, the same síze as bilis. These are wrapped
around the entire bundle... that's it. just snap the rubber in the handkerchíef, as before, and tucked inside the bag. The
band over the top so that the money is locked inside. Now, spectator holds the bag with both hands and keeps his eyes on
of course, it would take quite a crook to steal money from the contents.
an old lady's handkerchief I'ue a/so brought the collection Meanwhile, the magician shows the bundle of money.
bag from church. I'm goíng to tuck the handkerchief inside. Whatever you do, don 't be distracted by my movements.
Watch closely and don 't let it out of your sight. Inf act, you 're Remember, you have your eye on the blank paper. I haue the
here to keep your eyes on the handkerchiefat ali times. money. But only takes afraction of a second. With a flourish
ü
The magician tums the bag inside out and, reaching through the magician opens the bilis and finds that they've transformed
the fabric, pulls the handkerchief and money inside. The bag is into the blank paper. He shows the sheets of paper on both
held up so that everyone can see che contents, then handed sides. The money has disappeared.
to the spectator. Hold onto the handle wíth botñ hands and, Don 't take your eyes off the handkerchief I'll lift it out
whatever you do, don 't be distracted by what I haue to say. of the bag. Please open the handkerchíef and you 'llfind the
Keepyour eyes on the handkerchief money... right back where it belongs. The spectator opens
Now you might agree tñat this is the sort of challenge the handkerchief and finds the money inside. Remember, not
that most thieues wouldn 't even attempt. A bundle of money every pickpocket may be thoughtjul enough to return your
uirapped in grandma 's handkerchief, kept in the churcñ money. Luckyforyou, I'rn an honest magician.
collection bag, guarded by thís gentleman who refusesto In addition to a Change Bag you'll need two matching lace-
take his eyes off the money ... take a look at hirn! He 's seríous edged handkerchíefs and rwo rubber bands. As for the bilis,
about ít. He's convínced that J'll never get ít. But of course, they've been prepared according to Fred Kaps' wonderful
once someone watches that ctosety, he'll natural/y becorne bill-printing routine which he featured in his lecture notes for
blind to other things that happen around him. years. Start with four crtsp new bilis. Five dollar bills are fine,
The magician pues his hands in his pockets and circles che or if you'd like, you can use stage money. Fold them slightly
spectator as he peers ínto che bag. He takes several steps away, off-center, so that there is a í-ínch edge on one side of the bills
then removes the bundle of bilis from hís pocket. He shows (Figure 1).
the bilis, replaces them in his pocket, then steps over to the Take four píeces of opaque whíte paper. (White enarneled
TME CONJVRING ANTNOLOGY JIM STEINMEYER
paper is good.) These are cut the turn blank (Figure 5). By placing
l. same size as the bills and folded in che bundle in your right hand the
exactly the same way. bilis are concealed and che blank
One bili and one blank sheets can be casually shown. 4.
sheet are glued together with For this routine you'll also
rubber cement along the large need rnatching sets of blank
dimension. The result is a zigzag- sheets and bilis; that is, four bilis,
shaped piece of paper which otherwise unprepared that have
puts the open edges at opposite been folded che same way and
ends (Figure 2). Inside of the four sheets of blank paper folded
blank sheet, place the three identically. 5.
2. additional blank pieces of paper. In preparing che props, the
Inside the folded bíll, place the matching handkerchíef, empty
other three bilis. Now this fake is with a rubber band around it, is
ready to use. placed in one side of the Change
Here's how it's handled. You Bag. ln your pants pocket is
can start with one of the unfaked the faked set of bilis; in another
bilis on the outside of the bundle pocket is the blank packet. The
(that is, on the outsíde of the fake unprepared bilis are on a table
bíll), so that you can casually with the other props.
3.
show ali sides of the bundle in Begin the routine by getting
your hands. Spread the bilis in che spectator on stage and 6.
your hands, transferring the one handing him the packet of
bíll from the back to che front so unfaked bilis. Have him wrap
that the blank bundle lies on the them in che handkerchief and
back, against your right hand. As place the rubber band around
you show the bilis, you may turn it to form a sort of "sachet."
them in the left hand, showing You can supervise chis so that
both sides. Finally, square che it matches the other bundle
bilis in your right hand and close (Figure 6). Show the Change
the bundle by folding the top Bag by turning it inside-out,
edges towards your body (Figure then reach through the fabric
3). of che bag with your left hand
With your left fingers, grasp to pinch the handkerchief and
the bundle at the outer edge, bilis. With your right hand take
opposite your body (Figure 4). the handle of the Change Bag
Flip the bilis open as you turn and pul! it right-side-out around
them over in your left hand. lt
your left hand; this openly pulls
appears as if the bilis suddenly the handkerchief ínsíde the bag
THE CONJVRINC A:NTHOLOCY J 1 M S TE 1 N M E Y E R 213
(Figure 7). In chis position, che bag is still held up so that the
spectators can see its contents. Continue pinching che bortom
of the bag with the left fi ngers. As the bag is pivoted down, to
38. Tt1E Tt1ESPIAN CARD
a horizontal position, the left hand rotares the bag, changing
che contents, as the right hand holds the handle (Figure 8).
Notice that che handle is not turned, the bag is turned around
B y 1909, when T. Nelson Downs described his version ofThe
General Card in hís amazing book, The Arto/ Magic, íc was
an old tríck. He cíted the basic routíne from severa! sources,
the handle. The handkerchief is out of síght only as the bag is including Robert-Houdín's Secrets o/ Conjuring and Magic.
turned horizontally; as you give it to the spectator the corners (There it appears as «To AUow Severa! Persons each to Draw
of che duplica te handkerchief can be seen.
a Card ... To Make Another Card Drawn Haphazard Change
Instruct him how to hold the bag using the handle. Have
Successively into Each ofThose First Chosen." Indeed.)
him place one hand on the handle, then place the second hand
Each description seems a liberal translation of this
atop the first one to hold tightly. In this position his hands are
safe and he cannot turn the handle (Figure 9). Hofzinser-like plot, showcasing the emphasis of the individual
As he watches the corners of the handkerchief inside, you performer. Downs' own versión is the most radical, suggesting
reach into your pocket revealing the bilis (actually che Kaps identical cards by making ita ppear as if the en tire deck changes
fake bilis). Step over lo the spectator and openly reach into the to duplicates ofthe same card.
bag, taking out the handkerchief, As you hand che handkerchíef Invariably the effect called for sorne refined and perfectly
to him to open, cake che bag, turning ic inside-out again. executed sleights. Downs insisted on "a high degree of
Similarly have che blank sheets wrapped in the handkerchief manipulative abiliry, buttressed by unflinching nerve and
and use che bag to switch the contents. Show che fake bilis audacity." (This is an ínteresting paralJel with Hoffmann's
becween your hands and transform them into the blanks. Step own phrase for the Cards Up the Sleeve from the 1890 More
over to che spectaror and remove the handkerchief. As he takes Magic, "dexterous card palming supplemented by unflinching
the bundle in his hands to open ic, take che Change Bag frorn audacity on the pare of the performer" and Erdnases famous
him, turn it ínsíde-out and place it aside. This ends with the bilis 1902 description of the same trick which I've previously
in his hands and the focus on the wrapped handkerchief. quoted: "masterly feats of palming and unfl inching audacity. ")
This new version, from MAGIC in February 1998, takes
its name from the patter theme and utilizes a number of
mechanical conceits to accomplish the effect: it is a sort of
trick deck to present The General Card. Bue do not make the
místake ofthinking ic is automatic. Even this version requires a
9.
consistently skillful touch. And, of course, audacity is never out
of place in a magic show.
Picking up a deck the magician addresses his audience-
this is of necessity a parlor-sized effect in which che performer
walks around a small audience of spectators. lf you work with
cards as muchas J have, it's natural that you start thinking
o/ the cards as indtuiduals, aspersonaltties. In fact, theyform
erdnasemagicstore.com a sort o/ cast of characters, the repertory company f or my

~4~~~~~T~N_E_C~O_N_J_v_n
__
lN_G~A~N_T_N_O_L_O~º-y~~ JIM STEINMEYER
~~~~~~~~~~~~~~~~~~~~~~21i
magic. Like any actors, sorne are more talented than others. My three protean actors will now attempt to interpret
But, like any producer, l know that they ali haue egos-so I the parts. All you need to do is think of the cards that you 've
hesitate singling out any star for spectat praise. Instead, l'd selected. They will become the characters and impress you
like to use three of the most skiliful character men-protean with theír actíng ability. That's because they're Stanislavskí
actors, as they like to be called. These fellows are masters at trained. Let me introduce them.
'becorning the part.' They can imitate the other cards right The magicían removes the three cards from the glass,
down to subtle tou ches. I won 't show you the cards right now; then carefully fans them face down, stepping over to the first
J'lljust put them aside so that we can use them la ter. spectator. l'll hold these three cards before you, andas Ido,
Suiting the action to words, the magician removes the ptease answer me honestly, do you see your selected cara in
cards from the case, fans through them looking at the faces, my hand?The spectator answers no. Well, of course not. That's
and withdraws three cards, placing thern, back outwards, into because you picked one of the cards from the remainder of
a clear glass on the table. Now he advances with the rest of the the deck. Similarly he steps to the other rwo spectators, asking
deck. each to confirm that chey do not see their selected cards.
The rest of the cast is auailable for your selection. But The magician squares the cards in his hands. But one by
in order to make this more interesting, I won 't be f anning one, each card assumes the part. It is as convincing as Henry
the cards f ace up. That way we can ali see the cards selected. Iruing or john Barrymore, Al Pacino or Syluester Stallone.
Instead, I'll turn them f ace down, like this. I'd like a few Actual/y, I think yoú 'll find that it's euen more convincing
people to touch a card and draw it out. Hold it face doum than Syluester Stallone. Take a look again. One by one ... do
on your hand so that absolutely no one can see the identity. you see the card that yoú 're thínking oj? The fan is held in
That's uery important. As he says this, the magician spreads che front of the first spectator, who agrees that his card is there.
cards face up, then squares them and turns the deck face down. You do see your card? That is, you think you see your card. In
Three people select cards by sliding them onto their hands. f act, you are mereiy decetued by our dramatis personae-our
Now most magtcians perform card tricks by asking you talented company of players. One by one, they assume the
to pice a card, then seeing if they can name it. I'll do no such roles. Stepping to each spectator, they confinn that they see
thing. In f act, I'ue rehearsed a uery special play for these theircard.
characters. I'd like the three ofyou to each peek at the cards He turns the fan towards himself. But, of course, ü's not
on your hand. Do it carefully so that you are the only one real/y magíc, ü'sjust great acting. Take another look at these
who actual/y sees the name of the card. Haueyou done that? three cards. Now when you look closeiy, you 'll see that not
Good. I'm going to ask each of you to remember the card that a single one of them resembles the card you selected. This is
you 've selected, but never tell me the name of the card. Infact, confirmed by each of the spectators.
neuer tell anyone the name of the card. That'syour secret. Ali /'ll try that again, but this time I'll ask one particular
I'll ask is uihether I'm correctwhen I hold up one of the actors .. actor to see if he can take on all three parts. A regular tour
.. Yo u 'll understand as theplay proceeds. First, I'd like to haue de force. Watch closely. He selects one card from the fan,
you each return the cards to the deck, so there's no chance of holding it face down on his hand. As he places the other rwo
anyone elsefinding out the cards you 're thinking of cards down, he flashes the faces of them so that che audience
The deck is spread and the three cards are carefully can see that they are ordinary playing cards. Now, one-by-one,
returned, The deck is returned to the case. che magician approaches the spectators. Please tell me, is this
246 T t1 E C O N J V R 1 N O A N T t1 O LO O Y JIM STEINMEYER
your card? /t is?And is thts your card? Youfeelthat it is? Very but a Bicycle back (easier to get a
good. And now /'ll ask him to take on the last role. Is this your force deck) works fine.
card? All three spectators affirm that the magícían is holding As you've gathered, the
theír card. half-card is a duplicate Three of
The rnagician tums the single card in his hand so that he Spades. It is applied to the Four of
can see the face of it. But of course, there is a moment when Hearts. Start with the flap against
the great actor steps back out of the spotlight, removes his the face, showing the three, and
greasepaint, and sheds hís character like an old set of clothes place this card somewhere in the
... one moment the star... the next a mere traveling player. deck. Place the cards in theír case
The magician tums the card over and holds it high in the aír, and you 're ready to begin.
so that everyone can see its face. Tell me, did any ofyou select According to the above
the Four of Hearts? No? Nota single one of you? Stanislavski routine, fan the deck towards
would haue been proud. you, withdrawing three cards.
The especially peculiar part of this routine is how it is not You take the fake card and place
visual ar all! In fact, it could virtually be performed over the it in the glass with the half-card
radio, as it is all about the confirmations of the three spectators, at the top, then rwo unprepared
it takes place in their eyes and in the minds of everyone else. A cards. (Avoid cards whích can be
necessity is having a group of a size that the three spectators mistaken for the Three of Spades;
can be separated and be allowed to glimpse each card for clarity pick a red spot card and
independently and privately. As you'll see, this isn't quite as a court card.) These are placed in
hard or quite as critica! as it may first seem. the glass against the face of the
The deck is prepared as a force deck, with about 30 faked card.
duplicates on the top of the deck and 22 random cards on the Now step forward spreading
face. The duplícates, for our example, are the Three of Spades. the face-up deck, casually
You'll also need one faked card. This is something that showing a group of cards. Tum
1 used years ago as a changing card. I experimented with all the deck over and step from one
sorts of half-card combinations including a pretty sequence spectator to the other. You need
wíth a loose half-card to creare a color change. Here the fake is to have one of the top 30 cards
J.
much more dírect: the half-card is hinged with a narrow strip of selected. This isn't difficult if
Scotch tape so that it can flip back against the back of the card you spread the cards slowly and
(Figure 1). 1 suggest using the aptly named Magic tape, which deliberately from the top. Ask
nearly disappears agaínst a card, and cutting it slightly narrower each spectator not to look at the
than usual, about 3/8 of an inch wide. Apply the tape agaínst card, just to slide it face down on
the back ofthe half-card, and the face ofthe Four. Leave plenty hishand.
of play in the hinge allowing the half-card to pivot freely. Have the spectators peek at
You'll see that, with the half-card against the back, it their cards and replace them in
virtually disappears. A Bee back card is especially good for this, the deck. Set the deck aside and
TNE CONJVRING /ltNTNOLOGY JIM .STEINMEYER
turn your attention to the three the right palm. With your left
cards in the glass. As you pick fingers, hinge up the card so 5.
them up you can spread them that íts back is to the audience
into a fan so that the Jase card (Figure 5). The left hand grasps
shows only the upper index. the card ar the hinge, squeezing
Notice that when you make this the rwo pieces together as you
first fan, the fake is at the bottom, lift it away from the right hand
concealed, that is. The fake card (Figure 6). The result is that the
shows the Four of Hearts. half-card is hinged agaínst the
Display thís fan to the three back of the card and the Four of
spectators. As you close the fan Hearts is now visible. This card
rotate it with your fingertip, can be quite freely shown. The
3.
turning it end for end (Figure fake must be handled lightly and 6
2). Now, the second time the che final change made without
fan is spread, the fake will be hurry. Experiment will showyou
at the opposite end and the how nicely this hinged card can
spectators will see their cards, be used and displayed.
Three of Spades (Figure 3). Don't make the mistake of
4. Similarly square and reverse the revealing that each spectator
fan, and the chosen cards seem selected che same card: chis
to disappear. routine is arranged in a way that
Place the two unfaked cards such a revelation is a serious
aside. Position the faked card error. The effect is abouc
facedown on your right pairo, suggestion and impression: che
with the half-cardawayfrom your more it seems to be an optical
body. Approach each spectator, illusion or mirage arranged for
lifting the card slightly to show íts the three spectators, the better.
face. The palm covers the bottom
half of the card (Figure 4).
As you turn the card over
to look at its face, the hinged
half-card is moved. Slide the
card down against the center
of your palm as you tilt up the
right hand, so that the back of
the card faces your body. Now
the half-card is concealed by
TnE CONJVRING ANTnOLOGY JIM STEINMEYER
of instructions is handed to her. In a small audience, she can

).9· ANY IDIOT' S SILK TRICK remain in her seat: otherwise she is brought to the front of the
stage so that she can read into the microphone. He tells her to
C harles Waller is credited with developíng the notion of

Perverse Magic, a really clever construction for a routine.
The idea is that the magic doesn't work. It goes wrong. But
read the first line.
She does: "The Cut and Restored Handkerchief Trick."
The magician stops her. Okay, so far so good. Ladies and
the subtext is that the magician is dealing wíth "real magic" gentlemen, with greatpleasure l present the Cut and Restored
ínstead of "tricks." So when Perverse Magic mísfíres, there are Handkerchief Trick. He bows, then urges the volunteer to
unexpected magical results. continue with the instructions.
Here's an example. A traditional comedy magician may try She reads: "You are the proud owner of a wonderful magic
to make a handkerchief disappear, He taps it with the wand. It trick. This trick can be performed without any skill, or talent
doesn't disappear. He's confused, then suddenly frustrated as of any kind. In fact, the trick is completely foolproof. A fíve-
he notices that it was the wand that disappeared by místakel year-old who can use a pair of scissors can appear to be a great
He's playing with real magic-but he hasn't mastered it. magician .... "
The idea is an appealing one, and has suggested sorne The magician stops her there. (As she's been reading, his
great presentations. (Take a look at Henning Nelms' effects in expression has slowly been changing to disappointment.)
Magic and Showmanship.) This cut and restored silk routine That'sjust the tntroduction. You don 't have toread that. You
is an especially perverse form of perverse magic, because it can skip all that and go on to the next part.
starts with the assurnption that the magic is a trick, then offers She resumes: "You have been supplied with a trick
a surprise at the conclusion. 1 presented it originally in a 1989 handkerchief, which cannot be cut in half. We cannot tell you
lecture, The Vicissüude of Black Confetti, then published it in the secret."
MAG/CinApriJ 1998. He stops her, reaches in the box and removes a silk
The magician explains that he would like to present a handkerchief, examining it slightly before tucking it into his
new trick, but he is at a slight dísadvantage. I really shouldn 't pocket. He tells her to continue.
be trying this. I just bought ít. It's the latest mirac/e and I "To perform this trick, use a square of paper to wrap the
thought you might like to see it. Unfortunately,I was a little handkerchief."
rushed getting ready f or the show and didn 't have a chance He stops her, picks up a square of paper and rolls it in a
to rehearse it. So, I thought that if one of you would help me flattened tube around the silk.
get through the instructions... well, you could help me learn She reads: "Once in the paper. yo u can cut the handkerchief
it and you 'd ali have the thrill of being in the audienceformy perfectly in half with a scissors. The paperwill be cut to pieces,
premiereperformance. but the handkerchief will not be harmed."
He reaches into a little box, pulling out a sheet of Again, he has the volunteer stop. He folds the paper tube in
instructions. Are one of you good with directions? l thought half, then reaches down and removes a large scissors from the
you could read the instructions and take me througb the box (Figure 1). The rube is snipped several times, cutting bits of
trice? With a little coercion, a spectator is found. Good. the paper away so the handkerchief is surely cut into pieces.
You're probably the sort of person who actually reads the
She continues: "Hold the pieces close together and remove
directions. I want you to make sure Ido this right. The sheet the handkerchief. Remember to perform this gracefully."
TNE CONJVRING ANTHOLOOY JIM STEINMEYER
---
He signals for her to stop paper tube has been restored.
reading, then contemplares He unfolds the paper, showing a 2.
"gracefully" before making a single, unharmed sheet.
spectacular flourish with the The assistant is thanked, the
scissors-a definite magícal instructions are taken back and
gesture. He carefully arranges the magician takes a genuine bow
the halves of paper tube in his at the conclusion of the effect.
han d. He pauses dramatícally, The secrec is very simple,
very proud of himself, then ír's a prepared píece of paper
slowly pulls on the ends of the which can neatly be cut in half,
handkerchief ... only to find that but always ends up restored. 3.
ít has been neatly and cornpletely Accually, the trickiest part of che
cut in halves! lt didn't work. Keep routine is giving the impression
reading, he tells the assistant. that the handkerchief has been
So she reads: "The audience cut.
will applaud wildly. Be sure to So ler's start there. Use a 15 or
bow to everyone as you receive 18-inch silk of a dark solid color.
' ----"1I 4.
your cheers and .... " Cut it in half diagonally, chen
Yeah, yeah, yoú can seal the edges with one of the
setp that part, che magician commercial produces designed
ínterrupts. Is there anything e/se to stop fraying. (lt's a little like a
in the instructions? weak super glue which hardens
J. "Any idiot can perform this the edges of the fabric.) Lay the
trick," she concludes. rwo pieces so that the centers
Tñat's not tohat I toas overlap slightly (Figure 2). Then
looking /or. he says. l thought 5.
there may be sorne sort of
roll the handkerchief diagonally.
RoU it rather tightly, and the
( ~
troubteshooting instructions. pieces tend to stay together if

I can 't figure out what went you handle it carefully (Figure 3).
wrong, he says, dropping the This is placed in the box on your
píeces of handkerchief on the table, along with a scissors.
6
table. He turns his attentíon The instruction sheet should
back ro the paper tube, stíll be prepared with níce, large,
in his hand. After ali, it's the clear lettering. As for the paper
handkerchief that's supposed to tube, you needn't get especially
do the trick... not the papert He heavy paper, but it's helpful to
opens his hand showing that the get sheets of a rich, bright color.
Tt1E CONJVRING A:NTt10LOGY JIM .STEINMEYER
255
If you buy a ream of 8 1/2 by 11 on that old trick with the soda straw and the string.
7. inch paper, you'll have enough It should all be clear now, but there are a few níceties yet
to do thís trick for the rest of your to explain. Hold the handkerchief carefully and it should stay
life. together as you roll it into the paper. Folding the paper brings
Take one sheet and fold it the faked tube into view. You can now safely cut away the
ínto quarters, forming a flat rube center section of the paper loop, cutting only through the extra
--··· measuring approximately 11 by tube (Figure 8).
2-1/8 inches (Figures 4 and 5). As you unfold the paper in your hands, it helps to splay the
Cut down another sheet of pieces slightly, suggesting that they're out of alignment, then
matching paper to form a sheet straighten them out within your hand (Figure 9). Remember,
8 by 8-11.2 inches. Fold thís, the audience should have the ímpression that the paper has
similarly, into quarters to forma been cut, but you're now holding che píeces together again to
tube 8 by 2-1/8 inches. withdraw the handkerchief.
8. Then fold each of these tubes By tugging slightly on one protruding comer of the
in halves. Usíng rubber cement, handkerchíef, then the other, you can separate the píeces of
glue the long tube on the back of handkerchiefwithin the paper. You'll feel them give way. Pull
the smaller one (Figure 6). This is one piece out, revealing that the handkerchief has been cut.
the basic secret. When you open Then withdraw the other half. Continue to hold the paper
the smaller piece of paper, the within your hand.
long tube is concealed against By opening your hand as you turn the tube, you can show
the second panel (Figure 7). the clean, "restored" panel of the paper. Quickly unfold it,
(You may wish to puta couple showing how it is still in one piece, then crumple the paperas
spots of cement within the long you thank the assistant.
tube to keep it shut. Once you The rest, of course, is guiding the assistant through the
understand the idea, you can instructions and registering your reactions and movements.
adjust the tubes slightly to give The perversion of the situation is made all the more surprísing
the best effect.) because the ínstructions seem so simple and demeaning. It
9. The extra center of the sheet would be a neat trick if the handkerchief were not cut, but it is
folds back against the tube. impossible to cut the handkerchief without cutting the paper!
You'll notice that the effect is
autornatic. The tube is folded
flat, then folded in halves. As this
happens, the outer tube pops
up into view. In the process, che
tube seems to lengthen a bit, but
this is hard to notice as you fold
the cube. The trick is a varíatíon
TNE CONJVRING ANTNOLOGY JIM STEINMEYER
~~~~~~~-25_,,_._7
it into the glass, gradually filling it
40. Tl1E RETVRN with the squares of red tissue
(Figure 1).
J.
Of Tl1E CENTVRY Magtcians naturallyput this

stuff on a pedestal, because it
A_ s this e.ffect was first published in May 1988, justa couple makes our job so much easier.
~of years before the start of the 21st century, it seemed But here are some technical
the perfect opportunity to look back on a really fine piece detaüs to using it. Por example,
of conjuring called the 20th Century Silk Trick-the silk that this is red magic dust. l don 't call
vanishes and reappears tíed between rwo other silks. It's a üred beca use of the color... l call
classic plot, roughly 100 years old, which has been celebrated it red because it only works on
in rnany variations. There's an entire chapter devoted to it red objects. If I wanted to matee
in Rice's Encyclopedia of Silk Magic and severa! versions in an egg disappear, I'd need white
Tarbell. Years ago I interpolated it into a show, having it rnade magtc dust. Por a lemon I'd use
in the standard mechanical set, with 36-inch silk. In that form, yeüoui magic dust. But tonight,
it was a reaUy wonderful, flashy trick. When the silks were I'll confine my demonstrations
stretched out between two performers, it provided the perfect to red. You 'Il get the idea.
"ta-dah." He holds the glass and the
On a different scale, I also worked on a sort of backwards pedestal aloft, then replaces them
version. This used severa! traditional pieces of appararus, the to one side on the table. Reaching
Silk Cabby and Handkerchief Pedestal. That's the routine I'm in his pocket, he rernoves three ---.._..__~
going to describe here, because it has several oice phases, srnaU silks: a red one, a blue one,
sorne pleasant surprises, and a very pretty and unexpected and a green one. These are tied
finish. Don't be daunted by the apparatus. These pieces of together in a chain, with the red
paraphernalia are perfectly suited to the sequence, but 1'11 also one at one end.
describe sorne variations usíng props which rnay be on your A realty fine magic dust is
shelf. guaranteed to only influence
This, the magician says, reaching into a jacket pocket, is red objectsaccoraing to the speü
magic dust. He shows a pinch of oversized red tissue paper cast. These three hanaeerchiefs
confettí, launching it into the air with a toss. Oh, I know will be my subjects. In
what you 're thínking. It's just tissue confetti. But tñat'sjust particular, you should keep an
to foolyou. It looks like confetti. /t acts like confetti. But it's eye on the red one at one end.
actually rnagic dust ... the sort of thing you sprinkle over Picking up a small wooden
things to make other things happen. Cause and effect. Be/ore box, the rnagician opens the
and after. Here and there. The secret pouiers of the universe, doors to show that it's empty
masquerading as tíssue confetti. (Figure 2). The doors are closed
He picks up a glass and places it atop a raised pedestal on and the string of silks is openly
the table. Slowly, he takes confetti frorn his pocket and dribbles
~8 TNE CONJVRING A:NTHOLOGY JIM .STEINMEYER
pushed into the box through in volved at ali. You coutd accompltsñ the same thingwithout
a hole in one end. The red silk magtc dust, by just turning the box end for end! Of course, 1
is che last to be pushed inside wouldn 't stoop so low.
(Figure 3). He slowly pushes the silks ínto the box again, the red silk
By picking up justa little bit beíng the last to enter the box. He takes a pínch of confetti.
of the magic dust, che rnagícían This time, I'lljust sprtnhle a bit of magic dust ouer the
says, reaching over to take a center of the box. That has the effect of the red handkercnief
pinch, l can actual/y tnfluence jumping betuieen the other two and ending up tted in the
the red handkerchief He makes middle.... He pulls the handkerchiefs out and shows that
an artfully surreptítíous move, che red handkerchief is now tied between the green and blue
twistlng the box end for end in (Figure 4). l'll betyou thought I couldn 't do that!
his hands (and curning the red Again, the string of silks is rucked into the box. Bue this
handkerchief to the opposite end time, the magician pulls the tips of che green and blue silks from
of the box). lt is deftly done, but either end of the box, keeping them in plain sight. This time l'll
rnost spectators will catch it. show you the hardest maneuuer of ali. He takes a pinch of red
5. He sprinkJes the dust towards confetti from che glass, then tosses it over his shoulder. Euen
one end of the box. By sprineting thougb you 've been tuatching the handherchiefs carefully,
the red dust at this end, you'ü the red one manages to escape. He pulls out the string of silks
be surprised to see that the and opens che box to show it empty. However, now there are
red handkerchief performs a only rwo silk handkerchiefs tied together, che green and blue.
somersault inside the little box. The red one has disappeared.
Even thougn it was pushea The secret, of course, is in the red magic dust. Cause and
in from this end. . . tt ends up effect.Be/oreand after. Here and there. You don 't belteve me?
over at this ena. He draws out He deftJy reaches into the glass with his fi ngerti ps, pulling a red
the string of silks, making most silk from within the confetti. Amazingly, the red silk seerns to
of che illusion that the red silk have materialized from the bits of confetti itself. As it is pulled
has jumped from one end of che from che glass, it provides a pretry effect as pieces of red
chaín to the other. This will, confetti flutter from it. The silk is rucked into the magician's
hopefully, genera te a smile from pocket as he takes a bow.
the audience. Before che reactíon The little wooden box is a Silk Cabby. 1 used ro use one
escalares, che magician quickly made by Abbort's. If you're not familiar with this trick (it's
continues. still available today, and is manufactured by several dealers),
Of course, that may be a it's a very usefuJ píece of apparatus with silks. Two doors,
good trick, but it's a waste of on the front and back, can be opened to show the interior
good magic dust. Because, I'ue empty. The sides have holes, which allow you to poke the silks
f ound, some people may not inside. The secret involves a sliding or pivoting load chamber
think that there toas any magic (depending on the manufaccurer), at the bottom (Figure 5).
TNE CONJVRING A:NTNOLOGY JIM STEINMEYER
The hand supporting the box can, with a fingertip, raise the and rernains invisible.
load chamber to the level of the holes. Turning your attention to the 6
Incídenrally, several years ago 1 used a Silk Cabby in a silks, tie the three together with
play which included a brief Victorian magíc show. 1 painted che red silk at one end. As you do
the outside of the box black, and the inside of the box whíte this, upset the knot holding the
(including the inside of the doors). It had a great effect on the redsilk.Thisisusedinanumberof
prop, makíng it look small when it was closed and large when it tricks like the Sympathetic Silks,
was opened. Even better, it made itvery, very clearto everyone and you can find a description of
the move in Volume 3 of Rice's
when the box was closed, or opened and empty! This worked
well even in a large theater. AlI too often magicians paint the EncyclopediaorVolume 1 ofthe
ínsíde of boxes black by force of ha bit, but the effect of using a Tarbell Course. There are lots of
color there is very effective. trick knots, but it is important to
The Handkerchíef Pedestal is an old píece of apparatus and use an upset knot here, as the
used originally for che silk and egg transposition. The glass used knot must remain tight until it is
is a bottomless glass. The pedestal has a plunger anda small slot pulled apart (Figure 7).
and lug on one side so that you can eject a folded silk into the The string of silks is pushed
bortom of che glass (Figure 6). inside the cabby. For this phase,
Use 12 or 15-inch sílks: three red, two blue, and two green. you do not use the load charnber:
Push one red silk ínto the Silk Pedestal. Tie together a string of the silks really go inside the
silks with the red one in che center and push it into one end of main chamber of che cabby. The
the load container in the Silk Cabby. business of the silk supposedly
Finally, the confettí. 1 think this should properly be called jumping from one end to the
"Bongo Confetti," as 1 first heard che suggestion of oversized other is merely a joke. The
tissue confetti from Ali Bongo. Use red tissue paper of a color cabby is turned end-for-end as
matching the silk. Cut it ínto squares roughly 3/4- or I-ínch you concem yourself with the
square. (A paper cutter or photo trimmer is handy for this.) confetti.
This confetti "bulks" nicely, flutters gracefully, and perfectly The second tilne the silks
conceals the silk in the glass, as you'U see. are pushed ínsíde, the green
Following the above rourine, show the glass and place and blue silks enter the main
it atop the pedestal, concealing the fact that the glass is chamber. When the tip of the red
bottornless. Sprinkle the confetti ínto che glass. The confetti is silk reaches the hole, you push
tluffy and it takes relatively little ofit to fill the glass. As you pick up on the load chamber, raisíng
up the pedestal and hold it up to display the confetti, place your it. The knot is pulled apart and
hand flat on the top of the glass, as if holding che glass steady. che red silk is pushed inside the
Setting the glass down on the table again, push the plunger. This load chamber. l've found that,
ejects the silk into the bottom of the glass. As you are holding with the hole towards your
the confetti in, the silk naturally compresses the confetti ínsíde body, there is plenty of cover for
TME CONJVRING A:NTMOLOGY JIM .STEINMEYER
the move. However, you may wish to separare the knot as you
gather the silks in your hand, before you start to push them into 4i. Tl1REE PROBLEM.S
theCabby.
The above maneuver cleverly loads the main chamber with IN PROGNO.STICATION
the green and blue silk, which are now ready for the Reverse Tt1E PSYCt1-WRITER, EXPECTING A.
20th Century effect. COINCIDENCE &-- Tt1E BA:LLOON RACK
Keeping the load chamber in the up position, you pull
out the string of silks from the opposite end. The red silk now
seems to have jumped to the center. (Keep the Cabby closed; at E ach of these three mental effects, from the )une 1998
issue of MAGIC, was developed to be uniquely visual. I say
this point you cannot show it ernpty.) "uniquely visual," because this is often the quality lacking in
For the final phase, push the string of three silks into the rnentalism, which is carefully constructed to avoid any sort of
hole in the side. They actually enter the load chamber. As production value: "I have between my fingertips a prediction,
soon as ali three silks have entered the Cabby, lower the load a torn comer of my business card which has been folded ínto
chamber and pull out the tips of the green and blue silks. lt sixths." Even the first effect usíng justa pad anda pencil, which
appears as if the silks have always been in sight. may seem austere, will be seen to be an enlarged, easier to
Open the sides of the Cabby and puU out the silks, showing operate, and easíer-to-see version of a more tradicional mental
that the green is tied to the blue and the red silk has disappeared. technique. That will be its appeal to many. I'U start with that
Delicately reach into the gJass, showing the red silk within the one, then move on from there.
confetti. THE PSYCH-WRITER: Many of you will use this as a
The Silk Cabby is perfectly suited to this routine, and the principie, and apply it to other mental effects. The easiest
nature of the Load container works well with the sequence way to describe it is to offer a routine. The mentalist picks up
of moves. But with a little work, you can substitute a Change a spiral bound pad of paper and a black pencil. I'm curious if I
Bag in place of the Silk Cabby, or many similar utility props could pick up the uibrations of some peopte in the audience.
made for silks. With small silks, eveo the old wooden japanese Sometimes l can make a clearer connection than others. I'rn
Hank Box (with the load in the side wall) can be used. The Silk going to try my best to see if I can connect, on some leuel, with
Pedestal can be replaced by a Mirror Glass, which gíves almost one or two of you. He selects a likely subject seated severa!
as good an effect. rows back and receíves assurance that nothing had been
arranged beforehand. I'd líke you to form a mental picture,
but I'rn sure that /'ll need to limit your responses so I haue
a reasonable target. Think of two letters. Make them the
initials of someone, if you would. Any person. ]ust the two
inuials. The mentalist opens the pad, wrítes rwo letters on it,
then closes the pad and tears away the top sheet, sliding it face
down onto the stage.
Now that I'ue comrnitted myself, please tell me what
letters you were utsualizing. He says, for example, A.N .. The
mentalist smiles broadly. Perfectt Be/ore we go any further let
me try a second experiment, right away! He opens the pad
261 TME CONJVIUNG A:NTMOLOGY JIM .STEINMEYER
and holds the pencil poísed. Think of a two dtgit number. line down the center of each
Make them odd digits, to forma number between J and J OO. sheet) rneasures 6 by 9 inches.
He seems to have a bit of difficulry picking up the vibrations, Cut away the heavy paper cover,
and asks the spectator if he's managed to concentrate on the leaving a l-ínch strip at the top
number. The spectator says that he has. The mentalist tries (that is, a I-ínch strip through the
again, writing down a two digit number, shaking his head with spiral bindings). You're going
sorne doubt, and slidíng it face down atop the previous píece to cement the new cover to this
ofpaper. strip.
When asked the spectator discloses his number. Let's say For the purposes of the
that it's 37. The mentalist smiles, bur explains that it seems routine, the cover needs to be
to be getting tougher. He suggests using another subject, and thin, strong paper. 1 suggest
moves to a different spectator. using glazed wrapping paper
Let's try one last experiment. Would you, Miss, please which is, of course, available
visualize a clock f ace in your mind. Imagine the hands in any number of colors and
sptnntng randomly, as ijyou were setting the clock. Suddenty, patterns. Using rubber cement,
the hands stop mouing ata particular time. Concentrate on attach a piece about 6 by 9 ínches l.
that time, and let me see if I can uisualize it. He opens the pad to the top strip. Then trim the
and quickly writes a prediction. He closes the pad and asks bottom of it so that the cover is
her the time she's imagining. She says, for exarnple, "5:05." short and shows the top sheet of
The mentalist smiles, placing down the pad in a prominent paper beneath it. Make a cover
position. I'll leave that right here and save thatfor the end ... measuring 7-1/2 ínches. so that
you did a toonderful job, incidentally, he tells the spectator. about an inch and a half of white
Moving back to the papers on the stage, he lifts them, paper shows at the bottorn edge
showing the initíals A.N. and the number 37. I uiasn't sure (Figure 1).
about the number. I have a feeling that you didn 't settle Now for the inside of the pad.
directly on a number, but changed your mind. Cut away the top sheet, as you
He rerurns to che pad, turning it towards the audience did with the cover, leaving about
and pulling away the top sheet from beneath the cover. The a í-ínch strip at the top of the
audience sees the time 5:05 clearly visible. I appreciate your spiral bíndíngs. You may wish to
concentration ... 5:05 is also where I imagined the hands reinforce thís strip with several
stopping. .. not 5:04 or 5:06 ... so I suppose it was something, pieces of horizontal cellophane
or someone, who made the hands stop perfectly at 5:05. tape, so that it doesn't get ragged.
The pad is constructed from a spiral bound stenographic Attached to this strip is a píece
pad. You may wish to experiment with other pads of paper, and of black pencil carbon paper
it is certainly possible to use a fuU-sized 8-1/2 by 11 inch pad, (pencil carbon means that ít's
but I'd suggest starting with che slightly smaller stenographic made for pencil impressions, not
pad. This pad (which has light horizontal lines and a vertical typewriters), as in Figure 2. The
Tt1E CONJVRING ANTNOLOGY JIM STEINMEYER 267
piece should measure about 3-1/4 inches by 6 inches. Tape the opening the pad and holding its
top edge (carbon-side down!) to the top strip. This allows the surface towards you, to conceal
píece of carbon paper to líe atop the top sheet of the pad. the piece of carbon paper. Using
I've deliberately delayed using the magic words, "nail the pencil and the open area
writing, '' until this poínt, hoping not to discourage too many to the left of the carbon paper,
readers. In fact, the real key to this pad is that it allows you to do write the number 3 7 on the top
very effective nail writing, usíng just the edge of your thumb at sheet of paper. Close the pad,
the nail. There are no other gimmicks involved. The pressure pull out this sheet, concealing the
of your thumb on the cover provides the writing! Because of writing, and slide it face-down on
thís, the piece of carbon paper should be attached toward the the stage. Ask the spectator for
right side of the pad if you're right-handed (thís is shown in the initials. Here you hear that he
the drawings), or toward the left side of the pad if you're left- was concentrating on "A.N. ''
handed. Open the pad again, writing
One final piece of appararus, and ít's an ímportant one. A.N. on the open area to the left
You'll need a soft black charcoal (carbon) drawing pencil. of the carbon. Similarly close the
These are available at art stores. They are used for charcoal pad, remove this sheet and slide
sketches, and look like slightly oversized pencils. Sharpen the it face down atop the previous
tip, then work it down for each performance, so that it's blunt. sheet. Ask the number. This
The lead is soft and crumbles easily. The charcoal pencil gives is, of course, a psychological
an accurate approximation of the carbon paper impression. force. According to the above
You may wish to try different grades of drawing pencil to find description, the spectator will
the one that gives the perfect effect. often select the number 37,
In my old notebook, I'd called chis a "cold reading pad for but because of your hesítation
mentalists," and 1 think that's a very handy way to think about it makes little difference if the
it. lt certainly works well when combined with any sort of spectator says "73" or "53." Your
psychological routines or forces, and can be counted upon to "diffículry" with this predictionis
quickly deliver a base-hit when you really need one. the excuse to move to a different
ln the above routine, I've híghlíghted the use of the pad. It spectator.
allows you to do sorne genuine writing with the carbon pencil, Thefinalprediction, thetíme,
and establish the procedure of closing the cover of the pad, then is the work of nail writing (Figure
pulling away the top sheet by grabbing the protruding comer 3). Pretend to write on the top
and ripping it away from the spiral binding. But the routine sheet, close the cover and hold
also establíshes an important bit of psychology, that each the pad with your thumb atop
prediction is an experiment and an event, and the performer is the area of the carbon paper. As
happy and excited each time the revelation is correct, because soon as you hear the time, write
he supposedly knows what he's just written! the numbers with the edge of
Following the sequence described above, you'd start by your thumb as you move to place
268 Tl1E CONJVRINO ANTt10LOOY J 1M STE1N MEYER 269
the pad down in a promínent position. best is, 1 think, homemade from three 12-inch squares of clear
Retum to the rwo sheets of paper on the stage. Separare polyurethane, [oíned along three edges with transparent tape
rhern, first picking up the lnitials, then the number. Here or heat-sealed. This bag ends up like the old Change Bag, with
you can explain that you "hit" the numbers or "alrnost got rwo compartments. Fold the bag and put it in your pocket.
lt," according to how well the psychological force worked. It seems perfectly unimpressive as are most plastíc bags. If
Finally, pickup the pad, turning it towards the spectators. Take they're not holding a sandwich, they're garbage, right?
che bottom edge of the top sheet, pulling it down and away Five spectators are ínvited to stand in a Iíne. Each is handed
from che cover. This tears the sheet from the spíral binding and a pack of cards in a case, the Force Deck going to the spectator
shows the numbers 5:05 prominently. at the end of the line, closest to the performer. Remove the
With a little practice you'll master this aspect of nail Change Bag from your pocket and unfold it, placing it on a
writing, and be able to match the pencil writing. lncidentally, table or chair to the side. Reach over and take the deck from the
you may be ternpted to actually write on che carbon paper with closest spectator (the Force Deck), removing it from the case
the pencil during the early phases of the routine, reasoning that and casually shuffling it. The other spectators are urged to do
this will produce writing in the same area of the pad, with the the same thing with their decks, rníxíng them as they can. (Few
same quality of writing. However, I've avoided this as writing spectators can shuffle without a table.) As they are mixing their
directly atop the carbon seems dangerous to me. The paper is cards, place che first deck into the plastic bag, ínsuring that all
thin and it can easily tear or wrinkle. The above procedure is che cards are facing che same direction.
the saferway to go. Explain that, as you are unable to shuftle all the decks
EXPECTING A COINCIDENCE: This mental routine together, you'll use the bag. Step to each spectator in turn,
appeared in my set of 1992 lecture notes, Strange Power askíng that the cards be dropped into the bag. Of course, you
and Other Problems for Magicians. lt seems to have found are opening the other side of the bag so that the other four
an appreciative audience beyond these notes. In effect, five clecks fall into the adjoining compartrnent. They should ali
people are ínvited on stage from the audience. Each is handed face the sarne direction and, if arranged correctly, the four
an identical deck of cards in a case. The decks are shown, decks will conceal the faces of the Force Deck. With all che
shuffled, then mixed together in a clear plastic bag which the decks in the bag, you shake it up, mixing the cards. Fold down
mentalist removes from his pocket. Working his way down the top edge of the bag, like a collar, inviting each spectator
the line of spectators, the mentalist has each one reach inside to reach inside and withdraw one card (Figure 4). The bag is
che bag of cards and withdraw a single card without showing folded so that they can only reach into the side contaíníng the
it. At the conclusion, the cards are turned to show that each single Force Deck. The spectators are instructed to hold the
spectator has withdrawn the same card from the five decks! cards against their bodíes without looking at the faces. Each
That is, each is holding the Four of Clubs! spectator reveals an identical card. The odds of this happening,
You'll need five decks, in cases, with duplicare backs. incidentally, are roughly 1in189 million.
By "duplicare." I mean, for example, five red Bicycle Rider THE BALLOON RACK: Finally, here's an especially
decks. Four are unprepared. The fifth is a one-way Force Deck direct and flashy bit of rnentalism. A wooden rack supports
which, in this example, forces the Four of Clubs. You'll also five different colored baLloons, each tied wíth a string. The
need a transparem Change Bag, which is a standard píece of spectatorseliminateonecolorafteranother.Asacolorisnamed,
apparatus for mentalísts and is available at magíc shops. The the mentalist takes a pair of scíssors and snips the string. Each
270 THE CONJVRING ANTl10LOGY J 1M ST E1 N ME Y ER 271
balloon, when released, soars upwards to the ceiling-chey're green and white. Fiue distinctue colors. I'm going to ask you
filled with helium. When che last color remains, che mentalist to think of two of those colors. Decide on two colors, in your
cuts che stríng and the balloon drops ínto his hands-it's filled mind. They rnight be fauorite colors, or colors that haue
with aír. He carries it forward and presents it to che spectator just caught your attention. Let me know whch two you 're
making che selections. thinking about.
The wooden rack can be easily made to disassemble with Yellow and red?Are you sure? There they go.
dowel screws and wing nuts. 1 suggest that it be about 7 feet tal! By process of elimtnation, there are three colors teft.
and 7 feet wide. At che top are two paraUel 1-1/2-inch dowels, J want an tmpulsiue decision this time. Name one.
about 1-1/2 inches apart. Waist high is a similar single dowel. White? Good. And name another one. Blue? Excellent. White
The strings are inserted becween che rwo dowels at che top, and blue somehow caught your attention. But the green
then tied at che lower dowel. The cwo rods allow the balloons to balloon didn 't. There it goes.
be pulled cight. Thís is why the aír-filled balloon stands upright J want you to be even more impulsiue this time. Imagine
like the helium balloons (Figure 5). The trick is merely an that you 've got the scissors in your hand and you 're going to
elaborate version of equivoques. There's been plenty of good airect me to cut one string. Which one doyou want? Blue?Are
writing on this subject, and 1 won't belabor the procedure. you sure? You want the blue balloon?
Suffice it to say that, by startíng with rwo colors named, you Well, you'ue made a careful choice, and four different
can eicher "eliminate" these balloons or allow chem to remain times you could haue changed your mind and narned a
and elimínate che rernaíning three. different color. So I'm going to cut the blue string, but before
Here, for example, is a "worst case" presentatíon for forcing J do, J want to cut the tohite string and say goodbye to the
the color blue. white balloon. J did that deliberately so you appreciate what
l have fiue colored balloons in the rack, yellow, red, blue, happens uihen J cut the blue string-your choice-and this
happens. Here's your blue balloon, and thanks for taking
part in this little experiment with colors.
Mentalísts will understand that there are many ways of
proceeding through che Magician's Choice, and che above
procedure is only an example. The force proceeds by working
íts way down, so that che air-filled balloon is che Jase one in che
rack. This balloon falls into your hands-a very nice surprise-
4. allowing you to present it to che spectator.
THE CONJVRINC A:NTl10LOGY ____ J_I M .S TE 1 N M E Y E _R 2.7t-13
rnarket by one manufacturer,
42. Pl1VN WITI1 Pl1YSICS so l don't feel guilty explaining
this routíne, which first was
Isorne
t is arnazing to consider how many pieces of apparatus
have been designed to accomplish sorne sleight or aid in
trick. There are clearly thousands of such gimmicks and
published inJuly 1998. Of course,
you could perform the sequence
with any of a dozen other pieces
fakes, and it's always interesting to survey a rnagic coUection of silk apparatus, but there's just
and pick your way through the flesh-colored tin gimrnícks something about that Demon
Handkerchief Box.
and the brass tubes. Often theír purposes were so particular
and the instructions so long separated and lost, that there's a I'm nota full-time magician,
considerable game trying to figure out how they were used. the performer begíns. I have
Many devices seem misguided, but sorne of this small appararus a number of other interests,
is absolutely ingenious. Sorne, in fact, are so satisfying in as well. One of my hobbtes is
your hands and so perfectly designed that they have poetry, nuclear physics. I use it to relax.
regardless of the rnagic. Maybe this is the ergonomícs of rnagic. In f act, I'ue brought along my
l'd norninate, on my short list, the Fíngertip Oye Tube, che Salt latest inuention. It uses the
Pour Gimmick, the Nikko Handkerchief BaJI and the Demon unified Pield Theory In physics
Handkerchief Box. AlJ are wonderful when put through their to reverse the apparent time
paces. and space continuum and
The Dernon Hank Box, which was long a staple of the specifically tdenttfies preuious
Davenport Cornpany of London, is a neat metal box, nickel potnts in the continuity as
or chrorne plated, with rwo doors which hinge down on che target moments. It's a time
front and back ami a srnall door on top. It seems ungainly and machine, and f or the life of me
improbable until you pick it up and operare it in your hands, 1 can 't figure out why Einstein
when suddenly che design becornes inspiring. Oavenports didn. 't think of it. I guess sorne
produced thousands of thern over che years-they muse have peopte arejust better suited for
been good at dernonstrating them, and British magicians have tnis work than others.
stumbled overso rnany ofthe little chrome boxes in collections He holds up a small metal
that they're often bored with thern. Over here a number of box, vaguely scíentífic looking. l.
dealers rnanufactured or imported che trick. Abbott's made The probtem is that I have only
che Silk Wonder Box for many years, as well as the extra load a small model of the deuice. I
container for che finale. The best boxes are not tinny but really, hauen 't been able to eniarge
really heavy. The apparatus is described in Rice 's Encyclopedia it to human or animal size,
as well as the Tarbell Course (Volume 6, page 321 has David so my experiments haue been
Bamberg's suggestion for che effect). limtted. That's why, tonight, I
Even outside of Britain they're not hard to fi nd in collections won 't be demonstrating it for
or on collector's lists. They've recently been put back on the the Nobel Prize Committee but
T11E CONJVRING A:NTHOLOGY JIM STEINMEYER
~
wlll be inctuding it as part of my magic show for ali of you. hís hand and rattles it back and forth, as he did before.
The size and relatiue timitations of the field will necessttate But as long as there are no overt magnetic disturbances
a surrogate objector objects of light u/eightand flexibiltty in and no unusual sunspot acttuity, the unified jields
arder to uisualizethe alterattonin the time continuum. That temporarilyclase around the box and the general effect is a
is, J'm gotng to be using a handkerchief warp or wrinkle in the common acceptance of a timeline. It's
As the magícían pulJs a handkerchíef from his breast pocket, not that the handeerchiefs are actual/y going back in time,
a smalJ red silk, he revea Is a chain of three silks: red, white, and it's that we 've adjusted our understanding forurard, in arder
yellow. He slowly unties the silks, placing the red one in a glass to compensate forthe delayed signa/ of light and gravíty. And
on the table. The yellow one is placed in his trouser pocket so you thought it wasjusta tin box!
that a comer emerges. The white silk is returned to the breast During this talk, he has been shakíng the box steadily. I'ue
pocket. probabty already said too much. Let's take a look. The box
Now l'll try to put this in layman 's language. He whíspers is opened and the silks are gone. He reaches into hís breast
in a conspiratoria! tone. Even thougb this looks llke a little pocket. Nothing. He reaches into his trouser pocket and clearly
tin box, that's an important element of disguise. You'll be regísters dísappointment. Nothing.
amazed to hear that tt 's much more sophisticatedthan that. Then the magician realizes his místake. O/ course,you need
He opens che doors ofthe box, showing it ordinary, then closes to keep track ofjust how much time is being displaced. Let's
it again. Anythingthat enters the time machine is apparently see, that must haue put me back precise/y two minutes...
subject loan alteration in the time-field molecular structure. which means ....
As far as you 're concerned, it goes back in time. He removes He pulls the red silk from the glass, disclosing the white and
the whíte silk from hís breast pocket, poking it into the box yellow silks tíed to it, just as they were at the start of the trick.
from che top. Holding the box in his hand, he raules it back Por the last two minutes, absolutely nothing has
and forth severa! times. This activates the mechanism. Those happened, nothing has changed, I'ue done nothing and
of you famtliar with high tecn circultry wlll recognize what you 've seen absolutely nothing. So 1suppose that explains the
I'rn doing. It's kind of ltke kicking the stde of your CDplayer lack of apptause.
to make itjump back one trace. QuickJy he opens che box and The Demon Box measures about 3 inches by 2 inches by 2
shows that the handkerchief has disappeared (Figure 1). Let's inches, with a front and back door which drop and a hinged
see if it really worked. He reaches into hís brease pocket and lid on top. It also has a wedge-shaped load chamber, similarly
removes the white silk. Success. chromed, attached to the back door (Figure 2). An opening
Por those ofyou who weren 't uiatching closely, I'll do that in the top of the load allows the silks to be pushed inside.
again. You'll notice that every bit of the handkerchief goes When the back door is pivoted open (you can do it by slightly
inside the box. In f act, we can do it with more than one. He tipping the box in your hand, allowing the door to drop ínto
pokes in che white silk, then removes the yellow silk from his your fingers), the right hand naturally curls around the sides
trouser pocket and pushes it ínto che box, as well. I'm not at of the load chamber, disguísíng its thickness. The front door
liberty to explatn the details of the principies inuotued. You is immediately opened allowing the audience to see through
should just know that it's much more compltcated than it (Figure 3). The angles are really very good as the fingers
conceal most of the load chamber. The box is then reassembled
anyonecan understand. Infact, every once in a tohüe,J haue
troubte understanding it myself. He holds che closed box in by squeezing the front and back together again as you pivot it
TNE CONJVRING ANTNOLOCY JIM STEINMEYER
slightly in your hand. "Click, As you do this, arrange it so that the center comer of the silk is
2. available at the top ofthe gJass-that is, the cornerwhich, when
clíck," and the doors are opened
orclosed. pulled, will allow the load to unroll and the other rwo silks to be
Over the years, there were revealed.
a number of improvements The white silk is placed in the brease pocket, the yellow silk
to che apparatus, including a in the trouser pocket. Following the above routine, vanish the
load chamber which could be whíte sílk, then reproduce it by showíng the duplicate in the
removed from the back door. In pocket. Then vanish the whíte and yellow silks in the Demon
Box.
this routíne, thar doesn 'e play a
part. By grabbing the proper comer of the red silk and quickly
3. You should use 12 ínch silks. snapping it from the glass, it will show all three silks tied. This
You'Il need one red, rwo yellow, is how they were seen at the beginning of the routine.
and three white silks. The red,
white, and yellow silks are tied
in a string and then rolled into the
center of the red silk (Figure 4).
This is the techníque I've already
described, and which can aJso 4.
be found in Rice's Capers with
Colors. When you're finished,
the red silk has a tightly rolled
load at the center, but the silk
seems unprepared (Figure 5).
To one ofthe othercomers of
the red silk you tie the duplicare
whíte and yellow. The last white
silk is tucked in the bottom of
your brease pocket, with the
string of silks pushed in above
this. Arrange the red silk so that
you can reach into your pocket
and grab it at its cerner, holding
onto the concealed load of silks.
Here's the procedure. Pull
the string of silks from your
pocket, then untíe che knots.
The red silk is placed into a glass.
JIM .STEINMEYER
27_8
__ THE CONJVRlNG ANTNOLOOY ---
actually remind you of . .
43· fROZEN CONfETTI confetti. But trs complete/y
different. Because confettt just
l.
makes a mess on the floor. This

T his is a short trick, a silly trick from September 1998. A few
years before that, 1 had included it in a lecture and made
the analogy about che "perfect illogic" of it, the same way that
is no-mess confetti. You just
gather it together and giue a ~-· .....
a joke is funny because it makes sense with íts own interna! slight squeeze.
logic. With his fingers, the
performer pushes the confetti
In man y ways it is a cut-and-restored rype of effect taken to
the extreme. 1 first srarted with the notion of no-rness confetti , into the cup, then helps it along
then had the idea that the use of the cup would be convenient by pushing one cup ínto the
to hold the confetti as well as accomplish the trick. In thís way other, compressing the confetti
the mechanical cup was suggested by any number of paper into the bortorn cup. He separates
cup tricks which were devised, many years ago, by the late Sam the cups again.
Berland. lt occurs to me that Frozen Confetti is a nice trick for Take a look al that! Ntce
an emcee. With a little care the cups can be handled without a and neat! He tips over the cup,
table and the effect is fast enough and funny enough to make a and out drops a wadded ball of
pleasant diversión. tissue paper, che same color as
In effect, the performer comes forward with two plastíc the pieces of confetti.
cups, of rwo different colors, in his hands. One is empty. The When you 're finished using
other contains squares of cut tissue paper. I thought I'd take the confetti, you can just open
a moment to show you my latest inuention. Like any good it up again. . . . The performer
idea, it's a simple thing. It's actual/yjust littlepieces of paper. opens the wadded paper,
Here, watch this! He tosses several pieces up in the air, so they showing a single sheet of tissue.
cascade on the front row ofthe audíence. lt doesn 't get any neater than
The idea is that aü these utüeptecesofpaper can be throum that. Iron it out and you can
like that. lt 's veryfestive. I'ue found that it's the perfect thtng start ali over again.
for a birtñday party ora wedding. It's a/so fun at New Year's As I've already explained, the
Eve or ata Bon Voyageparty. Yo ujust toss this stu.ffin the air, secret is in the cups themselves.
and euerybody loues it. Sorne cups work better than
As he is sayíng chis, he has been removing the cut pieces others. 1 used l 2~mnce
disposable plastic cups made by 2.
from one cup and sprinkling thern into the other, empty cup.
With a table or chaír one cup can be set down and filled by Solo. The cups are available in
confetti sprinkled into it. Or, the two cups can be held in the a number of colors. Mine were
hands and the confetti típped out from one cup into the other black and gray, and the use of
two distinctive colors definitely
(Figure 1).
l think it's a great idea. Now, this new tnoentton might helps the effect. The insides of
:1.8o Tt1E CONJVRINO fttNTNOLOOY
JIM STEINMEYER
the cups are whíte plastic, with a whíte rolled-edge ar the top. together, the wadded paper ball is concealed inside (Figure 3).
I would think that opaque paper cups would also work well, To present che effect, follow the above presentation.
and the recessed bottom of the paper cups would actually help The confetti is transferred slowly from one cup to the other,
hold the compressed confettí. Most paper cups are 9-0unce allowing the audience to see that they are small squares of
síze, whích is large enough for the trick. Go to a party supply
tissue. By tipping the gray cup forward, you can show the
store and you'll be amazed at the colors and varieties available. confetti inside. As you squeeze the confetti, the black cup is
The apparatus is rnade frorn rwo black cups and one gray inserted ínto the top of che gray cup and pushed down (Figure
cup. The gray cup is unprepared (Figure 2).
4). As it is removed, the outer shell is left behind. (The shell,
One black cup is cut down; that is, the top edge is cut off so
you'll remember, has been trimmed to a heíght so that it does
that it will nest around the outside of the matching black cup, not protrude from che gray cup.) The real confetti has now
where it forros a sort of shell. lt can also be concealed inside been compressed toan area berween the cups and the wadded
the gray cup, and has been cut to a height so that it does not paper ball has been left behind inside the shell.
protrude. I noticed that, depending upon the cups you use, Place the black cup aside or under your armas you tip over
sorne fit better than others as a shell. Strips of transparent or the gray cup to show the contents. Show the wadded paper,
colored adhesive tape, around che edges of the cups, can help then slowly open it to show that che confetti has been restored
adjust the fit. to one entire sheet of paper.
The second black cup has a bit more preparation. Neatly cut
A nice, showy way to present the trick would be to use red,
the bottorn out of the cup with a sharp knife. Then cut a círcle white, and blue pie ces ofconfetti. Thefinal restoredsheetwould
ofwhite cardboard or plastíc, a diameter sornewhere berween
be a piece of white tissue with a pattern of red and blue squares,
the mouth of the cup and the bottorn. You can experíment applied with marking pens: a sort of red, white, and blue quilt to
with the size. This circle of cardboard should slide inro the cup creare the effect that al1 the random pieces had been rejoined.
and stop about halfway down, so that it forms a false bottom in
the cup.
To sorne extent the circle will wedge agaínst the sides of
the cup, bue I suggest using white acrylic bathtub caulk. You
can squeeze a bead of caulk around the circumference of
chis cardboard circle inside the cup. When the caulk dries, in
several hours, it will have cemented the false bottom in place.
3.
The confetti is cut frorn pieces of tissue. Start with sheets of
red tissue paper and rough cut squares about 3/4-inch to I-ínch.
These are big and tl uffy, allowing the confertí to be packed into
the area berween the cups. Put a quantity of thís red confetti
ínto the top of the black cup-that is, above the false bottorn.
Take a rnatching square of tíssue, about 12 or 15 inches
on a side, and wad it up into a ball. This is placed into the false
bottorn of the black cup. Then slide the matching black sheU
on the outsíde of the cup. By holding these rwo nested cups
Tl1E CONJURING ANTNOLOGY JIM .STEINMEYER 253
the penetration and showing the Chinese coins still locked
44. f A:NTA:STIC CORDS onto the cords, he managed to conceal the unlockíng effect.
Here's my solution, published in October 1998, a slight
º
ver 500 years ago, when sorne of the first books on complication on Físcher's original idea, and yet another
conjuring were being printed and distributed, a standard topological rwíst. In this routine, the magician shows rwo
deception was the one with three beads and two strings. Seor, thíck, long ropes, about 12- or 15-feet long. Inviting two peo ple
in The Discovery of Witchcraft, called it "A notable feat of fast up from the audience, he spreads the ropes between them so
or loose: namely, to pull three beadstones from off a cord, that they can pull on them and assure themselves that they're
while you hold fast the ends there of, wíthout removing of
solid.
your hand." Prevost, in Clever and Pleasant Inventions, titled The performer takes the ropes back, casually folding them
ít, "To pass a knife through a string on which are strung three in halves in his hands. Thts is a demonstration of solid through
rosary beads, without it seeming to be cut, though the rosary solid, when the irresistibleforcemeets the immouable object.
beads fall to the ground." He turns to the rwo people. Don 't uiorry. You 'ü be responsible
Ironically, both titles confused che same important point: f or suppiyingthe force which mea ns that you can stand up
there were rwo cords used, each doubled to creare a wonderful here and do your best to be irresistible. The objectsare these
topologícal deception. The trick has since become known as wooden rings.
Grandmother's Necklace, and descriptions can be found in The magician shows a handful of wooden rings. They are
Hoffmann, Tarbell and numerous standard texts on magic. thick sorts of discs with holes in the centers, cut from plywood
There's no record of the ingenious juggler who invented it. and painted. He hands several to each assistant.
By 1584, when Scot and Prevost described the trick, it was You'll notice that these irnmouable objects are made
probably an old standard. But around the turn of the last from solid wood. Each ring has a hole througb the center,
century a German wizard, Ottokar Fischer, used the principie
of the Grandmother's Necklace, adding additional handling
and another topological twist to tum thís pocket trick ínto a
worthy stage illusion. In this forro it was known as The Cords of
Phantasia, and was featured in the programs of David Bamberg
(one of Fischer's pupils) and Dante (as the central mystery to
The Lazy Magícían), among many others.
1 always admired The Cords of Phantasia, the versión in
which the cords are first tied around a wand or cane. You'll
find it admirably described in Tarbell,Volume Four. Still, I've
never seen it performed without a slightly uneasy feeling when
the wand was removed. lt always seems to be "unlocking" the
entíre apparatus for the penetration-which is actually what is
happening. But how do you avoid signaling this? My friend Alan
Wakeling had a typically elegant version whích 1 described as
Cords and Coins in The Magic of Atan Wakeling. By delaying
Tt1E CONJVRINC ANTHOLOCY J 1M ST E1 N MEYER 2~
but othertuise is solid and unbroken. Please look eacn one o/ rings. As force is apptied in equal amounts, the ropes could
them ouer. tear.... or the rings could snap open. Or, come to think o/ tt, the
He takes one of them back, and sudes it onto the center of jacket could tear right down the rniddle. I supposethat seems
the ropes, cinching the ropes in a knot around the first ring. to be the most logical solution.
One o/ these rings gets knotted in the mtddle of the ropes. He reaches beneath the coat, asking each spectator to take a
I'd like each of you to hold the ends. The ro pes are stretched half step towards him and giving a little slack. There's one other
berween the rwo spectators (Figure 1). Now I'll thread ali the solutíon that's not as obuious. That brings us back to so/id
rings onto the ropes, one by one. You'll notice that Ido this througb so/id. That the rings, one by one, pass effortlessly
in a way that you can see that they realty are linked onto the througñ the solíd ropes. Take a took at that!
rapes. Each and every ring. If there's any doubt about that, From beneath the coat, the rings are removed and tossed
my trreststtbleassistants will vouchforme. onto the stage. Each ring is free from the ropes. That's the hard
Now the rings are ali threaded on che ropes, half on one síde part. Once that's taken care of the coat is the easy part. Hotd
and half on the other. /n order toproceed, I need a certain level the ropes tightly, and pull! As the spectators pull, che coat
o/ secrecy, because the arcane techntque l'm about to employ penetrares and is lifted free of the ropes. Borh ropes are intact,
could be dangerous in the wrong hands. And ifyou consider stretched tightly berween the spectators, The coat is returned
that l'm the right hands ... it should make you wonder. At to its owner, the ropes are taken from each spectator and they
this potnt, l used lo ask eueryone to e/ose their eyes. But are thanked.
peopte thought that toas susptcious. So l used to turn out The secret involves, like the original Cords of Phantasia,
ali the lights. Por sorne reason that wasn 't very conuincing, the way che rwo ropes are first tied. But the materials used also
either. So t'ue learned how to do thls uutn sorne handy object have a lot to do with the handling. First, you'U need rwo thick,
coverlng up euerytning. soft ropes. I used an oversized magician's rope that was almost
The rnagicían borrows a coat from someone in the audience. 3/4-inch thick. Each rope should be about 12- to 15-feet long. I
He drapes che coat over che center of che ropes, which is a bit marked one of the ropes at che end. A níce way to do this is to
awkward. The coat keeps slipping as che performer reaches tape the ends with adhesive cloth tape. One rope has a wrap
beneath it. I hopeyou don 't mind if I take the opportunity to of 1/2-inch wide tape at che ends: the other rope has 3/4-inch
lock your coat onto the ropes. This will make it much easier wíde tape.
f or me. l'll use these handy tubes callea 'sleeues.' The coat is The wooden ríngs are díscs cut from plywood, sanded
threaded over the ropes, the ends passed through che sleeves. smooth and paínted. 1 suggest clises 1 O-inches in diameter
This allows che coat to hang in che center of the ropes, covering with 3-inch holes in the centers. Mine were pretty heavy,
the rings. l'll just tie tt on so it doesn 't slip. He takes one rope so you rníght consider plastic as well. It occurs to me that a
from each spectator, tying a single overhand knot over che coat nice presentational touch may be to use sorne wooden rings,
and returning the ends. sorne of metal and sorne of clear plastic; chis way the different
Now, whateveryoudo,don't let go of the ropes. I'm going materials could play into the solid-through-solid presentation.
to try and. .. uh. .. untanglethts sttuation using nothtng but There are a total of seven rings. The wide checker-like rings
magic. Afterali, if you 've been payingattention, you 'll notice are really showy; they are also írnportant to the handling. It's
that the trresistibteforce is prouidea by these two rapes and very hard to do this with hoops or Linking Ring-sryle rings,
these two rope handlers. The objectsare the sotta uiooden as the ropes get twisted and the trick can easily be ruined.
a.86 Tl1E CONJVRING A:NTl10LOGY JIM .STEINMEYER
You'll see this as the handling is ofthe ring.

explained. Separate the ropes by startíng
Begin by having the ropes at the edge of the ring, taking the
stretched between the rwo center rwo rapes and handing
spectators. As you take them them to one spectator. The outer
back, fold them in halves rwo ropes go to the opposite
between your hands. Take the spectator. A final check is the
first wooden ring and slip it over marked ends: rwo identical ends
the folded centers of the ropes. should go to each spectator.
Place che four ends through If the knot is not symmetrical
the centers and slide the knot and the rapes get rwísted, you
2. tíght against the wooden ring may find that the rings will not
(Figure 2). Fans of Ring on Rope come off the ropes, but the ropes
seq uences will recognize this will be interlinked and locked at
knot. Here it is executed with the conclusion of che effect, a
tworopes. nasry surprise for the magician.
The two rapes are, actually, Pass che remaining rings on
what make this knot somewhat che ropes, threading both ends
tricky. As the knot tightens through each ring. Three are
around the ring, you need placed on from the ends held by
to drop che ends and slightly one spectator. Three are placed
adjust the knot so that it is on the opposite ends.
perfectly symmetrical. This The borrowed coat is placed
isn 't as meticulous as it seems, onto the ropes, both ropes passed
as the thickness of the rope and through the sleeves on each side
the width of the ring makes so that it covers the rings. As in
this adjustment easier. As long the tradítíonal Grandmother's
as the rapes align themselves Necklace, you now need to
symmetrically within the knot, insert a knot into che systern to
the trick is safe. Figure 3 shows reverse the ends. Take one end
the proper effect. If the ropes (either end) from each spectator: --====~~:2:e,....~!!!!
are rwísted within the knot, as in tie a single knot, then return the
4. Figure 4, there may be trouble. ends. As the knot tightens, it
The adjustment can be made makes a mess of che coat sleeves
by rolling one rope over another and seems to hopelessly trap the
as it falls on che ring. Be sure to rings (Figure 5).
look at the knot from both sides Have the spectators step in
288 Tt1E CONJVRING ANTt10LOGY JIM .STEINM~YER 2.89
and give you a bit of slack as you
6. reach under the coat. Starting 45. l10VDINI'S
wíth the center ring, you need
to separate the ropes and stretch GRANDMOTI1ER
them around the ring so that they
release (Figure 6). Agaín, this is a
familiar Ringand Rope maneuver.
B ill Taylor has a real life;
hís company, lllusion Arts, is one of
the leading special effects finns in Hollywood, specializing
in matte paintings and composite shots, In this field, he's a real
Hold the ropes in your left hand
magician and well-respected for his work.
by pinching them together above
the rings. This allows the center In addition, he's had a long interest in more traditional
ring to come off, followed by the magic: performing, inventing, photographing and writing
other six wooden rings. You can about close-up, stand-up rnagíc and stage illusions. Many of
grip them in your left hand and his creations have been produced by Owen Magic Supreme
release them one by one off the and sorne are featured in their catalog. Bill truly loves and
ro pes. understands all aspects of magic, especially apparatus magic,
Finally, as the ropes are and I've aJways enjoyed his ínsíghrs and approaches. He's one
tightened, release the hold of the of those fellows who turns bis attention to something, and
ropes with your left hand. The makes it better.
ropes pulJ free of the coat and the When l talked with him about Grandrnother's Necklace, he
effect is concluded with a nice rnentioned a routine which he developed severa! years ago. Ir's
surprise. interesting that Bill's version is much Like the original effect,
A little experimentation
hundreds of years old, a fine close-up mystery. Bue his twists
will make you familiar with and tums are so ingenious that it brings a new leve! to the effect.
the possible variations. The He called it Houdini's Grandmother, for reasons obvious in his
assessment of the knot is the presentation. This was first published in November I 998.
really important part. Unlike the The performer shows rwo strong red cords. They are
traditional Cords of Phantasia, knotted together at one end and on them are threaded three
this knot can form in a way that it beads. The middle bead is white, decorated with a letter "H,"
makes the trick impossible. Once and the rwo surrounding beads are blue. A spectator rugs hard
you recognize the possíbílítíes, on the cords to demonstrate that they do not stretch. Houdini
you 'U easily see the way to make could escapefrom anything, so they say. One of his features
the adjustment. was escaping from a straitjacket whlle handcuffed between
two policemen. Now, Houdini isn 't here tonight. That would
be a good trick. So, instead, I'm going to demonstrate using
these wooden beads. The blue beads are the policemen. The
white bead is Houdint. You'll recognize him from his neat
monogrammed straitjaceet. Tbis isjust how he used to do it.
The spectator is asked to grab both ends of the cords as the
290 T M E C O N J V R l N G A: N T M O LO G y JIM STEINMEYER
magician removes a handkerchief from his pocket and covers cord for macramé is perfect. The cords are about 1/8 inch in
ali three beads. Now be sure topul! tight. That way, if Houdini díarneter and 18 inches long. You shouldn 't have much trouble
cuts the cords, you 'Llfeel ít. The magician reaches under the finding the right size cord and beads. Remember that rwo cords
handkerchief and slides the beads up and back. Seconds later need to pass through each bead.
he pulls the handkerchief away, revealingthat the white bead Prepare by sewing the centers of che cords with rwo loose
has "escaped," and has now changed position. It is no longer stitches through both cords. Use thread the same color as che
berween che two blue beads, bue is still on the cords; the bead cords, tie a knot and trim the ends. Notíce that this isn't like
has changed position. che tradicional Grandmother's Necklace. These cords are sewn
1 don 't know hoto he did that. Even more important, the together. They don't have a loop ofthread tied around them.
pouce never knew how he did ít. 1 thínk that's because he The cords are now tied, with a loose overhand knot, at one
would onlyperform the escape in the dark, behind a curtain. end (Figure 1). You may need to adjust chis knota bit sothat the
You can look over the beads. cords aren't pulled apart.
He slides ali three beads off the cords and has them The beads are now chreaded onto the cords in the following
examined. The cords are untied and the beads are threaded order: the two unprepared blue beads are closest to the knot,
back on. The spectator holds che ends again. Don't pull untíl then the Houdini bead, then the slotted blue bead. Move all
I tellyou, and don 't let go of the ends. Now a good magician four beads towards the center of the cords and place them in
never repeats a tríck, but Houdtni toas a great magician. your pocket. In your breast pocket is a handkerchief.
This time, we 'll tie him up so that he can 't even slíde around. During the performance, reach ínto your pocket and
One end of each cord is taken from the spectator, tied in a remove the beads in your right hand. Grasp the extra bead near
single knot around the beads, and returned to his hands. Once the knot in a fingerpalm, allowing the other three beads to slide
again, Houdtni steps behind the curtain. The handkerchief towards the center of the cords as you stretch them between
is placed over the beads. The rnagícian reaches beneath the your hands (Figure 2). As you do this, adjust the slotted bead so
handkerchíef and asks che spectator to pull tightly on the that the cut is on the underside, unseen. Offer the left (untied)
cords. As the handkerchief is removed the beads are gone! The end of the cords to the spectator, inviting him to tug on it while
magician reveals them in his hand. Of course, Houdini always
managed to escape. And he usually ended up takíng the two
cops to lunch, as well. The beads and handkerchief are tossed l.
to the spectator, who is still holding the solid cords between
his hands.
Bill uses wooden beads from an arts and craft store. They
are oversized painted beads used for macramé. The beads are
about 1-1/4 inches long. Two are blue and one is white with an
"H" on the siete. In addition, you'll need a third blue bead wíth
a slit in it along one side just large enough to pass off the cords.
The slit can be cut, carefully, wíth a bandsaw ora handsaw,
then the slot sanded to the right width.
The cords are similarly from a craft supply. Colored woven
Tl1E CONJVRING A:NTl10LOGY JIM .STEINMEYER 293
you hold the opposite end. Slide may need to squeeze the cord to have the bead slide over the
the beads towards the center as folded cords.
3.
you offer the other end of the Hand the ends ofthe cords to the spectator, as before. Now
cords to the spectator. At the cake one end from each side, tying a loose single knot over the
same time, reach up to take the beads (Figure 4). Hand the ends back to the spectator. Cover
handkerchief, covering all the the beads with the handkerchief, reach underneath and grasp
beads and your right hand. This the beads as you ínstruct the spectator to pull on the cords.
conceals the fourth bead, as well, Remember, the spectators are still expecting the beads to
whích has been hidden in your change position, so it is a real surpríse when they seem to
right fingers. disappear. Remove the handkerchief, then reveal the three
Reach underneath the beads in your hand.
handkerchief wírh both hands, Bill suggests usíng two spectators for the routíne, one
sliding the slotted bead off the holding each end. This gives you a bit more misdirection during
cords and moving the remaining the first part of the effect, while the one bead is concealed in
4. beads to the center. This bead your hand. And it makes the trick a little bigger. Also, if you rub
is palmed as you remove che the centers of the cords briskly just before revealing that the
handkerchief, then dropped into beads have escaped, it tends to brush away any stray thread
your pocket. from the sewing.
Slide che three beads off I'd líke to nominate one more first-class Grandmother's
the cords and hand them to the Necklace routine, which you may wish to explore. Eric Lewis
spectator to examine. As thís has a neat, theatrical effect with a treasure chest, sorne gold
happens, you drop the cords doubloons, and ropes in his book, The Crowning Miracles.
down to your síde, separating It's called the Pirate's Chest. Bill Taylor pointed chis out to
them at the join with your fingers. me because he'd made the appararus for it many years ago
As your hands come together, and used it in his performances. It's a shame that this routine
you are able to straighten che has been neglected. Much like Bill's own salute to Houdini's
cords so that they are now folded grandmother, ít's a great effect.
in half (Figure 3). The sewn joint
keeps them together as in the
usual Grandmother's Necklace
routíne.
Carefully slide the beads
back on the cords: a blue one,
the Houdini bead, and the
second blue one. You will need
to conceal the join in the cords
until the beads cover ít, and you
Tt1E CONJVRING ANTI10LOGY J\M .STEINMEYER 295
picked up the wooden step, looked it over carefully, and drolly

46. Tl1E DOLL ~ remarked how, "You' d never expect she fits inside of that."
As the principie ítself has ínspíred a great many illusions,
DOLL'S l10VSE the appealing Doll's House effect has ínspired even more. I've
used variations over the years, including an especially tiny
f red Culpitt was notan illusionist, he was a comedy magician

and a favorite performer at St. George's Hall in London.
little house that Doug Henning presented on his last tour. That
version, like the one described here, was oriented horízontally.
But he invented an illusion which justifiably earned him a It seemed to me that in Culpitt's day an Edwardian doll's house
reputation as an important innovator, an illusion which has
was an imitation of a two or three story row house. Today's
been copied, built, tweaked, stretched-used and abused-for doll's houses look like horizontal suburban estates. Part of
the better part ofa century, the Doll's House. the charm of this apparatus, described in MAGIC for February
Culpitt was probably inspired by the Demon Cabínet, a 1999, is that it looks like a real toy. As before, you'll notice that
slightly more complicated piece of apparatus explaíned in I've split the load; and here, Culpitt's little step serves a real
Will Goldston's Exclusive Magical Secrets, that coruaíned the purpose.
essential elements of the illusion. The Doll's House is a great This euening I'ue brought along an enchanted doll, a
illusion and an important illusion for many reasons. It was magical doll, a doll that knows where she 's going and how
an early example of the notion of usíng two different areas to get there. The illusionist begins by opening up the front and
to conceal the lady, the principie that Alan Wakeling called back doors of a small wooden doll's house on a low table. He
"splitting the load." In this way the box and the concealments reaches ínside and removes an otherwise undistinguished rag
were contoured to the shape of the lady, which in tum allowed doll (Figure 1). Parents will notice that these toys seem to
the apparatus to be especially small. clean up after themselves. That's what makes them magical.
The practicality of the effect must have been a reason why
it was copied and incorporated into so many acts. It could be
deceptively built and perfonned under alrnost any conditions.
(Think of Jack Gwynne, on a nightclub floor, with hís sword-
cabinet version.) It's inspired lots of touches, ímprovements,
variations and debate. But beyond the secret, Culpitt's notion
of a doll's house was also a very good one. A doll's house was a
perfect prop, slightly fanciful and perfectly ordinary-the nicer
it was painted and appointed the more charming it appeared,
unlike most magic props, which only appear more urueal. It
looked at home on a framed wooden table on casters. It allowed
for a story and bits of presentation above and beyond the "fire a
gun and the lady pops out" sryle of magic. (For example, you'll
find variations in Tarbell.) Culpitt himself presented it wíth
a small wooden box which was moved ínto position beside
the table; this served as a step to show the íllusíon and for the
lady's exít. As she took her bow, Culpitt eyed her up and down,
Tl1E CONJVRING A:NT!10LOOY JIM STEINMEYER 297
2. Dolly here (Figure 2) will give house. The illusionist helps her over the side of the house and
you a demonstration. she steps down using a small set of steps attached to the table.
The house is closed as the doll The routine shows off the house gradually and serves to
is removed. She is placed into a focus the routine on small elements, so the final production is
coy box on the opposite side of a surprise. To address the essential part of the effect, the house
the stage (Figure 3). The magícían is diagrammed in Figure 4. It is quite small, with doors which
gestures, opens the toy box and hinge down on the front and back so that the house can be
shows it empty. He crosses the shown empty. The híngíng doors also serve to conceal the load
stage to open the doors of the inside the house. Notice that the hinge-line falls approximately
doll's house, showing that the halfway within the three-ínch step ínsíde the house.
doll has returned. The steps are slightly oversized to allow the lady to slide her
I'll do that again, in slow legs in and out. A hinged lid, of metal or thin wood, líes over the
motion so thatyou can follow it. lady's back. There are many ways this can be arranged, but for
Dolly will try to outsmart you. this particular routine 1 suggest híngíng it against the front side.
Agaín the doll is removed and She can push it up and have it Velero against the ínsíde of the
placed ínto the toy box. The box front door as she steps out. One or two small blocks inside the
is opened and shown empty. The load space, alongside her neck or waist, allow her to step up to
doll's house is opened and the the proper level as she is produced.
doll is seen inside. The roof lifts straight off the house. The house should be
You can imagine how nice made of 3/8-inch plywood, and can easily be made to pack flat
it would be to haue a doll this with the table. The outsíde should be painted with stencils like
smart, this pretty and talented
around the house. Sornething 4.
to delight euery little girl; a
pleasure for mom, and maybe
even a surprise or two for dad,
LR
1
aswell. 18
The doll is replaced in the
toy box and instantly disappears , }3
2
agaín. The magician opens the l.2114
I
doll's house to reveal a full-sized
doll, a lady in an appropriately
attractíve version of the doll's 16 10
STEP
costume. She is visible as the roof
is lifted off the doll's house and
quickly stands to dernonstrate 1 5 131 36 3 s"1
1----11
how much larger she is than the 10
STEP
2_98 T t1 E C O N J V R 1 N G A N T t1 O LO G Y JIM STEINMEYER
a real doll's house, with shingles, shutters, windows, trees. I'd a slot in the upstage side of the
suggest painting the outside of the house in medium to dark roof. Another doll is in the load
colors: yellow, orange (brick), grey, brown. The ínsíde shouJd space alongside che lady. The
be bright: a bright blue or red. The idea is that the house shouJd third doll is on che tloor of the
look small on the outsíde, big and bright on the ínsíde. Don't house so it is prominent when
paint it black on the inside like so many magic props. This is a che house is opened.
toy and should be bright and colorful. The toy box is a diagonal
The table shouJd be dark with a wood finish. The steps, mirror box, a cube of 12 or 14
above ali else, shouJd look functíonal, painted black and dark ínches, with one piece of 1/8-
grey. inch glass rnírror, with a wooden
Figure 5 shows the house from the side. lt is only 18-inches backing, mounted inside (Figure
wíde, The front and back doors hinge down and can be locked 6).
up. This allows the house to be shown empty. Nortee the smaU There are a few neat details
swivel casters, at the edges of the steps. Larger casters are on about this box, improvements
the legs of the table. over che usual mirror box. First,
As for the rest of the routine, you'll need three matching the inside side panels should be
rag dolls, about 14 inches tall. It may help to have them stuffed covered in a dark fabric, which
with shredded foam, so that they can be packed inside the toy heJps conceal the mirror line.
box. One doll is secured in che roof of the house so that it can The bottom, which reflects as
be dropped down when the doors are closed; an elastic loop the back of the box, should be
attached inside the roof can trap the doll and be released from a bright colored square. lt is
the difference in these surfaces
which makes the box look deep
andempty.
The lid is hinged to che
back, the front is hinged to the
bottom. Both of these surfaces
should be covered on the inside
with Plexiglas mirror, just the
way that jewelry boxes or curio
boxes often have mirrors on the
inside of the lids. The audience
sees these mirrored surfaces. An
interesting optícal effect is that,
when the front door is opened
l-4~ 1----18---•21---;r-1 and the diagonal mirror is visible,
14STEP there still seems to be a mirror on
}oo TNE CONJV RING ANTt10LOOY __ JIM STEINMEYER
the top surface (that is, the inside of che top lid). This is actually
a reflection from the diagonal mírror, looking out the front of 47· Tl1E 11YPNOTIZED ST ACK
the box.
Usually, when handling such a mirror box, the sightlines ~ 0Tl1ER TRICKS
must be arranged so that che audíence does not see up into the Tf1E TRILBY DECK &-- Tl1E Bf1VffLED PREDICTION
box, where these reflectíons are visible. Bue by placing a mirror
inside the lid, such reflections seem perfectly explained. Each A._number of years ago a friend of mine said he needed a new
doll can be placed inside the box from che top, che lid closed, ~crick for a specific situation. I hadan idea, and made up the
Hypnotized Stack to demonstrate. For proper dramatic effect,
then che front opened and the box shown freely from ali sides.
I'll start by describing che trick, then I'U discuss the secret
The key is: open the front only when the top is closed; open the
behínd it. This routine was first published in March 1999.
top only when the front is closed.
During che routine, the doll is shown, then replaced in che I haue an interesting artifcact, the magician promises. He
box. The front door is closed and the magician steps around to takes from rus case a deck of cards whích has been drilled, then
che back to remove the doll. The lady inside opens the lid over bolted in place using a thumbscrew and wing nut. The resuJt is
her back slightly, allowing the magician to reach inside and a deck whích has been screwed tightly into a sort of "block,"
firm1y held by the bolt (Figure 1).
remove the second doll. He then doses the back door. This
He tosses the deck onto the table. These cards were Bxhibit
doll is vanished in the mirror box. The doll's house is opened,
showing the doll inside on the floor.
A in a f amous court trial. They were confiscated during a
This doll is removed and che doors closed again. The elastíc
crookedpoker game. They're stacked, which is the technical
loop in the roof is released, allowing the doll to drop inside.
term for a deck of caras which has been prearranged in a
Again the doll is vanished and found inside the house.
certain order to benefit the dealer. Now, stacked decks have
Finally, the doll is removed and vanished as the lady raises
been around for a long time. But the unusual thing about
che lid over her back. Using the Velero to hold it against che
tñis deck is the intricacy of its order. It's like acode, a really
front, she brings her legs up to the main compartrnent. The
complicatedcode, and it's neuer been cracked.
He picks up the deck. That's why it was bolted together.
magician, usíng the lower step, reaches up and across the
house, lífting off the roof so che lady can stand. She steps over Because the police knew that there was an order to the deck,
the side, using the same step to emerge from the house.
they knew ít was important.But they couldn 'tfigure out how
This design for the house is especially small and practical.
tt worked. So the cards were drilled and bolted, so that the
While the load is contaíned in the base, che design of the
order could bepreserued f ore ver. The magician riffles through
house naturaJly helps conceals it, as in Culpitt's original.
Don't make the místake of making wedges and tapers on l.
this table. Such elements rnust be done with subtlery, and
can be easily overdone and suspicious, especially in a small
illusion like this. The table under this Doll's House should
be square and functional, suggesting a simple coffee table.
Tt1E CONJVRING A:NTNOLOOY JIM ~TEINMEYER )°3
the cards at the comers, showing the spectators the cards. In a selection. No, you said that the number toas J 6 ... and that's
normal stack o/ caras, there's sorne sequence that's apparent. the arnazing thing about the order of these cards, because
You know, a Heart every fourth card, or an Ace placed at that would be the Ace of Hearts. He has the spectator turn over
regular interuals. But as you can see, these caras seem to the card on the table, showing che Ace of Hearts.
be randomly shuffled. In a game, you might think there's Well, that's the basic idea. When 1 did it, I've got to say that
nothtng suspicious about them at ali. my friend was floored. He sat back, sighed, and admitted, "I
But that's uihere yoú 'd be wrong. This stack has been so have absolutely no idea how you just did that."
carefully ptanned that the dealer can get the card he needs It was actually a nasry trick to play on him. "lt's a Svengali
exactly where he wants tt-no matter how many players or Deck!"
the particular game. Let me demonstrate f or you. Let's say He shou1d have hit me, but to his credit he watched mego
that I'ue atready dealt myselfthree of the aces. I'm looktngfor through the entire routine and then used the trick with great
the tast ace, the Ace o/ Hearts. So let's see if this deck of cards success. Actua11y, it's not justa Svengali Deck. The Hypnotized
can put the Ace of Hearts exactly where we want it. Please Stack is a sort ofhybrid Svengali, designed to fool any who may
giue me a number from 1 to 52-that's how many cards there be suspecting a trick deck. l suggest rnaking it up from a normal
are in a deck. deck of Bicycle cards and a matching One-way Force Deck.
The spectator thinks it over, then, we'll say, suggests 16. Remove 15 of the force cards. (In my example, the deck
Sixteen? Exactly 16? In other words, our goal is to remove was made up with the Ace of Hearts as che force card, bue of
exactly I6cardsfrom the topofthedeck, and then l'llfind the course, che routine will work as easily with any other card.)
Ace of Hearts on top, ready to be dealt. Hold the cards ttghtly Each of these cards is a corner-short, with a rounded comer at
while / remove the bolt. I want you to be sure that I don 't one index (Figure 2). You can do this carefully with a small pair
disturb the order in any way. of scissors. You just want to soften the curve of the comer so
The spectator grabs the cards as the magician delicately that it works as a short-card when the index comer is riffled.
unscrews the nut and bolt, putting them on the table. He takes You need only do chis with one index comer of che 15 force
the deck in his hands and rurns it face up, spreading the cards cards.
to show the faces. Now paír them with 15 random cards, like a tradicional
You '11 see that the cards genuinely seem to be in a random Svengali Deck. The force card should be face down on the
order. You 'll a/so notice that, stnce you selected the nurnber top, then a random card, force card, et cerera. This will form
16, the Ace of Hearts isn 't near the bottom of the deck. That's a pack of 30 cards. Fínally, add 22 random cards to the face of
because we want tofind ttjusta/ter 16 cards. Watch.
He squares the deck, tums it face down and places it on the
table to insure the openness of the deal. One by one he deals 2.
cards face down, from the top into a pile, counting each one
slowly. When he gets to 16, he places the next card aside. And
the next card. . . should be the Ace of Hearts. That's the idea.
But before 1 show you that cara, I want topoint out that ifyou
had said '15 '. . . or '17, 'the results would haue been different.
To demonstrate, he shows the cards on either side of the
TME CONJVRING A:NTMOLOGY JIM
----- STEINMEYt:R )55
the deck. Ace is not on the face of the deck. It's not at posiuon one, or
The next step involves drilling a hole in the deck for the position tuio, or three. You'll see that these cards seem to be
bolt. The hole should be 1/4- to 3/8-inch, and you can get a bolt random. Rather than count doum to 32, I'll do it from the
to fi t at a hardware store. I was able to do the job with a hole other side of the deck. Pifty-tuio minus thirty-tuiois twenty. So
punch, one-by-one, keeping the cards exactly in line. The best I'll turn the deckf ace doum and remo ve 20 cards. Your card
way to do it is to take it to a printer who can drill the hole. You should be exactly at number 20, right?
can 't do it with a hand drill. Those bits just rip up the cards. While on the subject of the Svengali Oeck, here are rwo
lt's very important that the hole is drilled in the lower half additional-and untraditional-effects.
THE TRILBY DECK: If l asked you to select a card
of the deck, which means at the opposite end from che comer-
short cards. randornly frorn. a deck, 1 coutd try and guess that cara. That
Use a thumbscrew and wing nut to hold the deck together. uiould just be playing the odds ... a l-in-52 guess. lf I asked
Two big washers, one on either síde, are a good idea, too. you to look over the caras and select one which appealed to
The routine requires more thinking and finesse than a you, that would be a atfferentproblem: using insight to guess
tradicional Svengali demonstration. First of all, you can riffle at your selection. But f or me to have a huncñ what you 'll
the cards at the index comer, startíng from the face of the deck, select be/ore you even begin ... that caüs for a speciat abiüty.
and non e of the force cards will be seen. The riffle at che comer I'll demonstrate, and we 'll see how lucky l can get.
looks significantly different from most Magic Card routines, Two decks are shown. The red deck is placed on the
and the bolt provides a logical reason why the cards are shown table. The blue deck is opened and spread face up berween
thisway. the magician's hands. l uiant you to use chance, and use
Accordíng to the patter, the magician names the card and your intuttion, so I'll divide the deck in half, then shuffle the
then asks for a number. If the spectator names an odd number halues togetner.face-up and face-doum. He does exactly this,
from 1 to 29, ít's simple. Adjust your patter to ínsíst that the riffle shuffling, ending up with a faces-up-and-down mixture.
card will be "exactly" at the number selected. These are spread on the table. The spectator is asked to select
If an even number is named, as in the above example with a face-down card, to not look at it, but slide it to one side of the
16, che patter is adjusted to explain how that number of cards table. He is also asked to selecta face-up card from any of those
will be removed and the card will be discovered on the top of showing.
thedeck. The blue deck is gathered and put aside. The red deck is
For numbers beyond 29, the force card will be at even opened. The rnagician spreads the cards face down between
numbers, not odd, so the pattershould be changed accordingly. his hands, demonstrating that they aU have red backs. He
You'U notice that this procedure oftweaking the patterassoon spreads the deck face-up on the table. One card is reversed in
as the selection is made is a rather neat magícían's choice, the center. He slides thís out and places it alongside the face-
which makes the end of the trick much easíer. down blue selection. Removing the rnatchíng face-up selection
The cards are unbolted and dealt as described above. from the red deck, he similarly leaves thís on the table as the red
However, if the number called is more than 29, here is che deck is replaced in its case.
procedure. Let's say that the spectator named 32. For the clímax, the face-up red card is turned over to
Spread the cards face up, casually showing the dozen show that it has a bold, black "X" on the back, drawn in magic
randorn cards at the face of che deck. You'll notice that the marker, from one comer to another. The two face-down cards
306 T 11 E C O N J V R 1 N G A: N T 11 O LO G y ~~~~~~~~J~IM~_S_T_E_·1_N_M~E_Y_E_'_R~~~~~~-,1)º
are reversed and shown: they match perfectly. pairs of cards, two at a time, down onto the table, stopping
The blue deck is a Svengali Deck. The force cards have wherever he likes. That pair is separated on the table. The
been removed as a block so they fonn the top 26 cards. The remaining cards are gathered up.
deck is shown by spreading the face cards. The deck is cut in While the rwo cards are face down, the spectator selects
half (which is easy due to the short cards) and the face-down one. The other card is shown, then the selected card is revealed.
force cards are shuffled ínto the face-up random cards. In this It marches the magician 's prediction perfectly.
position they are spread on the table. Obviously, the spectator The deck is a Svengali Deck, but the force cards are marked
will select the force card from the face-down selections, and a on the back. This can be a small mark, like a scratch or filled
spot. You need only to be able to recognize the force card from
random selection from those face up.
The red deck is a Trilby Deck; 1 call it that because it can the random cards.
only perform with a Svengali Deck. Twenry-six cards, those Bill's idea is that by pulling down the comer of the deck
matching the random cards in che Svengali Deck, have black as you cut the cards, you can cut a force card to che bottom of
"X's" on the back. These are on the face ofthe deck. The other the deck. This is just a function of che short cards in the deck.
half of the deck is unprepared. In the center, face down, is the Similarly, the spectator can cut the deck ínto rwo piles with
mate for the force card. the same results. This results in two piles, one with the force
1 think the rest is clear. Show the red cards by spreading card on the top, one with a random card on the top. According
some, face down, on the top of the deck. Then tum it face up to Norman Gilbreath's First Principie, thís deck can be riffle
for a ribbon spread. The face-down card will match the force shuffled and the deck will result in paírs, each consisting of a
selection. The face-up match will have a black "X" on the force card anda randorn card.
back. Notíce that che shuffle <loes not depend on the short cards;
THE SHUFFLED PREDICTION: My fríend, the creative Bill che spectator can be rather careless with the riffle shuffie and
Taylor, used to dernonstrate Svengali Decks at Disneyland. At the paírs will always be the result.
thar time he did a full Svengali routine without ever showing lf you're nervous about letting the spectator cut, you can
che "all che same" effect. He forced a card, located a card, and cut the cards for the shuffle. Or, you can use the marks on the
found it at a selected number. He ended up selling the trick cards to check that each pile has the proper card on top.
to custorners who promptly tried tO return them because Finally, when the spectator selects the pair of cards, warn
they already owned a Svengali Deck! Recently, Bill had an him that he's about to make his last choice: In a moment l'm
inspiration and pointed out to me how the Svengali Deck could going to ask you to make a decision, to take either card off
be combined with the Gilbreath Principie. After creatíng this the table. Have him put his hand on either carel. If his hand falls
routine, Bill noted Paul Swinford's similar method in Arcane on the force card (you can tell from the marks), declare that the
#2 (1980), an effect called Magnetic Coincidence. Swinford selection and conclude the effect. lfhe selects the random card,
did not actually use a Svengali Deck, but Bill Taylor's version declare that that card will be removed, a rnagícian's choice. Be
starts there. sure to show the identity of the random card befo re the climax
It's a really interestíng trick. The magician shows a of the effect.
prediction and slips it into the spectator's pocket. A deck is Bill Taylor's use of the Svengalí Deck leads to sorne níce
shown, cut and riffle shuffled by the spectator. The magician handling, and his tips rnake neat additions to the Shuffled
points out how this is out of hís hands. The spectator deals Prediction. First, Bill dribbles the cards face-down from one
)o8 T N E C O N J V R 1 N G A: N T N O L O G Y ________ J_l_M_.S T E 1 N M E Y E R-------+.)º:..:z9
hand to the other (fingers and thumb at the narrow sides of
the pack, just releasing packets into the hand below), stopping 48. T11E VIDEO MIX
now and then to show the face card, which works perfectly
with the Svengali principie. If the cards are spread onto the
table, face-down in a Une using this dribble move, the ribbon f orthenthepublished
last ~ew y~ai:5· I've incl~ded this effect in my lecrures,
rt in MAGIC in April 1999. It's oftbeat and
spread can then be turned face-up, showíng indifferent cards. surprisíng, and I think that a lot of íts deceptive quality comes
(Certainly, most of the force cards will be concealed, and it will from the innocence and simplicity of the objects. Likemy effect
provide a good, quick look at the deck. SimiJarly, che use of the in which a gJass rod penetrares a clay brick (that's number 28,
long and short cards allows the spectator to freely cut che deck The Perforated Brick), my ínspiration was Karl Germain 's Block
for the Gilbreath Principie. Bill has a níce way of gesturing over effect. The solution here is in the innocence and anonymity of
the deck (indicating that the spectator should grasp the deck at the lowly videocassette, an element which couldn 't have been
the narrow ends) when he asks them to reach over and cut the foreseen by the classicaJ conjurer Karl Germain.
cards -this guarantees the proper effect. The performer shows two videocassettes in their cardboard
Another nice touch is in picking up the pairs of cards on boxes. He picks up one of them and carries it forward to the
the table. Since the force cards are marked on the back, you edge of the audience. le is in a simple black cardboard case with
can easily see which pairs have an índífferent card on che face. a narrow slot cut in the cover, so that you can see the plastic
These pairs are pícked up and flashed, faces up, showing che reels and tape inside. The cassette is slid out of the case and
indifferent card. When the paír has a force card on che bottom handed to someone in the audience to examine. It is, like all the
it is handled face down, or Bill uses the top cardas a scoop. Bill others, an unprepared, everyday plastic VHS videotape.
also uses the misdirection of gatheríng che pairs and the final The tape is replaced in its box and then positioned
prediction to switch the deck for an unprepared one-which horizontaIJy, atop rwo clear glasses, on the magician's table.
is a dirty trick, but a devastating touch when the spectator At the same time, he picks up the other cassette, which is in a
casualJy reaches for the cards on the table. bright colored cardboard case. This tape is similarly removed
Any of these effects would send a chiJI down the spine of and exarnined by the audience. It is replaced in íts case by the
people who know everything about Magic Cards. The Svengalí magician.
Deck may be overused and maligned, but it can still provide Now one cassette is slowly lowered into the other, passing
a few surprises. Just ask those disappointed customers at through it at right angJes. It seems as if the tape slides through
Disneyland. the slot in the cardboard case, then continues right through,
emerging from the other side. With the tapes in this position,
they can be picked up and shown-it looks like sorne kind of
modero sculpture (Figure 1).
The tapes are pulled apart agaín and shown. The magícían
slides each from its case and poínts out how each tape is still
intact. Once agaín, the tapes penetrare ar right angles, one
through the other, They are separated, returned to the table
and the effect is completed.
The use of two ídentícal objects means that one object can
TME CONJVRINO A:NTMOLOOY J 1 M ST E1 NM EY E R ).!_1
double for the other. Hence, one place as you cut them away. The whíte plastíc reels inside, for
videotape is examined twice. exarnple, tend to spin and the ends of the hinged door can pu U
That's the real secret. I started out of place. Glue will cake care of ali of this.
using pieces of wood or books, Sandpaper cleans up the edges of the plastic case. Using
but the cassettes were the perfect black paint or black tape, cover the inside edges of the slot, so
síze and shape for the effect. The that the whíte edges of the plastic reels don't show.
cardboard cases were perfect The matching plastic cassette is unprepared.
for the shell which makes the You' U need to make two matching cardboard cases for this
l. illusion possible. You'll need two
tape. Each one has a rectangular slot cut through the front and
macching vídeocassettes, wíth back cover (Figure 2, again). The slots are 4-3/4 inches by 1-1/4
blank labels pasted on each. No inches, and they're 3/4 of an inch from the side of the box. Paint
identifying marks to distinguish the cases black, inside and out, using flat black spray paint.
them. Finally, you'll need a cardboard "shell" case. I found that it
I apologize because the next was best to make this up out of cardboard and paper tape, so
step is a messy job, You'll need that it fits nicely around the cassettes in theír boxes. The shell
to cut up a videocassette. I'd has four sídes, and should be covered with a bright, prominent
suggest doing this on a band saw, color. I used adhesive silver Mylar and glued in place a panel
bit by bit. A slot is cut out of one from a video box, so that it looked like one of the brands you
side of the tape (the side normally might buy at the store (Figure 3).
2. inserted into the machine) which You'll also need two unprepared glasses, which are nice
measures roughly 2 by 4-3/4 holders for the cassette during the effect.
inches (Figure 2). Prepare the effect by placing the cardboard shell cover over
I can offer a few suggestions. the prepared vídeocassette, which is in its black cardboard
Before you cut ínto the plastic box. The unprepared tape is in the rnatching black case.
case, remove aU of the tape Begin by picking up both tapes and showing them casually.
from inside. (You can do this by The tape in the shell must be carefully handled throughout so
tripping the hinged flap at the that the bottorn surface (the black box) is not seen. Place che
end and pulling the tape out, tape in the shell atop the glasses on your table, with the closed
cutting it near the ends of the side of the box (the o uter shell) facing the audience (Figure 4).
reels.) Otherwise, the tape gets I want toshowyou both oftheseutdeotapes. Infact,I want
cut into tiny pieces and tangles as to giue you a close-up view of them, so I'll need the help o/ a
you are trying to cut the cassette coupte ofpeople in thefront row. We 'll start with this one.
3-1¡-------~
case. Also, it's great to have a hot- At chis point, you're holding the unprepared tape in the
glue gun handy as you are cutting black box. Show it freely, pointing out che slot in che case which
into the cassette (or at least, a allows the tape to be seen. Pull the tape from the box and rap
tube of instant glue), as bits of the on it, handing it to someone in che audience to examine. Notice
plastic case need to be secured in that they look only at the tape cassette ítself, not the box.
TME CONJVRING ANTMOLOOY JIM STEINMEYER
As you take the tape back, motion by taking a step back to the table and placing the tape
replace it in the box. Hold the in your right hand (the prepared tape in the black box) atop the
box in your left hand, with the glasses. I actually adjust ita bit, turning it 180 degrees so that
closed edge of the box against the open side of the box (and the tape inside) can be seen by
the thumb (Figure 5). Approach the audience.
the table and the second tape Now step forward with the tape in the cardboard shell
from the left side, turning your box. Slide the videotape out; the black box remains inside the
left shoulder to the audience. shell. Hand the tape to another spectator in the front row to be
examined. You'll see that ir's the same tape being examined
With your right fingers, lift the
second tape from atop the rwo twice.
glasses. RepJace the tape in the shell box, exercising care so that the
You're now about to switch bottom ofthe box ísn't accidentally seen by the audience.
one tape for another, using the I'm concentrating on two uideotapes because this illuston
cardboard shell as a cover. It's a is a question of medía. Someone once said that television is
very simple, elegant maneuver, defined as a medtum because nothing on it is ever well done.
and the hardest partofthe move is Actual/y, I'ue discovered that it's not a medium. I thínk it's
to not rush it or overcompensate more like an 'extra-soft.' You may be surprised just how soft
for the actíon. Your left side is and flexible tnese tapes can be. Maybe it has something to
still towards the audience. As do wíth the electrons or the magnetic charges. It's been well
your hands come together the documented on television.just watch.
6. tape in your right hand is lifted so Now step back to the table. lf necessary, adjust the
that it is atop the tape in your left videotape atop the gJasses so that there is a clear path through
hand. At the same time, the right the slot. Slowly Jower the tape in your hands through the tape
fingers slightly slide the shell atop the glasses. In this position, you can pickup the tapes anct
away from the tape (Figure 6, a show them, but yo u must be ca reful to not show the back of the
top view). shell box.
, As the tapes touch, the lower Replace the tape atop the glasses and remove the tape in
....;
tape is pushed into the edge of the shell box.
the shell (Figure 7, a side view). J know that looks irnpossible, so I'd like to remtnd you
The hands separate, the right that what you 're uiatching is done unthout the use of special
hand sliding out the tape and editing, trick photography, or video effects. ]ust these two
7. uideocassettes.
black box from the shell. At the
same time, the shell drops on top The cassette is removed from the shell box and shown. At
of the tape in your left hand. the same time, put the shell box (and inner black box) down on
It looks as if the hands carne the table. You won't need them again. Put the cassette under
your arm, then reach over and pick up the prepared cassette
together to transfer the tapes
from hand to hand. Follow the atop the glasses.
Tt1E CONJVRING ANTMOLOGY JIM .5TEINMEYER
They're just líke the kind you have at home. You hada
chance to look this one over. You can see it through the slot in
the box. ]ust a plastic uideocassette.
4.9· SVENTTWOMORE
ALISM
While the tape is still held horízontally in your hands, .SVENGALI DECK EffECT.S,
slide the tape slightly out of the case. If you tip the video and INCLVDING TliE BELLWETt1ER
box forward, it will now appear as íf it is beíng freely shown
to the audience. Rap on it with your knuckles, reminding the
audience that it is a solid tape. Return the tape to a horizontal T he previous Svengali Deck effects (number 47, The
Hypnotized Stack) really seemed to start sornethíng. It
posltíon as you slide the tape back into the box. This conceals inspired plenry of correspondence and severa! other effects, so
the slot cut in the tape (Figure 8). l happily returned to the subject in May 1999, with two effects
The tape is replaced atop the glasses. The second cassette, created by Norman Gilbreath and Max Maven.
under your ann, is inserted perpendicularly into the slot agaín. THE BELLWETHER: Ler's start with The Bellwether by
In this position both tapes can be picked up, held in your hands, Norman Gilbreach. Norman was inspired by Bill Taylor's
and freely shown. (By applying pressure on the tape in the box, use of the principies and put together his own routine using
you can trap the second tape agaínst it, holding it in place.) rwo decks. It starts with a neat bit of presentatíon, by way of
Jt ali has something to do with molecules passing through introduction:
other molecules. I'ue gota ful/ scientific explanation=there 's Some people are just belluiethers. They're the leaders or
a documentary about it on one of these tapes. Of course, I'ue indicators of trenas ... a signa/ f or the way everyone else is
never actually watched it. Slide the tapes apart, stack them on about to act. I'ue been watching you and 1 suspect that you 're
the table and take a bow. just this sort of person. At least, you haue the potential to be
The switch of tapes works beautifully, and the secret is to just sucñ a person. l'm going to try an experiment using two
do it at a delíberate, methodical pace. Like many such moves, decks of cards. You 'll make some cho ices. I'llfollowyour lead
it helps to rehearse the actual action (transferring two tapes, and make the same chotees with the other deck. And, ifyou 're
from hand to hand), then attempt to match the rhythrn and truly a bellwether, something extraordinary unll happen.
sequence with the switch. Needless to say, it does. The spectator is ínstructed to cut
the cards and riffle shuffle them together. She then is instructed
to deaJ out paírs of cards in a row across the table, as many pairs
as she'd like. The magicían, meanwhíle, perfectly duplicates
the action. He cuts and shuffles, he deals out one pair alongside
of each ofthe spectator's.
The spectator is asked to freely select a pair. She does,
placíng her hand on it. The magícían correspondingly places
his hand on his matching paír of cards. All the other cards are
gathered up by the magician. He leaves her pair of cards, and
his corresponding pair, on the table.
She is ínstructed to separate the cards on the table. The
magician does the same. She selects one card by placing her
:)16 TME CONJVRING A:NTt10LOGY
______________
JIM STEINMEYER )'7
hand on it. The magician selects the corresponding card. The effect The Centrifuga! Variationsfrom hís 1991 book, Thauant.
rwo eliminated cards are shown-they are both indifferent Mr. Maven respectfully and understandably retains marketing
cards. The selected cards are shown, and they match rights for this trick.
perfectly. Sventalism is a two-person mindreading effect, and it wou ld
You'll need two Svengali Decks, each with an identical be dynamite for the perfect impromptu situation. The mediurn
force card, As in Bill Taylor's trick, the force cards are short and leaves the room, rwo cards are freely selected, and the medíum
have a distinctive, but secretive, mark on the back so that they correctly, perfectly, and fairly divines them.
can be discerned from the indifferent cards. Be sure a force For this, yo u 'll need a Svengali Deck that has been modified.
card is on the face of each deck, an indifferent card on the top.
In each long-and-short paír, the back of the duplicate force card
When the spectator cuts her deck, be sure she does it by is marked to identify the indifferent card in front of it. That is,
handling the cards at the narrow end. This will ensure that an you can read the identity of the indifferent card from the back
indifferent card will be on the top of one half, and a force card of its paired force card.
on the top of the other-the requirements for the Gilbreath The medium leaves the room. Display the deck using any
Principie. The magician marches the action with his force of the various means devised to show a Svengali Deck. Bill
deck. The cards are riffle shuffled together and pairs dealt out Taylor's dribble and turnover would be a nice, casual way of
by the spectator. handling the cards.
According to the Gilbreath Principie, each pairwill contaín The deck is tabled face down. Step away and turn your
a force card and indifferent card. Following the instructions, back, inviting a spectator to give the pack a complete cut. Due
one paír is selected, and the magician selects his corresponding to the long-and-short construction, the card cut to the top will
pair. As the cards are pícked up, flash the bottom cards of the be a force card. Dírect the person to remove that card, glimpse
paírs when possible-Bill Taylor's subtlery mentioned in the its identity, and conceal it in hís pocket. A second individual is
prevíous routine. told to remove the new top card, note the identity and similarly
Now ínstruct the spectator to separate her cards, one next híde it in a pocket. The remainder of the deck is put back
to the other, face down on the table. Watch the marks to see in the card case and dropped into your pocket. This neatly
where the force card ends up, then separate your own pair emphasizes that you haven't handled the deck or had any way
to match. That is, the force cards should be alongside one of seeing the cards, and also gets rid of the deck.
another. The medium is invited back into the room, and asks the first
The spectator selects one card. According to the Magician's spectator to concentrate on his card. With the proper amount
Choice, this will eíther be the "selected" or "rejected" card. of histrionics, the card is revealed. That spectator takes the
Show the eliminated cards. Then display the final selection for card from hís pocket and verifies that the medium is correct:
a perfect match. during this process, the medium naturally reads the mark on
SVENTALISM: Not surprisingly, my good friend, the the back of the card and notes the second selection. Slowly,
estimable and prolific Max Maven has already been exploring dramatically, the second card is also revealed. lt doesn't get
this territory, and my offerings urged him to send me an much cleaner than that. Easy for the medium (requíring just a
intriguing píece of Svengali mentalism. He notes inspirations few minutes of practice) anda powerful, puzzling effect.
from].G. ThompsonJr.'s Peep Deck Pappy from The Phoeníx Maybe part of the charro of these Svengali effects is in being
#46, a version of Franklin Taylor's Peek Deck, and from his own surprised-even better, in surprising others-with something
JIM .STEINMEYeR
318 THE CONJVRING ANTHOLOGY ~~~~~~~~~~~~~J..!S
so familiar. lf spectators knew that you were using Magic
Cards, if your magic compeers smelled, for a moment, that 50. APPLES AND ORANGES
they were being hoodwínked by a lowly Svengali Deck, they
T
would never forgive you. Do yourself a favor. Take a little he Piano Card Trick is a rare and remarkable example of a
time to make up a nice-lookíng Svengali deck with everyday mathematical effect which feels like real magic. In fact, it
cards. Make the necessary marks or preparatíons according is barely mathematical at all-it's not about adding or counting
to the routines, and try using this old dog for sorne new tricks. or fidgeting with numbers. There is one enormous bit of
Inside of a generation, everythíng old is new again. That means misdirection, a seemingly logical bit of illogic, which makes it
all possible. For this reason, The Piano Card Trick has always
that the Svengali Deck is long overdue for a little respect, as
skillfully demonstrated by Norman Gilbreath and Max Maven. felt to me more like traditional magic rather than the automatic
and mathematic sort.
Ironically, considering that it's called The Piano Card Trick,
it has nothing intrinsically to do with cards (cards can be used
for the counters, but almost any other object is better), and the
famous "piano" position of che hands (placing pairs of cards
between the spectator's fingers) also has nothing to do with
the effect. It's a bit of a red herring, and only reminds you of
how many pairs to use. In other words, The Piano Card Trick is
best with neither the cards nor the piano.
Downs and Hilliard described it in their 1909 book, The Art
of .Magtc. Even then it seemed to be an old idea, but the authors
could offer no pedigree. They'd seen it performed, impromptu,
by the comedy magician Imro Fox-one can pícture it done in a
comer of Martinka's shop. You'll find it described in a number
of books. Many card aficionados have tried to improve it by
identifying the card which transposed. (Even The Art of Magíc
offered an ímprovernent in the form of a false count.)
My other ínspíration was a Selbit effect, presented early
in hís career when he performed as joad Heteb, the Egyptian
magician. A magazine article, circa 1903, recorded the effecr:
a box of apples and oranges was transposed. It's a little
suspicious. I've never found a record of the trick, and the
photos look so good that it may very well have been a trick
constructed for magazine publicity. But mixing apples and
oranges seems to be a great plot for a magíc effect.
My effect, Apples and Oranges, first appeared in print
in July 1999 and was one of the all-tíme favorites from years
320 Tl1E CONJVRJNG A:NTl10LOGY JIM .STEINMEYER
----
of Conjuring colurnns in MAGIC. For sorne reason, many hands and pauses drarnatically
magícíans found this routine irresistable. Perhaps it was the (Figure 1). Watch carefully,
"somethíng from nothing" nature of the presentation, or the one appte and one orange. Yet,
míx of puns and one bíg, intriguing cliché. It's a good trick. belieue it or not, there it is... a
As a magician, every once in a tohile I'm tempted not pair! Got it?Apear!
only by the impossibte, but by the commonly undesirable. See, you 're probably saying
I'ue accepted any challenge that polite society uiould care to to yourselves, 'I can 't believe
suggest. One day, I counted chickens be/ore they'd hatched. he real/y did that.' And rigñt
Real/y. They said that it shouldn 't be done, but J did it. I once now, even I'rn uiondering why I
actual/y cried ouer spilled milk. I don 't know why, exactly ... tried to get away with that. But
but I was uiarned not to do it, so I'm proud to say that J did. I'm not kidding about the pair.
Tonight I'rn going to mix apptes and oranges. I'd like Because I'ue arranged these
to solicit sorne assistance from the audience... two peopte apptes and oranges in pairs.
of impeccable credentials. Because I want to point out that Two by two. ]ust like on the ark.
these two spectators witl actually do the magíc. I, like the rest Here 's what I mean. A pair.
ofyou, will mere/y uiatch, and hopefor the best. He takes the apple and
Two spectators are brought to che stage. They stand about orange in his hands, then steps
ten fcct apart, and each is given a small, ernpry cardboard to each spectator, dropping
box to hold in hís or her hands. ln the center of the stage, che one in each box. He returns
rnagiclan takes position behind a table which has a large glass to the bowl. Another pair. He
bowl of fruit. There are about a dozen pieces of fruir: a pretty quickly picks up another apple
equal mixture of green apples and oranges. and orange, depositing one in
1 want both of you to take a good look at this bowl of each box. A pair. Another pair
fruit. He lifts it and shows it to each spectator. You 'll see that is deposited. As chis happens,
I'ue mixed apptes and oranges. No bananas, no grapes. just each spectator is getting an equal
apptes and oranges. For a long time I'ue been told that it's mixture of apples and oranges.
a mistaee to mix apples and oranges, but you 'll see that the This proceeds for fi ve or síx more
resultsare sort of artistic. They're a/so amazing. That's where paírs of fruit. Finally there is just
the tuio of you come in. Would you please hold up the boxes one orange left in the bowl.
and show everyone tnat they're empty. Good. You are going J do it in this rnanner to
to become my accomplices. point out that ali the apptesand
Watch me carefully. I'll do this slowly, because when you oranges haue been arranged in
go home tonight,you 'll be saying toyourselves, 'I can 't beueue pairs, and these two spectators
he real/y did that!' I handle the fruit at the ttps, and the tips haue been able to assure
only, of my jingers. Applesand oranges. You can ali see that. themselves of this. But I don 't
The magícían slowly removes an apple and an orange from the want you to think that, in any
bowl, one in each hand. He places them together in hís cupped way, I'm responsible for any
THE CONJVRING ANTHOLOOY JIM STEINMEYER
trickery. So 1 want you to perform this demonstration ali to the mystery of the wandering
by yourselves. He gestures to the rwo spectators on either cürus. Place your box on the
side of the stage and their cardboard boxes. Jj it works, ali the table. Reach inside and take
apptause will beforyou. And by the end of it, you won 'tfeelso out a pair, an apple and an
sílly about holding those boxes of'fruit. orange. Good. Put them back
The magician retires far upstage, a distance from the in the bowl. Another pair.... in
spectators, and continues to direct their actions. the bowl. This continues until he
1 told you that the fruu was arranged in pairs, but you 'll instructs the spectator to reach
see that there is one single orange teft in the bowl. This is into the box and take out the
where the rnagic comes in. Which one of you would like to single orange which remains.
end up with the orange? You can decide among yourselves Show everyone that there's only
and tell me. W7zo u/ants the orange?' one orange in your hands ... the
One spectator decides that he wants it. Let's say that ít's the missing orange, and the box is
one on the audience' s left. Good. Step o ver to the bowl,pickup empty.
that orange, show it to eueryone, and drop it in your box. Yo u There 's real/y no possible
can now go back to your side of the stage. explanatton. Maybe it's magic.
Under these circumstances, I'm f orced to magish from Maybe it's horticulture. Maybe
ajar. My deft and untrustworthy fingers wíll not approacn you 've ali just seen a fruit jly!
you-1 do it ali with a gesture, like this. He makes an overly As forme, I'm happy to lead the
artistic movement, suggesting that something's being apptause for our two assistants.
transferred from the left side of the stage to the right. And You'll need a nice fruit
what a gesture! Ladies and gentlemen, despite the f act that J bowl. 1 suggest going to a parry
just seem to haue done nothing at ali, the orange has worked store or a dime store and buying
tts way across the stage as if by magic. l'll stay back here. I'll an inexpensive "cut-glass"
let my assistant grocers do ali the work. plastic bowl, which is light and
He turns to address the spectator on the audience's left, unbreakable. A bowl about 1 O or
who just put the extra orange in his box. You took the extra 12 inches across should hold all
orange. Please take your box over to the table and put it the fruit (Figure 2).
doum. Reach inside and pull out one apple and one orange. Here's what you need: seven
just like 1 did be/ore. Yes, tnat's a pair. Two pieces. Place them matching apples, eight matching
in the bowl. Do that again, take out a pair, and put them in oranges. You might as well use
the bowl. He directs the spectator to do this agaín and again. In real fruit. Don't buy large apples 3.
the process, it is clear that there no longer is an extra orange. or oranges, because they take up
Show the box to everyone. Jt's complete/y ernpty. The orange too much room in the bowl, and
ísgone. I'd suggest using green apples
He turns to the spectator on the audience's right. Your as they provide more contrast
turn. 1fyou 've succeeded, in a moment we 'llfind a solutíon with the oranges. But any fruit
)24 T M E CON J V R 1 N O A N T M O L O O Y JIM STEINMEYER ~
will work, and you can certainly buy plastic fruit in the right description. The spectator on the left will end up with four
quantity if you're worried about your act rotting. pairs offrnit. Don't count the pairs as they come out, just say, a
1 suggest using small corrugated cardboard boxes, about 8- pair. ... a pair. ... a pair.... a pair, pointing out how there is no
inches square (Figure 3), for the spectators to hold. Cut the top extra orange left in the bowl.
flaps off, and interlock the bottorn tlaps by folding one under When the second spectator removes his pairs, he'Il have
the other. This way the boxes can be folded flat for packing. three pairs of fruit and the extra orange. Again, don 't count the
You could also use rwo decorative baskets for the spectators to fruit as it comes out. just say, a pair ... a pair.... another pair,
hold. This would look nice. The baskets don't need to be large, and after three paírs pause, dírect him to reach inside, lift out
just large enough to hold seven or eight pieces of fruit. the extra orange, and show everyone that the box is empty.
Like The Piano Card Trick, this effect virtually works itself. It's a neat míracle and almost excuses the puns whích
You just need to get the sequences right. punctuate the patter.
A11 the fruit starts in the bowl, well rníxed. Take out a pair, You can use a dífferent number of apples and oranges. The
an apple and an orange. Separate the pair, dropping one in mathematics only works with an odd number of pairs. This
each box. You must start by dropping the apple in the box on description uses seven pairs, which is the number from the old
the audience's left (your right), the orange in the box on the Piano Card Trick. I think ít's tough to do it with any less than
audíences right. Now alternare, separating the next pair so seven and still get away with it. Seven pairs seem to offer the
that the orange goes in the box on the left. Continue alternatíng simplest workable version. But nine pairs is fine, and might
through the pairs. Because there are seven pairs, you will end even be a little more deceptive. Using eleven paírs, or any more
up with four apples and three oranges on the audíence's left. than that, would be needlessly tedíous.
There will be four oranges and three apples on the right. Here's a suggestion, if you want to experiment with the
The illogical part of The Piano Card Trick, and Apples handling. You can elirninate the Magician's Choice ifyou don't
and Oranges, is that the objects are removed in pairs, and have the extra orange in the bowl. Instead, put another orange
"pairs" are emphasized throughout. Pair.... pair.... pair, the and another apple in your pocket. Sepárate the fruit into pairs,
audience hears. But the paírs are beíng separated through as in the above routine, then ask who wants an extra píece of
this first process, and it is an odd number of pairs. lf you have fruít. lf the specrator on the left wants it, you reach into your
never performed the effect, you can't believe how simple and pocket and gíve him an orange. If the spectator on the right
deceptive this can be. And that's the extent ofthe math. is chosen, you give him the apple, and in this case the apple
The orange will always transfer from the audience's left seems to transfer from box to box. Otherwise the routine is
to the right, so I use a Magician's Choice when you allow the identical. I personally like emphasizing the hands-off nature
spectators to choose who wants the orange. The questíon is of the effect and don't think that the rnagician's force is out
worded as to who wants to "end up" with the orange. This of place-but you may wish to consider the extra apple and
way, if the spectator on the right says he wants it, you can say orange asan option.
that he'll end up with it, but you'll do it in a magical way. Then
you direct the spectator on the left to place it in hís box. lf the
spectator on the left decides he wants it, just proceed wíth the
routine as described.
Direct the spectators to show the pairs, as in the above
JIM STEINMEYER
26 TNE CONJVRING ANTNOLOGY
result, published in August 1999.
51. Tl1E And 1 think the Accommodating
Kettle, in feeling and secret, is
A:CCOMMODATING KETTLE quite different than my previous
routine or Alan Wakeling's bar
T he effect of the Inexhaustible Bottle is one of my favorites.

It's an elegantly simple, artractive and impossible notion:
man y drinks poured from one container. Anyone who's tipped
routine.
Misdirection is just a f ancy
word for how magicians
a bottle, anyone who's emptied a glass or downed sorne milk fool peopte. It 's sort of líke
-secretly wishing it were wine=gets it immediately. direcung peopte to think in
It's a trick truly so old that ír's new again. lt was so old by the wrong way-to make their
1905 that David Devane reintroduced it to a new generatíon. He brain start spinning in one
performed it with a teakertíe, ínstead of a bortle, and capitalized direction,just be/ore you make
on che Magic Kettle-Liquid Nitrogen demonstrations that were a move in the other dtrection.
then the rage in music halls. Robert-Houdín, Robin, Anderson, I want to demonstrate a uttte
Levante, Charles Hoffmann, and Kalanag also performed mtsdtrectton, and how you
versions of the "any-drink-called-for" act. can use it to handle eueryday
As it gers older, it gets better. More of a novelry. more of a probierns.
rnystery. The preparation necessary stymies most magicians; it The magician picks upa small
is fussier and more time consuming than the current fashions tin teakettle and opens the top.
for tricks. However, my friend AJan Wakeling constructed He shows a bon le of Coca-Cola in
a nearly perfect, srreamlined version of the Bar Act, which l his other hand. Here's a common
described in the book of his magic. Alan 's routine elegantly probtem, a host's dilemma.
mixed principies, overlapping one secret with another, What do you offer your guests? l.
gaining a gradual step-by-step advancage over the audience What if you don 't haue what
until-when the drinks started pouring-the effect was nothing they want? When you use a bit
short of impossible. 1 still consider Alan's Bar Act as an ideal of misdirection, anyone can be
exarnple of magical plotting. fooled. I'll use sorne Coca-Cola,
1 experimented with the effect for many years and I've and the .first step is to hide it
published a version of my own drink effect which I caUed from your guests, so that they
Hospitaliry. In my effect, six or seven drinks are poured from can't really see what you're
an unprepared paper milk carton. offering them. A teahettle is
Along these Unes, it has always seemed to me that the perfectf or this.
routine could be sírnpliñed even more and still provide a The cola bottle is opened
powerfuJ effect. Ernphasize afew simple drinks, save the casting with a bottle opener and most
for the very end as the final proof of the routine, and organíze of the contenrs poured into the
it around several dístínct surprises rather than a multitude of kettle (Figure 1). The lid is placed
drinks as in the old lnexhaustible Bottle. This routine is a recent
)28 TME CONJVRING flfNTHOLOGY JIM STEINMEYER
on the kettle and the magician steps to a table whích holds four misdirectioncan be? Even when
clear disposable plastic glasses. you know that you 're drinking
lf your guests ask for Coke or Pepsi, it's easy. lf they cola, you 'd swear that it's beer.
ask for something like Dr. Pepper or root beer, you just Now there's a little bit still 2.
misdirect them. Say something like, 'Gee, I hope this is cold left inside. ]ust enough to o/fer --r--..
enough for you. 1 just ran out of ice cubes.'As long as you someone sorne cola. Or maybe
keep their mínds on the temperature, their taste buds will you'd rather haue coffee. Would
be misdirected, because it's harder to evaluate different someone líke a nice cup of
sensatíons at the same time. lt looks like root beer, and it will coffee? Well, be/ore I pour out
taste like root beer to your guests-just keep their mind on the coffee, I want to warn you
somethíng e/se. that I might have put a bit too
Demonstratíng the above, the kettle is tipped, anda stream much cream in it. When you
of cola is slowly poured into the first plastíc glass. drink it, you may check to see
lf your guests askfor somethíng a líttle trickier, like grape if it's a bit too light. Gee, I hope 3.
ju ice or orangefuice, you need a bit more misdírection.]ust that tt's okay....
say something líke, '/ hope you don 't get any seeds in that The magician pulls the lid off
orangejutce. I just squeezed it, and a few seeds may have the kettle and looks inside. He
gotten past me.' They 're so concerned lookingfor seeds, that slowly pours out the contents,
they'll neuer notice that they don t have orangejuice. tipping the kettle over the last
Again demonstrating, he picks up the second glass, and plastic cup. Out comes coffee
pours out orange juice ... bright orange juice (Figure 2). and cream (Figure 3). It's passed
Misdirectioncan be a verypotoerful thing. It's surprising to the spectator, who assures him
how your senses can be mixed up that way. Many of you that it tastes exactly like coffee.
probably think that you 'd never be taken in by such a thing. And now you know exactly
But you could befooled just the same way. Let me show you how to do it yourself. ]ust
how .... He picks up the third ernpty glass and carríes it forward psychology. . . and it works so
to someone in the audience. Here's a fellow who might be well, you 'd think ít must be
lookingfora beer. I need to misdirectyou a bit. So I'd say, ~ magtc!
beer! Well, 1 have some excellent beer, but I'm uiorried that it The secret is partly in the
may be a littlejlat. 'Then I'dpour tt out this way.... vessel, partly in the drinks. You
He pours, and a full glass of amber beer emerges from the can easily make the kettle from
spout of the tea kettle. It fizzes nicely, and forms a nice head of a small tea pot. Mine is spun
foam. aluminum, anodized with a brass
You might actually be fooled into thinking that this is color. I notíce that it's made in
real beer. Inf act, J'll letyou take the glass in your own hands. Indonesia. I've always associated
Taste ít! Doyou think that's real beer? these small, inexpensive kettles
The spectator says that it is real beer. See how effectiue with Oriental food markets or
Tl1E CONJVRING A:NTl10LOGY J 1 M .S T E 1 N M E Y E R J)I
import stores, where they are Fill the kettle, using a funnel through the spout, with beer.
4. available in a variery of sizes You'll need to have the right amount-about rwo glassfuls.
(Figure 4). Use disposable clear plastic cups. The standard size holds 1 O
The kettle is faked by inserting ounces.
a separate compartment beneath Inside of a clear Coca-Cola bottle is a mixture of cold black
the lid. 1 suggest using a soft coffee and sugar. It's great if you can use a Classic Coke bottle
plastic cup with a taper. Find one -after you pour the coffee in, press the bottle cap back in
of the right síze so that it wedges place, so that you can appear to pry it off with a bottle opener.
in the opening of the kettle. Use
Alternatively, you can use a larger Coke bottle wíth a screw
silicon caulk around the rim of top.
the cup, and push it firmly in lnside the tea kettle, in the compartment under the lid, is
place so that you have a water- a smaU quantity of milk. This is what makes the coffee a light
tight seal. When the silicon dríes, color.
you can trim down the edge of Finally, two of the plastíc cups on the table are prepared.
5. the cup with a knífe or scissors Inside of the first one are severa! drops of food coloring, from
(Figure 5). a grocery store, to produce a brown color. Use two drops of
The point is that there are two red color, one drop of green and one of yellow. Inside the
compartments to the kettle. One, second glass is a drop of red color. The third and fourth cups
around the cup, can be emptied are unprepared.
through the spout. The other The routine should now be apparent. The Coca-Cola bottle
can only be filled or emptied is opened and a quantity of the coffee inside is poured into
through the top. For many years the kettle. Fill the inner compartment about rwo-thirds full.
U.F. Grant solda similar kettle for Naturally, the coffee blends with the milk.
his Enchanted Kettle effect-but Into the first plastic cup pour the beer, so that it combines
that kettle was made a little bit with the food color in the bottom. You muse pour slowly, in
differently and produced a very a thin strearn, so that the beer doesn't foam up. It will take on
different routine. the color of Coca-Cola. Pour about half a cupful, then stop and
You may find, when kettle showit.
shoppíng, that sorne cheap In the second cup, slowly pour the beer and it will take on
tea pots actually come with an the color of orange juíce. Again, only pour about half a cup,
alumínum strainer to hold the then Lift it to show it to the audience.
tea. This is a sort of cup whích In the third cup, pour a bubbly glassful of beer so that it
fits inside, under the lid. By foams up and forms a head. (This will just about empty out
sealing the holes in the straíner that compartment in the kettle: try not to tip the kettle too
and cementing it ínto place, this violently as you finish pouring.) Offer this beer to someone in
straíner can create the fake. Be
the audience.
sure to use non-toxíc cement! Finally, lift the lid off the kettle to look inside. Picking up
))2 T H E C O N J V R 1 N G A N T H O LO G Y
the Iast cup, empry out the kettle by tipping it, so the coffee
can pour out. When thís is given to someone in the audience it 52. T11E Tl1REESPACE
tastes like perfect cold, sweet coffee.
You can certainly experirnent with different drinks. White
'
MYSTERY
wine in the kettle, for example, can be poured out and colored
I
in the cups to look like orange juice, then colored red to look believe that Kuda Bux, the Indian mystery man, is properly
líke red wine. lf tasted, it tastes more or less like red wine, too. credited with the idea of using rubes to penetrare a cabinet.
O suppose no one checks the vintage in a magic show.) For ln sorne ways the notion is just a small step away from che
old Blade Box, in which sheets of metal penetrated through
kids or family audiences, it is easy to construct a non-alcoholic
version with soft drinks: you can use clear sodas which are a tall wooden cabinet-all placed at various angles to forro a
popular--clear cherry or berry flavors. These can be poured geometric desígn ofbarriers. But the use of tubes is an inspired
into the kettle as 7-Up, then poured out, colored, as cherry step: the tube opens up a space as it penetrates it. It shows an
soda, and offered to the audience. empty area in an efficient, mysterious manner. In che last few
The theme of the effect is stiU the same, "man y drinks from decades there have been a number of "tube" illusions, dírect
one container." But the routine is shorter and the ímpact comes descendants of Kuda Bux's original notion.
from the last two drinks, which are offered to the audience and To me the cleverness of the tubes is sometimes offset by a
provide the final proof. The rest is in the hands of a talented confusion with the effect. When the tubes are plunged through
performer-or in this case, an accommodating host. the lady, is the audience to believe that she has disappeared
from the cabinet? This seemed to be Bux's original effect. Or
maybe they should be thinking that she's been mysteriously
penetratcd by the oversized cookie cutters? Chuckjones gives
this impression in his version of the illusion. Perhaps-and
I suspect a number of variations end up here-the audíence
is supposed to play hide-and-go seek, gradually trying to
guess where she could be concealed. In this way the original
sideshow Blade Box achieves a much clearer effect.
1 like the idea of the tubes, but felt that the effect could
benefit from a clear plot behind it all. The Three-Space Mystery,
published in September 1999, was my result. The illusion
is designed with no real differentiation berween che tubes
and che cabínet whích holds the lady. Three narrow tubes of
various lengths are shown, then arranged to be penetrating
each other in three dímensíons, a sort of modero sculpture.
The mysteríous part is that the rubes are assembled with a lady
trapped inside one of the narrow tu bes (Figure 1 ).
The illusion almost certainly requires a good, clear
presentation and an effective performer who can talk his
way through the various elements. The patter, I'd suggest,
Tt1E CONJVRING ANTMOLOGY JIM STEINMEYER
capitalizes on the artistic elements of the effecc. room atal/.

The magician shows a rolling cart that supports three red The lady steps inside and the apparatus is turned about,
tubes of varying hues. The three tubes have been arranged to showing her position clearly. The front of the tube is locked
intersect at right angles in a sort of pattern. on, obscuring her from view. However, she quickly inserts her
This piece of modern sculpture, begins che performer, has fingers through two narrow openings in the front, about waíst
sornething to do with time and space, wtth three dimensions, high.
with what we consider to be real, and what we fear is She can bend her arrns up just far enough to show you
impossible. Pretty irnpressiue, huh? And you just thought that her hands. Keep an eye on her jingers, and that way you
ít was three red wooden tu bes. I call it Three-Space,and I don 't
can keep an eye on the lady. This is where the real and the
want any cracks about how your kid could have done it. imposstbteget rnixed: What you 've seen so far is ali real. Now
The three tubes are pulled apart and shown. In che I'm going to invite you to watch a bit of performance art, to
process the rníddle-length rube is shown so that the audience contemplate the wonders of Three-Space, and understand
appreciates that one síde is clear Plexiglás. The fronc is how three objects can be in the same place at the same time.
removed from che upright tube, showing the interior. When The three tubes are slowly assembled again. One, with
I was fintshea, I nottced that the largest tube, this one here, the Plexíglas front, passes through the lady's legs, cornpletely
was just large enougb f or a human being. just barely large occupying the upright tube as it intersects it.
enough, that is, prouided that she wouldn 't bend or twist, or The magician turns the prop from side to side to
make any sudden movements or take any deep breaths. J'm demonstrate, then picks up an inflated coy ball, rolling it
going to invite my assistant to take the part of the human chrough the horizontal tube to show how the lady's legs have
being, and you 'll notice that she doesn 't have uery much been penetrated.
The final tube, che shortest, is inserted from front to back,
sliding along the top of the cart. As it passes through che
upright tube, it is apparenc that the lady's torso has similarly
disappeared.
Her fingers can still be seen in the fronc of the apparatus.
In this position che prop can be tumed around, moved and
freely shown to che audience. The magícian shows his hands
through the open spaces in the horizontal tubes.
This is the tmpossible part. Three dtmensions: length,
height. width, ali in the same place at the same time. This next
part requires an artistic touch. The idea is to sude ali of the
elements apart, wtthout disturbing the human being.
Quickly, the tubes are taken apart (the openings in the
uprigbt tube flip closed as this happens) and tbe front is
removed from the upright tube. The lady is standing, as she
was before. There doesn't seem to be anywhere for herto hide,
erdnasemagicstore.com or any extra room for her to maneuver. She steps out from the
3f Tt1E CONJVRING A:NTNOLOGY JIM STEINMEYER
tube and takes her bow. Tube 2 is 16 by 14 by 32 inches. The cart is 1/2-inch plywood
The apparatus I'rn proposing is quite simple. The cart is a and the base is 3/4-inch plywood.
rolling platform with an upright background whích fonns a sort The tube containing the lady has a removable front, so that
of shaUow box (Figure 2). The upright tube, which holds the she can clearly be seen inside. Two openíngs allow her to place
lady, is faked with a back wall which splits-for half its height her hands through the front surface. Figures 4 and 5 show how
-and opens back with spring hinges. This allows the lady to her hands emerge from the cabinet.
crouch in che tube and behind it, in the open area of the cart. A good arnount of cleverness muse be directed at the
Her movements and her body are concealed with a single sheet rectangularwindows in the upright tube which allow the other
of glass rnírror which is arranged in the cart, reflecting one half tubes to penetrare. They could be flaps of fabric, of course. Bue
as the other. It's the principie used in the Duck Bucket. The I' d suggest thin hinged panels (of metal or plywood). The lower
mirror is permanently mounted, and can be carefully arranged windows, at the sides, can be hinged to the back, so that they
to retlect the interior of the cart perfectly. You'll notice that are opened just before the tube is pushed through. The upper
the mirror is completely contained within the apparatus: it is windows, in the front and back, can be hinged at the bottorn, as
angle-proof. the tube is inserted from front to back, and these flaps naturally
Use a glass mirror, 1/8-inch thick, mounted with adhesive open and hinge horizontally. As the tube is removed, the lady
to a plywoocl panel 3/8- or 1/2-inch thick. The rest of the pushes the front flap back in place where a tab ofVelcro holds
apparatus should be made of plywood. The tubes can be 3/8- it in position.
and 1/2-inch material (Figure 3). The dimensions of tube 1 are The dimensions shown rnay need adjustment for a specific
16 by 10 by 48 inches. Thís is the tube with the Plexiglas front. assistant, and the height of the cart will depend upon her
2. 4.
16
12 13 TUBE #1: TUBE #2:
338 TNE e o N J V R l Ne A NTN o Lo e y JIM .STEINMEYER
height and proportions.
I'd suggesr finishing the cart in steel gray with a black base
and a black top shelf. The inside of the sides should be black
53· Tl1E INDIAN ROPE
with a pattern of gray stripes on the back wall, to help conceal' EXCVSE
the mirror effect. (Perhaps the inside back wall is best lined
with fabric ro rnake a nice joint against the mirror.) The tubes,
for contrasr, shouJd be arranged in shades of red. The upright T his was the last installment of a series of Conjuring anides,
appearing in October 1999. It was one of those tricks
that quickly becarne popular with readers, and 1 received a
rube, with the lady, should be a scarlet, with the inside rwo
shades lighter than the outsíde, Sirnilarly, che other rwo tubes number of comments on it. 1 think that some of the appeal
should be finished in magenta and orange red. Remember that was che convenience of che presentation. A generatíon ago,
the middle-length tube has one surface of clear Plexiglas, so this sort of effect-mildly arnusing, fast, easy to carry with no
that the audience can clearly see into it. table needed-was often called an "erncee trick," but such
The different shades of red and the lighter interiors will give effects have become useful for many situations besides actíng
a vibrancy to the apparatus and enhance the artistíc effect. as master of ceremonies. "Packs srnall, plays big," according to
Rernember rhar the effect is greatly helped by turníng it che catalog prose wc've come to love. It rerninds me of the class
and showing ic from different perspectives throughout the of trick in which the magician conjures with pictures of things
performance. The audience can only appreciate the illusion by -there are lots of kids tricks that fall under this category. Such
seeíng around che tu bes as they are assembled. effects have always seemed vaguely silly: a substitute for really
The Three-Space Myscery is one ofchose illusions, l'rn sure, doing something. That's the point of chis next rourine=all a
cha e couJd be completely incomprehensible if performed silent very pale excuse for why you're not performing the famous
to musical accornpaniment or carelessly presented by a slap- Indian Rope Trick.
dash performer. Howcver, if the magician has the skills to talk At this time, che magician begins, it's custornary [or rne
his way through che effect, explaíníng each step of the effect, to present my uersion of the 'Indian Rope Trice.' That's the
it's an amazing and offbeat illusion-and a really intriguing legendary effectfrom anctent India, often dtscussed, se/dom
piece of appararus. seen. You'ue probably heard of it: a rope is throum up in
the air, a little boy clirnbs to the top and dtsappears. It's a
5. real crowd pleaser. Por the purpose, I use a 50-foot coi/ of
hemp rope, speciaüy woven by a group of Sepoy holy men.
My assistant is an eight-year-old Indtan boy, trained in
conjuring, yoga and acrobatics and ratsed in the Buddhist
caves on Salsette lsland.
Unfortunately, at thisperformance I won 't be a ttempting
the 'Indtan Rope Trice.' \tí'hen I got here tonigtu I was slightly
atsappointed at the ceüing height. And then, o/ course, there's
been a shortage o/ eight-year-old Iruüan boys, trained in
conjuring, yoga, and acrobatics and raised in the Buadnist
caves on Salsette Island..... Anyway,for a number of highiy
technical reaso ns, the f amous 'Jndian Rope Trice'will not be
TME CONJVRING .iltNTMOLOGY JIM STEINMEYER
attemptedthis eveníng. raised in the Buddhist caves on Saisette Island, slowly cltrnbs
But l don 't want you to leave disappointed. So /'ve to the top, hand over hand. He looks like this. He shifts the
prepared a graphicpresentation of the trick; that way, you 'll cards again, showing the illustration of the rope standing in the
ful/yappreciate my skills. I'llshowyou what tt looks like using aír. Suddenly, the little boy disappears in a puf! o/ smoke! It's
these three pieces of cardboard. The performer removes three real/y something to see. It looks líke this. He shifts the cards,
cardboard plaques from beneath his arm and casually shows showing the first one again. See, the boy is gone. I gesture, and
thern, one by one. Each one has a colored back and has a simple the rope falls into the basket, like this. Voilá!
drawing on the face. Here then, under duress, is my uersion of The magician makes a half-hearted bow, then acts slightly
the f amous 'Indian Rope Trice '... foryour approuat. disappoioted at the response from the audience. He holds the
The magician holds the stacked cards, showing the drawing card with the basket aloft, then drops it to the floor. General/y,
on the front. lt is a basket (Figure 1). / begin with a 50-footcoi/ that gets a better round of applause. We'll try it again. The
of rope, which is throum into this basket. That looks like this. boy is gone. / gesture, and the ropef alis into the basket again,
He tums the card over, shifting another one to the face. This like this. Voilá!The magician tums overa second card. There is
shows the basket with the end of the rope extended in the air only a basket on it, no other illustration.
(Figure 2). l make a magnijicent gesture ouer the rope, and Agaín, he seems disappointed in the response. He drops
one end rises slowly in the air to the height of about twenty this card on the tloor, Ieavíng one rernaining in his hand, íts
feet, whích looks like this. He shifts the cards again, showing back to the audience, Boy, you guys act like you see this stuff
the last drawíng: the boy atop the rope (Figure 3). The small every day. l'll try it one more time. . . . Ahem .... The boy is
Indian boy, trained in conjuring, yoga, and acrobatics and gone. I gesture, and the ropef alis into the basket again, like
l. 2. 3.
;
.. ······
/ .. ·--'
,. . -~
\
.)
;;§: \ .,__)
-(§2_ -~· -~·
342 TME CONJVRING A:NTMOLOGY JIM .STEINMEYER
this. Voilá! He turns over the last card, revealing that it, too, has art supply stores.
only a basket on it. All the other iUustrations have disappeared. Set the cards in che following order: Card One, with the
He drops this card to the floor, and takes a bow. basket showing on the top; on top of this Card Two, with
Wow, what a tough crowd! Anyway, you'ue now seen a the upright rope showing: on top of thís Card Three with the
rough approximation... of a graphic description... of how Indian boy showing. This is che packet you start with.
it might appear... under the perfect conditions, of course... Hold the cards squared between your hands. The picture
ifyou should ever be lucky enough to see... the almost never of the boy shows on che face, and che card back shows on the
seen ... famous... Indian... Rope... Trlck! Another bow. The opposite side. As you refer to the three cards, fan them slightly
magician scoops up the cards and puts them away. showing the faces. Then square the cards again.
The trick is actually a sort of jumbo Three Card Monte, Hold che packet berween both hands so that che back faces
posing as a description of the lndian Rope Trick. Or, if you like, the audience. Pívot che cards down, showing the face card,
ít's a gígantíc packet trick. then slide ít off to your left hand. Your right hand pivots up
1 suggest cards made from white posterboard or illustration again, showing che back card. You turn the packet over, sliding
board: 10 inches by 15 inches seem to be a good size, but the second card atop che first in the left hand (Figure 4). Finally
you could use even larger cards for a large audience. The your right hand swings up showing the back of the card again,
illustrations, as indicated here, should be a bit rough, a bit silly before pivoting it over and placing it atop the other two cards.
and crude. That's the joke. Use these drawings as a guide or This maneuver should be performed in a smooth rhythm.
have them redrawn. When you produce the cards, it rnay be One, two, three. It shows the faces of all three cards by
easier to use photocopies of illustrations so that they match changing their order. It also seems to suggest that you've
perfectly. Copy them onto 11 by 17-inch sheets at the copy shown three backs.
shop, then glue them to the cardboard and trim them. I think Accordíng to che parter, you start by showing the face card
ít's nice to add sorne color. The basket can be colored yellow of the packet. Hold all the cards together, then display the
with a marker; the boy can be similarly colored with flesh tones basket that shows on the top of che packet. (Unknown to the
with a blue turban and panes. audience, a basket card also shows on the back of the packet
There are just three cards. The first (called Card One) has as well.)
a basket on it, and a plain-colored back. 1 suggest not trying to Slide this card off the face, rurn it face down and replace
make the cardboard cards look like playing cards. There's no it on the face of che packet. Now draw out the middle carel,
reason for this. Don't round the corners. Don't worry about a sliding it against the face of che packet. In this position you
pattern on the back. just cover the back with a solid color of show the packet, displaying the basket with the upright rope.
Contact paperorcolored adhesive paper. It's best ifyou leave a Now slide out the back card, putting it against the face of
white margin of about 3/4 of an inch ali around. the packet. This allows you to show the card with the boy on
The other two cards are double faced. One of them (Card ít.
Two) has the upright rope on one side, just the basket on the As the presentation contínues, slide out the center card,
other. The last card (Card Three) has che upright rope with the replacing it on the front. This shows che upright rope again.
boy on one side and the basket on che opposíte side. Slide out the back card (which shows as the colored back to
Ifyou want to produce a really níce prop, the cards can be the audience) and hold it alongside the other two cards in the
larninated or covered with a transparent, matte-finish film from packet. Fold this single card against the other two like a book,
Tt1E CONJVRING A:NTt10LOGY JIM STEINMEYER
so that the colored back ends up

facing the audience (Figure 5). 54· PLA YING f OR KEEPS
Slide out the rear card,
showíng the basket (Figure 6). A_ fter a hiatus of nearly two years, Conjuringreappeared
Drop thís card on the stage, ~in MAGIC Magazine in September 2002 with this
taking care that it falls flat routine. This Bruce Bernstein creation is one of my "rnodern
(without turning or flashing the day" favorite effects in magic. 1 was pleased when Bruce
bottom). agreed to let me republish it, and reintroduce Conjurlng with
Slide out the next rear card, his miracle. Bruce Bernstein, a friend from my old stomping
showíng the basket. Similarly ground, Chicago, was for many years the fellow behind the
drop this card on the stage. counter at Fran andJay Marshall's Magic Incorporated. That's
You're left holding one card, where I first met him. Bruce is also a very clever innovator,
back to the audience. As the especially in his field of mentalism. Bruce lectures on his
patter concludes, slowly turn ideas, and he has an infectious enthusíasm about performing,
the card over, showing the third and is a careful and cornpetent teacher as well.
basket. Drop this card atop the I've always been partial to the plot of Bank Night. Bruce
others. As you retrieve the cards, Bernstein's version first appeared in his 1985 book, Psi-Tecn
use the top card to scoop up the (now out of print). Bruce's idea was for a simple, direct,
other two; this allows you to lmpossible Bank Night, using spectators to do all the work
flash the back of the packet (the in a complecely hands-off presentation. Bruce credits Barríe
colored back) as you put the Richardson with the "ínstrucríons-on-cards" part of the
cardsaway. effect, which forms the final coup de grace in the routine.
When Bruce first told me about it, 1 thought it was fantastic.
1 played with the routine a bit, and told Doug Henning about
it. At the time, he was planning hís new tour, and thought it
might be a good idea to have a strong audíence-partícípation
piece. Doug and 1 worked on the effect, even having the
props made (such as they are), but it nevergot in the tour. We
just didn 't need the time, and the routine would have been a
stretch for Doug's show.
Still, Doug had sorne very clever ideas for the presentation,
which ratcheted up the drama and increased odds for ali the
spectators. Since then I've described the finished routine to
several performers who are currently performing it. It's really
powerful. No doubt about it. But be wamed. You need plenty
of time to do it justice, and a strong command of spectators
on stage to extraer the maximum value. It's not for the faint-
~46 T 11 E C O N J V R 1 N G ..1r N T 11 O LO G Y JIM STEINMEYER )47
hearted or the beginner. especially suspicious that they'll get the same bilis back agaín,
Thanks to Bruce for permission to describe the effect here, Each spectator takes a seat in a row of five cbairs which are
and a nod to my old boss, Doug Henning, for his inspirations. placed, shoulder to shoulder, on the stage. You're Number
Iust imagine this as a catalog description. Here's what the One, you 'reNumber Two ... Three ... , et cetera, the performer
audience sees. tells each spectator, numbering them from left to right, from
You rnight not think you trust me, but I'ue found that the audíence's viewpoint.
an importan! element in psychology, even in psychological He pulls a stack of manila envelopes from his pocket.
deceptions, is trust. If I stand on this stage, you might Please take your bilis, pass them ali down the row and hand
autornatically be suspictous of what I'm telling you. It's the them to Number One. I'd like you to take this enuelope,place
nature of a performer to exaggerate or color the truth. But ali the bilis inside, and seal it up. I'm going to giue each of
you 'd trust the people around you, wouldn 't you? E ven the you another en velope. That's four more enuelopes, but you 'll
total strangers out there, rignt? see that these enuetopes jusi have slips of neuspaper inside.
I'm toondering just how muchyou would trust the people Please lick them and seal them up. Then pass them ali down
around you ... how much you 'd trust them to make the rlght to Number One. J don 't want to touch them.
cho ices and look out for your best interests. Inf act, I'd like to Number One, the spectator on the end, is now holding five
solicit the help offive trustworthypeoptefor this experimeru. sealed envelopes. This is oery important. l want you to shuffle
It's an easy job. In f act, it's a lot of'fun. But in order to play, those en velopes in your hands. Jn f act, do it behind your back
you have to have a 20-dollar bill with you. Could I haue fiue so that you yourself do not know which enuelope contains
total strangers who each have 20 dollars? the bills. Haue you done that? Can you tell me honestly that
The performer convinces five spectators to join him on you do not know where the bills are at this time? He says yes.
stage, Each brings a 20, and he asks them to make an identifying Good.
mark, or note any folds and serial numbers, just in case they're The performer takes the envelopes at hís fingertips and,
without changing theír order, openly spreads thero in a fan.
Approaching Number One, he asks him to reach out and pick
any envelope (Figure 1). Take any one you 'd like, and hold
it in your hands. Number Two picks one of the remaining
envelopes, et cerera, until each spectator has freely selected
an envelope.
But tñat's real/y not fair, as Number Five didn 't get
to pick which enuelope he wanted; he just got the one left
over. We can take care of that. l'd like you to change your
en velope with anyone e/se here. ]ust tell me whose enoelope
you 'd rather have... or maybe you 'reperfectiy satisfied with
the way it ended up. 1 just want to warn you that, in a few
moments, it's important thatyou are conuinced thatyou had
afree choice.
Number Five is, hopefully, encouraged to change hís
348 T N E C O N J V R 1 NO A: N T t1 O LO O Y JIM STEINMEYER
envelope with someone else in the row of chairs. We'll say, performer takes the card, hands
for example, with the lady at Number Three. The performer him the lighter, and watches as he
then approaches her and asks if she'd like to change her mind. lights che comer of the envelope
Yo u can even ask for your original enuelope back again, he and drops it in the waste can
tells her. Each spectator is encouraged to speak up if they'd (Figure 2). He slides the can 2.
like to change with someone else, and each time they pass the along the row, and has Nurnber
envelopes down the row in exchange. I don 't want to touch Two tum over his card. Number
them, the performer says. Two, read your instructtons. He
If you 're ali satisfied, I'd líke you to put them in a saje reads, "Bum your envelope." The
place. In a shirtpocket ora coatpocket, oryou can e ven sit on process is repeated. Obviously,
them. ]ust make sure that it ends up in a saje place, beca use there's a certaín nervous energy
one ojyou is now holding the moneyfor eueryone up there. as each envelope ignites.
Now we need sorne instructions, but rather than me Number Three reads,
tellíng you what to do, I thought I'd let you make those "Bum your envelope." Number
dectsions. The performer reaches in his pocket and takes out Four reads, "Do not bum your
five 3 by 5 index cards circled with a rubber band. He removes envelope." The performer
the rubber band and fans the cards openly. I don't want to shrugs, takes the card, and
show you uihat's printed on these caras. Pirst, I want you to ínstructs che lady at position
matee your choices. Approaching Number Five, the spectator Four to keep the envelope in
takes a card, holding it face down. This is repeated with the her pocket. Number Five reads,
other four volunteers. "Bum your envelope," and does
Before you look at your instructions,I just want to potnt so, dropping it in che waste can.
out that Number One didn 't get much of a choice. How about The performer now steps
changing your cara with someone else? Again, the spectators downstage, curning hís back on
are encouraged to change their face-down cards until they are the spectators. I toldyou that this
all satisfied that they hada completely free choice. Obviously, u/as about trust, and that you 'd
the goal is to have a little bit of fun during this process. The be trusting total strangers with
spectators shouJd be reminded that they have to start by your own money. After ali, you
trusting their own judgments ... and shouldn't be shy about sealed the bilis in the enuelope,
making their own choices. After all, each person is playing for you mixed them, selected them,
theirown money. changedyour minds as muchas
The performer picks up a metal waste basket and a lighter. you wanted. You each changed
He sets the waste basket at the feet of Number One, and asks your instructions, read your
him to turn over his card, pointing out his instructions and tells instructions, and burned the
him, Number One, read your instructions. If necessary, che enuelopes. You have to admit
performer holds che microphone to hís mouth as he reads. that I'm not responsible for
Number One reads, we'll say, "Bum your envelope!" The anything that's just happened
)5º TtH C O N J V R 1 N O A N T 11 O LO O y JIM .STEINMEYER
up here! You made ali your own decisions because,f or better ignited before ít's dropped into
or worse, you trusted that one o/ you would make the right the can. A slow burning material,
decision.But the odds o/ that happening are only one in fiue. like sorne loose paper or a can of
Would each o/ you haue bet twenty dollars with those odds? sterno at the bottom of the waste
You would, if you trusted in cotncidence, or if you had a can, will ígníte with the first
húnch, or if you thought that the collected wísdom o/ ftue envelope and continue to bum.
peopte could actually counteract the odds o/ eueryday life. The second deception-
That's why I'd now like to ask the lady at Number Four to and this is a tricky one, so
standup .... pay attention-involves the
Still not looking, the performer waits to be sure that she's instruction cards.
following instructions. And hold up the enuetope. Hold it so There are five sets of cards.
everyone can see. I don 't want to toucn it. Inf act, I'm not even There's a "Number One" set, a
sure I can watch! Please tear it open. Carefully. Slowly reach "Number Two" set, et cerera.
inside and take out the contents. Hold up the bilis, show them Each card in the Number One set
to everyone in the audtence... and please giue them back to is exactly the same, and consísts
each ofyour friends. I'm sure you 're al! uery pleased to see of an index card with fi ve neatly
that money, and I, for one, want to apptaud the .five o/you ... printed instructions on it. In
fiue total strangers with a supernatural intuition. other words, here is what's
The performer turns, escorts them back to their seats under printed on all.five of the Number
the applause, and takes rus own bow. Onecards:
Not too shabby. It's ali accomplished by a few simple,
wonderfuJ deceptions. Number One: "Don 't burn
Step one, the envelope is marked. You couJd do this any your enuelope. "
number ofways, with nail nicks on the flap of the envelope, or Number Two: "Bum your
a bent comer. A few years ago, l stumbled across a nice formula, enuelope."
using a manila colored envelope. You can get these in standard Number Three: "Bum your
envelope síze, the shorter síze for personal letters. These have enuelope."
the usual triangular flaps. Using a bright yellow colored pencil, Number Four: "Bum your
draw a fine line around the seams of the envelope (Figure 3). enuelope."
You may want to experiment with the color. 1 found that, Number Piue: "Bum your
looking for the color, it was easy to spot in your hands, but was enuelope."
nicely conceaJed by che tan tint of the paper.
Four matching envelopes (unmarked, of course) have slips This is very important. All
of newspaper inside. You may wísh to experimenc with paper five instructions are on each
and the trash can to insure that the envelopes bum easily. card. Each of the cards in that set
Don't use flash paper in the envelopes. It's a nasry surprise for are identical.
the spectator. It's better to just watch that each envelope is The five Number Two cards
Tt1E CONJVRING A:NTt10LOGY ~~~~~~~J~IM~_S_T_E~IN~M_E~Y_E_R~~~~~~--;)
each read: pocket, your shirt pocket on the left side, and an outer coat
pocket. Put set One closest agaínst your body in the inside coat
Number One: "Burn your pocket, with Two next to that. Three and Four, moving out
enuelope." away from your body, are in the shirt pocket ne:xt to that inside
Nurnber Two: "Don't burn pocket. And the last one is in an outer coat pocket. This way it's
your en velope. " easy to reach in and grab exactly the set you want withouc any
Nurnber Three: "Burn your fumbling. Just mentally keep in mind that One is closest to you
enuelope." and the numbers work their way out.
Nurnber Pour: "Burnyour Here's the handling. Be sure the spectators are addressed by
enuelope." their nurnbers, which will set up the instructions more clearly.
Number Five: "Burn your According to the above routíne, the marked envelope is the
enuetope." one handed to the spectator for the bilis. The other envelopes
are mixed up with it. You take the five of them and, rurning
You get the idea. Each set them so che flaps are face-up (so you'll see che mark), spread
indicates that a different number thern in a fan. Note where the marked envelope is, and wacch
should "not bum" the envelope. to see which spectator takes it. As the envelopes are switched,
l suggest neatly printing the take note of who ends up with the marked envelope with che
cards using a word processor and bilis. You'll notice that, despíte the protests that you "don't
primer. You can have them done touch" anything, you do handle the envelopes briefly as they
on full-size sheets, then copied are selected-thac lets you know about the mark.
at a copy shop on card stock and At chis point, with the envelopes in the spectator's pockets,
cut down so they look like the you now know exactly who is holding the bilis. Let's say that
usual 3 by 5 index cards. Be sure this time Number Four has the bilis, unbeknown to her. You
the inscructions are easy toread. reach into your pocket, taking out the Number Four set of
lf you want to get fancy, it instruction cards (the outer cards in your shirt pocket), and
occurs to me that a níce way take off che rubber band.
4. to make the cards would be to Spreading the cards face-down, have each spectator select
make folded cards, like small one. Be sure they don't tum them over and read them yet. At
blank thank you cards, for each this point, encourage them to change the cards if they'd like.
of them. The folded card would Of course, as che cards are all printed with every ínstructíon,
easily conceal the writing up this final exchange won't effect the result at ali.
until the moment the spectator As ea ch spectator tums over their card, they find fi ve sets of
opens it to read it. instructions printed. When you approach Number One, simply
Each set should have a rubber point to che first line on the card and say, Number One, read
band around it and be arranged your instructions! He reads, "Bum your envelope" (Figure 4).
so you can easily get at them. 1 Be sure he stops there. Take the card, hand him the lighter and
suggest using your inside left coat have him carry out the instructions. Each spectator will follow
TME CONJVRING ANTHOLOGY J 1 M S T E 1 N ME__Y_E_R -J.)ll
suit, readíng their instructions.
At this moment, the spectators become instant stooges, 55· Tl1E TWODICTIONARY
as they all leam how the instructions have been written out.
However, there have been so many free selections up to this TEST
point that ít's virtually impossible for them to follow the full
meaning or the importance of this last touch. The audience
will naturally assume that the instructions could have been W hen it comes to Book Tests, every mentalist feels
strongly about them. 1 think ít's hard to improve upon
Maskelyne's original concept, The Great Dictionary Test.
changed right up until the Iast moment, giving the impression
that the bills were always in jeopardy. And for the spectators, Although we're not sure of Maskelyne's method, Professor
the mixing technique is the strength ofthe routine. Hoffmann offered his own version of it in Later Magíc-and it's
A number of performers have realized that buming a pretty good trick. The advantage of the routine is in the use
envelopes is often a problem beneath a fire detector in a of a dictionary. A Book Test, after ali, should feel like you've
ballroom, and the perfect solution is a shreadder from an office allowed for a wide range of word possibilities (a dictionary),
supply store -one of those that fits on the top of a waste can. ínstead of limiting the possibilities to a cheap paperback book
You'll almost certainly have to plug it into an extensión cord, of prose.
l wanted a Book Test using one of those oversízed old
and it'll take a bit of careful shopping to fínd a shredder capable
of chewing through five sheets of paper and an envelope. But dictionaries. So 1 started looking at number forces which might
the shredder is a good idea, and invariably gets laughs as che be useful. One ofthe best is the old, old 1089 force. Remember
envelopes are destroyed. it from your Cub Scout days?Take a three digit number, reverse
1 know I was right in my judgment of Playing for Keeps.
the order of the dígíts, then subtract the smaller from the
In the years sínce it appeared in MAGIC, it went directly into larger. Then take the sum, reverse the order of the digits, and
the programs of a number of professional performers, and has add it back to the sum. The total is aJways 1089.
become a favorite in corporate shows. It's fidgety, feels phony, and too many kids have read
For businessmen or in a corporate setting, the above about it in magic books. The number 1089 might seem vaguely
routine takes on a whole new meaning and invites a nice mix of familiar to people who have seen any mathematical tricks. But
laughs and sweaty palms. You shouldn't have too much trouble the idea is a good one. In playing around with 1089, l found that
tailoring the presenratíon to make a specific point about there are sorne real advantages and surprises if you simply don 't
teamwork or customer satisfaction. Don't forget to reinforce take it to the conclusion. That is, ifyou don't get as far as 1089.
what's just happened before you move in for the climax, and For example, take any three digit number (the best way to
make the final revelation as dramatíc as possible. After all, say it is "three different díglts"), and reverse the number, then
you've [ust performed a miracle, haven't you? subtract the larger from the smaller number. The new three-
digit number will be one of only nine numbers. That's right.
There are only nine possible three-digít numbers that you can
get. The middle digit will always be nine.
Not only that, take that three-digit number and add the
digíts together. The result will always be 18.
Here's the result of my experíments, first published in
MAGIC Magazine, October 2002. It's a Dictionary Test with
r nt
N-~~~~~-
CONJVRINO ANTl10LOOY
-~~
three distinct surprises, and a to a different spectator.
nice, bíg trick. Keep the books closed right now. In a feui moments I'm
If I were to ask you to think gotng to ask you to open them and pick some words. Por
of a jlower, to just name one right noto, you teeep your eyes on the big dictionary, you
l. rtgiu now, ü's a psychotogical keep your eye on the little dictionary, and the rest of you ....
fact that almost none o/ you The performer shows a large manila envelope, which he leans
would say azalea. In f act, a against a chaír back. Keep your eyes on this, because if we 're
majortty of you would say rose, lucky tonight, this enuelope is what it's ali about.
an easy choice, because our Now the big dtctionary has over a thousand pages, so
minds aren 't programmed to we 're tooktng for a tñree-dtgit number to designate a page.
make chotees in thts way. You I'd like to get three of you tnuolued, and haue you each cal/
might identify the narnes o/ out a different number, one througñ nine. I'rn going to then
hundreds of jlowers, but there add a randorn factor by reuersing and subtracting that
are onty a feto that might come number. That'll giue usa new number, one that none of you
to mtnd. could haue anticipated. Let's try tt.
This euening I'm going to Picking up a large pad of paper, the magician takes a pen
ask someone in the audience and, one by one, asks for three different numbers. Let's say
to thtnk of a toord, a short that the spectators call out "8,'' "4," and "3." These are written
word with four or jive letters, across che top ofthe board asa three-digit number843. Picking
but rather than limit it to the up a dífferent colored pen, the performer reverses the dígíts,
two or three dozen uiords that placing the larger one over the smaller. That means that there
mtgnt quíckly come to mind, are now rwo numbers written on the board: 843 over 348. He
uie're going to arriue at that draws a line beneath them and subtracts one from the other
word in a ranaom, scientific (Figure 2). The result is 495.
manner. When it comes to That's a number that ali three of you created, euen if tt
u/ords, they're ali right here. The seems randomforeach ofyou. Help me out. Turn topage 495
2. performer picks upa large, heavy o/ the big dtcttonary. Don 't uiorry about the small one right
hardbound dictionary, the son now. You may not even haue 495 pages in that small book,
of which is in libraries (Figure anyway. Take a look at page 495 in the large dictionary. I
1). He hands it to someone in want you to sean down the page. Look at the jirst column,
the audience. I'ue a/so brought and go down to the center of the page. I want you to ptck out
another dtcttonary, a sort a small word, four or jive letters long, near the center of the
of poceet dictionary whích page. It will netp if ü's a uiord you 've heard, as we 'regoing to
is a little bit more portable. try andjind that uiord in the smaller dictionary as well. Have
We can use thts to check our yougotone?
chotees. Holding up a paperback Tuming the page on the pad, the performer now draws five
dictionary, the magician hands it lines across the paper. Glose the dtctionary and utsualtze the
358 T H E CON J V R 1 NO A N TH O L OO Y J 1 M
~~~~~~~~~~~~~~~~~~~_µ.
ST E 1 NMEY E R '{Ca
word in your mínd. Fiue letters. That's my guess. Yo u picked a this is the page you 're looking
uiord with jive letters. Think of the jirst letter. It starts with an for.Inf act, I know it is, because I
N. That makes sense... around the míddle of the dictíonary. circled a word be/ore we started.
Yes, I'll cornmit to that. He writes an Non the ñrst line. Now, Stepping to someone in the front
I'm not real/y supposedto ask you whether I'm rtght or wrong row, he asks, What is that word?
at this point, but Ijust can 't resist. Am Ion the right track?The The spectator calls out, "Natryl,"
spectator nods. Good. And it ends in a Y. Two consonants in A perfect match.
the middle. Concentrate on them. Yes, I'ue got it. N-A-T-T-Y. Well, I've already explained
It's natty, isn 't it?As in 'uiell-dressed. 'I suppose that's a word the mathernatical part of it.
you wouldn 't have suggested unless you 'd seen it in the What's left to know?
díctíonary. Is that, in fact, the uiord you were thinking of? There are only nine possible
Pretty good so far. But you 'll remember that I'ue had you page numbers that can be
ali keep an eye on the enuelope. So I'rn going to ask you to selected, according to the above
make one more calculation with your number. Page 495. procedure (three different
Please add the digits: 4 plus 9 plus 5 equals 18. Would you digits, reverse thern, subtract the
ptease turn to page 18 in the small dictionary. smaller from the larger). They
Meanwhile, the performer has stepped overto the envelope are:99, 198,297,396,495, 594,
and opened it. lnside I have placed two objects: another 693, 792, and 891.
enuelope, and a single page. He withdraws both objects, Those are che possible pages
dropping the inner envelope on the cha ir and holding the smalJ that can be selected. The patter
page at hís fingertips. The page has been laminated. By now the subtly restricts che spectator to
spectator is reportíng that page 18 is missing. It seems to have the first column, to the center of
been torn out at the binding. That wasjusta hunch that I had the colurnn, to a word with four
be/ore l started. Page 18. Actuaüy, the page I'rn holding in or five letters. More than likely,
my hand is page 17 and page 18, that's why I'ue circied the there will be one logícal word, 3.
page number 18, so there 's no confusion. Showing the page to but you may end up with two or
someone in the front row, they verify that ít's page 18, and the three possibilities, depending on
page number has been circled with a red marker. how the words fall on the page.
But tet's go one stepfurther, beca use there 's something e/se Your index of the possible
inside the small enuelope. Please open up the small dictionary words is on a piece of paper
_
and look up the word "natty "forme. N-A-T-T-Y.1 think you 'ti taped to the back of the pad. The
,.........
. .--.
UI .-..~
jind it in there. But the spectator doesn't find it, because that
page has been torn out as well. He takes the dictionary back.
list can be easily confined to a 4
by 6 card (Figure 3). Write the .. ..
iu --..
-..
Two pages torn out. What do you think the odds are? The page numbers and, next to thern,
performer opens the envelope, taking out another envelope. the likely word. lf there are other
He reaches ínsíde that one and pulls out another page from the possible words, make a note of
dictionary, which has been permanently laminated. I think them so that you can gently force
Tt1E CONJVRING A:NTt10LOGY _______ _M_S
J_I TE 1 N ME Y E R 3~1
the spectator away from This is larninated both sides, with the page number 18 circled
those words. Perhaps you with a permanent marker. This is placed in the large prediction
mightsay, Youmaywant envelope.
to consider a few words Nine of the other pages are the pages (not the numbers
there. lf there's a noun, above) which have the same selected words. These pages
an object or animal, should be taken to a copy shop and lamínated on both sides.
that would be best... or I think it helps to have the clear laminating material extend
lf there are a few likely about half an ínch toan inch around each page.
uiords, don 't píck one There's a slight trick to these laminated pages. They aren't
with multíple letters.... single pages, but are pages back to back. In other words, the
Use a spiral-bound page with "natty," which is from 495 in the large dictionary,
pad about 12 by 15 is backed by the page with the word from 693. Let's say it's
ínches. Don 't use a whíte "poppy." Both pages have their words circled with a red write-
write-on/wipe-off board, on/wipe-off marker. Tus allows you to open the envelope,
because a write-on/wipe- reach inside and withdraw the page with the proper word
off marker plays a big part showing. As you carry the laminated sheet forward, your
in the secret. fingers wipe away the red circle on the back, which allows you
The large dictionary to casually flash both sides of the page (Figure 4).
need not be one of Don't worry. There's no pressure about demonstrating
those enormous ones that these pages are backed properly. You've already made the
5. point with page 17 and 18, and with the write-off rnarkers, only
from a public library,
but you can find large, one side ends up with a circled word.
impressive dictionaries at Along these lines, 1 suggest the following arrangement
secondhand bookstores. of double pages: The word from 198 on the back of 396.
lt needs to be over In a separate envelope, 594 on che back of 792. Those two
one thousand pages. envelopes are placed in a larger envelope. Now put the "even"
Obviously, the words double pages in rwo other envelopes, and place these in a bit
o
have been selected larger envelope.
from the pages of thís You get the idea. Reachíng into the large envelope, you first
big dictionary by going withdraw the laminated page 18 (Figure 5). Then, depending
to the above numbers upon which word has been chosen, pick the "odd" or "even"
and finding the likely envelope. Openíng this, pick the correct inner envelope
candidates in the first ("hlgh" or "low" numbers), which can be opened and flashed
column. empty as you show the selected word. (If you just drop the
The small dictionary envelope to the floor, it falls lightly, dernonstrating that ít's
has had ten pages tom empty.)
from it. One is page 18.
36.i TME eoN J V R 1 N e ANT M o lo e y JIM .STEINMEYER
3§
Don 't be daunted by thís double-síded pages and nested-
envelopes arrangernent. It's logically arranged. You're just
findíng one of eight pages, and remember that you can put
56. Tl1E ST APLED CARD AS
little pencil rnarks on the envelopes to rernind you whích way ESCAPE ARTIST
to hold thern when che predíctíons are withdrawn.
The ninth page is the lamínated page wíth the word from
99. This doesn't need to be backed by another page. I suggest T his effect was marketed a number of years ago by a friend
of mine in Chicago and 1 included it in a set oflecture notes
-so I'd son of thought that anyone ínterested in such things
círclíng the word with a perrnanent rnarker and taping thís
page, with a couple of strips of masking tape, to the back of the was aware ofthe trick. But during the MAGIC Live Convention
envelope. in 2001, I demonstrated it in a lecrure and realized, from the
So, let's review the envelope arrangement. One large questions afterwards, that the effect was not only new, but a
envelope (about 9 by 12 inches) with one Iarninated page mystery to many in the audience. So, 1 published the secret
taped to the back. lnside is page 18 plus rwo medium-sized again in MAGIC in December 2002.
7 by 9 envelopes. Each of these contains rwo smaller 5 by 7 Obviously, man y of you will find a way to incorporate it into
envelopes. your favorite Card in Wallet routines, but I'll include an offbeat
As soon as you subtract one number, you can glance at the presentation which utilizes a really efficient rwo-envelope
back ofyour pad and see which word wilJ be selected. Divine feeder to accomplish the trick.
the word, letter by letter, using the pad. Make quite a show of Even todaypeopte arefasctnated by the escapes of Harry
this, as it's okay to have the audience feel that this is the finish Houdini. Even thougñ he died 80 years ago, in J 926, the
of the routine. Then have che digits added (they always total accounts of his chaüenges and accomplishments are hard
18) before reachíng in the predictíon envelope and pulling out to belieue. Part of his secret is that Houdint uias not jusi an
the larninated page 18. At the same time, take out the "odd" expert with locks, chains, and ropes, but his traíning had
or "even" envelope for the last predícuon. Or, if you're really been as a magician. Inf act, early in his career he toas biüed
lucky, just rurn around the envelope, showing the larnínated as the 'King of Cards' because he hada unique abtlity to
page, then pull it away to show the circled word. This is the maniputate playtngcaras. lt occurred to me that many of nis
word from page 99. escapes uiere related to hís sleight of hand with caras. Let me
The nine outs are the only tricky pan that doesn't work show you what /mean.
itself, bue they are the real climax to the routine and they The magician shows a deck of cards, rnaking the analogy
reinforce the torn page effect with the paperback dictionary. of a crowd of faceless people, the audience gathered to watch
For the cost of sorne used dictionaries, a few envelopes and one of Houdini's escapes. Houdtni himself was not tall or
sorne laminating at your local copy shop, it's a powerful and handsome, he was an averagelookingfellowwhoyou might
memorable bit of mentalisrn. overlook in a crouid. The spectator freely selects a card-let's
say it's the Four of Hearts-and then identifies itas Houdini by
taking a markíng pen and writing the name Houdíní across
the face. This uiay,you 'll always be a ble to identify him, the
performer explains.
lt didn 't rnatter how Houdiru was restrained. In f act, it
didn 't matter if he was surrounded by 51 other guards in a
364 Tt1E CONJVRING ANTt10LOGY JIM STEINMEYER
jail cell. Somehoto, he had a supernatural ability to be lost now has the two holes from the staple.
in the shufjle. The signed card is replaced in the deck and You see, escapes are just another aspect of illusion. Is
the cards are shuffled. The perfonner shows the top card, the he here or is here there? l apprectate you playing the part
bottom card-they're not che Four of Hearts-then places che of Houdini. If you can figure out how to do that with a real
deck on the table. I'm going to give him sorne momentary jail cell anda real sealed trunk, I'm sure you 'll have a career.
cover. That's always how he did it. The performer takes There 's always a chance that vaudeville will be back!
a sealed envelope from his pocket, straighteníng the folds I won't describe the process of palming and loading the
and delicately Jaying it on top of the deck. The idea is that card. According to the above instructions, the card is shuffied
Houdini will umggle freeand rise to the top of the deck. just to the top, then a Double Lift shows that it's not there just
to matee sure, look at the top card again. The spectator does, before it is top palmed and inserted into the envelope, as you
confirming that it is not the Four. The envelope is placed on reach inside your coat for it.
top for a moment. When it's lifted off, the magician urges the There are two real secrets: the two-envelope feeder and
spectator to look at the top card agaín, obviously hinting that how che card is stapled inside.
Houdini has arrived. First, the envelopes. Both envelopes should be the same
But he hasn't. Looking a bit disappointed, the magician has color. You'IJ see why in a moment. 1 suggest white envelopes.
the spectator look at the bottom card, and then spread the deck The inner one is a personal, letter size (3-5/8 by 6-1/2 inches)
to find where he's gone. The FourofHearts is missing, and the larger one is a business size (4-1/8 by 9-1/2). It's a níce
Maybe tñat's the greatestsecret of Houdiru's skills, because touch if the larger envelope has a stamp and address, or even
he uias not only an expert of getting out-he could a/so get better, a canceUed stamp and address.
back in. Or worrn his way into sorne other, unexpectedplace. Here's how you prepare the small envelope. Slit open one
I'll show you tohat l mean. end, using a razor blade ora paper cutter (slicing off as small a
The magician tears off the end of the envelope and reaches sliver as you can). Using a standard office stapler, you'll need
inside, pulling out a smaller (personal sized) envelope. This is to prepare the envelope with rwo "rnatching" staples, one
also sealed. Butthe smaller envelope has a single staple running on each side of the envelope. That is, two staples which are
through its center. aligned so that, from the outside, they seem to be one staple.
Mostpeopte would think it's hard to get sornething inside The way to do this is to staple through the envelope on one
an enuelopewhich is sealed and stapledshut, but it's really no side, as shown (Figure 1 ), then press the opposite side against
differentfrorngetting out of a jail cell and then getting into a this staple, pushing down with your fingertips so that the mark
sealed trunk-two different ways of using the sarne ski/Is. of this staple is embossed on the other side of the envelope.
The end of the small envelope is torn open revealing the Using this mark, you can almost perfectly match the position of
comer of a playing card. But when the magician tries to shake the staples. This stapling is much easíer if the envelope flap is
the card free, ít's obvious that ít's trapped inside. Trapped by still open and che end has been cut off.
the staple. Once the staples are in position, seal the flap on this
The rnagician pulls a staple remover from bis pocket, and envelope. You can, íf you líke, prepare the edges of the
pulls the staple free from the envelope. The card slides out into envelope with rubber cement (as in so many Card in Wallet
the spectator's hand. It is the same card selected, the Four of routines) so that theywill sea! automaticaUy.
Hearts, with his handwriting and the name "Houdini." The card As for the large envelope, carefully pee! it apare by pulling
Tl1E CONJVRJNG ANTMOLOGY JIM STEINMEYER
l. the large triangular flap away Now, the second part of the 4.
from one of the srnall side secret. You 'U need a spring staple
flaps (Figure 2). This is easier remover, the type with rwo
. <, with sorne envelopes (the glue interlocking jaws. Using a small
separares) and harder with drill bit, drill two small holes in •
others (the paper tears). This the plastlc just beneath the jaws.
small triangular flap will form Into these holes, put two small
the feeder for the card. Insert brads (very thin nails, with the
the small envelope around this heads snipped off). Using a few 5.
flap, so the flap goes ínto the slit drops of ínstant glue, you can
end, then seal the large envelope set the brads in place so that they
(Figure 3). project about 3/8 of an ínch from
A couple of tips, the little the staple remover (Figure 4).
things that rnake this work: This sounds like a bit of a job,
Notice how a small triangle of but it's actually pretty easy with a
the small envelope is visible power drill and sorne glue.
beneath the glued flap of the Got it? Put the staple remover
large envelope. If you lick just a in your outer coat pocket.
small spot on this portien of the The card is inserted into the
large envelope flap, it will hold envelopes as you reach into your
the small envelope in place. This coat for them. The triangular flap
3.
way the small en velo pe won 't of the outer envelope perfectly
r-- shift from side to side or drop. feeds the card ínsíde. Take out 6.
AJso, to adjust the Iarge the envelopes, andas yo u smooth
envelope to the size of your them out, your thumb can cover
inside coat pocket, you can the joint of the rwo envelopes,
fold over the lower portíon of allowíng you to casually show
the envelope-say the bottorn them on both sides. As you
quarter or third. Put the envelope open the envelopes, tear part of
inside your inner coat pocket on the way through near the small
your left side. When 1 set it, I put envelope, then pull. The result
the Sharpie pen inside the nest is that the triangular flap is pulled
of envelopes, as indicated by the out and this end can be tossed
arrow in Figure 3, which makes away (Figure 5).
sure that they stay open. Then, Reach in and remove the
when you pull the pen out, the smaller envelope, keepíng the
envelopes are ready. faked end closed. I tear away this
)68 T M E C O N J V R 1 N G A: N T M O LO G Y JIM STEINMEYER
-----
end, then tear down farther so that the index of the card can be
seen and the staples are seen on either side, giving che illusion 57. Tl1E CVT ~
that the card is trapped on a single staple. By pinching the card
chrough the envelope, it seems to be locked in place. REBTORED INBTRVCTIONB
Take the staple remover out of your pocket by pressing
º
che points agaínst the ball of your thumb (Figure 6). In this ne of the things that I'm always asked, the magician
position you can show it quite freely. As you press the jaws begins with a sígh, is 'How did you euer become a
of the staple remover th.rough che top staple, you'll find that magician?' By coincídence, I keep asking myselj, over and
the staple is pulled out. This puts che rwo brads in the perfect over again, 'W'hydidyou ever become a magician?'
position. Press down slighcly, and rwo holes are now punched This has got to be one of the most frustratingartforms
through che envelope and the card. (Be careful that you don 't euer invented... and belieoe me, I use the term 'artform' very
punch th.rough you.r fingers underneath, I've done it.) Allow loosely.l'm not sure you can legal/y say 'art f orm' when you
the card to slide out. As che spectators notíce the signa cure and buy your suppliesfrorn a guy named Bingo the Clown atan
the holes, you have ample opportunity to dispose of che small emporium called Crazy Vic's House of Tricks. Free balloon
envelope, which now has an extra staple on the underside. animal with euery purchase. It can really giue you second
The use of che staple remover is really deceptive. It does thoughts about what you 're doing. I haue a theory. If the
che trick at the perfect moment. 1 found that thin brads, which places that sold violíns also had shelvesfull of itching pouider
make slightly larger holes than real staples would, seem to work and rubber doggiepoop ... Well, let'sjust say that there would
better and make the effect clearer. The whole thíng will set you be a lotfewerconcert violínists in the world today.
back a few dollars, and an afternoon of "do-ít-yourself" skills. He reaches in his pocket and takes out a paper envelope.
But che business with che staples really works on an audience, Pirst of ali, l don 't think magic tricks are actually marketed
and che results receíve an impressive reacuon. to anyone with an l.Q. over 35. You'ue all seen the ads in the
back of Popular Science or Boy's Life. 'Amaze your f 'amily,'
'Astonish the ladies,' 'Become the lije of the partyl' Well, I'ue
got to tell you, I'ue been at this game f or 20 years, and so
far I'm zero for three. Not only does my f amily ignore me,
my rnother is ashamed to tell peopte that I'rn a professional
magician. I guess 'Astonisñ the ladies' mea ns that they shake
their heads and walk away fromyou. And asfor the lijeof the
party, I can 't really tell.... When 1 started doing magtc, they
stopped inuiting me to parties.
The most demeaning part is what you haue to work
totth. lf you 're a lawyer, you read Blackstone. 1f you 're a
phystcist, you study Einstein. But if you 're a magician, you
bury yourselj in.... Here che magícian holds up the envelope
and reads from it, The Presto PerfectSliced-and-RestoredRope
Trick!Turning the envelope towards che audience, he shows a
garish display of type. Only 12 dollars and 50 cents, available
Tt1E CONJVRING ANTt10LOGY JIM STEINMEYER
at the local magic shop. lnside are a piece of rope anda sheet rnagícian appears not to notice,
of instructíons. $ 12.501 The magician pulls out the contents, but returns to reading the text.
drapíng the rope over his shoulder and holding the folded 'Step three. Perjorm this trick
instruction sheet (Figure 1). He tosses the envelope away. as quickly as possible.' Well,
Now, the reason 1 say an IQ. of 35 and notan J.Q. oj, from my past experience, that's
say, 40, is how these ínstructíons are written. It's líke what pretty good advíce. Jt couldn 't
a chimpanzee would wríte if he u/ere trying to explain hurt. Okay, tet's see tohat's next.
something to an orangutan. Here he opens che instructions 'Stepfour. lf you unsh, perform
and starts to read. Throughout the monologue, he looks up thís trick for your f amily and
from the ínstructíons with his own asides. friends to become the lije of the
Get a load of thís. 'You have purchased the Presto Perfect party.' Well, that's the standard
Sücea-and-RestoredRope Trick, "in case you uiere uiondering lije of the party clause, and ali
whether you 'd actual/y stolen tt or not. 'Please read these the instructions have them. As
instructions. 'That's there in caseyou weren 't actually reading !'ve already told you, that's got
them, l suppose. 'You will need the rope, and something to cut togo.
the rope. 'l guess that, for 12 dollars and 5 O cents, it just isn 't He folds the instructions and
cost effectiue to sel/ you a pair of scissors. He takes a scissors snips away at the text again. The
from his coat pocket, and continues reading. strip of instructions drops open,
'Step one. Never tell the audíence what you 're gotng to instantly restored, and he returns
do be/ore you do ít. Otherwíse you will ruin the surprise.' to reading them. Let's see, 'Step
Of course, all the greatest artísts have that problem. Caruso jive. . . step six. . . step seven. r
used to pretend he was about to mop the stage, so that when Oh, here's a good one. 'At the
he started singing, his audience was pleasantly surprised. conclusion of the astounding
Yo u know the real reason for not tellíng anyone what you 're illusion, take your bow. ' They
about to do? If they know you're doing magic, they'll leave. alwayssay that.
'Step two. Hand the rope to someone in the audience and Once again, the magician
have it examined so that they know it is a rope.' Well, !'ve got folds the instructions, makes
to tellyou, thís is the dumbest advice I'ue ever heard. We can several cuts, eliminating the lines
get rid ofthat step right away. The magician folds the strip of at the center, and opens it again to
instructions in half and cuts through them with the scissors. He show that it is restored. He seems
then snips away a srnall strip in the center of the instructions, to ignore that the instructions are
as if eliminating a line or rwo from the center of the text (Figure still in one piece.
2). They tell you that you can
lf your audience is confused about what a rope looks líke, take a bow. That's to convince
you 're workingfor the wrong cliente/e. Okay, moving on to you someone rnay applaud.
step three. The magician opens the strip of instructions, and But here's the worst part. These
the audience sees that the paper is cornpletely restored. The tricks never work. Never. Let me
Tt1E CONJVRING ANTNOLOGY JIM STEINMEYER
showyou! continuaUy cut and restored, ít' s be cause yo u' re under 40 years
He's folded the old, and the word Clippo doesn't mean anythíng to you.
instructions and placed Thar's the secret, Clippo. Decades ago, everyone did this
them in his pocket. trick, which was son of weird, beca use it was nevera very good
Pulling the rope from trick. But it was a popular dealer trick because it was cheap to
his shoulder, he holds it make, easy to sell and easy to perform. Harlan Tarbell explaíned
up. Step one. He tugs on the interesting origins of the effect in Volume 5 of The Tarbell
the rope. Two. He folds Course.Kolar discovered the treatrnent of the paper and, using
the rope in half. Three. red strips of tissue, marketed it as the Magic Shears. Tarbell
He shows the scissors. started performing it with columns of newspaper -the now
Four. He cuts the rope standard version-which was then popularized and marketed
3. in half. Fíve. The halves by Will DeSieve, who called it Clippo. My own version, this
are placed together and routine, was published in Ianuary 2003.
he cuts an ínch or so of Here's everything you need to know. Make the strips from
the rope away. Six. He 11 by 17 sheets of white bond paper. 1 suggest making them 3
dramatically drops one inches wide (which is a bit wider than standard Clippo strips
end ofthe rope ... Seuenl were) by 17-inches long. This is reaUy a job for your computer
. . . and the rwo pieces printer. Puta headline on the strip, the title of the trick, and then
separate. It's a complete lines of smaller type to suggest a long column of instructions
failure. (Figure 2). Or if you need help learning the routine, copy in the
See, what did l tell actual steps from the patter so you can read them. Unlike the
you? They never work. standard Clippo, these strips onJy have printing on one side.
Another $12.50 down The back of the paper is blank. Of course, by arranging printed
the drain. So take it text on a sheet, you can take these to a photocopy shop and
from me, the next time have lots of them run off, then trimmed to the right size.
you want to impress Now you need a nice new jar of rubber cement. The
your f amíly, astonisb reason 1 say a new [ar is that the one you 've got probably has
the laaies or become the thickened over time, and che trick only really works well if the
lije of the party. . . don 't rubber cement is thin and easy to apply. Brush a thin layer of
bother! The magician rubber cement over the center sectíon ofthe strip on the back
tosses away the halves of (unprinted) side (Figure 3). If you apply the rubber cement on
the rope and returns the the photocopíed side, it will cause the príntíng to smear.
scissors to his pocket. Let the rubber cement completely dry, so that ít's no longer
If you really need to shiny. This is very important, and ít's best to let it sít for 10 or
read on, if you really need 15 minutes just to be sure. The final step is to lightly dust the
an explanation of just
cement area with powder so that it won't stick to itself when
how the ínstrucríons are the strip is folded. Kolar and Tarbell used talcum powder or
THE CONJVRING A:NTHOLOGY JIM .STEINMEYER
.)l1~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~LS..
baby powder for chis. I 've envelope that has the title of the trick on it. This clesign should
3. had pretty good luck with be as garish and desperate as possible (Figure 5). AJso inside the
cornstarch,whichiseven envelope should be about two feet of white rope.
finer than tale. There's Once you get into the groove, you'll probably make a dozen
probably a good, simple or so strips at a time. They keep for a while but, despíte what
way of sprinkling che magic dealers míght have told you in the 1960s, they dori't
powder over the paper, stay "fresh" and usefuJ forever. Keep them in an airtight plastic
bue 1 got the best results container.
with a powder puff or a Cut the paper in half with the scissors, then align che strips
cotton ball. Dip it in the together so that the powdered sides are touching. Cut straight
cornstarch, then brush it across both pieces, clipping away about a half-inch. Be sure it's
4. lightly over the surface of a straight, clean cut (Figure 6). When thís happens, the freshly
the rubber cernent. The cut edges expose a thin edge of fresh cernent, which is then
secret is to completely pressed to the piece next to it by the scissors. lf you carefully
cover the rubber cement drop one side of the strip, it will faU open and appear restored.
~ ~ut to ap?Jy the powder (Be careful. lfyou pull, you can easily separare the stríps again.)
lightly (Fígure 4). lf you Fold the strip, cut another sliver away from the center, and
•
rub too hard, it will start when it is clropped open the strip is still in one piece.
to peel up the cement. According to the patter, the paper is cut three times. l
Finally, blow off any suggest not repeating it any more than chis. You've proven the
5. excess powder, and the point, and the paper gets noticeably smalJer if you keep going,
strip is finished. which aJways looked silly to me. After three restorations, the
Use a standard-sízed paper is put away and you "fail" with the rope, which is the
scissors, not a smaU one. finish of the routine.
This makes the straight Part of the appeal of Kolar's original trick was how simple
cut across the strip much and amazing it was, even for the magician. lt was one of those
easier. Put che scissors in tricks that really did work itself. lf you've never used CUppo
your outer coat pocket. before, this routine should give you the perfect excuse.
Fold the strip in half, so
that the printing shows
on the outsíde. The
powdered surfaces lie
against each other and
won't stick together.
Don't put any additional
-. folds in the strip, but
-
place it in a legal-sized
T!1E CONJVRING A:NTMOLOGY JIM .STEINMEYER
377
leam one really good trick-since
58. NAPKINS fOR ACTORS audiences would now expect
him to be able to do sorne magic.
º
ne of my favorite tricks of ali time is the old, abused and I knew rhat chis Napkin Routine
neglected Tom and Restored Napkins, with the supposed would be ideal, because a good
explanation ofhow it works. It's a real "change-up pitch" in an actor could act che routine well,
act, an opportunity to connect with the audience, a naturally and the secret depended on well-
amusing situation and an efficient mystery, which doesn't motivated body movement, not
involve any more than a few cheap paper napkins. If you don't sleíghts. This was published in
do it, you reaUy should. If yo u think it' s hackneyed or overused, my lecture notes Strange Power,
you're wrong. lt's one of those routines that are now so terribly and then MAGIC Magazine in
out of fashion that they should be back in fashion. February 2003.
For years 1 performed the Napkins, using a perfectly Ata certaín spot in your show,
horrible method and an awkward routine. 1 actually think you step forward and announce,
that many of the published routines for this trick aren't very I thought I'd stop here, because
good, which might be a sígn of just how strong and durable I'ue found it's not good to do
the effect is. When I stopped performing, 1 decided to treat too much magic wíthout doing
this routíne, along wíth severa! others, as a hobby. I'd leamed a little bit of explatntng. Would
enough about what chis trick should be-where the strengths any of you like to learn how
lie for the audience, where che weak points were, where I to perform a magic trick? I
knew I had opportunities for deception-that I started agaín could show you a simple one,
from scratch. I'm very happy with the final sequence, che something you could use to l.
patter, the presentation and the deception. I can vouch for it fool your family and friends.
ali. Ironícally, my end result was, as you'll see, virtuaUy "move- .. or at least, any family and
less." The gag about tearing the paper "up" rather than "down" frlends that aren 't here tonight.
is from the very funny Duke Stern, who used to do chis during a You know, magicians aren't
paper tearing routine. supposed to tell how their trices
Incidentally, although few would deliberately perform are done, but I thought, if ü's
a bad routíne for an audience, it's worth pointing out the just one simple one. . . . Do you
luxury of constructing a routine this way, performing sorne ali promise to keep the secret...
version of it for a long time, then goíng back and fixing it promise?... ali of you? Here you
ali. The experience of presenting it in front of an audience seem to be quickly scanning the
and muscling your way through it teaches you an enormous audience, nodding your head
amount about what can be improved. as if you're getting everyone's
As for my title, years ago I was involved in a project in assurance. Good. Because I
which I had to teach an actor to play a magícían for a scripted wouldn 't want this sort of thing
show. When the project was over, he told me that he wanted to to get out. I thought I'd do it
Tt1E CONJURING ANTHOLOGY JIM STEINMEYER )79
twice. Thefirst time I'll show you the left fingertips. All you need to do is toiggte your fingers
what it looks like and the second over the pieces. ]ust like this. That's what does the magic.
time I'll show you how it's done. That's what casts the spell. Spooky, huh? With your right
Patting the outsíde of your fingers wiggling, you pass your hand sideways, back and forth,
jacket pockets, then reaching over the pieces (Figure 3).
ínside with both hands, you You'üfind this hard to belieue, but that's ali it takes. The
say, I'ue got a paper napkin wadded pieces in the left hand are slowly opened berween
somewhere,justfor the purpose. your fingers, showíng a whole napkin again. That makes ali
Oh, here it is. A folded white the pteces go back together again, and that's the ena of the
tissue napkin is in your right trick!Tbe napkin is wadded and tossed away. O usually tossed
hand. You open it out and hold it sideways, into the wings.)
it berween your hands (Figure Usually this gets sorne mild applause, but they're still
1). The first step is to tear the waiting for the rest of che explanation. Well, I didn't say it
paper up, like this. Your hands was going to be a miracle, I said it was a simple trlck that
separate, tearing a long vertical you could perforrn. Of course, there's only one way to do it.
strip away from the napkin. J used two napkinst These are the torn pieces, over here. You
You repeat this slowly, tearing open your left hand, showing the wadded pieces hidden there.
another strip, but you hesitare, These are also tossed away.
looking down at your hands. J'll explain the whole thing to you. See, when I started, I
You just tear the paper up .... reached in my pocketsfor the napein, but what you didn 't
Well, actual/y, I suppose that's know is that this hand had the napkin, taking your right
tearing the paper doum. If you hand out ofyour pocket to show che folded napkin, while this
J say you 're going to tear it up, hand had the other one, showing that your left hand emerges
~ then you should actual/y tear tt from your pocket holding a crurnpled napkin. This is what
up. Your hands continue totear magicians call palming, because ü's hidden in my hand.
the napkin ínto strips, but on Turning the back ofyour left hand to che audience, the wadded
each tear the napkin is flipped paper is held in your cupped palm.
upwards by tuming the right Of course, you can see tohat's coming. Start by tearing
wrist, so the stríps are torn from the paper up, like this. Here you begin tearíng it in stríps,
bottom to top (Figure 2). Never tearing downward. One or rwo tears ínto thís, someone in the
lie to your audience, that's the audience will probably remember the "tearíng it up" business
first rule of doing magtc. and make a remark. In any case, you react as ifyou've heard the
This gets a laugh. After comment. Oh, that's right! I almostforgot.Don 't tear it doum,
several more tears, the napkin is always tear it up. You flip your right hand at the wrísr, tearing
just a series of torn stríps. They it up. That's uery irnportant.Never líe toyour audience. That's
are crumpled up berween the thefirst rule of rnagic.
fingers, then openly placed in Now you crumple up the pieces and hoid them in your
Tl1E CONJVRING ANTl10LOGY J 1 M ST E 1 N MEY E R 381
fingers. The wadded napkin hand, and you haue to be careful about that, because unless
is held in the left fingertips. you perform the movesperfectly, they might end up stíckíng
That's when you wave your out of your hand, like this.... Yo u show the wadded píeces,
fingers over the pieces, like then place them back in your hand so that they are showing
this. Everyone thinks that beneath your Little finger. Maybe sorne of you sitting e/osesaw
does tne trice. But you know them thefirst time I did it. That's not good. In fact, that can
what? This has nothing to do ruin the whole trick. 1f that happens, you just tuiggle your
with it. It's what magicians fingersagain, and ifyou real/y tore the paper up, rather than
call misdirection, because it tearing it down, you can open up thesepieces and they will
misdirects you from uihat's also be together again And now that you know exactly
really happening. I'll show you how that trick is done Laughter and applause. You toss the
exactly how ü's done. napkin away and take your bow.
Here you give your bocly a The right napkins are the extrernely cheap paper napkins
half turn to the left, showing that come in enormous bundles (mine come 250 to a package).
the inside of the left hancl as the They're 12 inches square, folded in quarters (that is, to 6 by 6
right fingers wiggle over the top. ínches) and have a sort of pebbly fi nish to the tissue. I see that
You see, the torn pieces are on they come in pastel colors, but I prefer simple white ones.
top, the whole pieces are on the The preparation involves openíng up the tissue to its 12
bottom. And here's the secret inch size, then crumpling it into a bundle so it's about the size
move.... Slowly, your left fi ngers of a smaU sponge ball. Place three of these crumpled tissues
rotate the crumpled bundles of into your left outer coat pocket.
paper, changing their positions In your outer right coat pocket, place rwo additional
(Figure 4). napkins, folded. l fold the already-folded napkins in quarters,
Turning to face the audience so they're about 3 by 3 inches.
again, you open the wadded That's it. Five tissues, and you're ready to go.
paper at your fingertips, showing FoUow the above routine. You reach into both pockets,
a whole napkin. Everyone thinks and your left hand emerges with one crumpled tissue, finger
the pieces go back together palrned, Your right hand holds the folded napkin, which is
again, and that's the end of the opened and shown. These napkins have a natural grain to them,
trick!You show the napkin, then which makes them extrernely easy to tear in one direction. 1
wad it and toss it away. find that generally the napkins aren't perfectly square, and they
Here you'U get sorne usually tear in the "long" direction, but with your first tear, it
appreciative applause, but you will be apparent and you can quickly adjust it. Tear one or rwo
cut it off. Oh, there's one more strips, then catch yourself and tear the paper "up."
thing you need to know. Of For this bit, notíce, in Figure 2, how the right wrist flips
course, you 'ü wind up wíth a/l over, pulling the paper upas it's torn, but the left hand doesn't
the torn píeces hiddert in this turn. This allows the hidden paper to be concealed. As each
Tt1E CONJVRING ANTNOLOGY J 1 M .S T E 1 N M E Y E R 383
strip is torn up, you start by This time the audience will murmur as you tear the paper
makíng a short tear "down," down, and you manage to overhear them, remembering to
then flipping the wríst totear tear it up. As the torn napkin is wadded up, curn your left side
the paper up. The napkin towards the audience and place the pieces berween the left
naturally drops down again; thumb and forefinger.
you make a small tear, then Here you demonstrate the misdirection of wiggling your
flip your wrist and tear it up fingers. You'll find chat your right palm ends up just inches
again. Try to make the tears above the wadded pieces in the left fingers. As you rurn your
slowly, whích accentuates body to the left, to show the left hand from che back, your right
the effect. hand naturally overtakes the left slightly. You press the wadded
For the first restoration, pieces into the right hand, and then separare the two crumpled
yo u reallydoswitch the pie ces napkins in your left palrn, rolling one up to your fingertips. The
in your left hand, as in Figure audience sees cwo napkins in your left hand.
4, while your right fingers It's a caseof the larger motion (turning to the side) covering
wiggle. But there's a tiny the smaller (che toro pieces being taken in the right hand)
secret to thís, which is never (Figures 6 and 7). You don't really need to palm the torn píeces
explaíned to the audience. in the right hand; you can hold them wíth your thumb against
The move will be obvious the palm. AJI the attention will be on the maneuver in the left
unless you slightJy tum your hand as in Figure 4.
left hand a bit (pointing your Tum to face the audience again, open the crumpled pieces
fingertips upstage, not to at the left fíngertips, and show the restored napkin. You end
stage right) as you perform up holding the restored, opened napkin in your right hand,
the move. There's plenry of which also has the concealed bundle of píeces. You' U fi nd that
misdirection for this, and the you can, with one hand, crumple all of these together into one
>
move is then covered. bundle, which is tossed away. Try this a few times. The goal is
After the first phase, to crumple the napkin so that it contains che pieces; this way,
you do the trick a second when they're tossed, they won't separare. You now have a
time with the explanation. single wadded-up napkin in your left hand ... which takes you
Here you reach ínto your to the end of the routíne, as described above.
pockets and your left hand The sírnplíciry and lack of moves really works to the
now emerges with the two advantage of the routine, and the concealment of the tíssue
crumpled napkíns, squeezed in the right hand is especially deceptíve, as the audience has
together, sponge-ball fashion already seen this move from the other side, when the right
(Figure 5). You can casually hand was empty. l've tried tO provide a good, clear description
rurn your hand and show this of the sequence with the necessary illustrations, because 1
"napkin" to the audience. know that if you try it, it's something you'll really use.
Repeat the procedure.
THE CONJVRING A:NTMOLOGY J 1 M ST E1 NMEYE R 385
we had prearranged thís. So I'd like this gentleman, índicatlng
5.9· P\/Sl1ING Tl1E ENVELOPE one of the men holding the ribbon, to point to someone
in the audtence. Anyone at all. You can stay in your seat.
Myberween
good friend, the late T.A. Waters, used to distinguish
"mentalísrn" and "mental magíc." He wasn't
We're going to do this by a process of elimination. We need
to eliminate an enuelope. I want you to name one. Don 't do
necessarily derogatory about either one, but he felt it was it off tne top of your head, but concentrate for a moment,
useful to recognize the differences. Mental magic had its place consider all three options. One, two, or three. Think about it
in magic shows, and could be introduced in the midst of other for a moment, because once you name the enuelope, I don 't
magic. Mentalism hada slightJy different feel, suggesting its own
want you to change your mind. Please make your chotee...
thing with rules thar were reinforced by the other elernents of now.
the performance. Often rnentalism could be destroyed by being Let's say that a lady in the audience is indícated, and she
surrounded by other magic. In his own prolific and ingeníous says, "One."
creations, Thomas developed techniques for both categories. Perfect. Absolutely perfect. Number l. That one's
A number of routines could be presented as either one, elíminated. Now name a different enuelope. She says 3. We'll
depending upon the strength of the presentation and the set- take that one away. By process of elímination you 'vepicked
up by the performer. I suggest the following routine, from April the enuelope numbered 2.
2003, as a useful example of mental magic. It's colorful, plays Now he rearranges the envelopes in their clips, starting
especially bíg, and has a humorous situation built ínto it and from the audience's left. Here's nurnber 2, your choice. This
a couple of surprises which serve as unexpected climaxes. It is put in the clip on the left. But let me try to remember your
<loes call for a bit of cíassíc mentalísm finesse, but I think you'll thought process. You did that by eliminating number l ...
find that the techniques are well disguised and surprisingly
offbeat. It would work very well as an opening piece for a
series of mental effects, or a quick, decisive demonstration of l.
the performer's psychological rapport wíth the audience.
Tbe perfonner holds a long ribbon which has several spring
clips sewn to it at separate spots. In each clip is an envelope.
He has two spectators hold the ribbon at either end, which
extends it, right and left, across the stage. This way ali three
envelopes can clearly be seen. They are labeled 1, 2, and 3 with
large numbers (Figure 1).
I'd like to start by playing a hunch. It's my hunch against
your hunch. Actually, let me re-phrase that, because I don 't
wantyou to think thatwe're working in competitton. It's my
hunch working in perfect coordination with your hunch.
A one-out-of-tnree chance, if you play by the numbers. An
absolute certainty ifyou putyour faith in me.
Now, if I were topick someone to help me,you rnightthink
)86 TM E CO NJV Rl NO A: NT M OLOG Y J 1M STE1NMEYER )87
he clips 1 in che second position, and your last choice was Opening it and pulling out the paper, it's opened to show that
nurnber 3. That's exactly what happened. isn 't it? Number 3 it'sfilled with writing, "AND NUMBER 3 LASTOF All!"
remains in che clip to the far right. All three predictions match the order of the envelopes on
Here's the strange thing. You might think that, because the ribbon.
we did this by a process of elimtnatton, you had no idea that That's what I cal/ a hunch. Now that I see that our minds
you would be selecting enuetope number 2. Yet I knew be/ore can work perfectlytogether, 1 know l've come to the right
I walked out here that you 'd pice that en velope. / was just place.
playing my hunch. He removes the envelope from the ribbon, Okay, okay, there's a lírtle bit of Magícian's Choice involved
rips open the flap and reaches in. He takes out a folded píece in che process. But I deliberately wrote the description to gíve
of paper with a rubber band around it. He casually hands the you che worst case. In fact, che odds are in your favor that
en velo pe to one of his spectators on stage, dernonstrating that the choice will be even sírnpler and more direct, all three
it's empty. predíctions still rnatching perfectly. I like the use of equivoque
Pulling off che rubber band and openíng che paper, the in chis routíne, as it is so off-putting. You're merely "pushing"
audience sees that a message is boldly written on it. It says, "l one envelope, and ir's the last choice, not the first one. This
KNEW YOU'D PICK NUMBER 2." He smiles broadJy, as ifhe's makes che process very simple and deceptive. Those who have
just accomplished a miracle. A few in the audience snicker. sorne knowledge of Magician's Choice will be thrown off by
They've just figured that they're in on it. The performer puts che decisive staternent which starts it all, "We need to eliminate
che paper down and returns to the ribbon. an envelope. 1 want you to name one."
I know what you 're thinking. You 're thinking that I And there are rwo irnportant fakes involved as well.
didn 't know what you were thinking. But I did. And now J But first, the ribbon. I suggest using a 1/2 or 3/4-inch wide
do know what you 're ali thinking. Right now you 're thínking grosgrain ribbon. It should be about 1 O feet long, wíth che clips
that there are pieces ofpaper inside ofthese enuelopes as well. about rwo feet apare, startíng at the center of the ribbon. Use 1-
And maybe you 're ali correct. 1/4 inch wide spring clips from a stationery store, sewing thern
He pulls away the second envelope, number 1, openíng it to che ribbon. You can tie thern, bur l find that they hang better
and removing a similar folded paper. He opens it to show the ifthey're sewn securely so they hang down.
writing: "BUTNOTNUMBER l!" You'll also need three personal lerter-sized envelopes,
That just leaves this enuelope, the last one you picked. each 3-5/8 by 6-1/2 ínches. On the front of each one, write the
numbers 1, 2 or 3. Otherwise che envelopes are unprepared
2. (Figure 2).
As for the three pieces of paper, 1 suggest using colored
paper. 1 found that a fluorescent bond paper works well, with
blue or red rnarker lettering on it. Let's say that the papers are
bright lime green, with blue lettering. A1l of them are 8-1/2
1
inches square.
The first paper (Figure 3) should be double thickness,
made by gluing two sheets together ali around their edges.
Then write the letteríng, "ANO NUMBER3 LAST OF All!" Fold
TtlE CONJVRING ANTtlOLOGY J 1 M .S T E 1 N M E Y E R 3t?9
this paper in ninths (that is, in papers back to back, I trapped rwo rubber bands between the
4. three strips from top to bottorn, glued panels. This allows you to put one rubber band around
then in three sections folding the one packet, and the other rubber band around the packet on
sídes in). Except for this paper the other side (Figure 6). Because the rubber bands basically
being of double thickness, it is line up, when you handle the packet casually, it seems as if it's
unprepared. Put a rubber band actually one rubber band wrapped around the entíre packet.
around this packet (Figure 4) This packet is then put in envelope number 1, putting the
and put it in envelope number 3, "I knew" side facing the side of the envelope with the number-
sealing it. this makes it easy to rernember how it's arranged inside.
5.
;\-·--r-~ The other two papers look
the same, but aren't the same.
Similarly, two papers are glued back to back with the
predictions "I KNEWYOU'D PICK NUMBER 2" and "BUT NOT
/, .. ~UT~ They're each prepared like the NUMBER 2." Do the same thing, marking these sheets and
r·-·-1- Buddha Money tríck. Take rwo 8- gluing the rubber bands between the packets.
1 'J .
.NUMBa'R.
\ /·--y 1
1 /2 inch squares of bríght green
paper, and neatly fold them into
nine squares, as shown. Put
The reason the paper in envelope 3 is double thíckness,
you'll now see, is so the packet is of the same bulk when you
take it from the envelope.
·- ... - - - ---
\
rubber cernent on the center Okay, it's aU prepared. Have sorne place handy where you
of each square, and glue them can easily put the papers afteryou've shown them, líke a table
back-to-back (Figure 5). This way orbox.
you can open either side of the The ribbon and the assistants turn this into a much bigger
packet. Put a small mark on one trick. You can have it held by two spectators from the audience,
side so you can easily identify or have it tíed around rwo chair backs, or from a microphone
one side from the other. 1 suggest stand to your table, et cerera. I suggest having it held about
marking the "I knew" síde. waist high and working behind the ribbon through the effect.
Let's say that this is the "1" Don't be intimidated by the Magician's Choice in thiseffect.
packet. On one síde, wríte "I Remember, in the description above, 1 described the worst
KNEW YOU'D PICK NUMBER case. Here's the way it works. You start by saying that you'll be
l ." and on the other side, write, eliminating an envelope. Ask for one to be named. If she says 3,
"BUTNOTNUMBER l." the trick is over, Good, 3 is the first en velope eltminated. Have
One more touch that I found one other eliminated, and arrange them (if necessary) so that
very useful. l experimented with the chosen envelope is to the audience's left.
different ways of locking the Here's another option. Start by saving you'll need to
packets closed so they were easy eliminate an eovelope. She says 2. You ask for another. She
to handle, but it sornetimes made says 1. You say, Great, so you 've eliminated 3. Ask for another
them difficult to open as well. selection, which eliminates one more envelope.
The neatest solution was to use Or, worst case. Start by saying you'll need to eliminate an
rubber bands. When gluing the envelope. She says 2. You ask for another. She says 3. That
JIM STEINMEYER
)9? THE CONJVRING A:NTHOLOGY __
leaves envelope 1 as the selection. So number one ts your

choice. You did that by eliminattng nurnber 2. And your last 60. Tl1E PRINCESS
choice toas number 3.
It's irnportant that you arrange the envelopes clearly,
CARABOO DECK
according to the spectator's choice. Because you're forcing 3
in the thírd position, you won 't have to move this envelope.
When you open each envelope to remove the folded packet,
T he Príncess Card Trick has been indulged with a great many
interesting variations and clever handlings over the years.
Maybe that's because it is a magnificent example of a big thing
tear it enough that the audience can see that the envelope is in a small package, an amazing card revelation which plays
otherwise empty. The nature of the packet of paper and the large, seems impossible, and appears to be accomplished with
thínness of envelope also demonstrates that there aren 't any vírtually nothing at all. It's one of the original "thínk of a card"
other sheets inside. tricks. Over the years, important presentations and handlings
Tum the packet so the right prediction is facing the have been developed by AJ Baker, Paul Fox, S. Leo Horowitz,
audience. With your Jeft fingers, pull the rubber band off the David Devant, Louis Histed, AJ Koran and Simon Aronson,
front of the packet, allowing it to snap against the back of the arnong many, many others. My Chicago friend, Peter Tappan,
packet (Figure 7). If you sírnply move your left hand to your wrote the authoritative book on the subject, The Irnpostress
jacket pocket, it looks as if you've rolled the rubber band off Princess, in 1986 -"impostress" because, Tappan points out,
and casually taken it away to put it in your pocket. Actually, this version of paírs-repaíred somehow acquired che narne
the rubber band never comes off and the bands serve to keep Princess from a different trick. If you can find a copy today,
the back packet neatly closed. Open the sheet, showing the Peter's book is a wonderful read, discussing the evolutions and
prediction, and then toss it down so ít's out ofthe way. variations which have sprung from this simple mathemacical
Repeat the process with the second envelope, showing the trick. He really provides an education in magic thinking, even if
"not" prediction. Again, you can pull the rubber band off the you're not ínterested in this particular trick.
packet and pretend to put ít in your pocket. It's just simple math, after all. The trick works off a basic
Of course, the nícest part of the routine is that the third matrix of card names. By making one identification during the
prediction is the cleanest of all. You can openly show the course of the presentation, the spectator unwittingly reveals
paperas you remove the rubber band and gesture with itas you the name of his or her card.
dismiss the members of the audience. The Princess Caraboo deck is my own trick deck to
Each time you perform it, you'll only need to replace the accomplish the effect-named after a very famous impostress
envelopes. princess. The nice, neat way is how one trick deck contains all
With a bit more finesse, you can extend this to work with the pieces and does the work for you. My other change is to
four envelopes. One prediction will say "this envelope," rwo alter the number of cards used and the number of spectators
will have variations of "not this one" or "for sorne reason not used-using a three dimensional matrix instead of a rwo
this one," and the last one is "last of all." That is, there are three dimensional matrix. That means that the spectator makes rwo
prepared papers. The Magician's Choice is a bit trickier, but if identifications and then possíbly a third ... But ali of that sounds
you've had any experience with the techníque, you'll be able too complicated. It's better if you just consider the effect.
to arrange the options so that they suít your presentation. A good magician isjust like a good detective, trained to
pick up subtle clues which indicate decepuon. Incidentally,
Tt1E CONJVRINO A:NTt10LOOY JIM STEINMEYER
that's also how a good poker player works-picking up tiny any clues. I want ali of you to listen closely as I name a few
clues about the way a person holds his cards, taps hisfinger, of the cards in the deck. Spreading through the cards, you
shifts in nis seat or coughs. l'ü bet you never knew how much quickly call out the names of sorne cards. Tuming back to the
you could be saying when you weren 't saying anything at spectators, you ask each one if he or she heard the name of
ali. their card. Don 't tell me your card. ]ust say yes' or 'no.' Did
I want to giue you a demonstration, using a deck of cards. you hear it?
Because of that, l'll need three peopte to help me who have More than likely, one or two spectators will say yes. Maybe
had experience with cards-peopte who play cards and can none of them do. You turn your back again and fan through
tell one card from another. Would three people raise their the cards, reading off another group. Turning to face each
hands? On a stage, you may wísh to get the peo ple up and stand spectator, you repeat the question to each one. Did you hear
them in a row. However, for a smali group, it might be easier the name of your card? One might say yes. One or rwo might
to simply pick three people at different spots in the audience have not heard their card at ali. lf that's the case, you quickly
and then, as they remain in theirs seats, step over to them and point it out, saying that you have no clue at ali which card they
address each phase ofthe trick to them. might have been thinking of.
I'm going to gioe each of you a packet of cards, about nine Believe it or not, just from the way you say yes' or 'no'
or ten cards. Notmore than a dozen. Instead of askingyou to giues me clues to what you 've been thinking, just like a líe
pick one, I want you to simply think of one. detector can giue hints from your pauses or inflection or your
Stepping to the three spectators, you thumb a packet pulse rate. You're moving from spectator to spectator, looking
of cards for each one. I don 't want you to think that I'm them in the eye. But I'rn not quite ready to name my suspects.
influencingyour choice, so please mix up the cards in your I want to be sure that I'ue gotten euerything right. Hopefully,
hand. Then f an them towards you, just like you 'replaytng a by the end of thís, you 'll think of me as Sherlock Holmes, not
card game. 1hink of one card. ]ust one. And be sure that you Inspector Clouseau.
remember the name of that card. Forma mental picture of it. I'oe certainly narrowed it down. Cutting the cards and
Don t tell anyone the name. Don 't whisper it. Don t write it pushing off a group, you spread them with the faces away
down. I'm simply working with your thoughts. from you, as in Figure 1. In f act, this time, I'm going to look
Putting the remaining cards in your pocket, you step at your f ace, but not the faces of the cards. That's uihat I
to each spectator, taking back each packet. As you do, you mean=instead of cards, we could haue been talking about
be gin shuffl ing them together. I'm going to mix them up and peopte walking on the street, or important files on the desk
destroy ali the evidence. This is just like euidence, you 'ü see. of an executive, or diamonds spilled across the counter ata
You 're thinktng of the names of 'ptaytng cards, but the same jeuielry shop. Can you identtfy one from the other? Will you
situation applies ifyou'd witness a crirne or try to remember know your suspect if you see him agaín?
a license plate number. You've just seen something that's Steppíng to each spectator with the spread of cards, you
trapped in your memory. ask if he or she can see the card they' re thinking of. just say
The shuffled packet is returned to the top of the deck, and yes' or 'no.' Be careful not to let your eyes linger on the card
you rurn the face of the deck towards you, spreading it slightly. too long. Don't gioe me any clues.]ust tell the truth. 'Yes' or
I'm going to turn awayfrom you, so that I can 't look at your 'no.' Based on what the spectator says, you either move on, or
f ace. That's to make ita bit harder for me, so I don 't pick up stop to say, Exactly! justas I thought. Turning the fan of cards
Tt1E CONJVRING ANTNOLOGY JIM STEINMEYER
~~~~~~~~~~~~~~~~~~~~____,)$
face-down, you remove one, one from the top of the deck. l wasn 't complete/y sure of you.
placing it face-down on the palm I had it narrouied down to two cards, but now, based on the
of the spectator, expression on your f ace, /'ve gota much better idea. In f act,
Thís process is repeated 1 ha ven 't even looked at the cards that I handed you. I didn 't
with rwo other fans of cards. By have to. They could have been peopte, places, things. f t's not
the finish, you've picked out a about the cards, it's ali about the particular cluesyou 've been
card for each spectator, but they givingme.
haven't seen the cards yet. Forthefirst time,please name the cardsyou were thinking
Now, of course, either I'm of It's okay to do it now. I'm committed. Each names their
a living líe-detector machine, card. Turn over the cards in your hands and hold them high,
or J'm hoping to be the luckiest so that everyone can see. As there are murmurs of recognition,
person you 've eoer met. Because you ask to see the cards. Let me see as well. I'd líke to know if I
a few minutes ago, each of you got it right. How about that?
sirnply thought of cards. You Of course, each card is a perfect match.
didn 't tell anyone your choice. Not only are they the right three cards, but I'ue giuen each
You didn 't bend them or move of them to the right person. And I'rn glad I changed my mind
them or giue any other clues. about your choice. J'll leave it to ali of you tohether I'm a lie-
You listened as J described detector, or simply lucky. But here's the lesson. Be careful
sorne cards in the deck-the when you stt down at thepoker table. Be careful how you say
same way you might look at a yes' or 'no' toa magician. And asfor the three ofyou.you're
crouid of peopte and say, 'One ali much too honest. I wouldn 't recommend a lije of crlme.
of them looks familiar to me. ' Fans of the Princess Card Trick will be surprised that there
That's the only clue I'ue had. are so few people and so many cards involved. That's because
'One of them looks fa miliar. ' I've used a more complicated matrix and two choices. It
And ali you 've ever said to me doesn't complicate the routine very much and I actuaJJy like
was 'yes' or 'no. 'I didn 't su you the additional beat.
in the room with the hanging The deck is based on two sets of 27 cards, separated by two
light bulb. l dtdn 't play good jokers.
cop and bad cop. I didn 't wrestle First the theory, for those that are ínterested, then 1'11
a confession from you. Once translate it to cards for those of you that simply want to make
again, you've been moving from it up and use it.
person to person, Jooking them Each person gets nine cards at the start, even though the
in the eyes. You stop in front patter suggests a vague number. The first sets of cards are, for
of one of them. I'ue made a purposes of explanation:
mistake. Without Iooking at ít, Packetl)l,2,3,4,5,6,7,8,9
you take back the card you've Packet 2) A, B, C, D, E, F, G, H, 1
given her, and substitute another Packet 3) 1, n, 111, IV, V, VI, VII, VIII, IX
396 T N E C O N J V IH N G A: N T H O LO G y JlM .STEINMEYER ____ _.,,,&_
When you call out cards, you call rwo groups, consístíng You'Il need rwo matching decks. Mine is made up from
of: Blue Bicycle Rider backs.
Firstcall: 1,2,3,A,B,C,I,ll,III From the top down (that is, from the face-down top of the
Second call: 4, 5, 6, O, E, F, IV, V, VI deck), first there are three pre-set packets of nine cards. Each
No need for the third call. U they don't hear their cards, one of these can be shuffled, but each níne-card packet must
you know that ít's in the third group. Now a tiny bit of memory be distinct from the next one. For ease in setting, I've marked
work. Yo u must remember where each spectaror identifies his the back of each card with a scratch, designating it "I ." "2," or
or her card. In other words, you now assign a number, ONE, "3." This allows yo u to q uickly reset the packets if they beco me
TWO or THREE, to each of the three spectators, based on what mi.xed.
they say when you call out the cards. Packet 1) lOC, 7H, 2C,JC, KH, 9S, 6C, 40, AH
If, after the first caU, the first spectator and third spectator Packet 2) 100, 4C, 60, QC, KS, 5H,JH, 9H, 20
say "yes" and, after the second call, the second spectator still Packet 3) 7S, AS,JS, 3H, 8C, QO, SS, 80, 3S
says "no," you remember: Next, under these 27 cards, is a Ioker.
Spectator 1) ONE Now another set of 27, duplicates of the above cards from
Spectator 2) THREE another deck, arranged in a different order. 1 suggest carrying a
Spectator 3) ONE small blank card with the deck which records this order, so you
That's the extent of the memory work. Not too tough. (lf can easily set these packets for the trick. Note that these cards
you need help, use a bit of mnenomics. "One" rhymes with rnust never be mixed. The order of each packet is extrernely
sun. "Two" rhymes with shoe. "Three" rhymes with cree. important!
Picture each spectator with che item. There, now I've made it Packet 4) lOC, 100, 7S,JC, QC, 3H, 6C.JH, SS
easy for you.) Packet 5) 7H, 4C, AS, KH, KS, 8C, 40, 9H, 80
Moving on to the next group of 27 cards, which have been Packet 6) 2C, 60,JS, 9S, SH, QO, AH, 20, 3S
pre-arranged from the top ofthe trick, they are as follows: Just to reiterate, from the jokerin the center of'the deck, the
Packet 4) 1, A, 1, 4, O, IV, 7, G, VII first face-down packet is 4, arranged, top to bortom, in exactly
Packet 5) 2, B, ll, 5, E, V, 8, H, VIII the order above. This is followed by packet 5 beneath it, then
Packet 6) 3, C, in, 6, F, VI, 9, I, IX packet 6. Remember that packets 1, 2 and 3 can, individually,
So, you don't really need to even look at the packets. ie shuffled, but not 4, 5 and 6.
Coruinuíng our example, you show Spectator 1 the packet 4, One final fake. The extra joker is on the face of the pack. 1
and he says no. Spectator 2 says yes. tuck a la bel in the rnidst of aU the rype on this card, which has,
You recall that "THREE" is the number that's been assígned 1 8-point rype, the foUowing rwo Usts:
to Spectator 2. So you look at the third group of cards (the three 1) lOC, 7H, 2C, 100, 4C, 60, 7S, AS,JS
at the end, 7, G, VII), andpuU outthe secondcard, for spectator 2)JC, KH, 9S, QC, KS, 5H, 3H, 8C, QO
2. She's picked G. Again, that joker is the bortorn card, the face card on the
Okay, this may sound like álgebra to you, but it's really quite .eck.
simple. That was an explanation of the basic principie. Now To present the trick, foUow the routine above. Pulí out the
let's explain how the deck is actually put together and used in leck and, working from the top of the deck, thumb off nine
a routíne. cards, gívíng them to spectator 1. The second nin e cards go to
398 Tt1E CONJVRING ANTMOLOGY JIM STEINMEYER
399
2, and the third packet goes to 3. Put the rest ofthe deck down 1, take the first of these, the fourth card, and place it face-down
or in a pocket. on herhand.
Have them mix the cards, fan them out and concentrare on Step to spectator 3. His value was ONE, so look at tbe top
one. Pickup all the packets, shuffling them together casually, three cards and take the third one.
and replace them on the top of the deck. Then tum the deck Needless to say, just keep track if you pull one card out of
face-up in your hands, spreading through them. As you spread the packet, that you don't miscount when you look back for
the cards near the center, look down to "read" a series of cards, another card.
as in Figure 2. Actually, you're reading off the first Iíst on the Now show the next nine cards. We'll say that spectator 2
joker. Name these níne cards, then stop and ask if any of the doesn't see her card at aU. This means that you know her card
three spectators has heard theír card named. is in the last fan of nine cards. Take the last packet, spread it,
Let's say, this time, that only spectator 3 heard it. You and go to the THIRD group of cards, to pull out the third card.
mentally note that spectator 3 is a "ONE." According to the above routine, I put this card on the top of
Read off the next line of cards on the joker, pretendíng to be the packet, but hand her a different one. Then, just before
reading cards from the spread. Let's say that spectator 1 hears revealing the clímax, you step back and change your mind,
her card. So, you mentally note that spectator 1 is a "TWO" and handíng her the correct card.
you know that spectator 2 is a ''THREE." Be sure to remember To re-set the deck, look for the marked cards and assígn
these three nurnbers, ami assocíate them with each spectator: them to the three packets. Then look for the unmarked cards
TWO, THREE, ONE. and replace the missíng cards in the right order.
Spread through the cards, cutting at the joker in the center I fear that my formulas may convince sorne readers, and
so thís joker is brought to the face. Now turn the deck face- rattle others. But it's really not-as they say-rocket science. Go
down, thumbing off nine cards from the top. You can put the through the instructions slowly and try it out. It's simple and
rest of the deck down or in a pocket. Spread the cards in a neat will only take rwo decks to put it together. You only need to
fan, and step to each spectator showing them the faces. Let's remember three values, O NE, TWO or THREE assigned to each
say that spectator 1 and 3 have their cards in thís packet. spectator, and yo u can use the mnemonic clues if necessary. As
Step back to spectator 1. Looking at the fan from the back, you show the last fans of cards, remember to be positive and
move your finger down the fan to the second group of three assertive: Exactly. You're giving the impression that you've
cards (because spectator 1 had the value TWO). These would already made selections and are now just affinning them. The
be the fourth, fifth and sixth cards in the fan. Since it's spectator deck puts the cards in the right positions in your hands.
Tt1E CONJVRING A:NTt10LOGY J 1 M S T E1 N ME Y ER 401
Three men are selected from the audience and brought on

61. BUILDING A BETTER stage. You ask their names and have them assure everyone that
nothing has been prearranged. During this brief conversatíon,
SLOT MACI1INE you pause and re-arrange them on stage, switching the position
of two of them in the line. J'mjust playing a hunch right now,
T his effecc was a hobby of mine for severaJ years. To the
bese of my knowledge, it was Dick Zimmerman who first
suggested a routine for a slot rnachine prediction. His original
but I think I should placeyou in this order. Finally, you urge
them to slide closer and closer together, until they are virtually
standing with their shouJders touching.
effect and method were very clever and very different. Max
Ladies and gentlemen, there is my slot machinel Unlíke
Maven has also worked out sorne original material starting the machines in Las Vegas,you can clearly see uihat's making
with this concept. But my problem is that 1 always had a it work. There's nothing random involved, but three minds
specific effect in mind, and 1 needed to find a method that will spin the toheels and make the choices. Picking up three
wouldn't sacrifice the most important elements of che effect, large manila envelopes with ribbons attached, you slip one
This description appeared in a 1997 lecture, Reminding and over the head of each man. The bulky envelope hangs in front
Deceiuing, and then in MAG/CMagazine,June 2003. of his chest. They're arranged and numbered in order, "1," "2"
W'henyou 're a magician, when you can demonstrate an and "3," and when the envelopes are hanging on each man,
abtlity to predict that something will happen or guess what they suggest the windows on the front of a slot machine. Here 's
someone is thinking,you get a lot offunny reactions.A lot uf the way the game works, you explain. Picking upa large bound
peopie say to me that they'd love to take me to a casino and manuscript of colored photocopies (Figurel), you flip through
have me matee bets for them. They somehow think that l'd
haue a mysterious aduantage, that I could cheat or break the
bank by making the right bets. l.
Well, I wouldn 't. My chances in Las Vegas are exactly
the same as yours, because I'm only good at reading the
thoughts o/human beings, anticipating the way that they're
thinking. You migñt debate whether there is sucn a thing as
E.S.P., but it's interesting to note that the professionals in Las
Vegas uion't take that chance. In all the casino games, slot
machines, roulette wheels, blackjack,you 'replaying against
inanimate objects=theway the wheel turns or the cardsf ali.
They won 't e ver let you play against a person, where E.S.P.
might be an advantage.
That made me start to thinh. 1fI only hada slot machine
made up ofthree minds instead of three uiheels, then the odds
would be in my favor. Tonight I need three minds to hetp me
build a better slot machine. Any three peopte will be fine.
Don't uiorry. /t uion't be taxing. You don't need to do much
thinkíng at ali.
TNE CONJVIUNG ANTt10LOGY JIM .STEINMEYER
it, stoppíng to show that it contains enJargements of symbols want you to be mental/y spinning the wheels in your minds,
from a slot machine (Figure 1 ). I had theseprinted right off the just the same way those symbols wereflípping by in the book.
wheels of a slot machine. When you see a machine spinning Keep them mouing, mouing, untilyou have to make a choice.
in Las Vegas, tt looks líke thts. . . . Here you flip through the You take a small pad of paper and pencil from your pocket.
book quickly, so that che symbols blurtogether. Turning your attention back to the man at the end, with his
But let's stop and have a look. What you don 't know is arm in the air, you notice his position. Sorry, 1didn 't mean to
that the symbols aren 't actually arranged randornly on a make you stand like that f or so long, but you three do make
wheel. There are more of one symbol or another, tn order a very conuincing slot machine. Okay, here we go. I pull the
to tnfluence the odds. On our slot machine, uie're only going lever down. You lower his hand to his side. Here's the jirst
to use these four symbols in this book. There's the cherries. window! You snap your fingers in front of the first man. He
You flip to a page showíng a large drawíng of red cherries. calls out, for example, cherry. You move quickly to the second
Here's the bell. Here's the orange. Here's the bar. It'sjust a big man. Second window! Snapping your fingers, he calls out bell.
black bar. Try to remember thosefour chotees. Cherries, bell, Moving to the Third Window!, and that man says bell.
orange, bar. You don 't need to worry about the odds or the Perfect!, you say, making a note on the pad. Cherry, bell,
stattstics. You 're going to make those upas we go along. You bell. J suspected that the three of you wouldn 't let me win.
toss aside the book of symbols. But uarious machines pay off in uarious ways, and since
Let's see if we can complete the slot machíne. Would you you 've done so well, let's decide how much money we 've won.
ratse your arm in the air,just like this? Instructing che man at Moving back to the fírst man, you say, Whenl snap my fingers
the end of che line to raise his arm, it creates che image of the this time, giue me any number betuieen one and nine. You
lever on che machine, the famous one-armed bandit (Figure 2).
Good. Now, ali I need is the coin. Takíng a large, dollar-sized
gambling token from your pocket and flipping it ínto the air,
you slide it into the brease pocket of the first man's coat. I'm 2.
playing one dollar. Now, in a moment, I'm going to pul/ the
lever. That 's when I want you to make your cho ices. I'm going
to snap my jingers three times. When I snap my jingers in
front of you, I wantyou to cal/ out one of the symbols, cherry,
bell; orange or bar. It unll be complete/y your choice, but J
want you to make the choice at the last possibte second, the
sptttsecond that I snap my fingers.
The reason is that I want to beplaying againstyour minas,
not any random chotees. Por example, one of you might say
bell, and the second one of you rnight say bell. Now the third
person has to make a choice. Do you say bell and giue me a
winner? Orperhapsyou were going to say bell, but you don 't
want me to wín, so you tnstantly change your mínd and say
bar. See how it works? They 're complete/y your chotees, but J
repeat the procedure. They select, for example, eight, five and around their necks as they step back to the audience. Wouldn 't
rwo. You write these on the pad as well. Good. We're playing it be great if real lije actual/y worked that way!
for eight-hundred and fifty-ttuo dollars. Let's see how well Here's the secret in four words. Flip book. Koran
you 've done. Medallion.
Retuming the pad to your pocket, you step back to the The use of the tlip books, or "blow books" might seem a
first man in line. Opening the clasp on the envelope, a bound bit elaborate, but I think they look flashy and thearrícal, and
manuscript of pages slides out into your hand. It looks exactly they aUow you to stress the ability of the volunteers to make
like the pages of symbols that you showed at the start of the ínstantaneous, perfectly free choíces=ín other words, really
effect. becoming a human síot machine.
My hunches were good, but your chotees were excellent. The fourth book, with random symbols in it, helps to
In my mind, when J saw the wheels spinning, 1 guessed that explain the other three, and establishes the nature of the books
I'd snap my fingers and you 'd imagine one symbol and one before you reveal them for the predictions.
symbol only. You said cherries, and 1 guessed you'd say.. You can manufacture the books if you prepare the artwork
. . Here you begin flipping through the book that was in the and pack a sandwich for a late night at your local Kinko 's. Each
envelope around the first man's neck. The symbols are all book is 64 pages of 8-1/2 by Ll-inch white card stock. Each
cherries, one page after another. Cherries! has black and white photocopíed irnages, done in heavy black
Tossing the book down, you move to the second envelope, rnarker, of symbols from a slot machine. Each image has been
sliding out the book. You said bell, and 1 was right about that colored. You could reproduce the images on a color copier,
one, too. Flipping through the book, every symbol is a bell. which produces the bese result. l <lid it the old-fashíoned way
Moving to the third envelope, you do the same thing. Again, and acrually cut out a stencil for each irnage, then stenciled
the book contains only pícrures of bells. each page using a light rníst of spray paint.
Tossing aside the last book, you ask for a nice round of The cherries are sprayed red, the beU is filled in yellow and
applause for your volunteers, who not only took the part of the orange is orange. The bar is just a big black bar and doesn 't
an inanimate machine, but played thepart with íntelligence. need to be paínted.
Reaching into the brease pocket of the first man, you retrieve Don't use standard weight paper. The images show
the large token. O/ course, according to our game, we shou/d through. Use thin caed stock, whích makes the pages more
be unnning something wíth a combinatton of cherries, bel/ rigid and opaque.
and beü. Take a look at this token, you say, handíng it to the The first book, the un pre pared book, consísts of 64 pages, a
man. You see that it has a loto/ engrauing on it, ali around it. kind of random shuffle of each symbol repeated 16 times. Have
They'ue engraued the name of the hotel on it, and its value. Jf thís Velo bound, which is the binding wíth the narrow plastic
you turn it ouer, you 'll see a prominent number on the back. stríps down one síde. At the time they bind it, they can put on a
A three digit number, right in the center. We're supposed to dark plastíc cover, which looks nice.
be winning 852 dollars. How much money does that token The other three books are all ídentícal, and ali flip books.
promise us? Using a paper cutter or a mat knife, each edge of the symbol
Eight-hundredfifty two dollars! he caUs out. pages needs to be trimmed. Each page begins as an 8-1/2 by
]ackpot! Thank you very much! You thank each man,
11 ínch page, but has small triangles cut from it to make subtle
taking back the token and removing the envelopes from tabs on the leading edge. The cherry page has the tab at the
TNE CONJVRING A-NTNOLOGY JJM .STEINMEYER
top; the bell has its tab in position of the four symbols, bue have a
3. two; the orange is at three and few extra done because you'll 5.
the bar is at the bottorn (Figure mess up a few coloring thern or
3). 1 remember theír posítíon as trimming the pages.
a streetlight: red, yellow, green Y ou' ll also need three 9 by
(I think of the leaf on the orange 12-inch manila envelopes, with
1
ínstead of the color of che fruit), loops of ribbon stapled to che
and black at che bottom of it all. bottom edge (Figure 7). Notice
Figure 4 shows che dimensions that che envelopes hang upside
on the bell page. down, so that you can easily
These pages are put in open che clasp at the bottom.
rotating order through che This allows the book to quickly
flip book, sixteen sets of four slide out ínto your hands. Be sure 6
symbols. You then need to have to put an identifying mark on
these Velo bound as well, so they each book so you can tell the top
match che unprepared book. from the bottom. (The easiest
The sixteen-year-old in the blue way is to have them bound with
smock behind che counter ac different colored plastics on the
Kinko's wilJ be confused by ic front and back.)
all. Be sure to caution him not to I put large numbers on che
disturb che cut tabs as he binds envelope, whích identifies their
the book. He'll ask you what it is. position.
Tell him it's a game for children When flipping through che
and just push on. unprepared book at the start of 7.
When you're finished, you'll che routine, you need to do it
4. 31a"
/l
have four bound books. Each has with a slightly different rhythm
r-------.;,' 64 pages. Each looks identical so that it matches che handling
\~1 2~p1
11
1/ from che outside. One book is of the flip books. After che men
. -1 'lz.'' unprepared. The other three are make their choices, ali you need
all identical flip books which to do is place your thumb at che
will show any symbol you like proper position, one through
depending upon where the edge four, on che edge of che book as
of the book is held as the pages you flip through. The book wilJ
are flipped (Figures 5 and 6). show sixteen identical symbols
.___ ___. ' )use a bit of quick math for che matching che prediction .
1 1 guy at the copy shop. You 'Il need That takes care of the main
1/s" to start wíth 64 copies of each part of the eff ect. If yo u' d like, you
TNE CONJVRING A:NTNOLOGY JIM .STEINMEYER
can leave out the coin prediction, ask for the three number predictions. When you write them
8. but I think it rnakes a very nice down, you're actually filling in the three numbers on the label,
coda to the routine. This version just after the dollar sign (Figure 9). Squeeze the coin out from
of Al Koran 's famous medallion under the band, palming it in your right hand as your return che
prediction uses two large dollar pad to your pocket.
tokens from Las Vegas. On one of You'll find that the coin can be easily finger palmed as you
thern, stick a small round label. lf hold the bindings of the books and flip through them, but if
you want, color the label with a you're uneasy about palming the coin for so long, keep it in
your pocket and retrieve itas you're tossing away the last of
grey magic rnarker, which makes
it blend slightly with the color of the books. Therc's plenty of movement and misdirection.
the coin. Write a"$" sígn on the Reaching into the man's pocket with the palmed coin, you
la bel, ali ready so yo u can write in supposedly remove it from his pocket and hand it to him to
the next three numbers (Figure look over. Point out the engraving on che coin, then ask him to
8). You're not goíng to make it tum it over and look for the three numbers on the center of the
look líke the number is engraved coín. You never acrually say that these numbers are engraved,
on the coin, but you'll suggest, only that there's a three-digít number on the center of the coin.
to everyone listeníng, that the He's the only one who realizes that the number is only written
number is engraved on the coin. on a paper label. But by then, you 've already proven your knack
Take a small 3 by 5 inch pad of for mindreading.
paper and place a thick rubber
band around it. Tuck the coin
with the label under the rubber
band, and put the pad in your
pocket with a pencil.
You never drop the coin in
the man's pocket. At the start
of the routine, use a simple
pass with the unprepared
dollar token, "vanishing" it then
supposedly droppíng it in rus
pocket. Ditch this coin. When
you reach into your own pocket
for the pad and pencíl, hold
the pad so that the coín under
the rubber band is concealed.
Use the pad to record the three
symbol predictions, and then
JIM STEINMl~YER
-~-
11
TME CONJVRINC ANTl10LOOY
10
~-
A lady in the front row of the audience is selected. We
62. Tl1E ALLERGIC ha ven 't prepared anything, have we? I'd like you to stand up,
and I'm going to sít in your chair. That means that it's ali up
CARD TRICK to you. Pick up these cards. I can 't touch them.
I'd like you to start by putting the cards on the table and
"'\Vfhen it comes to a basíc plot for rnagic, Cards Across (The ptcktng up that large manila enuelope. Take a look instde
YV Thirty Card Tríck, From Packet to Packet, et cerera) is it. Make sure that tt's complete/yempty. Very good. Put that
a great one. It's probably benefited frorn, and endured, more back on the table. Take the cards out of the box and brlng
variations than almost any other trick in magic=and I've always them ouer to this tray. I'll be actingas your assistant.
looked at it as a laboratory experíment, because the slightest I'd like you to shuffle those cards, mix them any way
changes in emphasis to the routine seem to have profound you'd like. Now deal twelve cards.fust twelve cards.face-up
affects on the ultimate presentation. In my book Deuice & on tnts tray. Count them out loud as you do tt. One... two..
Illusion, 1 published a popular version titled The Two-Sided . three.... She deals out cwelve cards. Put the rest of the cards
Triangle, which ernphasized different elements of the effect down and pickup the enuelope.Hold it up high. Good. I don 't
and gave a markedly different, theatrical effect by usíng only want to touch those. The twelve cards you selected go instde
a few cards, an envelope and sorne ribbon. In my most recent the enuelope. Please sea/ tt and gtue it to someone in the
lecture notes, I included this variation. and it was published in audience who looks trustuiorthy. Ask if he'll hold it for a feto
MAGIC in August 2003. minutes.
The AJlergic Card Trick is a pointedly hands-off versión The lady from the audience hands the envelope to someone
of thís effect. There's no question that the final effect is in the audience.
striking and memorable. You rnight be surprised-perhaps a f want you to take the rest of the cards and spread them,
bit disappointed-at the rnethod used, which suggests sorne f ace-up, on the tray. Try to spread them out ali over, so we
particular allergic avoidance for most card handling. But you'll can see as many ofthem as possible. Good. Take the tray in
find that the method is simple, direct, quite easy to prepare and your own hands. Now you 'll need to haue someone in the
takes care of the trick in virtually one fe U swoop. Best of all, it is audtence pick a card. I'ü be happy to do tt. After ali, I'ue neuer
nicely disguised within the presentation. hada chance to do thispart of a trick. ]ust hold the tray, tell
You start by picking upa small round tray, which has a deck me to look over ali the cards and think of any one (Figure 1).
of cards on it. I dtscoueredmany years ago that I'rn attergtc to The lady repeats your instructions, and you say that you've
card trlcks. The doctors think it's something in the ink used to selected a card. They uion't really belteue me, so you'd better
print playing cards. 1 actua/ly suspectthat it has something do it untn someone else, as well. Take the tray back to that
to do with a bad chtldhood memory, many years ago, when woman on the aisle, spread the cardsout, and ask her tojust
I saw a magician al a bírthdayparty. It 's a therapy thing. In think of any card. Good.
any case, it puts me at a disadvantage. l can 't do any card She follows these instructions. Take the tray back to the
trlcks. stage. Put tt on the table and pick up ali the caras, so you 've
Or at least, 1 can 't do any card trlcks unless 1 don 't touch got them in your hands. Here's uihere it gets interesting.
the cards. So that 's what I'm going to try and performf oryou We've strnpty thought of two cards in the deck, two caras of
tonight. I can 't proceed unless I have a 'designatedmagícian,' the remaining 40 that were on the tray. Ask me uihat card I'm
so J'm wonderlng ifyou would help me this evening.
thinkíng of She does. I'm thinking of the Nine of Spades. Ask She deals out ali the cards,
the other lady what card she 's thinhing of She <loes. The other but doesn't see them. That's
spectator responds that she's thinking ofthe Queen of Hearts. because they're real/y gone. In
Excelleru: 1 want you to close your eyes and just imagine f act, if you 'd count out those
that you 're spreadtng out ali the cards in front of you, líke a cards, yoú 'd find just 38. Two
big hand of cards. Don 't actual/y do it, just imagine ít. Have are missíng. The uery two that
you got it? She nods. Now imagine that you see the Queen we were thínkíng of I'm not
of Hearts and the Nine of Spades. They're right in front of goíng to ask you to count those
you. And you pul/ thern botñ out of the deck. But something cards, because 1 think 1 know
amazing happens. They begin to fly. They fly ali around the where we can .find them. Please
room. They fl.y around your head, like líttle birds, and justas step over to the envelope. Is
you reacn for them, they zoom througn the air and dtsappear. ü still sealed? Rip tt open and
Canyou imagine that? You can? Really? Wow. That's thefirst reach inside, taking out ali the
time that's ever happened. caras. Be sure you 've got ali of
You can open your eyes now. Of course, irnagining that is them. Now count thern slowly
the easy part. But what if 1 toldyou that, when you had your onto the tray. One... two. . . She
eyes ctosed, we ali saw those two cards jly around the room? counts, finding fourteen cards.
You'd know that I toas serious about that therapy. Take Euen more important than that,
the cards in your hands, turn them f ace-up, and deal them do you see the Nine of Spades
quickly onto the tray. Stop when youget to the Nine of Spades and the Queen of Hearts? Hold
or the Queen of Hearts. them up f or everyone to see.
The lady holds them up. Take a
bow. 1 haue to adrnit, that's the
best trick I'ue never done. 1 don 't
have any idea how you did
it, and if 1 were you, l'd never
explain your secrets.
The tray is prepared (Figure
2). It's made like the old
Multiplying Money tray. Almost
any srnall, shallow tray will work,
if the edge isn't too sharp-when
you tip it, you want the cards to
slíde off of it easily. 1 started wíth
an l l-inch diameter aluminum
pizza tray from a restaurant
erdnasemagicstore.com supply company, which has a

Tt1E CONJVRING ANTNOLOCY JIM STEINMEYER
very shaUow edge. 1 glued a 9- the Queen of Hearts. It's done before the show began. You
inch círcle of green felt in the found a lady in the audience, took her aside and told her, Later
center of the top surface. On in the show, uie're going to be doing a card trick. I uion't
the bottom, 1 glued a sandwich be perforrning it, someone else will. You'll need to think of
of rwo circles. One is a 9-inch a card. Because it's hard to see ali the cards when they're
piece of black cardboard or thin spreadout, I want you topick one now ... just take any one ..
black foam from a craft store. I . and look at it. La ter in the show, when you 're asked to think
used a dense black foam whích of any card, it doesn 't matter which ones you see. ]ust think
is about 1/16th of an inch thick, ofthis card you picked now. Can you remernber it?I force the
bue a circle of illustration board, Queen of Hearts because it is a very easy card to remember.
from an art supply store, would But, if she seems that she'Il have trouble rernernberíng, suggest
also work well. Cut a notch out that she write a note to herself. You don 't need to tell anyone
of the side of this, just larger than that you 've alreadypicked this card. But when you 're asked
a playing card. Glue this disc to to think of one, this will make ita lote aster andf aster.
the bortom of the tray, then glue lf she forgets it or misremembers it, then you're forced to
a full black circle on top of it. finish with a "near miss." But if you select someone who plays
Again, for this final circle you can cards and is familiar with card names, you shouldn't have any
use thin black illustration board problem.
or póster board. 1 used a starched That's the preparation. During the routine, you tip the tray,
black felt, whích is quite rigid, dumping the dozen face-up cards, plus the rwo extra cards,
available at craft stores. into the envelope (Figure 3). The spectator handles the tray
You'Il find that this creares a after that for the selections. You direct her to the pre-arranged
very thin, unnoticeable slot at the lady in the audience, and there's very little suspicion about thís,
bortorn the tray. which just holds as the selection of the second card is a suggestion to make the
two cards. If you tip the tray in trick better.
the dlrection of the slot, che cards The routine is very effectíve for most settings, and the
will slide out. I scratched a spot novelty of directing the action as you're seated in the audience
on the edge of the alumínurn, so I is a memorable and deceptive bit of presentation. For a small
can easily see where the slot lies. audience, you can perform it from the front row. For a larger
Use a large manila envelope, group, move your chair onto the stage so you can be seen and
at least 8 by 1 O inches. heard. Don't be put off by the pre-show preparation. You can
The deck is unprepared. do an impressive force here, and your reasons for setting up the
Pull out the Nine of Spades and trick seem simple and logical.
Queen of Hearts and place thern,
face-up, in the slot beneath the
tray,
The last detall is the force of
TME CONJVIUNO ANTMOLOGY JIM .STEINMEYER
for some great handling, including a way that each bill is treated
separately. Go to your closet, get out the old P&L Change Bag
or, ifyou rnust, go to the local magic shop and plead for them to
P rolific and ingenious, U.F. Grant contributed a great trick,

the Million Dollar Bill Mystery, to Volume 3 of the Tarbeü
take a look in the back shelves. For sorne tricks, a Change Bag
is just right.
Steppíng to the center of the stage, you start by addressing
Course in Magic. Desptte the name, the trick concerns itself
with two borrowed one-dollar bilis. This bill disappearance the audience. The other day, I looked in the mail box and got
and reappearance is a magnificent, efficieot routíne and uses sorne bad news and sorne good news. I know, everyone says
a spectacular method. That's three adjectives that are seldom that, but I really did! You reach in your pocket and withdraw
used to describe a mere magic trick, but Grant's Million Dollar two sealed envelopes (Figure 1 ). Both have been addressed and
Bill Mystery deserves ali three. The original effect was presented stamped. One is blood red with bold black writing. The other is
with a simple, minimal routine. Two bilis were borrowed and an ethereal light blue with gold printing.
toro. Halves of the biJls were retaíned. The other halves were At least, I'rn pretty sure they're good news and bad news.
vanished (by rolling them and inserting them into a cigarette Take a look at those return addresses. Holding the envelopes
pull). The rnissing halves reappearecl sealed in an envelope. up so a spectator in the front row can take a look, you point
I've always thought that the trick deserves a bit nicer out that the envelopes are addressed to you, but the return
routine. Something flashier. But the efficiency of the method addresses are curious. This one, the blue one, is from-let
creares a few problems. You can't have the bilis reappear in a me read litis carefully so J gel thts ríght'-Sl. Peter, Number
lemon or a light bulb or discovered rolled up in a cigar-or any One Pearly Gates, Eternity. I see that zip coaes aren 't used
of those other surprising restorations that we so love in the
world of magic. As you'll see, Grant's trick relies on several
switches of the biJls through the trick, which means the halves
should be simple and ftat, not especially curly or juicy. l.
A.fter pla yi ng with various elernents of the effect, 1 published
Fan Mail in Septernber 2003. In that final trick, I couldn 't resise
íncludíng a piece of apparatus that will rattle the knees of many
modern magicians: a Change Bag. For thís routine, l'm not
talking about one of those clear plastic change bags that are
used for mentalism, or one of those modest, just-a-few-pieces-
of-clorh-sewn-together bags, like an egg bag. l'm talking about
che velvet bag on che round frame with the handle. It's the
clichéd prop from the 19th century, one of those Victorianísms
whích survived through the 20th cenrury. When 1 was a kid, it 2.
was still one of the standards. They were beauti.fuUy made and
available ar every shop. The Change Bag seems to have been
eradicaced only within the last generation.
Well, I'm here to say it's back. For thís effect, it really allows
418 T ti E C O N J V R 1 N G A N T M O LO G Y JIM STEJNMEYt:R
f or Eterníty. You '/l notíce that 1 ha ven 't had the nerve to hold onto it.
actual/y open thts enuelope yet. 1 thought I'd wattf ora special I'm hoping that those letters were f an mail, and not
occasíon. 1wonderíf1 could entrust someone wíth it? You 've inuitations, íf you know what I mean. More than likely,
gota nice face. Sorne might say an angelic face. Would you they're Jan letters. Because I'ue just perfected a new trick
mind holding this enuelope tíghtly?Please don't open it yet. where J borrow a dollar bíll and make it instantlyjly from
The pale blue envelope is handed to a lovely lady in the front oneplace to another. Anyway, I'd líke to show it to you now.
row (Figure 2). And now that you 're holding those letters, I'ue got a big
Now, as for thís other envelope. 1 got it the same day. weight off my mind.
But the return address says, clearing your throat, The Prince Nowyou solicit the help of sorne other spectators by asking
of Darkness. 1 guess that's a professtonal title. 13 Chaos for the loan of a do llar bill.]usta one-dollar bill. I'rn only askíng
Boulevard,Eternal Damnatton, 666. .. 66. See, they have a for your help, not an investment. If the audience is small,
zip code, whlch confirrns what 1 always suspected. The post there's no need to get spectators out of the audience. You can
o/fice is in league wíth the devíl. Anyway, 1 didn 'topen this work from the aisle or play to the front rows. A spectator to
one either, because ... well, to be honest wíth you, because it one síde offers a dollar bill. You take it delicately berween your
smells kind o/ funny. It smells a bit líke sulfur. 1 wonder íf I fingers, pointing out how the audience is watching your every
could get you to hold onto ítfor a few minutes? Because you move. Holding the bill high, you slowly tear it in hau·.1 know,
look like... um .... You thought I was going to say that you J didn 't tell you J was gotng to do that. But belieue me, this is
look like hell, didn 't you? No, I was simplygoing to potnt out a great trtck. After ali, how many magic tricks do you know
that you seem to be incorruptible. Please don 't open it. ]ust that get a thumbs upfrom St. Peter and Lucifer?Noto, I'd líke
you to take half of the bill. The spectator takes one half. Hold
it hígh in your hand so everyone can see it. Good. Now watch
closely.
You are holding the other half of the bill. Stepping back to
a table, you pickup a small velvet bag which has a handle, and
you openly place the half bill inside the bag (Figure 3). Thís is
what makes it a big productíon. The velvet bag. I'ü hold ít
by the handle so you know J'm not doing anything trtcky.
You 've got half the bill. Your btil. I'ue got half o ver here in the
4. bag. On the count of three, my half is goíng to disappear and
reappear, complete/y restored, in your hand. That'll be a good
trick, don t you think? You count three and look expeccantly
at the spectator. What are you now holding in your hand? He
responds that It's just half a bill. I don 't get it, because íf I turn
the bag inside out .... Turning the bag inside out, a flurry of
small torn bits of bill fall onto che floor (Figure 4). That's not
a good sign. J don 't think that's supposed to happen. Are you
erdnasemagicstore.com sure you don 't have the rest of your dallar bill over there?
420 TME CONJVRING ANTHOLOGY J 1M STE1 NMEYER 421
Well, don't worry. lf there's anyproblem, I'll settle up. 1 owe half bill. Unlessyou want tojust cal/ita day? Well, okay, tue'll
you fifty cents. do it. How bad can it be? I'rn not the one opening ü, you say,
Placing the bag under your ann and stepping to the edge of poíntíng to che spectator holding che red envelope. You are.
the audience, you ask for another dollar bill. 1 need one more Go ahead and open it up.
dollar btll: This time I promise to get it right. Belíeve me, it'll The spectator opens che red envelope and reads, "Dear
all be worth it when you see the look o/ amazement on the Bob. Great tricks. Nice líes. Now you owe me one. The Devil."
faceso/ eueryone in the audience. J just love bringing joy to You ask if there's anything else in the envelope. He finds half a
peopte, but 1 need another do/lar. You finagle another bill from bill, whích he hands over to you. Holding it high, you display
a willing spectator, Good, I tear it up and put it in the bag. The
it to the audience. The bill seems a bit singed along one edge,
bill is torn in half and placed into the little velvet bag. But you which you point out to the audience (Figure 5). I don 't suppose
have to help me out. Reach in and take half o/ the bíll. The it couldposstbty be a matchf oryour half o ver there, could it?
spectator reaches in and withdraws half of the bill. Hold it high You carefuUy hand it over to che first spectator, who examines
oueryour head,justas he did. But J want you to try to get thís both pieces. He reports that it's a match. The tears, the serial
one right. Watch! You dramatically count to three, and then number?Yes, he says.
rurn the bag inside out. Another flurry oftom bits of paper. Looking relieved, you conclude. In that case, I'd ofjicially
Contemplating the two mistakes, you continue. I suppose líke to thank heaven. And as for the deuil, that was a good
thís ísjust when we need sorne good news, and I think l have trick, but I'rn not sure 1 want to pay f or tt wíth my soul. In
sorne right over there, in that letter from the great beyond. any case, here's the big fina/e. Here's the part tohere both
lndicating the spectator holding the blue envelope, you have pieces o/ the bíll become magically joined. Get ready. Here
her open it, takeout what's inside and read che note. She reads, it comes. One, two, three! On the count of three, you reach in
"Dear Bob'Tor your name, ofcourse) "Love your magíc. Always your pocket and pull out a dispenser of scotch tape. Pulling off
happy to answer your prayers. Sincerely, St. Peter." lnside she a long strip, you offer a píece of tape to each spectator, so they
also finds half of a dollar bill. can stíck the bills back together again.
You cake it gingerly berween your fingers and carry it over Sorry about that joke. The de vil made me do it.
to the first man, who is still holding his half bill. Taking his half I'd suggest taking a look at Grant's Million Dollar Bill
from hirn, you attempt to put the halves together again, but Mystery in Volume 3 of Tarbell. In chis version, the Change
find that they don't match. Sorry about that. I thought that Bag allows you to separare the handling of che two bilis into
was yours, but that can mean only one thtng. Returning che rwo distinct beats. Ifyou can get a nice P&L Change Bag, that's
half bill to hirn, you carry the rernaining half to the other side ideal. The nature of the prop, of course, is that there's a half-
of the audience, where it is handed to the second spectator. circle of metal in the top hem. This metal half-ring is attached to
Take a look at that half See if it matches. Do the tears match?
Even more irnportant, does the serial number match on botb 5.
ha/ves? That's the final prooft The spectator confirms that the
halves match exactly.
Well, that's the good news. The bad news ís that we
now have to open the other enuelope. Unless... ? You look
hopefully over to the first spectator, who is scill holding his
122 T t1 E CON J V R 1 N G A N T t1 O LO G Y J 1 M S TE 1 NM__E_Y_E_R 1~
the handle. By rwístíng the handle in one direction or another, way through the trick, they' re each holding halves of the same
the bag switches from one compartment to the other. It's bill, A. Weird, huh? Nowwatch how this works.
this very clean handling-the bag shíftíng from one half to the You pull out half of bill C (your bill which you prepared
other--whích is ideal for the routine. before the trick started), from the heaven envelope. You try
First of ali, you'll need the rwo letters. lf you decide you to match it with A, but of course it doesn't match. However, in
like the routine, go whole hog and buy a supply of colored returning the half to Spectator A, you acrually return the half of
envelopes, matching paper and have duplicate letters copíed bill c.
at the local copy shop. The notes should be on small pieces of You now carry over half of A, and hand it to Spectator B. Of
course, it marches the halfbeing held by B.
paper with Iarge, easy-to-read rype. The envelopes should be
addressed to you and you might make sorne clever effort to And the half bill in hell's envelope, half of C is a perfect
puta starnp on it and make it look like it's been cancelled. This match for the half being held by A.
decoration is just for show. You don 't need to go to any trouble Got it? Here's rhe full handling. When you first ask for
for this. just make the letters look interesting and be sure the the loan of a bill, try to identify a few people in the audience
rerum addresses are easy toread. who have bilis and are willing to loan one. This makes it easier
Take a single dollar bill. I suggest one not too clean, not too to go back for the second bill. You don't show the Change
ratry, just an average bill. Tear it in half neatly, but try to get Bag empty, as each compartment contains a bit of confertí
a small imperfection worked ínto the tear, so that the shape at the bottom. Taking Spectator A's bill, openly tear it in half
is distinctive. Take half of the bill and put it in the letter from and off er a half to the spectator. You can offer a free choice,
heaven with the note, then seal it. Take the other half of the or-the cleanest way to guarantee that everything looks perfect
bill and singe one edge slightly with a match or lighter. Of through the entire routine-give A the half that match es the half
course, you shouldri't singe the torn edge, but the short end of in the heaven envelope. (That is, the right half or the left half,
the bill opposite the tear. Take this half and place it in the hell whichever, which is sealed in heaven.)
envelope. Place the other half of A into the Change Bag. As you show
As for the Change Bag, in the bottorn of each compartment the bag, you secretly rwist the handle, changing compartments.
you'll need to puta pinch of "ripped up bill." Of course, you Pushing your hand into the bag so it turns ínsíde out, the
dori't really need to use ripped up bilis. You can do it with bits confetti is spilled out and the bag looks empty. Pull the bag so it
of newspaper, or photocopíes with a little light green paper is ríghtsíde-out agaín.
rnixed in. You just want conJetti that míght have been cut from Step over to Spectator B, borrowing the bill. Openly tear
a dollar bill. this bill in half and put both halves into che Change Bag. They
That's ali the preparation. The arnazing thing about the should go into the same half you've just shown, which is
secret is that there are a few clever switches through the cornpletely empty.
routine. In order to make this as clear as possible, l'm going As you rnove the bag closer to Spectator B, twist the handle,
to give you a quick summation of how it works, so you can to expose the other compartment. This now contaíns half of
understand the principie. bill A and confeni at the bottorn. Ask Spectator B to reach inside
Spectator A holds half ofhis bill. The other halfvanishes. and,take out half of the bill, either half, uihtcheuer one you
happen Lo get. Got it? lf the spectator is urged to [ust reach
You borrow a bill from B. Spectator B reaches into the
Change Bag but ends up getting the other half of A' s bill. So half inside and grab one piece, he won't feel around in the bag and
424 TtH C O N J V R 1 NO A N T M O LO O Y JIM STEINMEYER
discover that there's only one ha1f, or feel the confetti in che
bottorn. It's a very safe move. He puts rus hand inside, feels a
piece of paper, and pulls it out.
64. DECEPTIVITY
G
Now push your hand in the bag from the outside, turning enerally, you wouldn't consider opening with an
it inside out and showing che confetti. Put the Change Bag effect like this, but ít's the presentatíon that makes the
away. (lt nowcontains rwo halves of bill B, which you can tape difference. It was first published October 2003.
in
rogether at the end of the trick.) Stepping on stage with a small paper bag, che magician
Have the heaven envelope opened and cake che ha1f begins the show. She says, It's a pleasure to be here tonight,
bill over to Spectator A. They won't match. As you register and /'m looking f orward to clearing up a few myths about
disappointment, slide che two bilis together, one on top of che magictans. I think u's one of the most misunaerstood
other, and switch theír positions in each hand. You shouldn't professions in the world. Maybe that's because, right now,
make chis a move, bue think "Top Change:" it happens on an you're ali expecttngme to líe to you. Aren 't you? I can see it in
off-beat, on the exhale. Spectator A is now handed back che your body language ... leaning back in your chairs, resisting
other half of the bill, half of C. everything /'m saying. It's just like you 've uiandered onto a
Take the other half in your hand and offer it to Spectator B. used car lot, or you 're sitting in the dentist's chair and /'m
He'llfind ít's a perfect match. Point out how the serial numbers telling you, 'this isri 't going to hurta bit.'
match as well. Have the heU envelope opened. Point out che So, be/ore I begin, I think it's important to tell you that I
singed edge, and offer the bill to Spectator A, who finds that am a magician and I'm not going to líe to you. I never líe to
it's a perfect match. For the finish, offer each spectator sorne anyone. Well... actual/y, to be honest wíth you, I have lied to
scocch tape to put the bilis back together again. people. Inf act, I just lied to you right there about ne ver lying
Finally, once you get a feeling for the sequences, you might
find other apparatus that can work in place of the Change
Bag. I'd urge you to think unconventionally and cake a look at
what's on your shelf. Silk Cabby? Phantorn Tube? Card Box?
Or, you can always do it the tradicional way, with a rnechanícal
envelope to vanish the halves.
After this effect was published, Al Bemard wrote me to
suggest that the presentation works well with lerters from
different people. Mr. Bernard's suggestíon could be a fantastic
idea for a corporate show. Whac if che routine involved rwo
lerters sealed that you received from people in che company,
say che President and che Head of Personnel? With a little
research, it will allow you a few Jaughs. Even better, you can
give these folks a bow without actually having them get up on
stage and screw up one ofyour tricks, whích for decades has
been che tradicional way to use executíves in rnagíc.
426 T 11 E CON J V R 1 N G A: N T H O LO G Y JIM STEINMEYER
toyou. But asan expert in deception, I can tellyou, it's not the who 's being honest.
líes that you need to look out for. It's honesty. You 'llfind that But don 't toorry. I'ue saved the best surprise for last.
it's honesty that manages to deceiueyou. Because just a few minutes ago, I had a premonition and I
I'll demonstrate exactly what I mean. Be/ore J stepped took a big black marker and put an X on theface of one card.
on the stage, 1 placed a ptaying card inside this paper bag. And I'm here to tell you, in ali honesty, that your card,the Six
I'rn telling you the truth. There 's a playing card in this bag. o/Clubs, has a black X on theface.Take a look.
Is there someone in the audience who plays cards, who is Tuming the deck face-up and spreading it, she reveals that
familiar with ali the suits and na mes o/ the cards?(Figure 1) every card has a black X on the top edge (Figure 2).
She manages to find one. Good. Most peopte, if you ask
Yes, it's true that tne Six has an X on the f ace. I simply
them to think o/ a card, can only name one or two off the didn 't tell you that there are 51 other cards with that X as
top o/ their heads. The Ace o/ Spades. That's the card they well. You see how deceptivehonesty can be?
saw in the opera Carmen. Or the Queen o/ Hearts, because Holding the spectator's selected card, the Six of Clubs, in
it reminds them o/ their girlfriend; So I'd like you to real/y her hand so that it is facing the audience, she concludes the
make this hard for me. There are 52 chotees. Think o/sorne routine.
obscure card, a card I never could haue guessed, and tell me One líe would haue been so much simpler. Instead o/ ali
the name o/your choice. those half-truths, 1 should have just told you that this card
We'll say that the spectator names the Six of Clubs. had a bright red back, with a big X on it and that I always
The Six o/ Clubs. Now you see where I'rn gotng. Because knew that it would be your card?And maybe,just maybe, I'ue
I'ue already toldyou that there's a card in this bag. And I told been telling you the truth,just when you least expected it....
you that I'd be honest with you. So you 'd have to admit that it Turning over the Six of Clubs at her fingertips, the audience
would be a mtracie if the Stx o/ Clubs is inside the bag. is amazed to see that it has a red back, with a large X on it, and
Tearing open che bag, a deck of cards in a card case drops che words YOURCARD(Figure 3).
onto her hand.
There is a playing card in this bag. I was honest about
that. But there's a/so 51 other caras, right next to it. There's a
whole deck, so I guess the Six o/ Clubs is in there.
You see, I was complete/y honest with you. O/ course,
I can 't expect you to be impressed with that, so J'll tell you
something e/se. Honestly. You'll notice that this is a red deck
o/ cards. But inside it, I placed a blue card be/ore 1 carne out
here. And that card is the Six o/ Clubs. You 'd haue to admit,
that would be a miracle. 3.
Opening the deck and discarding the case, she reveals an
en tire deck of blue cards, which she spreads for the audience.
Unfortunately,I toldyou that there toas a blue card in this
deck, but I dídn 't tellyou that there are 51 other blue cards as
well. Once again, that's whatyougetfor listening to someone
428 Tt1E CONJVRINO A:NTNOLOGY JIM STEINMEYER
------
Now that you 're all educated consumers, now that yoú 5). This is my "preferred" fake
-- -
can all tell the difference between honesty and dishonesty, I brown paper bag, as I've already
can get on wíth my job and show you some magic ....
I suggest making this up in a slightly unconventional way,
explained in previous effects.
It's easy to make and assembles
-- - ·--
without the usual roughed paírs associated with tricks like the without any glue or tape. Take
Brainwave or Ultra Mental Decks. In fact, the deck responsible a few seconds and do a neat job
for this effect, with the different backs, the X's and marks, is pushing one bag around the
quite different. other. Then drop the Odd Deck .,,
' . ,,
In fact, it's rwo decks. Both are in red card boxes. into the top bag. Pinch the top of
Deck One is the Odd Deck. lt has the 28 odd cards (Aces, the bag shut, and you're ready to '
t l
threes, fives ... right up to Jacks and Kings) aU selected from perform (Figure 6).
, -··--t"
1 •
¡_, ._,
a red deck. Each of these cards has a small black X on its face, When the spectator decides
as in Drawing 2, drawn with a wide, permanent magic marker. on the carel, you'll choose the
On the backs of each of these cards is a large X, from comer to appropriate deck. If an odd carel
comer, and the words "YOUR CARD," as in Figure 3. is named (including }ack and 5.
In Deck One, these 28 red cards are on the face. There are King, which represent 11 and
24 blue cards, the even value cards, on the back of the deck (on 13), ler the top of the bag open,
top if the deck is face down). Each of these has a smaU black X tum it over with one hand and let
on the face. the deck drop out.
lf an even carel is narned ·--
1
For Deck Two, the Even Deck, there are 24 even red cards
on the face, prepared with srnall X's on the face, large X's and (including the Queen, which is
"YOUR CARO'' on the backs. Behind these cards (on top of 12), crurnple the top of the bag
them if the cards are face clown) are 28 odd blue cards with shut, then make a tear at the
smalJ X's on the face. bottorn, so the deck drops out
You'll want a small mark, on the case of each deck, so you onto your hand.
can easily identify Odd from Even backstage when you're Place the bag aside and open
preparing the trick. thedeck.
The paper bag is prepared. Use rwo flat bottorn lunch bags, Following the patter, show
which come in big packages at a grocery store, Cut the top off the back of the cards, spreading
of each bag-rough.ly 1-1/2 inches cut straight across (Figure them for 15 or rwenry cards to
4). Now take one of the bags and fold clown a collar of about showthatthey'reblue. Ofcourse,
1-1 /2 inches. Fold this collar rwíce. That is, fold the 1-1/2 inch you can spread them as far as the
section ínsíde-out, around the bag, then turn it over again by center of the deck. Then turn the
turning it inside-out, so the collar is double thickness. deck face-up, spreading the faces
Put the Even Deck in the bottom of the unfolded bag. Then towards the audience. Now you
insert the folded bag inside of it, sliding it down so that the can spread aU the cards, from
edge of the outer bag is hidden up in the folded collar (Figure front to back, showing small X's
4)º T n E CON J V R 1 N G A: N T n O LO G Y JIM .STEINMEYER
on the faces of the cards. Find the selected card (it will be in the
half near the face of the deck) and pull it out. 65. Tl1E GREAT
Put the rest of the deck aside. When you turn over the
selected card, it shows a red back with an X and "YOUR SILVERWARE SCAM
CARD."
One more thing: When I made up this trick, I actually
avoided the odd and even designation. Odd and even is che N umber 50, Apples and Oranges, the all-fruit, big-production
version of the Piano Card Trick, was a favorite wíth readers
and I realized that a good number had been performing it. In
easíest way to explain it for these instructions, but now that
theory, the trick could be done with any objects. But certain
you understand it, 1'11 note that 1 didn't want to spread che
cards and have the audience see ali rwos, fours and sixes, et objects lend themselves to a strong line of patter, and sorne
cerera, near the face of che deck. So, instead of odd and even, I objects are well-suited to the effect. As I pointed out in the
used the "Eight Kings" rhyme (Eight Kings Threatened to Save description of Apples and Oranges, the Piano Card Trick is
Ninety-Five Ladíes for One Sick Knave, translated to: Eight, íronícally not especially great with cards, which rnight be
King, Three, Ten, Two, Seven, Nine, Five, Queen, Four, Ace, suspected of stíckíng together or sliding apart.
Six, Iack). I just divided thís sequence in half, from Eight to Here · s another variation that 1 rea U y like. A few months ago,
Seven, then from Nine to Jack. 1 was sitting in a restaurant with my wífe, and reached over to
This way I have an "Eight" deck anda "Nine" deck. When another cable for a fork. That's when it hit me. There's a good
the card is called, 1 can mentally go through the rhyme and idea for a trick. 1 stumbled around with severa) methods before
see which deck contains it, then proceed with che effect. Of realizing that this presentation was perf ectly suited to my old
course, any card stack or system that you know would work fríend, che Piano Card Trick. This versíon was published in
equally well. This one pues sorne odd and even cards in each December 2003.
red section of the deck. As a magician, I'm expected to know ali about mystery
You could use roughed paírs, in the tradicional manner. and deception. That's how I uncovered the Great Sílverware
I prefer the trick with the bank of cards at the top. I acrually Scam. lt was the result of years of research and undercover
think it all handles better and naturally for this presentation. work. I guess you 've probably heard of ít. Oh, you hauen 't?
But of course, if yo u still have a can of that roughing fluid and I can't imagine why not. It's been ali over the papers. lt's a
you have fond memories of the old rough and smooth principie, multi-million dollarfraud that's been perpetuatedfor years
you can translate these ínstructíons to a radical version of the and years. And you, myfriends, have been the uictims.
Ultra Mental deck, making it ali with rough and smooth cards. Pushing away the dishes at the table, you pickup a handful
of silverware.
Has this ever happened to you? You're sitting down ata
nice restaurant, and yo u notice that you 're missing a f ork.
So what do you do? Of course, you stand up, reach over to the
next empty table, and píck up a fork, don 't you? Eoerybody
does it. They'ue been doing itforyears. They don 't even think
about it any more. That's how insidious thisptot has become.
Because ali of you have been uictims ofthe Great Süoeruiare
Scam.
T11E CONJVRING ANTHOLOGY JIM STEINMEYER
What you don 't know is that every restaurant across the plates. Holding up the first knífe and fork, you say: A pair.
country has deliberatelypurchased one fork less than they These are divided, one placed on a place to your right, and che
need. That's right. lt doesn 't sound líke much. But when you other placed on a plate to your left. This is repeated with about
add up the cost of ali of those forks, it comes to millions of half a dozen more pairs. Each time you say, A pair, then divide
dollars saved in silueruiare costs. And every night, in euery them so that there are knives and forks on places to your right
restaurant around the country, peopte are handing around and left. Finally you look down and find one extra knife on the
f ores, from one tableto another, to make upforthat missing table.
piece of silueruiare. We are the uictims. We are doing the This one is ali by itself. There's nofork to go with tt. Where
busboy's work, because master crirninats, lurking in the do you want the extra kntfe to end up, ouer here or over
kitchens o/ euery restaurantacross América, haue decided to here? you ask. The spectators make a selection. Let's say that
take advantage o/ our good will and save a few dollars. It's you place the knife on the place to your right. Thís means, of
euit. It's criminal. It's a conspiracyof staggeringproportions. course,that one table is missing af ork. 1t 's the same situatton
By now, yo u' re doing your bese Geraldo Rivera/Bill O 'Reilly we encounter euery night in restaurants across the country.
impersonation. Normal/y, you 'd stand up, reach over to this table, you
Those míssing forks amount to ouer twelve rnillion say, indícating the pile of silver on your left, and just pick up
dollars in süuertoare sauings every year. Now, what are toe, a fork. But with theprincipie o/ sympatheticsilver, the süuer
as consumers, to do about ít? Well, now that I'ue exposed this fork magically appears ioheneuer you need it. Here's a way
horrible scandal, l have a suggestion about how we canjix ít. that you can protest the Great Siluertuare Scam. lt works
Let me show you. It's a little known secret called sympathetic euery time, betieue it or not. A simpleprocedure.
sí/ver. Standing gravely over the pile of silver on the place to your
Now standing at che cable with your handful of knives right, you hold both hands above your shoulders and wiggle
and forks, you begin sorting them, a pair at a time. The pile your fingers back and forth wildly (Figure 1). You'ue got to do
is placed in front of you. To your right and left are two empty this forten ful/ seconds. Stand up, unggle your jingers over
the table.fust líke this. Seuen, eight, nine, ten. Good. You stop
wiggling your fingers and turn your attention to the sílverware
J. just beneath your hands. Believe it or not, the missing fork has
made it over to this side to join the knife. Take a look.
Picking up pairs of silverware from the place on your right,
you point out how they're perfectly rnatched. A pair, a pair, a
pair, a pair..... In fact, there is no extra píece of sílverware.
You might have guessed uihere ít carne from. Over here.
Look. Counting offthe pairs on the other'plate, you end up with
one extra knífe, which proves that the missing fork transposed
from one side of the table to another.
Did you see that? You toouldn't belieue ít if you hadn't
actual/y seen it, would you? A piece o/ silverware went/rom
one side to the other, and you were watching my hands ali
TME CONJVRING ANTMOLOGY JIM .STElNMEYER
4)4
the time. I have to confess. It's a This is a great impromptu routine, but you need to
trick. An iüusion. A deception. So remember how to separare the sílverware. Start with it all in a
you 'reprobablyuiondering why pile in front ofyou. Pickup a knife in your left hand anda fork
I bothered wíth this story. Well, in the right (Figure 2). You start with the knife (representing
I'll tell you the truth. lt is a lot "one") in your left hand. Say, A pair, then separate them,
of trouble to try and f ool people placíng the knife 011 the place to your left, the fork ro your right.
into thinking thatyou can really The second pair has the fork on the left. Then, the third pair has
make silverware move across the knife 011 the left, et cerera, alternating ali the way through.
a restaurant. But I'm goíng to You'll end up with four knives 011 your left, with three
keep demonstrating this, over forks, and three knives on your right with four forks. You need
and over again, hoping that to place the last, extra knife to your right. You can simply place
some night, I'll see someone it there, or give the audience the choice. In thís case, phrase
stand up in a restaurant and go it so you ask where they would like the last knife to end up. lf
like this.... they point to the pile on your left, say, Okay, I'rn going to get it
Here you start wiggling your over there the hard way, byfirstptacing it o ver here. Then you
fingers again. Then I know ítwill put it on the place on the right.
ali be worth it. lf they indicare the plate on the right, you place it down on
The Piano Card Trick is a that pile.
simple mathematical deception, At the conclusión of the routine, count out the pairs on the
and it works itself if you get it place on your right. Pick them up, rwo by rwo, saying, pair,
right. You'U need seven forks patr, pair, pair.
and eight knives in a pile in front Now tum your attention to the plate on your left, counting
of you. Put rwo ernpry places on out pairs and pointing out the extra knife, proving that the fork
eíther side. has moved from place to plate. Remember, you don't count the
The deception depends on pieces of silverware at any time, you simply indicare pairs.
you saying A pair, alJ through This version of the trick works well because of the
the routine, but you begin by sílverware (shiny objects) and the noise that is made as each
separating the pairs, placing piece is placed on the plate (rattles and clicks), Do it slowly
one píece of silverware to the and openJy, showing your hands throughout to ernphasíze che
right and one to the left. There procedure, and build it upas a miracle, beca use this weird Iíttle
are an odd number of pairs, demonstration will live up to the hype.
which shows an extra píece of
sílverware when each plate is
counted in pairs.
If you don't understand it,
just try it. Get the silverware and
go through the routine.
Tt1E CONJVR.ING A:NTl10LOGY JIM STEINMEYER
tt's actually the same sort of'psychotogy.

66. I KNOW Wl1AT J don 't have any intention of being a pest, or selling you a
YOV'RE Tl1INKING broom. But I'm also nota psychic. I'd like to demonstrate that,
under certain circumstances and with cooperatioe subjects,1
sometimes know what you 're thinking. Por example, I'd like
C ertain routines are derived from the situation. Most
opening effects in magíc, to my mind, are overrated. If
an audience remembers your opening effect by the time your
to start with someone in the audtence. You don 't need to get
up out of your sea t. In f act, you don 't even need to stand up.
just stay right where you are. Would this lady on the aisle be
show is finished, you're actually doing something wrong. At
willing to help?
bese, an opening gives che audience a chance to know you and You've now indicated a lady in the audience. She nods in
sets up the pieces that follow. Insorne situations, the notion of agreement.
setting che tone for the rest of the act is a particular challenge. Excellent. You 've noticed that I walked out here holding a
I think it's particularly hard to find good mentalism pieces that large enuetope. That's because 1 know uihat you 're thinking.
can be used for openings, beca use the effect suddenly becomes ¡ do. I'm sure you don 't belieue me, but here it is, inside the
responsible for the perception of what follows. 1 think that a enuelope.
strong, slightly flashy píece of mentalism in this spot gives che You reach in and pull out a large píece of poster board. On it
performer a chance to slow down and shift gears, following are letters spelling out, "Why did he pick me?" (Figure 2) After
with a longer, more complicated routine, but still holding the the laugh, you set the cardboard sign upright on a chair.
audience's interese. J was just kidding about that. But you 've got to admit,
This effect, fromJanuary 2004, is all about the presentation,
but che presentation justifies the slightly underhanded method
necessary to accomplish it. Best of all, 1 think it does set a tone
with afriendly, unexpected presentation. And it'san impressive
rnystery that will, two minutes into a routine of mentalism, get
J. 2.
them offyour back and, hopefully, on your side.
You walk onstage holding a large manila envelope (Figure
1). The reason I'rn standing in front ofyou tonight, and not
watching from the front row, is because 1 have particular
instghts about particular peopte. In other words, I know WhyDid
what you 're thinking. Sorne people call this extrasensory
perception or mtndreading. But I actually think that there
are more comrnonplace expianattons, like 'hunches,' or HePick
'tntuition' or 'body language. r
After ali, I'm sure you 've ali meta salesman who managed
to scramble your thoughts and twist around your intentions. Me?
And five minutes later, you uiere suddenly buying a left-
handed broom that you neuer tntended to buy. Anyway,
you 'd probably call that salesman a pest, not a psychic. But
438 TME CONJVRING ANTMO_L_o_o_Y _ JIM STEINMEYER
43.9
that thought did crossyour mind. Let's narrowyour choices a On the last line, you pick up the
bit. I'd likeyou to concentrate on a three-digit number. Make upright cards and mm them 3.
ita simple number, pan of a phone number or social security over, slowly showing that on the
nurnber. Three separate digtts. And as you concentrate on backs of the three cards are three
those numbers, 1 actually know what you 're thinking. ... enormous dígits, 4 ... 4 ... and 4!
Pulling a second card from the envelope, you show that it (Figure 3)
says, "I can't believe he's doing a number trick." This card is set Thank you f or sharing your
alongside the first one. thoughts with me. You're an
Weli, let me correct you. It's nota number trick, it's an excetlent subject. Hopefully
extremely stgnificant nurnber trick. 1 need you to uisualize you 're ali excellentsubjects. And
the number in your mind. just close your eyes and try to now ali of you have a sense of
imagine ali three digits as if they uiere tlluminated in a bright what I'll be attempting tonight.
líght. Haue you got it? Can you imagine the numbers thatyou The secret can easily be
picked? explained: pre-show. But before
She nods in agreement. You puU out a third card, and that you turn the page, let me explain
one says, "I'rn not buying any of this." You toss down the that it's nothing as crude as using
envelope, which is now obviously ernpry, and place the third a stooge or asking for a favor.
card alongside the other two. It's sirnply that there was a little
1 appreciate your cooperation and also your seeptictsrn. pre-show performance that the
But when we started, I asked you to concentrate on three audience didn't see. That's what
digits. Can 1 ask you what that nurnber is? allows this opening effect to be
The lady responds, forexample, "444." so simple and clean.
Four-hundred and f orty-four! That's exactly rightt 1 1 suggest using a transparent
congratulate you on your choice! I had a hunch that would change bag. This is made from
be the number. l knew that was what you were thinking. rwo nested plastic bags, each
My point is that when we concentra/e on things, our rninds one about 10-inches square. The
race ata mile a minute. You 're eualuating what J'm saying, marketed plastic force bags are
you 're wondering why l'm saying it, you 're listening to made so that they can be opened
tuhat peopte are umtspering and you're aware of tohat's to one side or the other-of
happening in the room around you. So when l say 1 know necessity, since you need to put
what you 're thinking, my job is to weed through all those objects in one side and another,
random thoughts, those sensations and impressions, and It's best to make the bags by
identify a single, simple thought, whtch is actually part of a nestíng one wíthin the other,
compitcated series of perceptions. l asked you to concentra/e then permanently sealing them
on three digits, and you actually did a sensationaljob. Out so that you only have access
of one-thousand posstbtltttes, you pícked 444. And that's to the inside layer. This makes
why J've been saying ali along, l know what you 're thinking! the handling even símpler and
Tt1E CONJVRING A:NTNOLOGY JIM .STEINMEYER
elimínates any "screw-up" factor. come to rnind. So I uionder if

First, Iet's discuss what's in the bag. Cut about 70 squares you 'dpick a number at random 4.
of paper or thín card stock, each one about 2 by 2 inches. On now, so you can concentrate on
about forry ofthese squares, wríte three-digit numbers. On the it uihen I ask you for a number?
final thirty, write the force number. A clever touch is to pick Good. I haue a bag with lots
a distinctive but "easy" number, like 444. To the audience, of numbers in it. I'll turri my
this nurnber will be believable, the sort of thíng someone head. Shake the bag a bit, then
would easily think of when asked to imagine a number. (But open it towards the lady. Close
notan extremely obvious choice, like 100, 333 or 777.) The your eyes, reach instde and pul/
other advantage is that this number is easy for the spectator one out. just one. I won 't look.
to remember. You don't want to gíve her something like 674, Open your eyes and look at the
then ten minutes later, when the show starts, have her mumble number. Will you remember it?
something about, "I might have forgotten it." Are you sure? If you thínk you
Use clear plastic bags about O-inches square, and nest one
í won 't remember it, you can
within the other. On either side-that is, berween the layers take tt with you and look at ü
of the bags-put about half of the randorn numbers. You want just be/ore the show starts.
the cards tumed both ways so that they look random, but of In most cases she'll say that
course, it helps if a tot of the numbers are showíng so they she'll remember it. Good. I'm
are seen to be differen t. Once these small cards are berween not looking. just put ít back in
the layers of che bag, seal the top edges of the bag all the way the bag. Then shake the bag, fold
round. It's easiest to do this with a bead of glue, then a strip of it up and put it away. I appreciate
clear tape or colored fabríc tape or vinyl tape. The tape gíves your helping. This will make the
strength to the top edge of the bag and makes it easier to handle show move much faster. Try to
as well. See Figure 4. sit near the front of the stage, so
When che construction of the bag is finished, put the 30 I can find you easíly. When I ask
force numbers in the center section. Because of how you've for your help, I toon 't ask you to
made the bag, you can now only open it to the center and end come up on stage or embarrass
up with a force card. The random numbers are visible on either you in any uiay. You'll just use
side. that number, and uie'll try to
Before che show, you or an assístant find a likely assístanr do something ínteresting that
in the audience, or even berter, before she actually takes her everyone will enjoy.
seat in the audience. Here's a likely script for this part of the The approach is very low-key
performance. and friendly. She's nor exactly a
I wonder if I could ask f or your help? At the beginning of stooge, because she's also getting
my show, I'm going to need someone to think of a number. a trick-it's just that the trick that
she sees isn't quite as good as
Usual/y when I ask someone to do thís, peopte may not be
willing to volunteer, or there are only a feui numbers that the trick that everyone else sees.
14z THE CONJVRING ANTHOLOGY JIM BTEINMEYER
~~~~~~~~~~~~~~~-.LI. )
Notice that, in your patter to her before the show, you're not
putting her on guard or forming a challenge. The parter for 67. TRVE TALES fROM
the effect on stage doesn't say directly that she should think
of a new number, but rather that she should concentrate on a Tl1E NEW.S.STAND
three-dígít number. To your assístant, it will be clear that this is
her pare of the show, and you're doing che number trick now. Q omehow, magic has always managed to attract those
To che rest of the audience. she's just decided on a number Uthings-things we euphemistically call "allied ares"-like
at random. Nortee that you don't need to ask her, Have we Velero attracting lint: Shadowgraphs, Chapeaugraphy,
Troublcwit, Rag Pictures, Paper Tearing, Chalk Talk, et cetera,
prearranged anything?or point out that you 've ch osen her at
random. The revelation of the cards, "Why did he pick me?" hits et cerera. A number of these allied ares are perfect vehicles
that on the head in a funny way, not a confrontational way. for foolishness, and are somehow-unnervingly-ac home in a
The envelope 1 have is 12 by 18 inches, with three pieces of magicshow.
poseer board 11 by 17. The words are typeset on a computer, When 1 was a kid, a number of my friends performed The
then enlarged ata copy shop and glued onto the poster board. A<lventures of Diamond jack, from the back pages of Hugard's
l suggest writing the numbers on the back with an extra Encyclopedia of Card Tricks. It isn't magic, bue it provided
thick marking pen. 1 like the idea that you 've just written the a series of surefire laughs. Today, thanks to Bill Malone, the
nurnbers before che show began, not that they've been set in adventures of Sam che Bellhop are the popular favorite. In
type-which seems a bit too contrived. the flurry of Bill's shuffles and his rapid-fire patter, there's
Of course, this effect is especially clean and simple because a sort of irresistible momentum to the routine, which gets
so much of it has been taken care of before the curtain rises. sillier ancl funnier. 1 must say that the stories about Díamond
For this reason it's an impressive opening and sets the tone Jack ami Sam the Bellhop never quite made any sense to me,
nícely, giving you sorne breathing room for your next two but why quibble? The fun of the routine is íts relentlessness,
or three pieces. Don't he afraid of the pre-show work, bue be the audíence waiting for it to ali collapse on ítself while the
warned. When you Live by pre-show, you have to be ready connections and puns just keep rattling on.
to die by pre-show. lf she forgets the number, you dori't get My thought was to enJarge this sort of routine, adapting
to say, No, you got it wrong. You've got to try to remember che jokes to something showier than a deck of cards. Over the
it again, and you've got to make sure that she doesn't feel course of several months, I've cobbled together True Tales
apologetic and offer, "Sorry, 1 forgot the number you had me from the Newsstand, from a series of exhausting vísits to che
pick." You have to shrug, say you got it wrong and move on. local newsstands, a scrap of paper anda pen in hand, searching
That's why the simple, memorable number and the offer for for the perfect combination. It's not rnagic, but it is a safe bet, a
her to take the cardare helpful. Beyond that, like any piece of few minutes of good fun for almost any show.
mentalism, you're in the hands of the spectator. Good luck, So here's the end result. The routine was first published in
and be prepared to make che best of it. It's an impressive way to Feburary 2004. I'm going to take my time describing the patter,
kick off an act. beca use as you 'U see, that really is the whole thing.
You pick up a rectangular box and turn it upsíde down,
placing it on a table next to you. l'm always asked two
questions. I guess those questions are commonfor magicians.
The first question is, 'Why did you decide to becorne a
TNE CONJVRING ANTNOLOGY J 1 M S T E 1 N M E Y_E_R _,_14)
1..14
magician? And the second question is, What are you going Well, my uieird tale (WEIRD TALES) started one day at the
to do for a living when this doesn 't work out?' Tonight,I'd like newsstand. Ifirstsaw her througñ the toindouis (WINDOWS).
to answer the second questionfirst. She was a complete woman (COMPLETE WOMAN). She was
Lifting the box straight up, you reveal a tall stack of glamorous (GLAMOUR), she had a particular allure, with
magazines. You set che box, open end up, on a chaír to one much more inside (ALLURE, then opening it to show a copy of
side. Actually, I started my career selling magazines ata MORE inside). Ifirst noticed the face (THE FACE). Tnen it was
neuisstand, and I was pretty good at it. I know, it doesn 't probably the hot hair (HOT HAlR).
sound uery prestigious. But there are things you can dtscouer She askedf or the time. I offered her Time and Vanity Fair
at the rtetosstand (Figure 1). (Picking up the top magazine on (TIME and VANlTY FAlR). I tried a helio (HELLO). 'Excuse me
che stack, you show DISCOVER.)And you know, there really is ms.' (MS.), I started. She said, 'You don't haue to be so P.C.
an auful lot to discouer. (Now tlipping the magazine, showing (PC) with me. My narne's jane OANE), but ali my friends cal/
the contents. The DISCOVER is then placed in the box on che me Q (Q.) So I said, 'Gee, Q, (G.Q.), although I don 't know
chair.) Our customers would come in to get their news, week much about psychology, today (PSYCHOLOGY TODA Y) is
a/ter week. (You've picked up the next magazine, showing my lucky (LUCKY) day!'
NEWSWEEK, as you speak che words, news... week. This is also J told her that I was mad for her (MAD). Together we
dropped into the box.) You find out that there's a lot to learn could live the simple lije. Real simple (REAL SIMPLE). We'll
about peopte (PEO PLE), and you find that people are ali the buüd a log home with a country garden (LOG HOMES and
same. (Now picking upa second, identical copy of PEO PLE and COUNTRY GARDENS). Or maybe, even a better home and
holding it next to che first. Both are dropped into the box.) garden (BETTER HOMES AND GARDENS). /'d fancy a dog
(DOG FANCY). Ora horse (HORSE). Maybe two horses. One
forme, and one that's your horse (YOUR HORSE). You can
J. spend your days cooking me gourmet meals (GOURMET).
Yes, we'll haue a great lije together(LIFE)!
Time out, she said (TIME oun. I don 't call that living
(MARTHA STEWART UVING). I'm no good at housekeeping
(GOOD HOUSEKEEPING). I'm a rolling stone (ROLLING
STO NE). I want high times (HIGH TIMES), jazz times OAZZ
TIMES), New York times (opening the front section of a NEW
YORK TIMES). Stop talking about us (US). Wejust don 't mix
(MIX).
J toasshocked. Oh! Oh! I said (Holding up rwo copies of
Oprah Winfrey's magazine, O). Suddenly, my whole toorld was
turned upside down. (Picking up an open magazine that has a
large hole in it, chen closing the cover to show THE WORLD,
then slowly turning it upside down ( ... hole ... world... upside-
down.) Lije had no meaning (Opening a copy of LIFE to show
erdnasemagicstore.com rwo blank pages). / was no /onger interested in the popular

446 T t1 E C O N J V R 1 N G A: N T n O LO G y JIM .STEINMEYER 447
setene e (POPULAR SCIENCE), I uianted to get in touch with my Finally, if you can't find sorne of the magazines or if any of
dreams (IN TOUCH and DREAM HOMES INTERNATIONAL). the titles cease publication, don't be dissuaded. You can easily
To shoot for the sky (SKY AND TELESCOPE). So J decided to substitute other titles to vary the story. Similarly, this would
becorne a magician. That's how it happened, sad but true. work well for a wornan by varying the story and rnagazines
As 1 watched her walk into the sunset (SUNSET), J knew I'd appropriately. 1 suggest staying away frorn dirty rnagazines
treasure the time we had together, even if tt was much less or racy magazines, even if the tilles are funny; they can give a
time than 1 uianted (a miniature copy of TIME). And even chilling effect and squelch sorne laughs. Also, although there
today I tell myself (SELF), we'll aluiays haue the netosstand. are thousands of weird titles, try to pick as rnany recognizable
titles as you can and arrange them in as many tortured
What more do you need to know? Well, first of all, you
don't really want to carry a stack of 52 magazínes, which ends constructíons as possible (as in Psychology. . . today, Gee Q,
up beíng a tall pile of heavy, glazed paper. So I suggest cutting or Whole world turned upside down). Those really are the
down each magazine to a fractíon of its thickness, just a few [okes, and they work best by building them up at the end of che
sheets stapled or glued together. This aUows you to reduce the sequence.
stack to about five or six ínches, and ír's much easíer to carry. As for my friends in other countries... if you're still reading
As you pare down the magazines, keep a roll of strong clear and haven't thrown the book against the wall in frustration, all
tape nearby and a jar of rubber cement for any rough edges. 1 can say is that you're on your own! Visit your local newsstand,
This way you can turn each magazine into a nice, clean prop. survey the titles available and let the above routine be an
The box is a cardboard box, cut to a síze to fit the stack inspiration.
of magazines, and painted or covered with dark self-adhesíve
paper on the outside. 2.
There are severa) prepared magazines included in the
routine. One of the Life magazines has blank sheets inside so
you can open it to show nothing. A World (or U.S. News and
World Report) has a large hole (about 4 inches in diameter) cut
through the second half of the pages (Figure 2). This lets you
píck up the magazine, open it and show the hole, then close
the cover showing the World, then slowly rurn the magazine
upside down to match the patter, Finally, there's a photo
reduction of a Time magazine. 1 suggest doing this on a color
photocopíer and making it about half-size.
The above routine uses 52 distinct rnagazínes. You should
be able to find all the titles Usted, if you rnake the rounds to
a few friendly newsstands. You'll want to look for friendly
newsstands, beca use you don't want to pay retail for the latest
issues of these magazines; you might have sorne luck gathering
together sorne old issues. Once you've assernbled the set,
you're a11 ready to go foryears and years.
Tl1E CONJVRING ANTl10LOGY JIM STEINMEYER
---
and they made a martini and olive appear in the clear bulb.
68. LIGI1T BVLB In Alan's later version of this effect, it was a different drink, a
green Grasshopper, which appeared inside the bulb. This was
VARIATIONB described in my book The Magic of Alan Wakeling. I've used
his color changing secretas an ínspiration for this routine.
lfyou've been reading these Conjuringeffects religiously, The presentation starts this way: It 's about thispoint In my
by now you've noticed. from my selections of objects and act that l try to do sornething a unte dtfferent. Because over
tricks, my many prejudices. Thank heavens, you're saying to the course of many years, /'ve found that magtc can get to
yourself, this effect isn 't another example of my obsession be confusingfor an audience. You know, l wave my hands
with envelopes or paper bags. No, ínstead I've recumed to a around, J move quicely, pick up things, put doum things,
romantic favorite, che light buJb. and J instst on talking ali the time, telling you things that you
Severa! previous effects have used a light bulb. Somehow 1 shouldn 't be tistening to and distracting you from the things
think that it's a perfect object for rnagic. Pan of its appeal, the yoú should be watching. lt can get pretty confusingfor me, so
poetic part, is the light bulb as an archerypal representation of Lean just imagine uihat it must look likef oryou. So,forafew
modero culture. lt's one of those great objecrs chat we think we minutes, I'll make tt simple f or ali ofyou. just a few simple
understand cornpletely and still find mysterious. We consider objects, a theme and uariations. I'm going to use a light but».
them cheap and disposable, but we also know that they're You're picking upa cardboard light hulb box and pointing to it.
profound and precious to our way of life. They represent A red light bulb, actual/y.And I'll líght it up so you can always
modernity, but they're also completely common, and to a great keep an eye on u. I'rn going to a/so use a uihite handeerchief.
extent old-fashioned and unchanging. Here you point to a white silk handkerchief sticking out of
They also forro an interesting mix of metaphors, like glass your pocket. It's all very simple. You keep your eyes on the
and electricity. For sorne reason, we regard them as easy to light bulb and the handkerchief Andas a spectal treat, I'll try
break (they aren't), hazardous when pulsing with current n~t to distract you with any sudden movements or potntless
(pretry hard to get a shock) and dangerous when broken (not monologue. Sounds interestlng, doesn 't it? You won t euen
especially). There's also a manufactured purity assumed about know that tt's magic.
a light buJb. We know that it's pristine and inviolable, in che STEP ONE: Now the music starts, something deliberately
sarne way that an egg seems perfcct, and perfectly ordinary. simple and artistic. You reach inside the small cardboard box
So you won't be surprised that I've constructed this that holds light bulbs and remove a red light bulb. Otherwise
purposely elegant and aesrhetic routine usíng a light bulb anda the box is empty. The bulb is screwed into an upright socket
handkerchief. lc's prcscnted in three shon segments, a step-by- mounted on the small table to your side. You pick up a
step progression to make the mosc ofthe theme and apparatus. lampshade-actually a tube of white frosted plastic-show
Admittedly, if you're interested in it, it'U be a building project ít empty and place it down over che bulb (Figure 1 ). Then
for you, but 1 don't think you'll find it terribly intricate or flicking a switch on the table, the lamp is lit, bathing the shade
meticulous. Almost all the necessary pieces are avaiJable at the in crimson light.
local hardware store. Plucking the white handkerchief from your pocket, a 12 or
My friends Alan Wakeling and Marvyn Roy first created the 15-inch white silk, you tuck it ínto the empty cardboard box
Milk in the Light BuJb effect when they were young men-their that just held the light buJb. Holding the box at your ñngertips.
original inspiration used a Grant Canary in Light Bulb lamp
THE CONJVRING A:NTHOLOGY ______J_l_M_STE 1 N ME Y_E_·
R_· 45!
15°
you touch it to the top of the lampshade. As you do, the light 2). There is a pause in the music
from the lamp suddenly turns white. Pausing to look at thís, you and a short pause for applause,
turn your artentíon back to the box and rurn it upside down. A then ....
red silk drops from inside. Picking up the sílk, you place it and STEP THREE: The music
the box on the table, then turn off the light. Liftíng the shade starts. You slide the silk from
slowly, the audience sees apure white light bulb screwed in the bulb and slowly, openly
the socket. screw the white bulb back in
STEP lWO: The music starts again. You slowly cover the the socket. Covering it with the
white bulb with the tube and you flick the switch, turning on shade then flicking the switch,
the bulb. Once agaín, it lights with bright white light. Picking it lights white once again. You
up the red silk, you place it ínsíde the box. Repeatíng the untie the knot in the silk and
same motions as before, you delicately touch the box to the drop it ínto the box one last time.
top of the lampshade. As you do, the lamp goes out suddenly. Tapping the box to the top of the
Stepping away from the table with the box in your hand, you shade, the light is extínguished,
rurn it upside down and nothing drops out. The silk is gone. as before. Turning the box
You put che box on the table and slowly lift che lampshade. over, it is ernpry, as before. You
The lamp is gone, too. All that remains is an empty socket on the place the box down on the table
table. The shade is shown ernpty. You cake a step towards the and slowly remove the shade.
audíence, slowly reach into an inside pocket and withdraw the However, the audience notices
white light bulb with the red silk tied around its neck (Figure that the bulb is still in place
in che socket. .. or is it? In the
center of the buJb is a large red
l. "spot," as if the round spot has
been painted on the side of the
light bulb. Unscrewing the bulb,
you carry it forward, showing it
openly to the front row. Dipping
a fingertip into the socket of
the bulb, you withdraw a tip of
the red handkerchief. Now the
audience notices that the spot is
actually a clear spot of glass, and
the red silk can be seen ínsíde.
You pull it out slowly, showing
that it had somehow worked
its way into the light bulb. The
erdnasemagicstore.com music ends and you take your

453
final bow. The hole in the top should be 2-1/2 or 2-3/4 ínches in diameter.
Let's start with the table. It's a box table, slightly rectangular The top of this sectíon of the table should be covered in black
in shape. The table is 30-inches tall, 24-inches wide and 12- velvet, with a black velvet bag suspended beneath the table.
inches front to back. The table is justa little more than six ínches This allows you to drop off the bulb, which disappears through
in thíckness. Followíng Alan's design frorn his bar act, there is the table, at one point in the routine. Agaín, this is shown in
a bulb inside the table, which supplies the light through the Figure 3.
routine. This is a small, short floodlight which is mounted in The lamp shouJd be wíred with rwo swítches, one
a porcelain socket (Figure 3). Immediately above this light is a prominent switch in the front and one in the back which you
can easily reach near the back edge of the table. Once you get
three-ínch díameter círcle of Plexíglas, which forros the base of
the "larnp" on the table. Glued to the centerof this clear plastic the idea of the routine, you rnight want to experiment with
círcle is a white plastic fitting that looks like a porcelain socket. switches on tímers or remoce control switches ... 1'11 leave all
1 found a white PVC tlange that is meant for a joint between 3/4 of that fancy stuff foryou, as it isn't necessary to the routine.
inch PVC pipe. This is the perfect size to support the socket of The lampshade is a plastic rube, 4 inches in diameter and 8
a bulb and, most irnportant of all, it doesn't have threads. That in ches tall. Yo u can paint it white or cover it with white paper,
means that you don't screw the bulb into the socket. More on which allows you t0 adjust the diffraction of the light ínsíde.
that later. A small hole in the back of the tube, about 3/4 inch in
Just beneath the Plexiglas círcle is another disc of Plexiglas, diameter, allows you to place a finger inside and pickup the
tinted red, about four inches in diameter. It is mounted at one buJb (Figure 5). Alternately, the tube could be made of thin
edge wíth a single bolt and washer, so this disc can be pivoted cardboard or thin plasuc, and you could pick up the bulb by
into place, for the start of the effect, beneath the clear plastic squeezing the tube.
(Figure 4). 1 suggest a short cord and burton, running to the The buJb atop the table never really lights up. It's the
edge of this dísc, which you can reach at the back of the table. bulb inside the table that provides the illumination. Using the
By pulling the burton, the red plastic is quickly pivoted out of pivoting fake, the light first seems to be red, then changes to
the way, allowing white light to come through the disc. This white.
can be seen in Figure 3. You'll now need two fake light bulbs (Figure 6). The first
Also on this table is a black art well. 1 suggest putting it to one is simple. Get a standard bulb and mask off the metal socket
the right side ofthe lamp (from the performer's point ofview). with paper masking tape. Usíng white spray paint, lightly spray
J. 5.
o
Tl1E CONJVRING ANTMOLOGY
154 JIM STEINMEYER
the bulb with severa! coats, so it Finally, there' s the cardboard box for the silk tricks (Figure
6 is a bright whíte color. (You'll 7). You could use any one of several pieces of magic apparatus,
see why you're painting it white like a change bag. I suggest rnakíng this box out of pieces of
in a moment.) When it's dry, illustration board and carefully gluíng them together. There's
carefully mask off haJf of the a diagonal flap inside the box, hinged with tape at the bottom.
bulb, right down the longirude This allows you to hold the flap closed against one side of the
of the bulb, and paint one half of box or the other. The box is 4 inches wide, 4-1/2 inches tall and
it with red spray paint. Now you 3 inches front to back.
have a buJb that can be white or This prop is a very handy one for silk effects. The inside
red, depending on which way could be black or, better 1 think, dark grey. The outsíde should
7. you're displaying it. be whíte. I applied pink paper labels, made on a photocopier,
·-···-
11 / The second fake bulb is also which look like the panels from a Light buJb box and suggest
I made frorn a real bulb. Step one, that chere's a red bulb inside (Figure 8).
V / empty it. lfyou don't know how
il Here's the set-up. A red silk is placed inside the empty bulb,
#. / to do this, refer to Chapter 23, with the comer of che silk just inside che socket so you can
__ .¡..t...
?·
--
I Marvyn Roy's Bill in the Light reach it. (lf you're worried about losing che comer of the silk,
Bulb. attach it to a small cork which you can paint black and wedge
Since you'll be using a silk in into the socket of che bulb). This bulb has a second red silk tied
this bulb, you need the socket to around its base and is placed in an inside pocket,
be perfectly smooth. Use a piece A third red silk is placed in a compartment of che box and
8. of sandpaper or a file to smooth che flap is hinged shut against it. ln the opposite side of the box
out the opening just inside the is the half-and-half'bulb.
socket. When you're finished, Finally, the switch es should be set on the table and che red
wash out the bulb with water. (lf filter pivoted in place beneath the dummy socket,
it's a whíre frosted bulb, all that STEP ONE: Carefully remove the light bulb from the box,
powder will wash away, leaving holding it so that che red side faces the audience. You appear to
ít clear.) screw it ínto the socket, whích is a neat part of the deception
Thís bulb is also masked and (Figure 9). Holding the base of the bulb just at the socket,
painted whíte, but you need to your fingers "twist" it several times, supposedly spínníng it.
9. mask off a nice circle on one side, Actually, it's like the linking ring move. The fingers tum but
about an ínch anda half across, so the bulb stays statíonary. This also gives the impression that
that it shows clear glass. You can every side of the bulb is beíng shown. The tube is placed over
also paint the bulb, then remove che bulb and the light rurned on. Because of the filter, it seems
this circle of paint with steel to be red Light. With your fingers at the top of the tube, secretly
wool. However, you want to give che bulb a haJf turn, bringing che white side towards che
end up with severa) nice, opaque
audience.
coats ofwhite paint on the bulb. The whíte silk is dropped ínto che box and your fingers, at
156 JIM .STEINMEYER
TNE CONJVRING A:NTNOLOGY 457
the top edge, pull back the flap. As the box is touched to the
top of the tube, your upstage hand pulls che cord, pulling the 69. Tl1E SNOW JOB
filter back so the light seems ro change to whíte. Turn che box
over, showing the red silk. Turn off the light and lift the tube,
showing the white bulb. C onsidering the ubiquity of snowstorms in China-today it's
simply the thing to do at the close of a magic act-it's often
not done veryweU. Very few magicians bring much to the trick,
STEP TWO: Move the flap back inside the box so you can
access the side with the whíte silk. Cover the bulb with che or ínvest it with anything more than the cursory presentation:
tube and turn the switch, so the light íllurnínates. Drop the red wet the paper, fan it and blow confetti around to mess up the
stage. Ta dah! In my opinion, one of the best presentations is
silk ínsíde the box-in the side with the whíte silk. Move the
flap and tap the box to che tube. As you do, you switch off che Bob Higa's, who used to give me a drubbing in magic contests
lamp with the upstage switch. in Chicago. He still uses the Snowstorm in China to close his
Turn over the box, showing that the silk is gone. Lift che acr. Bob has invested decades in the subtle touches of the trick,
tube, reaching in che hole so you can lift che bulb straight up and has been constantly changing, adapting and evolving his
out of che socket. The tube is placed above the black art well careful preparation of the load. One of his achievements is just
and the bulb released, allowíng it to disappear through the how much confetti he's able to hide and then keep airborne at
surface ofthe table. Now lift che tube and show that it's empty. che end of che effect. lf you have a chance ro see him perform
The bulb and silk are removed from your inside pocket. As you it, you'll find che effect completely unbelievable and eventful.
do so, be sure not to show che back of the bulb, with the red The way he does it is equally unbelievable.
spot. The Snow Job, from )une 2004, is a variation on the
STEP THREE: "Screw" the bulb into the socket as before, Snowstorm plot. And it's partly the Sands of Egypt trick. lt's
not turning so that the red spot is concealed. Cover it with actually inspired by an old U.F. Grant prop, from many years
the tube and adjust the switches so you can tum on che light. ago, whích was a sort of Handkerchief Box made to work with
Reach into che top with your fingers, spinning che bulb slightly confetti. Three colors of mixed confetti went in one side, and
so the red spot faces the audience. As before, vanish che silk by separate confetti carne out ar the end, just Like the classic sand
placing it in the side with che other silks. Once again, the lamp effect. I've added the water, a little showier apparatus and a
goes out. When you lift che tube, the red spot on the bulb is nice presentation that works at the end of an acr.
apparent. Now you unscrew it, using a similar motion as before Ana noto, tadies and gentlemen, I'll leave you with one
(one hand at the base of the bulb, one at che top), but this time final question. 'Is he finished yet?' Ana the answer is, well,
you realJy spin the bulb several times as it is lifted, showíng the almost. Because I just uianted to thank ali of you f or the
red spot revolving around. Carry the bulb forward and make che parts you played in my show. lf you found anything to be
most of slowly withdrawing the silk, a very weird phenomenon mysterious or surprising, tt's only because you were ali kind
and a nice finish to these light bulb variations. enough to use your imagination and allow me to surprise
you. That's actually much harder than you think. Today,
peopte don 't like to use their imaginations. They are so
an:xious to see things as just black or tohite, that they don 't
take the time to appreciate ali the little things that are neither
erdnasemagicstore.com black nor white. You know, ali those special, tiny little golden
JIM .STEINMEYER
458 T N E C O N J V R 1 NO A N T 11 O LO O Y 459
moments that don 't fit into any category. Even though we The assistant steps forward to lift the tray from the bowl,
take them for granted, those are the things to uionder about revealing its contents. The auclience sees a quantity of "yellow"
and admire. inside the bowl, but it's only when the magician picks up the
The music starts and the curtain opens on a simple table bowl and carríes it forward that they understand the final
with a cut glass bowl on it. Píckíng up three sheets of tissue transformation. The bowl is completely ernpry, completely
paper and carryíng them forward, the rnagícían shows them dry, except for a quantity of dry yellow confettí. Fanning the
to the audience. One sheet of tissue is black. One is whíte. bowl, he tips it over so the confetti spills out and is blown into
And the third is a golden yellow color. The sheets are torn into the air-he takes bis final bow with the empty bowl in one
strips, and then dropped ínto the bowl. hand, the open fan in the other and an aura of yellow confetti
An assístant steps onstage holding a glass pitcher ofwater. overhead.
The magician takes the pitcher and pours water into the bowl, We built this several years ago for a cruise shíp show that 1
wettíng the paper into rnessy strips. Using a wand, he stírs the produced. If you want to make the apparatus, you need to go
strips of paper, sarurating them. The assísrant takes back the shopping. The whole secret is fi nding the right plastic bowls to
empty pítcher and hands che magician a wooden tray with an accomplish the trick.
attached drape. There are two bowls. One is a regular "cut glass" serving
He carries the tray forward to show ic to the audience. It's
a rectangle of wood with a large wooden hole in the center,
roughly che síze of the bowl. A fabric drape hangs around the
sides of the tray. The tray is quite ordinary, and the magician
quietly dernonstrates that the drape is just a strip of flexible
fabric.
By placing the tray over the bowl, he manages to obscure it
completely. He reaches through che hole in the top and brings
out his wet fingers, reminding the audience what's inside. He J.
picks upa folding paper fan, snaps it open, and slowly dips his
other hand into the bowl again.
He withdraws his closed hand and steps forward to the
edge of the stage. Fanníng bis hand vigorously, he slowly opens
bis fingers to reveal a handfu1 of dry black confettí, squares of
----
--~
paper about an inch wíde, whích become airborne over bis
head and flutter down onto the front row of spectators. Other
than the dry black paper, his hand is completely empty (Figure -
1).
Returning to the covered bowl, he reaches inside a second
time. His closed hand emerges and he steps forward, fanning as
before. This time, as bis hand opens, the audience sees a clour
of all whíte confetti. Each piece is dry and separare.
TME CONJVRING A:NTMOLOGY J 1 M .S T E 1 N M E Y E R 61
~~~~~~~~~~~~~~
bowl or small punch bowl. The other is a plain plastic the bowl and still provide area on each side for handles (Figure
hernísphere that fits nicely inside. The bowl should be abour 4). A fabric drape, a little longer than the height of the bowl,
8 or 10 inches in diameter. Party stores sell light, unbreakable is permanently attached to the edge of the tray on each of
clear plastíc bowls that would work nicely. This bowl could the four sides. A circle, cut in the tray, is slightly smaller than
also be made of glass-it's just heavier and harder to carry. the diameter of the fake. On the underside of the tray are two
For the inner bowl, the fake, try to get a vacuum formed metal lugs, just bent strips of metal which are screwed in place.
hemisphere from a plastic supply company. It should fit loosely These are designed to catch the metal stríps on the fake. The
inside the outer bowl (Figure 2). idea is that the tray can be set on top, then turned slightly so
The plastic fake has a half-circle of mirrored Plexiglas inside.
that both lugs grab the metal strips (Figure 5). By lifting the tray
It really ends up being a mirror glass. l suggest gluing the mirror straight up, the fake is lifted out of the bowl.
inside and then usíng a bead of silicone caulk on the back edge You get the idea. A few more details: 1 found that it was
so that the seam ofthe mirror is watertight. helpful to paínt a half-ínch wide silver stripe around the
Behind the mirror, you need to cut a wedge-shaped top edge of the bowl, which concealed the top edge of the
opening in the semicircular fake. The drawing, Figure 3, shows mirror. You can also do thís with silver tape. You'll also need
this clearly. The wedge opening is about l/3rd of the bowl, to prepare rwo standard snowstorrn fakes, using confetti cut
behínd the mirror. from the tissue strips. First cut upa bunch of black confetti,
The last preparation of the bowl consísts of adding two so that you have roughly one-ínch squares. Take a handful of
metal strips, which project from the top edge, just behind the thís and wrap it tightly in a single layer of black tíssue (Figure
mirror. These could be bent strips of brass or even small comer 6). The idea is to make a billiard-ball shaped bundle of confetti.
angles from a hardware store. Epoxy them in place behind Use clear tape to close this bundle. When making these fakes,
the rnirror, so they project outside the edge of the bowl when don't twist che ends closed like a bonbon. The idea is to use as
the fake is placed in the bowl. Incidentally, the glue and caulk little wrapping paperas possible, and keep that layer as thin as
behind the mirror won't be seen by the audience, but you do possible. Use only bits of tape to close it ali up. When you've
need to keep the area in front of the mirror nice and clean. finished the black bundle of confetti, go ahead and prepare a
The tray is a rectangle of plywood large enough to cover matching white bundle.
5.
2.
3. 4.
t 6.
462 Tl1E CONJVRING ANTMOLOGY
-- -- -- .JIM .STEINMEYER
_1§
To set the trick, place the fake in the bowl so the mirror is
facing the audience and the metal strips are protrudíng frorn
the right and left sides of the bowl. Take a few handfuJs of
70. LlfE IN Tl1E
yellow confetti and place it in the back portíon of the bowl. LEITTURNONL Y LANE
The idea is ro push it ínto che wedge-shaped openlng, so that
when the fake is lifted, the yeUow conf ettí will drop out. The
black and white tissue bundles are placed in aJongside the
yellow confetti.
T he idea of the High Sign-it's che rwo sided sign with an
arrow on each síde, but the arrows seem ro keep switching
directions-is, to my mind, one of chose nearly perfect tricks:
In performance, three large sheers of colored paper are great, simple effect, versatile presentation, great, simple
torn, and then placed in the bowl in front of the mirror. Water rnethod. 1 notice that Martín Gardner credits the trick to Val
is poured in this space, and the paper is stirred with the wand. Evans' effect, Optogramma. When I was growíng up, it was
The tray is shown and placed atop the bowl. By droppíng the sold, in a close-up version, as Orla Moody's asterisk-shaped Koo
rray slightly to one side, then rwisting ic slightly, the metal lugs Koo Kompass. Milboume Christopher added a great handling
beneath the tray grab the metal strips at either side, ready for and a presentation about an inspector of road signs foiled by
the fi nish of the effect. the arrows he encounters. Harry Blackstone, pere, used to
Now the magician simply reaches into the back half of perform it impromptu in coffee shops, by drawing arrows on
the bowl, rernoving the tissue bundJes of conferrí. These are Saltines. The method involves a simple bit of topology. lt's so
broken in his hand, slowly releasing confern above che fan. The simple that you'd wonder how it would ever fool anyone. Then
last bits of colo red paper are dropped away in the middle of the you look at it in the rnirror and it starts to fool you.
flurry of confetti. Those of you who are familiar with the effect and the
In the accepted rnanner, the assistant does the dirty work principie will be ínterested in what's dífferent in my Left Tum
by picking up the tray by both handles. This lifts out the fake Only routine. I've added a new mechanical effect, which gíves
rernoving the water and torn paper and leaving the bundle of you rwo nice surpríses ar the end. So, here's che presentatíon,
dry yellow confetti in the bortom ofthe bowl. which explains it aU. And as you read through it, notice the
And ali that's left is che sweeping up .... Keep in rnind that finish, in which the arrow visibly moves to an impossible
stage managers don't object to paper on the stage as long as position, and then completely transforms. For those of you
they can anticípate it and clean it up. Not being told that it's who have never tried this simple topological mystery, you're
going to happen is a nasry surprise, and no one likes those. We in for a treat.
had sorne luck by releasing the confetti at che edge of the stage, The presentatíon here is in tended to close a show. The
so thac mosc of it cascaded onto the audience. This kept che magician holds a square of cardboard berween his hands. Ir's
scage relatively clean and the clean up became the duty of che completely black, except for a bold white arrow painted on it
custodíans in the showroom. (Figure 1).
Be/ ore I fintsn this euentng, I uiantea to lea ve you wtth a
litüe bit of aduice. Not beca use I'm good at gtuing adulce, but J
once metan old man who was an expert at giuing adulce. Not
the sort of aduice you hear on teteutston or read in the paper.
No, he once said one sentence to me, one single sentence.fiue
toords, that toas the uery best aduice I euer heard. Piue simple
Tl1E CONJVRINO ANTl10LOOY JIM .3TEINMEYEll
6 -------
uiords. That's ali it was. And I same idea. It 's the mentality o/ the herd.
wanted to giue you those fiue The hardestpart is to take a new road. To decideto go up.
uiords tonight. . . You rurn the sign so the arrow is pointing straight up, then
... But jirst let me tell you a turn it over to show the arrow on the opposite síde, which now
little bit about the man. He was is pointing down, ... when eueryone else tellsyou to go down!
a sign painter. He's spent nis Here you tum the sign several times to show the arrows are
entire iife patnting arrouis on pointing in opposite directions.
trafjicsígns.Andas he explained And the worstpossible aduice is to expect that things wíll
stay the same.just becausepeople tellyou that euerything that
it to me, after f orty years of
tellingpeople uihat they should goes up must come down, doesn 't make it so. You might jind
do and uihere they should go, yourself going up.... The sign is pushed up over your head,
he became something of an following the direction of the arrow, then tumed over. Instead
expertabout ad vice. Here you 're of the arrow pointing down, it now points to the audience's
revolving che sign berween your right. Then you jind that you need to make a brief detour in
hands, showing that each side another direction. That's to be expectedbecause tt's perfectly
has an arrow pointing to the unexpected. Moving the sign along to the right, you flip it
audience's left. And the other again to now show the arrow pointing down. It takes a lot of
day, as J uias stuck in trafftc cleverness to get where you 're going, and it's not always a
in the left-turn-only lane, I straightpath. You lower the sígn again, to about chest heíght,
thought about those jive uiords. A nd that's why he gave me thosejive uiords of ad vice. Ftue
Because this sign patnter knew simple words. I'll neverforgetthern. Because, the sign painter
that adoice, like f 'ashion and thought, the hardest thing in the world is to watch eueryone
l. muste, is a matter off ashion. take the low road. . . . You now toss the sign in the air so it
You 'llfind that when you think spíns slightly, then catch it again. As you do, you tum it in your
it's a good idea to go to the ieft, hand to show that the arrow has changed position and is not
suddenly everyone thínks it's a in the center of the sígn, but along a tower edge. But have the
good idea to go to the left. strength to do something different and take the htgh road.
Here you rum the sign so che Turning the sígn upside down brings this arrow to the top of
arrow is pointing to the ríght the card.
and you revolve the sign several In fact; the truth is that mostpeoptenever know if they're
times, showing that the arrows taktng the high road or the low road. They don 't know where
on either side indicare the same they 're going. And they 'll never know where they are when
direction-no surprise to the they get there. Tuming the card over, you show an arrow wíth
audience. And, he used to say, a wiggty shaft, índicatíng a curved, confusing road (Figure 2).
uihen you decide to go in an So that's why I wanted to le ave you with thesejive simple
opposite direction, suddenly words o/ aduice. The best adutce I ever heard: DON'T TAKE
you find that everyone has the ADV!CE PROM ANYONE! Because now you see just how
Tt1E CONJVRING A:NTt10LOGY JIM STEINMEYER
confusing bad aduice can be. placing che strips oftape on the inside. You'Il end up with asort
My suggested sign is an ofbox, 3 by 6 inches, and 9 inches tall (Figure 3).
effi.cient and curious cardboard The box is squeezed flat wíth a concealed rubber band. 1
construction, made of hinged started out using a rubber band, but found that ít was much
panels so that it can open easier to use black cord elastic or flat elastic tape (available at
slightly, like a 4-sided box, and fabríc shops in various sizes). 1 put two small holes through
then be squeezed closed again. the illustration board at each point, and then sewed che elastíc
A concealed rubber band inside through these boles, ryíng the elastic into a loop in the middle.
takes care of opening and closing Drawings 4 and 5 show chis. The cord elastíc is smooth and
3. it quickly. This is what makes the easy to work with. Because you can tie it, you can perfectly
rwo arrows change at the end of adjust the tensíon for che opening and closing. Notice that the
the effect. elastic band should end up in a perfectly vertical line, stretched
I made the sign out of black just slightly, which is what makes it close the sígn properly. If
íllustratíon board. This is the you open the box, squeeze it diagonally to one side and then
very tough, durable cardboard flatten it agaín, you'll find that the rubber band is stretched,
available in art supply seores. as in Figure 5. Letting go of the sign, che rubber band quickly
The illustration board needs to opens it and doses it again, like Figure 4. The process is quite
be black on both sides. At sorne automatic and virtually invisible. You'll nortee that the way
stores yo u can buy it chis way, the sign opens up and reconfigures, you can't decorate it with
3 or you can cover it with black borders around the edge. It needs to be a plain black with
paper or lightly paint it wíth simple arrows.
spray lacquer. If you're painting The Iast step is to prepare those white arrows. I suggest
4. cardboard, you need to do it with using arrows cut from white paper and then glued securely to
p patíence, in several fine layers, the sign. Each arrow is about half the width of the card, that
¡I
ti so the cardboard doesn't get is, no longer than 4-1/2 inches. It's about 2 inches wide, at
~o( saturated and warp. the widest point. Because the position of the sign starts to get
1,
1 suggest making the sign complicated, I've labeled each comer of che sign (A, B, C and
~ about 9 inches square. Cut two 9- O) in each subsequent illustration. 1 suggest you do the same
inch squares of illustration board, wíth an erasable pencil or smaU stick-on labels. It will make it
and then carefully cut each of all much clearer, and prevent you from making a místake as you
5. these ínto thirds. That is, each finish the sígn.
9-inch square should be cut ínto A white arrow is glued near the top edge, as in Figure 6.
rwo pieces, one measuring 3 by 9 Notice that when the sign is shifted, this arrow should be in
and the other 6 by 9. These four che center of che square, as in Figure 7. (And the letters in che
pieces are then hinged together comers are now "inside" the square.)
with cloth tape (ít's nicest if you Let the elastic band restore che sign back to its original
use black cloth tape) by carefully position. Turn over che sígn (watch the letters in each comer)
TME CONJURING ANTMOLOGY JIM .STEINMEYER
and cut a five-sided hole near che C. An arrow is pointing up, but 9.
6 A A
center of che sign. In order to do the shaft of the arrow is wiggly
thís, you need to place a piece (Figure 9). Shifting the sígn
of thick cardboard between the shows a straight arrow at the top
layers, then cut with an Exacto edge (Figure 10).
knife or single-edged razor blade. Set the trick by shifting che
Notice that this hole avoids the sígn, so that there's tensión on
... -. -·-·-· -· -··- path of the elastíc, as in Figure 8.
White arrows are glued inside
the elastic band. You can keep it
in chis position with a spring clip
the sígn so they'll show through on it, or by sandwíching it against 'D e
chis opening. When the elastic another piece of apparatus in JO.
is relaxed, a whíte arrow with a your table or placing a piece of
apparatus on top of it. You just
, . ,
wiggly shaft is glued inside the
A 13 sign, so it shows through the need something to keep it flat, so
+- opening, as in drawing nine. it won't spring open and closed.

, ..
, :,....· ,
When che sign is shifted (so When you're ready to present ~·:--..
.........~
<.
-~,· the opening is near the edge), it, slide out the sígn and hold it
,. .r:>
, e
.,,_.-:»: a matching straight arrow is berween your hands.
glued -inside the sign, beneath FoUowing the abo ve
che opening, as in drawing ten. presentation, here's how you
FinaUy, use a black magic marker handle che sign. Remember that
8. to blacken che inner edges of this you need to keep your hands on
hole, so they won't show up as che sígn in order to keep it closed
the sign is handled. through the routine. Also, che
I've got lots of ínstructíons, secret of chis sort of trick is that
here, but the finished apparatus your hands stay in relatively che
is really pretty simple. Before same position (diagonal corners)
proceeding, go back and check through the effect, but the sign
to make sure that the sign is is turned between your hands,
working right and all the arrows so that revolving it shows che
are in the right position. With che change in the arrows.
sign arranged A, B, C, D, there's Begin by holding the sígn
an arrow at the top edge (Figure between your hands, right hand
6). Shifting the sign puts this above comer A and the left hand
arrow in the center of the sígn at the diagonally opposite comer.
(Figure 7). Now turn che sign (l note "above comer A" beca use
over, showíng comers B, A, D, you'll remember that, with the
470 T 11 E CO N J V R 1 N O A: N T 11 O LO G Y JIM .STEINMEYER 471
sign shifted, the corners have been shifted towards the center the patter, you raise the sign up, slowly, until it is over your
of the sign.) The cut-out arrow is in the back, facing you. The head (Figure 12). As you do thís, your right hand narurally
front arrow seems to be pointed-as the audience looks at it-to moves down to the lower comer of the sign, so that both
the left. hands, right and left, are holding the sign by the lower comer.
FIRST BOTH SIDES POINT TO THE LEFf: Turn the sign Once it's above your head, tum over the sign by flipping it
between your hands, on the diagonal axis (Figure 11). Both down berween your thumbs and fingers. This shows an arrow
sides seem to be identical, with the arrow pointing left. I poínted to the audience's right.
suggest slowly turning the sign four times, to demonstrate. Now move the sign to the audíence's right (suggesting that
Next both sides point to the right: Rotare the sign between you're following the arrows) (Figure 13). As you move to your
your hands, like turning a steering wheel, so that it moves 180- left, your right hand leaves the sign and your left hand slides to
degrees and the front arrow is pointing to the right, from the the center of the top edge. Now when you revolve the sign (on
audience's perspective. Your hands don't change position, a vertical axis through the center of the sign), the arrow points
however. Your right hand holds it from the upper right comer downagain.
(above comer D) and your left hand holds it at the diagonally Lower the sign in this position, until ít's chest high again.
opposite comer. Now rurn the sign between your hands on the THE ARROW MOVES: Still holding the sign by the top edge,
diagonal axis. Both sides seem to be identical, with the arrow toss it into the air in front of you so that it spins slightly (the idea
pointing right. No surprise for the audience. is that the front of the sign is flat to the audience; ít's spinning
ARROWS IN THE OPPOSITE DIRECTIONS: Rotare the sígn like a steering wheel) (Figure 14). The sign quickly pops open
again, so the arrow is pointing straight up. Hands at the same and closed, with the result that the arrow has shifted to one
diagonals, turn the sign four times. Now the arrows point in edge of the sign. Adjust it to indicare the "low road," along the
opposite directions. One points up. One points down. Finish bottorn of the sígn, then rotate it to índícate the "high road,"
with the cut-out arrow facing you. with the arrow along the top.
ARROWS AT RIGHT ANGLES: This is a nice move. The THEARROW CHANGES: Finally, tum the sign over slowly,
arrow facing the audíence is pointing straíght up. Following showing the crumpled arrow in the center. And you've done
the trick.
13. 14.
11. ------> ~
TNE CONJVRING A:NTNOLOGY JIM STEINMEYER 4ZJ
r-
right-angle mirror made, rwo small mirrors mounted at a 90-
DEATI1 BY degree angle that sit on a desk. By reflecting my left hand in
the flat part of the mirror, 1 had a perfect model to draw a right
PLAYING CARDS hand. By reñectíng my left hand in joint of the mirrors, I hada
º
perfect model to draw my left han d. In other words, every hand
ver the years, I developed a rough procedure for each in Alan's book is my left hand.
Conjuring effect. Before 1 agreed to another series of Forme, it was a perfect system, and 1 used the same mirrors
articles-ten or twelve over the course of a year-l'd sit down for Conjuríng. When the drawings were inked and finished,
with a piece of paper and write out a list of possibilities. Most I went back through the text to adjust the descriptions of the
were tricks that I' d already worked out, or effectsI' d performed drawings, then sent it off to the magazine.
years before. Sorne, more optimistically, were ideas foreffects Al1 of that is to explain why severa! effects fell through the
or presentations that I'd been thinking about over the years, cracks. I was always adjusting the list. Sorne new ideas would
but had never quite finished to my satisfactíon. And 1 was occur to me during the course of the series, and they instantly
bettíng on the fact that 1 could turn them into something. seemed more ínteresting. Others, that I had hoped would be
When I hada list of tenor twelve, 1 agreed with Stan Alíen or good tricks, frustrated me. By the time 1 was finished with
John Moehring to another series of Conjurlng.Armed with my another series of articles, invariably there were rwo or three
Jist over the next year, I hada certain level of comfort: I'd never tricks that [ust never made it in print. Sorne should have been
be staring at the computer terminal with a deadline bearíng included.
down on me, wondering íf 1 could think of a trick. One of those was thís card stablíng routine. Perhaps 1 was
Then I'd work on the effect over the course of a week or slightly daunted by the combination of moves anda mechanical
two. Sorne tricks needed only to be dusted off and described. deck, or I pushed it down the list because it is so overtly a close-
Sorne needed a lot more work-if they were just rough ideas up routine. But I'm sorry that it never ran in MAGIC. About
for effects, I knew that I had to come up with a method and rwenty years ago, I worked out this trick, and carried it around
a routine. Many required construction, or a mock-up to test for a little while-a deck of cards, sorne pieces of paper and a
the apparatus, and then a few performances to find the right knife-performingit with regularity to get a good feeling for the
elements. routine. If I wanted to sell it to you, here's how I'd describe it
The written description took about a day, and then for magic catalog:
l'd do the drawings of the apparatus or the positions of The performer displays a pack, pointing out how the
the performer's hands. I've never been able to draw from spectator can cut the deck randomly and will end up with
photographs, the way the best illustrators in magic do it. 1 dífferent cards. The deck is rurned face down. The spectator
aJwaysfelt that diagrams need a bit of caricature to convey the cuts it and completes the cut. The magician has the spectator
most important information, so 1 prefer to draw directly "from look at the top card, and then asks, after she's seen the card, if
life," (as it's called grandly in the world of art), which allows she'd like to replace it and cut again for a different card. When
me to twist the props around to make smalladjustmentsfor the she's satisfied with her selection, he turns away and she slides
drawing. When 1 was writing The Magic of Alan Wakelíng, 1 it into the center of the deck and squares the cards perfectly so
was frustrated trying to illustrate Alan's Billiard Ball routine there's no hint of the location ofher card.
based on positions that Alan demonstrated, and photos l'd The magícían doesn't cut the cards or shuffle the cards.
taken of Earl Nelson performing the sleights. 1 finally had a
174 T M E C O N J V R 1 N G A N T H O LO G Y JIM .STEINMEYER 4ZS
He shows an ordinary piece of paper, and picks up the deck, and worked with short card pairs, like a Svengali Deck. I've
wrapping it tightly inside without changing the position of a found that the short card principie often guros up the handling
single card. He hands the spectator a long knife, explaíning that and, for most effects, is the most dated, awkward maneuver. So
he's going to push the knife into the paper and find the card. In I prefer using marked pairs, as in this effect. Although there's
fact, he's specific about his abilities, poining out that the knife little caU for the self-shifting aspect of the deck today, for thís
will falJ against che face of che chosen card. Then, adding one trick it is the perfect solution.
additional rwist, he decides to let the spectator do it. You'll need rwo duplicate decks, say blue Bicycle cards.
She takes the knife and, without any other help from the Remove 26 cards randomly from one deck, then take the
magícian, pushes it through the paper, selecting a spot in the matching 26 from the second deck. Arrange them in matched
deck. pairs, one on top of the other, to create a 52 card deck.
He runs the knife forward and backward through the I mark the bortom card of each pair (that is, the card
paper, enlarging the cut, then rips the paper apart, dividing the farthest from the back of the deck). You don't need much of
deck where che knife faUs. Turning the deck over, he displays a mark, Using an X-Acto knife, 1 scratch a line in the center
that the knife lies against the selected card, which is removed of each design, top and bottom. It's very easy to see it when
and shown. you 're looking for it. This system was described in the previous
There's only one deck of 52 cards used, an ordinary piece Mene Tekel tricks.
of paper, and an unprepared knife. No other gimmicks or just to get a little ahead ofthe game, here's how thís works.
fakes. It's a completely free selection, and the spectator can The deck can be casually shown by riffling it (the duplicate
change her mind, looking at different cards. She puts the card paírs "dísappear" in a riffle) or by cuttíng it face up, showing
anywhere in the deck. She puts the knife anywhere in the deck. different cards on the face. Turn the deck face down. Have the
The deck is completely wrapped up in the paper. The card ends spectator cut and replace the cut. Now have her look at the
up exactly where you explained ic would, not "near it." top card. She can change her mind if she líkes, replacing the
You are supplied with a speciaUy prepared deck of Bicycle card and cutting again. When she's satísfíed, have her slide the
cards, a knife of che perfect size and shape to make the handling card somewhere into the middle of the deck. Yo u turn around
easy, fuU instructions and routine. You can perform it an hour and glance at the top card. If it has the scratch rnark, it means
after you receíve it. And then, for a catalog description, I'd that the duplicate of the chosen card is on the top of the deck.
include sorne hígh price so you felt it was a miracle. If there is no scratch mark, it means that the duplicate of the
You'd be ternpred to buy it, wouldri't you? Of course, you chosen card is on the bottorn (face) ofthe deck. Simple, huh?
can now start to guess at the secret, because it's right there, I recommend using a flat-bladed old style butter knífe, from
written in first-year "catalog-ese." The deck is prepared. And a silverware set. lfyou keep your eyes open at swap meets and
there's one move that must be rnastered: you can't perfonn it thrift stores, you can find a níce one with sorne character. The
"imrnediately. n goal should be a thin, smooth blade with a rounded end and a
The good news is thac you can make the deck yourself and good-sízed handle with a bolster (the flared collar jusr below the
probably use a knife from your k.itchen. handle) or a thick decorative handle. A wood or bone handle
The deck is one of my favorites, the Mene Tekel Deck. would also work. I've also used a palette knife from an artist's
(You'U find other Mene Tekel tricks in Number 30, Two Mene supply store. These come in different shapes and lengths. The
Card Tricks.) lt was originally bilJed as the "self-shíftíng pack," thinness and tlexibility of the blades are wonderful, but 1 do
Tt1E CONJVRING ANTt10LOGY JIM S TEINMEYER
~~~~~~~~~~~~~~~~~~~~~--'"477
find the handles a bit too light. at the base of the handle. As your
As you 'U find, a handle with fingers hinge che packet over,
sorne weíght helps the necessary the knife doesn't move and ends
maneuver. Don't use a blade with up lying against the opposite side
tiny serrations, which is how of the packet.
most modero silverware is made. It changes a little with the
1 think thar it's not best to have a paper, but these drawings gíve
pointy or sharp blade, because you che basic idea.
íts possible you can get nicked As for che piece of paper, 1
with it. like half a sheet of cheap rypíng
Let me explain the move paper, roughly 8-1/2 inches by
now, befo re the cards are 5-1/2 inches. Thicker paper is
wrapped in the paper, as it's harder to use. A piece from a
easíer to understand this way. magazine is great. Newsprint
lt's based on The X-Ray Knife is dirty. The paper should be
card stabbing effect in Tarbell, opaque, so the deck can 't be seen
Volume 3. It's worth taking a inside it.
look at the original effect, to give Here's the routine and
you a feeling for the move. But patter.
here's my translation. When the l'm going to indulge in
blade is put into the deck, you one o/ the classic problems for
perform a son of Pass around the magícíans. You píck a card. I
l. knife blade, secretly turning over try to find ít. But l'm goíng to 3.
each half. The paper helps cover inctude afew ptot twists to make
this, but the move is surprisingly it interesting.
straightforward. Here you withdraw the knífe
Look at the half in the left and put it on the table.
hand. The base of your fingers Don't thínk of this as a
pinch the bottorn edge of the magical mystery. Thínk o/ ít as
cards and hinge the packet over, a murder mystery.
so it flops onto your fingertíps First, we need a criminal. 4.
2. (Figures 1 and 2). The ríght hand Here's a collectíon o/ fifty-ttoo
does the same son of thing, but líkelyperpetrators. They all look
there's a slíght complication as so ínnocent.l'm goíng to ask you
this hand also holds the knife. to just cut the cards, líke this, to
Take a look at Figures 3 and 4. selectyour own criminal.
Your right thumb traps the knife Here you're cutting the cards,
178 TM E CONJV Rl NO A NT 110LOG Y JIM STEINMEYER 479
face-up, and completing the cut. Repeat thís a number of times, and fingers, with the top card (the selected card) facing out, to
casually showing dífferent cards coming up. your right. See Figure 6. If the selected card were on che face of
O/ course, l don 't want you to do it f ace-up like that. Tñat the deck, you would hold the wrapped deck so the face card
would be too easy. So I'l!put the deck right here. was facing to your right.
It's on the table, face down. This is where the knife comes in. I'rn goíng to use this
Cut the cards and complete the cut. Do that again. And uieapon identify the criminal. just líke a game of Ctue, only
again, ífyou 'd like. without ProfessorPlum. Here 's the plan. 1 hold this knife
The spectator cuts the cards until she's satisfied. aboue the edge of the caras, and I plunge it into the deck. It'll
Now I'll turn my back. I want you to cut the cards and f ali between two cards. So I'll haue a one-in-ttoenty-six chance
complete the cut one more time. Good. Take the top card, the of locating the selected card. your victim. l say one-in-ttoenty-
f ace-down card on the top of the deck, look at it, remember si:x: because there's a card on either side ofthe knife blade. So
it, and then slide it somewhere into the middle o/ the deck. I have two chances.
Push it square, so I don t have any hínt where the card is. He 's You hold che knife up above the deck, and pause
escaped and disappeared into the middle of the crowd. Have dramatically.
you done that? Ali finished? ... But I'm gotng to make ít euen harder. Because I'm
When she says she's finished, yoururn around. goíng to tell you, right now, that the knife blade is goíng to
Looking down at the top card, you 'U instantly be able to see f ali agaínst the back of your card. Not against the f ace, but
if the duplica te from che Mene Tekel paír is on the top or the against the back! In other uiords, J'll narroto this down to a
bottorn. Let's say that the mark tells you that the duplicate is one-in-fifty-tu/o chance.
face-down on the top of the deck. Of course, if the selected card ended up on the face of
It uiould be a pretty good trick if J could solve this crime the deck, you'd adjust this patter to say that the blade will fall
right now. But I'm going to add one more complication. "against the face" of the selectecl murderer.
Take the paper from your pocket and place the deck face- Pause with the knife above the deck.
down atop it. Fold up the sides of the paper around the top of ... But I'rn going to make it even harder.
the deck. This leaves narrow strips of paper at the ends, and Here you hand the knife to the spectator.
these can be pushed closed, like you're wrapping a package I'm going to ask you tofind your own card.
(Figure 5). The síze of paper seems to work well with this. Run your finger over the síde edge of the deck, making the
Now, sin ce the duplicate card is on the top of the deck, folds crisp so that she can see where the cards lie inside of the
holcl the wrapped deck in your left hand between your thumb wrapped paper.
Ali you haue to do is take the hnife blade and pusn it
5. doum, somewhere in the middle of the cards. Experience
would tell us that the criminal always returns to the scene
ofthe crime. So take the uieapon. You'll be able to locate the
card you selected, right?
Encourage her to push the knife into the side of the deck.
More than likely, she will stop after the knife pierces the top
erdnasemagicstore.com edge. If this is the case, take the knife from her and openly push
THE CONJVRINC A:NTHOLOCY J 1 M .S T E 1 N M E Y E 11 81
it further ínsíde, so it emerges because I said that it would be the card with its back against
from the bottorn of the packet the kntfe ....
(Figure 6). (Occasionally the Now slowly turn your left hand, showing the knife and the
spectator will push it all the way card under it (Figure 7). There's a slight discrepancy here, as
through, so hold tightly. Then the paper gets trapped and crumpled under the knife. Part of
have her let go ofthe knife.) the card will be seen. Ask the spectator to slíde out the card
Still holding the deck in your direct1y below the knife and take a look. She finds the duplicate
left hand, your right hand takes of her selected card.
It works euery time. I belieue you 'vefound the murderer
che han die of the knife and slides
it horizontally, back and forth and solved the crirne.
along the length of the deck, When the knife is pushed through che paper, che tearing
slitting much of the paper on paper and separating packets covers the motion. Be sure to
the top and bottom edge. Stop slide the knife up and back, slicing through che paper at the top
with the knif e in che center of the and bottom edges of che deck. Thís makes it all easier to tear at
deck. the finish.
Reach over with your right
hand, pushing your right thumb
into the deck where che knife
falls. Adjust your left hand so your
left thumb is also pushed into the
dívísíon. Now you're in che same
position as Figures 1 and 3-but
che paper obscures the position
of the cards.
Pull your hands apart, tearing
che paper. As you do, rwíst your
wrists down so the cards at the
cut are turned towards the floor.
In thís position, you execute che
rwo turnovers, reversing che
packets.
First, turn your left hand
towards the spectators.
During the turnover move,
the paper gets pushed aside
slightly. Here's the card on one
side of the knife. But that's not it,
TME CONJVR.INO ANTMOLOOY JIM STEINMEYER 4~
glance at any of the cards or make a guess about where it

72. ST ABBED IN Tl1E PACK could be. It's kind of like putting on a blindfold, but this way,
we just blindfold the deck of cards. Spread out the paper and
D eath by Playing Cards, the previous trick, got pretty far

before 1 threw it overboard and substituted another trick
in Conjuring. When 1 was partly finished with the written
I'll urrap it up.
The paper is handed to the spectator and the deck is placed
on top, then wrapped like a package.
description, 1 performed it severa] times to remind myself of If I were to find the spot in the deck where your card
the routine. BillTaylor saw it, and said that it was similar toan is located, the exact spot, I'd be pretty good. In f act, I'd be
írnpromptu card stab that he had worked out when he was in
amazing. tnars a tougn trick. Because with the caras
high school. urrapped up thatway, there's no way oftelling one cardfrom
Severa! days Iater, he e-mailed me the outline of his routine another. But if you were to find your own card, it would be
with notes for sorne recent írnprovernenrs, and told me that it more than amaztng, wouldn 't it?
might be included in Conjuring. One ofBill's moves is similar Aliyou need is the proper motiuation.
to the X-Ray Knife reveal that I'd used from Tarbell-this is Here you withdraw the knife and place it on the table.
what had reminded him of his old routine. But Bill's effect can No, no, I'rn not going to threaten you. Not that kind of
be done impromptu, so it's worth noting here, especially if you mottuation. I'm going to ask you to use the krufe to find the
were intrigued by my version of the Card Stabbing trick. card. When you take the knife and plunge it through the
I've enlarged on Bill's presentation with a bit more patter. paper, it willfall between two cards, one on each side ofthe
Most peopte can perform magic if they put their minds to knife. You 'll have two chances to find the card. Do you think
it, or if they have the proper motiuation. It's surprising what you can do ü? Ofcourse you don 'ti If this were easy, I'd be out
you can accomptisñ if you 've got the mottuation; Tbat's why of a job.
I'rn going to perform a card trickforyou now. Or, rather, I'm I'll hold the cards tightty. You take the knife and pusn it
going to haue you perform a card trick. I'll prouide the caras, through thepaper. Anywhere ....
the motiuation, andyoú prouide the magic. Right there? Hmmm. That'snot where I would have put it.
When you 're fintshed with this, you might get your own But, of course, I'rn not doing the trick. You are. l would have
contract in Las Vegas. picked a spot a little closer to this side. ]ust my judgment. Let's
First, the deck of cards. Please take it and shujJle it. When see how you did.
you 're satisfied that ali the cards are mixed, hand it back too The deck is placed onto the table, with the knife projecting
me. I'm going to spread out the cards and ask you to reach from one side.
out and pick one. Make sure that I'm not making you pick a I'm going to hold the knife right where it is and carefully
certain card. It'syour choice. tear away thepaper. This way you can see ali the caras. Watch
The deck is spread and one card is selected. me closely. l toon't disturb the knife. The paper is carefully
l'll turn away while you show it to a feto of your friends. torn away so the knife is seen in the deck. /'lljust open the deck
They'll help you remember the card. to the cardyou indicated. Name the cardyou picked. Perfect,
Now I'd like you to put it back in the middle. In order There is is right over here ....
to compltcate this-to add a degree of difficulty=I'rn going Turning over the top half, you show the face card against
to wrap up the cards in this piece of paper. That way I can 't the knife. It's not the right card.
1~~~~~-T_M_E_·_c_o~N_J_V_R_l_N_G~~-N_T~M_O_L_O_C~Y JIM .STEINMEYER
Like 1 say, that's not where 1 would haue put ít. But seldom used today. Bill used
remember, 1 said you had two chances. One card above the a Spread Half Pass when he
knife and one belou/ it. Take a look at the card below the performed this, but I'll mention
knife. Slide it out uery carefully. Turn it over. Is that your that there's a lot of cover for the
card? move becauseofthe paper. Ifyou
Your other hand tums over, showing the card against with gíve the paper to the spectator to
its back against the knife. The spectator slides this card out and spread out on the table, you have
confinns that it's the selected card. lots of misdirection for the Half
It's a good thing I had you do this trick, because íf I had
Pass.
done it, that's not tohere I would have put it. Now here's the situation.
Bill started with the Leipzig wrapped deck card stab, and The deck is face-down in your
ended up with a simple method that allows the spectators to do hands. The spectators think the
the stabbing with the deck in their hands. selection is somewhere in the
The deck is unprepared. The knífe, similarly, can be almost center. Actually, the selected
any knife. As in the previous trick, it's nice if it's a large-handled card is on the bottom of the deck,
butter knife. You'll also need a piece of paper to wrap the reversed, with several other
cards. For this trick, a softer piece of paper, like a napkin or reversed cards just above it.
paper towel, works well. Place the deck face-down
There are a couple of card sleights that are responsible onto the paper and wrap it
for the effect, and the turnover procedure from the previous securely. Ask the spectator to
routine. push the knife into the edge of
Begin with al1 the cards face down. Raise the deck to show the deck. Once she does thís,
the faces in a spread, lower the spread for a selection, and place the deck back on the table,
then break the spread at the selection point. Turn away as the so the knife protrudes from one
spectator looks at her card. Reverse the lower half as you bring side. Carefully tear away the
your hands together=turníng the cards upside down-and then paper. l find that it's helpful to
drop 3 or 4 face clown cards off the top packet onto the lower hold the deck down with ooe
half. Align the dropped cards onto the lower half, covering comer as you pull away the
the uppermost face-up card, and hold a break over these face- paper. The result is that the deck
down cards. is now face-down, with the knife
Tum back to the spectator to retake the selection onto the clearly indicating a spot in the
lower half, Separate the deck at your break and take the card middle ofthe deck (Figure 1). l.
back. As your hands come together, perfonn a HalfPass, which Carefully pick up the cards
reverses the lower half of the cards, taking the selected card
(reversed) to the bottom of the deck.
in your hands. Your right
hand cradles the deck from
.. _ ..
The Half Pass is a move you'll find described in many older underneath, and clamps the
card books. It was considered a standard move, although it's edge of the knife beneath your
thurnb. Your left hand carefully

2. lifts off the top section, above the 7,. Tl1E RINGB IN
knife, and turns the card to face
the spectators. As you do this, Tl1E LOAf Of BREAD
your right hand drops slightly.
lt's now in the same posítíon as
Figure 3 in the previous routine O rson Welles performed che Rings in the Loaf of Bread in
hís "Mercury Wonder Show," a rnagíc show under canvas
presented in the autumn of 1943 in conjunction with the
(page 477). You clamp the knife
USO in Hollywood. At those performances, Orson's assistants
under your thumb and perform
the tumover move. This brings were hís new wife, Rita Hayworth, as well as Joseph Cotton
the selected card beneath the and Agnes Moorehead. According to Orson himself, Marlene
knife blade (Figure 2). Deitrich joined the cast when Rita Hayworth's boss at the
Poínt out that you have one studio frowned u pon her working as a magician 's assístant.
more chance, the card beneath Orson was proud of the routine. He'd borrow five finger
the knife. Turn your right hand rings from che audience of servicemen, having thern placed
so the card is visible and offer it to in a little tray that was offered by one of his assístants. The
the spectator, asking her to slide rings were then brought back to che stage, pounded flat with a
it out. You can slightly spread a hammer, pushed into a gun and fired at a large nest ofboxes.
few of the cards on the top; the The boxes were opened-one within another, within
reversed cards aUow you to be a another, et cetera=revealíng a loaf of bread. Through the bread
bit carefree about this rnaneuver. was a satín ribbon; it appearcd to have been baked inside.
Bill's routine includes great Orson's assísrants held the ribbon horizontally between them,
moments-ideal misdirection-co so the bread was suspended in the center. Standing behind the
cover the Half Pass and che final bread, Orson opened his hands dramatically, then grabbed
cumover before the selection is the bread and tore it to bits, tossing the crumbs away to reveal
revealed. The move is the same three rings tied in three knots in the center of the ribbon. These
as in che prevíous trick, bue che were cut from the ribbon and returned to the men.
ultirnate routine is quite a bit Tadah!
different, and handy because it Of course, there were three rings on the ribbon, which
can be done with any cards on meant that two men didn't get theír rings back. After a few
che spur of the moment. seconds, Orson noticed the murmur that was rippling through
the audience. He clapped his hands and called for the next
prop. The assistants rolled a small table onto the stage with a
child's doll's houseonit. Orson threwopen the doors, showing
the doll's house empty, then closed the doors and fired a blank
pisto! into the aír. Bang! He opened the doors agaín, revealing
a large white duck inside. Tied around che duck's neck was
a wide ribbon with a missing ring. The assistants chased the
TNE CONJVRING A:NTMOLOGY JIM STEINMt:YER
duck around the stage, then grabbed it and carried it into the it on his last tours, including his finaJ Broadway appearance at
audience so the volunteer could untie his ring. the Lunt-Fontanne Theater.
Tadah! Several times I intended to write up the Orson Welles-Doug
But there was still one missing ring. Orson invited the Henning Rings in the Loaf of Bread, as I knew it would be a
aggrieved man to the stage. Orson opened the doll's house spectacular piece for Conjuring. But it was one of those tricks
and looked inside again. Nothing. He closed the doors, spun that I moved on and off my líst, never actually gettíng a chance
the prop and fired the gun once more. Bang! Rita Hayworth to write the description and illustrate it. So, here's my chance.
pushed her way through the roof of the doll's house to cheers As Doug's table was brought onto the stage by an assistant,
and applause. She was wearing a revealing leotard with a silk
Doug commented on the wooden box that the audience saw
garter; on the garter was tied the missing ring. In return for his on top of the table. It was a pretty wooden "treasure chest."
trials and tribulations, the frustrated serviceman who loaned That's my insurance, Doug said. For this next trick, I'm
the fifth ring was allowed to lean over Miss Hayworth's shapely required to have ínsurance, so I keep it right there, inside the
leg and slide off the garter with the missing piece of jewelry. woodenbox.
Tadah! He then explained that he wanted to borrow three gold
"The Mercury Wonder Show" was Orson's great magic kit, finger rings from the audience. One of his assistants picked up
a first-class tribute to his lifelong fascination with conjuring. It's a little tray and stepped into the auditorium, rnoving to three
easy to imagine how this borrowed ring routine was catapulted spectators who índícated that they would loan their rings. The
over the top at every performance. It had everythíng but the three rings were brought back to the stage. Doug reached into
kitchen sink: destroyed personal property, fireanns, boxes, a the tray and pulled out the three gold ríngs, commenting on
loaf of bread, a duck, a pin-up girl, Hollywood stars, and the them as he wrapped them in a yellow sílk handkerchief (Figure
groans, catcaJls and wild applause of appreciative soldiers. 1). He told the audience that hewas going to polish the rings up,
Believe it or not, it hada good method, too. Orson proudly
related the way that he switched ali the rings using a dopey
little prop that had been intended for a deck of cards. It was
simple and brilliant.
I admired it so much that duríng a meeting with my l.
then-boss, Doug Henning, 1 mentioned Orson's routine and
his ingenious method for getting the rings in and out. Doug
smiled. "Boy, I'd love to perform part of that routine. Do you
think Orson would let me do it?" 1 conveyed the message back,
and Orson was delighted to have Doug use the secret, quickly
explaining details about the props.
Of course, Doug wasn't looking for a three-ring circus of
guns, ducks and doll houses. He had lots of illusions in the
show. He just wanted a solid front-of-curtain trick for his
upcoming tour. We used the essence of Orson's routíne to
assemble a neat little ring transposition, and Doug perfonned
using a new electro nie ring polísher, so that they would sparkJe He'd never had to use it before, he said, but he was told that
and could be seen by everyone in tbe back of the theater. che box was filled with "enough bread" to cover just this sort
On the table was a small oblong box with a knob on one of emergency. Standing behind the box, Doug opened the lid.
end (Figure 2). Doug carefully twisted the handkerchief into a His two assistants reached ínsíde, withdrawing ends of a satin
bundle and placed it in the box. He picked it up and turned the ribbon. As they lifted the ribbon horizontally, the audience saw
knob, back and forth, several times. Suddenly, che knob seemed a loaf of bread suspended on the ribbon (Figure 4).
to stick. He gave ita twist, and it responded with the loud click There it is, Doug said with a nervous laugh. There's the
of a ratchet. He turned the knob again and agaín, but his little bread. And it has a ribbon that's been baked ínto the bread.
ring polisher responded wíth the disconcerting, mechanical He poínted out hís empty hands, then pulled che bread
"clack." Doug looked inslde expectantly, explaining that apart into crumbs, revealing the three rings tied in three knots
it wasn't supposed to make that sound. He pulled out the in the center of the ribbon (Figure 5). Doug took the ribbon in
handkerchief. lt was now torn to bits (Figure 3). He tipped the one hand and picked upa scíssors wíth the other. His assístant
box over, hinging open the bottom so the audience could see offered the tray. Doug snipped the ribbon on either side of the
through it. The box was empty except for a trickle of sparkling knots, cutting the rings apart. The assístant took the tray of
gold dust that spilled onto this table. rings into the audience and retumed the borrowed ring. Eacb
Doug apologized, explaining that he polished the rings a ring hada bit of ribbon still tied to it. And Doug took his bow.
líttle too much. He nervously pushed around the pile of gold It's only a trick for a theater. It needs a couple of assistants, a
dust on his table, sweeping it up in his hand and taking the crowd of spectarors, and the distinct spaces of "audience" and
first steps toward the audience-as if he were really tryíng to "stage."
return powered gold in place of the rings. Then he suddenly The trick is in the tray. Orson said that hís was a deck-
remembered the insurance box. switching tray, and he thought it had been made by Thayer. 1
2.
4.
J.
5.
- t
THE CONJVRING ANTMOLOGY JIM .STEINMEYER
192
now think that it wasn 't from Thayer, beca use l've never found lt's important that the fake moves smoothly from one side to
a record of them making this apparatus. Orson described a the other with just a slight movement, so use plastic runners
small, thick wooden tray, roughly 5 by 9 inches, andan inch within the tray on these sliding parts.
thick. In the center of the tray is a depression just large enough Here's what happens during the trick. Three cheap gold
to contaín a deck of cards (Figure 6). Inside the tray is a rwo-part rings are in the sliding compartment, hidden to one side of
sliding íake. By tipping the tray in one dírectíon oranother, this che tray. The assistant carries the tray into the audíence and
depressed center container is switched; it slides to one side, borrows three rings, encouraging the spectators to drop them
revealing the matching container. It may remind you ofthe old ínto the centerofthe tray. As he steps back onstage, he tilts the
plastíc coín slide, sold in cheap rnagic sets. cray slightly, so che rings are concealed and the duplicates are
When we made this for Doug, we enlarged che tray slightly, brought ínto view.
so it was about 6 by 12 inches, and about 1-1/2-inches deep It was these three duplica tes that Doug picked out of the
(Figure 7). We also built up the edge of the tray, so it was tray and wrapped in a handkerchief.
thinner, but the center area was deep enough for the sliding The assistanr now casually carried the tray into che wings.
container. The tray was a light color, and the small, depressed Once offstage, he tilted the tray back and retrieved che three
container was lined with black fabric. In order to help disguise borrowed rings. He took three short lengths of satin ribbon
che "one-third" nature of che apparatus, we put a larger (matching the ribbon in the loaf of bread), and tied them
rectangle of black fabric on the top surface. This worked a little around the rings. When he was finished, che put them back in
like a Black Art Table. Spectators who saw che tray ata distance che tray and tílted it so the rings were once again out of sight.
thought rhat the depression in che middle ofthe tray was much As the box is opened, the assistant steps back onstage,
larger. Only the people who loaned theír rings realized that the holding the tray. A second assísrant joins him, standing on che
indention in che tray was so small. other side of the bread box. They grab che ribbon and hold it
1 think you'Il need to have che tray made or make it yourself. up. As this happens, the assistant is holding che tray casually ar
his side, in one hand. The rings revealed on che ribbon are three
rings that match the duplícates just shown to the audience.
6
Doug took a scissors and cut the ribbon about an inch or rwo
on either side of the rings. Of course, he knows how long the
duplicate pieces of ribbon are. The assístant raises the tray
and these rings fall into it. The assistant carries them into the
audience-tipping the tray to switch contents-and returns
the three borrowed rings with the bits of ribbon "still" tied in
place.
Asforthe rest ofthe routine, the boxforthe bread was justa
pretry wooden box made for the purpose. You could probably
find a chest atan ímport shop that would work well. lt's actually
tough these days to find bread thac hasn't been sliced; you may
need to visita bakery to find an unsliced loaf. The ribbon ísn't
erdnasemagicstore.com actually baked inside. Start with about six feet of satín ribbon,
494 THE CONJVRING A:NTNOLOGY ~~~~~~J_I_M~S_T~E_l_N_M_r_'_Y_E_R~~~~~~~
3/4 or 1 inch wide. The rings are ratchet noisemakers. Music shops sell che large, expensive
tíed, in single knots, at the cencer ones, make of wood, used by percussíonísts. Doug used to
of the ribbon, about 2 or 3 inches pretend that he was rurning the knob at che beginning. This
apare. We used to push the ends is why it didn 't make any noise. Then, when he reaUy tumed
of the ribbon through a little slit it, the ratchet would clatter, suggesting that something had
8. cut in the bottom of the loaf, and gone wrong. As we know from a Watch Winder, that is a very
then through the ends of the loaf. unpleasant sound to have around fine jewelry.
By pulling the ribbon taut, the The torn handkerchief was our way of takíng a very tiny
three rings are pulled through
trick=disappearing rings-and making it much larger. A.fter
the bottom and into the middle showing the tom handkerchief and the glitter, he would
of the bread. Thís works well. hinge open the bottom of the box so the audience could see
L ~J No one examines the bread, and
the audience can't really see che
through it. The duplícate rings were then hidden in the side
compartment.
slit in the bottom. Seconds later, You might consider altering other píeces of apparatus, like
you're pulling che bread apare to a Silk Cabby, that would also serve in this spot.
show the rings. Then you'Il need six cheap gold rings, rwo matchíng sets
The Ring Polisher was made of three, to serve as the duplicares during the main pare ofthe
9. like a japanese Handkerchief tríck.
box. lt measured about 5 by 8 What Doug and 1 found so attractive about the routine was
inches, and was 5 inches deep. that the dirty work was done right up front, befo re the audience
lt had a flap on one side and a started paying attention, and then again at the very end, after
thick waU that was deep enough they'd stopped paying attention. So the trick seems to be a
to contaín the three rings (Figure miracle. And the business with the little pieces of ribbons is
8). Doug used to lower the just devilish. It's not surprising that Orson was drawn so such
handkerchief and rings into this a theatrical effect-using the stage and che assistants to take
side of the box, then reach in and care of the trick and leaving the magician free to make magic.
close the flap, locking it with a I'm sure it worked weU on the "Mercury Wonder Show," and
Little cum button at the top edge I know that it was a success in Doug Henning's "Evening of
(Figure 9). Inside the box was a Magic and Wonder."
duplicate ripped handkerchief
anda sprinkle of gold glitter.
On the side of the box was a
plastic knob attached to a gear,
and a strip of spring metal that
pushed against the gear to make
the loud clatter of a ratchet. At
party shops you'll find cheap
TME CONJVRING A:NTMOLOGY JIM STEINMEYER 497
"illusíons," suggests that they're meant to be gazed upon from
74. Tl1E CRISSCROSS afar, and not íntegrated into a performance. In fact, there have
ILLUSION been plenry of illusion acts that never sought to be more than
fast, flashy and shaUow, accentuating just the elements hold
the attention span of producers, and keep audiences yawning.
"with Fish and Letters," David Oevant unpretentiously But there's also been a lot of fine conjuring reflected in stage
subtitled Chapter Ten of Our Magic-here were two illusions, worthy of our attention-Devant's creations are
improbable elements to combine in a conjuring trick. Devant evidence of this. And 1 think that all magicians should have an
then went on to describe, in this amazing book, the brilliant
understanding of illusion and should learn to be discriminating
effect that was created by chis brilliant rnagician. In telling the aboutthem.
story of his Educated Goldfish, he quoted Hartz, "Give mean I had planned to include another illusion before wrapping
idea, and 1 will find a trick to fit it." up the Conjurlng series, but 1 couldn't settle on one from my
So it might not seem quite so improbable ifl suggest a trick, Iíst. So now I've decided to include The Criss-Cross Illusion
"with words and a human beíng." This un usual illusion grew because it is close to my heart=neíther fast, nor flashy. It
out of my fascination and dissatisfaction with tube illusions=I requíres real presentation and personality. The puzzle element
already described one effect along these lines in number 52, of the apparatus reminds me a bit of Harbin, a hero of mine.
The Three-Space Mystery. But che Three-Space Mystery was AJan Wakeling first pointed out the secret, and spoke to me
clearly a penetration. How could the lady be in one tube when several times about this underused principie. The final result is
the other rwo were pushed through it? The Críss-Cross takes a new rwist on the usual tube type of illusion, anda dísrínctíve
a slightly different approach-first suggesting a penetration, effect.
then suggesting that shc's disappeared, and then revealing that Here's a puzzle, the magician begins. 1 mean, a real
the lady has tucked herself into an impossibly small space. "An puzzle. The sort of puzzle you rnight work on as you haue
assistant pushed into a tiny rube," Hartz might have distilled it. coffee Sunday morning. I'ü let you in on a technical secret.
The críss-cross of the title give it a nice visual irnage, suggest a Magicians don 't perform puzztes, because puzzles are meant
crossword puzzle design, and allows for sorne presentatíonal to be so/ved. They're speciaüy designed to be annoying,
touches. and then an hour later, intriguing, and then final/y, as
I made an effort to include severa! illusions duríng my you 're jilling in the last few clues, complete/y transparent.
series of Conjuring articles. 1 know that magicians associate Magtcians perforrn illusions, which are specially designed
me with stage illusions. Over the years I've invented a number to mystify-and then an hour later be even more mystifying.
of them for various performers, so l suppose that my audience Anyway, that's the theory.
expected to read illusion ideas. But I also felt it was important Tonight; I'm going to combine an iüuston with a puzzle,
that magicians who often think about card, or sílk, or envelope so you 'll have a chance to see the dtfference between the two.
tricks occasionally think about stage illusions, and consider J'll explain everything that I'rn going to do, and uihen I'm
them part of theír world. jinished, I'll tell you the solution to the puzzle-I'll tell you
Too often, the majoriry of magicians consider stage illusions exactly how it's done.
as the eructe, Brobdingnagian elernents of magic: che oversízed, But jirst, I need someone unütng to get puzzted.
expensive props rhat do this when you push that. Many seem Fortunately, I'uefound a beautiful, willing uictim. Her name
unworthy of attention, and even our technícal name for them,
1s_8~~~~-T_M~E_C~O_N_J_v~n_1N~G~A_N_T~M_O_L_O~CY JIM .STEINMEYER
~~~~~~~~~~~~~~~~~~__,49~
isSusie. written on it, then slides the tube down from the roof of the
Music comes up behind the action of the illusion. Susie box, straíght to the floor. The tube stands upright.
pushes on a square box on a raised base. The front is decorated Normally this would discomfort a person. Or trouble a
Like a crossword puzzle. The magician removes the front panel person. Or perhaps this three-letter toord meaning 'provoke'.
of the box; it comes away in hís hands. The interior is finished Yes, it should vex a person.
in black and white panels. The assístant tucks herself into the A second wooden tube is placed horizontally through the
box, and it's a tight fit for her. The magician slides the front box (Figure 1).
back in place, obscuring her. Ora three letter wordfor 'nettle.' There's little doubt that
1 want you to be sure that she 's reaüy inside. You 're still in most situations, this would irk Susie.
there, right, Susie? A third wooden tube is placed horizontally from the other
She places a hand through a hole in the top of the box. direction. The audience is now intrigued about just how the
Good. Because she 's going to try and solve this puzzle lady is hiding inside.
from the inside. Sorne of you may have been tormented by You're probably uiondering just how she's managed to
a puzzle, or frustrated by a puzzle. But this is taking it to move around inside and avoid so many obscure words. And
extremes. We'll start with a fiue-letter word for 'annoy to the solution is simple.
distraction. 'Because our little puzzle leaves very little room The front of che puzzle is lifted off, showing that the tu bes
for error, and even less room for the lady. But I'm going to are in place, all íntersecting Like a crossword puzzle. But the
craze her byfilling the extra space with tetters. box is otherwise empty (Figure 2). The lady is gone. To the
Picking upa square wooden tube decorated with letters, musical accompaniment, the magician curns the box slightly to
crossword puzzle style, the magician shows the word "craze" the right and left to show the interior.
l. 2.
CD
TME CONJVRING A:NTMOLOGY J 1 M S T E 1 N M E Y E I~ 501
The lady's decided not to put up with it. She 's teft, and left as the rnagician slowly turns the apparatus again, so that the
the uocabulary behind. Who can blame her? Thts puzzle has audience can appreciate the odd effect.
capacity to craze, vex and irk in equal amounts. 'Whatever rernains, however improbable, must be the
That s where most magtctans would end thts truth.'
demonstration. But /'ve decided to do as little irking as Now placing the front panel on the front of the box, he
possible. In /act, I'ue decided to let you in on a secret. While quickly withdraws the three wooden tu bes again.
you were starlng at the words in the puzzle, you never So the next time that you 're crazed, vexed and irked by
noticed that the lady snuck out the back, and is hiding behind your crosswordpuzzle,just remember that it could be worse.
the puzzle rtght now. Take a look! Jnstead of trying to solve it from the outside, you could have
With a srníle, the magician turns the appararus completely been trapped on the inside. Like Susie here.
around, showing the audience every side. She's not hiding in The front panel is removed as the assístant steps out the
back. In fact, therc's nothíng behind the box at all, and no clue front.
about the missing lady. The magician now slides out one ofthe Ali back to/ullsize again. Asan expert in thts sort of thing,
horizontal tu bes, che word "irk," and holds it in his hands. I think that the puzzte's not hatf aspuzaling as the lady.
Well, of course she 's not really back there. I just told you The secret is a V-shaped wedge of black-a weird hybrid of
that to make you /eelsmug/or a fewseconds. Smug. That 's a Black Art and the Mirror Cabinet. But here there are no mirrors
four-letterword/or 'self-satisfied.'
He turns the tube in his hands, revealing the word "smug"
on another side.
And I wouldn 't want any of you to leave without feeling
smug. l promised I'd tellyou how it's done, and J'm going to
do it.
As Sherlock Holmes said, 'When you have eliminated the
impossible, whatever remains, however improbable, must
be the truth.' O/ course, the lady never left the cabinet. You
would have noticed that. No, the answer líes in a /our-letter
word meaning 'present and at hand. 'Here.
He tums the tube in his hand again, revealing the word
"here." He slides the tube back in, so that it íntersecrs with the
center tube, but now the word "here" is visible.
She's here. Actual/y, right here.
The magician points to the upright tube.
You see, she 's trained herselj to squeeze her body into thts
tiny toooden tube. Show them, Susie.
Her hand emerges from the top of the upright tube, waving
to the audience! It really seems as if she's been packed inside
the narrow wooden enclosure (Figure 3). The musíc swells
involved. To sorne magicians, thís wilJ look peculiarly simple, 45-degree angles to the 90-degree angles of the corners. That's
but it's an íngeníous principie. For certain effects, this method why chis cabinet feels wider and shallower than the usual
is just right: in the case of Críss-Cross, it perfectly accomplishes mirror box. You'U also notíce that mirrors simply wouldn't
the illusion in a way that other methods could not. work in this trick. They would reflect the side tubes, giving the
So ler's take a look at the box that's responsible for the effect of rwo additional tu bes straight upstage.
illusion (Figure 4). The dimensions shown indicate the Here are the essential elements of the black wedge. The
suggested space: you'll need to experiment with material back wall inside the box should be covered in black velvet or
thickness and proportions that best fit your assistant. It's very a similar dense black fabric with a nap. Similarly, the ceiling of
similar to a Doíl's House illusion. The lady is concealed by the box and the floor of the box muse be covered in the same
sitting upright, on her shins, Her legs are concealed in a built- black fabric. However, the side walls of the cabínet should be
up base. Her body and head are concealed in a false back in painted white with thin vertical lines, as necessary, to disguise
the box. Throughout the climax of chis trick, her body is just the edges of the panels when they're hínged against the sides,
behínd the center tube. as in Figure 5. These sides also have che square holes necessary
The black wedge accomplishes much more than a regular for the rubes.
cabinet with a false back. Because the sides are the fuU depth The black panels hinge from the upstage corners of the
of the cabinet, and are finished in a light color, the box looks box. When the lady is in position, she pulls che panels in,
convincingly empty, especially as it turned around. against herself. The center tube locks these panels in place,
Unlike the usual Protean Cabinet mirror principie, angles so they won 't tend to open during the trick (Figure 5). These
of these black panels are adjustable. They need to be arranged panels have the same dense black fabric on theír faces. The
on the diagonals of che cabinet, but they do nor need to be fit at backs are painted white, with black squares representing the
4 1-1/2 27 1-112
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5º4 e o N J V R 1 N G A: N T No Lo e y
T t1 E JIM .STEINMEYER
5°5
holes, so these interior surfaces match the sides of the cabinet false floor has a wedge-shaped cut-out that marches the shape
at the beginning and the end of the illusion. of the rwo doors (Figure 6). Covering the floor in black fabric,
The key is thac the tloor, ceiling and back wall are ali and lining the interior of the platform with similar black, this
covered in black. This allows the side walls to be finished in a wedge shape willdisappear into the shadows when the cabinet
contrasting color. is first seen. As the lady steps into the box, she keeps her feet
I suggest hinging the top so that it can lift up-hinges at the on the false floor, which indicares that this is the bottom of the
back-as the lady steps in or out. 1 also think it's nice to have box. Once ínsíde, she steps ínto the wedge. She can then hinge
the front of the cabinet removable, so the magician completely up the false floor, sit inside, and lower the floor again over her
pulls it away during the presentation. Small horizontal pins lap (Figure 7). You may need to experiment with the floor: it
and lugs hold it in place agaínst the front of the box. Sorne can be cut into rwo panels that hinge to the right and left; this
performers may find it easier to turn thís front panel into rwo will give her even more room to get inside the base.
doors that hinge to the sides, but 1 feel that the hinged doors I used one of Alan Wakeling's favorite touches, the low
look slightly sloppy, and it's more dramatic to have a separate platform atop the base, to steal a bit more room. This is visible
panel. in Figure 4. It appears as if a I-ínch platform or tloor is raised
Now ler's look at the Doll's House part ofthe trick. up on short, blocky l-inch legs. In fact, you can't see beneath
Because the fl oor of the cabinet is finished in black, I suggest the platform; panels covered with black velvet are ínset just
keeping this as simple as possible, like a Black Art Well Table. behínd the legs to close off this space. This deception works
There is a false tloor in the cabinet. Notice that there's 9-inches very well but, like ali the proportions ínvolved in a base, it
beneath this floor, which allows room for the lady's legs. This must be arranged with taste, which generally translates, "with
restraínt." Notice that the whole business with the platform
10 4 only steals rwo inches-the inch of the platform, and the inch
1 1 of black undemeath it. lfyou're tempted to be greedy and put
22 2 3
l 1 1
more than an inch of "space" beneath the little floor, please
remember ... restraint.
Finally, there are the wooden rubes, the crossword puzzle
7. words. They're four inches square, made of wood. I suggest
putting different words and squares on different sides. Don't
use black squares on the tubes, as the black will disappear into
the interior of the box. 1 suggest painting the tu bes in grey and
white, with black Ietters,
The upright tube, marked "craze," has openings on the
sides so the other tubes can be pushed through it. The other
rwo tubes are slightly narrower, front to back, so they fit
through the first upright tube.
The audience is unaware of a hinged panel on the back of
the upright tube (Figure 8). Notice that the black wedge panels
erdnasemagicstore.com just come to the edge ofthis tube. This means that the lady can
TNE CONJVRING fltNTNOLOGY JIM .STEINMEYER
reach up to che back of chis rube, during the presentation.

push open che hinged panel, The table should be black on che top, silver on the edge and
8. which opens ínto che rube, and grey on che legs. lt's níce to gíve che effect that che apparatus
then push her hand straight up is separare frorn che table, and color can help this. Ifyou use a
into view as in Figure 6. cold grey on the box, you might try a wann grey for che table-
A spring hinge, or even a this is a bit browner and it will make che pares of the íllusion
strip of elastic pulling through look similar but not ali one continuous prop.
severa! small screw eyes, will A standard formula for many effects is chat a trick is
keep this panel closed as che "done," which leads to the climax of che actíon, and then it
tube is handled. You may wish is "undone." Levitations may be che classic example of chis,
to seal the top of this tube with and demonstrate why che effect, in its barest form, can be
a overlapped panels of stretch slightly disappointing-it takes just as long for che lady to go
fabric, to prevent che audience back down again as it <loes for her to ascend. Sword boxes
above you from peering into it. and sawing effects sometimes have the same problem, which
Finally, you'Il need sorne is why magicians príze the interior beats, little climaxes that
simple square black tlaps on keep che action goíng and hold the audience's interese rather
che sides of the box to close than simply winding che trick clown again. For example, in
che holes. 1 don't think these Críss-Cross, just after the clímax of che effect, che audíence is
need to be very sophisticated, told that the lady is actuaUy inside che tube-the effect seems
just something that you can flip to change dramatically-and her hand mysteriously appears
up before you push che tubes to verify chis. The routine makes che very most of the unusual
through. principie, and che presentation holds back a few surprises to
I think that it makes sense continue to tease and puzzle the audience.
to accenruate the black and
white colors throughouc. On
che outside, finish che cabinet in
grey and black (a serní-gloss black
paint), with a black and whíte
puzzle on che front. A little bit of
color, like a brigbt blue, would
look nice outlining che front
panel or as a border accentíng
the sides of the box. Restricting
most ofthe colors to "newsprint"
reinforces che crossword puzzle
theme, and it means that the
lady's cosrurne will stand out
Tl1E CONJVRINO ANTNOLOOY JIM .STEINMEYER ~
its principie purpose is to simulare an illusion. AIJ elements

75. CONJVRING of that presentation muse be organized around this goal. Ali
other elements must be supportive. The presentation, staging,
TAKES ITS BOW cosrumíng and lighting are all subservient to the basic illusíon.
Theatre directors and designers, encounteríng magic, are
¡n Augt~st 2004 the last Conjuring appeared in MAGIC invariably styrnied by this "all or nothing" approach. Magicians
!Magazine: need to hit home runs. There can be no base hits.
Over the course of my Conjurtng articles-since April Any work of theatre is a mixture of reality and unreality:
1992-I've had a chance to talk to a lot of magícíans about essentially it is a collection of contrivances that have been
their own sryles of conjuríng, It's been an education for me. organized to form a story for the audience. The art seems to
I've heard what they like, what they don't líke, and what they be pleasing if the contrivances are disguised, and deceptions
consider to be useful material for their own shows. are hidden within reminders of realíty, familiar sítuations,
I've also had interesting comments about effects that have language or characters. The efficiency of theater is that the
appeared in this series, and it's been rewarding to hear that siruation can present ítself, the characters developed within
various routínes have found their ways to audiences and met che cight confines of a particular story. There is a resolution
with success. lnvariably, I've found myself answeríng questions of all the particular elements (even if the resolution is to
about how certain routines have been created or what I look deliberately not resolve them), conveniently by the time the
for in a successful effect. Those are cough questions, but here's curtain falls. There is a feeling of change or reversal. There is a
my chance to explain a Little about conjuring-with a little "e" sense of completion or accomplishment. The plot has satisfied
anda big "C." and surprised in proper proportion. The playwright does this
LET'S GET PRECIOUS! YOU'RE DOING "THEATER." The solely through the script: from nothing more than the dialogue
first approach to devisíng rnagic is the understanding that a and simple stage directions. The depth of the situation is not
theatrical illusion is, in fact, a little play. It's a brief drama with present, but it is artfully implied.
characters, sítuatíons, development, a surpriseandaresolution. LET'S GET REAL. THEY'RE TRJCKS! I've found that
Often maglcíans are, thernselves, deceived about this and look magicians are often theír own worst enemies. They have an
past che necessary construction beca use the general form of a odd focus on the trick itself, and a blurred line berween the
magic performance is deliberate and disarming: it appears to actual illusion and the apparatus. Often magicians treat their
be a person presenting magic tricks, as different performers effects as if they were playwrights, using the purchase of a
may present songs or juggle. Robert-Houdín's famous dictum piece of scenery to inspire che play. You like how che forest set
(you've heard it coming, haven't you?) that a magician is really looks ... so you decide to write a scene set in a forest, right? It's
an actor playing the part of a magician, becomes clear and a confusing process in whích magicians are continually circling
dístinct from other entertaínrnents. A sínger is not an actor theír art and never reaching the center.
playing the part of a singer: a juggler is notan actor playing the My favorite fallacy in magic-which 1 hear in ínverse
pare of a juggler. The magician plays a role, even if he plays the proportion to the abilities of the performer-is that the
role of "Himself, but now endowed with special secrets."
trick doesn 't matter. Instead, the audience is only there for
Of course, the notable feature about a magic trick is that entertainment, and che tricks are simply a vehicle for the
510 T t1 E CO NJ V R 1 NG A NTMOLOG Y JlM .STEINMEYER 511
performer's personality. This philosophy invariably is used represented a shortened attention span or a focus on the
to explain why a magician is performing a bad trick, one that commercial rather than the artistic.
doesn't impress or mystify. There's no excuse for using bad But I actually think that it's very useful to evaluate magic
material, and no amount of clever presentatíon will make up tricks by their hígh concepts. Express the plot in one terse
for it. There are plenry of great tricks out there. Start with one, statement-a sentence or less-which atternpts to capture the
then add the presentation. intrigue for an audíence and encompass the basíc idea of the
I've also learned to deal with magicians' angst about effect. Imagine chis statement as che brief description that you
appararus. Yes, yes, many "artlstic" perfonners have told me want che audíence to use when describing che effect lacer to
that they can't use appararus, because trick boxes will distract their friends.
from the impression that they are creating the illusion. l wish Now here's the problem you're going ro have. Magícíans
these magicians would poU theír audiences sorne time about know too much about what can and cannot be accomplished,
what they' d líke to see. In almos e any magic show, the apparatus and are only intrigued by obvious challenges. So 1 often hear
forms che scenery for the production. Sometimes it even takes concepts that tum into impossibilities. "I make a lady disappear
the place of a change of costurne, as well. Few playwrights from atop a piece of glass. but I want to do it surrounded, with
insist that their story be told without any scenery or with torn, no tríck equípment, no traps or special líghting."
ugly costumes. Few actors ask for an ugJy stage serting so they This isn't a high concept, it's just a frustration. There's no
look better. But magicians think chis is clever. way you're going to win. lncidentally, these are the sorts of
Besides, really competent performers have the confidence calls I get from magicians, who have absolutely decided what
that apparatus can enhance a performance without distracting they wanted to do and how they didn't want to do it. After
from it. A great magician is never worried about being upstaged failing again and again, they think that the answer is to caU
by a red lacquered box. Bue inexperienced magicians, l me for the new principie of physics that they overlooked. Of
suppose, have a lot to worry about. course, 1 don't have it.
What makes a good effect and where does it come from? The plot should be a building concept behind the effect,
Here are a few efficient steps that can serve as a guide for your but in many ways it must be overly simple and direct, Starting
own conjuríng. with "the disappearance of a person from a píece of glass" is
STARTWITH A PLOT. Thís will serve as a blueprint for the [ust fine, believe me. The value of a hígh concept is that, as
effect. The notion of a plot may seem daunting to you. It sounds you proceed to develop the effect, you can quickly evaluate
so "Theatre 1 O l." But there' s nothing pretentious about it. whether the various elernents are contributing to the effect.
Jokes have pJots. Songs have plots. Listen to the lyrics of a good Anything that supports the plot is useful; anything that dístracts
song, and you'Il find that it has a premíse, development anda should be ellminated.
resolution. lt starts somewhere. It goes somewhere else. Incidentally, there's nothing wrong with a cliché here.
In Hollywood a number of years ago there was a trend As you'll see, therc's plenty of opportuniry to tell the story
to discuss film or television projects in terms of their "hígh in a unique way. Appreciate that clichés have an appeal to
concepts." A loe of people made fun of high concepts, because audiences, and they actuaUy allow you to define yourself-your
it seemed to reduce every film to one terse staternenr, an differences-within the framework of a cliché. How many
advertising slogan rather than a story. To many people, it songs are about love? Probably aU but rwenry. But no one
512 TME CONJVRJNG ANTMOLOGY JIM STEINMEYER
513
avoids singing love songs because they've "been done before." No artist is silly enough to tell you that he could write a
How many jokes start, "A man walks into a bar ... "? Bue how song, or a novel, or paint a pícture and give exactly the same
man y times have yo u heard this and stopped the joke teller, impression to his audience.
saying, "Don't bother, it's just like a thousand other jokes." That's why, about rwenry years ago, illusionists figured
ADOPTA POINT OF VIEW. When magicians would talk out that the use of a wedged base was a very clever thing, and
to me about their favorite effects in Conjuríng, or compliment then solved every problem by taking various props and sticking
me on one of the presentations, almost always they weren't them onto a wedged base. Magíc suffered for it. 1 think close-up
reacting to the trick. They were reacting to the point of view. magicians have che advantage here, beca use they can instantly,
And ironically, chis is sornething that performers can bríng economicaUy experiment with different methods and get a
to che equation better than anyone else. lt's your opportunity feeling for them. However, come to think of it, when l was a
to personalize the routine. kid, there was abouc a decade where everyone solved every
journalísrs have always had an "angle" to their storíes. It's card trick with roughing fluid. Yo u could smell itas soon as the
what a11ows them to return to the same basic topícs again and cards carne out of che box: a useful analogy for many of those
again, and is a formula for making an old subject fresh. Every tricks.
year a joumalist for a small town paper might have to wríte a RE-EXAMINETHE PLOT. Nothíng's sacred. You need to
story about the Independence Day Parade. One year it's about evaluare che trick in both dírectíons. As the method begins to
che new floats. The ne:xt year it's about the man who organizes make changes in the handling of the effect, a few judicious
che parade. The next year it's Old Charlie the Barber's fifry-year changes in the plot may be of great value for che sake of the
memories of the parade .... trick. Your end result could end up different than your original
So your angle is a particular emphasis to the effect. You idea, but you need to be open to new ideas during the process.
might want to make someone disappear from che top of a Remember that fantastic idea about the lady on the piece of
plank, but you might emphasize che illusion, "as a challenge," glass? Well, let's reconsider it. Perhaps, if it were a sheet of
or "with minimal apparatus, feeling almost impromptu," or, wood ínstead of a piece of glass, there are more possibilities.
"giving the feeling of an ancient ritual." A trick might emphasize Besides, what's che essence of the piece of glass? Unprepared.
borrowed objects, or exotic props; it might be changed to give Innocent. Elegant. There might be other ways to tell that part
the impression of taking place in the spectator's hands, or it of the story.
rnight overemphasize che performer's pan, to give the feeling Your goal should be to keep a clear vision of che basic plot
of great skill. and to be able to evaluate the important elemencs. Pare of chis
TEST VARJOUS METHODS. Magicians know that there evaluatíon can only come from an "up and back" process. Often
are many ways to skin the proverbial cat, many methods that a method might suggest complications that will only muddy
can be used to accomplish an effect. But they have, for many che plot. You might choose to include these complications, or
years, had a silly attitude about the interchangeability of these you might choose to go back several steps to clarify che effect.
methods. Forcing a card with a one-way deck does not feel like Unfortunately, rnagicians fall in love with these
a classic force; a pass does not feel like a deck switch; using a complications all che time. They might perform the Míser's
stooge does not feel like using a nail writer. Different methods Dream ("catching coins in che alr, gettíng rich from nothíng"),
create different tricks. and then add nice little touches Like tossing che coins invisibly
5!-4~~~~~-T_M_E~C_O~N_J_V_R~IN_G~-~-N_T_H~O_L_O_G~Y~~~~~- ~~~~~~~~-J_l_M~S~T_E_l_N_M
__E_Y_E_·_n~~~~~~~5..!5
through the air so they clank in the bucket ("a coín that l'd recommend any specialty store. Office supply stores
disappears in your hand and a sound that appears in the are good, but there are so many large chain stores, that the real
bucket"). A number of classíc effects, like the Miser's Dream, treats are to be found in independent stores, which might stock
Cups and Balls and Egg Bag, really exíst to highlight the theme especially unusual items. Art supplies are wonderful, as are
and variations. Similarly, I'rn sure there are singers who can wholesale paper shops, florist supplíes, scíentíñc supplies and
push their way though a medley of songs and solicit different specialty hardware stores. When you find the right produce or
reactions for each few bars, but ít's hard. When in doubt, material, it can easily change the way you think about a trick.
simpler is better. BUCK THE TRENDS. There are a number of excellent tricks
LOOK FOR THE FLA WS, EVERYWHERE. In every effect out there that have been lost to fashion. I can understand why
there is at least one flaw, a mistake in handling or inadequacy fashions are chosen for aesthetic reasons, just as desígners in
rhat must be disguised within the presentation with the hopes Paris regularly decide the height of skirts, che width of trousers
chat the audience will overlook it. It's a magic "trick." There's or che size of lapels. But it seems ridiculous to have fashions
got to be sornething wrong with it, and that's the flaw. "behind the scenes." Does any dressmaker really say, "We're
1 don 't want to say that che flaws are your friends. Bue you 're not using thread anymore. That's been done!" or "I'rn tired of
stuck with them. Gec used to them. Even more important, you'd fabric."
better find them because if you don't, 1 guarantee that someone Yet magrcians have hundreds of tricks-probably
eJse will. Magicians have a tendency to overlook che flaws. We thousands-that have fallen out of fashion for ridiculous
blink, ignoring the awkward moments. It's something that reasons like, "The pass is an old-fashioned rnove," "Silk tricks
we've learned by rehearsing in a mirror. Ifyou blink when you aren't performed anyrnore."
perform che pass, it always looks much better. We also hope The secret of fashion, of course, is commerce. They need
the audience will be blinking at the same time. to sell you the la test dress because they need to make money.
Each different method will introduce a different flaw, and Similarly, magic dealers want to sell you the latest tricks
evaluating these will lead to the best result. But ít's important because they need to make money. It's hard for magic dealers
that you can evaluate each effect by seeing the weaknesses to get nice silks, or have good wooden apparatus made for
clearly. Then your goal should be to minimize these tlaws reasonable prices. So they're going to sell you all those tricks
through che presentation or handling. that fit in Ziploc bags, because that's what's fashionable for
LOOK FOR INSPIRATIONS, ANYWHERE. Eric Lewis and rnagic dealers, and they're going to make it fashionable foryou
Robert Albo's book, The Oriental Magic o/ the Barnbergs, aswell.
explains the history of Okito's Floating Ball, and how the There is so much good material out there in books, like
ball was created from Okito's various expeditions "snuffling Greater Magic or The Tarbell Course,that is ignored because
around." This was his term forwindow-shopping. Starting with it is out of fashion. If it's dusted off, if che presentations are
a plastic sponge holder, then discovering foil on a candy bar, the cleaned up, modernized or given a twist, any trick can seem
illusion was completed. There are so many surprising materials ínnovative and be appreciated by the audience.
and products available today that would have delighted people For many years, I've been taking unfashionable ideas and
like Okíto or jarrett or LeRoy. Keep your eyes open and never makíng them fashionable by publishing them in a monthly
miss an opportunity to go exploring. magazine that you've come to associate with timely news. lt's
516 T NE CO NJ VR 1 NG A NTt10LOG Y JIM .STEINMEYER
just like all those terribly ugly dresses that appear in magazínes
and suddenly become desírable. The secret is that you can do INDEX
it all yourself; you can find the material, evaluate the effects,
weigh the secrets and create the routínes so that they perfectly
suit your style.
After many examples of Conjuring, ít's been my pleasure Abbott's. 272 Blade Box, 333
to introduce you to a great many old effects, and a few new Accommodatig Kettle, 326 Block(Germain), 184, 309
effects. I hope that I've given you something to think about Adventures of Díamond Iack, Blow Book, see Flip Book
and, in a few cases, something to really perform. Most of aU, I 443 Bobo,J.B., 223
hope that any inspirations lead directly to your own contínuing Alan, Don, 43 books,30, 194,355,400
successes in conjuring. Afghan Bands, 218 Book Tests, 355
Allergic Card Tríck, 41 O Bongo, Ali, 260
Anderson, Gene, 1, 218 Bottomless glass, 256
Andruzzi, Tony, 178 bowl, 189, 319, 457
Any Idiot's Silk Trick, 250 box, 90, 157, 496
Apples and Oranges, 319 Braínwave Deck, 428
-
Arcane, 306 bread, 487
Aronson, Simon, 391 Brema, Carl, 218
Arto/ Magic, The, 243, 319 brick, 184
Building a Better Slot Machine,
back palm, 170 400
bag,24, 110, 129, 143,425 Burned Banknote, 178, 345
Baker, Al, 391 Bux, Kuda, 333
Baking Cookies, 114
balloons, 269 candy canes, 136
,
Balloon Rack, 269 Capers with Cotors, 77, 276
Bamberg, David, 272, 282 cards, 121, 162, 194,243,268,
Bank Night, 345 301,315,363,391,410,425,
Bar Act, 326 472,482
beads,289 Card box, 90
Bellwether, The, 315 Card in Wallet, 363
Bernstein, Bruce, 345 Cards Across, 41 O
bilis, 16,43,96, 143, 150, 178, Card Stabblng, 472, 482
214,237,345,416 Case of Collusion, 194
Bíll in the Light Bulb, 150 Caveney, Mike, 226
c.d. (cornpact dísc), 230
Biro, Pete, 16
Blackstone, Harry, Sr., 218, 463 ChangeBag,237,416
Tt1E CONJVRING A:NTMOLOGY JIM STEINMEYER
Change Bag (clear), 268, 440 Cut and Restored Instructíons, egg, 129 forrune cookíe, 143
Charvet, David, 160 369 EggBag, 129 Fox,lmro,319
Checker Cabínet, 143 Cut and Restored Paper, 250 Encyclopedia of Card Magic, Fox, Paul, 391
Chinese Food, 143 194,443 Frozen Confetti, 278
Chinese Sticks, 50 Dante, 38, 282 Encyclopedia of Sílk Magic, Funny TalkforMagicians, 77
Christopher, Milboume, 463 Davenport's, 272 272 frames, 30
Cigars Sala Btrn, 38 ieath by Playüng Cards, 472 envelope, 16, 84, 92, 178, 214,
Cleuer and P/easant Deceptívíry, 425 345,355,363,369,384,400, Gardner, Martín, 463
Inuentions, 282 DeSieve, Will, 3 73 410, 416, 436 General Card, 243
clipboard, 8, 24 Demon Handkerchief Box, 272 Equivoque, see Magician's Gennain, Karl, 184, 309
Clippo, 369 Denten Cabinet, 294 Choice gift box, 51
coat, 282 Devant, David, 115, 230, 326, Erdnase, S.W., 243 Gilbreath, Norrnan, 315
coins, 116, 223, 400 391, 496 Evans, Val, 463 Gílbreath Principie, 306, 315
Coins & Glass, l L 6 Deuice and Iüusion, 41 O "Evening ofMagic and glass,62,96, 116.194,309
cola, 326 Devil's Handkerchief, 46 Wonder, 495 tt glass rod, 184
Collins. Stanley, 223 dictionary, 355 Exclusive MagicatSecrets, 294 glass sheets, 70
Color Changing Silks, 230 Dietrích, Marlene, 487 Expectíng a Coíncídence, 268 glitter, 487
Confabulation, 24 Diminishing Cards, 56 Goldston, Will, 294
confetti, 256, 278, 416, 457 Discovery of Witchcraft,282 fabric, 218 Good Enough to Eat, 11 O
Contagious Red, 230 Doll and oous House, 294 Fabulous Feats o/Mental Grandrnother's Necklace, 214,
Cords of Phantasia, 282 Doll's House, 294, 487, 502 Magic, 194 282,289
Corinda, Tony, 207 Dove Pan, 114 Fan Mail, 416 Grant, U.F., 194, 201, 416
Cotten.Ioseph, 487 Downs, T. Nelson, 243, 319 Fantastic Cords, 282 graphite, 90
cookies, 114 Dowsing & Divining, 172 Pirst Latu of Gyronomonics, 8 Gravan, Glen, 194
corn, 110 drinks, 326 Fischer, Ottokar, 282 Great Silverware Scam, 431
Crarner, Stuart, 184 Drunken Cocktail, 62 Five Senses, 207 Greater Magic, 218
crank, 16 Ducrot, Frank, 189, 237 Flash paper, 150 Gwynne,Jack, 160, 294
Criss-Cross lllusion, 496 Dying Handkerchíefs, 230 Fleischman, Sid, 62
crossword puzzle, 496 Flight of the Paper Balls, 207 Half Pass, 484
Crouming Mtracles, The, 293 Eclectic Horticulrure, 136 Flip Book, 400 handkerchíef, 237
Culpítt, Fred, 294 Educated Goldfish, 496 flowers, 38 Handkerchief Pedestal, 256
cups, 278, 326 Efficiency Stamp, 8 Foo Can, 62, 172 Harbin, Robert, 157, 497
TME CONJVRING A:NTMOLOOY JIM .S1EINMEYEl1
520
Hartz, Gus, 496 Jade, 189 Liles, Bill, 162 Miller, Moi Yo, 38
Hathaway Rising Cards, 121 Japanese Handkerchief Box, Linking Five Ríngs, 103 Million Do llar Bill Mystery, 416
hats, 110, 161 494 Lippy, 39 Mirror Box, 294
Hayworth, Rita, 487 Jar, 24 Lorraine, Sid, 43 Modern Chernical Magic, 39
Headline Prediction, 84, 90 jarrett, Guy, 70 Lunt-Fontanne Theater, 489 Modern Coin Magic, 223
Held Up, 43 jellybeanjar, 24 Lustig Money Machine, 16 Moody, Orla, 463
Henning, Doug, 1, 345, 487 jinx, The, 62 Lustíg, Víctor, 16 Moorehead, Agries, 487
Higa, Bob, 457 jones, Chuck, 333 More Magic, 243
Hígh Sigo, 463 magazines, 77. 230, 443 Morrirt, Charles, 223
Hilliard,J. N., 218, 319 Kaps, Fred, 239 Magic and Shouimanship, 250 mug, 207
Hísted, Louis, 50, 136, 391 Keep the Wheels Turning, 160 MAGIC Live Convention, 363 Multiplying MoneyTray, 413
Hoffmann, Professor, 230, 237, kettle, 326 MAGIC Magazine, XI, 472 music boxes, J 75
243,282,355 knife, 472, 482 Magical Masterpieces, 8
Hooker, Dr., 121 Kolar, 373 Magícían's Choice, 177, 269. napkin, l 14, 376
Horowitz, S. Leo, 391 Koo Koo Kompass, 463 387 Napkins for Actors, 376
Hospitaliry, 326 Koran, 391 Magic of Atan Wakeling, 282, Nelms, Henning, 250
Houdíní's Grandmother, 289 Koran's Medallion, 24, 400 449, 472 Nelson, Earl. 472
Hugard.jean, 443 mailbox, 9 Nest of Boxes, 487
Hypnotized Stack, 30 l lamp, 150, 448 Making Time, 30 New Inuocation, 178
Lane, Frank, 77 Malone, Bill, 443 newspaper, l,84, 218
1 Know What You're Thinkíng, Later Magic, 230, 237, 355 Marshall, Frances, 1, 218, 345 Neuispaper Magic, l , 7
436 leaf, 30 Marshall.Iay, 50, 103. 345 Nikola, Louis, 8
Indian Rope Excuse, 339 Leípzíg, Nace, 484 Marvyn Roy's Bill in che Light numbers, 355, 436
Inside-Out Procluction Box, J 57 LeRoy, Arthur, 237 Bulb, 150
Imp Bocele, 77 Leroy, W.D., 194 Maskelyne, 355 One-Man Band, 218
Impostress Princess, The, 391 Lesson in a Lesson in Magíc, 77 Match to Flower, 40 Onward & Upward, 121
lncessant Newspaper, 1 Lessons in Conjuring, 115 Maven,Max,315,400 Opening with an Egg, 129
index card, 90 Lewis, Eric, 46, 70, 293 Mene Tekel Deck, 194 Optigrarnma, 463
Inexhaustible Bottle, 326 Life in the Left-Turn-Only Lane, "Mercury Wonder Show," 487 Our Magic, 496
lnstructíons, 373 463 milk, 112
Milk in the Light Bulb, 448 pad,263,355,400
light bulb, 150, 201, 230, 448
jack Gwynne, 160 Light Bulb Varíatíons, 448 Miller, Charlie, 189 Page, Patrick, 77
TNE CONJVRING ANTNOLOGY J 1 M 3 TE 1 N M _E_Y_E_R _,~)
pages,355 Rerninding and Deceiutng, 8, Severo, Bill, 16 Problemsf or Magicians, 201,

paper,250,263,369,376,457, 400 Sextabulous, 197 207,377
472,482 Repeat Silk Vanish, 77 Shaxon, Atan, 43 straw, 69
party favors, 161 Short-Change Repeat, 96 string, 289
Rerurn ofthe Century, 256
pepper, 207 ribbon,121,384,400,487 shredder, 354 strongbox, 84
Perforated Brick, 184 rice, 143, 189, 272 Shuffled Prediction, 306 Svengalí Deck, 301, 315
Perverse Magíc, 250 Rice Bowls, 189 sígn, 463 Sventalism, 315
Phun with Physics, 272 Rice and Water, 189 Silk Cabby, 256 Swinford, Paul, 306
Piano Card Trick, 319, 4 31 Rice, Harold, 77 silks,77, 161,230,250,256, Symphony of the Rings, 103
Píckpocket ChaUenge, 237 Richardson, Barrie, 345 272, 448, 487
pícrures, 339 rings, 103,282,487 Silk Wonder Box, 272 Tappan, Peter, 391
Pírate's Chest, 293 Ríngs in the Loaf of Bread, 487 silverware, 431 Tarbell Course in Magic, 16,
place, 431 Rising Cards, l 2 l Six Card Repeat, 96 116,133. 160,272,282,294,
Plate Glass Mystery, 70 Rísing Cards from Envelope, 16 Slydini, 207 373,416,472,482
Pom-Pons, 50 Robert-Houdin.jean, 121, 243 Srnaller and Smaller, 56 Tassel of Abundant Enterprise,
Popping Com, 110 Robinson, William, 237 Srnoke Trick, 39 50
postcard, 8 ropes, 282, 369 Snow Job, 457 Taylor, Bill, 103, 289, 306, 482
Powers of Darkness, 207 roses, 38 Snowstorm in China, 457 Ten Cards up the Sleeve, 162
Prediction Chests, 84 Roy, Marvyn and Carel, 150, Spring flowers, 41, 43 Thespian Card, 243
Princess Card Trick, 391 448 Square Circle Production, 136 thread, 116
Princess Carabeo Deck, 391 rubber cement, 96, 369 Squeeze-Away Milk, 112 Three Problems in
Production Box, 157 squeeze bottle, 112 Prognostication, 263
Protean Cabínet, 502 Sacred Altar Light, 201 Squeezed to ajelly, 8 Three-Space Mystery, 333. 496
Psi-Tech, 345 salt, 207 Stabbed in the Pack, 482 Thirty Card Trick, 41 O
Psych-Writer, 263 Sam the Bellhop, 443 starnp, 8 time, 30
Purse Palm, 223 sand, 172 Stanyon, Ellis, 218 tray,184,207,410,457,487
Purse Trick, 223 Sawing Through a Woman, 70 staple, staple remover, 363 tree, 136
puzzle, 496 Seabrooke, Terry, 178 Stapled Cardas Escape Artist, Trilby Deck, 305
Psychic Trust, 178 Secrets of Conjuringand 363 Toro and Restored Napkins, 376
Pushing the Envelope, 384 Magic, 243 Stern, Duke, 376 Toro and Restored Newspaper, 1
Secrets of Karl Germain, 184 Strange Power, 201 True Tales from the Newsstand,
Rae, Oswald, 43 Selbit, P.T., 70, 319 Strange Pouier and Other 443
TME CONJVRING ANTMOLOGY
0Tt1ER BOOKB BY Tt1E AUTt10R
rubes, 136, 333. 496 \Vakeling,Alan, 16,62, 116,

• On Magic History •
Tucker,Tonuny,96 121,294,326,448,472,497
Htding the Etephant: How Magicians Jnvented the
Twentieth Century Silk Trick, \Valler, Charles, 250 Impossible and Learned to Disappear
256 Warlock, Peter, 70
The Glorious Deception: The Double Life of William
Two Mene Card Tricks, 194 watch, 43 Robinson, aka Chung Líng Soo, the
"Maruelous Chinese Conjurer"
Two-Sided Triangle, 41 O water, 172, 189, 457
Waters, T. A., 384 Art & Artífice
Ultra Mental Deck, 428 \Velles, Orson, 172, 487 Houiard Thurston 's Iüusion Show Work Book
(Volumes I and U)
Williams, Oswald, 43
The Completejarrett
Vernon, Dai, 103 Williamson, David, 161
Antonto Diaoolo: A Souuentr of His Performance
Vicarious Cocktail, 62 Wízard Exposed, The, 223
The Mystery of Psycho
Vicissitude of Black Confetti, Wobensmith,James, 218
[arrett
250 Wonder, Tommy, 43
Video Mix, 309
video tapes, 309 X-Ray K.nife, 476 · On Magic and Illusions ·
Voodoo Economícs, 214 The Magtc of Atan Wakeling
Zimmerman, Dick, 400 Deuice and Illusion
Modern Art and Other Mysteries
Impuzxtbüittes
Further Impuxzibtlities
Two lectures on Theatrical Illusion:
The Science Behind the Ghost & Dtscouering !nvísibility
· Lecture Notes for Magicians ·

The First Law of Gyronomonics
The Victssitudes of Black Confetti
Strange Pouier
Remindtng and Deceiuing
Artificial Conclustons
.ABOUT Tl1E .AUTl10R
J imSteinmeyer has invented many of the farnous íllusions
used by leadíng magicians from Ricky ]ay to Siegfríed &
Roy. The New York Times calls him the "celebrated invisible
man-inventor, designer and creative brain behind many
of the great stage magicians of the last quarter-century."
Steinrneyer created David Copperfield's vanish of the Statue
ofliberty, has desígned magic for many stage, television and
Las Vegas shows, and Ior six Broadway shows, including
Into the Woods, Beauty & the Beast and Mary Poppins. He
is the author of Htding the Elephant, the Los Angeles Times
bestselJer on the history of great magicians and lose íllusíons.
Steínmeyer has researched and rediscovedred many of
the iUusions of the past, and has written technical books and
lectured on the techniques of magic. He is an organízer of
thc Los Angeles Conference on Magic History, a contributing
editor of MAGIC Magazine, and was a writer and producer
of the A&E Network's four-hour hístory of the art, The Story
of Magic.
For severa! years, he served as consultant and concept
dcsigner for WaJt Oisney Imagíneering, developing theme
park attractions forThe Watt Disney Company.
Jim Sreínmeyer lives in Los Angeles with his wife, Frankie
Glass, an independent television producer.
For additiooal information: www.jimsteiruneyer.com

Jim Steinmeyer

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erdnasemagicstore.

2. TuE EFAaENcv STAMP, 8

3. TuE Losnc MoNEY MAOilNE, 16

Copyright 2006 by James H. Steiruneyer 7.HanUP,43

l•I Published by Hahne

13. 'fHE Hf.ADUNE PRmicnoN, 84 25. ThNCARosUP'THESUEVE, 162

14. HEADuNE PREDICflON,11-IES~, 90 26. DoWSJNG & DMNING, 172

66. 1 KNOw WHATYou'RE'fHINKING, 436

67. ThUETAl.ffiFROMlHENEWSSfAND, 443

68. ThE UGHT .8uIB V ARIATIONS, 448

"Magic is mysterious, it is wonderful;

T rus is the torn and restored newspaper routine that l

simplicity, 1 prefer the following rnakes thern casier to show empty.

o f envelopes has been placed and "cranks" it up out of

availabJe in packages from the and, guess hoto many jellybeans

T his routine was a favorite of readers, and I suspect that the

erdnasemagicstore.com published in Conjuring in November 1992. Pírst, the effect.

The second tasset, In the one gets short.

the audience. At the finish, I'Il

T he Vicarious Cocktail appeared in print in March 1993.

P . T. Selbit had the right idea: a good trick organized around

erdnasemagicstore.com there are severa! ways to handle

constructed from a magazine hlack thread, like sewing thread

you've got better things to do

You'll need a cardboard gift

T he late Tommy Tucker always seemed a bit perplexed by

Immediately separare the rwo together and suddenly sepárate

is shaken back and forth. Do

changing his mind.

off quickly by explanations or che small egg that 1 used was

The magician holds up apart the apparatus, li.fting the

Actually,Mark,we 're only kidding. The other half ofyour

also on the tray.

T he late Orson w:eues ~ad wonderfuJ instincts ab~ut mag~c

27. Tl1E PBYCI1IC TRVBT

I love the notion of the Burned Banknote, and think that it is a

somewhere so that you can identtfy ít again, then fold it in

K arl Germain's Block effect, a uníque penetration illusion,

The upright brick now

Two simple porcelain bowls sunshine, the harvest, the rains.

trust. That in a f ew grains is the Use a tube of whíte látex caulk

spectator. The spectator is urged to cut the deck anywhere,

differem cards. This is important

Unfold the fabric in your hands, keepíng the prepared section

half-dollar is sleeved in your 2). lmmediately raíse your right

a life of crime. spectator,

erdnasemagicstore.com a sort o/ cast of characters, the repertory company f or my

of instructions is handed to her. In a small audience, she can

C harles Waller is credited with developíng the notion of

troubteshooting instructions. pieces tend to stay together if

Of Tl1E CENTVRY Magtcians naturallyput this

makes a mess on the floor. This

You'll see this as the handling is ofthe ring.

picked up the wooden step, looked it over carefully, and drolly

f red Culpitt was notan illusionist, he was a comedy magician

T he effect of the Inexhaustible Bottle is one of my favorites.

capitalizes on the artistic elements of the effecc. room atal/.

so that the colored back ends up

leaves envelope 1 as the selection. So number one ts your

Three men are selected from the audience and brought on

erdnasemagicstore.com supply company, which has a

P rolific and ingenious, U.F. Grant contributed a great trick,

tt's actually the same sort of'psychotogy.

elimínates any "screw-up" factor. come to rnind. So I uionder if