♣ ♥

MY KIND
OF
MAGIC

Solyl Kundu
♦ Page 1
♠
 Dedicated to
my father Late Dr. Lal Mohan Kundu,
and my mother Late Renuka Kundu,
who always enjoyed my magic,
but never wanted me to be a
professional magician.

Copyright  2011 - 2012 Solyl Kundu

No part of this document may be reproduced or
transmitted for resale or used by any party without
express written permission from the author.
Violations of this copyright will be enforced to the
full extent of the law.

Page 2
 Contents

The Tools of the Trade ... 6

Floating Matchbox ... 8

Balance ... 10

21st Cent. Torn & Restored Card ... 11

It’s Me ! ... 13

Colors in Flight ... 15

It’s Me (No. 2) ... 16

The Rainbow ... 18

Confetti Caper ... 20

Beauty and the …. ? … 22

The World’s Best Magic ... 24

Indian Cups & Balls, Nu Style ... 26

Good Bye ... 29

How to Elmsley Count ... 31

The Animated Cigarette ... 32

A Magic Give Away ... 33

Calling Cards Capers ... 34

Page 3
 ESPeicially Yours ... 35

Coincidence ... 36

Fishy Cat ... 37

Floating Cigarette Caper ... 38

Made for Each Other ... 39

Find the Queen ... 40

A Sugar-Free Card Caper ... 41

Russian Roulette ... 42

Sex Appeal ... 43

Clippo .... Nu Way... 45

Cane to Plume ... 46

Page 4
 Introduction
Throughout my career as a professional magical entertainer, I always gave
importance to “it’s not what I do or how I do but what they think I do that
matters”.

In addition, while compiling this e-book I also followed the same rule with-
out giving any stress on style of writing. I did not try to maintain any
similarity or style while tailoring in materials for this premise. I thought it
is the impact of an effect that matters, and inspires the doers to try those on
his/her lookers-on. Frankly, the contents of this e-book are mostly a simple
collection of effects that I had contributed to various magic journals around
the world and / or from my books and lecture notes that I had created over
the years. I do not claim that this e-book is full of novel notions which are
mind-boggling, and which will set the magic world ablaze. But I must say,
keeping modesty aside for a moment that the contents of this treatise are all
audience-tested, and are from my various acts that I have used in different
phases of my efflorescence. I do agree, these are not always very original,
but their dressing has fetched me laughs, applause, rewards, friendships,
and above all, my bread and butter.

While developing these ideas, all I kept in my mind is the formula KISS! Yes,
Kiss.. I always said to myself, whenever I put my ‘thinking cap’ on, Keep it
simple Solyl ! .. No finger flinging exercises, no complicated directions to
assisting spectator, or highly rarified mechanical gadgets; - just simple, easy
to follow, visual, direct magic with lots of fun !

I suggest you too give a Kiss to your magic act - Keep it simple Sorcerer!

Gift of the gab or patter is the ‘life’ of my creations. I add gags, one liner, bits
and pieces whenever conceivable, or opportunity countenances. I only wish,
I could give you my own patter and presentations in detail with every ef-
fect accounted in this book, but I work in my mother tongue (Bengali), so it
is virtually impossible to paint a true picture.

Simple translation would not do justice, as puns and idioms do not interpret
very well from one language to the other. So I give just ideas and hints on
framing the patter, to put you on the right track for showcasing the effect.

Before signing off, I remind you of two priceless tips from The Professor, the
late Dai Vernon - Be natural, and Use your head.

In addition, I append - Be You.

That’s all; good exhibiting!!

Solyl

Kolkata Solyl Kundu

January, 2007

Page 5
The following effect is very good way to start your close-up magic show.

The Tools of the Trade

Effect: You Introduce 4 cards - the first card shows your picture, and the other
three cards depict the pictures of a Magic Wand, a Mirror and a Magic Spell like
“Hocus Pocus”! These, you claim, are the three tools of your trade!!!

You explain - “A magician (show the card with your photo) performs his magic
with the aid of one of these three (show the other three cards) - a Magic Wand, or
a Mirror or a Magic Spell.

Since you are such a special audience (to an assisting spectator), I will allow you
to pick the one tool you would like me to use this evening to perform my Magic.”

The volunteering spectator comes forward, takes the three cards, and is asked to
select any one of the three tools, by merely thinking of it.

Now give him the Magician card and ask him to place it between the two other
tools, which he didn’t select.

Next advise him to cut the packet of four cards, as many times as he likes. You
take back the cards from him and deal them on the table face down, in a row.

After some concentration, you identify the thought of ‘tool of the trade” card,
pushing it forward from the row.

Preparation: If you do not intend to go for expense to make this unusually good
effect, get 4 blank faced playing cards.

Onto the face of one card you stick a suitable size photograph of yourself (Fig. 1).
Now, over the face of another blank face card you draw with black Chinese ink, a
Magic Wand. (Fig. 2) On another blank face card stick an oblong piece of cooking
silver foil over the face, and with brown ink draw a frame around the piece of foil,
to resemble a Mirror (Fig. 3). Finally, onto the face of the third face blank card
you write with permanent maker pen, or dry letter transfer, a Magic spell - like
Abracadabra (Fig. 4).

And now for the dirty work; mark the back of the Magician card in any way you
wish, so that only you can identify it, while it is face down (Fig. 1).

Secret: After the basic selection process, as outlined in the effect, the spectator
assembles the four card packet as instructed.

The four card packet is cut as often as he pleases, but not shuffled. Once the cards
are in a face down row over the table, you simply spot the card which is not on
either side of the marked card. This would be the second card to the right or left of
the marked card.

You do this casually, without making it obvious. After a bit of by play, push this
card forward, it is the thought of ‘Tool’!

Page 6
As an added precaution, have the assisting spectator call out his selection, before
turning the card over. Sometimes they forget, and it is better to be sure.

If you are as publicity conscious as I am, and do not mind spending money, then
get the cards custom made on quality Visiting cards, or Double blank playing
cards.

Use some magical design for the back, which includes your name, address, phone
numbers, and of course some advertising blurb. Any good artist and printer or Silk
screen shop will be happy to oblige you, for a decent sum!

This will give the cards a personalized look and you could distribute the cards
after the performance. This should fetch you good publicity, as well as a few extra
bookings.

Good Luck! {
MARK →

→ →
Synonymous...
Solyl & Magic!
Call:23584441

FRONT Fig. 1 BACK C US

S
P OC
U
H
O

Fig. 2 Fig. 3 Fig. 4

Page 7
 Floating Matchbox

Effect: A match stick is removed from a matchbox and lit. The matchbox is placed on
the left palm. The lit match stick is held about an inch above the matchbox and slowly
lifted up about one and a half inches, and held there.

Surprisingly, the matchbox also follows the upward movement of the match stick, float-
ing in mid-air, and stopping when the match is held still.

The match stick is blown out, and immediately the matchbox drops onto the palm. Now
the matchbox could be handed out for examination, if desired.

This is very easy to do, and leaves the performer free to concentrate on the presenta-
tion.

Method: A long, straight pin (about an inch and a half long) and a matchbox are
needed to perform this close up miracle.

For the Set-up, just push the pin flush in between the drawer (tray) and the box (sleeve),
in a corner and always hold the match box in such a way that the pin stays facing you.

In performance, bring out the matchbox keeping the prepared side facing you and open
the box to remove a match stick. You hold the box by the fingertips of your left hand,
thumb on one long side, and middle, ring and little fingers on the other long side,
keeping the index finger free.

Normally, one would open the box by pushing the tray from the back with right thumb
or index finger, but you open the box by pushing the drawer inwards with your free left
index finger. Remove a match stick with your right fingers; and then close the tray with
the same.

The reason for these moves will be obvious, if one follows them with a prepared box in
hand. When the tray is pushed out of the box, the pin is also pushed out, but when the
tray is pushed back into the box, the pin stays extended out, which makes possible the
following floating bit. (Fig. 1)

Now, the match stick is lit and one might care to say a few words here on the mysteri-
ous power of the match stick etc.

By this time the matchbox is dropped onto the palm and adjusted in a way that the pin
head almost touches the center of the first flange of the left thumb, and the long edge
of the box touches the part where the four fingers join the palm (Fig. 2)

Watch your angles now (and always) so that the pin remains concealed from the
audience’s view.

Bring up your palm showing the matchbox is lying over it and keeping the hand waist
high; follow the moves as explained in the effect.

When you lift the lit match stick upwards, slowly push the pin downwards with your left
thumb, causing the matchbox to move up. For a better illusion, you spread your fingers
a bit and at the same time lower them slightly and bend them downwards, almost
convex ... but all this should seem casual and natural (Fig. 3).

After creating the illusion of the “Floating Matchbox”, blow out the lit match stick. At the
same time release pressure on the pin and the box drops over the outstretched palm
and should I mention here that your fingers should relax while releasing pressure of the

Page 8
thumb?

Immediately, place the match stick into an ashtray, and take the box with your right
hand, leaving the pin clipped by the left thumb. The left hand drops to the side casually,
and the pin is dropped on the floor at the proper time.

The box can be safely handed over for examination if your audience wants it.

So that’s it! Not an earth shattering miracle, but if properly presented, it’s really good
magic!

↑
PIN

↑
MATCHBOX
Fig. 1
PIN

Fig. 2

TOP VIEW
↑

Fig. 3

Page 9
 Balance

Here goes, not a great miracle, but a simple ‘Quickie’. Give it a try and find out its
effectualness.

Effect: Placing a cigarette between his lips, the performer brings out his matchbox,
and removes a match stick.

Next, he lights the match stick and, instantly balances the same on the tip of his right
first (index) finger; and lights the cigarette. Taking the lit cigarette with his left hand,
he blows out the flame and throws away the match stick.

Preparation: None.

In Performance: This little flourish was discovered while trying to light a match stick
in different novel ways. I came up with this amusing flourish.
In order to perform this, hold the match stick with the thumb and middle finger - the
top of forefinger being placed on top of the match stick.
Now, while striking the match stick, press the forefinger tip firmly on the end of the
match stick, and then turn the hand, palm upwards and hey presto! The lit match
stick stands like a disciplined soldier!

I repeat, not a great miracle. Just a little stunt, but properly performed, the audience
reaction is always encouraging.

Page 10
 21st Century Torn & Restored Card
The origin of the T & R Card’ is unfortunately lost in obscurity. You have your method;
I have mine; so why do we need another?
The following method, I believe, is one of the best, visual and easy to do card capers
under the sun, I thought it should be recorded. Moreover, I do believe, this will soon be
one of your favorites. But with every performance, you will destroy two cards, so pick
your choice!

Effect: A viewer is requested to sign on the face of a card from a well-mixed deck. Then
the performer also signs on the back of the same card.

The rest of the deck is set aside, and the performer, taking the signed card goes forward
to tear it in half and once again, in fourths.

Next, taking a handkerchief, the pieces are covered and handed to the assisting volun-
teer, to hold the same for a while.

The performer, acquiring some woofle dust from his pocket, sprinkles it over the hanky
covering the pieces of the card.

The assisting volunteer is now asked to remove the pieces from under the hank. To his
(and all others) utter surprise he finds the card to be perfectly restored. He opens the
folded card and verifies the signatures on front and back, and they are genuine.

Preparation: Take a Joker, and any other card you care to use for this experiment. I
suggest, do not use a picture card, but a low spot card, like a deuce or a trey or a four
etc., as these have enough blank space to put a signature, distinctly.

Now, with a marker pen (the one you will use later on, too), put your signature across
the back of this card.

Next, with a Chap stick or vaseline (petroleum jelly) put four dabs on the back at the
four corners of this card. Finally, place the Joker squarely, face-down on this prepared
card over the treated side, and press a little hard. That’s all. You will find you can
handle this card(s) easily and freely as a single card (Fig. 1).

If you mean to use this effect in between your routine, put the card on your lap, and at
the appropriate opportunity add this card to the deck. But if you care to use it as a
single item then put it at the bottom of the deck and replace the lot into the case.

In Performance: You have already used the deck and so it is well- mixed, and I
presume, you have added the prepared card somewhere in the middle of the deck.

Remove the marker pen and hand it to a volunteer assistant. Apprize him what you
want him to do. As you explicate and he is busy removing cap of the pen - you give the
deck one or two casual cuts to bring the faked card on top. Since it is a thick (double)
card, you will find it very easy.

Now turn the card over, face up and advise him to put his signature across the face of
the card (Fig. 2).

Take the pen back, turn the card face-down and put your signature across the back,
similar to the one already on the card beneath.

Pocket the pen, take the signed card and set the deck aside. Show the card(s) and
signatures on both sides. Finally hold the card back towards the spectator.

Page 11
Now slowly fold the card in half, towards yourself and crease it. The thumb secretly
separates the two cards - and you unfold only the outer card (the Joker, in this in-
stance) (Fig. 3) leaving the ‘double signed card’ folded. Tear the card completely in half.
Place this half in front of the half in your left hand (back towards the audience).

Once again fold card, this time in fourths and open out the two halves of the Joker card
(i.e. previously torn pieces), leaving genuine double signed card.

The signed card is still folded and intact, as illustrated in Fig 4. Place the torn pieces in
front. You now have four torn pieces of card (Joker) in front and folded double signed
card at back, as in Fig. 5.

Ask for the loan of a handkerchief. Card pieces are in your left hand. Take the hank with
your right hand, and drape it over the pieces, as you continue with your presentation
and patter.

Under cover of the hank, the folded card with pieces behind it is held between the first
finger and thumb; other fingers are held closed.

The thumb pushes the folded card up, and the first finger with help of the others draws
the pieces into finger palm position. Grip the folded card through the hanky with your
right hand and hand it to the volunteering assistant to hold for a while.

As your RH takes the hanky, your LH drops casually to your side with the card pieces
finger palmed.

Now say you need some ‘woofle dust’ for the magic to happen. Put both your hands in
both coat or pant pockets, to see where you kept the same.

Ditch the pieces in your left pocket - the right hand comes out as if it holds something
-some ‘invisible’ woofle dust! Sprinkle this over the hanky covered pieces and utter
your magic spell.

Now propose the volunteer assistant to reveal the pieces and to check them - to his
(and all lookers-on) utter surprise he will find the torn card has restored it-self … have
him unfold it and verify the signatures.

ARTISTE’S SIGN

↵
ON THE BACK

Fig. 2
DAB OF VASELINE
↓ ↓ Fig. 3

↑ ↑
ARTISTE’S SIGN
BEHIND THIS CARD

↵
JOKER
TORN
↓

PIECES
↑ ← IN
Fig. 1 FRONT
Fig. 4
↑
Fig. 5
DOUBLE SIGNED DOUBLE SIGNED
CARD CARD INTACT

Page 12
 It’s Me
I am inclined to create effects which are not only entertaining and mystifying, but
which will also fetch me some free publicity. With that specific purpose in mind, the
following is one of my solutions...

Effect: A packet of five cards is displayed. One card depicts a Mirror, which is shown
and put aside, face down.

The backs of the remaining cards are shown, the magician drawing attention to the four
nice back designs. The packet is turned over and a Magic Wand is seen on the face.

The performer explains that the Magic Wand is merely an illusion, and does not really
exist. He then counts the four cards and the Magic Wand disappears and in its place is
found another Mirror.

The cards are now spread in a fan and all depict a Mirror on the face, whereas the backs
are normal.

The Mirror card that was placed aside is now turned over (face-up) and is found to
have changed into the Magician’s Picture (complete with the name and phone num-
bers etc!!!)

Preparation: You need three regular back, face blank, cards. Onto the face of each
paste an oblong piece of cooking aluminum foil and then draw a frame with brown ink,
around the foil to give them the appearance of a Mirror (Fig. 2).

Over the face of another face-blank card with normal back, you stick a photograph of
your self, and letter your name and phone numbers with dry transfers. I like to add the
message “open for engagement” too (Fig. 3).

Finally, on one side of a double blank card, fix a piece of foil etc. to look like a Mirror,
as already explained, and on the reverse draw a Magic Wand (Fig. 1).

Set-up: Arrange the cards in this order (from face of the packet):

♥ Mirror card with regular back showing the Mirror.

♠ Double face card showing the Magic Wand.
♦ Next two cards showing the Mirrors.
♣ And finally the card with the photograph, showing the photo.

Now turn the whole lot face down and place inside a wallet, ready for the performance.

Presentation: 1. Remove the cards from the wallet - showing the back. Don’t fan the
cards; just keep them squared, so the double faced card doesn’t show.
2. Say “Magic is done with the help of a Magic Spell, plus either a Mirror” - do a
double-lift showing a mirror, and then turn it over face-down and deal the top card
(which is really the photograph card) face-down on the table.

3. Continue, “Or a Magic Wand. I prefer the Magic Wand. I’ll show this to you in
a moment. But how do you like these pretty back designs ?" - here you perform
the Elmsley Count with four cards showing four attractively designed backs.

4. “Well I told you, I prefer a Magic Wand”, with these words turn the packet face
up, and a Magic Wand will be seen. You explain, “But you see this magic wand
doesn’t really exist, it’s only an illusion! In fact, what I have is Mirrors only and

Page 13
no Magic Wand, look!”

5. Hold the packet in your left hand. Lift the Magic Wand (MW) card off the top with
your right hand, taking care not to expose the reverse.

Turn over the packet in your left hand and put the MW card on top. Make a magic pass,
and turn the packet over again!

6. A Mirror Card will be exposed. Take this new top card and turn the packet again and
put this card (Mirror) on top of the Magic Wand card.

Repeat this thrice more, till you have displayed four Mirror cards, and do not forgot to
utter your magic spell, between the moves.

7. “I told you the Magic Wand was nothing but an illusion, and frankly, I work
with an invisible magic wand - the most powerful one in Magicdom. And here
I’ve four mirror cards only”. Fan the cards showing 4 Mirror cards - casually count
the cards from hand to hand, and while doing this, take the first card of the fan and
place it in the second position.

(You have the fan of 4 Mirror cards in your left hand. Take the 1st card with your right
hand, then the next card on top of the card you have just transferred. Finally take the
next two cards in your left hand, under the two you already have in your right hand.)

You can now turn the packet over and show all the backs by performing another Elmsley
count.

8. Finally comment, “Well, I told you that the magic is done with a magic spell,
plus a mirror or a magic wand. But it is the Magician who really does the magic,
and yes it’s Me!”

With this you turn over the face-down card you placed aside earlier … and Surprise!
Surprise!

I suggest, you get printed in quantity, the picture card with your name, address and
phone numbers, as mentioned earlier, so you can leave the card as a keepsake with
your prospective booker after each performance.

↓ ↓
FRONT BACK NORMAL BACK NORMAL BACK
↓ ↓

⇔
Synonymous...
Solyl & Magic!
Call: 2358-4441

DOUBLE-FACER
SINGLE CARD
↑
THREE OF THIS
MIRROR CARD
SINGLE CARD

Fig. 1 Fig. 2 Fig. 3

Page 14
 Colors In Flight

This is colorful and visual magic effect is suitable for stage. I hope you will derive as
much fun and success with it as I have.

Effect: Three different colored silks are seen dangling through three holes in a dear
Perspex sheet fixed to a stand on the table. The three silks are removed from the holes
in the stand, and shown freely.

Now a viewer selects any silk, and the performer puts back the other two silks in their
holes. The stand is covered with a large silk. The selected silk is vanished, and when
the large silk cover is removed, the selected silk is seen to have returned back to its
nest in the Perspex stand!!

Preparation: The following illustrations will speak better than words. The wooden
base on which the Perspex sheet stands is hollow and contains three duplicate silks.

Attached to one corner of each silk is a fine thread which runs through the hole in the
sheet and a corresponding hole in the base. The ends of each thread are tied to a tiny
bead of the same color as the silks.

Place three silks into the secret space and adjust the threads as mentioned above. Next
set three duplicate silks through the holes in the Perspex sheet. You are now ready to
present this effect.

In Performance: Draw attention to everything on the table. Remove the three silks
from their nest and let a person select any color. After the selection, replace the other
two silks through the holes in the sheet.

Now cover the stand with a large silk. Next make the selected silk disappear by the
method you like most. Lift the stand from the table and just pull down the bead of the
selected color and this will cause the silk in the base to be pulled out through the empty
hole in the sheet. The large silk will cover this entire secret act.

Finally remove the large silk and show that the silk of the selected color has returned
back in the sheet.

SIDE VIEW
Fig. 2
Fig. 1 SILK(S)
←
↓ ←
←
THREADS

←AUDIENCE AUDIENCE
←
←

BEADS
←

THREAD ↑
HOLLOW
BASE

Fig. 3

Page 15
 IT’S ME! (N0.2)

If you can manage to get hold of a lot of blank faced jumbo cards and care to have
these printed with your picture, name, phone number and a slogan such as “Enjoyed
this miracle? If so, book (you name). He will solve all your entertainment problems with
his MAGIC!”, then the following effect will bring you good publicity. ‘Nuffsaid!

Effect: Three giant cards are shown back and front. Each bears the picture of a magic
wand. Suddenly, all three change to replicas of a mirror. Finally, they are shown to be
one wand, one mirror and a portrait of the magician.

Prerequisites: Three blank faced jumbo cards, which have been neatly cut with a
sharp knife to make them into strippers. On the face of one is drawn a magic wand.
Onto the second is stuck a square of silver paper. (You can buy suitable contact sheet,
sometimes.) Around this, draw a frame to make it look like a mirror. The third is one of
the printed business cards, already mentioned. However, if you do not wish to go to the
expense of having these made up to give away as publicity hand-outs, simply stick a
suitable photograph to one card and use transferable letters (Letterset) for the word-
ing.

Set-up: The magic wand is the bottom card of the packet. The portrait is the topmost
one. Both have their wide ends towards the entertainer (that’s YOU, Pal!). The centre
card (MIRROR) is the other way round. All are face down (Fig 1 shows the position).
In this state, put them inside a suitable envelope, until needed.

Routine: Remove the cards from their envelope, keeping them face down. Count them
slowly from hand to hand, without disturbing the sequence, while you draw attention to
the back design.

Square the packet and remark that some people believe magic is done with the help of
a wand. Turn the hand to show the picture of one, on the bottom.

Continue, “Look! I have three wands. Here is the first.” Indicate the face card of
the packet. Then turn the stack face down and hold it as shown in Fig.2. The top and
bottom cards are drawn back, together, in perfect alignment. This is very easy to do,
when using strippers. When they clear the centre card, they are turned over, end for
end, as one and the wand picture displayed again. This looks like the face of the top
card. Say, “The top card shows another magic wand.”

Turn both the cards face down again but, this time sideways i.e., using the long edge as
a “hinge”. Square them(it) on top of the original centre card (MIRROR).

To show the third magic wand, just fan the three, as in Fig 3. Now pull out the middle
card, from the front and turn it face up, end over end, placing it on top of the other two,
as in Fig.4. “And here is the third one.” you comment.

This one is now turned face down sideways. The effect of all this, apart from apparently
showing three wands, will to have been to re-arrange the sequence from the top down
into order WAND, PORTRAIT, and MIRROR. If the turning has been done correctly,
the wide end of the center card will be the opposite way round to those on the top and
bottom.

You must now secretly reverse the packet so that the narrow ends of the top and
bottom cards are pointing away from you. This is done,under cover of the following
lines, “A few people believe that magic is all done with mirrors.” Make a mystical
gesture towards the cards. “They are right! Look! I am showing you this magic
with the aid of one ... two ... three mirrors!”

Page 16
In turning the packet over to show the mirror on the bottom, turn it end for end.
This will bring the wide ends of the top and bottom cards towards yourself. You
can now show three mirrors, using the same moves as were carried out before,
when displaying all wands.

Having completed that sequence, say, “Frankly, it’s neither mirrors nor the wand
but the magician, himself, who does the miracles. Yes, it’s me!” Here, turn over
the top¬most card and show .your own picture. Display it with a flourish and
take your bow.

As suggested earlier, the final card can be given to a spectator or potential

booker.

WIDE END
↓
WAND

MIRROR

PICTURE

↑
Fig. 1
WIDE END ↑
ALL CARDS FACE-DOWN
Fig. 2
WAND

Fig. 3 Fig. 4

This effect first appeared in the Christmas 1989 issue of ‘Club 71’ magazine of
Repro Magic, England.

Page 17
 The Rainbow

This audience-tested ’sucker’ effect has served me very well over the years, and fetched
me a lot of applause. Now I share the idea with you and wish you success.

Effect: The performer takes a rolled tube of paper and a red silk handkerchief. He
pushes the silk through the top opening of the tube, just out of the view, then passes
the tube behind his back and brings it in front again.

He pulls the silk out of the tube - the color has changed - it is now yellow. The per-
former pretends he has done a good job but the onlookers are not impressed, since
they have seen the performer turn the tube while he passed it behind his back.

The performer proceeds to repeat the effect this time changing the color back to red...
but, the audience shouts and hoots! They’ve caught the performer - they know the
tube contains one red and one yellow silk, at each end of the tube. Amid the shouts and
hoots, the undaunted performer proceeds with his magic - and twice more performs the
color change in the above fashion.

Finally, taking note of the audience reaction he declares that he will perform the color
change without passing the tube behind his back. He holds the tube in front of him and
pushes the red silk into the tube but through the bottom, this time.

He pushes the silk deep into the tube by the help of his magic wand and a yellow silk
emerges at the top. Naturally, there are more shouts and hoots, since all know that this
is the same yellow silk which was hidden.

Nonchalantly, the performer pushes the yellow silk through the bottom of the tube,
makes some magic passes and a multicolored silk handkerchief emerges from the top
of the tube. And the performer opens out the rolled tube of paper - it is his magic
poster.

Preparation: The rolled tube of paper is really a Massall Tube, which I have exten-
sively used in many effects. I have described the construction details for this, with
another effect in this book.

Apart from this tube, you need three 18 inch silks, one Red and two Yellow, plus one
large (36") multicolored silk.

Spread the multicolored silk over the table, bring the four corners one by one to the
center, then bring the four new corners one by one to the center again and so on, (Trap
Fold) till it is a small bundle. Push this into the middle of the hidden tube of the Massall
Tube.

Next push two Yellow silks through both ends of the tube, tucked just out of sight. Now
take the red silk and tuck into one end, keeping most of the silk projecting outside the
tube.

In Performance: Pick up the tube holding it in front, with Red silk showing on top of
the tube. Now take out the Red silk, show it and push it down into the tube, just out of
view.

Pass the tube behind the back and turn it round at the same time, bringing the end with
Yellow silk uppermost. Declare the silk has changed color and pullout the Yellow silk.
Offer to repeat the effect. Push the Yellow silk in - pass the tube behind and turn it over,
bring in front with Red Silk uppermost and triumphantly pullout the Red silk. Repeat
this twice more amid the shouts and hoots.

Page 18
Then declare you will perform the color change without passing the tube behind your
back.

Hold the tube in front of you and push the red silk into the tube through the bottom and
into the hidden tube. Push up the Red silk with your magic wand till the yellow silk,
hidden so far, emerges out at the top. Show the color change and watch out for the
shouts which are sure to grow, as they think this is the same Yellow silk at the other
end, now just pushed up.

Milk the situation, and then push up this yellow silk through the bottom into the secret
tube. Make a magic pass - and out comes the Rainbow, the multicolored silk. Due to the
“Trap fold” it will open out, covering the tube, beautifully. After that, to satisfy them
you open out the Massall Tube to show it is only your magic poster, with nothing con-
cealed within. And the shouts and hoots will turn to cheers...at the real Magic!

I have given you the effect, the secret and the presentation idea in skeleton form. You
dress it up with good patter, which suits you best, and don’t forget to inject the gags
and bits of business etc.

Play it properly and you will enjoy performing this, as much as your audience will enjoy
seeing it. Have Fun!

BACK

Fig. 2
FRONT
Fig. 1

FRONT

Fig. 3

Page 19
 Confetti Caper

The Sands of Sahara is a classic magic effect, and a long time favorite of mine. Seeing
some very color full dazzling Mylar papers in the market, I wanted, just for a change, to
use colorful glitter confetti to achieve the same effect. And so, here goes the result of
my endeavor.

Effect: The magical entertainer draws attention to a box sitting on his working table.
He takes out three transparent tumblers full of there different colored glitter confetti,
and a folding fan from the box and puts them on his table, beside the box.

He lifts up the box and shows it, casually but convincingly empty, and returns it back to
his table.

Next emptying all three tumblers into the box, he mixes the confetti well.

He then asks someone to call out any color they please. The performer dips his empty
hand inside the box, and brings out a fistful of confetti. He drops this from some height
and at the same time fans it. The confetti is seen to be of the single, selected color. It
floats beautifully covering the stage.

This is repeated with the two other colors.

Preparation: Let me describe the construction of the box first. It must be an oblong
box, about 10 inches long, 6 inches wide and 5 inches deep. It has a partition as shown
in Fig. 1, which swings like a flap.

Take three tumblers, fill each with single colored confetti and stand them inside the
box, in a row in front of the partition, as in Fig. 1.

Let us presume you will use red, green and yellow confetti for this effect. Take a 6 inch
square piece of tissue paper, red in color. Place red confetti in good quantity into the
tissue.

(Cut a number of layers of Mylar paper into strips about half inch wide, then snip these
strips into pieces about a half inch square. As they are cut, allow them to drop into a
box in the center of the tissue paper into stacks.)

Gather the sides of the square paper around the stacks, and screw the comers together
to make a firm packet. Cut off the tail and seal with a tiny bit of cello tape. Make the
packet of a size you can hold concealed in your closed hand.

Do this with the other two colored Mylar papers and tissue paper of corresponding color.
Put these balls of confetti in the rear compartment of the box. Place the fan in the front
compartment with the tumblers. And place the box on your working table.

In Performance: Stand to the right of the table, facing the audience.

Draw attention to the box, remove the tumblers and the fan and put those on the table.
Now lift the box gripping the rear wall, thumb inside the box and fingers out side, with
your left hand. Naturally, you hold down the flap with your thumb (Fig. 2). Turn the box
up side down and right side up again, and in the course of this action give them a
glance of the inside of the box.

Place the box on table, empty the tumblers one by one and mix the confetti thoroughly.
Bring out some of it and throw it up in the air, so all can see it is really mixed up...
Explain what you are about to do, and at this time move the flap forward.

Page 20
The rest is easy. Whatever color they call out, you show your left hand empty, pick up
the fan and open it with your right. Put the left hand inside the box, pretend to mix up
the confetti, then bring out a fistful of confetti, actually bringing out the ‘ball of confetti’
of the called out color.

Crush the paper ball, turning the left hand towards the audience, working the fingers to
loosen the packet. By fanning directly below the hand and gradually opening the left
fingers, a fantastic shower of confetti whirls upwards and sideways giving a display of
twinkling stars!

Repeat this with the two other colors, and take your bow, and collect your well-de-
served applauses!

→ ← ← → TUMBLERS
←
PARTITION
← FAN

(FLAP) Fig. 1 SPECTATORS

⇓
THUMB HOLDS
FLAP

↓
Fig. 2

↑
CONFETTI BALLS
BEHIND FLAP
SPECTATORS
⇒

Page 21
 Beauty and the ..... ?

Of course this gamey effect had been devised to entertain male chauvinist. In addition
at the specific moment and location, it is ought to be a ‘bang’ with the particular lookers
-on.

Effect: The performer displays four cards bearing picture of a lulu on each, and a single
card bearing the picture of a comic looking old lady.

The performer declares that he will blindly select a miss, and one of the lookers-on also
has to do the same.

The performer holds the five picture cards faces-down in his hand and picks out one
card by certain process of elimination. He reverses his selection face-up; it is picture of
a beautiful missy.

Now he passes on the cards over to a lookers-on. He too holds the cards faces-down
and follows the similar process of elimination to pick out a damsel. However, before he
shows his choice, the performer discloses that the viewer has already discarded picture
of the laughable old lady. Apparently confirming the spectator’s selection is also a
‘hottie’. But when he turns the selected picture face up an abominable result is de-
tected! A picture of a comic muscle-builder lady is seen on the card, which appears as
if by magic!

You need actually six cards, which are as follows:

1. Four cards with pictures of lulus.

2. One card with picture of a laughable old lady or an ugly looking lady.
3. One card with picture of a comic muscle-builder lady or a funny curvaceous lady.

Set Up: From top to bottom: lulu - lulu - lulu - lulu - laughable old lady (all face-up)
comic muscle-builder lady (face-down).

The top card of the stack is a face-up lulu and bottom card is the old lady. Keep the
cards inside a plastic wallet that normally comes with the packet-card magic.

In Performance: After removing from wallet, hold the cards without exposing the
face-down bottom card. Draw everybody’s’ attention to the top pretty girl picture of the
stack.

Remove this card, reverse it face-down and place it on the bottom of the packet. Repeat
this with second, third and fourth lulu pictures. The face-up laughable old lady card
now should be on top. Show this to the onlookers stating you also have a picture of an
old laughable lady.

Remove this card, turn it face-down and place it on the bottom, as you did with the
other cards.

All the cards in your hand are face-down. You have ostensibly shown the faces of all
cards; in fact you have not divulged the picture of the comic muscle-builder lady to
lookers-on.

Hold all the cards face-down in your hand without altering their position. You will now
eliminate all the cards but one via Australian Deal. [Just to help those not accus-
tomed with Australian Deal: start with discarding the top card from the pile of
cards in hand over the table, and shift the new top card on the bottom of the

Page 22
packet. Again discard the new top card and place the next card on the bottom.
This is repeated until a single is left in the hand.] Keep going the elimination
process until you have only one card left in your hand. This is your selected picture.

Turn the card face-up and show you have got a pretty girl picture. Put this card face -
down on top of the pile of cards cast aside over the table. Then carefully pick and
square up all the cards without altering their order, however, in the process casually
transfer two cards (just double-lift and put the pair on the bottom) without drawing any
attention from top to bottom and hand the pile to an onlooker, still face down.

The onlooker now also carries through the same Australian Deal as explained earlier to
eliminate all the cards except one until he has only one card left in his hand. This is his
selected picture. Tell him not to expose the picture presently.

Request him to pick up the top face-down card from the discarded pile, (that is the card
which he has discarded last), and turn it face-up. That is the picture of laughable old
lady.

Comment that he has already discarded the old lady, so he must have picked one of the
pretty girls. Ask him to show all his ‘lady of luck’ reversing his selected picture and
watch out for a big surprise. That’s the picture of the ugly muscle-builder lady!

I do hope you’ll enjoy performing this effect and it will fetch you the same applause as
it did for me. Good-luck!

Page 23
 The World’s Best Magic

Alike other children’s’ entertainers, I use lots of gags, both verbal and visual, in my
shows. Here is one I have used extensively for over 10 years, so it must be ‘good’.

Effect: After presenting a couple of items, the performer announces that he is going to
perform a miracle, The World’s Best Magic, which no body has seen before or will see
again.

He picks up a rolled tube of paper from his table, and continues that before he performs
the magic he would like to display his magic poster. He unrolls the paper and his poster
is seen.

Now he rolls the poster up, and forms the tube and after making some magical passes
over the same, attempts to pull something out of the tube. He fails, because nothing
comes out of the tube.

He looks embarrassed, but attempts to cover up, and sheepishly declares … “Well,
forget it, it never was that good a magic!” He puts the tube back on the table and
proceeds with his show.

After a couple of items, he again picks up the tube and makes the same comments, and
goes through the same actions as earlier, and finishes with the same result This is
repeated after every two or three items, throughout his performance.

Finally, prior to the end of his show, he repeats the whole sequence. Only this time he
pulls out a flower bouquet from the tube. Placing the tube aside, he holds the bouquet
with both his hands, and amid a shower of confetti he splits the bouquet into two!!!

Preparation: This magical effect is done with “The Massall Tube”… which I’ve used
extensively in my different magical effects, over the years.

Here’s how you make the Massall Tube:

Take a piece of thin cardboard 12 inches by 30 inches and crease it in the center. Then
unfold the same and paint it as your poster, - only your imagination and an artist can
help you in this respect.

Now a tube made of the same material, one and a half inches in diameter, and ten
inches long should be fixed to your poster, as shown in the illustration, with the help of
cello tape (scotch tape to American colleagues); leaving 1" from both edges of the
poster.

Roll the poster tightly around the tube and put a couple of rubber bands over the rolled
tube of paper, then keep aside for about 48 hours. After that your Massall Tube will be
ready for use.

Get a pair of feather flower bouquets. Squeeze them together and encircle or twist two
or three flowers of one bouquet with those of the other. Next, take your Massall Tube
and push in the bouquet inside the secret tube of your Massall Tube. Do not forget to
drop in sufficient quantity of glitter confetti on top of the flower bouquet(s).

Incidentally, if you find that the loaded Massall Tube topples when opened, you can put
a narrow strip of card board to reinforce the edges, as shown in the illustration.

In Performance: Start and proceed as already explained in the effect. After a couple
of repeats, you will find that as soon as you begin saying, “well, forget it... “etc., all the
kids will shout in unison “Well, forget it...”.

Page 24
In reality, to the children, this is funny... The magician failed, they do not know what
the magician was going to do, but he failed. To hammer this in their mind, the per-
former says, ‘“Well, forget it; it never was a very good magic”. Try to say the last words
with deliberate, slow emphasis. The children will repeat the same and it becomes a
really very comical situation.
This is the build up, and finally when you pull out the bouquet, they will be flabber-
gasted as they least expected the performer to succeed. Now, the performer smiles
triumphantly, then puts the paper down on the table and splits the bouquet into two.
Hold the bouquets, one in each hand and declare, “They say, “say it with flowers” and
so do I. Good Bye”.

← 15” →
↓
FOLD →

12”
↓

Fig.1
↑ ↓
↓ ↓
HIDDEN TUBE
STRIP FOR
BACK OF POSTER STRENGTHENING

↓
↓

↓
FRONT

Fig. 3 Fig. 4

Page 25
 Indian Cups & Balls, Nu Style

The Indian Cups & Balls is a classic effect, as old as the Himalayas. Here is my novel
presentation of the same effect with a difference.

Effect: The performer shows three cards with a picture of a Cup from a set of Indian
Cups & Balls, on each of them. Two cards are blank on the opposite side and the third
has a picture of a Ball printed on the rear side.

The cards are mixed and then you show the Ball has vanished. All three cups are empty.

But when shown again, the Ball appears mysteriously under each of the three cups.

Finally, the performer explains that he has an enchanted skull; with the help of which
he does his miracles... he makes a magic pass, and a skull appears on each card, or
should I say, under each cup?

Preparation: Get three double blank playing cards. Draw the picture of an Indian style
cup onto each card on one side as illustrated. On the opposite side of one card draw the
picture of a Ball, (Fig. 1), on the second, a funny- looking skull,(Pig. 2), and leave the
third card blank, (Fig. 3).

Now trim all three cards with a slight taper (like a Stripper deck) on their long sides as
illustrated. (Illustration shows the taper exaggerated for clarity. Also note that the
taper on the skull card is in the opposite direction towards the top of the cup, and in
the other two cards, towards the bottom.)

Finally, arrange all three cards from top down - with the cup side showing: Ball, narrow-
end outwards; skull, narrow-end inwards; Blank, narrow-end outwards (Figure 4).

In Performance: Start with the three cards in the stated order. Take each one slowly
and separately from hand to hand, without disturbing their order, and showing clearly
only three cards with pictures of Cups.

As you do this, say “I will show how an Indian Jaduwallah, named “Udnuk Lyios” per-
formed the famous Indian Cups & Balls for me, when I visited Calcutta”.

Square the cards and hold these in the left hand, with the thumb at the outer left
comer, and the tips of the middle and ring fingers at the right side. The tip of the left
index finger squares the outer end of the packet. Please note (Figure 5) that the cards
are at the left fingertips and not over the palm.

The right hand approaches the left and grasps the inner end of the packet of cards with
the thumb at the left corner, middle finger at the right corner and the tip of the index
finger resting on the back of the stack of cards. See Figure 5 again. To show the
underside of the cards or cups; turn the right hand palm-up and the bottom card is
seen blank or ‘empty’, see Figure 6.

Turn the right hand palm-down and strip out the center card and drop it over the table,
as if you dropped the bottom card, just shown. To do this, hold the cards as shown in
Figure 7. Exert a little pressure on the edges of the cards with the right fingertips and
thumb, and then move the right hand to, the right. This draws back both top and
bottom cards, perfectly squared as one single card, until they clear the end of the inner
card. Drop the left hand card over the table (this card bears the picture of the skull).

Again turn the right hand palm up and show the bottom card blank or ‘the cup empty’

Page 26
- nothing underneath the cup. Deal this card blank side down over the tabled card.

Finally show a ball on the last card or ‘under the third cup’ by turning the right hand
palm up as previously done. Drop this card too over the two tabled cards, ball side
down.

Explain the ‘Jaduwallah’ mixed the Cups to confuse you. Hold the cards as in Figure 8,
left fingers pull the bottom card a little to the left, right fingers slip two top cards as
one, to the bottom. It seems that the Ball is now at the bottom.

Now fan the cards, slide out the center card (the one really with the Ball picture on it),
figure 9 and put it on top. So you mixed the cards or cups.

Now to show the disappearance of the Ball, hold the 3 squared cards exactly as you did
when you started (figure 5). Turn the right hand palm-up showing the bottom card
blank or no ball under this cup, figure 6.

Turn the hand palm-down and strip out the center card as already explained, and turn
the right hand palm-up again with both cards held as one single card showing the same
blank or no ball under this cup, too. Replace ‘both cards held as one’ on top of the left
hand card.

Square the cards and immediately fan three cards in left hand. Right hand removes the
center card and shows the same blank too or ‘well, no ball under this cup’. Replace this
card in the center.

Apparently, you have shown all three cards blank or ‘no trace of the ball under any cup’.
Explain you tried hard to guess the position of the ball but failed every time, and
ultimately said the ball wasn’t there at all.

But the ‘Jaduwallah’ said I was wrong and he lifted one cup and a ball was there. With
this comment you now lift the top card and show the ball. Place this ball card on
bottom.

“I said the other two cups must be obviously empty, but the ‘Jaduwallah’ lifted another
cup and a ball was there”. Here you use the sleight already explained to show the ball
on top card.

“The ‘Jaduwallah’ said I was under his spell and he showed me another ball under the
middle cup”. You fan the three cards in the left hand. Right fingers grasp the outer left
comer of the center card and turn it so as to bring the end towards you, then tip it face
up to show another ball. Figure 9. Now flip the card face-down (ball side down), on top
of the other cards (it has been turned end for end). You have apparently shown a ball
under each cup.

“The ‘Jaduwallah’ said, he had an enchanted skull to work this miracle”. Rotate the
packet of cards clockwise, turning it ends for end. Do this very casually and don’t try to
make a great ‘move’, and continue, “And he then showed me his enchanted skull under
this, and this, and the middle cup, how funny!”

And you now proceed to show ‘a skull’ on bottom, top and center card, via the moves
already explained.

Sorry, it took long to explain, but in practice you will find it a short and snappy rou-
tine... have fun!

Illustrations on adjacent page .....

Page 27
 ⇔ ⇔
1. 2.
FRONT BACK FRONT BACK

NARROW END
BALL

↓ ↓↓

↓ →
BLANK ↑
SKULL
3. R.H.
FRONT BACK L.H.
4.
BL
AN
K

L.H. L.H.
R.H.
5. R.H. 6. 7.
R.H.

← TWO AS
CARDS
ONE
↓ R.H.

L.H. BALL

R.H. 9.
8.
L.H.

Page 28
 Good Bye

For about eight years, I have closed my 35 minute conjuring act with this effect. You
may feel that I should not include an item like this in this book, since the secret of this
effect is known to almost everyone. But, I believe that “it is not what you do, or how
you do it, but what they think you do that matters.”

Effect: The performer brings out a handkerchief from his pocket, balls it up and throws
it up, where it instantly turns into a bouquet!

Fig. 2

RUBBER
BAND → ←RING
STITCHED

HIDDEN
FLOWER
BUNCH
→
← TISSUE
BAND

Fig. 1

Preparation: You require a, (gentleman’s handkerchief should be silk. but of a thicker

variety ), a bunch of spring flowers, a needle and some thread, and a small ring, which
may be a curtain ring.

Spread the handkerchief over a table top. The ring is sewn to the center of the hanky,
and the ends of the flower strings passed through and secured with a rubber band. A
strip of tissue paper is passed around the folded flower and pasted.

Loosely fold the hanky concealing the bouquet and put it into your pocket.

In Performance: ”Well, ladies and gentlemen, you are all very nice people (take out
your handkerchief with your right hand and casually wipe your forehead).

So before I bid you all good bye, I would like to teach you a magic, so that you can show
it to your friends”, (pat the hanky over your face casually ) and whenever you do it,
you’ll remember me. What magic you would like to leam?

(Suddenly you see the hanky in your hand and act as if you have an idea) oh well, I’ll
teach you a very nice trick with a handkerchief. So, if you are interested to learn it, hold
your hanky exactly as I have” (Fig. 2).

Page 29
“Now, ball it up with both your hands and throw it up”.. bunch up your hanky with both
hands, and break the tissue paper under this action.

Fold the hanky into a tight ball and toss it up. Immediately the flowers will be released
and take their shape, and the balled up hanky will be concealed within the flowers.

As the bunch of flowers comes down, you catch them in your waiting hands, but their
hankies fall down to the floor. Ignore that and continue as if you have not noticed it.
“Well, they say, say it with flowers, and so do I. Good Bye!”

So, that’s it my friends. Give it a try and you may find it as effective in your programme,
as I do in mine.

Page 30
 Elmsley Count.

The purpose of the Elmsley Count is to show four cards as four. In the process one card
is shown twice, and one card is never shown at all. This is used to conceal a
double face or double back card, or a particular odd card in a packet of four.

To perform, keep the card to be concealed third from the top. You will now count the
cards from your left hand to your right.

Cards are held in left hand, thumb on top, and four fingers beneath as illustrated. The
left hand is, held stationary, and the right hand apparently takes the cards one at a
time, counting them from one hand to the other.

You first take away the upper most card in your left hand.

As the right hand approaches to take the next card, the fingers of the left hand pull
back the lower most card of the packet of three a lime to the left. The figure shows an
exaggerated view of this position.

The right hand now approaches the packet with the card in the right hand going under
the packet in the left hand.

The card in the right hand is gripped by the fingers of the left hand, while the right hand
takes away the block of two cards on top in the left hand. This is easy because of the
slights step separating the two cards.

Finally the third card is taken away on top of these two cards, and then the last card in
your left hand.

You have shown the first card twice and never shown the third card at all.
Although this seems elaborate in print, it is in fact a perfectly natural action of counting
four cards from one hand to the other. A few trials will make this a perfectly natural
move, and one which you will find very useful for performing several excellent card
tricks, including the effect described in this book.

↑
TWO
CARDS

Page 31
 The Animated Cigarette

The following effect is straightforward and highly visual, but the method used is by no
means new and is as old as the great Himalayas. Basically, the idea developed from an
effect I saw in Bruce Elliot’s treatise the ‘Magic As A Hobby’. However, later I came to
know from Mr. Ken de Courcy, that in fact it is a Tom Seller’s idea.

In the effect the magician removes two cigarettes and holds against the packet, side
by side, with his left hand. The right hand makes some ‘hypnotic’ passes, and then the
cigarettes start moving, one to the right and the other to the left. Magician can stop
and make them move at his will.

Then he discards the packet and holds the cigarettes between his first and middle
fingers (left hand) in smoking position, he steadily looks at them and again they start
moving. Lastly, he offers one cigarette to someone and the other he enjoys himself.

Well, by now you should, we hope, be interested in the effect so here’s how I do:

First make the gimmick. Get two matchsticks, cut them in half and sharpen a bit one
end of each. Then join them by a short length of bicycle tube valve rubber (Fig. 1). Now
insert each piece of matchstick into one cigarette, till the valve rubber touches ciga-
rette. Put this pair of prepared cigarettes inside the packet.

In performance, remove this pair concealing the valve portion, and hold as shown in
the illustration and perform as already explained above. Next discard the packet and
again perform as described, holding both the cigarettes in a smoking position.

Finally, with your right fingers, pull out one cigarette and offer to someone; then pull
out the other cigarette with right fingers to put in between your lips, the gimmick is
concealed in the cupped left fingers, which casually enter your pocket and comes out
with a matchbox or a lighter, leaving the gimmick inside.

You’ll have to practice a bit the ‘control’; it’s easy. To move to the left, simply raise
slightly the ball of the thumb, and maintain pressure with tip of the thumb. And the
right cigarette is allowed to move by keeping the ball of the thumb in contact with the
centre of the packet and lifting the thumb tip.

That’s all folk, hope you’ll enjoy performing this little miracle.

THE GIMMICK

←HALF MATCHSTICKS
← EACH SHARPENED
AT ONE END

← RUBBER VALVE ↑
Fig. 1 Fig. 2 Fig. 3
↑ CIGARETTE
GIMMICK INSERTED PACKET
INTO END OF
CIGARETTES

Page 32
 A Magic Give-Away

I am inclined to create effects that are not only entertaining and mystifying, but also
fetch me some free publicity. The following effect is one such creation that I used
extensively.

Effect: Show four business cards blank on both sides. Leave them over the table in a
row. The volunteering spectator selects a card and puts his signature over the same.
Finally he, after your “magical mumbo-jumbo” turns the signed card over and finds the
following message printed over the same: “You’ve just been fooled by the Worlds Smartest
Magician” followed by your name and phone numbers.

Secret: That’s very simple – the Elmsley Ghost Count with a little difference. You have
really three double blank visiting cards and one printed card.

Place the printed card printed side up third from top in the stack of four cards. Keep the
cards inside a wallet or an envelope whatever you like.

In performance, remove the cards and holding at the finger tips show them blank via
EG Count. However, the fourth card you take beneath the stack in the right hand. So
you have shown four blank visiting cards.

Position check: The printed card is again in the third position from top in the squared
stack of four cards.

Now turn the stack of cards over and count them separately duplicating the first count
however without performing the EG Count. Naturally the printed side down card goes to
third position again.

You have cleanly shown both sides of the four cards and now lay them down over your
working surface in a row from your left to right. This puts the printed card in third
position from your left. Now do a bit more cheating! Ask someone to announce a num-
ber in between One and Four and whatever the number is called you apply the ‘Conjuror’s
Force.’ Ask him to sign over the freely selected (?) printed card. And the rest is easy
and needs no more explaining from me. Finally, hand him the card as a souvenir.

I suggest, you get the cards printed in quantity so you can leave the card as a keepsake
in each performance with your prospective booker (well, keep your fingers crossed).

For an experienced Table Hopper, it is not difficult to add a printed card to a stack of
three blanks for repeat performance. But for God’s sake please don’t ask me how?

Double Blank Card Double Blank Card Double Blank Card

You’ve just been fooled

by the Worlds
Smartest Magician
↔Front
SOLYL KUNDU Printed
+91 33 2358 4441 Back
Blank

Page 33
The effects noted below are certainly not my brain-children. Playing cards are used in
original versions. One day I was caught with nothing on me and almost broke my head
to devise something to cope up with the embarrassing situation. By sheer luck, it
flashed in my mind why not use Calling cards instead of playing cards for these effects?
So I did and the feed back was outstanding. Since then it has become my pet effects.
Moreover, after the performance people ask for my Calling cards and I let then have
one from the bunch I had just used and that too fetch some publicity, I guess.

Calling Cards Capers

You hand eighteen of your Calling cards to a spectator with the request that (s)he hold
them under the table, out of sight, and mix the cards in a mysterious way. (S)he has to
turn the top pair of cards face up, and then cut the packet. Again, (s)he has to reverse
the top pair and follow with a cut. This is repeated as often as (s)he wishes. Evidently,
this process will mix the cards in an irregular manner, causing an unknown number of
cards to be face up at various positions in the packet.

You, the magician must sit at the opposite side of the table facing the spectator. You
reach under the table and take the packet keeping the hands beneath the table, so that
the cards are hidden from everyone, including you. You declare that you will call out the
number of cards that are face up in the pack and then announce a figure. Once the
cards are brought into view and counted over the table, the figure proves to be correct.
First Surprise!

A second effect now follows. You arrange those eighteen cards in a special way, without
letting the onlookers see the arrangement. The packet you hand to the lady/gentleman
with the request that (s)he hold it beneath the table and ruin the arrangement by
repeating the same mixing operation that (s)he had applied before.

After the spectator has turned pairs and cut the packet several times to be sure that
the cards have been thoroughly mixed, you stand up and turn your back to the table.
You request the spectator to bring the packet into view and put her/his signature on the
top card. Next if this card is face down, (s)he has to turn it face up. If the card is already
face up, (s)he must turn it face down. Then (s)he is advised to give the packet a single
cut.

After this is done you take your sit and again reach under the table to get hold of the
packet. You claim that you will attempt to find the signed card. A moment later you
bring the cards above the table and announces that you have straightened out the
packet so that all the cards are now face down except for one card—the signed one. The
performer spreads the packet on the table. All the cards are face down except for the
signed one which is face up in the center of the spread! Second and final Surprise!

Method: this startling magic is self-working. For the first effect, you have only to take
the packet beneath the table and run through it reversing every other card. You then
state that the packet contains nine face-up cards, naming a figure that is half the total.
Incidentally any even number of cards can be used for this magic. This will turn out to
be correct.

In preparing the packet for the second effect, you arrange it so that every other card is
face up. Of course you do not let the onlookers see this arrangement. After the card has
been signed as already explained, you take the packet beneath the table and follow
exactly the same operation as done before - that is, reverse every other card. This will
cause all the cards to face one way except for the signed card, which will be reversed
near the center. Incidentally, When I say ‘Face’ of the card, I mean printed side of the
calling cards. Similarly when I say ‘Back’ of the card I mean blank side of the calling
cards. Have Fun!

Page 34
 ESPecially Yours

With a specific plot in mind this was one of the solutions.

The Effect: Producing a pack of ESP cards, and without showing anybody, the ESPcian
(?) selects a symbol and puts it face-down on the table at one side explaining that the
symbol is a ‘prediction’.

Now the pack is given to an observer for thorough mixing. Then it is handed to another
observer who is asked to deal the symbol cards into two piles. One heap is genuinely
selected (no force). Now, the operator (ESPcian/Mentalist/ Performer or whatever) says
that he will mix the selected heap of cards again till the observer, who dealt the cards,
stops. He starts shuffling (Ooops, sorry, mixing).

When the observer calls ‘stop’, he stops and shows the now bottom card (symbol) of the
heap, to all, explaining that he reached at this card by pure chance (?), but he knew
long before the experiment started that this would be the selected symbol and, to
prove his claim, he turns over the tabled card; both symbols match!!!

Secret: It is very simple (you are free to build the proper atmosphere and presenta-
tion). All the 25 symbol cards are tapered (stripped) on their long sides. Now take out
a pair of symbols you want to predict, reverse and replace in the pack. You are set for
the performance.

Produce the pack of symbols and give it to an observer for mix-

ing, after you place your predic- tion face down on the table.
Should I mention here that you have placed a duplicate of the
symbol you reversed as the pre- diction card’.

Now take back the cards and ex- plain about the experiment.
Very casually you appear to mix the cards while you talk, but ac-
tually you strip out the pair of re- versed symbols and put on top
of the cards. You have finished the first phase of the dirty work.

Now hand over the pack to another observer with request to deal out the cards into two
piles. You guessed right, as the pair of symbols was on top, now they will be the bottom
cards of each pile.

Let them select any of the two piles. Take the selected pile in your hand and announce
that you will again mix the symbols till they stop you. Here comes the final dirty work
to achieve success.

Although you appear to mix the cards by pulling off the top and bottom card of the pack
one at a time placing them under the pack, actually you perform the ingenious Remo
Inzani move. If you already know this ‘Unusual card force’, well and good, if one of
those fools who does not care to study the Gold Mine of close-up magic ‘The New
Pentagram’, then just follow the way of card pulling and placing we described and you
will see that the original bottom reversed symbol always stays there. So when they tell
you to stop, you just show the bottom card and go for the climax as told in the effect.

And lastly, give the above effect a try; it’s not all that bad. Dhanyabad, I mean -
thanks for staying with me so far.

The Remo Inzani’s article, “An Unusual Card Force”, is in The New Pentagram, Vol.10,
No. 6, Aug. ’78. It’s a gem.

Page 35
 Coincidence!

The effect I am going to describe is not an earth-shattering mystery. However, I like

this little something that allows me an opportunity to leave my visiting/calling card
with lookers-on in a logical way. I hope you too will like this subtle way of advertising
yourself!

In performance the magician pulls out a bunch of his visiting/calling cards from his
wallet. A spectator takes any one card (s)he pleases. Next he puts his signature or
writes her/his name on the face (printed side) of the card. Then (s)he returns the card
back face down in the face down bunch of cards, and mixes the cards well so that the
signed card is lost in the bunch of cards.

Now the magician takes the bunch of cards and the pen behind his back and signs on a
card that he thinks is ‘right card’. He brings then everything forward. Putting the pen
aside he ribbon spreads the cards faces-down over the table.

There a signature is seen on one card in the spread and that is magician’s signature.
The spectator is requested to pick that card out and check. To every ones’ surprise it is
the same card that was selected and signed on the face. What a coincidence?

Magician thanks the volunteering spectator and gives the card as a souvenir.

Well, rest assured that the card will be shown to everyone (s)he meets afterwards and
the whole episode will be narrated. So you will get a lot of free publicity and a few
bookings too (keep your fingers crossed).

Are you still with me?

Well, you have rightly guessed it – all the visiting/calling cards are tapered (stripper)
on their long sides.

When the spectator returns the card after signing it, you receive it reversed. As you
already know how to handle the Stripper Deck, the rest is easy.

With both hands behind the back it’s not at all difficult to strip-out the signed card, sign
on it and put it back somewhere in the middle of the bunch of cards. The rest is
Presentation.

Page 36
 Fishy Cat

The magician shows a heap of cards, playing cards size. Each of the cards has a picture
of a fish. After each card has been shown it is placed in the breast-pocket of some
spectator half-way down with the back showing. The last card is placed in the magician’s
own breast-pocket in the said manner. The magician now tells a story about a cat he
once had that was very fond of fish. The cat is now dead but it is strange that still the
fishes are not safe.

Spectators are requested to remove the cards from their pocket and, what a surprise,
just a skeleton of each fish remains. But the big surprise comes when the card is
removed from the magician’s pocket. The last fish has vanished completely and a Cat
has taken its place.

The working is neither difficult nor novel. I have a set of five cards, one of these
bearing the picture of a Cat, another one has a picture of a fish and other three show
skeletons of fishes.

To set the cards, first put the cat card on the table, then three skeleton fishes over
the car card and lastly, the fish card on top of the stack, all cards face up. Now, turn the
heap face down and hold it in the position to perform glide.

To present the effect, show the bottom card of the heap - a fish, turn the heap face-
down, perform glide, and pull out the second card from the bottom (a skeleton fish).
Put it in some spectator’s breast-pocket, half-way down back towards the spectator
(should I tell you to be careful not to show the face of the card?).Do the same with
other two gentlemen.

Now, you have one fish card and the Cat card behind it (unknown to the spectators).
Hold these two cards as one and put it in your breast-pocket half-way down and at the
same time push the ‘fish card’ completely in - which is not detectable, if done carefully.

That’s all folks! In addition; I understand any further explanation would be unneeded.
Have Fun!

ONE CARD ONE CARD THREE CARDS

Page 37
 Floating Cigarette Caper

How would you like to show both hands empty, borrow a lighted cigarette, then sus-
pend it in mid -air. Float it back and forth behind both hands, return cigarette, hands
again shown empty. No threads, no sleights, no set-up, etc.

Preparation: Put a speck of good quality magician’s wax under the finger-nail of your
right middle finger.

In performance: Anywhere, any time, you borrow a cigarette (or use your own) and
light and smoke it for a while. Then stop as if you have an idea. Hold the cigarette as
shown in Fig. 1 and look intently at the lighted end. After a couple of seconds, rotate
the palms inward and curl your fingers in, slowly interlocking them. However, in doing
so leave the right middle finger free, as shown in Fig. 2.

Hold both hands in front of you at chest height and stay in this position for a while,
again fixing your eyes on the glowing end of the cigarette. Now, slowly drop both the
thumbs along with the cigarette down until it is out of the audience’s sight, then press
the right middle fingertip to the end of the cigarette, thus firmly sticking the cigarette
end to the hidden (under the finger-nail) pellet of wax.

As soon as this “dirty work” is done, leave the cigarette stuck to the middle finger and
bring the thumbs up in view again, but do this slowly and dramatically. Now, it seems to
the audience, the lit cigarette is floating in mid-air! see Fig. 3. Wait for a couple of
seconds then very slowly move the right middle finger to and fro / back and forth
causing the cigarette to appear to dance.

Do this for a few seconds, then reverse all the moves (?) aforesaid and go back to the
position shown in Fig. I. Stop and stay in this position for a couple of seconds, then
bring the right index finger to the cigarette and taking it with thumb and index finger,
put in the left fingers in a smoking position; start and go on smoking, at the same time
drop the right hand to your side in a natural manner. At the first opportunity, the pellet
of wax may be dropped unnoticed.

* First appeared in the MAGIGRAM Volume 26 Number 3 November 1993 Published by

Supreme Magic Co., England.

Fig. 2
Fig. 1
← →

Fig. 3

Page 38
 Made For Each Other

The following effect is just my dressing for ‘Psychic Partners’ – a Tony Brook creation
sent to me by common friend Bob Knigge.

This is certainly for a special occasion effect. Any where in a marriage or marriage
reception party where you are performing and you see more than five couple is present
you may perform this effect.

You start with talking about the old adage that marriages are made in heaven. To
underpin this adage you take out a bunch of your visiting cards and distribute among
five couples. Ask each of them to write their names over the blank side of the cards.
After they finish, you collect the cards back first from the ladies and then from the
gents making two separate piles. Leave both piles over the table.

Next ask a lady to take any pile of cards and mix them well then receive the pile of
cards back. Casually spread the cards faces up and comment on how thoroughly the
cards are mixed. In doing so look for the name of the lady who is the “Queen of the
party” and place this card second from the face. Close up the cards and turn those faces
down and put over the table.

Now take the other pile of cards and mix them well. Again casually spread the cards
faces up and comment on how thoroughly the cards are mixed. However, in doing so
remove the ‘matching card’ that is the card containing the name of male partner of the
“Queen of the party” and secretly place it on the face of the pile, square up the cards
and turn faces-down. Holding the cards in the hand, you ask the “Queen of the party”
to call out any number between one through five. If she says 2, 3, or 4 you “glide”
remove the card positioned at that number. I 1 is called you simply remove the face
card of the face-down pile of cards. However, if 5 is called out, just count down from top
down and take the face card of the face-down pile. In any case, you take the card that
contains her partner’s name. Pretending as a casual selection, you now place this card
atop the other pile resting over the working surface.

Request the “Queen of the party” to go for an unusual way of eliminating the card. Ask
her to deal the top card under and the next card to the table (Under Down Shuffle),
until only two cards remain.

They will match – The “King and Queen of the party”. Sure marriages are made in
the heaven!

This is just the barebones of the effect; you must dress it up with suitable patter, one
liner, bits of business or what you have.

Have Fun!

Page 39
 Find The Queen

The title clearly paints a picture of the effect.

In performance, the Queen of Hearts is shown and placed face-down on the table
over your working surface.. Two more cards, any cards will do but spot cards look
better with the picture in between, are placed faces-down besides on each side of the
Queen, making a neat row of 3 cards with the Queen in the centre. The onlookers are
asked to remember the position of the Queen. To confuse them, the positions of each
card are interchanged quickly. Now the onlookers are asked to spot the Queen. But the
card indicated as Queen is found to be a spot card. This is repeated for a couple of times
and they fail to spot the Queen. Finally, two cards are turned over and shown as spot
cards. And with a comment like, “So you think this is the Queen? Sorry to disap-
point you, really this is a King — the Monarch of Magic. Yes, it’s ME!” the face-
down card is turned over to reveal the picture of the performer. 1st surprise! The deck
of cards that was placed aside at the beginning is ribbon-spread over the table and the
face-up Q of H is seen amongst the face-down cards. Final Surprise!!

Preparation: You need a deck of cards and a face-blank with matching backs. Over the
blank face fix your photograph and with dry transfer print your name, phone numbers
and some blurb like “A ‘MUST’ in your next party” or “Book early to avoid disap-
pointment” or similar garbage. Put this card face-down atop the face down deck and
you are ready to go.

Presentation: Shuffle your deck of cards without disturbing the top card. Turn the
deck faces towards your and look for the Queen of hearts. Bring it to the second posi-
tion while you talk about the Find the Queen, Three Card Monte and similar gambling.
By the time you finish talking the deck is face down in your hand. Now you make a
double-turnover, show the Queen of Hearts. Make another double-turnover and put the
Q of H atop the deck. Immediately slide it (the special card) off the deck over your
working surface. Now openly remove two more spot cards and put on each side of the
‘Queen’ (in reality, the ‘special; card), face-down. While you adjust the cards over the
working surface, with your right hand, your left hand drops down with the deck of cards
on your lap or side depending on you are performing seated in a table or standing. Turn
the top card of the deck, the Queen over and execute a one hand pass burying the
Queen in the middle of the deck. The dirty work is finished and you place the deck aside
over the table for a moment.

Now play around as already explained and finish the effect. But what happens if some-
one keeps track of the Queen (supposedly) while you are busy interchanging the posi-
tion of the cards and picks the right card?

In that case, which is rare, don’t delay – show the other two cards as spot card and
finish with the comment as told above.

Finally, ribbon-spread the deck faces up over the working surface and a face-down card
will show up. Turn the card face up – that’s the Queen of Hearts. Finis!

Afterthought: After the special card is ready, take the Queen of Hearts out from the
deck. With a Chap Stick, (or Vaseline) put two dabs on the back at diagonally opposite
corners of the Queen. Finally, place the special card squarely, face-down on the Queen
over the treated side, and press a little hard. That’s all. You will find you can handle this
card(s) easily and freely as a single card – the Queen of Hearts.

Now you can safely place the Q of H card(s) anywhere in the deck and any time just
cutting the deck at the double cards, you can bring the Q of H on top of the deck. The
rest is easy and the same as explained above.

Page 40
 A Sugar-Free Card Caper

Effect: a card is selected, noted and returned back and then the deck is shuffled. I
now try to find out the card but fail. Feigning surprise, I ask the identity of the card
and once declared I re-try to find the card counting, and separating openly one by one.
However, surprisingly I find only 51 cards in the deck and the selected card is missing.

Now playing over smart (obviously apparent to the lookers-on) I boost about my new
missing card effect and at the end taking out a packet of “Sugar Free” I offer to the
volunteering assistant as a memento of this “sweet” magic. I neither open the packet
nor ask to open the same. However, the ‘unnatural feel’ of the packet makes her/him
open the same and ultimately the effect ends in a sweetest way.

I use instead of a miniature card a small Black colored thin card, and one side of the
card has a message “Liked this little magic? Book Solyl Kundu for your next party. Call
+91 33 2358 4441” printed in bright red color. On the reverse I very carefully draw
with a toothpick and rubber cement, the suit and number of the card I would force
(what did else you expect?). Next I sprinkle enough sweetening powder over the same.
After a little while I tap the card so that extra powder drops down. Now the white
writing on black background looks terrific.

Did someone ask me how I make the card disappear?

Well. I control the selected card atop the deck. I go through the cards and pretend that
I failed to find the card. Next holding the cards faces down in my left hand I count one
and double turn the top card(s) with right fingers atop the cards in my left had. I
repeat the Then I casually turn the whole deck faces up and counting 2,3,4 … I push
with the left thumb some (say 9) cards in my right hand and then turning those cards
faces down I put those under the cards in my left hand. I continue counting the cards
repeating the whole sequence until all the cards (51?) are faces down in my left hand.

Finally, I proceed as already narrated and the magic finishes amongst merriment! And
that’s all folks, have fun!

Page 41
 Russian Roulette

Here is a little bit of magic which I believe you will enjoy performing and your spectators will find it
fascinating. The effect is briefly, as follows:

A game of Russian roulette is played with six cards. Magician explains that five of the cards are guns
and one card is the bullet. The spectator is asked to select a card but warned not to select the bullet.
However, the spectator chooses the bullet and the other five cards are shown to be guns. This is
repeated with another spectator and then performer tries his luck at it, explaining he wants a fifty-fifty
chance of winning. Performer now has three bullets and three guns.

Here’s how: We’re afraid that the secret is far from new.
You have three gun and three bullet cards which you set
up, one gun, one bullet, gun, bullet, gun, and bullet.

Spread cards between hands face-down and have someone

select one by touching the card. By the time he selects you
have warned him. Now ask him to show his card; it’s a
bullet. By the time he shows his’card, you cut the fan of cards
at this point and bring the cards that were originally below
the selected card to the top. Now you must show the
remaining five cards as guns.

You may do this by using the GLIDE. For this, you show the bottom of the packet, perform glide and
place second card from bottom, face down. Then again show the bottom card and place it face down.
Then again glide, then no glide and finally place down the last card. All five will seem to be five guns.
You may repeat once or twice, it’s very effective. Just be sure to reset the cards each time. Incidentally,
you can of course, use Ed Marlo’s move OLRAM subtlety instead of the Glide, which we guess you
know and so we don’t go into details here.

Well, there’s a snag; if by chance (and there’s a fifty-fifty chance) someone selects a gun. It’s easy till
he shows his card. Just go on pattering and, as soon as you see his card, if it’s a bullet then proceed on.
But if it’s a gun card then smile and congratulate him, take back the card to its original position and
proceed with another spectator.

Russian roulette is a well-known popular game, so you can patter easily around the deadly game and
demonstrate it.

Good luck!

♥ This effect first appeard in the Magigram magazine Volume 13 Number 3

November 1980

Page 42
 Sex Appeal

Here is an excellent effect that is easy to make and perform. I had lots of fun with this
little miracle and now hope you too will have the same.

Well, the effect is that the performer displays three pictures of the most famous women
in history:-

a) The wily CLEOPATRA, “Serpent of the Nile.”

b) The beautiful HELEN OF TROY, the face that launched a thousand ships, and
c) The enigmatic MONA LISA.

He explains that tastes vary from man to man and each person will select a different
woman as the one he finds most appealing. However, being a magician he can actually
foretell their choice, and he is going to predict which of the three the spectator will find
most appealing.

The magician takes a pen and a pad, writes a prediction thereon. Without being shown
the pad is placed in full view.

The three picture cards are taken up and shown again; then, after being turned face
downwards they are thoroughly mixed up, a spectator being invited to call “STOP” at
any time during the mixing. The performer explains that whatever card is on top at this
particular moment will be the chosen one.

The card is now lifted up a little and the spectator who called “STOP” is asked to peek
at the picture of the beauty on it and to memorize this. If desired, for Verification
purposes, several other spectators can be shown this picture.

The cards are again thoroughly mixed up and they are placed into the spectator’s
pocket. Looking in the other direction, so that it is obvious that he doesn’t peek at the
cards inside the pocket, the performer removes one at a time the two cards NOT se-
lected. The spectator is asked to name his chosen beauty ... and to remove the one
remaining card in his pocket ... It is the chosen picture!

The performer now recaps on what has happened and how the spectator had a perfectly
free choice, etc. and reminds the audience that before the experiment commenced he
made a prediction. The pad is then turned around and to everyone’s amazement it is
seen that the performer has predicted the chosen picture in advance by drawing it onto
the paper.

Well, it took lots of space to tell you the effect. Are you still with me? Then come on, let
me explain how I do this miracle!

I need three pictures, I told you; but two of these are faked, which I didn’t tell you.
First, draw three pictures of Mona Lisa and one each of Helen of Troy and Cleopatra onto
some blank faced playing cards. Now keep one picture of the Mona Lisa aside and
attach the other two duplicate pictures of Mona Lisa on the backs of the Cleopatra and
the Helen of Troy. These cards are attached with gum along the bottom edge. Attention
should be paid to see that all the pictures are facing the same way before the show.
The cards are mixed up and then held, with the thumb and fingers firmly holding the
cards at the pasted bottom edge. The right hand pulls back the top card to enable the
spectator to see it. This card is always the force card. Incidentally, I have used the
Mona Lisa picture as the force card, but there’s no reason that you can’t use another
picture as the force card. Preferably make three sets of pictures to use in different
performances. Well it’s up to your discretion.

Page 43
The routine will now be quite straight forward. Show the pictures with a few words in
the line as above. Then pick up the pad and pen and draw the force picture on it. Place
the pad, writing-side away from the audience, in full view.

A picture is “chosen” as detailed; to prevent possible confusion, other spectators are

allowed to see the chosen picture.

Nothing more left to explain, except that after selection (?) of the picture, mix the cards
and put into the spectator’s pocket. Then after the usual byplay, reach into his pocket
and remove, one at a time, the two thick faked cards, leaving the single unprepared
one behind. The spectator removes this card and you are all set for your applause-
pulling climax.

All commercial manufacturing and marketing rights are reserved by the

inventor of this effect.

♦ This effect first appeard in the Magigram magazine Volume 13 Number 3 November 1980

CLEOPATRA MONA LISA HELEN OF TROY

(WITH SINCERE APOLOGIES TO THE ORIGINAL ARTIST)

SHADED PORTION SHOWS

WHERE FORCE CARD IS
GLUED ON BACK OF
THIS CARD

Page 44
 Clippo .... Nu Way

There are several versions of Clippo available in books, magazines, and of course with
the dealers. Here is another, neither an earth-shattering method nor any way original.
However, you may call it a “Redy made Clippo”. I bumbled upon this idea while toying
with …... well, first thing first.

Effect: Magician shows a few pieces of various colored strips. He takes one, holds two
ends together then snips off a little bit with a pair of scissor. The ends join forming a
continuous loop. Next he takes another strip of different color and passing an end
through the previously made loop holds both ends together and snips off as done
earlier forming another loop. He continues this process using other colored strips and
finally ending with a chain of colorful loops or rings.

Apparatus: rolls of different colored cello tapes (Yeah! That’s It.), a pair of scissor,
talcum powder, a ruler and a sheet of newspaper.

Preparation: Cut the cello tapes into about 20 inch long pieces. Now spreading the
newspaper atop your working surface lay a piece of cello tape on the same. Be careful
the gummed side remains facing upwards. Now sprinkle enough talcum powder over
the gummed surface. With help the scale spread the powder evenly covering the whole
gummed surface. Finally, lift the strip and give a vigorous shake to discard any surplus
loose powder. Treat all other strips in the same way.

Secret: The snipping process is exactly alike any other version of Clippo. You always
hold both ends of the strip putting one squarely over the other - powdered side face to
face and cut through both ends thus making a complete loop.

Performance: Start with showing the colored strips and saying, “last evening I went
to a birthday party to show my magic. I found the unhappy birthday kid was struggling
with some colored paper strips and a stapler. He wanted to make a multi-colored chain
but had no glue. So I had but no option to help him.”

“You know what I did. I took a green colored strip like this one (here you miscall the
color and let the onlookers shout and correct you). Oh yes, the red one. I then held the
ends of the red strip together and snipped with my magic scissor and voila! That be-
comes a complete loop.”

You take another different colored strip and run through the already made loop and
here again you miscall the color encouraging the kids to sought (well, hearing the noise
and happy giggles, the parents outside the room would think that this magician must
be very good!). Hold the ends and cut as already explained and forming another circle.
This way proceed with suitable patter and finish-up with a chain of eye-catching colored
rings.

Incidentally, never say ‘paper strip’ rather always say ‘colored strip’. A length of cello
tape never looks like a paper strip.

Page 45
 Cane to Plume

Cane to Silk or Cane to Flower or simply making a Cane disappear is one of the very
popular (to magicians, I mean) effect in magic for long. However, making the cane
disappear without using both hands are rarely seen. In fact a full-proof method of one
hand Cane Vanish is hard to find.

As far as I know, there are two marketed effects one invented by Richard Ross and an
excellent another by James Holmes. Yet another method can be found in one of the
many excellent Mickey Hades publications, may be in Make-up of Magic if my memory
serves me right. However, all the effects mentioned above are good but with some
drawbacks.

Saying all those here I describe my way of transforming a cane into flower plume that
I found much simple in working, more effectual from magicians’ view point and a
snags-free ‘one-hand vanish’ method that I have used for many-many years. I am sure
that if you once care to give it a try will never leave out of your act!

Effect: The magician appears on stage with a black cane, freely tosses it in hand to
hand, and even makes it float in air in different angles. Finally he stands the cane
vertically into a flower pot that was already on the floor of the stage. Now pulling a lit
matchstick from his lapel he touches the knob of the cane. Suddenly there is a flash of
fire and the cane instantaneously changes into a beautiful plume in a riot of colors.

Prerequisite: a) A steel cane with the cane to plume setup

b) A length flash string
c) A length of white 1 inch wide silver colored gummed miler tape
d) Some flash paper
e) A medium sized metal pot suitably painted to resemble like a
flower pot.
f) A ‘lit matchstick from lapel’ gimmick.

Preparation: Although the flower pot looks innocent but it needs some doctoring up.
The figures 1 and 2 clearly explain the necessity. A thick round piece of wood is tightly
fixed on inside base of the pot. There should be a hole in the center of the wooden block
deep enough to fit the ferrule of the cane and the diameter should be such that the
cane stand erect when placed apparently into the flower pot. A reasonably thick disk of
sponge with a hole in the center aligning the whole in the wooden block is glued to
wooden block as shown in the figure 1 to ascertain a silent transformation as well as
safety of the spring coil of the cane. Now decorate the pot suitably to simulate a normal
flower pot.

To prepare the cane for the effect you first discard the original knob of your vanishing
cane and a length of silver colored gummed miler tape is wrapped around the top to
imitate a knob. However, first open the cane to full length and wrap a rubber band
tightly around the top to prevent from collapsing, and then fix the tape band as stated.
Once done, remove the rubber band.

Next fix the plume into the cane ferrule as per instruction provided by the supplier of
the plume. Then open the cane to full length and covering the plume. In addition wrap
a rubber band as said earlier reasonably tightly around the knob end preventing it from
collapsing prematurely.

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Take a six inch length of flash string and tie it reasonably tightly around the knob end
a little above the rubber band as shown in the illustration. Clip away one end of the
flash string near the knot leaving the other end little extra. Now remove the rubber
band and the cane will remain extended and can be freely handled hand to hand (Fig-
ure 3).

Take a piece of flash paper about 6 inches square and crumple that loosely into a ball.
Place this ball inside the cane just beneath the top edge hiding from view. Now take
that extra length of flash string and push inside the cane just alongside and touching
the flash-paper ball (later this extra length of flash string will work as a fusee to ignite
the flash-paper ball). Be careful that a safe gap is in between the flash-paper ball and
the plume.

The setup is complete now, and you may keep the prepared cane over your magic table
on stage or your assistant will hand you in time.

Finally fix the lit match producer gimmick in place and you are ready to go.

Performance: As stated in the effect, toss the cane hand to hand etc. and then put it
into the flower pot (being careful to insert the ferrule into the groove made for the
purport) and leave it standing. Make some magical mumbo-jumbo as you wish and pull
out the lit matchstick from under you lapel and then apparently touch the knob of the
cane but in reality the knot of the flash-string. Immediately there will be a flush and the
cane will transform in the colorful plume.

Cross section of Flower pot

Groove
← Collasped ↑
Sponge Disk → Cane

← Wooden Block →
Fig. 1
↑
Ferrule
Fig. 2

Flash string
tied around
→
↵

the cane and used Balled

as fusee Flash Paper
Fig. 3

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Salil Kumar Kundu
“Solyl Kundu, The Magician”
Territotial Vice-President
of IBM (USA) for India

solylkundu@gmail.com

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