MARTIN'S

M•A•G•I•C•A•L

I•N•V•E•N•T•I•O•N•S

LECTURE
 Martin's Magical Inventions
Lecture
Written and illustrated by
MARTIN LEWIS

Contents
The Prismatic Pencil .............................................. 1
The Cheap Cup .......... ............................................ 3
The Torn Cigarette Paper ....................................... 5
Technicolor Prediction ............................................. 8
The Come-Back Card .............................................. 11
Cardiographic ......................................................... 14
Point of Arrival ........................................................ 21
Whispering Joker .................................................... 23
Queenie .................................................................... 25
Lucifers Card ........................................................... 30
Maskelyne's 24 Rules .............................................. 35

Magikraft Studios
Copyright © 1999 by Magikraft Studios, 11639 Sandpiper Court, Moreno Valley, CA 92557
Martin Lewis reserves all commercial manufacturing rights to the tricks and apparatus
described in these notes. Any transgression of those rights is not nice and will be prosecuted.
 the Prismatic
Pencil

During the mid-seventies I lived in Oakland, California. There was a magic shop down-
town officially called “Morcome’s House of Magic” although to most patrons it was always “the
Poor Mans Palace.”

The Palace was a magic shop in the grandest tradition. Piled around were of mysterious
looking boxes. Long, dusty, glass counters filled with shoe boxes each overflowing with a
jumble of magic stuff.

Guarding these treasures was Ray Morcome, a smiling fellow who dearly loved Magic.
So much so that he wouldn’t hesitate to hurry a lay customer along when the local magi dis-
cussed magic in the back room. It was Ray who showed me the pencil gag. I have developed a
simple handling for it and include it here with his permission.

The effect is this: You start to do a trick involving a pencil. You introduce a red pencil
and joke that it matches a spectators eyes. As you explain that really, you’re not kidding, you
magically change the color of the pencil. Now it does match. An alternate presentation might be
to have it emerge with your advertising imprint and give it as a souvenir. This can be done be-
cause after the trick the pencil is completely ordinary.

Prepare the pencil at the beginning like this. You need some red modeling balloon, a #8
knitting needle, an exacto knife, and three pencils. Only use round pencils and be sure that they
have a metal band at one end that holds an eraser. Get a blue, a brown, and a grey one. Shorten
these to about 5 inches and sharpen them with a proper sharpener. Use a round, rather than hex-
agonal, pencil so the line formed at the base of the pointed section is smooth rather than scal-
loped.

Put the knitting needle inside the balloon and roll it until it resembles a tiny doughnut and
the needle is completely free. Now unroll the balloon around a pencil so that the pencil is inside
it. With the knife trim away the excess balloon making sure you completely conceal the original
color of the pencil, make sure that most of the metal band shows. A pencil prepared like this will
withstand close observation. Cover all three pencils with red balloons and put them into different
pockets. Because the prepared pencils are all the same color now, you must remember which
pocket has what color.

1
 To perform. Select a spectator that has either blue, brown, or grey, eyes and introduce the
appropriate pencil. Make a fist with your palm down left hand. Push the pencil into this fist
eraser end first and push it halfway through, rolling the balloon up as you do so. You will find
that about halfway through you will need to reposition the pencil. Relax your grasp and begin to
withdraw the pencil. Stop before the half-rolled balloon makes an appearance. Comment on it’s
color, regrasp the pencil and continue pushing it through until it emerges the new color.

Reach in front of your fist with your right hand and take the pencil between thumb and
first and second fingers just below the eraser. Remove the pencil completely, leaving the balloon,
now rolled into that little doughnut again, on the point of the pencil. Your right hand will conceal
this from the onlookers.

Make a point of slowly opening the left hand and showing it empty. Take the pencil from
the right hand by sliding it out of the fingers holding it. Leave the little rubber roll behind, held
between the thumb and first and second fingers. Retake the pencil in the right hand fingers, the
balloon held behind it and concealed by the pads of the fingers and thumb. Turn your palms to-
ward the audience to conclude the effect.

You can ditch the gimmick a number of ways, leave it behind as you go for the next
prop, if you are standing amid a small group you can even flick over their shoulders or drop it in
a wastebasket, the balloon cannot be reused so be as creative as you want.

Make sure that the balloon is darker in color than the pencil to prevent the pencil color
from bleeding through. There, that’s all there is to it!

ABOUT TOOLS...
S. S. Henry, who built his own magic once said that so far as building illusions was
concerened he found the Sears-Roebuck Catalog far more useful than the Goldstone
Illusion books!
A few of the effects in these notes will need making. You will only need a few simple
tools, an exacto knife, steel rule, square, and so forth. But use the best you can afford.
Tools are more than just fancy equipment - they are mental also. It is said that “a bad
workman blames his tools,” indicating that one can do good work with any tools. This
is not entirely true. A job can be done with bad tools. DeKolta is supposed to have used
an old axe, a knife, a file, and some other crude tools, and he built illusions that
worked. But his apparatus was as crude as his tools. If one owns fine tools there is a
pride of possession and one automatically puts more care and craftsmanship into the
work done by them. The work must be worthy of the tools. As I said tools are a mental
attitude, so, as I said, use the best you can afford.

2
 THE CHEAP CUP

This is my take on Al Wheatley’s Chop Cup and

owes a deep debt of thanks to Don Alan who pioneered
the routining of this classic prop. I showed the routine to
him early in the early 1970’s and he generously put his seal of approval on it. Not only cheap, this
routine is a natural and is more than just a way to make a deceptive looking chop cup for less than
$2.95. It’s a routine I have developed over the years with key humor lines, and a cheap gag at the
end that makes it all worthwhile. For the routine you will need;

• A set of small (3/4”) green Chop Cup balls.

• Two large green loads.
• A specially made can of “Green Giant” brand green peas.

Note. EU magicians may wish to use a different brand since “Green Giant” does not sell peas in EU.

MAKING THE CUP

The Cheap Cup resembles a can of peas but is actually a “Pringles” potato chip cannister with
a “Green Giant” brand canned peas label pasted around it. Recently 1/2 size Pringles cannisters have
been showing up in supermarkets and these are ideal, they are about 4” deep. Before that I used the
regular size containers and cut them down. Before Pringles I used mailing tubes with metal caps.

Empty the Pringles can using your favorite method. Then remove the label from a 15 ounce
can of “Green Giant” (preferred) brand peas and paste it around the empty chip can. The label is only
secured in one place and must be removed without tearing so work carefully.

Paste the label on upside down, opposite to the direction of the “Pringles” label. So when the
can is mouth down, the label will be the right way up. You will have to trim a bit off the height of the
label to make it fit.

You now have what appears to be a can of peas with the bottom removed. The silver lining of
the can has a metallic look but is non magnetic. The end is made of ferrous metal however and is
attractive to magnets making this an ideal Chop Cup.

THE BALLS

I was lucky enough to get a pair of 3/4” diameter green crocheted Chop Cup balls from my
local magic shop. The set consists of a cork ball with a rod magnet passing through it and a similar
3
ungimmicked ball, both crochet covered. If the green color is not available it is an easy task to dye a
pair of the more popular white ones with houshold dye.

I couldn’t find final loads of the right color so eventually ended up buying a couple 2 - 3/4”
diameter firm rubber balls and I sprayed them with green paint.

THE ROUTINE

Naturally any Chop Cup routine can be done with the Cheap Cup but I favor the Don Alan
approach. It’s direct, deceptive, and surprising. I perform this seated and make the final loads from
my lap although it is easily adapted for stand up performance by making the loads from the pants
pocket. Have the Chop Cup balls in a right coat pocket, if you put one in the ticket pocket you will
be able to tell them apart, Alternatively you could also put a piece of metal in your pocket so only
the gimmicked ball will stick to it.

“I had a party the other day and didn’t know what to serve. Someone suggested canapes, so I
went to the supermarket...”

Set the can a peas boldly on the table and pause to let this dreadful pun sink in. Then show
the can empty and take out the gimmicked ball.

“...They were quite popular, in fact there’s only one left. I put this little sweater on it... The
poor thing was frozen. We are going to play “The Old Pea Game” ,” I make a motion like this (1)
and you have to guess whether the pea is under the cup (2) or in my pocket OK? Right let’s begin...”
(3)

(1) Drop the pea in the cup and, holding it with your right hand over the mouth, shake the pea
around in the bottom. Turn the cup mouth down by turning your hand palm up. Take the can with
your left hand and put it on the table, mouth down. At the same time close your right hand into a fist
as if holding the pea, (which is really sticking inside the can,) and put it in your pocket.

(2) Lift the can to show nothing is under it and set it down with enough force to dislodge the
ball. Then show the (duplicate) pea from your pocket and put it back in your pocket.

(3) Lift the cup to show the pea has appeared.

“here’s the pea, here’s the can, where do you think the pea is, under the can or in the pocket?
(1) Don’t say both...”

What you do next depends on the answer to your question. If they say under the cup then
continue...

“I’m sorry, it’s not in the can, it’s in the pocket (2.) Of course if you had said it’s in the pocket
then it would be in the can.”(3)

If they say in the pocket, do the same as step three but say.

4
 “You don’t want to say in the can, you want to say in the pocket (2) I’m sorry, it’s in the can.
(3.)

Whichever of the two preceding dialogs is used, this is the time the big loads are made. Your
free hand is in your lap holding the first load. At the end of the action in step 3 the cup is lifted to
show the reappearance of the small ball or “pea.” The cup is then brought to rest at the edge of the
table nearest to you. Relax you whole body, suggesting a break in the action. Then slide the can off
the table and raise the load into it. Move the can forward immediately and replace it in its original
position.

It is important to make the load at the beginning of a new movement, rather than at the end of an old
one. The verbal nonsense accompanying the revelation of the small balls appearance under the can
serves to relax the audience. Your relaxation emphasises this moment too. This is the moment of the
new action, and the loading, and is done while the audience is “soft” and really not paying attention.

The first load is revealed and, the second load made using the same timing as before. This time the
greater surprise of the first big load covers the action.

Finally, hand the two big green balls to a spectator and ask them to squeeze to make sure the balls
don’t compress. As they do this, you make your final comment.

“How does it feel to have the green giant exactly where you want him?”

✽✽✽✽✽✽✽

the torn

Paper

For the first few years in my career as a magician I performed close up magic exclu-
sively. This was at the Magic Cellar in San Francisco. As the club grew so did the audiences until
we were forced to set aside the green baize table and build a stage in it’s place. While this was
taking place I quietly panicked. No more Table, no more lapping, (where do those stage magi-
cians hide stuff?) What to do, what to do...

I read that Nate Leipzig did perform the torn and restored cigarette paper to large audi-
ences. Because I already did this effect close up, I decided to try it on stage. My first few tries
met little enthusiasm. The trick was just not visible enough. Undaunted I retired to the drawing
board to return a few months later with pastiche of ideas garnered from the four corners of the
Magic Castle library. This time the effect played. I kept in my act for over five years.

5
 The only originality I claim is for the display of the torn
(1)
pieces. The real credit goes mainly to Hatton and Plate for
having published in “Magicians Tricks, How they are done”
(1910) a paragraph titled “The Torn Cigarette Paper Trick.”
I am flattered that David Copperfield asked me to teach him
my routine, I did, and he subsequently performed it in one of
his TV specials with a paper heart. To good effect I may add.

(2) The papers you select must be the plain variety with no
gum and no creases. I have found “OCB” brand papers to be
ideal. You also need some magician’s wax. Blue-tak will not
work. I use a wax product made for adhering candles to
candlesticks that is available from craft stores.

(3) Prepare the package of papers by putting a tiny dab of wax

in the center of the underside. Also, if you use OCBs, sepa-
rate the top sheet of the packet. The papers come glued along
one edge, like a notepad. This helps removal during perfor-
pleat mance.
Tail

Now for the preparation of the restoration pellet - the

packet that will be switched for the torn pieces. Folding this packet correctly is essential; it is
this fold that permits the fluid and visually satisfying effect of instant restoration. Illustration 1
and 2 show the paper being folded into a spill, while 3 shows where to pleat the spill to form a
packet with a tail. To complete the fold wrap the tail completely around the packet.

Attach this ball to the wax on the packet of papers. Make sure that the part of the ball
where the tail ends makes contact with the wax to prevent the ball from springing open prema-
turely. Put the papers thus prepared in your right jacket pocket. Next put a dab of wax on the cu-
ticle of your right thumbnail. Use enough to cover the moon of the nail, and smooth it out. Ap-
plied carefully, the wax will blend in with the moon and become unnoticeable.

PERFORMANCE

“People often ask me what the difference is between sleight of hand and illusion. Well it
has nothing to do with the size! An illusion may be demonstrated with even the smallest of
items.”

Remove the papers from your pocket. As you do this, secure the pellet between the right
second and third fingertips. Transfer the papers to your left hand and hold them chest high. Drop
your right hand to your side with the pellet.

“Something as small as a cigarette paper for example.”

Turn to a spectator seated to your right and hand them the papers. As you do this, your
right side will be turned away from the audience. Use this moment to transfer the pellet from
your fingertips to the wax on your thumbnail.
6
 “Would you be kind enough to remove one paper from the packet please, blow on it,
make sure there is only one and not two stuck together.”

Take this paper with your left hand and leave the rest of the papers with the spectator.

“Please observe that my hands do not leave this area.”

Suggest an area about the size of a 13” TV screen about 18” in front of your chest. Please
note that when gesturing with either hand, be aware of keeping the pellet from view. Keep your
thumbnails on a parallel plane to your chest and make identical gestures with either hand.

Start a tear in the middle of the top long edge of the paper, then, holding the narrow edges
delicately between first finger and thumb, palms toward the viewer and fingers wide open, com-
plete the tear.

Place the two halves together one in front of the other. Give these a quarter turn and begin
a tear again. Hold the sides as before but this time make sure that the pads of the fingers contact
plenty of the paper’s surface. Complete the tear.

As you separate your hands gently squeeze thumb and first fingers together. You will find
that you can display the four pieces in a very effective manner now by simply opening your
hands wide, palms toward the audience, and fingers spread wide apart. Due to the natural adhe-
sive quality of the paper the quarters will adhere to their respective fingers and thumbs. Be extra
careful not to expose the pellet at this point.

Close the thumb and first finger of the left hand and take these two quarters between the
thumb and first finger of the right hand and between the two quarters already there. Show your
left hand front and back.

Take the four pieces into your left hand. During this movement your left hand must slide the pel-
let off your right thumbnail and take it behind the pieces. Show your right hand front and back.

Again take the pieces between the first finger and thumb of the right hand taking the pel-
let first between the balls of the fingers. Use both hands to squash the pieces into a ball then stick
this ball on the thumbnail and bring the prepared pellet into view. This will be easier for you to
follow if you have the trick in hand.

Separate the tail from the pellet and hold it firmly between the thumb and first finger of
the right hand. In a single stroking movement, with your left first finger and thumb, open the
packet into a spill. Pause with this for a second.

Another stroking movement across the width of the spill will open it into it’s original
shape. Hold this delicately between the first finger and thumb of the left hand. As attention is on
this, steal the bits from your right thumbnail between the tips of the right first and second fingers.

Hold the right hand flat, palm up, but angled to prevent the spectators from seeing the
7
 torn bits. Place the restored pieces flat onto these fingertips and blow gently, causing the restored
paper to float into the air and then flutter to the floor. Take a bow and retrieve the packet of pa-
pers. Put them away with the torn pieces.

That’s it, you might want to make a few extra restoration balls and keep them in the same
pocket as the papers. Then, if by chance you drop the restoration ball, there is no need to panic.
Comment that some magicians may resort to such trickery - but not you! Casually get the papers
back from the spectator, put them away, and steal another ball.

TECHNICOLOR
PREDICTION

This is a comedy mentalism routine. I developed a method for the effect with my dad and it
was written up in my book “Martin’s Miracles.” This version was suggested by Ali Bongo and he
takes the effect from the parlor to the stage with the use of bigger props and a “bank night” type
display stand.

The performer displays three envelopes- one red, one green, and one yellow. Two spectators, a man
and a woman, are invited to each select an envelope. The choice is fair, but the performer insists he
has predicted the spectators actions. We’ll assume the man chooses the red, the woman the yellow.
Each is asked to open their chosen envelope, remove the papers within, and read out loud the mes-
sage thereon.

These two behind the These two behind the These two behind the
Green Envelope Red Envelope Yellow Envelope

I PREDICT I PREDICT I PREDICT

I WILL BE LEFT WITH I WILL BE LEFT WITH I WILL BE LEFT WITH
THE GREEN ENVELOPE. THE RED ENVELOPE. THEYELLOW ENVELOPE.
THE WOMAN WILL CHOOSE THE WOMAN WILL CHOOSE THE WOMAN WILL CHOOSE
THE YELLOW ENVELOPE, THE GREEN ENVELOPE, THE RED ENVELOPE,
AND THE MAN WILL TAKE AND THE MAN WILL TAKE AND THE MAN WILL TAKE
THE YELLOW. THE GREEN.
THE RED.
(1)
(1)
I PREDICT I PREDICT I PREDICT
I WILL BE LEFT WITH I WILL BE LEFT WITH I WILL BE LEFT WITH
THE GREEN ENVELOPE. THE RED ENVELOPE. THE YELLOW ENVELOPE.
THE WOMAN WILL CHOOSE THE WOMAN WILL CHOOSE THE WOMAN WILL CHOOSE
THE RED ENVELOPE, THE YELLOW ENVELOPE, THE GREEN ENVELOPE,
AND THE MAN WILL TAKE AND THE MAN WILL TAKE AND THE MAN WILL TAKE
THE YELLOW. THE GREEN. THE RED.

8
 The man reads out, “I predict you will choose the red envelope.” The woman reads, “I predict
you will pick the yellow envelope.” Of course, the audience assumes this is burlesque mentalism.
However, the performer’s green envelope contains a paper reading, “I predict I will be left with the
green envelope; the man will choose the red; and the woman will choose the yellow!”

METHOD

The three envelopes are displayed on a board. Each envelope contains a message appropriate
to the envelope, the red one, for example says “I predict you will choose the red envelope.” The
same for the yellow and green.

Hidden inside the board, behind the envelopes, are

Prediction six predictions - two for each envelope. These predict the
withdrawn final outcome as can be seen in fig.1. After two have been
behind
envelope
selected the remaining envelope is removed and the correct
(2) prediction is taken behind it. The end of the envelope is
torn off, the index finger goes inside and the thumb goes
Y behind, and you seem to take out the slip. Actually you
leave the slip there and take the one from behind instead.
color
cues To assist in remembering which slip is which I have pen-
ciled a letter by each one as shown in fig.2. The letter
indicates the color of the envelope the lady is holding.
R Thus, all I have to do is glance at her envelope and take the
appropriate slip.

(3) Back View

Spacer
boards
Front

2 cm
squares

Back

cut out both top and bottom

9
 PREPARATION

Required is a special board on which the envelopes are displayed. The board has three tunnels
hidden in its edges that hold six different predictions. Elastic across the front holds three different
colored envelopes. There are cutouts in the back of the board to allow a prediction paper to be drawn
out behind an envelope as it is removed (fig.2.)

Dimensions are dictated by the size of the colored envelope you are using. (Mine are a stan-
dard 3.5/8” x 6.1/2”.) I found some contact (Fablon) paper that had a black and white checker pattern
on it that suited the envelope size perfectly, some of the white squares could accommodate the cut
outs and the camouflage is excellent as you can see in fig.3.

An alternate way to conceal the cutouts is with a random polka dot pattern. Cover the card
with a solid color contact paper then stick some circular peel n’ stick labels on in seemingly random
order. In this way you can place the cut outs wherever you need them as in fig. 4. Cover the finished
piece with clear contact paper to finish it.

The front of the board is covered with a solid color contact paper and has two elastic strips
stapled to it to hold the envelopes, see fig.5. Use garment elastic from a fabric or drapery store and
make sure there is enough tension to hold the
envelopes securely. Use heavy duty staples and
drive them through the assembled board, bend (4)
the ends over in the back, and hammer then
down lightly.

The predictions, when folded in eighths as

in fig.6, should fit in the slots provided and
extend about two thirds of the way into it. This
means, as one is placed in either end, that they
will overlap in the middle. To help getting them
into the slots, use a strip of thin plastic to “shoe
horn” them into place. Also note that the predic- Alternate Random
tion is written in such a way as to leave the Polka dot Pattern
corners unmarked. When folded, these four

(5) Front View Staples.

Elastic cords

10
 22cm x 14cm

(6)
All four corners left blank.

I PREDICT
I WILL BE LEFT WITH
THE GREEN ENVELOPE.
THE WOMAN WILL CHOOSE
THE YELLOW ENVELOPE, fold bottom up to top
AND THE MAN WILL TAKE
THE RED.
fold left under right

fold left over right

Blank corners
come together

corners come together, concealing any bleed through from the writing showing when the paper is in
the position.

NOTE;
There is no reason why you may not have a message on the back of the board as long as it doesn’t
interfere with the camouflaging. It could be a product name, a birthday message, or at the end you
could tell the audience that you know what they’re thinking - then turn the board to reveal the mes-
sage “That was amazing, I think I’ll applaud!”

THE COME-BACK CARD

PRESENTATION

I saw a magician at the Magic Castle (localize name) who performed a very remarkable card
trick. A deck of cards is removed from its case and fanned back and front. He cut the deck and there
was a Ten of Clubs on the face. Deck is cut to show Ten of Clubs on face. Then he put the cards into
a transparent holder to prove he could not manipulate the cards in any way. Deck is put into the
houlette.

Now he deliberately removed the Ten of Clubs and pushed it into the deck leaving a Three of
Diamonds at the face. This is done. Now he picked up a handkerchief, passed it over the cards, and
the Ten of Clubs jumped right back to the front again. The action follows the patter.

I liked the trick and went backstage to ask the magician if he would teach me how to do it. I
asked him if he would show me how you could take the Ten of Clubs, push it into the deck, flick a
handkerchief over it, and make the Ten come to the front again. The trick is repeated.
11
 Short Regular 3 D
Deck Regular

Joker Rough both Double Face 10C

Rough back sides Rough under

He looked thoughtful for a moment. “Oh,” he said, “You mean the trick where I take the Ten of
Clubs, push it into the deck, wave a handkerchief, and the Ten jumps back to the front?” The effect is
repeated again. “Yes,” I said, “that’s the one.”

“That’s quite easy,” he said. “Take the holder and try it.” So I took the holder and put the Ten
into the deck, passed the handkerchief over it, and a JOKER came to the front. The effect is repeated
except that this time the Joker makes its appearance.

“You have not quite got it,” he said, “Let me show you. but we must get rid of that Joker.” He
pushed the Joker into the deck, and when he flicked the handkerchief the Ten came to the front once
again. The appropriate actions are performed, bringing the ef-
fect to its conclusion. He wanted one hundred dollars to teach
me the trick. I didn’t think it was all that good, so I still don’t
know how it was done.

METHOD

The routine described here requires an acrylic houlette be

made, as pictured here, to display the cards. But a stemmed
wineglass that will confortably accomodate a deck of cards can
be used instead. If the performer wishes to vary the routine, or
lengthen it, the returning card (Ten of Clubs) can be made to
come to the front for any odd number of times (3, 5, 7, etc.) be-
fore the Joker makes its appearance.

A packet of five prepared cards are used with a normal

deck. One of the cards is trimmed slightly short, some surfaces
are coated lightly with roughing fluid, and the remaining sur-
faces are polished with a hard automotive wax. See illustration.
12
 On top of an unprepared deck a Three of Diamonds is placed face up. On top of this goes the
Joker, face down. Then the roughed Three of Diamonds, face up. Then the double faced Ten of Clubs
with the roughed side down. Finally a regular Three of Diamonds goes on top, face down. This com-
pletes the setup. Cards other than the Three of Diamonds and Ten of Clubs can be used if desired.

It is a good idea to number the corners of the five cards lightly with a pencil, so they can be set
up easily. At the beginning the deck of cards is in the card case, and placed conveniently with the
houlette and the cloth. During the routine whenever a single card is to be removed from the front of
the houlette, pull it forward slightly before lifting so that roughing will not lift more than one card.
When the triple-lift is to be done, press the front card back to commence lifting it so the roughing
will raise the small packet. When the top edges are clear of the deck, grip them and handle them as
one card.

Remove the deck from the card case and fan it front and back, taking care not to fan the pre-
pared set of five cards. Hold the deck in the hands exactly as if to execute an overhand shuffle, but
with the faces of the deck towards the audience. Apparently cut a packet casually from the back and
drop it on the front. What you actually do is to merely lift the rear two cards and drop them on the
front. The short card makes this “double-lift” easy. This puts the Ten of Clubs on the face of the deck
with the Three of Diamonds behind it.

Place the deck in the houlette and hold the houlette in the fingers. Remove the double-faced
card and go through the action of inserting it into the deck, while you really push it down at the back
of the deck. The Three of Diamonds is now facing the audience.

Open the handkerchief and pass it over the houlette, reversing the houlette to bring the
double-face Ten to the front. This is repeated twice more, and it will be seen that each time the Three
of Diamonds is always showing when the Ten is removed.

After the third time, when you remove the Ten, use the roughed surfaces to help you lift the
three cards together and place them at the back. Now when you reverse the houlette the Joker will
come to the front. Finally, when you lift the Joker, the roughing is used to lift the three cards again
and these are placed at the back. One more reversal of the houlette brings the Ten to the front again,
and it may be lifted to show the Three is still behind it.

Use a cloth of a neutral color in order to minimize its importance make sure it is opaque. You
may substitute an oriental fan instead. Try holding the cloth by the side rather than at a corner. Raise
it in front of the houlette and, the instant the houlette is out of sight behind it, reverse the houlette,
then whisk the hank over the cards. This ensures that no movement of the houlette will be observed
and allows for a faster action.

Reversing the houlette is made easy due to the square section of the rod. Practice positioning
your fingers and thumb in such a way that no appreciable difference will be observed between the
two positions. Reverse the houlette with a rolling action similar to the paddle move.

✽✽✽✽✽✽✽
13
 CARDIOGRAPHIC
This effect was first published in the Linking Ring Magazine and later in my Book “Martin’s
Miracles.” For a number of years very few magicians used it. Then David Copperfield performed it
in one of his TV specials. Within weeks the unauthorized versions began to hit the market each one
claiming to be “improved”. Mostly, the improvements consisted in having to buy replacement parts
from the manufacturer. None contributed to the effect.
Some improvements to the effect have been contributed by such notables as Roger Klause,
Ali Bongo, and Dan Garret. These have been added to my own methods and the result published
here for the first time.
It will be seen that some work is necessary to make the equipment, but it is not difficult, and
once made it can be used over and over many times. It costs little to make, so I would recommend
that a number of them be constructed, each with a different playing card so that the “choice” of a
card may be varied. After all, it does seem suspicious if a person sees the performer several times,
and each time the freely chosen card is the same.

THE EFFECT

After a card has been chosen and shown to the audience, the performer picks up a sketch-pad
and draws the outline of a playing card, and then, after a moment of seeming concentration, com-
pletes the card by drawing in the pips and indices, which he claims is the chosen card.
The spectator disavows this, but the performer is unperturbed. He adds a few lines to the side
of the drawing of the card, explaining that it is not a single card he has drawn, but a full deck. Then
holding the pad facing the audience, he commands the correct card to rise, and a drawing of the cho-

Backing board
Thin sheet metal
Fig.1
Plain page

All glued together

to form one
single piece

Souvenier page

Duplicate cover and blank

page glued together

Rising page

Front Cover

14
sen card rises from the drawing of the deck and stops about halfway. Finally the performer tears out
the page, autographs it and gives it to the spectator as a souvenir, who discovers to his bafflement
that he has a normal drawing with no moving parts.

REQUIREMENTS

I have experimented with sketch pads of all sorts and sizes and come to the conclusion that an
eleven by fourteen inch size is ideal for most stage shows. If you have enormous audiences, you
might want to go bigger, but I checked out the eleven by fourteen pad in a thousand seat theater and
visibility was good even from the back.

The pad should be of the type which opens at the narrow end and is bound with a single spi-
ral wire. This kind is used because it has single sheets instead of being joined at the top with a flex-
ible cement, and it will be necessary to pass a thread from between the pages through this part.
Whatever pad you use find one with a cover that contrasts well, on both sides, with the paper. The
reason for this will become apparent later. I use a Strathmore brand, model 340-311, drawing tablet
which has a bright yellow cover and an 70lb weight paper. You will need two of these.

MAKING THE PAD

(1) Clip off one of the bent over ends of the spring bindings and “unscrew” the coils from both
pads.
(2) Prepare one of the cardboard backs by gluing a two by twelve inch strip of thin gauge sheet
metal to the left side and then gluing a single blank sheet over that to conceal it (fig.1)
(3) Trim one quarter to three eighths of an inch off the bottom of the back and the bottom of one
cover.
(4) Prepare the other cover by gluing a blank sheet on the front of it. This prevents any of the
cover art from showing through the top sheet. I use 3M super 77 spray glue for the above construc-
tion.
(5) Now we come to the drawing of the card which is to rise. A full size illustration is included
here (fig. 2). Use tracing paper to copy this to a blank sheet. Then color it in using black for the
edges and red for the indices and pip. Glue a sheet of thin plastic to the back and cut around the out-
line. The plastic I use is made by the Evergreen Model Company and is .015” (0.4mm) thick styrene.
Make sure that the cut edges are square and true, and round the corners so as not to impede progress
during the rising. Make a small hole in the bottom to attach the thread to.Spray with artists matte
fixative to prevent finger marks from showing.
(6) Make a cardboard template for the initial sketch. A full size template is shown in (fig.3). Pho-
tocopy this and glue it in the proper position. See the master sheet (fig.4,) on an eleven by fourteen
sheet of thin poster board. Cut away the black areas with an exacto knife.
(7) Now make a master sheet as shown in (fig.4) by first laying this template on a blank sheet
making pencil lines through the slots, the thin lines on the template showing which side of the cut-
outs should be penciled. Then place the sheet over the insert made in step 4 and, as the paper is not
completely opaque, it will show through faintly. Trace the edges of this with a pencil. Finally use a
black permanent marker to draw the picture shown in (fig.4) using the pencil marks a a guide. Don’t
miss the “quotation” marks around the rising card, this detail from Dan Garret gives the finished pic-
ture a feeling of movement and allows a little subtlety to be introduced into the routine that will be

15
INSERT Fig.2

16
TEMPLATE Fig.3

17
 MASTER PAGE Fig.4

11"
Fold and tape

2.7/8" 2.7/8"

7.7/8" 5.1/4"

1/2"

ENVELOPE TEMPLATE Fig.5

18
 Fig.7

Fig.6

seen later. Add cutouts to the template to correspond with these marks.
(8) Make a cardboard template for an envelope as shown in (fig.5)
Each show you do will use up two prepared sheets - by using the master sheet and the tem-
plates these can be “mass produced” quickly using the following instructions.
(9) Make as many souvenir sheets as you want by placing a blank sheet over the master and, as the
paper is not completely opaque, you will be able to see to draw a copy of the master onto the blank.
(10) Making the rising sheet. Lay the template on a blank sheet and lightly pencil in all the marks to
guide you in making the initial drawing as per the presentation. Use an exacto knife to cut along the
line at the top of the Ace of Clubs wide enough to allow the insert to pass through. Draw a black line
through this with a marker rounding the ends as indicated by the pencil marks. Try to get the slit
about centered on the black line.
Use the envelope template to cut some blank sheets to size and fold them on the lines. Use
transparent tape to seal the bottom and back. See (fig.5). Tape this in place behind the sheet being
careful to align the top of the envelope with the slit. Attach a length of thread to the bottom of the
insert.A strong button thread colored to match the back of the pad will suffice. Slip the insert into the
envelope and make sure the top end of the insert protrudes through the slit. You may have to make
some adjustments to the position of the envelope to accomplish this as you want only the black top
line of the insert showing through the slit.
(11) Assemble the pad as show in (fig.1). Run the thread up the back of the rising page and out
the top then replace the spring. Attach a small, strong, magnet to the end of the thread allowing
enough length to stick the magnet to the inside top left of the pad between the cover and first sheet
(fig.6). On the outside the thread should run along the bottom of the spring thus effectively conceal-
ing it. Test the rising action a few times to make sure all is working right.

19
 PERFORMANCE

Force the required card, and make sure everyone knows what it is. Pick up the pad allowing
the back to be seen, open it, and as you do, slip the magnet around to the back where it is hidden by
the cover.
Use a black marker and finish drawing the outline of the card that has already been started by
the black line over the slit. As you progress, turn your back to the audience so they may see you
complete drawing the outline. Usually turning your back on an audience is considered bad theater,
this is an exception to that rule. You are turning in order to get more light on the paper, a natural
thing to do. In the process, you are showing the pad to appear unprepared without saying so.
When you have completed the outline say, “I seem to be drawing a blank (show drawing), let
me concentrate harder.”
Turn the back of the pad toward the audience and complete drawing the Ace of Clubs, Show
it to the audience saying, “Does this look familiar? (No) It’s not the selected card is it? (No) Well I
didn’t think so, it was pretty much a shot in the dark! Actually, if I just add a line here you will see
the my picture is of a deck of cards and yours is somewhere in the middle. Now just out of interest
what was it?”
As you say this turn the drawing to the front and hold the pad in front of you at chest height,
by its sides, with your fingers at the front and your thumbs behind. Your right thumb should be
slipped between the cover and the backboard and be resting on the magnet. Slowly draw the magnet
down with you thumb to make the card rise, it's a magical moment so don’t hurry here.
After it has risen, add the “quotation” marks so that it matches the duplicate. Continuing to
draw after the animation has occurred is Dan Garret’s idea and it serves to put a “break” between the
time the card has risen and the switch and allowing the audience to relax after the effect. It’s during
this relaxation the you do the switch.
The handling of the page switch was vastly improved over the original by Roger Klause. His
idea was to take the two pages as one, raise them together and start to fold them over the back, just
before they close all the way, the gimmicked sheet is released and the second sheet (the giveaway) is
raised again as it is torn off. Ali Bongo suggested adding the duplicate cover, so that after the switch
had taken place the back of the pad can be shown and all appears as it should be. These two ideas,
together with the right timing can make an extremely deceptive exchange of the two sheets. Here are
the “moves.”
Readjust your left hand to hold the pad by the bottom edge holding only the folded back
cover and the cardboard back. This is made easier because the two have been trimmed short. Lift the
three loose pages with your right hand, folding them up and over the pad, as they come down behind
tilt the pad until it is horizontal. As the hands come together on the other side of the pad, let all the
pages but the top one fall onto the back of the pad. Then without hesitation lift the single sheet for-
ward and tear it off.
The natural action of ripping a sheet from a pad is to tear diagonally and that is what you do.
Turn to the left as you tear so the audience can see the duplicate back which heightens the impres-
sion of a single sheet. The “bleed” through caused by the markers will show an impression on the
back of the sheet being torn off which also enhances the switch.
All that remains is to sign your work and hand it to a spectator as a souvenir and ask them to
verify that there are no moving parts and that it is just a sketch. Close by saying “Take it home with
you... show it to your friends... tell them what happened... and I promise... they’ll never believe
you.”
20
 THE POINT OF ARRIVAL
This is a very strong card effect which I have performed many times, and it has never failed to
impress both magicians and laymen alike. Although my general policy is to avoid individual credits
(because they are many and often controversial), I do in this instance wish to comment that I devised
this present effect after a session with my friend Bruce Cervon, during which Bruce demonstrated
his version of an Elmsley routine.

THE EFFECT
Broadly, this is the classic Cards Across, but with some important differences. Ten cards are
counted by a spectator, who then wraps them in a handkerchief and holds them as the effect pro-
ceeds.

Two cards are now selected from the balance of the deck, and these are marked and returned to
the deck. The strong point of the whole effect is that these two cards are chosen and marked after the
ten cards have been wrapped by the spectator. Even so, the two marked cards vanish from the deck
and join the ten in the handkerchief.

REQUIREMENTS AND PREPARATION

An unprepared deck of cards. A marker for initialing the cards, and we recommend the
“Sharpie” because this writes boldly and dries within seconds. A pocket handkerchief, and this
should be pleated as shown at “A” in the illustration and placed on the table in front of an assisting
spectator so that he can pick up the corners “X” and hold the handkerchief spread out as shown at
“B.” This point has been emphasized because it will form strong misdirection for a critical move
during the routine.

ROUTINE
(1) Give a shuffled deck to the assisting spectator and ask him to count ten cards on top of the folded
handkerchief. Ignore him while he is doing this, and talk to the audience: this wilful neglect serves to
justify what follows.

When the cards have been counted, retrieve the balance of the deck and hold it while you ask
the audience whether they counted the cards along with the helper. While you are asking, look at the
audience and then at the cards on the handkerchief. At the same time casually palm off two cards
from the deck. The question and
the use of your eyes forms
perfect misdirection for the
move.

It is unlikely that anyone did

count because you had kept them
occupied with your patter; so
you say you had better check
them. Place the deck on the table
and extend your empty hand
with the request that the assistant
21
pick up the packet from the handkerchief and count them aloud onto your palm. During this, your
hand with the palmed cards should be idly resting on the table.

Now comes the important move with the handkerchief. It is the “one, two, three” form of
misdirection which was often favored by Slydini, and which in this case perfectly covers the addition
of the two palmed cards to the ten counted by the spectator. You instruct the assistant how to pick up
the handkerchief and hold it spread out by miming the action yourself with an imaginary handker-
chief. It is during this miming that you add the two palmed cards to the ten.

“One,” tell the assistant to take hold of the two corners and mime the action of doing this.
“Two,” as he does this bring the hands back and together to rest for just a second on the table, and at
this very moment add the two cards to the ten. “Three,” tell the assistant to raise the handkerchief
and hold it spread out, and again you mime the action. Remember, the three steps should blend into
one smooth action with virtually no hesitation when the hands come together. Done this way all eyes
will be on what the assistant is doing, and not on your hands. You, yourself, should also be looking at
the assistant and not at your own miming actions.

It may seem that I have labored this point concerning what is really a quite simple move-
ment, but it is such planned actions and misdirection which can change a “trick” into a ”miracle.”

To continue. You now have twelve cards in the packet unknown to the audience. Thrust them
into the center of the handkerchief and ask the assistant to release his corners so the handkerchief
drapes over the cards. Then take the cards through the handkerchief and twist the ends so they are
imprisoned. He continues to hold these wrapped cards as the effect proceeds.

(2) Take the balance of the deck and have two spectators each choose a card; then initial them. The
time spent in doing this is a good time to emphasize that this is being done after the ten cards were
wrapped.

Have both cards returned to the deck, but secretly control them to the top, using whatever
method you favor. Martin uses an overhand shuffle. Obtain a break under the two top cards and you
will be set to execute the “Braue Reversal,” which appears to be no more than a fancy cut, but
actually turns the deck face up and leaves the two chosen cards face down at the bottom.

To accomplish this, hold the deck in the right hand from above with the fingers at the front
and the thumb (holding the break) at the rear. With the left hand undercut about half of the deck. Flip
this portion face up and deposit it on top of the right-hand stock. Then, in a continuing action, take
all the cards from below the break into the left hand, flip them face up and put them on top of all.
Ask the spectators if they have any idea where the chosen cards are; but it is a tongue-in-cheek
question because the spectators will be confused by your little bit of card jugglery.

(3) You will now use a fairly well-known technique to show that the two chosen cards have appar-
ently vanished from the deck. Cut about a third from the top of the face-up deck and ribbon-spread
them left to right across the table, asking the spectators to look for their cards. They will not be there;
so close them up, turn them face down, and leave them on the table.

22
 Cut about half of the remaining cards and repeat the preceding actions, finally leaving this
portion loosely squared on top of the other tabled packet. Again, the spectators will not have seen
their cards.

Spread the remaining face-up cards as before, but this time drop them on the tabled face-
down cards before spreading them. Still the chosen cards will not be seen. Scoop the face-up cards
together from left to right, turn them face down. Then pick up the other facedown packet and drop it
on top. Although the chosen cards appear to have vanished, they are actually on top of the face-down
deck.

(4) Pick up the deck and square it, and at the same time ask the spectator with the “ten” cards to
unwrap them. As you ask, obtain a break beneath the two selected cards in the deck you are holding.

Now ask the spectator to slowly count aloud his packet of cards face down onto the table. As
he reaches “ten,” palm the two chosen cards from the pack and casually put the latter aside.

(5) Pick up the twelve tabled cards, and with your right hand add the two palmed cards. The misdi-
rection is very strong here because the audience will believe the effect is finished and will not sus-
pect that anything further is needed in the way of manipulation. You now have fourteen cards, but no
one is going to count them.

Give the packet a casual cut, and place it face-up onto the table. “Somewhere there should be
two familiar cards.” Push cards off this packet singly with the tip of the index finger until the two
signed cards are discovered. Push these two cards forward for identification and reassemble the rest
of the pack before a sharp-eyed card player counts the cards in the spread.

THE whispering JOKER

The plot for this effect is based on the Whispering Queen which is credited to Ladson Butler in
Hugard’s “Encyclopedia of Card Tricks.” In his effect four piles of cards are dealt on the table, a
queen is slipped under each pile briefly and reveals the name of that card by seemingly whispering it
to the magician.
I liked the idea of a “gossipy” queen that whispers the name of an unknown card in your ear.
But I didn’t like the method or the repetition of the effect with no climax. I wanted three different
revelations done under impossible conditions. Roy Johnson has a marvelous effect in his book “Pure
Gold” called S.U.M., which is where I drew the inspiration for the “Whispering Joker.”

EFFECT
The Joker is removed from the deck and set aside. A blindfold, in the form of a twenty two
inch square of opaque fabric, is used to cover the rest of the pack. A spectator reaches underneath
and is instructed to cut the deck as often as he wishes. He is then asked to take the top card and put it
into his pocket without looking. Next he is to take the bottom card, turn it face up, and put it in the
middle. Finally to deal a card from the top onto the table.

23
 The cloth is left in place covering the
tabled card, and the deck is set aside. The ma-
gician slips the Joker under the edge of the
fabric and then holds it to his ear and listens,
claiming that the Joker is telling him the name
of the card under the cloth. Upon looking he is
found to be right. The Joker also mentions the
name of the card in the spectators pocket and
that is also found to be correct. Finally the
Joker whispers the name of the card reversed
in the middle of the pack and the deck is rib-
Here is the bon spread to show that it is indeed true too!
cutout
REQUIRED
You must make up a Roy Johnson S.U.M.
deck using blue backed Bicycle Riders. This
deck is both stacked and marked - but with
one important difference. Roy marks the back
of each card with the identity of the card im-
mediately above it. This opens up all sorts of
possibilities.
The deck need not be stacked for my routine, but I prefer to stack them anyway for a couple of
reasons. One, it makes it easier to reset the deck if they should become accidentally mixed and two,
you can use the cards as a regular marked deck by simply looking at the back and naming the next
card in the stack.I use the “Eight Kings” stack because I was brought up on it. You can use any stack
that you are familiar with.
For marking I have found that the Ted Leslie marking system to be the best for this particular
effect. The reason for this will become apparent soon. The system is available from Martin Breese in
England or Magic Inc. in Chicago, USA. The Leslie system recommends marking only one end of
the pack but for this trick, you will need to mark both ends.

You will also need a specially prepared card case. It has sort of a “Black Art” window in one
side that coincides with the marks on the back of the pack allowing them to be read through the case
easily. Properly prepared this window is invisible to the casual eye. It is made by first carefully re-
moving the cellophane. Keep the lower half intact as you will be putting it back on later. Next cut
out an irregular hole in the box. (fig.1.) This is the location of the Ted Leslie marks. Next glue a half
card inside the case at the bottom front so that if you were to peek through the hole you just made
you would see the back of it. Finally color the cut edges of the hole with blue watercolor paint and
put the cellophane cover back on. Notice that the addition of the half card, the painted edges, and the
cellophane, all work together in disguising the hole admirably.
You will also need a twenty two inch square of opaque black material for the blindfold.

PRESENTATION
Remove the deck from the case and casually set the case aside, hole up. Give the deck a false
shuffle and a real cut and set it in front of the spectator on your right. Explain that you don’t want
anyone to see the cards and for that reason you will “blindfold” the deck (cover the it with the cloth.)
There are two reasons for the cloth. First it keeps the effect in view as opposed to putting the cards
24
behind your back or under the table. Second it helps keep the spectator from putting the cards in the
case face up, thus preventing you from seeing the mark.
Have the spectator follow the instruction detailed in the effect described. Slip the case under
the cloth when required, make sure the hole is up. The rest is presentation. The mark viewed through
the window tells you the card under the cloth. The back of the card under the cloth names the card in
the pocket, and the card in the pocket names the card reversed in the deck.

NOTES
If you cannot find the Ted Leslie card marking system, then I recommend Bob Farmer’s won-
derful system which he describes in the October 1996 issue of MAGIC magazine. You will need to
make two holes in the case to accommodate this deck. Also if you get a spectator who puts the deck
in the case facing the wrong way, which will be apparent as soon as you glance at the case, simply
listen to the joker for a moment and state that he has told you are told that the deck is in the case up-
side down. Take it out and show it to be true, put it back the right way and continue as normal.

QUEENIE
I believe this to be one of the “gems” of these notes. I have seen Martin perform it many times
both impromptu and in formal close-up shows and it has never ceased to amaze and please me. It
will well repay the reader for the time and effort put into learning and practicing the routine for it is
more than just a card trick. It is a routine of six effects with two Jokers and a Queen blended into a
smooth sequence with one basic theme — one never knows where the Queen is going to turn up.

There is one aspect of the routine which has a strong visual impact on the watchers and leaves
them completely bewildered. The routine is performed with some deliberation, then quite suddenly,
right in the middle, there is a rapid series of moves where the Queen appears to jump from place to
place. Then the routine proceeds more steadily to the conclusion.

One double-face card is used but the routine is arranged to finish “clean” with only three unpre-
pared cards. Patter is included in the description of the routine, but let it be understood that this is
purely descriptive and is used here to make the effect clear. It is not intended that you use it as given.

REQUIREMENTS

Four cards are needed: two Jokers, a Queen and a double-face card which has a duplicate Queen
on one side and a Joker on the other. The double-face card can be made by simply rubber-cementing
two cards back to back because the extra thickness will cause no problems. It has, in fact, a slight
advantage in that one can tell which is the double face card during the routine. A simple, specially
prepared wallet is also required and this is illustrated in Fig. 1. It is a folding card wallet made from
vinyl plastic and has two transparent pockets inside. These are very common to magicians as most
packet card tricks are packaged in them.

The wallets are easily obtainable from places like Woolworth’s and you will need two of the
same color. From one of them cut a panel of vinyl which will exactly fit into one of the pockets of

25
 the other. Put a dab or two of cement on
the underside of the panel at the extreme
narrow edges before inserting it into the
pocket. Do not be too free with the
cement or it can be messy sliding it into
place. All that is needed is sufficient to
prevent the panel from being accidentally
pulled out with the cards. If a card is
placed under this panel, the wallet will
appear to be empty.

When Martin started using this

routine he used a Himber style wallet.
This had the advantage that in part of the routine it was not necessary to reverse one of the cards, but
is has the disadvantage of being uncommon here in sunny California and therefore tends to be
suspect. The very simple plastic folder recommended appears to be just a holder for the cards and no
one gives it a second thought.

To prepare for the routine first place a normal Joker face up in the prepared pocket, on top of the
division so it shows. Push it well down into one corner. Take the other three cards face up and stack
them with the normal Joker on the bottom, then the normal Queen and on top the double-face card
with the Joker side upwards. Square this packet and insert it into the pocket on top of the Joker
already there, but jogged upwards as shown in Fig. 1 so that when required they can be removed
easily without disturbing the Joker already there. There is nothing under the vinyl insert at this time.
Close the wallet and you are ready for the routine.

FIRST SEQUENCE

Open the wallet and show the cards under the window. Start to remove them, but as you do so
raise the wallet so the audience cannot see the cards and pull out the prepared stack, leaving the
single Joker inside. Flip the wallet closed and place it aside. Fan the three cards face up to show the
Queen between two Jokers.

“The three-card trick has been used by card cheats and sharks for centuries. It always works for
those who use it and no one knows why. I have made a study of this and would like to show you what
I found. I will use these two Jokers and the Queen to demonstrate. Now if you mix the cards in this
manner - Joker, Queen, Joker, the Queen should be in the middle. But it is not!”

The actions which accompany this patter are as follows. Square up the cards and turn them face
down. Thumb off the top card and show it is a Joker, then place it to the bottom. Double-lift the next
two cards as one and place them on the bottom without showing them. Remove the next single card,
show it is a Joker and place it at the bottom.

Turn the cards face up and fan them to show the Queen on the bottom. This rather elementary
effect serves as a simple introduction to the routine and also lets the backs of three cards be seen.

26
 SECOND SEQUENCE

“I thought I could understand it better if I did it with the cards face up. Look, a Joker, and
Queen and a Joker. That should put the Queen in the middle -but it does not!”

Remove the Queen from the bottom of the fan, insert it into the middle and square up the
packet. With the packet still face up place the top single card to the bottom. Double lift the next two
as one and place it on the bottom, then also double-lift the next pair and put them on the bottom. It
would appear that the Queen is between the two Jokers, but when the cards are fanned it is at the
bottom.

THIRD SEQUENCE

“Now here is another strange thing that happens. If I put the Queen face down in the middle - it
turns over!”

Put the Queen face up on the table, then square up the two Jokers and turn them face down,
holding them in a dealing position. Pick up the Queen, turn it face down and apparently insert it
between the two Jokers. What you really do is pretend to insert one corner between the Jokers in the
manner shown in Fig.2.

Actually you are placing the corner behind the two Jokers, and then pushing the card down
square to the bottom of the packet. Immediately fan the cards and show the Queen in the middle is
face up.

PAUSE FOR CHECKING

This is not a pause in the routine, but in this description. The moves for the fourth sequence are
a little complicated, although easy when understood. As a result the reader who is unfamiliar with
the moves may foul up and have to start over. So to avoid having to go over the first three sequences
again, here is the arrangement of the cards at the end of the third sequence. The top card face down
is the single Joker. The bottom card face down is the single Queen. The center card is the double one
with the Queen showing on top.

FOURTH SEQUENCE

This effect takes place twice in rapid succession with a slight variation of handling each time, so
we will describe them separately.

(1) The three cards are in a fan in the left hand. Turn the right hand over so it is palm down and take
the card at the right of the fan (the face-down Joker). Turn the hand with the card palm upwards to
show the face of the Joker.

Slide the Joker under the Queen and take both cards in the right hand slightly fanned. Turn the
right hand palm down and then slide the card which is now face down in the pair onto the table. This
card is actually a Joker, but because a Joker can be seen in the hand, the audience believes the tabled
card to be the Queen.
27
 Turn the right hand palm upwards at the same time adjusting the card so the Joker face remains
in view. Patter “If the Queen is over there (indicate the tabled card), then it cannot be here (turn over
the card in the left hand to show it is a Queen) unless this is a Joker!”

Place the Joker which is in the right hand on top of the Queen in the left hand, and then use the
right hand to turn over the tabled card to show that it is a Joker.

(2) While the right hand is turning over the tabled Joker in the preceding move, turn the left hand
over with the cards and move the hand towards the left a little. Immediately deposit the face down
card from this hand to the table at your left. (This is the Queen, but because the audience can still see
a Queen in your hand, they believe it to be the Joker.)

Pick up the tabled Joker face up in the right hand and place the Queen from the left on top of it.
Again turn the right hand and cards over and slide the facedown card onto the table to your right.
Turn right hand palm upwards, readjusting card so Joker face remains showing. Repeat the previous
patter. “And if the Queen is over there (indicate face-down card to your right) it cannot be here (turn
up the card at your left to show it is a Queen. Pick it up and place it under the Joker, holding both in
the left hand) unless a Joker is here!” With the right hand turn over the tabled card and show it is a
Joker. Place it on top of the two cards in the left hand.

Note: The preceding two sets of moves should be practiced so they can be performed rapidly
with no pause between them. The position of the cards at the end of sequence Four will be: top card
is the single Joker face up, bottom card the single Queen face up and the center card the double one
with the Joker uppermost.

FIFTH SEQUENCE

Now for the first time the wallet comes into use. Patter, “Let us make it a bit easier to follow by
eliminating one of the Jokers and just using one Joker and the Queen.“ Take the upper Joker from
the fan in the right hand. Turn the left hand over and move it towards your left. Allow the face-down
card (which the audience will believe is a Joker) to slide onto the table as if discarded.

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 Place the Queen from the left hand on top of the Joker in the right hand. Square them, turn them
face down and place them on the table. Pick up the wallet in the right hand, and with the left forefin-
ger separate the two cards on the table so the Joker is seen. “Now I place a Queen here and a Joker
under the wallet and see how fast it happens! The Joker is now here and the Queen is here!”

As the preceding remarks are made pick up the Joker and place it under the wallet, secretly
flipping it over so the Queen face is now uppermost. Drop the wallet and card at the side of the
tabled card. Slide the wallet aside to show the Queen and turn over the other card to show the Joker.

Note: We agree that there is a discrepancy in the preceding sequence inasmuch as one of the
cards appears to have turned face up while it should not have done so. It has been our experience that
this is never noticed by a normal audience who has been “conditioned” and baffled by what has been
taking place.

FINAL SEQUENCE

This was designed not merely to add one more effect to the routine, but to leave you “clean” at
the finish with three unprepared cards.

Pick up the wallet and open it away from the audience so they do not see the joker in the win-
dow. Take the visible Queen (double-faced card) and insert it into the wallet underneath the vinyl
insert. Turn the face-up Joker on the table face down, and immediately show the Joker in the wallet.
Remove this Joker and lay it on the table beside the face-down Joker. The wallet appears to be
empty, and the spectators are anticipating that the face-down card will now be the Queen. Turn it
over, and it is still a Joker so you now have the two Jokers. Then reach over and turn up the card
which you discarded earlier in the routine and show that the Queen is now there. Pick up all three
cards, show them freely both sides and dispose of them in the wallet.

EGG BAG PRESENTATION

The following patter is suitable for country clubs or corporate shows. Just use a practice
golf ball instead of an egg. The golfers “pocket” is represented by the bag. Produce a shot
glass to finish.

"I was playing golf with a friend who had a most unusual golf ball. On the first tee he
sliced this ball into the trees. I thought it was lost but he snapped his fingers and the ball grew
little mechanical legs, walked to the fairway, and jumped into his pocket.
On his second stroke he hooked this ball into a sand trap. I thought it was a goner but he
snapped his fingers and the ball grew a little mechanical shovel, dug its way to the fairway,
and jumped into his pocket.
On his third shot he hit the ball straight...straight into a wee stream in front of the green. I
thought the ball was history but he snapped his fingers and the ball grew a little mechanical
outboard motor, propelled itself to the fairway, and jumped into his pocket.
I could contain myself no longer. I asked my friend “Where can I get a ball like that.” He
said, “I dunno, I found it...” "...I went to the nineteenth hole for a drink."

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 LUCIFER'S CARD

In this two part effect first a lit match is vanished and the smoke is “palmed.” Then a selected
card vanishes. As a climax, the matchbook seems to morph into the selected card, the back design of
which is [vanished] matches.

The inspiration for this effect came from Michael Close’s routine The Unreality Machine
from his excellent book “Workers 5” and uses an origami folded matchbook devised by Eric
Kennaway. Michael created a wonderfully unusual routine. Me, well it’s another card trick. The
“palming smoke” gag was show to me by Billy McComb, and appears here with his consent.

Required are; a soft rubber thumbtip, the origami matchbook, and a pack of cards. Accompa-
nying these notes is a sheet that contains the artwork for the origami matchbook. Photocopy this
sheet, both sides, and trim to the crop marks with a sharp knife. Then fold according to the instruc-
tions and illustrations on the following page.

Now peel the striking surface from a real book of matches and glue it to the origami book in
the proper place. A dab of magicians wax may be used in place of the staple to keep the cover closed.
Place a real match inside the origami book (you can tuck it into a fold.) And you are ready.

With the thumbtip fingerpalmed in the left hand, open the matchbook and mime tearing out a
match. In reality take the one tucked inside. Strike the match, put the matchbook between your lips
momentarily while you put the lit match into your hand, (and into the thumbtip.) Steal the tip on the
right thumb and show the match gone.

Because the smoke from the match will remain in the thumbtip you can create an extraordi-
nary effect by reaching up, with the apparently empty right hand, and grabbing an imaginary some-
thing in your fist. Actually grab the thumbtip from the thumb. By squeezing the soft thumbtip in a
pumping action the smoke will puff up from the top of you fist. Stick you thumb back into the tip to
show the hand empty again.

Get rid of the tip as you take out you pack of cards. Force the Six of Clubs and vanish it. In
the lecture I will demonstrate a couple of methods, a sleight of hand way, and a mechanical way. Or
use your own method. Slowly unfold the matchbook then refold it in half so it is inside out. It should
look like a card on one side, with the matches on the other side (representing the back design.) Try
not to show the face of the card while unfolding. Show the back first. Say “This is where the van-
ished match went.” Turn it around to show the selected card.

If you intend to do this trick in a particular club that has their own advertising matches you
can glue their cover in place of the one supplied with these notes. This is even more convincing.

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 FOLDING INSTRUCTIONS
(1) Mountain fold the paper in half. Turn
the paper over.

(2) Fold the sides to the center.

(3) Open the two flaps and squash them.

(4) Take the center flaps to the left and right.

(5) Fold the bottom edge up.

(6) Fold the top edge to a point a little below

the folded edge.

(7) Push the raw edge up behind the concealed

folded edge.

(8) Fold the sides to the center.

(9) Fold the sides in. You must lift the matches
to do this. Notice that the top parts of the
vertical lines are mountain folds. Fold the
top down.

(10) Form the cover. You can use the crease line
from a matchbook as a guide.

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 2 3

MA
TC
HE
S

4 5

6 7 8

10
9
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 MASKELYNE'S 24 RULES

During the lecture I will make some mention of theory, I will try to make this as painless as
possible, by only explaining theory if it is directly related to the effect being demonstrated. I have in-
cluded here, however, what I call “Maskelyne’s two dozen.” These twenty four rules are from the
second edition of Our Magic by Maskelyne and Devant. I believe that if you fully understand these
thoughts and apply them to your performances you cannot fail to become a successful magician.

1. Never set aside any accepted rule, unless it is absolutely necessary to do so for some clearly de-
fined reason.

2. Always endeavor to form an accurate conception of the point of view most likely to be adopted
by a disinterested spectator.

3. Avoid complexity of procedure, and never tax either the patience or the memory of the audience.

4. Never produce two simultaneous effects, and let no effect be obscured by any subsidiary distrac-
tion.

5. Let each magical act represent a complete, distinct, and separate entity; compromising of nothing
beyond one continous chain of essential details, leading to one definite effect.

6. Let every accessory and incidental detail be kept well “within the picture,” and in harmony with
the general impression which is intended to be conveyed..

7. Let nothing occur without an apparently substantial cause, and let every potential cause produce
some apparently consequent effect.

8. Always remember that avoidable defects are incapable of justification.

9. Always remember that a plea of justification is ordinarily an acknowledgement of error, and con-
sequently demands every possible reparation.

10. Cut your coat according to your cloth, but spare no pains in the cutting, or your procedure cannot
be justified.

11. Always remember that a notable surprise is incapable of repetition; and that the repetition of an
effect, of any kind whatever, cannot create surprise.

12. A minor conception ordinarily demands the cumulative effect of repetition; a conception impor-
tant in itself should usually create a distinct suprise.
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13. The simultaneous presentation of two independent feats is permissible when one of them is
associated with cumulative effect and the other in a final surprise.

14. Unless good reason can be shown, never explain, UPON THE STAGE, precisely what you
are about to accomplish.

15. When presenting an effect of pure transition, the first and most important essential is the
avoidance of every possible cause of distraction.

16. When an effect of transition ends with a sudden revelation or suprise, the course of the tran-
sition should be punctuated by actions or sounds leading up to and accentuating the final impres-
sion.

17. In every effect of pure transition, the beginning and end of the process involved should be
distinctly indicated by some coincident occurrence.

18. In each presentation, the procedure should lead up to a culminating point of interest, at
which point the magical effect should be produced and after which nothing magically interesting
should occur.

19. When a presentation includes a number of effects in series, the final effect should represent a
true climax, and it’s predecessors successive steps whereby that climax is reached.

20. When Magic and Drama are combined in one presentation, the stage procedure should pri-
marily be governed by Dramatic requirements of the case, rather than the normal principles of
Art in Magic.

21. When, in a combination of the two arts, the primary requirements of drama have been satis-
fied, all subsidiary details of procedure should be dictated by the normal principles of Art in
Magic.

22. No magician should ever present, in public, any magical feat in which the procedure cannot
be, or has not been, adapted to his own personal characteristics and abilities.

23. Never attempt, in public, anything that cannot be performed with the utmost ease in private.

24. Never present in public any performance which has not been most perfectly rehearsed - first
in detail, and finally as a whole.

✻✻✻✻✻✻✻✻

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