Basic Magic School
Lesson #3 Magic With Anything
The most respected and popular magicians through history have been the ones who were expert in impromptu magic, that is, magic that is done on the spur of the moment without any apparent preparation. As you have already learned, sometimes a trick that looks as though it wasn’t prepared was actually a very wellplanned attack on the audience’s senses. Maybe part of the props were specially made to accomplish some secret chore, or maybe the deck wasn’t shuffled and the cards were in a prearranged order that only the magician could see. In this chapter, however, is magic where the preperformance preparation (if there is any at all) is kept to an absolute minimum. These are tricks that can be sprung at the spur of the moment at parties, office coffee breaks, or any other time when there is a need to keep the situation from getting boring.
Read, learn, and enjoy. . .
13¢ OF MINDREADING
(Bob Hummer)
EFFECT
Two nickels and three pennies are put on the table in no particular pattern. You turn your back and someone turns over one coin at a time, saying “Turn,” each time, until they want to go through the second step. At that point, they either turn over all of the pennies or all of the nickels, but without saying anything. They now resume turning over single coins, saying “Turn,” each time, until they decide they’re done. When you turn back around you tell them whether they turned over the nickels or the pennies.
PROPS NEEDED
Two nickels
Three pennies
ROUTINE
 Either you can put the coins on the table or have someone else do it. Explain that while your back is turned anyone can turn a coin over so the opposite side is up, to say “Turn” as they do so, and they can keep doing this as long as they want.
 As you’re explaining this, quickly count how many coins are showing their heads side up. If there aren’t any heads showing, consider that as a count of zero. Now turn around and have them start turning over coins. Every time you hear them say “Turn,” add one to your mental total.
 When they decide to stop, tell them to turn over either all three of the pennies or all of the nickels, but not to say anything.
 Now they start turning over single coins again, saying “Turn,” and you continue your count. When they’ve stopped the second time, turn around and count the number of tails showing.
 Add that number to your total. If the answer is odd, then they turned over all of the nickles; if the answer is even, then they turned over all of the pennies.
For example, let’s say that you counted three heads before you turned your back. They called out “Turn” four times before they stopped, so you add three and four to get a total of seven. The second time they turned over coins they called out “Turn” two more times, so seven plus two makes nine. When you turn around let’s say that there are four tails showing; adding nine and four gives you thirteen, an odd number. Therefore, they turned over all of the nickels.
INTERLUDE WITH A KNIFE
EFFECT
Four small pieces of paper are moistened and stuck onto the blade of a table knife, two on each side. The pieces are shown again, two on each side, and the pieces are then removed two at a time, and showing both sides of the knife each time. When the knife blade is empty on both sides, a magic wave is made in the air, from left to right, and two of the pieces come back onto the blade. Another wave and the other two pieces come back. Now a wave is made in the opposite direction and two of the pieces vanish by themselves.
PROPS NEEDED
A paper napkin
A table knife, preferably a butter knife with a rounded tip
A glass of water
PREPARATION
The only preparation to this trick is that you have to learn to do what is called a Paddle Move to make it work. This move apparently lets you show both sides of the knife when, in reality, you show the same side twice.
Hold the knife in front of you with the blade pointing straight out and with your hand palm up. Turn your hand so the blade swivels up and back toward you in order to show the other side, but give the handle a halftwist at the same time. Now, with the knife blade pointing at you and your knuckles upwards, it looks as if you’re showing the other side of the knife, but it’s still the first side. Turn your hand back down so it’s palm upwards again, twisting the knife as you do so, and it looks as though you’re showing the first side again.
To actually show both sides of the knife do the same moves, but without twisting the knife. Both moves have to look exactly the same to your audience. Do NOT lift your hand as you turn the knife over, merely twist your wrist so your arm doesn’t move up and down.
ROUTINE
 Take a corner of the napkin and tear off four squares of paper about a half inch square, moisten each one, and stick them to the blade of the knife so there are two on each side, about two inches apart, and so that each square is in the same position as a square on the opposite side.
 Show your audience, which has been watching all along, that you now have two pieces of paper on this side (holding the knife with the blade pointing away from you), and two more pieces on the other side (and you turn the knife over). Turn it back to show the first side again.
 With your left thumb cover the piece closer to you on the knife and pull it off the knife. Make sure that the tip of your first finger (which is on the bottom of the blade) doesn’t pull off the piece on that side. Drop your left hand to your side and pretend to drop the piece of paper, and then bring your left hand up to the same level as the knife and slightly to the left of it.
 Now apparently turn the knife over (actually making the paddle move) at the same time that you bring your left hand to the knife. Cover the blank spot (where you just removed the paper) with either your first finger or your thumb, depending on which one has the paper stuck to it. Apparently pull off the piece of paper at that position, show it, and then drop your hand to get rid of it. Drop the knife back to the first position, again making the paddle move.
 This time remove the outer piece of paper with your left thumb, and repeat all the moves again.
 After you’ve apparently removed the second set of pieces, apparently show both sides of the knife to show it blank by doing the paddle move as you turn it over.
 Now make a clockwise circle in the air with the knife and twist it between your fingers so the second side comes up on top. You now have two pieces of paper on top.
 Turn the knife over, without making the paddle move, to show that the second side is still empty. Bring the knife back to the first position.
 Make another clockwise circle in the air, and do the paddle move to show that the second set of paper pieces has also come back.
 Now make a counterclockwise circle in the air, and turn the knife over to show that the second set has vanished. Wipe the two pieces of paper off the one side of the blade, and you’re done.
BEHEADED MATCH
(Fred Peterson)
EFFECT
One match is torn out of a paper book of matches, and given to someone to examine, and mark, if they wish. As you take back the match, your helper holds out both hands, open and with the palm upwards. The head is torn off the match on put on their right hand and the stem of the match is put on their left hand, which closes over it. Picking up the head of the match, you make it vanish by hitting it against the back of their closed hand. When they open their fingers, the match is restored to its original condition.
PROPS NEEDED
A book of matches
PREPARATION
Beforehand you’ve removed a match from the booklet that you plan to use in the trick, twisted off the head of the match, and put the head in your left pocket. Just before you start the trick, get the head between the first and second fingers of your left hand, so it’s squeezed between the first joints of those fingers.
ROUTINE
 Open the packet of matches and tear out one match. Give it to one of your spectators, and ask her to examine it. Tell her that she can also write her initials on it if she wishes. When she’s satisfied that it’s an ordinary match, take it back with your right first finger and thumb, and so that the head is pointing to your left.
 Now, as you ask her to hold out both hands so they’re both open and with her palms upward, you drop your right hand about a foot and use your right middle finger to rotate the match so its head is now to your right.
 Bring your your two hands together in front of your so your left first finger and thumb cover the bare end of the match, and your right fingers hide the head. Twist both hands as though you’re tearing off the head of the match, and then drop the match head from your left fingers onto her right hand.
 Bring the match to her left hand so it touches her palm, and ask her to to hold it. Don’t let go of the match until her fingers close over yours and so she can’t see that the head is still on the match. Tell her to hold it tight.
 Your right fingers pick up the match head, as you say, “Watch! On the count of three. . .”
 Lift your right fingers up to the level of your head, and then bring them back down to lightly touch the back of her fist, counting “One.” Repeat the move, counting “Two.” When you lift your hand the third time, toss the match head behind you and immediately bring your hand down and strike her fist with your the tip of your first finger, counting “Three!”
 Tell her to open her hand and there will be the completely restored match.
MOVING MATCHES
EFFECT
A pocket box of wooden matches is opened and the matches dumped onto the table. Four of them are picked up and placed in a row in front of you. One match is put into your left hand, and your right picks up the remaining three matches. A shake of your two fists, and when your hands are opened one of the matches has travelled from your right hand to your left. Each hand gets two matches, the fists are again shaken, and a third match travels to your left hand. The last match is picked up by your right hand and thrown invisibly toward your left fist. Your left hand shows four matches, and your right hand is shown empty.
PROPS NEEDED
A small box of wooden matches
ROUTINE
 Open the drawer of the matchbox and dump the matches into a pile to your left.
 Discard the box and pick up a group of matches in your right hand.
 Drop four of them into a row in front of you and with the heads away from you. Drop all but one of the remaining matches onto the large pile to your left, holding that secret match so its head is in the crease of the first joint of your middle finger and its other end is against the base of that finger.
 Your right fingers pick up the match on the left of the row of four, and drop it and the secret match into your left hand, your left fingers closing over them so no one sees the second match.
 Pick up the other three matches in your right hand so that one of them rests in that clipped position in your middle finger, and close that hand into a fist.
 Give each fist a little shake, turn your hands so they’re palm downwards, and open them. Two matches fall out of your left fist, and you let two matches fall out of your right, retaining the third match in your curved middle finger.
 Your right hand comes to the left, picks up one match from the left pile, drops it into your open left hand, picks up the second match, and drops it and the secret match into your closing left hand.
 Your right fingers pick up the two matches on the right, getting one into the clipped position, and closes into a fist.
 Another shake of your fists to make the magic happen, you open your left fist to drop three matches onto the table, and your right hand lets one match fall.
 You pick up the three matches on the left, one at a time, with your right hand and dropping its secret match into the left fist with the third one.
 The last match on the table is picked up and put into clipped position as you again make a fist.
 This time, you make a throwing motion toward your left fist with your right hand, opening your fingers at the same time to show that the last match has apparently left your hand and keeping your hand palm downward.
 Immediately open your left hand to drop its four matches onto the table as the tips of your right fingers rest on the edge of the table. Let the secret match drop into your lap, and you can then lean forward and show that both hands are empty.
COFFEE CATCH
ROUTINE
Two pieces of a paper napkin are wadded up to form small balls of paper, and are covered by an upside down coffee cup. You put the fingers of one hand on the bottom of the cup and apparently pull one of the balls right through the china. Lifting the cup you show that only one ball is left, and cover it again. This time your hand goes under the table and pulls the second ball down through the wood, and you can show the cup and both hands empty.
PROPS NEEDED
A coffee cup
A paper ball made from a paper napkin matching the one you’re going to use in the trick
PREPARATION
The extra ball is in your lap.
ROUTINE
 Pick up a paper napkin, tear it in half, and then tear one half in half again. Take each of those quarters and wad them into a ball that matches the ball in your lap.
 Use the second half of the napkin to wipe out the cup, and then drop the paper to one side as your right hand drops to your lap and picks up the secret ball. Hold it between the tips of your right first and middle fingers.
 Pick up the cup with your left fingers inside the edge of the cup, and drop it upside down over the two balls. Just before you let the edge of the cup drop onto the table, steal one of the balls between the tips of your left first and middle fingers.
 Hold the tips of your left fingers on the edge of the table as your right hand comes over the top of the cup. Push the tips of all four fingers against the bottom of the cup, and as you turn your hand over your thumb rolls the secret ball to the tip of your first finger. Show the ball and drop it to one side.
 Your right hand now picks up the cup to show only one ball on the table, and then, as your hand returns the cup over that remaining ball, your right fingers steal the ball.
 As you rest your right fingers against the edge of the table you put your left hand under the table, knock against the bottom of the table top, and bring your hand out to show a ball at the tips of your first finger and thumb. At the same time you let the ball in your right fingers drop into your lap.
 Now you can show both hands empty.
IMPORTANT POINT
This is a very simple trick, but will fool your audiences only if you learn to steal the balls with both hands. The fact that you alternate your two hands in magically removing the balls from under the cup keeps you one move ahead of their attention and, thus, off balance. Learn to do the entire routine in a steady onetwothree cadence so their eyes and mind have to follow what you’re doing right now and not be able to get ahead of you. The fact that both hands are seen to be empty during the routine also helps you fool them as you make the moves, and they won’t be able to reconstruct the trick afterwards to find any weak points.
FLYING RING
EFFECT
A borrowed finger ring is held in your fist as someone fastens a handkerchief over your entire hand and fastens it in place with a rubber band. A second handkerchief or napkin is fastened around your other hand. You bump your two encased fists together and, apparently, the ring jumps right through your fingers and cloth as it’s in the other hand when the handkerchiefs are removed.
PROPS NEEDED
Two handkerchiefs or cloth napkins
Two rubber bands large enough to go over your fists
ROUTINE
 Have all of your audience in front of you and the props on the table as you ask to borrow a finger ring.
 Take it in your left hand, show it, and then close your fingers over it to make a fist.
 Pick up one of the handkerchiefs with your right hand and drape it over your fist. As you arrange the cloth so that the cloth on the audience side is slightly longer than the cloth on your side, change your grip on the ring so it’s now held by the tip of your left ring finger against the base of your thumb.
 Your right hand points to the rubber bands and as you ask someone to put one of them around your fist, gesture with your right hand. It circles your left hand from the back, up over the top, down in front, underneath, and back up to the back. But─as your right hand goes under your left fist you drop the ring so it falls down through the folds of the cloth and into your right hand as it goes by. Do not hesitate as you make this move. Your right hand has to make a continuous circle around your fist in one, smooth move.
 Your right hand slips the ring onto the tip of your ring finger so your open right hand can then gesture to the second handkerchief as you ask for it to be put around your right fist.
 Then have the remaining rubber band put around your wrist to hold it in place.
 Bump your fists together to apparently make the magic happen, and then have your left fist undone. Show it empty, and when the hank is taken off your other hand, there is the ring.
IMPORTANT POINTS
Keep practicing the circling move with your right hand around your left until you can do it smoothly and without hesitation. Also, when it’s time to put the second handkerchief around your right hand, don’t say that it’s empty. Just close your hand into a fist and have the hank put around it. As soon as you say that it’s empty, someone will want to see your empty hand, and you can’t do that. . .
WHICH WAY IS UP?
EFFECT
You show a square of cardboard that has a large arrow painted on each side, and when you turn the cardboard between your fingers the two arrows point in the same direction. But whenever you snap your fingers, the arrows point in odd directions, sometimes at right angles to each other and at other times they’re opposite to each other.
PROPS NEEDED
A piece of stiff cardboard two to three inches square
PREPARATION
With a black marker draw an arrow on the first side so that it runs from the center to the right edge. When it’s finished, turn the card from left to right and draw a duplicate arrow so it starts at the center and points to the bottom of the square. In other words, the two arrows are actually at right angles to each other.
The cardboard square is easily carried in a pocket so you can pull it out and do the trick any time you like. It’s especially good for children as they start thinking that the arrows can actually move around.
ROUTINE
 Hold the card between your two hands so your left fingers and thumb are at the lower left corner and your right fingers and thumb are at the upper right corner. If the card is small enough for you, then hold it with your right thumb at the lower left and your middle finger at the upper right so your left first finger can turn the card over to show the other side. In either case, the arrow should be pointing away from you. Turn the card over two or three times and you see that both arrows point away from you. 2. Now take the card with your left fingers at the upper left corner so you can snap your right fingers to make the magic happen. But, when your right fingers again grip the card, take it at the lower right corner. Now when you turn the card over the two arrows point up and down.
 This time you’re going to do a series of very sneaky moves. Hold the card so the arrow is pointing toward you, with your left fingers still holding it at the upper left corner. Snap your right fingers and again take the lower right corner, but lift that corner so the bottom of the card pivots up and away from you. When the card is again flat, your left fingers are at the lower left corner and your right fingers are at the upper right, and the arrow is now pointing to your left.
 Snap your right fingers, and again take the upper right corner, twist the card between the two corners, and the second arrow now points to your right.
 Snap your fingers as your left fingers move up to the upper left corner, take hold of the lower right corner, and again do the sneaky move where you pivot the card away from you so the second arrow will point away from you.
 Twist the card two or more times between the two corners to show that the arrows are again pointing in the same direction and you’re done.
MATCHIC PENETRATION
EFFECT
The drawer is removed from a box of matches, and the cover is threaded onto a length of cord. Someone holds onto the two ends of the cord and you cover the cover and cord with a handkerchief. Reaching underneath the cloth, you slide the cover back and forth a few times and then bring it out from under the hank. The handkerchief is empty and you put the drawer back into the cover so it is again an ordinary box of matches.
PROPS NEEDED
Two small boxes of matches
Some wax, StickTak, or Tac `N Stick plastic adhesive
A handkerchief
A twofoot length of cord
PREPARATION
Remove the drawer from one of the matchboxes, and then very carefully separate the seam that holds the cover together. Put two or three dabs of wax or plastic adhesive on one of the hidden surfaces of that seam, and then stick the cover back together.
Put the two matchboxes in one of your pockets, one in each corner, and put the cord between them and remember which one is the prepared box. The handkerchief can go into another pocket, or you can borrow one.
ROUTINE
 Take out the prepared matchbox, remove the drawer with its matches and set it aside, and then bring out the cord. String the cover onto the cord and have someone hold the two ends of the cord, and then put the handkerchief over the cover.
 Reach under the cloth with both hands and turn the cover so the seam is on top of the cord. As you move the cover back and forth on the cord, gently separate the waxed seam to open the cover, drop it away from the cord just far enough to free it, and then press the seam back together.
 Bring the cover out from under the hank, hold it up in a triumphant gesture, then put the drawer back into it.
 As someone else removes the handkerchief from the cord, drop the matchbox back into its corner of your pocket. If someone wants to see the box again, you now give them the second, unprepared box.
IMPORTANT POINT: Don’t be in a rush to get the box back into your pocket. If you do it too quickly, then someone will be suspicious about it and won’t be satisfied when you give them the second box. One way to handle the situation is to tell them (as you’re putting the drawer back into the cover) that it’s all in the way you loop the cord around the cover. By this time you’ve put the box into your pocket and have immediately grabbed the second box, removed it, and slid it across the table to someone.
“Here,” you say, “you try it.”
CHAIN OF THOUGHT
EFFECT
Removing a box from your pocket, you remark that it’s a very important box because it not only has all the props for your next trick, but it also has the prediction.
You open the box and dump out some paperclips. You reach into the pile and pull up a chain of paperclips that are strung together, leaving some loose clips on the table.
“Don’t you hate it when that happens?” you say. “It always take so long to separate all the paperclips.”
Giving the chain to someone, you then turn your back to them.
“I want you to think of any number from one to ten,” you tell them. “Now take that many paperclips off the chain, and then count how many you have still in the chain.
“Do you have one or two digits in your total? Two? Good, then take enough clips off one end of the chain to equal the first digit, and enough clips off the other end of the chain to equal the second digit.
“Count to see how many paperclips are still in the chain. Don’t tell me how many there are, but look at the prediction written inside the box on the bottom.”
Your prediction matches how many paperclips are still on the chain.
PROPS NEEDED
About two dozen paperclips
A box large enough to hold the paperclips
PREPARATION
On the inside bottom of the box write, “You will have 9 paperclips.”
Now link together nineteen of the paperclips into a chain, and put it with the rest of the loose paperclips into the box. Put the box in your pocket and you’re ready.
ROUTINE
 Open the box, turn it upside down, and dump all of the paperclips onto the table. Pick up the chain of clips, give it to someone, and then close the box so no one can see your prediction.
 Turn your back and have them think of a number from one to ten. They remove that many clips from the chain, and count how many are left.
 If the total only has one digit, have them read the prediction.
If the total has two digits, have them remove more clips to equal the two digits, and then read the prediction. If you start with nineteen paperclips in the chain, they will always end up with nine as their final total.
31 WITH A DIE
Although this really isn’t a feat of conjuring, most people expect magicians to be able to win at any game they play. This makes it very difficult for us because if we took the time to learn how to win, or even cheat, at all the popular games, we wouldn’t have any time to learn magic. Magic, not games are our interest, but here is a game where you do use some magic principles in order to win.
EFFECT
You introduce a game that is very simple, but takes a lot of concentration and forethought, something like chess. So saying, you ask someone to roll a die (one of a pair of dice) out onto the table. You use the number that shows as the first number in a running total by turning the die so one of its four sides is now uppermost and adding that number to the first one. A spectator now turns up any one of the four sides, adds the new top number to the total, and then it’s your turn again. The object of the game is to either make a total of 31 with your number or prevent the other player from making 31.
PROPS NEEDED
Any regular die
SECRET
You play certain sides of the die to reach key numbers. As the total gets higher it, naturally, reaches doubledigit numbers, like 13 or 22. For the purposes of your key numbers you add the two digits of a doubledigit number to get a singledigit number as a key. The rules to make your keys are:1. Make a key of 4 with any side of the die
 Make a key of 4 with any side of the die
 Make a key of 1, 5, or 9 with a 3 or 4 of the die
 Make a key of 8 with a 5 or 2 of the die
ROUTINE
 Suppose that your helper rolls a 2.
 You then turn up the 3 to make a total of five (Rule #2).
 Let’s say that the other person then turns up the 6 to make a total of eleven.
 Your move can be to turn up the 2 to make thirteen (one and three make four, as per Rule #1), or the 3 to make fourteen (Rule #2); let’s say you turn up the 3. The total is fourteen.
 The spectator turns up the 6 to make twenty.
 Your move is to turn up the 2 to make twentytwo (Rule #1).
 If your opponent is thinking ahead then their only safe move is to turn up the 1 to make twentythree.
 Your turn moves the 4 to the top to make a total of twentyseven.
 They turn up the 2 to make twentynine.
 You turn up the 1 to make thirty, and they can’t move to make thirtyone. You win.
If you practice with a die, using your left hand for your opponent’s moves and your right hand for your moves, you’ll very soon be able to remember the three rules and make your moves fairly quickly.
MAGIC WITH A COPIER
The following four tricks involve artwork that you can copy with any xerox copy machine to make your props. If you have to paste your artwork onto a piece of cardboard or a playing card, use either YES Stikflat Paste or rubber cement, both of which you can find at any good artist’s supply store.
MIKO
(Harold Sterling)
EFFECT
Showing a packet of six playing cards, you deal them out in a facedown row. A die is given to someone to roll out, and whichever number shows on top is used to count to a card in the row. That card is pushed forward, but kept face down. While your back is turned the die is rolled again, and the top and bottom numbers are added together, and then divided by two. The result is going to match the value of the playing card. Your helper, however, says that it won’t work because his result is threeandahalf. But when you turn over the card it is the ThreeandaHalf of Clubs.
PROPS NEEDED
Six extra playing cards
A xerox copy machine
A die
PREPARATION
Put the page with the 3½ artwork on a copier and make a copy. Put that copy back into the paper supply drawer of the copier, but turned so the second set of images will be on the other half of the sheet. Make the second copy.
Using the sheet of six images on the copier, put a sheet of 8½”´11″ blank adhesive label stock into the paper supply drawer and make a copy. You now have six images on a large sheet of adhesive paper.
Cut out the six images on the thin lines, remove the backing from the back, and lay down each adhesive 3½ image onto the face of a playing card. Trim off the excess label paper from around the edges of the cards, and you’re ready.
ROUTINE
 Remove the packet of cards and the die from your pocket, and casually mix the cards as you have someone take the die. Lay the cards out in a facedown row in front of you, and then have the die rolled out.
 Ask your helper which end of the row you should start counting from, and count to the card at that number. Push the card toward your helper, pick up the other cards and put them in your pocket.
 Turn your back and have the die rolled again.
 Tell your helper to add the top number to the bottom number, then to divide by two, and that will be the value of the selected card. When he starts laughing or says that it won’t work, turn around and ask for his final total. He’ll say that it’s threeandahalf.
“That’s right,” you say. “Turn over the card.”
They do, and your magic has saved the day again.
IMPORTANT POINTS: Since you have a layer of adhesive label on each card, you should handle the cards at all times so no one gets suspicious of them. The reason you turn your back for the last roll of the die is so you can’t see the numbers and be aware of the fact that they will trying to divide seven by two, since the two opposite sides of a die always equal seven. With your back turned it looks as though you just don’t want to know what the numbers are.
MATHEMATICAL TELEPATHY
EFFECT
Make, that everyone knows that you can’t see the chart while they follow your directions. While your head is turned, someone points out any number on the chart and you give them the total of that number plus the four numbers surrounding it: the one above it, the one below it, and to the left and right of it.
SECRET
Because of the way the numbers on the chart are laid out, the total of the five selected numbers will always be 65.
ROUTINE
 Turn your head as you tell someone to point to any number on the chart.
 They are then to add that number to the one above it, the one below it, and to the ones on each side of it.
 When they’ve finished their adding, you then tell them that they’ve reached a total of 65.
Naturally, you can’t repeat the trick, so go right into the following effect, which uses the same prop.
24  11  3  20  7  24  11  3  20  7 
5  17  9  21  13  5  17  9  21  13 
6  23  15  2  19  6  23  15  2  19 
12  4  16  8  25  12  4  16  8  25 
18  10  22  14  1  18  10  22  14  1 
24  11  3  20  7  24  11  3  20  7 
5  17  9  21  13  5  17  9  21  13 
6  23  15  2  19  6  23  15  2  19 
12  4  16  8  25  12  4  16  8  25 
18  10  22  14  1  18  10  22  14  1 
MATHEMATICAL SEQUEL
EFFECT
Showing a chart with 100 numbers on it, you give someone a small square of cardboard. They put the cardboard on the chart so it covers any group of four numbers, and you immediately name the total of those four numbers. You can even repeat the mystery a couple of times as there will be a different total each time.
PREPARATION
Make a copy of the chart, whatever size is convenient for your use, on a xerocopy machine and glue it to a sheet of cardboard. Trim the edges neatly, and then cut a small piece of cardboard that will just cover a group of four of the numbers.
ROUTINE
 You can either watch or turn your back while the cardboard is put on four numbers of the chart, but you do have to look at the board in order to give the total of those numbers.
 Merely count two numbers diagonally away from any of the four corners of the cardboard. Subtract that number from 65, and you have the total that’s hidden from view.
Let’s say that they put the cardboard near the upper right corner and so it covers the 9, 21, 15, and 2. You look at the lower left corner of the cardboard, count two numbers diagonally away from it (the 4 and the 18), and then subtract the 18 from 65. You get 47, and that’s the total under the cardboard.
Repeat the trick once or twice just to prove that it wasn’t just luck.
THE GIANT MEMORY
EFFECT
You show a chart of a hundred squares, and each square has two numbers in it. The upper number is the number of that square, and the bottom number is a random number made up of six digits.
Claiming that you’ve memorized all the numbers on the chart, you have someone call out the number of any square. They name, say, 33, and you give them the sixdigit number underneath: 246,066.
You can then repeat the feat and the numbers, of course, will be totally different.
SECRET
The secret to this trick is so well hidden that no one will figure it out. When someone gives you the number of a square, you add 9 to it, and then reverse the digits of the answer. If they say 33, you add 9 to get 42, and then reverse the digits to get 24; so the first two digits of the big number are 2 and 4. Now add those two digits together to get the next digit, in this case getting 6. If the total goes to ten or higher, you drop the 1 that’s in front and just keep the second digit. Now you keep adding the last two digits for the next one until you’ve named all six.
PREPARATION
Have the chart enlarged on a copier and mount it on a piece of heavy cardboard. The rest of the trick is in your head.
ROUTINE
 Give the chart to your audience as you explain that there are one hundred squares on the board, each one with a different sixdigit number in it.
 Ask for the number of any square, and you’ll name the number under it.
Let’s say that they ask for square 58. This is what you do:
Add 9 to 58 to get 67 and reverse the digits 76
Add 7 to 6 to get 13 and drop the 1 763
Add 6 to 3 to get 9 7639
Add 3 to 9 to get 12 and drop the 1 76392
Add 9 to 2 to get 11 and drop the 1 763921
Here’s another example to show you how to use zeroes that come up in your calculations. Let’s say that the square selected is 97:
Add 9 to 97 to get 106 and reverse the digits 601
Add 0 to 1 to get 1 6011
Add 1 to 1 to get 2 60112
Add 1 to 2 to get 3 601123
Try it a few times to see how easy it really is.
77
684268 
5
415617 
70
976392 
24
336954 
97
601123 
91
001123 
13
224606 
64
370774 
89
897639 
11
022460 
12
123583 
90
998752 
94
301123 
48
752796 
60
965167 
9
819099 
41
055055 
99
801123 
39
842684 
42
156178 
4
314594 
16
527965 
84
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37
640448 
86
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2
112358 
68
774156 
3
213471 
87
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21
033695 
75
482022 
56
561785 
49
853819 
10
910112 
23
235831 
32
145943 
40
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30
932572 
59
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38
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29
831459 
72
189763 
55
460662 
57
662808 
15
426842 
51
066280 
79
886404 
66
572910 
65
471897 
85
493257 
26
538190 
92
101123 
88
796516 
71
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22
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74
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46
550550 
34
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83
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81
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47
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52
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19
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69
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14
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93
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25
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45
459437 
6
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33
246066 
35
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67
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80
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62
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8
718976 
58
763921 
18
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76
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28
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78
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7
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50
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31
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82
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73
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36
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54
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95
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1
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98
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44
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27
639213 
53
268426 
63
279651 
96
501123 
61
077415 
17
628088 
43
257291 
20
921347 
Houdini’s Magic School
No one has taught more people magic than Houdini’s Magic Shop. We have taught the young, the old and from all walks of life. Our retailentertainment business of magic realized very early on that we had to be able to teach out customers the magic we sell or they would not walk out of our stores happy customers. We have literally taught over ONE MILLION people how to perform and execute magic tricks. We think we got it down. So let us teach you all that we know so you can go out in the works and perform a few magic tricks for your friends, family or business associates.
“All tricks should be presented in as direct and simple a manner as possible. The average person desires and enjoys being entertained by magic. Complicate the process and your tricks become problems. . .the entertainment gets lost.”
To get the most out of a trick, simplify the method as well as the effect; it should be as easy as possible for you to perform it, and it has to be easy for your audience to follow. The rule of thumb is that if you’ve come up with three methods for making a trick work (an electric motor, a clockwork mechanism, or a thread), you use the simplest, a thread. There won’t be any batteries to replace or go dead when you least expect them to, you don’t have to wind anything or take a chance on someone hearing the mechanics, and you can control both the speed and tension.
It doesn’t apply just to the mechanics of magic, either, as the principle is just as easily applied to manipulations. If you do a card trick that has three sleights or secret moves in it, try to figure out how to eliminate one of the moves. Then, if you still like the trick, see if you can eliminate one more move to make it even more perfect. Remember, the more sleights you have in a trick, the more times there are for someone in your audience to catch you. They may only catch you in one of the three sleights that you have to do, but they only need one in order to destroy the mystery of the effect. Keep your movements as natural as possible and your sleights to a minimum.
Now many beginners interpret this to mean that all of their magic should be done with mechanical means. Not at all, it’s almost just the opposite. Your two hands, when properly trained and in perfect synchronization with your mind, can duplicate any mechanical means of doing a magic trick. Señor Mardo said, repeatedly, that his hands could duplicate any trick deck on the market, and he was right. What you have to do is strive to reach that same level of skill and knowledge.
LEARNING OUTCOMES
 Many lectures and hours of content!
 Testing Training Included.
 Learn magic tricks, presentation and performance basics from a professional trainer from your own desk.
 Information packed practical training starting from basics to advanced testing techniques.
 Best suitable for beginners to advanced level users and who learn faster when demonstrated.
 Course content designed by professionals who teach thousands each year.
 Practical assignments.
 Practical learning experience with live project work and examples are available.
Course Features
 Lectures 8
 Quizzes 0
 Duration 1 hour
 Skill level All level
 Language English
 Students 274
 Assessments Yes

Basic Magic Class Cirriculum
Houdini’s School of Magic Vol. 1 teaches the reader the basic secrets of performing magic tricks. Houdini’s School of Magic is designed to assist both the layperson and the novice magician to delight and amaze an audience. After reading this book, the beginner will be able to instantly perform card tricks, ESPMental magic effects, coin tricks, paper money tricks, math tricks and many more effects with ordinary household items. The effects taught in this textbook have been specially chosen based on quality and cleverness. The student will also learn how to prepare, present and practice, the basic rules of magic, timing and how to develop a personality. This first of a two volume set is an anthology of magic tricks from the oldest tricks through history to the illusions shown on television today. Read about magic during the Renaissance, the Golden Age of Magic and magic as presented to the American public via the Vaudeville Circuits. Learn about Harry Houdini’s life and his career; his achievements, his adventures, his sorrows, and his many challenges. Both volumes were edited by noted magician and author, Leo Behnke. with additional material provided by Geno Munari, professional magician and proprietor of the Houdini’s Magic Shops.

test lesson
test lesson to see if it will work