Electro Fun Update 20 – Supplement 1


Tuxedo Junction – Paul Ingram

This is a routine that fits into the `Jazz’ variety, hence the title. For those who are unfamiliar with the term `Jazz’ as applied to magic (cards) it simply means fooling around with the deck and thinking on your feet whilst entertaining with the cards in hand.

The routine was developed whilst working in Singapore where the conditions were mostly subdued lighting and very noisy in nature. I would often perform the routine without speaking as the music was too loud to hear my own voice! Hence, the routine fits into the `Eye Popper’ type of magic where the action is mostly visual in nature. This has the side effect of rendering the routine cross-cultural due to the absent language barrier.


The deck is spread face up and the jokers are removed and pocketed. Two selections are made and once returned are lost into the deck. The selections are found in a flash and then, just as quickly, change places with the jokers which were previously placed into the pocket. The selections are again lost into the deck only to be found again very magically by the performer. For the climax, the selections are lost for a third time only to be found simultaneously by the spectator.


A straight deck of cards containing two or maybe four jokers.


You can begin this routine one of two ways: If using only two jokers, then these are removed from the deck and then palmed immediately back out again to the top of the deck.

Alternatively, begin with four jokers, – two on the top and the other two dispersed within the deck. Begin by removing two of the jokers and pocketing them, being careful not to flash the other two atop the deck. As far as the spectators are concerned, the deck contains two jokers which they have just seen pocketed.

Have two selections made and once returned control them both to the top of the deck so that they are now above the jokers that were already there. Simply swing-cut the top of the deck into the right hand and have both selections placed onto this half. Place the bottom half on top and maintain a break between the two selections. Double undercut to the break bringing the selections to the top and bottom of the deck.

To find the selections the old move of tossing the deck from one hand to the other whilst retaining hold of the top and bottom cards is performed. If you have convinced the spectators that the cards were lost in the deck, then this revelation is surpassingly strong.

Whilst displaying the selections, obtain a pinkie break beneath the jokers which are lying atop the deck. The selections are now placed face up on top of the deck. You now hold a break above the top four cards.

To achieve an apparently instant transposition between the selections and the jokers which were removed earlier, you appear to turn the selections face down. However, you perform the illogical double lift which I believe is credited to Paul Harris. Instead of only turning the selections face down you actually turn all four cards face down, and at the same time, you execute a wrist turn revolving the deck inwards and face down. In a continuous motion, the deck is revolved face up to display two jokers. As you remove the two jokers to place them onto the table obtain a pinkie break beneath the selections on top of the deck.

As the spectators are looking at the jokers, their minds will be occupied at the magical transposition. Use this slight psychological misdirection to palm the selections from the deck, which should be easy due to the break and produce them from the pocket. This reinforces the transposition in the minds of the spectators.

The selections are again shuffled and apparently lost into the deck. They are however, controlled once again to the top of the deck. The deck is held face up in the left hand biddle grip and positioned ready for a side steal. The side steal is performed by using the right hand fingers to push the top card to the left, underneath the deck, into the left hand palm position. Attention is drawn to the face card of the deck and a colour change is used to deposit the palmed card to the face of the deck revealing a selection.

The deck is turned face down and the face card removed to display it. This card is apparently placed onto the table, however, a top change is executed and the other selection is actually placed onto the table.

The deck is now passed from the right hand to the left hand so the right fingers can snap over the tabled card for effect. The card is turned face up to reveal that it has changed to the second selection and as this is taking place the left hand is top palming the first selection. The deck is passed to the right hand and the palmed card is produced from the pocket.

For the climax, the selections are once again apparently lost into the deck however, they are secretly controlled so that they lie on the top and bottom of the deck. To have the spectator find them, the location from the effect `A business Card Prophesy ` by Bill Simon is used. The deck is spread between the hands inviting the spectator to touch any card. Try to control it so that the spectator touches a card positioned near the centre of the deck. You outjog the card touched and appear to simply turn it face up at its location.

However, during this action the deck is actually cut around the card placing the selections immediately above and below it. To achieve this, the top half of the deck is revolved inwards tuning it face up. Use the thumb which is holding this half to grip the outjogged card beneath this half. The top half is now revolved face down reversing the previous action which, also revolves the outjogged card face up. The bottom half of the deck is now placed on top of the face up outjogged card. This sequence has seamlessly and ingeniously switched the top and bottom halves of the deck around the outjogged selection. Refer to the book `Effective Card Magic’ by Bill Simon which is highly recommended for a complete description of this under used, fantastic move.

To finish, use all of your showmanship and presentational skills to reveal the selections lie on either side of the freely touched card. The spectator having apparently found their exact location.


This routine should be performed at a moderately fast pace. Attention should be paid to the timing of the revelation’s were a magic effect has taken place.

I have an alternative, impossible climax location for the routine were, during the course of a one-handed faro shuffle, a card is thrust into the waterfall directly in between the selection ……..really! If you perform the one-handed faro, ask me in person and I will teach it to you.

I suppose some might think this routine contains too much sleight-of-hand and is beyond the reach of most. Well, all good things come to those who practise!


Visual Color Changing Silk – Soumya Deb

Effect: You, the magician show a piece of cardboard about 13 inches square with a star trap in the centre all around. Next display a yellow silk and push the same through the star trapped hole. As the silk passes through the hole and emerges on the opposite side, it has changed its colour to red.

Requirement: Two pieces of reasonably thick cardboard 13 inches square. Two silks one about 12 inch square, say red and the other a little smaller, about 10½ inches square and say yellow in colour. (The smaller silk should be a lighter color, so it does not show through the larger one.) Some coloured cello tape, a piece of rexine or rubber sheet, glue and some decorative paper are also needed.

Preparation: Hold the two pieces of cardboard together one upon the other, and cut a round hole about one inch in diameter. Now separate the pieces and glue square pieces of either rexine or rubber sheet covering each hole. Then cut a cross on each covering of the hole making a star trap (Fig.1). Next, cover other side of the boards with decorative paper leaving the star trap clear. Place a board on the table with the uncovered side up and spread the red silk atop. Other board is now placed over all with the decorative side up .(Fig. 2). Finally, bind the four edges with coloured cello tapes and once done you are ready to go .

Presentation: Show the board all around. Then take a yellow silk, display and drape it over your right index finger as shown in Fig.3. Now hold the board with left hand in front of you and poke the silk covered forefinger fully from the back through the hole. This will push out the hidden silk from other side and the yellow silk will be hidden under it. From the front, the audience will see the colour change. Now you remove the forefinger leaving the projecting silk undisturbed , then from the front pull out the red silk. It will emerge with the yellow one under it. Figures 4 – 6 clarify everything.

Since the yellow silk is a bit smaller, it will remain hidden under the red one.



Novel Coin Penetration – Alan VanHaeften

Effect: Magician shows a coin and places it over the table for a moment, as he shows both of his hands empty. He then picks up the coin with his right fingers and deposits the coin in his left palm. The left fingers close over the same.

Holding the closed fist a few inches above the table, he gives it a sharp tap with his extended forefinger and immediately the coin drops onto the table, apparently penetrating the palm.

Performance and Secret: The effect can be done while seated at a table or standing beside it. Keep a glass of water handy. You take a coin, better a borrowed one. A light coin (like the aluminium 10p or 20p) is easier to work with.

Keep the coin over the table, about 8 inches from the edge of the table and a little to your left. Show both of your hands clean, empty, and of course without trapdoors !

Then hold your left palm flat open, just a few inches above, and exactly over the coin. Look at the audence and make some funny comment, while your right fingers reach for the coin. However, as you begin to talk, you start to cough.

Reach for the glass and drink some water for relief. Surreptitiously dip two fingers in the water. Then secretly wipe these fingers on the back of your left hand.

Now as you pick the coin off the table, your left palm casually drops down over that spot on the table, and you apparently put the coin in the open palm and close your fingers around it.

In reality what happens is this. While the coin is covered with your open left palm, you just feign picking the coin off the table, and your left hand drops over the coin to hide it.

As you talk, you casually press your hand on top of the hidden coin over the table, causing it to stick to the moist back of the hand. Then you pretend to put the coin, supposedly in your right fingers into your left palm and close the fingers around the same.

Lift your closed fist, apparently containing the coin, a few inches off the table. Wait for a few seconds and hit the extended right forefinger sharply over the fist. This dislodges the coin from back of your left fist and drops over the table giving an impression that it dropped penetrating the palm! The illusion is perfect. Have Fun!

Ed. Note: If you have sweaty hands, – (a common phenomenon with most magicians performing before a real audience), the coin will stick to the back of the hand, and you can skip the “cough and drink water” bit. Or you can secretly lick the back of your hand, just prior to the performance.