Bob Ostin - A lifetime of magical inventions

Bob Ostin - A Lifetime Of Magical Inventions

You may think that these dots would be highly visible, but in fact Bob doesn't use

plain paper he makes up scrap-pads, If you work in an office you're probably

already familiar with these. Circulars, print-outs, memos are bound together and the

plain sides of the sheets are used to make notes on. You mark the sheets on the

printed sides, not the plain sides, and the markings can't be seen.

On the plain side of the sheet, which you are going to use, you place a small dot

at the upper right corner. This dot is used as a guide for the tearing.

The Handling: 1) Remove the marked sheet from the pad and hold it with the

plain side towards you, and turn the sheet so that the dot is at the upper left. 2) Fold

the sheet in half, left over right, creasing the fold sharply in preparation for a tear.

3) Open the paper and tear it in two along the crease. Place the left piece on top of

the right (don't turn the papers when doing this). 4) Repeat stages 1,2,3 to get four

pieces. Repeat again but this time the dot on the paper will be at the lower left. Place

the left packet on the right. You now have eight pieces marked in 1 to 8 order.

Each slip is now marked in two places. You have objects called out and memorise

them (using mnemonics) and write each one down on a slip of paper. With the stack

of slips blank side up, you'lI find that they are marked in order from 1 to 8.

Therefore the first object is called out and written on the top slip which is then

handed to a spectator. Ask the spectator to fold the slip in half and then in half again

(usual billet fold). It doesn't matter which way it is folded because you can always

read which number it is and then locate the object in your memorised list.

Illustration 2 shows the folded billets and the position of the, dots. These merely

rotate clockwise and are very easy to read once you know what you are looking for.

So, all the objects are called out and the spectator folds the slips as you write

them down. You could have another spectator write them down if you can find

someone you can rely on. The slips are mixed, and as you take them one-at-a-time,

you merely call off the object from your memorised list that matches with the mark

on the billet. It's all quite simple especially if you are already quite familiar with

memory work of this sort. It doesn't take much effort to memorise eight objects, but

this routine really builds the effect all out of proportion, and turns a simple memory

demonstration into a formidable piece of psychometry. The spectators think you are

somehow guessing what is written down and this throws them off the real method.

Notes: You can use this in a living and dead test or aversion of psychometry in

which the objects are written down instead of borrowed. You deliver the objects to

the spectators whothought of them, and call out each object as it is delivered.

You need not use the scrap-pad idea. The printing on the reverse side of the

paper can be your own advertising material, a pattern or whatever. Bob pointed out

that instead of dots you

could use lined paper and • The marked billets.

create gaps in the lines. DDDD
This of course you would
send to a printer to be

professionally printed and 1 2 34

finished, but you' d have a

valuable prop and it' d
probably cost less to make

0000it up than a good dealer
effect. 5 6 78

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Bob Ostin - A Lifetime Of Magical Inventions

Araby Loeation

Bob performed this routine for me on my last trip to Liverpool. Frankly, I was
amazed. H's a genuinely baffling impromptu effect and I really didn't think it was

going to work ... but it did. Let's start from the beginning. - David Britland.

Effect: Five slips of paper, each having the name of a different girl written on

them, are folded into quarters and stood in a row to represent five tents. The

mentalist turns his back whilst a spectator is asked to imagine that he is on a

camping expedition, and just over in the next field is a party of girls. Five to be

exact, each one in a different tent. The spectator is invited to sneak into one of the

tents and visit the girl of his choice. He does this by choosing one of the slips,

opening it, noting the name of the girl, refolding the slip and returning it to the row.

He then mixes the paper tents up, so that even he doesn't know which slip he

opened. The performer now turns around and discards the tents one-at-a-time until

only one remains. He holds the slip to his temple, and declares that this is the tent

that the spectator visited. Slowly the performer divines the name of the girl. The

spectator admits his guilt, the slip is opened and the performer is proved correct.

Method: The secret lies in the folding of the paper and uses two deceptions, one

old, one new. Borrow a piece of paper and fold it and tear it to form six identical

pieces. Throw one piece away because you won't need it.

You write the name of a girl on one of the slips and then fold it in half, and then

in half again. The manner of the folding is very important. First fold it in half and, as

this is done, press with your left thumb nail to make a little mark at A (as in fig.l ).

This mark will tell you that this is slip number l.

The slip is then turned completely over to bring the folded edge to the right (as in

fig.2). It is then folded in half again but around the right forefinger (as in fig.3). The

right forefinger is then removed from between the folds and the slip is gripped

between the right thumb and forefinger just above the lower folded edge (as in

fig.4). The left thumb and fingers grip the paper a little to the left of the lower right

corner, the apex, and crease the paper tightly along the lower edge by drawing

sharply to the left (as in ~
fig.4). The point of this

is that the lower right

corner of the paper is

not creased sharply by

the left hand. The right

fingers conceal the fact

that the left hand does

not crease all along the

lower edge of the

paper.

If the slip is now

stood on the table, like

a little tent, you will

see that the apex of the

tent, where all the

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Bob Ostin - A Lifetime Of Magical Inventions

creases meet, does not come to a The chosen slip is identified by the sharp apex as in
sharp point (as in fig.5). You must illustration 6. The name on the slip is indicated by the
practice this folding until the
position of the nail nick.

discrepancy is very slight and

obvious only to you.

The second slip is folded in a

similar manner, but the nail nick is

placed half-way towards the centre

to indicate that it is slip number 2.

The third slip is not marked. The fourth and fifth slips are nicked with the right

hand instead of the left so that the nicks appear on the opposite side of the tent.

You can therefore easily identify all five slips. Before each slip is folded, you write

on it the name of a girl. You could have any five girl's names called out and

remember them, but Bob prefers to use the same five names. He remembers their

order by using the first five letters of his daughter's name, Janice, as keys. The name

on the first slip is [ane, the second Anne, the third Norma and so on. To recap, you

know which name is on which slip. The slips can be identified by the nail nicks (or

lack of in the case of slip number 3).

The special folding means that after the spectator has read the name on his

chosen slip, and then refolded it, he will flatten the folded end, so that his slip will

be the only one with a sharp apex. This stands out very clearly if you know what to

look for (as in fig.6).

The working of the routine should now become obvious, but there are one or two

points that you should note. First, when you tell the spectator to fold the slip back

up you shouldn't say something obvious like, "Fold it back up so it looks just like

the others." This sort of line might just tip the method. The spectator will always fold

it up the same way as the others if you make it clear, from your presentation, that

you are about to turn around and try to guess which slip he picked. He' s not about

to help you by folding it in any other manner. It's best to give your instructions

before he does anything. For instance, "When I turn my back, I'd like you to pick up

one of the slips of paper, open it, remember the girl' s name, fold the paper back up

and place it with the others. Then, when you've done that, mix the slips up a bit, so

that even you don't know which one it is." This gives the spectator the overall

picture. As he proceeds to carry out the instructions, you can repeat them and also

work in any presentational notions you may have.

The second important point is that you do not pick up the chosen slip first.

Instead, you pick up all the other slips, one-by-one, saying, "lt's not this one," and

then secretly pressing the apex flat before placing it aside. This disposes of the

evidence. Finally, you pick up the chosen slip, announce that this was the tent that

the spectator visited and then proceed to divine the girl' s name.

The idea of the girls in the tents should make this an excellent comedy item if

that is your style. Producing a shotgun and claiming to be the girl's husband/father

may appeal to the more manic. Dress it as you will, it is an excellent impromptu

effect. The folding principle can be used in many other routines, and with any

number of slips or paper, bills or similar items. It is a little dangerous in that it can't

be claimed to be 100%.You are very much in the spectator's hands, but it's nice to

live dangerously now and again, and a simple out wouldn't be too difficult to find.

If you have any ideas on it... we' d like to know.

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Bob Ostin - A Lifetime Of Magical Inventions

Tilt to Countdown

This novel effect was contributed by Bob Ostin, whose name will no doubt
already be known to you, and who has several other effects destined to enter

the Talon pages. - David Britland.

Have the deck shuffled and explain that, for the purposes of this effect, spot cards

will equal a number equivalent to the number of pips they possess, and that court

cards will be taken to represent the number ten. Have a card selected and the deck

shuffled once more. Take back both the deck and the selected card, and as you

apparently insert the card into the deck, you actually perform the Tilt move so that it

becomes the second card from the top of the deck.

Explain that although you may possibly be able to guess how many cards are

above the selected card, it would be difficult. However, you will demonstrate

something which is impossible. Point out that you cannot know the value of the top

card of the shuffled deck. Turn the card over on the table. Now, whatever value the

card, take cards one-at-a-time from the top of the deck, preparing for the clipped

bottom deal as you do so. For example, if you turn up the seven of spades ... deal

seven cards into the right hand, then apparently show that the seventh card is the

selection, using the clipped bottom deal. Instead of the bottom deal you could, of

course, deal seconds to the required number.

Tilt: To perform Tilt you merely Side view of Tilt top card
take a break under the top card of the

deck with the left fingers. A gap is

created at the rear of the deck. The front [ deck ] back

spectators think that the card inserted

enters at about the middle of the deck.

In reality, the card enters the gap, at the rear of the deck, and becomes the second

card from the top. Fig. I, below, shows your view, and the illustration above shows a

side view. See Marlo's Tilt manuscript for variations and details.

Marlo's Clipped Bottom Deal: Remove the top card and deal it face up onto the

table (assurne it is a six spot). You now deal one card (this will be the selection) into

your right hand face down, where it is clipped between the first and second fingers,

as in fig.2.

The next five cards are dealt on top of the clipped card, but above the first finger

thus creating a gap (not visible to the audience) between them and the clipped

selection. The sixth card is left overhanging the packet, as shown in fig.3. This card is

now apparently thrown onto the table face up, but the clipped card is dealt face up

instead. This is accomplished by the right thumb dragging the protruding card flush

onto the packet, as the hand turns sharply over in an anti-clockwise direction. The

fingers open and

the selection is

released. The

illusion is that

the top card has

been dealt. See

diagram 4.

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Bob Ostin - A Lifetime Of Magical Inventions

Paper Prison

This trick has a mysterious history. Bob has been doing this for over ten years,
longer than I have known hirn. He doesn't claim it as his own, but says that

somewhere in the past, perhaps at a convention, he saw someone doing what he
thought was the following effect. They weren't doing the trick for hirn, but later
he tried to reconstruct wh at he thought he' d seen, and this is the result. Its origins
are very vague, but the trick itself is marvellous and possibly the most original

use of the coin-fold,
Since I've known the trick, I've asked nearly everyone I thought might be able to

help me, but no one has been able to identify the effect. Hence its publication
here. Bob could have been mistaken and may weIl have devised something new.
On the other hand, if the trick is someone else's I can't understand why no one
knows about it. If someone out there can lay claim to the effect then obviously I'd
appreciate hearing from you. Until then, here is one of the most magical effects

with the coin-fold that you will ever see. - David Britland.

Effect: A coin is borrowed and wrapped in a piece of paper. The paper has a
small hole in one side through whieh the coin can be seen but not pass through. The
performer gives the packet a flick and the coin visibly jumps through the tiny hole
and out onto the table. The effect is truly startling.

Preparation: This uses Ed Marlo's coin-fold, whieh can be found in Marlo's
'Coining Magie'. Illustration 1 shows the paper required. You'll notiee that unlike the
usual coin-folds one of the folds is short and in fact extends only less than half way
across the centre section of the paper when folded (2). There is a hole in the centre
panel of the paper. The short section does not reach this hole when folded. These
dimensions are important. The coin should fit loosely within the package The paper
is pre-creased to aid handling. when folded.

Handling: With the short section of the paper to your right place the coin in the
centre panel and fold the short section over it (3). The coin should be against the
extreme left of the centre panel so that it is along the crease of the left section.

The left section of the paper is folded over the coin and the fingers and thumb
grip the left edge of the coir through the paper (4). The right fingers and thumb grip
the paper immediately to the right of the coin but not the coin itself. This is where
the Marlo action comes into
play. The left fingers and thumb
tilt the coin back towards you
whilst the right fingers and
thumb move forwards with the
paper. The result is that the
right edge of the coin comes
free of the paper and flips over
the right short section. You do
have a reason which covers the
handling at this point because
you raise the paper to the
spectator and say, "Can you see

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Bob Ostin - A Lifetime Of Magical Inventions
the coin through the little
hole?" This movement covers
the slight movement of the
paper.

You now fold the upper and
lower sections in to complete
the package (5). The right edge
of the packet is not closed and
you can probably see the edge
of the coin so keep this side
angled away from the
spectators. Turn the packet over so that the open side is still to your right and a little
towards you, then grip the near left corner between the left thumb and fingers (6).
You grip only the paper not the coin,

I must emphasise that the coin is loose in the packet. If you tipped the packet
down the coin would drop out. Now place your right hand below the packet and get
ready to flick your thumb sharply against the underside of the paper. Draw attention
to the hole and point out that the coin is larger than the hole and could not possibly
pass through it. Now sharply flick the thumb (like shooting marbles) against the
underside of the package. Hit the thumb against the left side of the package rather
than the right side. The result is that the packet flips forward, the coin comes out of
the side of the paper but shoots forward towards the spectator (who should be
towards your left) creating the illusion that it somehow passed through the hole.

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Bob Ostin - A Lifetime Of Magical Inventions 2)

Pandora's Boxes (Version

This version of the Sympathetic Matchboxes was developed from David
Britland's threadless version, which was published in Babel magazine. In my

version one of the boxes is gimmicked.

Method: A thin metal tube is glued in place '~---- f.
along the left long edge of the inside of the
matchbox drawer, as shown in fig.l, a metal Pin. Tube
pin lies within the tube. The head of the pin
extends outside the drawer, and the body of G
the pin can be pushed into (or pulled out of) ~--------------------~
the tube. If the pin is slightly bent, this will Overhead view.
prevent it falling freely inside the tube. You
can, however, push the pin flush, but it takes a Overhead view.
little effort.
Dill
With the gimmick covered by a layer of
matches, the boxes can be freely shown. To • ~ Playing card.
perform the routine the pin must be extended,
and this is done by pushing out the drawer D~-----'I"D.Overhead view. ~Playing card.
from the box sleeve as shown in fig.2. The
right forefinger keeps the end of the pin in •
place, as the second finger pushes the drawer
out through the sleeve. Your right thumb
secretly pushes the
At the start of the effect both drawers are
extended and the matchboxes set end-to-end. pin to the right.
A playing card is dropped between them, but
over the pin. Push the ungimmicked drawer
closed, and this will result in the
ungimmicked drawer being pushed open by
the pin. Explain that this probably looks like
the effect of air-pressure. Repeat this several
times.

Offset the matchboxes and repeat the 'to
and fro' movement of the drawers, explaining
that this couldn't possibly be caused by air-
pressure. Figs. 3 and 4 show an overhead
view.

Finally, you pick both boxes up, with the
left hand concealing the extended pin. Set the
boxes up, as shown in fig.5. Now, with
everything held in the left hand, when the
drawer of the top box is closed, by your right
fingers, you secretly push the pin of the
gimmick, with your right thumb, so that the
bottom drawer opens. Timed properly ... the
effect is very surprising.

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Bob Ostin - A Lifetime Of Magical Inventions

•

Discoverie
~2cmKaJr-ulves Issue No.

On e Cu p, 0 n e Ball (Discoverie#6)

Bob Ostin is one of the best close-quarters magicians in the business. His work
has a classic simplicity and direetness that can't be improved upon. The following
trick is typical of the efficiency of his approach. It appeared in Fingertip Fantasies

and is reprinted here with permission. - Karl Fulves.

Effeet: A small cup is mouth upwards on the table. There is a one-inch cork ball
inside. The ball is removed and the cup turned mouth-down, The ball vanishes. Both
hands are empty. When the cup is lifted, the ball is discovered underneath.

Two new moves are combined to produce the effect. One move is the vanish of
the ball. The other is a means of loading a ball und er the cup.

Method: The cup is plastic. It measures about 2 3/4 inches in height and 3 inches
diameter at the mouth. Two cork balls are used. They measure about 1 inch in
diameter.

To commence the routine, the cup containing one of the balls is placed mouth-up
on the table. The other ball is palmed in the right hand.

The right hand picks up the cup between forefinger and thumb, and tilts the cup
forward so that the ball is easily seen by the spectators. The left hand approaches
and removes the ball from the cup by taking it between forefinger and thumb. The
ball is then placed between the right first and second fingers, fig.l. The next move
steals the ball from the palm and secretly loads it und er the cup.

The move is done as follows. The left hand, held palm upwards, approaches the
cup and takes it from underneath between the forefinger and thumb. You will find
that in this position the palmed ball can be gripped between the second and third
fingertips and secretly removed from the palm, as in fig.2.

The left hand removes the cup and draws away from the right hand, turning
back-up as it does so, such that the mouth of the cup turns down. At the same time,
the left second and third fingers curl in und er the cup and deposit the ball on the
table, just as the cup is placed down, as in fig.3. The strength of this move lies in the
fact that the left hand is seen to be empty when it approaches the right hand, and
the right hand, which is holding the cup and the other ball at that time, appears too
occupied to playa part in the deception.

The cup is mouth-down on the table. Unknown to the audience, there is a ball
beneath the cup. The other ball is still held between the second and third fingers. All
you need to do is to vanish this ball to complete the effect.

The vanish: The ball is between the 1st and 2nd fingertips. The left hand is now
apparently closed over the ball and fingertips, and the ball is removed. What actually

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Bob Ostin - A Lifetime Of Magical Inventions
happens is shown in fig. 4. As the fingers holding the ball are enclosed in the left fist,
the 2nd finger moves toward the left and the 1st finger moves toward the right, so
that the ball rolls onto the back of the fingernail of the 1st finger. You will now find
that if you press these two fingertips together, the ball skids off the nail. If the
fingers have been bent slightly inward, the ball will shoot straight up the left sleeve!

This is not a throwing motion. The whole thing depends on rolling the ball onto
the fingernail, which is unable to grip it when pressure is applied. There should be
no apparent movement from above.

After the sleeving move, the right hand is now withdrawn and the left hand
turned palm upwards. The left hand is then opened to show that the ball has
vanished. The right hand is also seen to be empty as it reaches forward to pick up
the cup and shows that the ball has arrived beneath it.

Note: In Fingertip Fantasies one of the illustrations was drawn incorrectly. The
illustrations below are correct.

•

•

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Bob Ostin - A Lifetime Of Magical Inventions

T h e P a per 1i P rc eC F 0 (Discoverie #8,2003)

This force, was devised for use with Bob's 'Dicey' effect, a dealer item in which a die
turns out to be a card. It appeared in the Kar! Fulves' magazine mentioned above.

The force card is the top card of a packet of six. These are fanned out face-down as

you say that the top card will be number one, the second card number two, and so

on. A card is now chosen by rolling the die.

If number one is selected, there is no more to do. But if any other number is

chosen, say number, three, you push this card out of the fan as you say, ''1'11put a

paper clip on your card so you will be sure which one it is."

This you do, (fig.l, hands omitted) and then remove the clipped card and, closing

up the remaining five, drop it on top. You now say, "This is the card you selected" as

you again spread the cards, but in doing so, the clipped card is moved slightly

forward so that, when the cards are closed and squared up again, the clip now takes

in the second (original top) force card, fig.2.

Relax as you ensure everything is square, fig.3, then say, "Let's see what it was,"

and push the clipped cards over the side and turn them face-up on top, figA - a

perfect double lift thanks to the paper clip! Immediately turn the balance of the

cards face-up beneath these two, remarking, "It could have been any one of these"

as you briefly fan them. The card has thus been forced.

To clear up at this stage, lift the top card at the back and push forward and down.

In this way the clip comes off the second card as the newly clipped card is placed on

the table. The downward pressure prevents it making a noise as the clip comes free.

An extrapolation on Bob's elegant force: Start with a 7-card packet. Spread the

top five to show apparently six face-down cards. Spectator rolls a die and rolls, say,

5. Count to the 5th card and outjog it. Square the packet side-for-side.

Use the strip-out addition to load the bottom (force) card of the packet onto the

face of the outjogged card as you remove these two as one. The double is held in the

left hand. The right hand tables the balance of the packet momentarily.

Paper clip the double. Drop it onto the packet. Pick up the packet and hold it in

the left hand. Flip over the double, fig. 4, then flip it face-down onto the packet.

Holding the packet in left-hand dealing grip, lift the near end of the top card.

Grip it between the left 4th finger and the

heel of the thumb. The right thumb and RH puts clip on selection, as LH holds fan.

forefinger pinch the balance of the packet

and draw this group of cards out from

under the top single card. Flip this packet

face-up onto the clipped card, but

backjogged so the paper clip shows at all Clipped selection

times. put on top. Clip now
Lift off each of the face-up cards one-at- Force card (6D) engages with force card.

a-time by the ends and drop each onto the protrudin.g slightly. . • ;.:.

table. The last' card' is really a double with DPacket squared. «;
the force card in back. Finally show that
the paper-clipped card is no longer the 6D. Clip now on top Top two c:rds tumed
Produce its duplicate from the wallet. two cards. face up, on packet, to

show force card.

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Bob Ostin - A Lifetime Of Magical Inventions

This routine originally appeared in Profile, though without
drawings. I asked Bob for the okay to reprint this eye-

popping trick, but this time around with illustrations. The
drawings are from sketches and photos Bob provided and

make everything dear. - Karl Fulves.

The Lucifer Load (Secrets#7)

This idea was worked out for a climax to a routine in which all
the items used had to be produced from a match box. Part of the
contents of the box were four dice, with which a coins across type of
effect was performed. Also in the box were two matches and so, having done the
dice routine, the tray of the box was discarded and the cover was formed into a tube
- with which the four dice were then stacked.

Many years ago I used to stack dice with a cigarette packet, but have since
discovered that a Swan Vestas match box is even better, being made of thicker
cardboard. However, the real reason for the stack was for the climax. One of the two
matches was struck on the side of the cover and waved beneath it. There was a
flash ... and matches cascaded onto the table in sufficient quantity to almost fill the
box! (The 'Lucifer' Load).

Here's how: Firstly, the dice stacking. You will require four 1/z" dice as the
matchbox cover formed into a tube will just cover these when they are in square
formation. This is important because at the commencement of the stacking, it shows
that the matchbox 'dice cup' will cover them in this spread position, so that, later,
the spectators will appreciate that the dice could have fallen down. To do the stack,
hold the 'tubed' cover with the first and second finger curled over the top so that the
dice don't pop out, as in fig.I.

Now for the load. I made a gimmick out of a cylindrical plastic container which
had held small panel pins and was obtained from a do-it-yourself shop. This
measured 1 3/4" X 1" and had a small recess in the bottom. I then cut a 1" cork ball
in half and sanded it so that it would just fit the recess into which it was stuck with
Evostick, as in fig.2.

Swan Vestas matches will fit nicely into this and are then retained (the crafty part)
bya disc of flash paper, the edges of which are sealed around the mouth of the
container with Sellotape, making a sort of drumhead tube. I suppose you could make
a ring from the original can for this purpose, but I had lost the can before I made the
gimmick, so Sellotape had to suffice!

You are now ready to perform. Have the gimmick in your left hand jacket pocket
and, having used the contents of the box for any previous effects, pick up everything
except the four dice and two matches and place them into your pocket, at the same
time stealing out the load.

Two matches are left out on the table, just in case the first does not strike or goes
out. You now stack the dice, and on the surprise appearance of the stack, the right
hand comes back towards the left and the gimmick is loaded.

The right hand now picks up one of the matches and strikes it on the cover. It
holds the lit match beneath the apparatus so that the flash paper ignites and releases

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Bob Ostin - A Lifetime Of Magical Inventions

the matches - a startling effect. I should perhaps mention that the matches are
placed into the container with the heads away from the flash paper. You could try it
the other way around and perhaps get an even more startling effect, but I haven't
tried it!

The principle of the 'Burn away load release' could of course be used with a full
size cup and almost anything could be produced, but matches seemed the most
appropriate in the original application.

Younger readers may wonder, "Why the title?" Well, matches were once known
as 'lucifers' and it did seem a devilishly crafty ideal Hope you'll agree.

(In arecent note, Mr. Ostin adds:) What I currently do is have six dice in the
matchbox along with a couple of matches (or more). This gives the impression that
the box just happened to have contained matches, but was utilised for the dice.

Now, the reason for six dice is this. I set up the box to show it will just cover four
and then say, "I can only do this with four," and pick up the remaining two and put
them out of the way in my pocket, and that is when I steal the load. My hand comes
out and my thumb rests on the corner of the board as if to steady it. This means there
is very little distance to travel for the load to reach the box!

One more thing - if circumstances allow, have an empty pint glass nearby so that
the matches fall into it rather than all over the table.

Fingers over the top of the tube . Dice fonnation prior to stacking .

•

• "Drum Head" load container.

~glued Half of a cork ball
into recessed

end of plastic
container.

Matchbox sleeve is fonned into a tube.

Flash
paper.

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Bob Ostin - A Lifetime Of Magical Inventions

Click!

Effect: A coin is marked, and a •No break. Edge of coin rests Coin is slapped
card is then selected, but remains on table here. und er deck and
in its original position in the
deck. The marked coin is then gripped by
right fingertips.

slapped under the deck and /
vanishes. The deck is cut and the

marked coin is found resting on

the selected card.

Method: Two coins are required,

one is secretly held in the right

hand finger palm tails side facing

outward. The other coin is

handed out to be marked, either

directly or by means of a sticker.

It is handed out heads side up, as

that is the side you want

marking. Should the spectator beneath deck.
mark the other side, secretly turn

over the finger palmed coin. A card must now be selected. This is done by running

the cards from left to right so that the finger palmed coin is beneath them and asking

the spectator to point to any card. When he does so, cut the deck at that point and

raise the left hand portion thumbing the card across so that he may remember it. The

packet is now lowered and the right hand packet with coin beneath is thrown onto

the left hand packet. The deck is now squared and tapped right side down on the

table, in doing so, relaxing the cards in the process so that the coin falls to that side

of the deck, as in fig.l. This means that when the deck is lifted again the left hand

side can be shown with no breaks and indeed you call attention to this fact as you

say, "Do you think I could throw your marked coin into the deck next to your card?"

As this is said, you pick up the coin, as though you are about to do so, but then say,

"I will do it the hard way" and turning the coin marked side down, balance it on the

left middle fingers in readiness to slap it onto the bottom of the deck, which is held

in the Biddle grip, as shown by fig.2.

The following moves now take place. The coin is slapped onto the bottom card

and the right finger tips curl beneath the deck to hold it just for a moment as the left

hand is shown empty (it makes a nice 'clicking' noise - hence the title). The deck is

then immediately placed into the left hand and the coin replaced beneath it onto the

left fingers, and without hesitation is cut to show a coin resting on a card. The upper

portion is placed aside as you ask, "Would you be surprised if that was your coin?"

and turn the packet face up to apparently tip the coin into the right hand, but which

is instead held by the left thumb, as in fig.3, as the marked coin is released into the

right hand, which turns it to show the mark as it is placed on the table. You then

complete the effect by asking, "Would you be surprised if this was your card?", and

as this is said, the left hand turns palm up again but this is timed so that the right

hand, which has moved across to take the card, arrives over the duplicate coin so

that it cannot be seen, as in fig.4. Both card and coin are taken by the right hand,

which turns the card face up, but retains the coin as the card is placed next to the

marked coin on the table. Page 111

Bob Ostin - A Lifetime Of Magical Inventions

The Shredder

Effect: A small, hand-operated paper shredder, like the one illustrated below, and
several blank pieces of thin card are shown. A deck of cards is introduced and the
spectator is asked to insert one of the blank pieces of card into the deck at any point.
You explain that this will generate a random number, which will be the total of
whichever two cards
lie next to the
inserted blank card.
You also point out
that picture cards
and tens will have a
value of five and
aces will have a
value of one. The
piece of blank card is
inserted and the
number generated is
ten.

You explain that
the piece of blank
card is made of a
peculiar material
that can retain the
memory of the
number arrived at.
The blank card is inserted into the shredder and the handle turned. When the pieces
are tipped out, some do not seem to have completely shredded. A tangled bundle,
amongst the rest of the strips, is opened out and shown to have the word TEN cut-
out at its centre!

Method: The number ten is forced using a stack devised just for this routine.

From the top of the face down deck set the cards ... 10, J, 10, Q, K, J, K, K, A, 9, A, 9,

A~~A~~~~~~~~~~a~a~a~~~~~~~~~~~~~~11~1

Q, Q, 10, K. Suits do not matter.
If the piece of blank card is inserted anywhere except between the five pairs of

cards that are highlighted in bold in the above stack, the sum of the values of the
cards on either side of the blank piece of card will be ten.

However, you did not state earlier that you would use the
cards on either side of the inserted blank card. You said that
you would use the total of whichever two cards lie next to the ~
inserted blank card! This gives you two possible ways of
proceeding. 1) If you note, on cutting the face up deck at the
inserted blank card, that the two cards above the blank card do
not total ten, then the cards on either side of the blank card
will, and it is these two cards that you use to generate the
number ten! 2) If you note, on cutting the face up deck at the
inserted blank card, that the two cards above the blank card do

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Bob Ostin - A Lifetime Of Magical Inventions

total ten, then use these two cards above (and next to) the blank card to generate the
number ten!

The Prediction: Take another piece of blank card, and using a craft knife, cut out
the word TEN, as shown opposite, then cut a line of slits above and below the word,
the same distance apart as the width of the strips the shredder produces. This
prediction is then pleated into a little bundle and pushed up into the lower jaws of
the shredder. It will stay there quite safely until the piece of blank card is inserted
into the jaws, from above, and the handle is tumed in a clockwise direction. At this
point the pleated prediction will be the first thing to drop out, followed by the
shredded strips. To ensure that no one sees the bundle drop into the lower
transparent container of the shredder, you hold onto the shredder with your left
hand so that your left fingers completely hide the interior from the audience's view.
You can relax once the shredded strips cover the pleated bundle. When you later tip
out the contents of the lower transparent chamber of the shredder, the shredded
strips should be the same length and width as the semi-shredded strips of the
predietion. It simply looks as if the shredder hasn't quite shredded the predietion
part of the original piece of blank card fuHy.

The comment that the slip retains a memory, whieh can be recovered, is an unusual
presentation. The shredder I use would shred a piece of card 5cm x lOcm, which will
give you an idea of the size of the shredder.

The interesting thing about this routine is that the spectators are misled into
thinking that the slip will be restored, or that the blank card will be shredded into
TEN strips. The surprise finish, therefore, really is a surprise!

Notes: In session with Stephen Tucker, we discovered that a bridge sized playing
card would just fit into my shredder. This lead us to discuss possibilities such as... an
indifferent card is shredded and changes into the selection. This is easily
accomplished using switches such as the top-change, double turnover etc. The
shredder can be turned toward the spectator so that the card can be seen to have
changed prior to being fully shredded. A fake card printed half indifferent card/half
selection could be shown half-shredded, then the upper half torn from the rest prior
to completing the shredding of the lower half.

The predietion need not be a cut-out TEN, you could use a cut-out 5 and a cut-
out dia mond symbol, then simply force the five of diamonds from a deck that is not
stacked.

Additional note: In the [uly 2004 issue of The Linking Ring (Vol:84,No:7) - the
magazine of the International Brotherhood of magicians - Bob spotted an excellent
routine on pages 93/94 from Auckland-based magician Ken Ring. It was part of the
Hocus Pocus Parade of LB.M.Ring 160. The Kiwi Magie "Middle Earth" Parade from
Auckland - New Zealand.

Ken's routine 'The News In Total' is a number predietion using a double sheet
from a regular newspaper.

Without giving too much away... Bob thinks that you could perform the opening
phase of Ken's routine, exactly as Ken described it, then use Bob's 'Shredder' routine
for the second phase, which uses a second chosen double sheet of newspaper. This
can then be shredded, and the prediction (of the total of the four page numbers on
the sheet) found, partially shredded, amongst the rest.

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Bob Ostin - A Lifetime Of Magical Inventions

The Satanic Disc 666

This is a prop-orientated variation of Mr. E. Ozo's "WITCHCRAFT" from The
Crimp No. 50. This was a variation of Jerry Sadowitz's 'MINDWARPI' from The
Crimp No. 46, which was a variation of Bob Hummer's 'THE MAGIC CARPET'.

Effect: You ask if anyone has heard of records that, when played backwards,

reveal hidden lyrics often of an evil nature? Most people have. You show a CD case

with various letters of the alphabet printed on both sides. Opening the case, a list of

thirty words is seen printed on the inside. These words, you explain, are a selection

of the dark, satanic words that are uttered on the CD.

Someone is asked to merely think of one of the thirty words. The case is elosed

and you draw attention to a large red spot on both sides of it. These spots, you

explain, must be aligned with the spots on the sleeve that houses the CD. You

demonstrate this. The person who is thinking of the word is asked to look at the

letters of the alphabet that appear on both sides of the case and to find the first letter

of the word they are thinking of. You turn away. They are asked to insert the CD

case into its sleeve with their first letter uppermost (and so that the two red spots

align), then to hand it to you behind your back. You now draw something on a pad

of paper with your free hand, then ask them to repeat their actions with each of the

other letters of their word. You now show that you have drawn five mystic symbols

from a long-dead ancient tongue. You translate the symbols and reveal their word!

Preparation: You'll need a plastic CD case as shown in fig.l. The black strip on the

left is completely black, but has aseries of fine

ridges, denoted by the white lines, running

vertically across it This feels rough to the

touch. The other side of the case, at the same

point, feels smooth. You should have no o
trouble tracking down a suitable CD case.

Stick a large red adhesive spot to the lower
left corner of the case, as shown in fig.2. Then,

on a piece of card, print the series of letters

inside a cirele, as also shown in fig.2, and

insert it, upside-down, inside the case. Now

open the CD case, from left to right, until you

reach the position shown in fig.3. Print the list

of words shown, on a second sheet of card

and insert it into the case on top of the other. Jn
Close the case from right to left and you

will be looking at the rear, as shown in fig 4. )I A V
Stick a red adhesive spot onto the lower left M g ~ tI
corner. Next, take a piece of card and print the

eleven letters of the alphabet, inside a circle, as ÖH X f
shown in fig.4, then insert it, upside down,
inside the rear compartment of the case. w

Finally, make a sleeve for the CD case, like

the one shown in fig.5. Note that the cirele at

the upper right of the card sleeve is a red spot

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Bob Ostin - A Lifetime Of Magical Inventions

like the ones on the CD case. The two semi-circular cut outs, in the sleeve, help with
the insertion and removal of the CD case. Put the case in the sleeve, and you are set.

Method: You will face away from the spectator with a pad of paper on the table
and a pen in your writing hand. Your other hand is held behind your back. When
you are handed the cased CD, feel through the semi-circular cut out at the opening of
the card sleeve for either two smooth surfaces (top and bottom) or one smooth and
one rough surface. If you feel a rough surface, draw an enelosed symbollike a
triangle, circle etc. If you feel two smooth surfaces, draw a cross (or any symbol
made up of aseries of lines, but not enelosed). You will do this five times, once for
each letter of their word. To discover which word they thought of... look at the five
symbols you have drawn and, using a 16, 8, 4, 2, 1 series of numbers, add up the

corresponding values of the enclosed symbols only. Example: t ß :I: rr 00 would equate

to the values 0 + 8 + 0 + 0 + 1 = 9. They would have thought of the 9th word in the
list shown in fig.3. Each word in the list occupies a position from 1 to 30. DEVIL to
RELIC = 1 to 5, DEMON to SATAN = 6 to 10, GODLY to SKULL = 11 to 15, HEXED
to CROSS = 16 to 20, AGONY to FAITH = 21 to 25, and ALTAR to CABAL = 26 to 30.

So, the 9th word = EXPEL. The symbols, in fig.6, translate to the word ANGEL.

The Translation: Open the case, visually locate their word, using the number you
have in mind, and verbally reveal it as your translation of the symbols you drew.

Notes: You don't need the sleeve if they place the CD case into your hand, with
the red spot nearest you and the relevant letter of their word uppermost each time.
Bob has Satanic Disc 666 printed on the spine of the CD case, and covers the label of
the CD, left in the case, with black fablon. It being so evil- the label is just black!

DEVIL HEXED 0
NIGHT ANGEL
SPELL KNIFE
GRAVE MERCY
RELIC CROSS

DEMON AGONY
STAFF BIßLE
DJINN LIMBO
EXPEL COVEN
SATAN FAITH

GODLY ALTAR
POWER QUILL
SALEM ABYSS
SOULS FLAIL
SKULL CABAL

•o e t n « These symbols = 16 + 0 + 0 +

Page 115 o + 1 = 17 = ANGEL.

Bob Ostin - A Lifetime Of Magical Inventions

The Thimble Box

Effect: You introduce a small, wooden box and shake it... something is heard
rattling about inside. You remove the lid and elegantly remove a metal sewing
thimble. The otherwise empty box is reassembled and tabled. You hand the thimble
out to be examined. Taking it back, you vanish it... completely! Finally, with both
hands obviously empty, you open the box and reveal that the thimble has returned.

Method: The box, which you will have to make yourself, is made of two separate
halves that fit together. Bob made his from balsa wood. The lid has a magnet built
into it, and can be lifted completely off the lower half. Inside the lower half, within a
recess, sits what appears to be a metal thimble. In fact it is two metal thimbles nested
together. The upper thimble is made of a metal that is attracted to the magnet in the
lid, and the lower thimble is made from a metal that is not attracted to the magnet. If
you have trouble finding suitable thimbles, you could use two thimbles that are not
attracted to a magnet and simply glue a steel shim inside the upper thimble. One
important point ... the two thimbles should look identical.

The box is made so that, when you shake it, something is heard rattling about
inside. The noise is created by the two thimbles leaving the recess, the upper thimble
sticks to the inside of the lid, held there by the magnet, as the lower thimble
continues to rattle about.

Performance: The box is introduced and shaken ... something is heard rattling
about inside. The box is repositioned so that it is held between the forefinger and
thumb of the right hand. The lid is removed and placed between the first and
second fingers, as shown in the illustration below. The visible thimble is removed
from the recess in the lower half of the box and placed onto the tip of your right
third finger. The two halves of the box are placed back together again, and the box is
dropped onto the palm of your left hand. This dropping action dislodges the steel-
shimmed thimble from the magnet in the lid, and it falls back into the recess in the
lower half of the box. The action is much the same as that used to dislodge the ball
from the magnet of a chop-cup. The box is tabled, and the thimble is handed out for
examination.

It should not be too difficult to come up with a patter theme, possibly of a bizarre
nature, that revolves around the thimble and the box. Once everyone has taken a
look at it, the thimble is taken back. You now need to vanish the thimble, leaving
both hands completely empty. If you already have a
favourite method ... feel free to use it. Bob uses his own
Perfect Vanish, adescription of which you'll find
elsewhere in this book. Either way, the thimble completely
vanishes, and it only remains for you to pick up the box,
slowly open it, and reveal that the thimble has returned.
The thimble can them be handed out again, as can the box,
but make sure that the two don't come together in the
hands of anyone or the magnetic principle will be
discovered.

Notes: During the initial removal of the thimble, a very
nice, elegant display is made, as shown in the illustration.
This is similar to that adopted in a multiplying billiard ball routine.

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The following four items were first published in The Crimp magazine and are
reproduced here by kind permission of editor/creator Jerry Sadowitz.

Nut s T h ru T h e Hol e (The Crimp issue 4)

A Bit On The Side (TheCrimpissue40)

Os ti n' s 0 ri fi ce (The Crimp issue 40)
gTh e Fro sPri nc es (The Crimp issue 53)

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Nuts Thru The Hole

Required: Two sets of Brema Nuts, a Chinese coin with a hole through the centre,
a length of cord and a large handkerchief. The hole in the Chinese coin should be
smaller than the diameter of the nuts.

Set-np: The two regular nuts are in one of your side jacket pockets with the
folded handkerchief, the fake nuts, coin and cord are in your other side jacket
pocket.

Performance: Remove the cord, coin and fake nuts, and openly thread the coin
onto the centre of the cord. Ask the spectator to hold onto the ends of the cord, one
in each hand. Have hirn hand you one of the ends so that you can thread the two
fake nuts onto the cord. Hand hirn back the end, and he will be in the position
shown in fig.l below.

Explain that you will try to push the nuts through the hole in the coin. Remove
the handkerchief (stealing the two regular nuts at the same time). Drape the
handkerchief over the tabled coin and nuts. Under cover of the handkerchief,
remove the fake nuts and drop them down your left sleeve. Now tie the two regular
nuts onto the cord on the opposite side of the coin. Simply loop the cord, push it
through the nuts and tie them on, as shown in fig.2.

Whip away the handkerchief to reveal the situation, and point out that not only
have you passed the nuts through the hole in the coin, you have also knotted them
on as well! Table the handkerchief, and head into the climax.

Openly undo the knot, with your right hand, and the nuts fall free! A miracle and
everything can now be examined!

Note: You can obviously perform the trick using just one set of Brema nuts if you
prefer.

The Brema nuts is a dealer item. A set basically consists of one specially
engineered nut, than can be pulled apart, and one matehing regular nut than can be
handed out for examination.

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A Bit On The Side

This was inspired by watehing Joe Dignam demonstrate card spinning.

Effect: The magician casually takes a card - the
three of clubs - and spins it face up on the table a
few times. Each time, when it stops spinning, the
top of the centre pip points to the spectator.
Commenting that the result is always strange, the
card is given one more spin. The spectator is
cautioned to watch where the centre pip points to.
The spectator now does a double-take for when
the card comes to rest .... the centre pip is seen to
point sideways!

This is not played as a trick, but as a stunt. The
magician, acting curious about the card spinning,
attracts the spectator's curiosity. The reaction is a
double-take on the spectator's part, and a great
reaction, which is part laugh, and part gasp.

Method: A duplicate three of clubs is required,
made to look like that below. Bob takes a two of
clubs, changes the indices and glues an extra pip
sideways at the centre. Finally. a tiny blob of
Araldyte glue is affixed to the very centre of the back of the card. Once this hardens,
the card can be spun on the table top, using the blob of glue as an axis upon which
to spin. The card is second from the bottom of the face down deck, with the regular
three of clubs actually on the bottom.

Performance: Openly remove the genuine three of clubs. Bend its long sides
upwards and spin it, face up, on the table. It will only spin a little, and when it stops
make some comment as to where the centre pip is pointing. Act as if you knew this
would be the outcome. Repeat the spin, and again comment on the result in the
same manner as above, whatever the result happens to bel The deck is currently in
your left hand and angled so that the gimmicked three of clubs is not seen. Pick up
the three of clubs and execute a top-ehenge (or a Le Temps Switch) for the
gimmicked card. The spectator thinks the stunt is over at this point. Say that you
will do it once more. This time the gimmicked three of clubs will spin for far longer
(due to the blob of Araldyte) and the speed of the spin prevents the spectator from
focusing on the centre pip ... this results in a great reaction when it stops!

Ostin's Orifice

This routine was inspired by
Mr. E. Ozo's "Out Of Sight" from The Crimp issue 14, page 121.

Effect: The magician shows a packet of playing cards, each with a hole cut out of
its centre. One is chosen and placed face up on the table, The spectator places the tip

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Bob Ostin - A Lifetime Of Magical Inventions

of a finger through the hole, effectively trapping the card on the table.

The spectator is instructed to dose his eyes to experience the powers of darkness.

When he opens his eyes, everything is the same, except that the card trapped by his

finger is face down!

Preparation: Take two duplicate cards. Cut a 1" circular hole out of the centre of

one, and a slightly smaller hole out of the centre of the other. Take the card with the

larger hole and, with a ruler and sharp knife, cut away a sliver from each of its four

edges. Next wax (or glue with Pritt Stick)) the two cards back-to-back, using only a

tiny smear of adhesive applied to the very ends of both narrow edges. The smaller

of the two cards (due to your trimming) should be centralised on the slightly larger

card. If you now table this card, with the slightly larger card uppermost, the edges

will look single thickness and the edges of the hole in the lower card will not be

seen. Repeat the above five more times, using different duplicates. Finally, take six

single cards and cut a hole out of the centres of each.

Set-np: Place the faked pairs (smaller holes uppermost) onto the regular cards.

and house them in a plastic wallet or slip them into a breast pocket.

Performance: Introduce the packet of cards, flashing the back designs. Spread

through, showing that each has a hole cut through its centre. Casually turn over

some of the single cards, showing the backs - and by implication inferring that they

ALL have backs designs.

Force one of the gimmicked cards, and pocket 6 •
the rest. Place their card, face up of course, onto
the table with the smaller hole card uppermost. t

Have the spectator place the tip of a finger
through the hole and onto the table. Have hirn

close his eyes, and when he does, as quickly as

you can (and as silently) detach the upper card

from the lower, then tear through the upper card

(across the narrowest point), then remove and

dispose of it. Now fold the face down tabled card --
a little ... so that its condition will give the
spectator something to ponder - explanation wise.

When the spectator opens his eyes, he'lI be +
astonished that the card is now face down! 9

The illustration opposite shows one of the
faked pairs with the face down smaller duplicate

below it, shown by dotted lines.

The Frog Princess

This appeared in The Crimp issue 53. A selected card is folded (origami style) into
a frog, as a story is told ... An old man was walking through a forest and found a talking
frog, which said, "If you kiss me, I'll turn into a beautiful princess." He picked it up and put
it into his pocket. You pocket the frog. "Aren't you going to kiss me?" asked the frog.
"No," he replied, "At myage, I'd rather have a talking frog than a princessf" Removing
the frog from your pocket you continue ... The old man then met areal princess. The
queen of hearts (QH) is shown at the face of the deck. He decided to give her a kiss, but

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Bob Ostin - A Lifetime Of Magieal Inventions

she vanished. The QH is lifted off, placed to your lips, but vanishes. The strange thing
was, eontrary to most fairy tales, the prineess ... turned into a frog! The origami frog is
unfolded, and is now... the QH!

Method: Fold up a QH (following the folds shown below) and pocket it. A
double facer QH/7C, queen showing, is at the face of the deck, with the genuine 7C
behind it. Have a card selected, then fold it into the frog. You later put this into your
pocket and switch it for the other under cover of the laugh generated by the punch
line, 'Td rather have a talking frog ete." To effect the vanish of the QH at the face of the
deck, thumb it off onto your palm and appear to openly palm it away. In reality the
double facer is left, 7C side uppermost, on the deck. As the 7C was showing during
and after the palm/removal of the queen, everything looks as it should. FinaIly, kiss
the palmed (?) card, effect the vanish, unfold the frog and ... it is now the QH!

Notes: The vanish is not new, but works perfectly here. If you don't want to use a
double facer, the Arthur Finley "Ient Vanish' would work just as weIl. The double
facer, with regular 7C below (assuming your double facer is a QH/7C), can be at the
face of the deck, or you can spread through and cut them to the face.

Bob always has a spot card selected so that it willlater contrast well with the QH.
SOthis sticks in their minds, he explains that making the folds is much easier using a
SPOT card. If not adept with cards, you can guarantee that a spot card is selected, by
positioning them ALL centrally, then simply classic forcing one of them!

Whilst making the frog and relating the story, Bob doesn't indicate that he's
doing a trick, then when the effect kicks in... it's too late for the amazed spectators.
He also tables the frog and makes it jump, by pressing down on its back and letting
the fingertip slip off the card. It jumps better on a hard surface.

Bob was shown the frog fold by Doug Gregg. He applied it to a playing card and
moulded the routine and story/gag around it. Scotty York and Michael Close (in his
Workers: 2 book) have published similar routines, but Bob came up with his
independently, and featured it on his International Magic lecture video in Dec'2000.

,, ,,,,,,,,,,, ,,,,,,,,,, ,,,,,,,,,, F
•",,,,,,,,,, ,,,,,,,,,, ,,,,,,,,,,
In fig.l fold the upper right corner

towards you and down onto the left

long edge, forming a sharp crease

~ (dotted line). Unfold the card and

repeat this with the upper left

~ corner, as in fig.2. Unfold the card

• ., again, then fold the top forwards
(away from you) and down, as

shown in fig.3. Unfold the card again, then push points A and B, in fig.4, together until they meet at point C.

This results in the shape shown in fig.5. Fold points D and E (in fig.5) up to point F.Fold both sides in to the

centre, as in fig.6, until you reach the fig.7 shape. Fold the bottom up, as shown in fig.8, to the position shown

in fig.9. Fold the top down and you will have formed the frog (side view), as shown in fig 10.

The Crimp

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Bob Ostin - A Lifetime Of Magical Inventions

A Chinese Ghost Story

Effect: Two chopsticks, which have holes drilled through them half way down,

are suspended in a pint glass (or on a small stand) by means of a tooth pick through

the holes. As a Chinese ghost story is told ... the lower ends of the chopsticks come

slowly together, until they touch to form a 'V' shape inside the glass. That' s all! But

the accompanying ghost story makes the effect.

Method: The chopsticks, which measure 10.5" long by 5/16" square, are faked by

having a magnet inside each of them. One of these magnets is fixed at the very

bottom of its chopstick. The other magnet slowly descends through castor oil in a

fixed square section of plastic tubing, which is inside the second chopstick. This tube

starts just below the hole in the stick and goes to the very bottom. The magnet is

aided in its travels by a small piece of lead above it. This is essential, as without it the

magnet will stop before it reaches the optimum position opposite the magnet at the

bottom of the other stick, which causes the lower ends of the sticks to come together

- forming the 'V' shape. It will also be necessary to ensure that the polarity of the

magnets is correct, so that they are attracted and not repelled! It is best to make the

sticks first, try them out, and then mark them secretly so that you know which way

they must be suspended.

Required: First obtain a square section of plastic tubing. It must be square to

prevent the magnet from revolving. The shape also helps you to build the stick

around it. The tube I use is made by a company called Plasiicard, and was obtained

from a model shop. The wood used to make the sticks is hard balsa, obtained from

the same shop. While you're in there, buy some cyanoacrylate adhesive (superglue)

the thinner the glue the better.

The construction of the chopsticks: This is not easy, but here is the method I use.

First we'll make the square plastic tube filled with castor oil. Cut a piece of tube long

enough to reach from just below where the hole in the chops tick will be to the

bottom of the stick. Block one end with a piece of Plasiicard, fill it with castor oil and

insert your first square magnet with the piece of pusher lead above it. Seal the other

end of the tube with a piece of

Plasiicard, and mark the tube so that

you know which end should be

uppermost. That's the end with the

piece of lead above the magnet - • •
you don't want to have it upside-
down and have the lead reach the
bottom of the tube before the

magnet does! Before you proceed

any further. test the tube for leaks

and try it out with the other

magnet. Once you are happy with

the tube, you can make the first

chopstick. Cut a piece of the hard

balsa to the same gauge as the tube,

and stick it onto the end of the tube

so that it extends it to the length

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Bob Ostin - A Lifetime Of Magical Inventions

that the finished stick should be. Stick another piece of balsa to the other end of the

tube, with the end-gram showing, so that the finished stick will look correct, as

though it was made from one piece of wood. You now have what appears to be a

stick part plastic and part wood. This must be covered with the thinnest balsa you

can buy (16th or 32th of an inch). The easiest way to do this is to superglue the stick

to a piece of your thin wood then trim around it at this stage. Mark the wood just

above where the plastic tubing is, so that you will know where to drill your hole

later. Repeat this procedure with the other three faces and you will have almost

made your first stick.

Make the second stick in the same way, but this one has the magnet stuck to the

bottom of the plastic tube. Finally drill the holes and taper the sticks, from above the

holes to make them look like chopsticks. You can then sand them down and stick a

few labels on them bearing Chinese characters (mine came from a tin of prawns!).

These labels will also help you to know which way the sticks are to be suspended. A

coat of varnish finishes the job.

The above will, as 1said earlier, not be easy, but you will have something that few

others possess, and not many dealers want to makel

Set-np: 1carry the sticks in a tube with a cork at one end. They go in head-to-tail,

and are kept in position so that the fake stick (filled with castor oil) is setting itself

prior to removing them from the tube. The toothpick is stuck into the cork and goes

between them.

Presentation: Remove the stick and place them on the table as you ask, "Does

anyone know the language of the chopsticks?" You offer to explain ...

"If you go into a restaurant and the waiter places the sticks down like this (fig.1),

it means you are welcome, as there is room for a plate. If he places the sticks down

like this (fig.2), it means you are not welcome, as

he remembers you from last time! If you • ••••
rearrange them like this (fig.3), it means that you
have waited too long. Like this (fig.4), means
feed me! Like this (fig.5), means that you have
had enough, and finally like this (fig.6), means

that you are cross, and won't be leaving a tip!"

(Thanks to Trevor Lewis for that finalline).

Once you have demonstrated the various

positions with the sticks, impale them on the

toothpick, suspend them across the mouth of a

pint glass, as in fig.7, then commence the story... ••••••••
"These sticks once belonged to a Chinese

acrobat by the name of Wun Fang. He was called
Wun Fang because he had only one tooth! (it gets
worse). Well, he married a little Chinese girl who
also worked in the circus called Ling. She used to

play the musical bells, and so was known as Ting

Ling (I did warn you). Now, one day Wun Fang

fell from his trapeze, and was so injured that he

could never work again. That is when the trouble

started. After a while Ting Ling decided she had

had enough of looking after Wun Fang, who was

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Bob Ostin - A Lifetime Of Magical Inventions

immobilised in their caravan, and she came up with a terrible idea to do away with
hirn. She starved hirn to death, but in a particularly cruel way. She would give hirn
the very best rump steak etc. but would only give hirn these chopsticks to eat it
with. Now, you can't get far with a rump steak and chopsticks! Eventually Wun
Fang starved to death.

It was then that she did a most wicked thing. She had holes drilled through the
chops ticks and kept them as areminder of Wun Fang up there on his trapeze.

WeIl, one dark and stormy night, she thought she heard something and looking
at the chopsticks ... she saw them move!"

When you reach this point in the story, if you have timed it right, the chopsticks
do indeed start to move, until they reach the 'V' position, as shown by the dotted
lines in fig.7.

The story concludes as you dramatically say, "A voice cried out FEED ME! WeIl,
as you can imagine, the shock killed her. But the strange thing was that when they
held the inquest, it was stated that she was killed by a bite to the throat by a vicious
animal. .. that appeared to have ONLYONE TOOTH!/1

The Envelope Hold-Out

Effect: An envelope is freely handled, tossed to the table, picked up again etc.

Yet, at any time you like, it can add a card (or cards) to the top of the deck.

Method: Take an envelope like the one illustrated below. Place a piece of stiff

card inside so that you can cut two slits through the address side only, as shown.

Now cut two strips of card (or balsa wood etc.) and glue them to the envelope in the

positions shown. You may choose not to bother with these strips, but I have found

that they prevent the card(s) to be loaded from occasionally getting caught inside one

(or both) of the slits.

The gap between the strips is the width of your playing card(s), and the strips

should be about the same thickness of the number of cards you wish to add.

Set-up: Make a prediction, fold it up and insert it into the opening of the

envelope, out of the first slit, then back in again through the second slit. This

prediction is shown by the dotted lines below. Next, slip your playing card(s)

between the visible part of the prediction and the envelope - between the strips.

Performance: Table the envelope (gimmicked side lowermost), and have the deck

shuffled. Pick up the envelope, take back the deck and rest the envelope onto it, as

you remove the prediction and hand it to someone. The simple action of removing

the prediction,

allows the Envelope.

card(s) to be r---------- I!! rs::;, - '" n-
loaded to fall

free and onto the Folded
top of the deck in

your hand.

You cannow

proceed with any L.. -I" I _ I "I _________ .J

routine of your Cardlbalsa tU I HlU Slits.
choosing. strips.

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Bob Ostin - A Lifetime Of Magical Inventions

The Devil's Dictionary

Effect: Ambrose Bierce's book The Devil' s Dictionary is

shown, and a few humourous definitions are read out, such

as Coward: One who in a perilous emergency thinks with his legs.

A box of matches is introduced, and some are tipped out. You

ask someone to create several piles of matches, and multiply

the number in each pile by each other. You give them various

examples showing that there are a great many permutations.

Let's assurne that they create three piles containing two, three

and five matches. 2 x 3 x 5 = 30. They are asked to turn to

page 30 in the dictionary and look at the first definition on

that page. The matches are returned to the box and you slowly, and dramatically,

reveal the word they are thinking of

Preparation: You'll need a copy of the above book (Dover Thrift Editions © 1993

ISBN 0-486-27542-6)though any dictionary or book could be used if you can't obtain

a copy of Ambrose Bierce's entertaining book.

You'll also need to gimmick a Swan Vestas box of matches as follows ... Glue

several matches to the inside of the tray, then place exactly ten loose matches on top

of them. Finally, photocopy the twelve-word crib sheet, shown in the illustration

below, and glue it to the underside of one of the hinged flaps of the tray, as shown.

Method: There seems to be a great many permutations to the multiplication of

matches in each pile, but there are in fact only the twelve shown on the crib sheet.

So, no matter how many piles they form and how many matches are in each pile,

they will always arrive at a total of 8,9, 14, 16, 18,20,21,24,25,30,32 or 36.

Due to the fact that some matches are glued inside the drawer, it gives the

impression that the number of matches tipped out (always ten) is arbitrary.

One clever feature is that, in order to replace the matches back into the tray more

easily, you hinge open the flap and glimpse the crib-sheet quite openly! The

illustration below would be exactly what you' d see when you hinge open the flap

furthest from you and reveal (to you only) the crib sheet. A small mark on the crib-

sheet flap will ensure that you don't hinge open the other by mistake. Bob actually

uses dice, as these are harder to replace into the tray unless you hinge open the flap.

If your eye-sight is not brilliant, you may like to create two crib-sheets and have

the six words that have page numbers from 8. Auctioneer 18.Compromise 25.Destiny
1 to 20 on one flap and the six with page 9. Bacchus 20.Creditor 30.Emancipation
numbers over 20 on the other. Again a 14. Callous 21.Curiosity 32.Exception
suitable mark on one of the flaps will tell
you which-is-which. 24. Delusion 36. Fib

If you are unable to obtain a copy of

The Devil' s Dictionary, and decide to use

a novel, you could have them look at the

first word on the page arrived at or, say

the total reached was 32, the third word ......- ----lj
on the second line. Obviously your crib- p--

sheet would cue you the word that you

have forced them to arrive at.

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Bob Ostin - A Lifetime Of Magical Inventions

Status Quo

Some time ago Bob was shown a clever ambitious card type move (published in
Pallbearers). He loved the move and incorporated it into his own ambitious card
routine. The following routine then evolved - in wh ich a card rises, not to the top,

but to a specific number from the top. (Marlo has also worked on this theme),

Effect: You pose the possibility that when a deck of cards is left alone for a while,
the cards mayadopt a liking for their positions in the deck. For instance, the three of
diamonds, having been left at the fifth position will always return to that position
when the deck is left alone long enough. After all, who knows what they get up to?
(It's crazy, but isn't most of the stuff we do?). To prove this, proceed as follows...

Method: Have the deck shuffled, now ask for a number, say between one and
ten. Count the cards from left to right to that number and show it at the face of the
packet. As the spectator looks at the card, push the top card of the balance of the
deck in the left hand over to the right, and get a break beneath it, as in fig.l. Ask the
spectator to take the card of his choiee. As he does so, replace the remaining cards
back on the deck and casually double undercut the packet, plus the extra card, to the
bottom and hold a break above them. The holding of this break is almost automatie
if you step the cards a little as you do the cutting. The position now is that they are
holding a card, which was removed from a specified position, but thanks to the
double undercut and the added card, the number of cards they specified is held
beneath the break at the bottom of the deck. The above was the work of amoment,
and the effect now starts.

Ask the spectator to show his card around, and then take it and place it on top of
the deck, which you then transfer to the right hand, still retaining the break. The top

Push the top ~ ~
~\ ~
card over to get
a break. .. as this RH

card is taken Card on top of packet' N is
inserted into packet 'B', which is
LH
"-then placed beneath 'N.
Hand turned Break is held above the
to show the 'N packet, above the selected

selection. card.

•

RH

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Bob Ostin - A Lifetime Of Magical Inventions

half of the deck is now swivel-cut into the left hand, but as the right hand portion is
placed on top, the right third finger pushes the top card, the selected card, forward
about half way. As the right hand portion is placed on top, the break is maintained
by the left hand, as in fig.2.

Position check - the deck is in your left hand with the selected card protruding,
the break is still held above the chosen number on top of their card. You now state
that their card does not like being that far down in the deck, it preferred being
number six, or whatever number was chosen. The left hand now cuts at the break
and turns back uppermost to show the selected card, as in fig.3, but unknown to the
spectator, there are five cards above it. The left hand now turns palm up again, but
as this is done, the forefinger pushes the selected card flush with the packet so that
the top card, which comes into view, is thought to be the chosen card just shown.
This card is now pushed into the centre of the right hand packet, as in figA, which is
placed beneath the left hand packet as you say, "It likes it even less being further
down in the deck." As this is said, the deck is squared and the moves are complete.

Ask the spectator to repeat his chosen number, and to check the card at that
position. He does so and your theory is proved correct, as the card is found exactly
where it "liked to be".

Truly Invisible Thread

This gag can be used in :(~fc-
any routine where the

...._..-0..?.......pretended motive power for

the effect is invisible thread.

7You remove a cotton reel
Anchor /ButtOnlWaSher.

poml.' _.__ .._-- . ~

Elastic. .

The action.

and appear to take off a

length of the very finest invisible thread. So fine ... that they truly cannot see it!

The cotton reel is gimmicked. It is simply the old rubber band motor in its most

basic form. The rubber band extends through the centre of the reel. It is anchored to

the reel itself at one end, and anchored to a washer at the other. Hold the reel

between thumb and fingers and twist it - thereby putting twists into the band. Let

the grip between fingers and thumb relax, and the reel will eerily turn in the hand.

As it turns the other hand appears to drag an invisible length of thread from it.

Bob's Magical Definitions ...

Double Lift - Two magicians pinching the same trick! Tripie Lift - Another joins in!
Standing Ovation - There weren't enough seats!

Cardician - Audition in agent's car for a card man! Zombie - Everyone knows he's
died ... except hirn! Side Steal - Act pinched whilst viewed from the wings!
Original Material- Newcomer's comment on something older than him!

Invisible Pass - Never seen, but often described! Coin Man - Does coin tricks.
Con Man - Does coin tricks, but with fake coins! Foulard - Really kidded them!

Floating Ball - Defies gravity - painful too! His Skill Knew No Bounds -
Escapologist who only looked tied up! Two Handed Pass - Convention ticket
slipped to friend and used twice! Stripper Deck - Forerunner to the Nudist Deck!

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Bob Ostin - A Lifetime Of Magical Inventions

Magie 0/ The Mind

Effect: Aselected playing card is revealed - with a little help from one of your
childhood psychic friends.

Required: Seven cards bearing the wording below and set out as shown.

Paul Su. e Yv.an Carl Hans lan Cath
IS
has IS a hit cut likes hid
my the his
pens very bad dog leg to my

tall boy eat ball

)

Performance: Offer to show them the very first triek you ever learned. Introduce

the cards saying that they bear the names of some of your childhood friends, and

although they all had different attributes, they had one thing in common. Ask if

anyone can guess what it was. Offer to give

them a clue. Layout the cards in an over- P S Y C H I Cath
lapping row from left to right, as shown
opposite. Someone will eventually spot that hid :
the first letter of each name spells the word
PSYCHIC. Congratulate them and confirm I
that your friends were indeed all psychie.
.my· I
Say you will show them something you
.-..... "'- ~ ball,

"'-- "'-- - ------

call, 'Magie Of The Mind', and ask them to shuffle a deck of cards (whieh need not

be complete). Next have a card chosen by spelling the words, 'Magie Of The Mind'.

Take back the deck and spell this phrase, dealing one card for each letter forming a

single tabled pile. Show them the last card dealt, and have them remember it. Place

it on top of the cards in your hand and then drop the dealt cards on top of it, so that

it is buried. Point out that you have no idea what their card is - true!

Pick up the deck and secretly look at and remember the bottom card. You now

cut the deck a few times, replacing the cut each time, as you point out that not only

do yon not know what their card is, you also have no idea where it is - again truel

Explain.that you will try to find their card. Look through the deck until you come

to the card you remembered (the original bottom card) and cut it back to the bottom.

Say that you cannot find it, but perhaps one of your talented friends can help!

Ask them to give you any one of the name cards. Let's assurne you are given the

'Cath hid my ball' card. Pocket the rest, then take the deck and spell this out dealing

one card at a time onto the table. Then, pick up the top card of the deck (not the last

card dealt), and ask them to name their card. Finally say, "Cath not only hid my ball,

when I was a child, she could do magie too!" Turn over the card to show it is theirs!

Method: The wording on all the name cards contain thirteen letters. The phrase

'Magie Of The Mind' contains fourteen. Cutting the key-card back to the bottom

places their card fourteenth - ready to be revealed. Similar fourteen letter phrases

such as 'Great Mind Power', 'Superior Brains' etc. could be used.

Note: The name cards can bear product names (and features) for trade shows or,

with a little imagination, can easily be adapted to ANY theme.

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Bob Ostin - A Lifetime Of Magical Inventions

The following two items were first published in Babel magazine and are
reproduced here by kind permission of editor/creator David Britland.

" IsT her e A n y 0 n e T her e ? 11 (Babel issue 1, 1981)
Th e Per fee t Va n i s h (Babel issue 2, 1981)

Page 129

Bob Ostin - A Lifetime Of Magical Inventions

"18 There Anyone There?"

Velleda is great stuff for magic. In case you still don't know, Velleda is a product
available in stationery stores for use in lectures and promotions. It consists of a
plastic self-adhesive surface, which can be affixed to a board, and a set of special felt
markers. You can draw on the plastic surface with the markers, but when the surface
is full of drawings etc. you can wipe the whole lot off with your hand and start with
a clean board. The ink in the markers appears to be dissolved in some sort of spirit,
which evaporates leaving asolid layer on the surface of the board. A line drawn by a
marker never sticks to the special plastic surface, it just hangs there until it is wiped
off.

We covered some of the uses of Velleda in Talon magazine, but did not touch on
the following idea. Bob Ostin discovered that the ink can be removed from the
plastie surface merely by pieking it off the surface with a strip of sellotape. The tacky
side of the tape of course. From this the following effect was born.

The performer introduces the spectators to a piece of Velleda covered card and
shows them how the board can be drawn on and then the ink wiped off. A modern
development, which can be of use in some very old magie. A spectator is asked to
scribble over the centre of the board and sign his initials on part of the un-inked
portion of the board. This is done and the board is set, inky side down, in the centre
of the table. Next a packet of ESP symbols is displayed and the spectator chooses
just one of the symbols. A few moments of concentration and the Velleda board is
tumed over. It is now seen that part of the ink in the centre of the board has been
wiped away as if a ghostly finger had tried to draw a square ... the same shape as the
symbol chosen by the spectator. The trick is easily accomplished and the idea should
make way for more elaborate demonstrations once the basic principle is explained.

First obtain some double-sided adhesive tape. Cover your ESP card box in black
contact plastie or contrive to colour the box black in any other way you can. Using
the tape, make a square design on the front of the box by cutting four thin strips and
sticking them onto the box. Do not, at this stage, peel off the top backing surface of
the tape. Take your deck of ESP cards and set them up so that the five square
symbols are alternated from the fourth card from the top of the deck and therefore
occupy numbers, four, six, eight, ten and twelve.

When you are ready to perform the effect, the four pieces of backing tape are
peeled off the card box leaving a square of stieky tape. The card box is set to your
left where no one will pay much attention to it. Have a spectator scribble on one side
of the Velleda board with a black marker. He initials the board whieh you take from
hirn and set aside on top of the ESP card box. Put the marker pen in your pocket and
then fumble in your pockets as if looking for something, your cards, and then notice
that they are under the board. The right hand lifts the board and places it in the
centre of the table as the left hand picks up the card box and immediately turns it so
the tape is on the underside. The right hand returns to take the ESP cards from the
box which is then pocketed. During the brief period that the board has been on top
of the box the adhesive tape has pulled away some of the ink leaving a ghostly
white imprint of a square on the inky surface of the board.

All you have to do now is force the square symbol. This is easily done by asking
someone to call stop as you deal cards face down from the top of the packet onto the

Page 130

Bob Ostin - A Lifetime Of Magical Inventions

table. Just make sure they stop you within the nine card spread whieh contains a11
the square symbols. When they do, you use the card either on top of the tabled
packet or on top of the deck, one of them will be a square, you know which one
because you kept count as you dealt the cards. If by any chance the spectator goes
way past the squares you merely pick up the tabled packet and repeat the deal once
more until he stops at the right place. The first time he stops you say, "That' s fine
we'l1 just use these few cards. Now 1'11deal them again and this time I want you to
ca11stop and we'l1 use a card from the point you choose." If you miss again it just
ain't your day, and I'd advise you to draw a few cartoons on the Velleda board
because you're not getting anywhere with magie today.

The Perfeet Vanish

The following eomplete vanish of a thimble is one of the many items deseribed in
Bob's lecture notes. The method owes mueh to the "pumpkin seed" eoin vanish,

which you'll find in Bobo's Coin Magie. - David Britland.

The method is simple and the effect is very strong. A thimble is seen on the

magician's right thumb. Both thumb and thimble are tucked into the left first. The

thumb is withdrawn minus the thimble, the left fingers make a crumbling motion

and the hand is then shown to be completely empty. The thimble rea11ydoes vanish

from the hands, but ends up in the left sleeve.

The mechanics are simple. The thimble starts on the right thumb and is placed

into the left fist from this position. When the thimble is hidden from view, the left

second and third fingers steal the thimble from the thumb. The thumb is withdrawn

and the thimble left, gripped between the second and •

third fingers. The second finger sort of crosses over the

third finger, so that the thimble ro11sonto the third finger

nail. If you now squeeze the fingers together ... the

thimble will shoot out from the left fist.

This is where the practise comes in, for you have to be

able to shoot the thimble directly up the left sleeve. The

left arm should be horizontal from the wrist to the elbow.

The shirt should be clear from the jacket sleeve,

preferably ro11edup out of the way. The hand should not

be bent too much at the wrist, for the thimble needs to

have a straight path to the elbow. Provided the hand is

kept in this position the vanish is comparatively easy.

Fig.l shows a view of the thimble in position from

below, and fig.2 gives a side view. The beauty of the

vanish is that there is no movement of the left hand as far -

as the spectators can see. Even magicians will assurne

that some kind of pass was made and that the thimble is

still in the right hand.

B a bel

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Bob Ostin - A Lifetime Of Magical Inventions

Hofzinser's Key Fob

For this routine you will require two of the photo key cases/fobs depicted in
fig.I. They are designed to carry a small photo graph. Instead, insert a small square
cut from a playing card with a single club pip on it, as shown in fig.I. The photo-
holder seetion of the fobs are removable so that the picture can be changed.

Break off the plastic photo-holder part of the second key fob from its case (throw
the case away). Open the photo-holder and insert four pieces cut from playing cards
with a club, heart, spade and diamond pip on them, as shown in fig.2.

Although you may not be able to obtain the exact key fob depicted, you should be
able to use the routine with a very similar model once the basic principles are
understood.

Have three ace of clubs in your deck of cards. Make up a gimmicked card, as
shown in fig.3. Place this in the deck ready for the effect. Have the key fob and
gimmick in one pocket, so that they can easily be taken out together without
fumbling.

To begin, take out the key fob with the gimmick hidden below. Apparently open
the fob but really just push out the gimmick into view. The real holder is still in the
fob but the spectators should have no doubt that everything is as it should be. You
can show both sides of the holder in view, and you point out that sealed inside the
plastic holder are the four suits involved in a deck of cards. Close the fob, using both
hands, and finger palm the gimmick in the hand which is apparently closing the fob.
The free hand places the fob on the table, while the other hand ditches the gimmick,
as you bring out a deck of playing cards.

Remove the gimmicked card and the three duplicate ace of clubs. Arrange the
cards face down so that the gimmicked card is second from the face. Turn the cards
face up and apparently spread them to display four aces. In fact, only the top card is
spread and the other three are held as one. If the gimmick is marked on the back,
you won't have to fumble in order to make sure that it is the correct way around.

Turn the cards face down and spread them on the table. Tell the spectator that
only one of the four cards is required, the other three may be eliminated. Have hirn
point to a card. If he points to the gimmick, eliminate it and request that he
eliminate two more to leave hirn with one card. If he points initially to one of the
aces... use that card and eliminate the other three instantly.

You are now ready to finish. The spectator has chosen the ace of clubs and by
some mysterious means ... that is the only suit left in the key fob!

~ • Make the gimmicked
card as thin as you can
.J using stripped cards.
Note that the top end
•
of the gimmick is a
single edge, so that

the card will not
appear unduly thick
when placed on the

table.

\!!: ".., :;!V

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Bob Ostin - A Lifetime Of Magical Inventions

Match-to-Flower

Effect: With an obviously empty hand, you remove a box of matches from your

pocket, open it, remove a match and light it. You use the match to light someone's

cigarette or a candle etc. Blow out the flame and the match instantly changes into a

flower, which you can insert in your lapel button hole if you have one.

Preparation: Take a fabric flower that has a head small enough to be concealed

behind your fingertips. Pull the head from the plastic stern and replace the stern

with a match. Glue it into the head if necessary. Slide open the drawer of your

matchbox, containing other

regular matches, so that you can •
insert the body of the match,
with the flower head protruding.
Close the drawer trapping the

match in place as shown in fig.I.

Place everything into your right

side jacket pocket and you can

perform this at any time you like.

Performance: When you are ready, reach in and remove the matchbox, hiding the

head of the flower behind your right fingers. Shake the box, so that the matches

within rattle. Your left hand approaches and grips the box as shown in fig.2. Your

left forefinger pushes the drawer open. This is where your acting ability will pay

dividends ... your right fingertips enter the box and fumble around for a second or

two in search of a match. Remove the match attached to the flower and elose the box

with your left little finger. Strike the match, being careful not to flash the flower, and

light the cigarette / candle etc. Draw attention to the match as you blow it out, then

with a shake of the right hand, swivel the match through 180 degrees - bringing the

flower into view. You can now carefully insert it into your button hole, if you have

one. If you don't, you can insert it part way into your breast pocket. The flowers are

quite inexpensive to buy so, if you may prefer to secretly detach it from the match,

and hand it to a lady at the table. You could even hand it, still attached to the match,

to your assistant, should you be performing a cabaret type act.

Notes: Bob uses fabric flowers that have stems of the same diameter as a match.

He only has to pull the head from the stem and replace it with a match. This means

there is no need to glue the match into the flower head. Once you have obtained

such a flower, you will be able to quickly re-set it by simply pulling out the bumed

match and replacing it with a new one.

The advantages over the dealer item,

which uses a spring-loaded metal gimmick,

are that it is easy and inexpensive to make,

there is nothing to break that could let you

down, and you can use a flower that looks

like a flower rather than a feather duster!

Finally, even if you only use Bob's handing

with the standard dealer item Match-To-

Flower, you will find that the effect will be

greatlyenhanced.

Page 133

Bob Ostin - A Lifetime Of Magical Inventions

The 'Romantic' Card Trick

This is based on an old mathematical force in wh ich a number is requested from
ten-to-twenty, and on being dealt, the digits are then added and the card arrived at
has been forced. Iwanted to do the force twice, and have a reason for the original

number being limited from ten-to-twenty. This truly romantic trick is the result.

Set-up: If performing for a woman, have the queens of hearts tenth from the top
and the king of hearts on the bottom. The deck is now set for the basic effect. Should
you be working for a man, the two cards are transposed.

Working: State that most people, during their teenage years fall in love for the
first time, and ask your attractive female spectator if she can remember how old she
was when this happened to her. You can mention that people start early sometimes,
so from ten years on would not be surprising (this patter presentation gets over the
ten-to-twenty limitation).

When she teIls you the age that this phenomenon happened to her, you deal that
number of cards onto the table, remarking that you could not possibly have known
this number. You now explain that by adding the digits together you will arrive at a
card, which will represent her at that romantic time in her life. Pick up the pile from
the table, say it was fourteen, you add the digits, making five, and deal five cards
onto the table, placing the fifth card separate from the four and leaving it face down.
As you do this, state that it is now believed that this number would represent the
age when she would first have become aware of the opposite sex, which is a logical
reason for adding the digits. At the completion of this deal you will have a single
card face down on the table, also a small packet of cards next to it, and the balance
in your left hand.

Now for the only move in the routine, and it is hardly a move! Pick up the deck
and place the packet in your hand underneath it. Follow up by picking up the small
packet and casually dropping it on top. You have now set up the deck to repeat this
handling with the deck face up.

Now, turn the deck face up, stating that you want to be as fair as possible, and
ask her to tell you the age of the young man concerned. If she does not remember
tell her to guess. Whatever the answer, deal exactly as before, adding the digits with
the same excuse and you will arrive at the king of hearts.

Now for the climax. Say, "All those years ago he would have been your king of
hearts. Wouldn' t it be nice if he still remembered you and thought of you as his
queens of hearts?" Turn the face down card face up to show the queen and watch
them wipe a tear from their eye.

Now, if you have read this far, here is a lovely additional touch. When you first
set the deck up, place an ace of diamonds beneath the king so that when you do the
deal a second time, you will see it arrive on the dealt heap. As you reassemble the
deck make sure it goes to the bottom, as you place the deck face down on the table.

As soon as you have turned the queens of hearts face up say, "Wouldn't it be
even nicer if all those years ago he had bought you a great big beautiful solitaire
diamond ring?" Turn the deck face up to show the ace of diamonds and now, if you
really want to go one step further, you can have written on the back of the ace of
diamonds "With Love" or any other message you like as the back is never seen in

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Bob Ostin - A Lifetime Of Magical Inventions

the handling, and indeed can even be from another deck. This way you can add it to
their deck if circumstances allow.

For my own handling I remove the print from the back of an ace of diamonds
(Model Aircraft Dope Thinners is the stuff to use), and then I make it into a little
Valentine Card.

Well, there it is. Please put all you've got into the presentation, as with dealing
twice there is a lot of time to cover, but with suitable remarks (such as, "You started
early" or "I won't ask his name" etc.) it is well covered.

Go on... be romantic!

Skullocation Routine

Set your deck with a crimped card second from the bottom. Have a card selected
and then undercut the deck for its return. Cut the deck so that the crimped card goes
to the face, and thus bring the selected card second from the top. Push off six cards
from the top of the deck, but don't draw any attention to their number.

With the packet face down, deal the cards face up one-at-a-time onto the table.
However, buckle count on the fourth - thus dealing two cards, as one, and hiding
the selected card. Five cards have therefore been seen and none of them is the one
selected.

Pick the packet up and cut three cards to the face, after turning the cards face
down. Turn the packet face up and perform my 'Fan Hide Move' (described in this
book on page 12) to show five cards again, but still none of them is the one selected.

Glimpse the selection when doing the 'Fan Hide Move'. PIace the packet into the
skull's mouth. Have the skull whisper to you the name of the selected card. Name the
card, and ask, "Do you know how he knew? ... He had it on the tip of his tongue all
the time!" Shake the skull to produce their card in the usual manner.

Note: The above handling can be used for any similar object that will retain a
card in its mouth once shaken. Some performers even use a balloon dog - with the
rubber material of the balloon holding back one card, under its chin, as the dog is
shaken.

Sponge Ball to Dice

A hollow sponge ball and a hollow dice are needed, as shown in fig.1 below. Using
very basic D.I.Y.skills these are easily made.

They are placed mouth-to-
mouth and laid on the closed
left hand, as shown in fig.2.

The right hand is held flat . •/
and carries out a rubbing
action, as also shown in fig.2, :::.:
which causes the sponge ball to
roll itself up inside the dice! ...:.: :::.: .....

The left hand is then opened
to reveal the dice only.

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Bob Ostin - A Lifetime Of Magical Inventions

The Vanishing Hole

(Magie Mag Vo1.3No.6 August/September 1982)

The following two items are reprinted here with the kind permission of
copyright owner Martin Breese and editor/creator Derek Lever.

I think it was Brian McArthy who, many years ago, first published an idea in
which coins disappeared when pushed through a slot in a piece of paper.
Here is a method which will deceive magicians who are familiar with the
sleight-of-hand versions.

Preparation: Take two pieces of fairly stiff paper, about three-and-a-half inches by
four inches, (the size is not critical). PIace them together and then use a sharp knife
to cut a slot through them as shown in fig.l. Now take them apart and stick them
together again with gum around the edges, but stagger them about three-sixteenths of
an inch as in fig.2. When they are dry you must then cut the edges all the way round
so that the overlapping ends are removed. If you have used the right sort of paper,
and left everything nice and flat, the result looks like one piece of paper with a slot
in the middle.

Method: If you place a coin into the slot from either side, and push it towards the
lower slot, it will emerge beneath the paper. If, however, you push the coin away from
the lower slot, it will go straight between the two papers! Although a magician will
expect that it has fallen onto the fingers of the hand holding the paper at that side, it
will instead have disappeared inside the paper. Various finger moves can then be
indulged in to convince the spectator that the coin is being hidden beneath the paper
and eventually the paper is tilted so that the coin again emerges from the slot. No
amount of words will convey how nicely this device works, but if you go to the
trouble to make it up, I'm sure you will be delighted at its effectiveness.

Apart from vanishing a coin it can of course change coins, one for another etc.
Make it up and have fun.

r---------------------------------,

• Two pieces of fairly stiff paper, of the L~
same size, are placed squarely together
and a slot/slit cut through both with a On ce the slot/slit has been cut, glue/gum is
cutting knife and a ruler. • applied to the upper surface of the lower piece,

but only around the edges. The upper piece of
paper is glued onto the lower piece, but

staggered to the right, by about three-sixteenths
of an inch. Finally, when dry, cut away the edges

all around along the wider dotted lines above.

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Bob Ostin - A Lifetime Of Magical Inventions

The Perfeet Shell

(Magie Mag Vo1.3No.6 August/September 1982)

This will not take long to describe, but will I think give you a lot of fun and
amusement. Whilst The Vanishing Hole can be used for magicians and laymen,

this item is strictly for magicians only.
Note: The following has been updated for use with modern coinage.

First you must obtain, from a bank or a coin-dealer, one of those little dear plastic
envelopes that will only just hold a 2p piece. It must be a good fit with little or no
room for the coin to slide about.

This is what you do. Place a lOp piece beneath a 2p piece and place both coins into
the envelope. Now approach your unsuspecting magician friend and say, "1bought
a shell coin recently, but I'm not too pleased with it." As you say this, remove the
envelope from your pocket so that he sees the 2p piece. You now remove both coins
from the envelope, holding them so that the lOp pence piece remains hidden
beneath the 2p piece, the right hand holding both coins from opposite sides between
your thumb and first finger. Now bang them against the left hand, as though trying
to get the insert of the shell coin to fall out.

After a couple of bangs the lOp pence piece is released into the left hand, and if
you have acted the part properly, it will be taken as the insert falling from the shell.
You now say, "The trouble is, 1can't get it back in again, and hand hirn both coins.
The expression on his face at that moment will be your reward for the practise needed
to do this convincingly.

When 1first thought up this little bit of nonsense 1worked out a way of
apparently placing the lOp pence piece back into the shell with a convincing little
dick, but it really was much more fun done as 1have described it.

WeIl Done!

This is a great gag to kid magicians. Collect a number of identical cards, with
different back designs, and write on their faces, with a thick marker, WELL DONE!

Carry these with you and when you spot someone doing card tricks, secretly
palm one, with the same back design as the cards in play, and ask the cardman if he
can have you choose one without hirn looking, so that no one would think it was
marked? Also ask if you could then return it, and would he have the skill to control
it to the top? As soon as he agrees that he has the skill, ask hirn to demonstrate.

He spreads the deck, you reach forward, with your palmed card, and pretend to
remove it from the spread - just pull a little so that he thinks you've taken one. Say,
"Okay, l've got one." He has you return it and controls it to the top. He asks you to
name it, this you do, and he proudly turns it face up and there staring hirn (and
everyone else watching) in the face is the message ... WELL DONE!

He'll probably catch on, but if he thinks you've written on one of his cards, don't
stand too dose!

An alternative handling is to let hirn see you take the card, and then add your
card to it, both being returned to the deck together, but 1prefer the above handling.

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Bob Ostin - A Lifetime Of Magical Inventions Cards

The "Thanks To GUSli Rising

Bob was great friends with the legendary Gus SouthalI. Here, for the very first
time, is his own version of Gus' rising card gimmick. Unlike the original, it

GUARANTEES, to engage one card each time and embodies a simple, and speedy,
method of re-threading ... should the elastic ever need replacing.

Construction: Take a lern x 2cm piece of tin. Round the corners, then drill two

small holes in it and bend it as shown in fig.l and fig.2 (a side view). Take a playing

card and make two small holes in it, behind those in the piece of tin, then affix

sewing-eyelets (ask at a shop that sells

bobbins of cotton, needles etc.) to each of ~.•
these holes. These eyelets allow the shearing
elastic, that will run through them, to do so
freely without any chance of snagging. On
the back of this card, glue a piece, cut from

another playing card, into the position shown

by the shape with a white border in fig.3. •Piece of bent tin •Side-view of fig.1
Place the holes in the tin plate over the
sewing eyelets in the card, and thread a held in position by showing the Iip
length of shearing elastic through them so
that both ends emerge from the back of the

card. Tie the ends and loop the elastic over ~.~~
the prong of the piece of playing card glued
to the back, as shown in fig.3. You will need
to experiment with the length of elastic to

make sure that the tin plate is held against

the card, but not too tightly! FinalIy, apply •
glue to the back of the card, over the area
shown by the grey reetangle in fig.3, then

glue another card face down onto it. The back

of the gimmick now looks fine, yet it can

easily be levered open when you need to re- extra
piece
thread the elastic.

Note: The tin gimmick is similar to Gus of card.

SouthalI's, but the lip that engages the

selected card is much more pronounced. The

handling that follows will ensure that only

one card rises each time, and there is

absolutely no chance of the gimmick slipping

off the card!

Set-up: The deck is held face down, with

the gimmick at the face, and the piece of tin

furthest from you.

Performance: Spread the cards for a free The gimmicked card is only complete when
selection. Once they have removed a card, another regular card is glued in place onto the
square up the rest, then cut and have their
area shown by the grey rectangle.

Page 138

Bob Ostin - A Lifetime Of Magical Inventions

card replaced on top of the original upper section. Leave their card out-jogged a
little as you drop the lower half onto their card. Their card is still out-jogged, and
the gimmick is sitting directly on top of it. With your free hand slowly pull their
card a little further out of the deck, bending it downward as you do so, and flick it
sharply several times with your forefinger from below. The bending of the card
ensures that the inner narrow end of the selected card slips over the piece of tin on
the gimmicked card, and onto the lip of the piece of tin. The flicking of the card hides
the dick produced, as the selected card slips over the piece of tin. Once you feel that
the card is within the gimmick, push the card completely square with the rest of the
deck, but maintain pressure on the upper narrow edge of the gimmicked card, so
that the selection doesn't emerge prematurely .

Bob is now able to both overhand and riffle shuffle the cards without the
selection emerging. At any time you can hold the deck in the time-honoured rising
card grip, and by releasing the pressure, the selection will slowly rise out from the
rest!

Finally, you spread through, with the cards face up and held horizontally, until
you reach the out-jogged selection. Cut off the upper section, keeping the pad of
your thumb over the lower part of the piece of tin, and flip this upper section face
down ... proving there was nothing above their card. Drag the face up selection off
the lower section and onto the face down section. The pad of your thumb now
covers the entire piece of tin on the face of the gimmicked card, and everyone can
now see that there was nothing beneath the selected card.

Re-set: Flip the face up section face down, and slip it below the face up section.
Flip the selected card face down on top of the deck. Case everything and you are re-
set!

The "Stand Up" Coin

Effect: A borrowed coin is placed on the back of your right hand. It then, at your
command, stands up on edge before being returned to the spectator with obviously
empty hands. There is no clue as to the method.

Method: A wrist-to-wrist pulI. Make, from a small piece of tin-plate, the 5cm long
fake shown in fig.l. Tie a 15cmlength of fine fishing line through the tiny hole at the
front of the fake, then tie the fishing line to a length of fine cord, which in turn is
tied to an elastic band. A panel pin is tapped through the fake, then the ends cut
away to form a small stud on both sides of the tin-plate. By the way, the tiny hole at
the front, where the fishing line is attached, will be nearest your fingertips in
performance.

Set-up: Place the elastic band over your watch strap on your left wrist. The pull
now travels up the left sleeve, across the back and down the right sleeve. The pull is
threaded through the eyelet of a safety pin and has a bead between the pin and the
gimmick end of the pulI. This safety pin is fastened inside the coat just below the
opening of the right arm pit and its purpose is to prevent the pull working its way
out of the right sleeve when the pull is being worn.

Performance: Steal the fake from your sleeve and position it so that it is clipped
between the right first and second fingers by the studs on either side of it. The end
attached to the pull is nearest the fingertips, as in fig.2. The right thumb is placed

Page 139

Bob Ostin - A Lifetime Of Magical Inventions

against the end of the gimmick and presses slightly upwards to assist the first and

second fingers to clip the gimmick. When the right hand is held back uppermost

there should be no sign of the gimmick from above (fig.3)

You now borrow a coin, preferably a 50 pence piece, and • Studs on both sides

taking this from the lender place it on the back of the

right fingers. As this is done the foHowing move must be

made. The right thumb presses upwards and the first and

second fingers open, very slightly, to allow the gimmick

to be pushed between them so that the little studs at

either side of the gimmick are now above the fingers and

the end of the gimmick is beneath the coin. This move is

the work of a moment and there is plenty of cover

provided by the left hand as it places the coin on the back

of the right fingers. The position now is shown in figA.

The right hand now moves, very slowly, towards the

spectator and as it does so... the pull causes the gimmick

to pivot between the fingers (the two little studs act as a

fulcrum) and the coin stands up on the back of the

fingers. As soon as the effect has registered, the left hand

also moves forward, which now stretches the elastic

portion of the pull.

The left fingers remove the coin, and as it does so the

right first and second fingers open slightly and, due to

the tension on the elastic, the gimmick flies quickly up f:::J t:-~
the right sleeve so that the hands can be seen empty.

Notes: A fair amount of handling practice will be
necessary to get the feel of the gimmick and to perform

the trick cleanly, but once mastered it is a very effective Tin Plate Pull. •
quickie. The best coin to use is the 50 pence piece as its fake.
shape prevents it from rolling when it is in the upright
position. The shape also helps to conceal the gimmick, as Right thumb about to press
the edge of the coin nests in the hollow between the fake upwards between your

first and second fingers.

fingers. The idea of using elastic for apart of the pull was

arrived at after a lot of thought as it enables the disposal

of the gimmick to occur without any further movement

of the hand. This half-arid-half pull idea could be used

with many other devices, such as cigarette vanishers etc.

and should prove a worthwhile addition.

Note: I recently saw Bob perform this stunt, and can

attest that it looks absolutely incredible. I would imagine

that, with a little experimentation, you will be able to

cause other small objects to stand up on the back of your

hand. If you go to the trouble of making up the gimmick,

you will be delighted with the effect it has on a lay

audience. Your hands don't appear to move, at all, yet the

coin slowly stands up. It looks really spooky and will

make the hairs on the back of some necks stand up as View from above right
well! hand.

Page 140

Bob Ostin - A Lifetime Of Magical Inventions

IBNOB~.OIS~TIlNA' nBAMBOBSOOSOTZINL'SE Bob Ostin's ...

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ENOUGHFOR FirnEN PERFORMANCES

Peg Bob Ostin's ...

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An Unexpected Prediction
From Bob Ostin

*Previously Marketed Items*

AIthough not a dealer, Bob has lectured extensively throughout the world, and
had some of the following items manufactured for sale at his lectures.

'The following, when bought separately, would have cost you many times the price
of this book' is a mueh over-used cliehe. However, in this ease, it's true!

Bob did not initially want to include these items, as he feIt that many of you
would have already bought them and wouldn't be too happy to see them 'given

away' here. Eventually I eonvineed hirn that those who had bought them had
already had many years of enjoyment from using them, and wouldn't mind, for
the sake of eompleteness, that they be included in this eolleetion of his ideas.

As Bob no longer plans to manufacture them, he has very kindly given me
permission to add them to my own range of magie, and to adapt, modify and
market ANY of the ideas that appear in this book - with the exeeption of those
that various dealers have bought the rights to from hirn. I would like to put on

reeord here my thanks to hirn for this very kind gesture. - Stephen Tucker.
Manufacturing rights are obviously withheld. However, having bought this book

you are entitled to make up 'one of eaeh' item for your own personal use.

Page 141

Bob Ostin - A Lifetime Of Magical Inventions

BOBOSTIN'$

THE AMUSING UPDATE ON Anima! illustrations
by Colin Gronow.
HIS BEST SELLING

~uto suggestio,!

Required: A set of eleven cards. Ten of

their twenty-two sides are as depicted

opposite, and on the next page. You will

need to enlarge these original illustrations

and have them copied onto suitable sized

card-stock. Bob's original marketed cards

were printed, in various bright colours,

onto sheets of stiff white plastic that were
6cm x 10.5cm.

F------- .....•.The reverse sides of the cards depicted

n:z: S eare as follows ... Zebra head/ the word

'LEMON', Zebra rump/'GIN', Snake

0» r: 2"head/'PORT', Snake tail/'PEP', Elephant
"'.... ~----__=~_I

!i: ~

AI ~

R' '"

••••• J~.::Z=:::-rt::r ••.•
head/'BITTER', Elephant rump/'RUM', an 1"" ::r
Octopus head (with eyes)/'TONIC',
'J
Octopus head (no eyes) / 'MILD', The ::I:~ :z: "'< I:Da " 3 tD
Drink Mixers CLUB/ 'THANKS VERY ü5-
MUCH etc'. Finally, there are two cards ~ ~ m 2: 51 P. C
with back designs (of your own choice)
and on their reverse sides are the words = = 5-<~,.,.0'" »m:-:<a
'SCOTCH' and 'SODA' respectively.
~ i:
Set-up: Place thc cards, drink side up,
in the following order with Scotch being !i!~ C
::r ~ Q. C::=a;-
n:z: 3~•'•0i5r1r -:g::g,..-C-~D. i:

=-=-:s ;;' :s :~c

the top card - Scotch, Gin, Mild, Rum,

Port, Pep, Bitter, Tonic, Lemon and Soda.

Here is a mnemonic to help you memorise the order, Scotch Ginny has Mild

Rheumatism. Portly Peop.1eBite Tonsils after Lemon Soda. This sounds ridiculous

but it works.

Turn the packet over, so that a normal back shows and you are ready to present

the trick.

Working: Commence by showing the 'Club Card' and say that you are a member

Page 142

Bob Ostin - A Lifetime Of Magical Inventions

of the Drink Mixers Club, and ask them if
they know what AA stands for?
Regardless of their reply say, "WeIl,
actually it stand for Always Appy - the
enviable state most of the members seem
to be in!" You now draw attention to the
five drinks shown on the 'Club Card' and
say that these are the classic mixed drinks,
i.e. Gin & Tonic etc. and in order to join
the club, prospective members have to
take a little test. Would they like to try?

Now show the packet of drink cards,
which you remove with the normal
backed card uppermost, but then turn
them face up to show the various drinks.
Count off five, without reversing their
order, and show the drinks. Close this
packet up and place it on the table. Next
show the drinks in the other packet, again
without reversing their order, and point
out that the drinks in this packet will
compliment the drinks in the other
packet. For example. Gin in one packet
pairs with Tonic in the other, or Port with
Lemon etc. as shown on the 'Club Card'.
Place this packet on the table and the test
nowbegins!

You point out the phrase on the 'Club Card', which reads, 'Make The Right
Drink', and now tell them they must speIl out this phrase as you move cards from
the top to the bottom of the packets. Emphasise that they have a completely free
choice, and ask them which packet they would like to start with. Whichever packet
they choose, you pick it up and move the top card to the bottom as you speIl the 'M'
from 'Make'. Tell them that they may switch packets if they wish and continue until
the word 'Make' is spelt. The two halves of a drink will now appear as the top cards
of each packet, but they will not be the sort of drink anyone would wish to drink, ie.
Rum & Port. Point out what a terrible concoction they have come up with, and also
that it is not one of the drinks shown on the 'Club Card', which they are supposed to
be making. Put this pair to one side as they are asked to try and make another drink
on the spelling of the the next word in the phrase. Once again a weird drink comes
up and again you have fun asking if they would really give that to a friend?

You continue with this spelling of each word until all four words have been
spelled, and at some point Scotch & Soda will appear. It could be the first spelling,
but it matters not. As soon as Scotch & Soda appears, congratulate them on their
success and place this pair with the 'Club Card'. You could flash the backs of these
two if you wish to strengthen the climax which is to follow.

Once the five pairs have been arrived at, you again emphasise that everything
has been entirely fair, and as they decided. Now say, "It really is amazing that you
have chosen my favourite drink." Turn over the 'Club Card' to show the message,

Page 143

Bob Ostin - A Lifetime Of Magical Inventions

'Thanks very much 1'11have a Scotch & Soda'.
At this point the trick appears to be over, but now you say, "The Club members

have one big problem, after a while they start seeing things!" The pairs on the table
are now turned over and matched to show a pink elephant, yellow octopus etc. (I
like to start with the elephant - it is the pair with Rum in it). That concludes the
effect as you remark, "How on earth did you do that?"

One final point. The only drink which will appear, that would be remotely
acceptable is Gin & Lemon. If someone says they would drink this say, "WeIl, I
certainly wouldn't and it's not on the 'Club Card'."

Sometimes I say, in advance, that they must try to avoid Gin & Lemon, as no club
member would drink it! You will then get a laugh when it turns up, and have also
avoided any arguments as to its acceptability.

The other reason for having the 'Acceptable Drinks' shown on the 'Club Card' is
so that our American friends can use the trick by simply targeting the drinks on the
card. I'm not sure that Mild & Bitter are known in the States, but I could be wrong.

However, "CHEERS!" and have fun.
Note: For the sake of completion ... Bob's original set of cards had all the drink
names printed in black. The animals were printed as follows ... snake/red and black,
zebra/ green and black, elephant/pink and black and the octopus/yellow and black.
The two back designs were identical and printed in red. The 'THANKS VERY
MUCH etc' card was in red lettering, and the 'The Drink Mixers Club' card was
printed in blue, with the words 'Make The Right Drink' in red.
It is worth noting that a practice set of cards (or even a poor-man's set) could be
made by replacing the images of the animals by the words, PINK ELEPHANT,
SNAKE, OCTOPUS and ZEBRA. The words should span both cards in each pair.

Stephen Tucker's routine for ... 1 If you don't have enough time and

performing area to fully do Bob's routine
justice, here is a shorter

routine designed for strolling performances
where there are no tables, and your

audience consists of small groups enjoying
a drink or two.

The downside of this watered down
routine (pun intended) is that the terrific
prediction aspect of Bob's original routine
is abandoned, as are all of the great gags.

Set-np: Stack the eight half-animal cards in pairs, then flip the packet over.
Performance: Spread through the cards showing the various alcoholic
ingredients. Explain that, as a magical bar-tender, you will mix them together. Do
this, by simply moving the various pairs around each other, making sure that the
two cards that make up each pair are never separated from each other.
Next, a clever ru se of Paul Curry's ... Ask someone to hold a hand out palm up.
Slowly deal the cards one-at-a-time onto their hand. As the first card is being dealt,
say that they should call out "Mix!" at any point in the deal. You will then stop and
mix the next two cards together. Once they call out "Mix!". Stop, reverse the order of

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Bob Ostin - A Lifetime Of Magical Inventions

the top two cards of the packet (mixing them) then drop them, as a pair, onto those
in their hand. Deal the rest on top one-at-a-time. Offer to repeat this phase, but this
time you'lI mix three of the ingredients together, when they call out "Mix!". Do so.

Finally, pick the top card off the packet in their hand, and name the two
ingredients showing. Make a comment as to how nice (or foul) that drink would
taste. Then explain that if you drank too much of it... you' d end up seeing ... pick off
the new top card from those in their hand, turn them both over and marry them
together, as you name the creature showing. Repeat this with the other three pairs.

Note: If you know any other small packet false mixes or false cuts ... use them!

BOSOSTIN'S ~ Effect: a pint of water whilst
held by a spectator changes, in a
flash, to beer.

BAMBOOZLED This is a timed chemical
reaction resulting from a new
formulation specially designed
by an expert chemist, my brother

A pint of "WATER" Changes to "BEER" in a 'UJH Doctor Vincent Arkley (The

A Great Compere Item ! Professor), specifically for this

The Glass may be held bya spectator as effect.
the Change Occurs
Various Novel Presentation Ideas Important: As with all

'IFTEEN~NOUGH FOR PERFORMANCE~ chemical magie effects, you must
not drink any of the liquids used

or allow anyone else to do so. Please take note of this and see presentation later.

Method: You will need to make up a special powder (as detailed in the formula

below), and.you will also require some 200mg Camden tablets (half a tablet is

required for each performance ie. lOOmgof Sodium Meta Bisulphite).

Formula: Put 1.5 gm of Potassium Iodate into a plastic bag. Add approximately

lOgm of Citric Acid (ground into a powder) and roughly mix. Put the resultant

mixture into a small cup and grind the mixture (I use a plastic knife handle). Replace

ALL the mixture into the plastie bag. The production cost per packet is less than 63p.

Note: The mixing need not be thorough as the whole lot will be used. This

procedure enables the rather small amount Potassium Iodate to be mixed in without

losing small amounts in the bag.

The effect will still work if less than a pint is poured. The delay before the change

occurs and the colour of the beer will vary according to the amount poured.

Although I have stressed that no-one should drink ANY of the liquid. The

toxicity is virtually nil. Children have been given O.2gmof Potassium Iodate, and

Citric Acid is non-toxic.

Preparation: Each packet of powder will make five pints. Proceed as follows ...

I} Place one packet of powder in a 2 litre bottle (the plastie bottles sold containing

spring water are ideal). If you use any other type of bottle, make sure that it is well

washed out first. Now fill the bottle with water and allow the powder to dissolve.

Invert the bottle (at least seven times) to ensure that it is thoroughly mixed. This

represents your stock bottle holding just short of five pints. You can now draw from

this into pint bottles for transportation. Put a 'Do Not Drink!' label on the bottle.

2) Place one of the half Camden tablets in the bottom of a pint glass and add a

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Bob Ostin - A Lifetime Of Magical Inventions

sma11quantity of water, about an egg-cup fu11.Break the tablet up and stir until it is
dissolved. It takes about a minute, but make sure it is completely dissolved.

3) Top up the glass from the stock bottle to about an inch from the top. In about 35
to 40 seconds the liquid will change, in a flash, to the appearance of beer.

Timing: If you wish the change to occur slower, add less from the stock bottle. If
you wish the change to occur faster, then add more so that the glass will be almost
fu11.You can also get a slower reaction by making a 2.5 litre stock bottle, which will
take about 60 seconds and look more like lager or pale ale.

Presentation: As it is unwise to drink the beer you have produced, you will need
a presentation, which enables you to logically avoid doing so. Here are a few ideas.
Walk on stage with the water and say, 'Tm on the wagon, but I wish it was beer!"
Place the glass down and hypnotise it, getting the audience to join in, saying, "You
are beer!" After the change occurs, pick up the glass, sniff it and say, "I hope you a11
got that right, but I think I'11stay on the wagon, just in case!"

Another very good way out, and the one that I use, is to proceed as above, but
pour the beer into a wilting flower vase. The flower wilts, and you have a good
sight-gag fo11owinga startling effect. Or try the fo11owing...

Put the liquid into a scotch bottle, with a scotch label on one side and a vodka
label on the other. Enter with the vodka label showing, saying that you have just
been given it (or won it in a raffle). Remark that you would prefer scotch and place
the bottle down. Do the hypnosis bit, and as soon as it changes, turn the bottle
around to show the scotch label. One final thought ...

It could be used as a card trick. Use a rough-and-smooth forcing deck for the
selection of a card. Now move cards from the top to the bottom of the deck,
touching the side of the card to the glass each time. When the change occurs, the
card you are holding is placed back on top and turned over to show that it is the
selected card as you say, "I knew it would be, that's the one that likes a drink!" This
is particularly good if your force card is a picture card, "The queen likes a drink!"

Fina11y,I must repeat DO NOT DRINK THE RESULTANT BEER!!!Whilst the
mixture is essentially harmless, it tastes unpleasant and drinking any chemical
mixture is unwise.

I hope that you go to the trouble of obtaining the required ingredients, and at
least try the routine out once. I'm off for a real pint now! Have fun.

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Bob Ostin - A Lifetime Of Magical Inventions

DICEY Effect: The performer shows a
dice, made from cardboard, which
he says has remarkable properties.

Six cards are now shown and the

spectator rolls the cardboard dice to

decide on a card. The dice is now

opened and turns out to have been

made from a single playing card,

which matches the chosen card!

An Unexpected Prediction First, prepare the Dice Card. The
From Bob Ostin illustration below shows what you
must copy onto the blank surface of

any poker sized blank backed card. The spots and lines can easily be applied with

black indelible marker pens, a ruler and a little patience. The spots, if you are not

artistically gifted, can even be applied by using tiny circular adhesive labels.

Once you have copied the illustration below onto your blank backed card, cut

very carefully along the dotted lines. Now fold along the solid lines and assemble the

dice with the blank faces to the inside. A very small piece of double sided Sellotape is

stuck on the inner corners of the faces adjacent to the five spot, which holds the dice

together prior to its opening. I usually carry the dice already assembled in a little

box and present it as something unusual, but it is also possible to have it flat in a

wallet and assemble it in front of the spectator, without them being aware that it is a

playing card, whilst you comment that, "Here is an easy way to carry a dice

around."

The card selected must, of course, be forced and an easy way of doing this is to

have the force card on top of a packet of six. Fan the cards out face down in the left

hand, as you show there are just six cards. You then explain that the top card will be

number one, the second, number two, etc.

Have the spectator roll the dice until satisfied with the result. Now if it should be

number one, you have no more work to do, but if any other number is selected, you

very openly remove the card at that number from ••••••••• .' •I
the top saying, "This is definitely your choice?", I
and transfer it to the top of the packet, directly
above the force card. Now dose the fan and get a •- - - +---ooooot~ - - -
break under the top two. This is very easy •••••••••---+----I~---
because of the fanned condition of the cards.
Immediately turn the two cards over as one
naming the force card, then turn the balance face
up beneath these two as you continue by
spreading the six cards saying, "You could have
had any one of these." The dice is now opened to
show the match.

There are many other forces you can use -
rough and smooth, all alike etc.
It is really up to you. You may find it worthwhile
to reinforce the dice with sellotape, the type
known as Scotch Magic Tape is the best if you
decide to do so.

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Flash Bob Ostin - A Lifetime Of Magical Inventions

Cigarette Vanisher MarketedbyKenBrooke

This is an attention-getting opener, regardless of whether you smoke or not, as
there is a good anti-smoking presentation.

The vanisher: This is made from a block of aluminium. Fig.l shows the vanisher
from both ends, and fig.2 shows a side view with the inner workings exposed.

Loading: Remove the small screw. Now insert a piece of flash string or a twist of
flash paper or wool so that it connects the upper and lower chambers. This is the
fuse and must go right through and into the cigarette chamber. Next, replace the
screw. Now insert your flash material (string, wool or paper) into the small chamber
- do not pack it too tight.

To work the vanisher: Pin the end of the elastic attached to it inside your right
sleeve so that you can, steal it and hold it in the curled right hand fingers. Have a
lighted cigarette in your left hand, or borrow one, but be sure it has burned down a
little first, so that when it is placed into the vanisher only a small portion of the tip
will protrude. Comment that cigarettes really are not very good for you, then blow
on the end of the cigarette to make sure of a good glow, and insert it into the
vanisher, which should be pointing downwards. This is important as the resulting
flash can travel a fair distance and could be dangerous to spectators.

As soon as the flash occurs release the vanisher, which will be drawn into your
sleeve as you remark, "Imagine what they do to your insides!"

Finally - Do wait for the flash before releasing the vanisher, and please do not
ever point it at anyone.

Note: You may like to 'round' the
end of the vanisher where the elastic
cord is attached, so that it enters the

sleeve more easily.

<.

Elastic cord Flash material cigarette is
from pull runs loaded in here. inserted.
up your sleeve.
~ Elastic cord from 3 Cigarette
Flash material
loaded in • ~Screw. pull runs up your _ goes in
h.,e. sleeve. here.
_________~_L_,__

f-~----------~,J
~ ;------------------------------;-

L_________________________________

Elastic cord from pull runs Fuse, shown in grey, runs
up your sleeve. between the two
chambers.

Page 148