Bob Ostin - A Lifetime Of Magical Inventions
Bob Ostin's ...
This is a VERY convincing
penetration of a court card,
sandwiched (cross-wise) between
two spot cards, frorn a length of
ribbon threaded through various
holes in al l three cards.
BEST OF ALL ...
IT'S 100% SELF-WORKING!
Effect: A picture card with a large hole through the centre is placed between two
spot cards, each having two smaller holes through their centres. A piece of ribbon is
threaded through the smaller holes so that the picture card is trapped. The picture
card then magically penetrates the ribbon, as it is withdrawn from between the spot
cards.
Method: Three cards as described are used, one of which is faked. This card is a
double card being held together only at the narrow ends. It has a cut-out to one side
on the upper card and a piece has been removed from between the two holes. This
fake card is shown in fig.l. Here is how you use it.
Hold the three cards face up in your right hand, as in fig.2., the picture card being
the uppermost card, then the fake card and finally the other spot card. The left
thumb now draws the picture card off into the left hand, as you draw attention to
the hole by turning the right hand palm up, as in fig.3, so that they also see the back
of the cards in the right hand. Turn the right hand back up again and draw the fake
card into the left hand in the same
manner, and finally the remaining
spot card - the Hamman Flustration
Count - which gives the impression The card at the
that they have seen the backs of all upper left, with
the cards. two small holes,
is a spot card,
The two spot cards are now the upper right
returned to the right hand, and are card, with one
again held as in fig.2. The lower
card is the fake with the cut out big hole, is a
court card.
towards the left. You are now The card
apparently going to place the picture opposite (made
card crossways between the spot
cards, but it will actually go up of two cards
through the fake card, and it is the
cut out which makes it easy. First stuck together
you slide the lower card (fake) a
fraction to the right. Do this quite 1 \" at the upper and
lower narrow
Notch edges only) has
t a spot card on
cu the face.
away.
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openly as you wish to give the impression that you have done so to make the
insertion of the picture card easier. The left hand holding this card moves the lower
right corner beneath the right hand cards so that it is pressed against them. You now
move this card to the left, until you feel it enter the cut-out when it is pushed into the
double card, but not right through or as far as the holes, until you have made sure
that the two spot cards are returned to perfeet alignment. This is important for
otherwise it will not appear that the picture card is between them. When they are
aligned, push the picture card through and then hold them in the left hand as in
figA.
The ribbon is now threaded through either of the two smaller holes and the
picture card is partially withdrawn to show that it is threaded on the ribbon, as in
fig.5. You now carefully pull on the ends of the ribbon to draw the card back between
the spot cards. One end of the ribbon is now taken from beneath the cards and
pushed up through the other hole, as you remark, "To make it doubly secure." At
this stage the left hand momentarily turns the cards backs uppermost so that the loop
of ribbon is seen being drawn down onto the cards, as in fig.6. This is the convincer,
but do not delay the action as you want them to see the loop, but not the cut out
between the holes! It is pretty well disguised, but why take chances?
The handling is now complete. All you have to do is hold the cards, as in fig.7,
and allow the spectator to hold the ends of the ribbon (or trap them against the ends
of the cards between the fingers and thumb), and the card may be drawn out by the
left hand.
To conclude the handling, the spot cards are separated so that the ribbon is seen
still between them.1t is then removed and another miracle has been perpetrated.
~
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Bob Ostin's ...
The
Backward
h,nm)\:lnH
Card Trick
Five cards, four blue backers and one red, are shown. The red card is
pocketed. They are shown again, but now you have three blue and one
red, which is again pocketed! This continues until you have onIy one
card remaining. Is it blue or red? No ... it's GREEN!
This routine also appeared in my book Fingertip Fantasies, but the handling has
been altered over the years to result in this final (I hope) version.
Effect: Five cards are removed from your top jacket pocket, as you say that you
are going to do a card trick in which only the backs of the cards are of importance.
The cards are then counted to show four red and one blue back, or any other two
colours depending on the cards used.
For this description I shall refer to red and blue. The odd card, the blue one, is
then returned to the pocket. Once again the cards are counted, but instead of four
red cards appearing - there are three red and one blue! The blue card is returned to
the pocket but when the three cards remaining are counted, it is found to have
returned, there being two red and one blue. A final attempt is made to dispose of it
into the pocket, but yet again it returns to the hand to show one red and one blue.
The blue card is placed into the pocket as the last card is turned face up, and you
ask, "What colour do you think this one is?" Whatever the spectator replies (red or
blue) the card is turned over to show an entirely different colour, for instance green,
or to bear some form of advertising if appropriate.
Method: Although five cards are referred to, nine cards are used. These are
Single red card Your left hand turns back up as •
is held over part your right hand takes the two
of blue to hide cards (as one) to your pocket.
the edge.
so that when 'A: is placed onto
it, a quick double Iift may
follow once the fan is closed.
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counted as five, then four, then three etc. as the odd card is retumed to the pocket at
the completion of each count. As the whole routine depends on aseries of buckle
counts, followed by double lifts, I will describe in some detail this action and then
the complete routine.
Set-up: Place four cards of one colour (say blue) on the table, then on top place
the single odd card, and on top of these the remaining four cards (say red). The
lowermost of these should be scratch marked at the upper left/lower right corner.
The purpose of this mark is as areminder of when to buckle, but with practice, it will
seldom be used.
Hold the nine cards in the left hand, with the backs facing the audience, and
tilted so that the edges of the cards do not indicate that there may be more than the
five cards to which you refer. Now push the top card across into the right hand.
Next, push the following card across beneath the first card, but not square with it as
you count two and continue with the next two cards, but on the count of four (watch
for the scratch mark) the left forefinger presses beneath the corner of the cards under
the left thumb and draws back so that the bottom card is buckled as the packet of
five cards is taken, as one card, into the right hand.
The bottom odd coloured (red) card now comes into view, and as attention is
drawn to it, it is held over the left hand side of the right hand cards to further
disguise the block of cards, as in fig.I. This position is only held for a moment before
it is placed on top of the right hand cards, which are immediately closed up, and a
break easily obtained - due to the fanned position beneath this card and the one
below it. A perfect double lift can now take place as these two cards are returned as
one to the top pocket.
The above is the essence of the routine, which must flow smoothly to achieve the
desired effect. One nice thing about it is that as the trick proceeds ... it gets easier!
Using these moves of buckle and double lift, the routine can be summarised as
follows until only three (apparently two) cards remain.
(1) Count nine cards as five, odd card shows, two cards as one returned to pocket.
(2) Count seven cards as four, odd card shows, two cards as one returned to pocket.
(3) Count five cards as three, odd card shows, two cards as one returned to pocket.
Remember that the scratch mark tells you when to buckle.
Now with just three cards left (apparently two) proceed to the climax by again
buckling the bottom card to show the odd card, two being held as one in the right
hand. Place the odd card on top and buckle again, but at the same time, turn the
hand so that the card is face up and the back is not seen, as in fig.2. As the right
hand places the two cards, as one, into the top pocket, the spectator is asked to name
the colour of the card remaining in the left hand, which is then turned back up to
show a totally unexpected colour!
I have written this up in considerable detail in the hope that you will have as
much success with it as I have.
One final point - if the cards feel a little stiff at first, don't worry as, with
handling, they will become more flexible and easier to work with.
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PREDICT~A~TRIP
) bob ostin (
Effect: In this comedy Open Prediction type routine - a luggage label is shown,
the address side of which is blank and the other side bears the words "1st Class".
Eight cards are next shown, which bear a means of travel on one side and a
destination on the other. The spectator verbally decides how they would like to
travel - by car, bicycle, balloon etc. and their chosen card is turned over to show
their destination. The words "1st Class" on the luggage label are now rubbed with a
finger and they morph into a humorous interpretation of the actual destination
chosen by the travellerl
Method: The luggage label is basically a plastic frame with a white plastic inner
surface, as shown below. On the white surface you write "1st Class", but only the
letter 'C' is written in permanent black ink, the rest is written in black dry-wipe ink.
These dry-wipe pens come in many varieties such as Velleda, Dri-Erase etc. When
you later wipe the label clean, with a finger, everything but the letter 'C' will be
erased. This black letter 'C' will represent... The Black Seal After each performance
use a black Dri-Erase pen to convert the letter 'C' back to "1st Class".
Preparation: having made the luggage label (you don't actually need to have a
plastic frame around the white surface) ... Use double blank card stock to make a set
of cards bearing a means of travel on one side and a destination on the other as
follows ... CAR/SAHARA ... WALK/NORTH POLE... ROCKET/MOON ... BIKE/
VESUVIUS... TRAIN/HONG KONG ... SHIP/INDIAN OCEAN ... PLANE/BLACK
SEA and BALLOON/MOUNT EVEREST.
The force: Mix the cards up, but be sure the PLANE card comes to the top. The
spectator now chooses how they will travel, and some fun can be had here by
saying, for instance, "You really want
to go by rocket?" or whatever their
choice is. Their chosen card is then 1st
transferred to the top of the fanned
packet, and as the fan is closed, a
break is obtained so that an immediate
double lift is carried out as the two
cards are turned over to show that
they will be going to ... THE BLACK
SEA. Once these two cards have been
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turned, turn over the rest of the cards beneath them and spread all the cards as you
comment on where they could have ended up. All that remains now is to pick up the
label and openly convert, by rubbing with a finger, the words "1st Class" to the
black 'C' ie. THE BLACKSEA. H's a corny gag, 1know, but blame Tom SeIlers who
came up with it around 1951!
If, of course, you are lucky enough to have the PLANE card selected, then there
are no more moves to worry about, and you can go into THE BIG BUILDUP as a
simple little gag effect becomes rather more mysterious.
Finally, remember that much fun can be had by linking their choice to their
personalities - "I never would have thought you would have gone by balloon!" etc.
Bob Ostin's ... Required: A small pendulum. This
consists of any small, heavy object
Pendul suspended on a length of fine rubber
cord. An elastic band, cut open, will
______w_ork, but is not as good as model
maker's rubber, obtainable from most
craft or model shops.
Routine: Set your deck with six
(A most mysterious way cards at the bottom beneath either a
of finding a card) crimped card, or a thick or short card,
so that when a card has been selected
and the deck undercut for its return,
and then cut again, the selected card will be seventh from the top. Of course you can
use any other method of your choice to achieve this position. 1use the crimp.
However, before a card is selected and controlled, you show the pendulum and
explain that you will use it to activate their favourite ace. Whichever ace is named
you remove it from the deck and place it face up on the table. You then hold the
pendulum above it and secretly give the rubber a little twist, which will set it
spinning at the end of the cord. You now tell them that the ace has been activated
and it is placed aside for the moment.
Now have a card selected, returned and controlled to seventh position as
explained above. The deck is now cut into six or more packets - remembering where
the packet is which contains their card. The pendulum is now held over each packet
in turn until it is over the appropriate packet, when once again the cord is secretly
Hold here. ! here.
Rubber stretched
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given a little twist and the pendulum begins to spin wildly above the packet.
Remove the other packets and spread the chosen one in a face down row. Place
the activated ace face up, and at an angle half way on the spread as shown below.
Then say that the ace is so activated, it could well jump completely off the table!
So, you use the pendulum to hold it down. This is when the secret move takes place.
Please read carefully and note the handling as you are going to stretch the rubber,
but not make it obvious that you have done so as follows ...
Hold the weight of the pendulum in your left hand, making sure that where it is
attached to the rubber it will not be seen to stretch. Now gather up the rest of the
rubber into your right hand, being careful that the end does not stick out. When
there is only about an inch between the hands, hold the rubber tightly and move
your hands apart so that the rubber is stretched.
Now for the mysterious ending of the cffect.Hold the rubber over the spread so
that it presses down on the ace, and then slowly release it. Although the ace is beneath
the rubber, it will mysteriously move along the spread! As it does so, you simply
count the cards, as the corner of the ace moves along, and stop at number seven-
their card. The amazing thing is that although the ace is under the rubber it will,
without fail, behave this way. The movement of the rubber should not be obvious if
you use the right rubber and keep it clean so that no specks of dust move with it!
The principle first came to my attention when I was shown an effect where a
borrowed finger ring climbed up a cord. I later discovered it was in Ali Bongo' s
lecture notes, and possibly goes back further than that. So, to whoever it may be, my
acknowledgement and thanks for the seed which resulted in The Pendulum.
Bob Ostin's ... Effect: Ten spot cards are shown,
also ten miniature duplicates. The
Peg miniature cards are spread face down
on the table. A miniature clothes peg is
placed on top of them. A card is now
selected from the full size set and
placed in a full size peg. Talking about
the sympathy between the two pegs, a
further full size card is held above the
miniatures for just a moment. It does
not touch the spread, but when it is
removed the miniature peg is seen to
have attached itself to a miniature card! Both miniature and normal pegged cards
are turned face up and ... shown to match!
Required: One normal clothes peg, two miniature-clothes pegs, ten spot cards,
ten miniature duplicates, one double card (court) with a tin-plate insert, one small
envelope, and a special gimmick with a magnet at one end and a hook at the other.
Preparation: The miniature pegs are obtainable from stationery stores. The
magnet/hook gimmick is made from a l.5cm x 3.5cm strip of tin-plate. At one end
glue (or solder) a strong magnet and affix a hook, made from a piece of stiff wire,
into the position shown in Hg.I. Paint the finished gimmick flesh coloured.
Miniature playing cards are readily available as are the rest of the items required.
Set-np: Place the ten regular spot cards face up onto the face up court card (with
tin insert). Put one of the miniature cards into the jaws of one of the miniature pegs,
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and set this aside for amoment, whilst you put the remaining miniature cards into
the small envelope together with the duplicate miniature peg.
This envelope is now placed on top of the packet of regular cards. Now return to
the miniature pegged card and place it onto the wire hook of the gimmick, face up
and pointing away from the magnet. The hook goes through the centre of the peg
spring, as shown in fig.l. This loaded gimmick is now placed beneath the packet of
cards and sticks to the lower court card (with tin insert). The large peg is now used
to hold everything together, and also prevents the miniature peg and card from
sliding off the hook, as shown in fig.2, which shows a view from below the set up.
Place the set up in your pocket (or case) and you are ready to perform.
Performance: Introduce the set up, being careful not to reveal the gimmick
beneath the lower card. Remove the regular peg, and place the envelope on the
table. Spread the cards to show the spot cards, which you hand to the spectator for
shuffling. You keep hold of the face up court card (with gimmick below), return it to
the jaws of the peg and table it. This hides the fact that the gimmick is beneath it, as
you remark, ''1'11use this in a moment."
The miniature cards and peg are now tipped out of the envelope, face up, as you
remark that they are duplicates of the cards which they are shuffling, which is true
except that one is missing! These miniature cards are now turned face down in a
little pile and the miniature peg is shown and placed on top of them. The next step
is to force the duplicate of whichever miniature card you placed in the peg, now
held by the gimmick.
The way I do this is to have this card marked on the back with a pencil dot or
scratch. I then ask for the shuffled packet and spread them face down to locate the
marked card as I say, "They must be well mixed by now." I then cut the marked card
to the bottom, then immediately Hindu shuffle the packet asking them to say,
"Stop!", and of course they get the marked duplicate of the pegged miniature card.
If you want to live dangerously, you could also classic force the card. As soon as the
card has been forced, ask the spectator to hold it for a moment as you place the rest
of the packet on the table, and then pick up the large peg holding the court card.
Careful handling is now called for as you turn this card, peg towards the
spectator, and remove the peg. The main thing now is to think of the side the peg
was removed from as the danger side and do not tilt it! If you do, the small pegged
You now ask the
rn 0spectator to hold his
card will fall off the gimmick and a good effect will have been ruined.
Large peg
J{?: () !~~~:~~eselected card face down,
peg/card from
as you clip the peg onto it,
sliding off
and place it on the table.
The really magical part
of the effect now takes
place. Hold the card with
the gimmick in the right
hand, as in fig.3. Say,
"Watch!", and move the At the completion of the
card from left to right over switch, the switched-out
the heap of miniature miniature peg is held by
cards and the miniature magnet.
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Bob Ostin - A Lifetime Of Magical Inventions
peg. The court card is held about three quarters of an inch above them. As you do so
you will feel the miniature peg leap onto the magnet. As soon as this is felt, continue
slightly to the right and release the outer side of the card from the fingers so that,
just for a second, it touches the table and the peg (with the card) slides off. In a
follow through of this move, the fingers move upwards, so that the card is removed
from the table held by just the tips of the fingers and thumb, as in figA. The whole
thing takes but an instant and the spectators are surprised to see that the miniature
peg has apparently attached itself to one of the miniature cards.
The clean up and conclusion of the effect now follow, and must be done fairly
quickly and smoothly. Place the card, with the gimmick, into your left hand as the
right hand moves forward to turn the large pegged card face up. Immediately the
right hand returns to the left hand and removes the card, sliding it off the gimmick
and drops this card to one side, or onto the other discards, as the left hand, hiding
the gimmick in the fingers, moves forward and turns the miniature pegged card also
face up to show that they match!
You then go south with the gimmick, as you ask if they would like to see another
trick. I have written this up at some length, as the correct handling is essential, but
no doubt the more experienced will work out little handling variations of their own.
They always do!
Bob 0 s tin 1S STRANGE GAG-EFFECT \)
WITH A CLEAR PLASTIC BIRO- TYPE PEN (;;
__
FEELING A LITTLE TIRED, YOU USE YOUR PEN TO
DRAW BLOOD 'FROM A PLAYING CARD' ~~
AND GIVE YOURSELF A MUCH NEEDED ... ~
Transfusi~~
~
Effect: The performer remarks that he is feeling a little tired and could do with a
shot in the arm. A hearts suit card is shown and placed face down. Next a red ink
pen is shown, but does not have very much ink in it. The point of the pen is now
rubbed over the back of the card, and as this is done, the ink is seen to rise in the pen
(like a thermometer). The point of the pen is now placed against the wrist and the
performer apparently injects hirnself with the red ink - as the ink level once again
diminishes! The performer now remarks, "I feel better for that, but it has not done
the card a lot of good!" The card is flipped over and the heart spots are now merely
outlines, the ink (blood) having apparently been drawn out of them.
Preparation: Let's take the pen first. This is an ordinary clear plastic red BiC pen
gimmicked as follows. The small end cap, opposite the point, has a tube fitted into
it. This tube slides over the inner ink tube of the pen so that, when it is fully
inserted, it covers the ink and makes the pen look almost empty. By sliding the tube
out, the illusion is created of the ink rising in the pen. Fig. 1 shows the construction
of the pen.
The force card is a he art, which has had the ink removed from the pips leaving
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Bob Ostin - A Lifetime Of Magical Inventions
• The pen on the far • 5 rv:'
left shows a ~ .. 0.'
, .':>~,,':
re~~l::!!~~;n.
~A .
(shown between
the two pens) is Q''g.
drilled so that a
.
length of
aluminium tube ~
(craft or model
makers' shop) is
inserted and
slides over the
inner ink tube.
This is shown,
partially removed,
with the pen on
the right.
just the outside edges. A carefully
made template and solvent will do
this. Fig.2 shows a doctored five of
hearts.
Set-up: Pries the tube out for
about half an inch and have the pen
in your pocket. Have your doctored
he art card on top of the deck, with its
normal duplicate directly beneath it,
and you are ready to go.
Performance: False shuffle and
cut, then double lift to show the
A blob of red plastic, matehing the red healthy twin of the anaemic card.
end-cap, is stuck to the end of the Turn it/ them face down again, and
place the top card on the table. Now
aluminium tube. When the tube is slid remove the pen from your pocket,
slowly out... the pen seems to FILL with with the right hand, being careful to
red ink. When the tube is pushed all the cover the protruding end. The pen is
way in ... the pen seems to empty!
held so that this end can be gripped
by the little finger of the back-uppermost right hand. You now rub the back of the
card and as you do so, you slide the pen off the tube, and the ink appears to rise!
I usually twist the pen around as I do this. as it seems to enhance the effect. As
soon as a fair level is reached, the point of the pen is pressed against the left wrist
and the tube is pushed horne again, making sure it goes all the way horne, so that
the small cap is forced into the end of the pen, and it may be dropped onto the table.
FinaIly, flip over the tabled card for the punch line - and return the pen to your
pocket.
You could, if you wished, have a duplicate pen, but it's just not worth it. It's just
a gag, which registers very well with both laymen and magicians, particularly
magicians if your fake, anaemic, card just happens to match his deck and has been
secretly added!
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Bob Ostin - A Lifetime Of Magical Inventions
Ostin's ... AR"'"N'"~",, ~
1...0~
.I ..
~,~"'" \~
,
.
,
A new version of The Sympathetic Matchboxes
Effect: Two matchboxes are placed end-to-end, with a playing card sized piece of
clear plastic between them. When the drawer of one matchbox is pushed in, the
other slides out. This is repeated as often as desired, and at one point the boxes are
separated a little so that the spectators can see between them, but nonetheless the
magic penetration continues. At the conclusion both boxes and plastic sheet are
handed to the spectators for them to 'have a go' - as everything can now be
examined.
Method: From an approx. lmm thick sheet of
clear plastic cut out a playing card sized piece. You'll
also need two matchboxes.
The effect is made possible by a clear plastic fake, I' = •
as shown in figs. A and B. This fake is made from the
same type of clear plastic used for the playing card ~3mmIOng
sized piece, and is Lficm wide by 6cm long. Warm
1.5mm Iong
one end then make a lcm cut into the plastic. Bend one half of the lcm part
upwards, and the other half downwards as shown in fig.A. Trim these up and down
protrusions as shown by the dotted lines in fig.A. The one pointing upwards is
trimmed so that it is 3mm long and the one pointing downwards is trimmed to
Lfimm long. Finally, with a hot pin cut a semi-circular shaped tongue about Lficm in
from the opposite end of the gimmick, as shown in fig.A. Bend the tongue upwards
so that it extends above the surface of the plastic, at the end furthest from the
up / down protrusions, for about Lfimm. This is more clearly seen in fig.B, which
shows a side view of the gimmick.
Now that you have made the gimmick, just follow these instructions step-by-step
and you will be ready to perform the routine after a little practice.
(1) To set up for the effect remove the drawer from one of the boxes and place the
fake beneath it so that the largest of the two protrusions at one end is upright. (The
fake is placed at the side nearest to you.) The drawer is now placed in the cover and
you are ready to perform, as shown by fig.l.
(2) Have the playing card sized plastic sheet examined. Then pick up the box.
containing the fake and take out the drawer with the right hand, holding the fake
beneath it. This is easy if you push with the left hand from the end opposite the
protrusions. Shake the box to rattle the matches and hold the cover so that the
spectators can see through it.
(3) Replace the drawer in the cover, the left fingers ensuring that the fake goes
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Bob Ostin - A Lifetime Of Magical Inventions
back between the cover and the box. Then
return the box to the table with the tab end
towards you and away from spectators. This
tab is almost invisible but why take a chance!
(4) Repeat the above moves exactly with
the other box and place it on the table.
(5) Pick up the faked box in the right hand
and start to push out the drawer from the
protrusions end. This ensures that the fake
stays in the cover as the drawer slides out.
When the drawer is about two thirds of the
way out, you will feel a little jolt as the end of
the box rides over the tongue which protrudes
near the opposite end of the fake. As soon as
you feel the jolt, stop pushing and place the
box down with the drawer angled towards the
spectator, or stand it on end, drawer
uppermost should any spectators be behind
you, this way the protrusions cannot possibly
be seen.
(6) Repeat these moves with the other box.
(7) Pick up both boxes together, fake in
your left hand, and place them so that the open ends of the covers come together. As
you do this, the left fingers push the drawer partly in and (due to the tongue) the
fake will slide a little way into the right hand box.
(8) Carefully place the plastic sheet upright between the boxes, as in fig.2, and the
effect can now commence, for each time you push a drawer in, it's opposite number
slides out.
(9) When you have done this a few times, and when the fake is extended into the
right hand, a neat move can be thrown in as follows.
(10) Move the boxes apart about a quarter of an inch which will cause the plastic
sheet to tilt to one side at an angle, as in fig.3. The spectators can now see between
the boxes, the transparent fake is not visible und er these conditions. Do not make
too much of this, however, but enough to convince the spectators that there is
nothing there, before you slide the boxes together again, and once more do the
penetration.
(11)A further variation can now be performed by moving the boxes so that the
ends are staggered, the left hand moving towards you and the right hand away, as in
fig.4. The spectators can now see inside the boxes but still the penetration takes
place!
(12) To conclude the routine and clean up for examination, remove the plastic
sheet (when the left hand box is extended). Pick up both boxes, place the right hand
box towards a spectator. Now place the left hand box into the right hand and push
the drawer in with the left fingers. This pushes the fake into the right hand where
the fingers curl around it, and it is withdrawn as the box is placed on the table. This
clean-up move is very smooth and easy, and if properly performed is quite
undetectable.
(13) The routine is now complete, and you can if you wish lap the fake. However,
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Bob Ostin - A Lifetime Of Magical Inventions
there is no real need to do so, because if the right hand behaves naturally, no-one
will be suspicious of it.
Being superstitious Bob doesn't like to finish on move (13) - so here is a variation
he sometimes does.
(14) Having removed the plastic sheet, place the right hand box upright on the
left hand box and hold them both in the right hand. The left hand second finger now
presses down on the drawer protruding from the upright box and at the same time
the left thumb (under cover of the right hand) pushes on the end of the fake so that
the drawer pops out from the lower box. The drawer is now pushed in again and
the fake stolen as previously described.
By the way, Bob now uses a playing card, and not a clear plastic sheet to separate
the two boxes.
AN ADDITIONAL IDEA BY PETER KANE
Here is a really clever additional idea, which Bob's good friend Peter Kane kindly
allowed hirn to publish. H is used as an unexpected follow up to the original, and is
done in a casual way after the gimmick has been disposed of.
Hold the boxes as shown in fig.6 and as the right forefinger closes the upper box,
the second finger pushes the drawer out of the lower box! This is best done without
drawing particular attention to it (as a sort of afterthought) after the spectators have
handled the boxes and you are about to put them away. HIS really cute - do try it.
Beam Shot
Marketed by Ken Brooke
Effect: A card has been selected, then
shuffled back into the rest. You cut the
deck into several tabled piles, hand a
pocket torch to someone, and ask them
to touch the base of the torch to each of
the piles. Suddenly the torch lights and
the top card of that pile turns out to be ...
the selection!
History: This may be considered by many to be the one marketed item that made
Bob famous amongst magicians. Many, many years ago Ken Brooke released Bob's
Beam Shot routine, which was certainly the forerunner to a great many variations.
The item may still be being marke ted, but for the sake of completion, the bare bones
will be detailed here. In addition, Bob reveals the actual fake deck that he first
approached Ken Brooke with. Ken decided to use a different handling, so the deck
never saw the light of day ... until now.
Required: Visit an electronics store and buy a reed-switch. This is an electronic
on/ off switch that is opera ted by being brought into contact with (or ne ar to) a
magnet. You'll also require a magnet. These days you can buy very powerful, but
small, rare-earth magnets. A pocket toreh, that you can modify, and a deck of cards
are also required.
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Bob Ostin - A Lifetime Of Magical Inventions
Preparation: Solder the ends of the Glass cased reed-switch ...........•.
reed-switch to two bent U-shaped pieces ,~;r:! ~~ ...I...
•
of copper, as shown in fig.I. You'll find a
suitable piece of copper inside the torch
at the end furthest from the bulb. Simply
remove these original battery contacts
from the toreh, then cut out two pieces of Copper U-shaped contacts soldered to reed-switch.
the copper, bend them (as shown) and
solder them to the reed -switch. Drop the
gimmicked reed-switch back into the
toreh, so that the copper surfaces are
pointing uppermost. Insert the batteries,
as shown in fig.2, then assemble the
toreh, and turn it on at the switch. The •
torch will not illuminate until you touch
the end, where the reed-switch is, to the
magnet. The magnet will cause the reed-
switch to complete the circuit and the NEGATIVE POSITIVE
torch will light. Remove the torch from 1[- ~
the magnet again and it will go out. The
torch is now re-set. Ci f1
Now for the deck Glue your magnet
to the face of any card at the very centre. Next take half a dozen or so cards
(depending on the thickness of your magnet) and cut a hole in their centres
corresponding to the size of your magnet. Bob uses a compass with a cutting blade
where the pencil would normally be to cut holes in these cards. Once the card with
the magnet attached is placed face down onto the face down 'hole' cards, and these
are placed onto the face down deck .. you are set.
Performance: The deck can be handled like a regular deck in that the majority
can be shuffled, riffled through or dribbled from hand-to-hand etc. so long as you
end up with the magnet card on top of the hole cards, on top of the deck
Have a card freely selected from those below the hole cards. Undercut the deck
for the card's return and contrive to have their card replaced onto the magnet card,
Double-undercut their card to the top then cut the deck into several tabled piles,
keeping track of the pile that their card is sitting on top of.
It now only remains to hand them the torch and have them touch the base of it to
each pile in turn. If the torch doesn't light the first time they touch it to the correct
pile, don't panic. Let them try again, and only if necessary take it from them and do
it yourself. Eventually the torch lights and their card is found to be the top card of
that pile. You can say, as the torch lights, "Wouldn't it be amazing if your card was
not only in this pile, but it was right here on top?"
Notes: Rather than have physical contact with the torch, as it lights, you may like
to place it in the centre of a transparent silk, gather up the corners then hold onto
them or, better still, let a spectator do this. This way when the torch lights ... no one
can accuse you of simply turning it on!
Bob would like to point out that Beam Shot was later marketed by his good
friend Paul Stone, as part of his Ace Place range of magie - Paul having previously
bought the rights to the Ken Brooke range of magie.
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Bob Ostin - A Lifetime Of Magical Inventions
The Flugle Bug
Effect: A plastie fronted wooden display case is shown to contain fifteen
miniature playing cards, and what you explain is a flugle bug. You rub the plastie
and the bug is seen to jump around (static electricity) and land on one of the cards.
The case is placed under your left arm-pit (you do not want to earth itl), as you have
a card selected from a packet of fifteen regular sized cards. When the wooden case is
shown again, the flugle bug is resting on top of the ace of diamonds. The spectator
flips his selected card face up and it is... the ace of diamonds!
Preparation: The dimensions below are taken from Bob' s original and are just to
give you an idea of the size of his prop.
Cut two 14cm lengths of 2cm x lcm wooden pieture frame, and two Iücm
lengths. Mitre the ends then glue (or nail) them together, as illustrated below. Now
cut two 14cm x lOcm pieces of thin, transparent plastie, and glue one onto the
wooden frame. Now cut a 12cm x Sem rectangle from black card and glue fifteen
miniature (lcm x 2cm) playing cards onto one side. Glue duplicates, in the exact
same order, to the other side. Cut two small, identical pieces of thin sponge, and
glue one to the face of one of the ace of diamonds. Trim less than lmm from the four
edges of the black card, then insert it into the frame (sponge side down), drop the
loose piece of sponge on top of it, and finally glue the other sheet of thin transparent
plastie onto the wooden frame. Bob's original was slightly more complicated in that
he had recessed both sheets of plastie into the frame to give a more professional
finish.
Method: As the black card, with playing cards on both sides, is not attached to
the frame or the plastie sheets, it is free to move. This means that once you have
shown that the loose flugle bug can jump around, due to the statie electrieity (true!)
generated by you rubbing the frame, you can slip the frame under your left arm-pit,
then later turn it over as you remove and show it again. The black card instantly
sinks to the bottom of the frame and the side with the bug glued to the ace of
diamonds, or whatever force card you decide to use, is seen.
The force of the card is left up to you. You may prefer to have a card selected
from a full deck, then explain that your prediction is that there card will be one of
the fifteen in the case. When they are only mildly impressed, you can slip the case
under your arm as you put the rest of the cards away in the card case etc.
Notes: Those of you who are DIY challenged, could make a poor man's version
of the wooden case by using one of those
transparent plastie card cases, that are in
two parts that slot together.
The miniature cards are available from
many magie dealers, but you can easily
make your own by photocopying (and
reducing) regular cards. Those with
computers, scanners and printers will
have no problems producing them.
Finally, you need not use miniature f----------------->f
playing cards ... you can use postage
stamps, coins, buttons etc.
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Bob Ostin - A Lifetime Of Magical Inventions
Colour Changing Thimble
Marketed by Davenports.
Effect: You approach a group and show that you have a red thimble on your
right forefinger. With hardly a movement... the red thimble changes to a blue one,
and is immediately handed out for examination!
Preparation and set-up: Buy two different coloured thimbles, but make sure that
one nests inside the other. Attach a length of elastic to the larger of the two at the
end opposite the finger hole on the outside of the thimble. Simply make a hole
through the thimble with a hot needle then thread the end of the elastic through and
tie a knot on the inside, The other end of the elastic is tied to a safety pin, which is
pinned up inside your right sleeve.
Method: Place the smaller thimble on the tip of your right forefinger (or middle
finger if you prefer, as this will give you more cover to hide the elastic). Next, obtain
the larger thimble, by reaching up inside your right sleeve, then slip it over the
smaller thimble already on your forefinger. Keep your forefinger straight as you
approach a group.
Performance: Show the thimble then simply bend the finger in toward your wrist
slightly, as shown in the illustration. The larger thimble will be dragged off the
smaller one and will fly away up your sleeve. Straighten your finger again, and the
thimble appears to have changed colour. It can now be removed by someone and
examined!
Notes: Due to the method, this item is really only suitable
as an opener. For this purpose it is perfect as it is quick, visible
and instantly signals that you are a magician. You may like to
use the old line, "Has anyone lost this red thimble?", followed
by, "WeIl,how about this blue one?"
ClROIHARY
COJ..OuRcD
TI-IIMBJ..E"
MA/tE5'AN
IMMEDIATE
(,,~J.ouR Cl-IANCiE
TI-IIM8I.E CAH
BE EMMI/'IEJ)
s NO S'J.E~II'()F /
NANO AHO so
VER"'" S'IMPu;. •
Peice 51-
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Bob Ostin - A Lifetime Of Magical Inventions
Submarine Cards
(This routine was originally marketed by
'KEN BROOKE'S MAGIe PLACE' 145, WARDOUR STREET, LONDON. W.1.
The following description is Ken Brooke' s...
Writing this late in March, 1969. It is over two years since I first saw Bob Ostin
perform the 'Do As I Do' effect, which forms the introduction to this sequence of
close-up magic. Let's make it dear from the start, Bob does not da im this part of the
routine as his own but credited Jimmy Boyd of Glenrothes, Scotland, with the
original. Over aperiod of time, the trick has become a favourite with Frank Farrow.
He has shown it to many visitors here in the studio and we've often been asked for
the working details. I wrote to Jimmy early in 1967 and received a reply to the effect
that he could not da im the idea as it had been shown to hirn by Ed Brown of
Chicago during a visit to this country. Jim added the application of The Elmsley
Count which deaned up the working. Some months ago. Bob Ostin discovered that,
during the Elmsley Count, one card was never seen, from this. The Submarine Card
was created and Bob very kindly handed it over.
Frankly, with so much call on my time now that the business is growing, I forgot all
about it. Fingertips Ostin was here again a couple of weeks ago. Performed it for
myself and others in the studio. The immediate demand is the reason for another of
Bob's fine routines.
May I add a word on its presentation before we proceed. You will only get the
best from this trick whilst you are in a standing position. Too many magicians force
every new trick on people without giving a thought to visibility and then wonder
why the trick died on them. By all means, learn as much close-up magic as possible
for it is a powerful weapon and will enhance your reputation far more than almost
any stage or cabaret effect, but do give considerable thought to conditions you are
working under before diving in your pocket, bringing out the cards, saying, "Have
you ever seen this?".
The performing conditions of dose up magic vary almost every time you go to
work. Take the trouble to give them a thought before you start performing and you
will be amazed at the difference in audience reaction.
When you first try out this routine before friends. Perform it whilst standing up,
right under their nose.
Take the right attitude. Set the scene for the presentation which should be one of
misunderstanding on the spectator's part. Work more slowly and give explicit
details during the second trial. Slow down still more as he tries a third time, finally
giving it all up as a bad job as you go into another routine.
Five cards are supplied with this manuscript. One has a slot running down the
centre. Put this card to one side until you und erstand the basic idea. Use the four
genuine cards only. Read with the cards in your hands.
At certain times in the routine, it is necessary to count the cards using Alex
Elmsley's 'Four As Four'. A description of how to correctly do this is endosed with
this manuscript. Having taught many private pupils this most useful sleight, I find
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Bob Ostin - A Lifetime Of Magical Inventions
that there is a tendency, in the initial stages of learning, for them to hold the cards
like grim death between the left thumb and fingers. AVOID THIS AT ALL COSTS.
Just hold the cards wen squared up and with just enough pressure to keep the
packet tidy. Cards weigh only a fraction of an ounce, remember this when you are
handling them.
THE BASIC MOVE: Hold the four cards face down in the left hand. Fan them to
show an are face down. Close the fan and hold the packet of cards in the same
position as you would if about to start the Elmsley Count.
With the right finger and thumb, remove the top card Turn it FACE UP and place
it UNDER the packet in the left hand.
The right hand now removes the new top card and, without turning it over, it is
placed FACE DOWN under the packet In the left hand.
The right hand now assists in turning the entire pocket of cards FACE UP. They
are held in the normal dealing position in the left hand.
The right hand now takes the FACE UP card from the top of the packet, turns it
FACE DOWN and replaces it, FACE DOWN, ON TOP of the packet.
The packet of cards is now taken in the right hand so that the packet is held, by
the ends, between the right thumb and fingers.
The left ringers are allowed to slip under the bottom card which is openly drawn
away from the bottom of the packet to the left, this card will be FACE UP.
The fingers assist In turning the card FACE DOWN. The card is replaced, FACE
DOWN, UNDER the packet of cards in the right hand.
The packet is squared up and is brought to the position in the left hand in
readiness for the 'FOUR AS FOUR' count.
Count the cards using the "FOUR AS FOUR' and it will appear that all four cards
are FACE DOWN.
SPECIAL NOTE: Although it will appear that all the cards are FACE DOWN
following the 'FOUR AS FOUR', one card, the bottom one following the count, will
be face up. The card is left in this position as it puts you one jump ahead for the
second run through.
Now. Before proceeding, make certain you und erstand the basic move.
Remember, DO NOT HOLD THE CARDS TIGHTLYas the count is made. Keep the
timing of the count constant throughout.
THE SET UP: Naturally, you will want to perform the trick with your own cards.
Cut a slot in one of them and have this card at the eighth card down position in your
pack.
STAGE ONE: With the pack in the left hand take four cards from the top without
reversing their order and hand them to the spectator.
Take the next four, again, without reversing their order, in your right hand whilst
the left either places the pack on the table or drops it in the pocket on the left side.
STAGE TWO: Holding the cards as described tell the spectator to do exactly as
you do. Go through the actions as described in the 'BASIC MOVE' instructing hirn
as to what he must do until you reach the end of the series of turns and are ready to
Page 166
Bob Ostin - A Lifetime Of Magical Inventions
make the IFOUR AS FOURI count. You now make the count and all your cards
(appear) are face down. He will either count or fan his cards and finds one card is
FACE UP. Tell hirn he must have made amistake somewhere. Ask hirn to turn the
card face down and start again.
STAGETHREE: Repeat stage two and he again discovers that he has one
reversed card in his packet. Fan your own cards slightly as you say, "You must have
started with a card face up. They must all be face down, like this."
STAGEFOUR: Square your own packet and hold in position to repeat the
procedure of Stage Two. Once again, the spectator finds he has one card face up
whilst your cards are all face down. (Actually, the bottom, fake card, is face up.)
STAGEFIVE: Tell the spectator to take things a little easier and to make sure he
follows your example exactly. Repeat Stage Three. At the end of the sequence of
turns etc., etc. YOU DO NOT, REPEAT, YOU DO NOT MAKE THE ELMSLEY
COUNT. Just fan the cards slightly to show that yours are ALL FACE DOWN.
The position of the fake card is now SECOND FROM THE BOTTOM which is the
correct position for the start of The Submarine Card.
Following the continued failure of the spectator's efforts, you offer to show hirn
something different. Take the four cards from hirn and return them to the pack or to
your pocket. Remove the top card of those you are holding and hold it face up
between the left thumb and first finger. Arrange the remaining three cards as shown
in FIG. 1. Note that a large star has been
drawn at the top left corner of the top
card in the picture. This will help you to
follow the simple turns that are made
during the working. The slotted card is
the centre card of the three face down
cards in the picture.
The card in the left hand is now
inserted UNDER the top card as seen in
FIG. 1. As this is done, apply slight
downward pressure so that the card will
enter the slot. Call attention to the
position of the card and then give the
packet a quarter turn to the right so
bringing the cards to the position shown
in FIG. 2. Hold the cards as shown in
FIG. 2. The index fingers of both hands
now ease the face up card through the
packet so that the end of the face up
card projects slightly at the side of the
packet nearest the performer. The
position is clearly shown in FIG. 2.
Close the three face down cards into
a squared up packet. Give the packet
another quarter turn to the right. The
Page 167
Bob Ostin - A Lifetime Of Magical Inventions
right thumb now presses on the centre
of the top, face down card of the
pocket and the spectator is asked to
blow on the cards.
The fingers and thumbs now
spread the three face down cards (to , I~
the right) as shown in FIG. 3. It Is now
....1'0'\
seen that the face up card has
penetrated one card and is now
UNDER the second card from the top.
Call attention to this fact.
Hold the cards in the right hand in
much the same position as shown in
FIG. 1. Place the left thumb on the face
of the face up card and the fingers
UNDER the BOTTOM face down card of the three.
Draw the FACE UP card away to the left AND AT THE SAME TIME, take away
the lower card of the three face down cards. The first submarine dive has taken place
and you repeat the effect using two face down cards.
Allow the face down card to drop to the table. Retain the hold on the face up card
in the left hand. With it, go through the above sequence using two face down cards
still being held in the right hand.
The effect of the repeat is of course, the same as before only this time, the face up
card passes through one card and is seen to come away under the packet of two face
down cards.
NOTE: The less experienced student of magie may have fears of the spectator
making a grab for the cards. If you were to bring out four cards from your pocket
and perform The Submarine Card, those fears would be justified but, as trial will
show, by performing 'DO AS I DO' as an introduction to the above trick, the cards
are handled with absolute freedom and the presence of a fake card is neither seen or
suspected. I know, Bob Ostin caught me 'hands down' when I saw him handle it for
the first time.
You can proceed with your next trick after the above sequence has ended. It's an
easy matter to ditch the fake as you gather up the remainder of the pack from the
table or from the pocket.
Page 168
Bob Ostin - A Lifetime Of Magical Inventions
he C ar d Bug Based on Bob Harbin's 'Dippy Magnet'.
Effect: A card is selected and returned. You now cut the cards into small
packets, one of which is retained, as it is suggested that you think it may
contain the selected card. A matchbox is placed on the table and from
this is removed a small bug suspended on a cord. The small packet of cards
is dealt face down all over the table and the bug is suspended over each card in turn
until a card is picked up by it! This is the selection! A borrowed deck may be used.
Bob has avoided the obvious use of a magnet and has routined the effect so that it
may be used on ANY surface, can be carried indefinitely, but is always ready for use.
Method: You will need to fake a match- box so
that it has a recess in the bottom of the drawer, as
shown in fig.l. The drawer, when viewed from
above, looks normal. This is because it has a false
bottom, which is only a 1/2cm higher than the
original. The drawer contains the bug. Bob made
his from a type of putty that came in two tubes.
When the two tubes were mixed, they set rock
hard in a matter of minutes. Before they set, Bob Drawer seen from below. Iron filings are
pushed pieces of wire through the putty to in the recess. The magnetic bug keeps
represents the bug' siegs and antennae. He also
embedded a small but powerful magnet into it. them there, whilst the sleeve is replaced.
The putty is available from DIY shops. The DIY challenged could scour the toy and
joke shops to find a suitable sized plastic /rubber bug that will fit into the drawer of
the matchbox and is suitable to have the magnet implanted. You must also attach a
length of cord to the bug. Finally, you will also need some iron filings. When a very
small quantity of filings is placed under a card, the bug will pick it up.
Set-up: Place a very small amount of iron filings in a heap on the table. Next,
place the drawer of the matchbox over the filings and put the bug inside the drawer.
If you now pick up the drawer, the filings will be clinging underneath, but in the
recess, which enables you to insert the drawer into the matchbox cover without the
filings being swept off. The box can now be carried safely and is ready for
performance. I would suggest that you experiment to find the smallest amount of
filings that enable the bug to pick up the card ... the smaller the better.
Performance: First, have a card selected and control it so that it is sixth from the
top. Bob does this by having five cards beneath a crimped card at the bottom. A card
is then selected and the deck is undercut for its return so that when the deck is
finally cut into small packets, the packet beneath the crimp will have the selected
card in the sixth position.
If using a borrowed deck (much better for this effect), simply crimp the bottom
card, then run five to the bottom and you are ready to go. False shuffles can also
take place but don't make too much of this extra handling. Once you have ended up
with the single packet you state that you think this contains their card. Place this
packet face down for a moment as you remove the matchbox from your pocket, and.
remove the cover. Discard the cover to one side, table the drawer, remove the bug,
and hand it out for examination. The packet of cards is at this stage picked up and
you start dealing them face down but counting to yourself as you do so. As this is
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Bob Ostin - A Lifetime Of Magical Inventions
being done the left hand hovers over the drawer, and as you are about to reach the
selected card, the right hand removes the drawer - as though to make more room -
and places it out of the way. The very small quantity of filings is now on the table
but still covered by the left hand. A moment later the hand moves out of the way as
the right hand deals the selected card on top of the filings, and without any break in
the action continues to deal cards onto the table.
You are now ready for the climax. Take the bug and suspend it over the cards one
at a time until you reach the selected card, which due to the filings will be picked
up! Now for the important part - move the suspended card away from the table,
possibly towards the spectator, also keep it weIl below eye level. Now remove the
card from the bug in a down ward direction, and the filings will drop off. Ask the
spectator to name their card, and turn it over to show that the bug has found it. Ask
for a round of applause for the bug and leave it with the spectator. He will usually
try to pick up cards hirnself and find he is unable to do so.
The Wishing Paper
Effect: A piece of plain white paper, the same dimensions as a E20.00 note, is
unfolded, and shown on both sides. It is seen to be riddled with holes. You explain
that it is a sheet of wishing paper, and that each hole allows you one wish. The
spectators can clearly see through the holes. You fold the paper up into a quarter
sized packet, then unfolded again to reveal a crisp E20.00 note, as you comment,
"WeIl, that's my wish granted!"
Method: I'm not actually going to explain the method that Bob uses, as it belongs
to Roy Johnson. Those of you who have Roy's excellent blank note to bank-note
routine 'SNAPl' will know what it is.
However, the idea of having holes punched all over the blank sheet of paper can
be applied to virtually all of the published and marketed versions.
The fact that your fingers, and everything else, can be seen through the holes in
the blank sheet of paper PROVESthat you have nothing hidden behind it. Bob used
a punch and a hammer to produce the holes in his paper. However, your local
stationary shop may seIl a paper-punch that will reach to the centre of the paper?
In the illustration below, you can see that the folded E20.00 note is hiding in the
lower right quarter of the blank paper, denoted by the dotted lines. Obviously, in
showing the paper on both sides, your fingers cover the holes in this quarter.
Without giving too much away... the paper is folded up, the E20.00 note is
unfolded, and shown on both sides, as you hide the folded paper with your fingers.
000000000000
000000000000
OQ8600000eGO
OOQe6)OO©örO-OD
~0800000:0~
000000:
Page 170
Bob Ostin - A Lifetime Of Magical Inventions
The Ostin Card-Index
Effect: Someone •
names a card, and
you remove it from
your pocket.
Method: Don't
panic when you
read the following
eight words ... you
need to make 26
double faced
cards. These days
you can buy decks
of very thin,
inexpensive plastic
cards. They are
literally so thin that
you can see
through them! This
means that you only
have to glue 26 pairs back- to-
back using a can of 3M Scotch Spray
Mount glue. You will be astonished to hear that
when Bob made his set of double facers, he dry split
each and every card then glued together the various pieces!
Even more amazing is that he made two sets - one for practice and
0
one for performance!
You will need to glue the
thin cards in pairs with the
clubs backed by the hearts and
the spades by the diamonds.
Each double facer has a card of 1-----------------------1
the same value on each side.
You can remember that the
diamonds are behind (below)
the spades by recalling the
phrase, "digging for
diamonds" ..
I'll assurne that you have
assembled your 26 double
faced cards. Now I'll explain
the construction of the card-
index. This is made from
pieces of stiff card, or even
Plasticard. You need fourteen
lOcm x lOcm pieces of card.
Page 171
Bob Ostin - A Lifetime Of Magical Inventions
Fig.l shows one side of the index. The other side is identical. For the sake of
clarity, the pieces are shown in different shades, and slightly separated. Once you
have cut two of each of the shapes shown in fig.l, assemble them in the order
shown, turn everything over sideways, assemble the other seven pieces in the same
order, then place them onto the first set. FinaHy, glue each piece to the next, but only
for about lcm up from the bottom. You may like to also put a strip of tape around
the glued area, as shown in fig.2, which shows a face-on view of one side of the
index. The three circles in fig.2 represent circles of sandpaper that are glued into the
positions shown. Do this on both sides of the index. These williater help you to
locate the desired opening in the index.
Loading the index: If you
look at fig.3, and imagine that
the side shown is resting
against your body within your
side jacket pocket, the contents
of each division in this side are II II :
II I II I
I
as shown. On the opposite :: : :: I
II I fI I ••
side of the index, nearest the : •. •. •.
audience, the divisions contain •.
the sevens, eights, nines, tens,
jacks and queens. The sevens
are directly opposite the aces,
the eights are opposite the
twos etc. Once you have
loaded the index you will have
the two double faced kings left
over. Bob pops these into his
breast jacket pocket, but you
can also have one on either
side of the index in your side
jacket pocket if you prefer.
If the card named was the
ace of diamonds, looking at
fig.3, you would locate the BOTH CARDS ARE ACTUALLY
sandpaper circle corresponding ALIGNED NOT OFF-SET LIKE THIS.
to the position you know the THE ACE OF CLUBS IS PRINTED ON
aces are, insert your fingers THIS SIDE OF THE CARD (THE SIDE
and your thumb into this NEAREST YOUR BODY).
division, and grab both cards. THE ACE OF HEARTS IS PRINTED ON
You would then push down THE OTHER SIDE.
with your thumb the card
nearest your body, the
unwanted clubs/heart card,
and pull with your fingers to • ACE OF SPADES THIS SIDE, AND ACE
remove the desired card from OF DIAMONDS ON THE OTHER.
the index. Once you have it,
you remove it from your
pocket with the diamond side showing. If the ace of spades had been named, you
Page 172
Bob Ostin - A Lifetime Of Magical Inventions
would have to turn the card over, in your pocket, so that the named suit is showing
before you remove and show it.
Fig. 4 shows the two double faced aces in the division and their orientation. All
you need to remember is that the clubs/spades sides of the double facers are
pointing to the outside of the index, and that the outermost of each black pair is a
club. The phrase "digging for diamonds" reminds you that the diamonds are behind
the spades, so the hearts must be behind the clubs.
This may at first seem complicated, but once you have constructed your card
index, loaded it with the 26 double facers, pocketed it and had a few run-throughs ...
you will find it child's play to loeate and reveal ANY card named.
Iust try to visualise the index sitting in your pocket. The various sandpaper
circles will help you to correctly locate the desired division to enter.
Notes: Those of you who have worked with card-indexes before will see the
differences with Bob's method. His holds the cards horizontally, whereas others hold
them vertically. This horizontal orientation is far better when the index is in a side
jacket pocket, as it can not move around too much.
He also opted to use double faced cards and only one card-index, rather than
regular cards and two, though you could make two of Bob's indexes if you prefer.
The sandpaper guides and the "digging for diamonds" memory jogger are also
valuable additions.
Bob uses his card-index for an 'Invisible Deck' routine. A truly invisible deck is
thrown out into the audience for someone to shuffle. As they mime shuffling, he
uses the old gag, "You might like to take them out of the card case first!" Once they
mime removing the deck from the card case, Bob asks that they toss the card case
back to hirn. He catches it, and pockets it in the same pocket as the index. He now
adopts a relaxed stance with his hand remaining inside the pocket. This gives hirn
all the time in the world to later loeate the desired card once it is named, without it
being obvious that he is searching for something. They go through the procedure of
choosing a card and after gags like, "Be careful that no one else sees it." etc. he has
the card named and delivers the finalline, "It couldn't be, as that's the card I always
keep in my pocket!" He then produces it.
Spooky Dice
Marketed by Davenports.
Preparation: Take two dice and drill a
lcm diameter hole just more that half
way through each of their 'one' sides.
Now drill a small hole through each
centre spot of their 'three' sides. Lower
()He AS<:WE . an elastic band into one of the holes then
(7N 't'01JRPAI,M A>{O. Rel'OJ, I'E' QUICWI." OR tap a small nail into the hole in the
A NlCE/JTTll': QUICk/I: TC>~IHG ON ~vR P4L5'
Prke 7/6 'three' side. The nail passes through the
elastic loop and traps it. Do the same with the other dice.
If you now hold onto one dice and rota te the other repeatedly, the elastic becomes
taut. When you table them, the upper one revolves as in the illustration. Bob makes
a simple gambler's switch of two regular dice for the gimmick.
Page 173
Bob Ostin - A Lifetime Of Magical Inventions
Punchboard Prediction
First marketed by Wilf Bennett of Liverpool's Wizard's Den, and later by Davenports.
Effect: A board, with 24 holes in one side and 24 random numbers on the other, is
shown. Someone inserts a pin into one of the holes, and punches a hole through the
number 13. Miracle of miracles ... this is exactly what you have predicted!
Method: Each of the random numbers is actually a plug sitting in a circular
recess in the board. Behind each plug is the number 13. What actually happens is
that the spectator inserts the pin, the pin pushes out a randomly numbered plug,
that falls into your hand holding onto the board. The plug is palmed away, as you
show that they have impaled the number 13.
Preparation: Hammer a nail into a 1" length of dowel and file off the head. This is
your pin. The board is made of two layers of card, held together at the edges with
tape. One layer has 24 x 1cm diameter holes punched from it. The punched out
pieces become your plugs. Onto one side of each plug print random numbers, but
not 13. The other layer contains 24 tiny holes that should, when the layers are taped
together, line up with the centres of the holes in the other layer. Print the number 13
(or whatever number you'd like to force) across each of the tiny holes. Finally tape
the two layers together at the edges, as shown in fig.I. Push the plugs back into the
holes, in a random
order, as shown in
fig.2. ®®®@® @
Performance:
Show the board, on ®®@®®®
both sides, then flip it
numbers side down,
and explain that by ® @ ® @ @ @
pushing the pin
through one of the ~
holes, they will choose ®®@@®®
one of the numbers.
As they do so, you
hold the board so that
the plug that is pushed
out lands on your o@ @ @ CD @
fingers. You now
simply fingerpalm the
plug, as you turn the @ @ @ @ CD @
board over to show
that the number they
have impaled is 13. @@@ @ @ @
Re-set: Simply
replace the plug into
the number 13 hole. 000 @ @ @
The pin,
I" dowel with headless nail.
Page 174
Bob Ostin - A Lifetime Of Magical Inventions
A.LEE
HRBlle 1111-1& TAUB' {GIlIST
OfEJI TO TOIJIfG AItTISTIlS
COMTIST AT BOTH HOUSES NIGHTL.Y
FINAL-ffUDAY (2nd Houle)
QASH--4~,P<RIZ~IiS~<#
CftN 'l'OU SING, DANCE, ' COMIC, Pt.AY AN
INSTRUMENT - IF SO GIVE YOUft NAME
AND APPRIUiS AT THEATRE STAGE DOOR
FOR fURTHER P'ARTICULARS
DO !
Page 175
Bob Ostin - A Lifetime Of Magical Inventions
Ost in' s MI 1 0 Marketed by Ken Brooke
Effect: A single playing card is slipped, face unseen, into a man's breast jacket
pocket. A deck of cards, in its case, is tabled. You ask for a number, between one and
twenty, and openly state that you will slowly count that number of cards, face
upwards, onto the table and use the card arrived at by their number. The cards are
now removed from the case and counted singly, face up, onto the table. The card
arrived at using their freely called number is handed to the spectator who is asked to
remove the pocketed card - believe it or not, both cards match!
What follows is a greatly abridged description of the original routine.
If you wish to learn the finer details, subtleties and nuances from Ken Brooke's
original, in-depth, eight page instruction manuscript - we urge you to obtain a
copy. There are a few versions of the following routine currently Idoing the
rounds'. However, please bear in mind that Bob's routine was developed way
back in 1964 (FORTY years ago!) and was marketed by Ken Brooke in 1967.
You will need a complete deck of 52 cards (no jokers) plus four extra three of
clubs (3C) and four extra three of spades (35). When making up your own deck you
may use different duplicate cards.
Preparation: Discard any seven indifferent cards from your deck, but not the 3C
or the 35. Place your five 3C and your five 35 cards (including the two from your
regular deck) into two face up tabled piles. The rest of the cards are placed into a
third face up tabled pile.
Set-up: Form a pile of 26 face up cards in your hand by picking off six cards from
the deck, then a 3C, a card from the deck, a 35, five cards from the deck, a 3C, one
card from the deck, a 35 then nine cards from the deck. Flip this half-deck face down
and mark the top face down card. Bob uses red backed Bicycle cards and links in'
the central white dot on the top card using a fine-tipped red indelible marker pen.
Set this half-deck face down to one side for the moment.
Next, form a second pile of 26 face up cards on your hand by picking off two
cards from the deck, a 3C, one card from the deck, a 35, five cards from the deck, a
3C, one card from the deck, a 35, five cards from the deck, the final3C then the
remaining seven cards from the deck.
You will be left with a single 35 on the table. This is your prediction card, the one
that will be slipped into someone's pocket. Leave this half-deck in your hand face
up, pick up the other face down half-deck and place it onto the face up cards in your
hand. The two half-decks are effectively boxed ie. face-to-face.
The mark on the back of the upper face down card of the assembled deck
represents the normal side. Case the cards so that the normal side will be uppermost
when you open the flap of the card case.
In performance you will either open the case and remove the cards, normal side
UP, or turn the case over and remove the cards the other side up, depending on the
number named.
You now need to memorise the phrase, 1/6 to 9 is normal for a 14 to 17 year old".
As a memory hook. .. imagine hearing a key being turned in your front door,
sometime from 6am to 9am, as your 14 to 17 year old son or daughter returns horne
Page 176
Bob Ostin - A Lifetime Of Magical Inventions
after a night out with friends!
Performance: Show the face down 35 card to the audience. Ask a man to turn his
head to one side whilst you slip the card, back outward, into his breast pocket.
Comment that you are 100% committing yourself to this single card.
Now table the cased deck and ask someone to name a number, but to save time,
between one and twenty. The word between effectively prevents them naming either
one or twenty. Once they name their number, recall your memorised phrase" 6 to 9
is normal for a 14 to 17 year old" and if their named number is from 6 to 9 (inelusive)
or from 14 to 17 (inelusive) remove the deck with the normal side showing.
Otherwise remove it with the other side showing.
5ay, ''1'11count the cards, turning them face upwards, onto the table to that
number." You now deal the cards, slowly, from the top of the deck, turning them
face up as you deal, into a tabled face up pile and stop when you have dealt the final
card on their named number. The final card dealt with either be an indifferent card,
the 3C or the 35.
If it is an indifferent card, hold onto the rest of the deck and turn the next card
face up to show that it is either the 3C or the 35. 5ay that it the card arrived at by
using their named number.
If the final card dealt onto the tabled pile is the 3C or the 35. Draw attention to it
as being the card arrived at by using their named number.
If it is the 35 say, "Earlier tonight I removed a card from a different deck and
slipped it into your pocket. Would you remove it and see if it matches the card we
have arrived at using your named number." He does, and ... it does!
If the card arrived at is the 3C say, "Earlier tonight I removed a card from this
deck, and slipped it into your pocket. It should be as near a match as possible to the
card we have arrived at using your named number. Would you remove it and see if
it is. Yes,it's the same colour and value. I couldn't get any eloser could I?"
To re-set deal the face up 3C (or 35) from the cards in your hand onto those on
the table then pick up the tabled cards, flip them face down and place them on top
of those in your hand. If the 3C (or 35) is the upper card of those on the table, simply
pick up the tabled cards, flip them face down and place them on top of those in your
hand. Finally case the deck so that it is correctly orientated with regard to the flap of
the card case. In other words it goes back into the card case the same way up as it
was removed.
Notes: As you deal the cards into a face up tabled pile you can make sure that no
duplicates show by completely covering them with the following cards.
If they name an odd number, say 17, you can state, "The 17th card will be the one
we'l1 use." If their number is even, say 18, you can state, ''1'11remove exactly
eighteen cards to reach the one we'l1 use." This gives the impression that you always
intended to do this.
A thought... If you say, "Give me a number between 1 and 52, but not too high, as I
have to be horne by midnight!", and they name a number between 1 and 20 (those
who ha te card tricks will!) you're covered. If it's less than 40 (it should be due to
your joke!), deduct 20 ie. 33 - 20 = 13. Remove the deck normal side up (contrary to
what you should do), deal 20, secretly turn the deck over and deal a further 13.
Finally, My thanks to Trevor Lewis for providing a copy of the original Ken
Brooke instructions, so that the above greatly abridged version could be ineluded.
Page 177
Bob Ostin - A Lifetime Of Magical Inventions
Bob's Wilting Flower
The DIY involved here is wen worth the effort! First cut the head from a fabric
sunflower, and glue one end of a length of HOLLOW green cord to the rear of the
flower head. Glue a couple of leaves, from the original fabric flower, to the cord. The
finished product is as shown in fig.l.
Next, make an open fronted box from Plasticard 10cm x 2.5cm x 2.5cm. Drill a
hole in the upper and lower 2.5cm x 2.5cm ends. Glue two shelves inside, as shown
in fig.2. Take a length of wire (coathanger?) and make a hook at one end. Insert the
wire up through the upper hole of the box. In fig.2. you will notice that the rear
panel of the box extends for about 1j2cm.
Loop an elastic band, shown in grey, over
this extension. PuH the band down the long
sides of the box, feed its loop up through the
hole in the lower 2.5cm x 2.5cm panel, up
inside, and finally loop it over the wire
hook.
PuH the wire up, so that the hook is at the
top of the the box (just above the shelves)
insert a piece of an Alka Seltzer tablet (or
any other "fizzy" type tablet) onto the two
shelves, so that it bridges the gap between
them. You may now release your hold on
the wire, which is currently fully extended
outside the box. The elastic will try to pull
the wire inside the box, BUT... the Alka
Seltzer tablet will stop it from doing so!
Make sure that the bent end of the wire is
positioned centrally between the shelves so
that it will not catch on them when the piece
of tablet later dissolves.
Invert the contraption and carefully slide
the stern of the flower over the wire. Push,
rather than pull, to avoid snagging the end Hollow green
of the wire on the inside of the stern. The cord.
inverted position helps to do this. Once the
wire is covered, turn the flower upright
again and adjust it so that it looks natural The piece of
with the head slightly facing the front. Alka Seltzer
tab let spans
Place everything inside a vase, and fill it
with water to just below the Alka Seltzer. these two
shelves.
Performance: After drinking something
not to your taste, as in Bob's
BAMBOOZLED effect from page 106, pour
it into the vase. The piece of Alka Seltzer
tablet dissolves, and the flower wilts in a
quick, funny and dramatic way!
Page 178
Bob Ostin - A Lifetime Of Magical Inventions
A FOI.DED SJ.lP QF IN A .CLIP
I(} UCED TO PlecCm!T AN'" NUMBEIl DI!TERMIHI!/:) 8y
AIIt'TH~()wItl6 'WO DlCE- Ir 15' THE t:UTST IDEA YEr
AIID $?IMIJ.I1Ii. PREOICTIOH 1$ MADE I!AS''r''
Die e Pr e die ti 0 n Marketed by Davenports.
Preparation: Take an 8cm long metal bulldog clip, and modify it as folIows.
Squeeze the clip fully open and solder a piece of 'V' shaped wire inside, as
shown in fig.l. You'll find it easier to hold the open clip in a vice whilst you are
soldering. Note that the wire starts out as a 6cm length, then you bend up each end
for 1/2cm. The bent up ends are angled slightly towards the back of the clip, as
shown by the side view in fig.2.
Next loop an elastic band over both ends of the wire, then take a 4cm x 7cm
piece of card, fold it in half ( so that it is 4cm x 3 1/2cm) then hook it over the elastic
band inside the clip. If the clip is still in the vice, you should be able to do this
easily.
The elastic band will pull the piece of folded card to the back of the clip. Remove
the clip from the vice and allow it to close around the piece of card. Pull the card
Page 179
out of the clip a little, allow the jaws of the clip to grip it, then trim away all of the
card protruding from the clip. If you now squeeze the clip open, the elastic should
drag the folded card campletely inside the clip and none should be visible from the
outside.
Set-up: Squeeze the clip open, reach inside and pull the folded card out as far as
possible, so that you can allow the clip to close onto the very centre of the folded
card. The maximum amount of card is visible protruding from the jaws of the clip.
If you are going to use the clip to predict the total of two thrown dice, you will
need a pocket-index of eleven identicallooking folded cards each containing the
numbers two to twelve. These eleven cards can actually be 10cm x 4cm prior to
folding, as same of the card, which you will eventually remove from the clip will be
assumed to have been hidden inside the clip.
A very simple pocket-index can be made from a short length of a plastic slide-
binder, normally used in book binding. You can set ten of the cards in pairs (one
backed by two, three backed by four etc.), and have the eleventh loose in your
pocket. It is a simple matter to locate the required card then push with the fingers as
you pull with your thumb in order to remove the card from the index.
Performance: Hand two regular dice out to be thrown several times, thus
proving that they are not loaded. remove the clipped prediction from your pocket
and table it for the moment. Once they are happy with the dice, have them make a
final throw. Bob stands in a relaxed manner with his hand in his pocket, as this is
done. He now steals the required prediction from the pocket-index and picks up the
clip with his empty hand. Two things now happen at the same time. The hand
fingerpalming the stolen prediction comes out of your pocket and goes to remove
the visible card from the clip. As the two hands come together, the hand holding the
clip squeezes it open and the other hand mimes removing the palmed prediction
from the jaws of the clip. The elastic has already done its work and secretly dragged
the visible folded card quickly and completely inside the clip. The illusion is 100%
perfect that you have removed the very same folded card that has been in the clip
from the start!
It only remains to hand the prediction to the person who threw the dice, have
them unfold it and reveal to everyone else that you had predicted the outcome in
advance.
Notes: Bob was always conscious of the fact that there was no reallogic for the
presence of the clip. Why not simply table the folded card?
These days he ties the clipped prediction to a length of cord fastened at the other
end to the inside of the lid of a glass jar. When the lid is screwed in place, he can
table the jar and everyone can see the clipped prediction suspended inside. The jar
also has the added advantage that it prevents anyone from picking the clip up and
tampering with it. You could even mail the clipped prediction, sealed in the jar, to
someone prior to your show.
You are not restricted to predicting the total of two thrown dice. In fact, you can
predict ANYTHINGl - the headlines in next week's newspaper, the winning Lotto
numbers etc. etc.
Finally, if you are not comfortable standing with your hand in your pocket, whilst
the dice are thrown, you could have a small calculator inside the same pocket as the
pocket-index. You can then remove it (and the prediction), as you ask if they need it
to help them total the spots on top of both dice.
Page 180
Bob Ostin - A Lifetime Of Magieal Inventions
Information
Bob is indebted to all the magazine
editors, copyright owners and illutrators
who have kindly given their permission
for hirn to re-publish his routines - not one
of them refused. As a small thank-you to
them, their contact details are listed below.
Feel free to write to them should you
require details of their publications or
products. Sincere apologies if anyone has
been omitted.
Details of Alexander Allen's illustrations, lectures or products are available from:
2 Monks Manor Court, Lincoln LN2 4AU.
Details of the SpelZ-Binder, Pabular, Talon/Nein Talon and Magie Mag magazines, in
printed and/ or computer CD Rom format, from: Martin Breese International,
82 Broad Street, Sheffield S2 5TG
Details of Davenports' products are available from:
Davenports, 7 Charing Cross Underground Shopping Arcade, The Strand,
London. WC2N 4HZ.
Details of Karl Fulves' current magazine(s) are available from:
PO. Box 433, Teaneck, New Jersey 07666, USA.
Details of Goodliffe's Abraeadabra magazine are available from:
Goodliffe Publications Ltd., 150 New Road, Bromsgrove, Worcestershire.
B60 2LG. England.
Details of a possible future re-print of Fingertip Fantasies are available from:
Sam Gringrass, Magieo Inc., PO Box 156, New York City, N.Y. 10002, USA.
Details of Geoff Maltby's products, The Magieian magazine and editor Walt Lees'
lectures etc. are available from: Repro Magie, P.O. Box 21998, SW3 2WQ.
Email: [email protected] www.repromagic.co.uk
Details of Jerry Sadowitz's magazine The Crimp are available from:
Flat 28,177 Finchley Road, London NW3 6LG. England.
Details of Stephen Tucker's lectures, products etc. are available from:
1 Castle Haven, Foley Terrace, Great Malvern, Worcs. WR14 4RQ.
Email: [email protected]
Page 181
Bob Ostin - A Lifetime Of Magical Inventions
Seeing Is Believing
On Deeember 2nd 2002, Bob Ostin gave his final (so he
says) lecture at The Thistle Hotel, London. It was
arranged, videoed live (at the annual International Magie
Convention) and later released by International Magie.
If you would like to aetually see Bob performing some of
the items deseribed in this book, you ean get details of
how to order the video from: International Magie,
89 Clerkenwell Road, London, ECIR SBX.
Email: [email protected]
www.InternationalMagie.eom
On this one hour video Bob performs (and explains, unless otherwise stated) ...
The Vanishing Deck, Bandinage, The Backward Card Trick, Pipe Dream, With
Thanks To Jennings, Nautilus Card, Topsy Turvy, The Frog Princess, Sponge Ball To
Dice (performance only), Fan Hide Display, Skullocation Routine, The "Four- In-
One" Routine - Plus One!, Lucifer Load (performance only), The "No Load" Dice
Cup Production (performance only), Corner- To-Corner Dice Stack (performance
only) and his Liquid Production From Cup (performance only).
It is great to have the originator take you through some of the finer points of the
routines. You will be able to gauge the correct timing, and appreciate the many
minor subtleties. Bob's patter will also give you a starting point to develop your
own. All this is interspersed with many anecdotes, gags and humourous stories.
Bob has the creative ability to link several items into a flowing routine. Such as...
a sponge ball changes to a dice, which changes to a plastic egg, which when cracked
open reveals a small skull inside. This is logically used for his Skullocation Routine.
He also reveals several minor variations to some of his routines. For example,
The Vanishing Deck vanishes, but leaves behind ... not two jokers, but two blank
faced cards bearing the words BOB and OSTIN. This, he explains, is an opener he
uses whilst table-hopping to introduce himself to those watching. Another example
is when a deck of cards then a large box of matches is removed from the same card
case (Pipe Dream). He then removes a match, strikes it, waves it over his other
hand ... and four coins appear. Here he has adapted the fake matchbox, detailed in
his Demonology routine in this book, to steal four coins and a shell for his With
Thanks to Jennings routine.
The lecture was later independently reviewed by Joe Hoey who said ... "Let me say
from the start that this was one of the most entertaining lectures I have ever attended. Any
magician that can come out in front of a hard-nosed group of his peers and produce belly
laughs from them gets my seal of approval. What we saw was over sixty years of magical
experience in action. To see Bob tell stories, demonstrate his inventions and fool the hell out
of us was a treat indeed. He held nothing back and not only explained his approach to magic
but everything we needed to know to produce the effects he did. When the lecture ended Bob
received a uiell deserved standing ovation (something you don'i see cfien at lectures). He was
brilliant. If you ever find out that he is giving a lecture somewhere - go to it. You'll definitely
find something of quality to put into your act or routines. When this comes out on tape - get
it. You'll be glad you did. Very highly recommended."
Page 182
Bob Ostin - A Lifetime Of Magical Inventions
The Final Word
I dislike writing ab out myself intensely, as you will deduce from my
offering below. However, Stephen Tucker has asked that I supply a
little more information about my magical life, other than that
covered by Donald Bevan in his introduction to my January 1976
Abracadabra Triad Cavalcade, which you'll find elsewhere in this
book.
Here goes ... My first taste of magic was when my father would entice
my brother and I to have our fingernails clipped. He would then
place all the clippings into a glass tumbier, cover the turnb ler with a
handkerchief, and when he whipped the handkerchief away ... the
clippings had changed into a tomato. He told us that the clippings
were now the seeds inside the tomato ... yuk!
My father was fascinated by magic, and spoke of sleight-of-hand
with great awe, as if it were some truly mystical phenomenon. As a
result of this I got to see most of the leading magicians of the day
whenever they appeared at the various Liverpool theatres.
I also have a very vague magical memory of an uncle, who ran a
dancing academy and taught the violin, doing a billiard ball
production, and all this was before I had even started school!
The greatest influence on my magical career was Al Koran, who had
more charisma than any magician I have ever met. On one occasion
when Al topped the bill at the Liverpool Empire Theatre, I was
fortunate enough to spend the week with hirn back stage. One night
one of the other acts asked Al if he had a clothes brush. Al found
one, and even offered to brush the back of the man' s j acket. As he
started to do this, he winked at me and whispered, "Back on the old
job." These words won't me an anything to anyone who doesn't
already know that, prior to turning pro, Al was a hairdresser. I have
many other tales of these happy days, but ... they would take up
another book.
My first love has always been close-up magic, which has taken me to
so many wonderful places in the world that I would never have
otherwise seen.
For the chance of doing so, I am most grateful to the very many
people who were kind enough to invite me to "show them the latest",
and were always interested in the results of my latest endeavours to
think originally in the hope of producing something just a little bit
different.
Bob Ostin.
Page 183
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