Vol. XXI, No. 1
Hugard's DEVOTED
MAGIC Monthly
SEPTEMBER, 1963
SOLELY
TO
THE INTERESTS
OF
MAGIC
PEEK-A-BALL (MILBOURNE CHRISTOPHER'S COLUMN) Illustrated by CHARLES L. STOCK.WELL
This began as a close-up feat designed for a single spectator, then I developed it until I could do it for an audience. A spectator is given an opaque cloth bag in which are half a dozen or more rubber balls of different colors. He may take the balls out, examine them and replace them. He keeps the bag in his possession. Next, a metal or wood file-card case is shown. Mine is 3 % " high, W wide, 314" long. The top is hinged at the back. This, too, may be thoroughly examined by the spectator. While the performer's back is turned the spectator is told to select a ball of any color from the bag and put it in the box. He is then instructed to close the box and put a rubber band (which you have provided) around it to hold it firmly closed. This done, you swing around. You cannot see which ball has been taken from the bag as the bag is opaque. Take the box from the spectator, tell him to concentrate on the color of the ball in the box, then you immediately name it. Let's call this: PEEK-A-BALL
Nothing is specially prepared. You can do the test with a borrowed card file (I have) and borrowed objects. The title tells almost all—you must get a peek at the ball. When you take the rubber-banded box, hold it with your fingers at the back, your thumb on the right side of the lid in front. You shouldn't really read any further until you get a file-card case and a rubber band so that you can experiment as you read. First: The
right hand is used. Three of the fingers at the back are on the larger, lower section of the box; the index finger is on the upper lid section. The lid of my box is IV2" deep. Right thumb is on the front of the lid (Fig. 1). RUBBER 3AND
FIG. 2 The first move is to tilt the box slightly so that the ball inside will roll to the back. Use rubber balls to make this operation noiseless. With right side of box supported in part by the heel of your right palm, an upward motion of right thumb will open the box—despite the rubber band (Fig. 2). Actually, the rubber band helps. It causes the box to close almost automatically whenever you wish. I first did this effect for one person who was seated in a chair as I stood. I asked him to concentrate on the
AND
MAGICIANS
color of the ball in the box. As he concentrated. I raised the box to hold it over his head. In the upward move, I opened the box the slightest bit and got my information. (The rubber band closed the box immediately.) The box is opened such a tiny bit that the action passes unnoticed, yet I waited until the top of the box was above spectator's line of vision before I made the move. It really isn't necessary to raise the box more than two inches. Practice makes perfect. Plaiform Presentation
But what about performing for a larger audience? I have a piece of newspaper on a table or chair to my left. When the spectator —who should also be on my left— gives me the rubber-banded box, I take it with my right hand which crosses my body to the left and, a moment later, indicate with my left hand that he should give me the paper. As I point with my left hand, my eyes casually follow the direction in which that hand is pointing; then, on coming forward, glance into the slightly opened box in my right hand and on to front. The only person who could have seen me make the move was the spectator at my side—but his attention at that moment was on the newspaper behind him. He had to turn his back to pick it up. To continue: I put the box on the newspaper and instruct the spectator to wrap the paper around it. Thus, with this presentation, I apparently saw through both the metal box and the paper—or else read the spectator's mind to reveal the color of the ball he had chosen. In many ways the misdirection is similar to the reading of the dial of a closed hunting-case watch which Horace Goldin used to do. This test, I should add, may be used as a part of a blindfold routine.