WILL ALMA

M.I.M.C. ( L O N D O N )
CLOSE-UP MAGIC
FOR

The NIGHT CLUB MAGICIAN

FOURTH and REVISED EDITION

.World.Jopyriglit held by
MAX HOLDEN
NEW YORK BOSTON PHILADELPHIA.
Under special arrangement with
MAX HOLDEN
Published in England by
L. DAVENPORT & CO.
Incorporating
MASKELYNE'S MYSTERIES - 25, N E W O X F O R D S T R E E T , W . C . I .

WILL ANDKADE
276 COLLINS STREET
MELBOURNE, C.1.
 CLOSE-UP M A
FOURTH A N D REVISED EDITION

CONTENTS
Chapter I . T H E NIGHT CLUB F I E L D AND I T S REQUIREMENTS Page S

Chapter II.INTRODUCTORY TRICKS

M. Moreau's Opening Page 4 Introduction

Another Opening Method Page 5 by Table Cards Page 8

Chapter III.MISCELLANEOUS TRICKS

Production of Wand Page 7 Cut and Restored
The Pear Trick Page 8 With Cotton Page 13
Sugar and Coffee With String Page 14
Mjstiticaticn Pago 9 Pocket Knife and Bottle Page 15
Ring and Wand Page 10 Tearing Off a Button Page 16
Flying King Page 12
Chapter IV.HANDKERCHIEF TRICKS
Wand 'Ilirough Cut and Restored
Handkerchief Page 17 Handkerchief Page 13
Handkerchief Through Another Way Page 19
Wand Page 18 Dancing Lady Page 20
Chapter V.TRICKS WITH BILLS
Impromptu Drinking Cup Page 22 Cigarette and Bill Page 25
Tearing a Bill Page 22 Bill Change Over Page 29
Bill and Card Combination . . . P a g e 23
Chapter VI.TRICKS WITH CARDS
The Tacked Card Page 29 Poker Dea! Page 31
Torn Card Page 30
Chapter VII.TRICKS WITH CIGARETTES
Rolling With One Hand Page "3 The F o i r Hobos Page 35
Migrating Cigarette Page 34
Chapter VIII.SPONGE BALL TRICKS Page 3f.
Chapter IX.TRICKS WITH COINS
Coin Rising From
Class of Beer Page3H Coin in Dinner Roll Pago 41
Coin Through Sleeve Page 40 Novel Vanish Pa"e 44
Coin and Silver Boxes Page 40 Best Coin Fold Page 45
Coin and Class of Water Page 42 Coin and Harness Rings Page 40
Coin and T-ivo Cards Pago 43 Coin Through Hand Page 47
Chapter X.TRICKS AT THE TABLE
f inishing Class of Wine Page 4fc Plate ar\d Bread Pellets .. Page 50
Vanishing a I ' h t " Pa?e 49 Vanishing Matches .. . ' Page 51
Sivallon ing a Plate Page 49 Cigarette Paper3 p r>e 52
a

Fcrk Through a Class Page 50 Walnut Shells and Pan .. Page 53

Chapter XI.VESTING AND SLEEVING Page 52
Effective Gags
Watch Smashed Page 55 Biting a Piece Out of a
Flash Paper Page 55 Plate Page 56
Hatch Lighting Fake Page 56 Care of the Hands'..'.'..'.'.! Page 50
Conclusion Page 57
 CHAPTER I.

, THE NIGHT CLUB FIELD AND ITS

J REQUIREMENTS
5 U
- i-J
M -J In France a n d on the continent of E u r o p e generally, a
q recognized branch of the art of magic has been for a very
(j long time the giving of i m p r o m p t u performances to the patrons
^ q of cafes. It is quite possible that the magician of the cafes
p 2 represents the intermediate step between the itinerant street
^ trixter a n d the illusionist of the stage. T h e field is a w i d e one
1-1 3 a n d while its scope is necessarily restricted, as c o m p a r e d with
2 stage work, m a n y clever performers have acquired f a m e a n d
~ O fortune b y w o r k i n g the cafes.
<*> U
o Until quite recently this branch of the art has been almost
{f; w h o l l y neglected in the U n i t e d States. T h e decline of vaude-
j ville a n d the rapid rise to popularity of the cafes a n d n i g h t
clubs have aroused the profession to its new opportunities. It
does provide a lucrative field for clever performers, b u t the
qualifications required for success in it are perhaps even more
exacting than for vaudeville or stage w o r k generally. The
greatest authority on m a g i c has said that " f o r success in magic
three things are necessary: firstly, dexterity; secondly, dex-
terity; a n d thirdly, dexterity." In the cafe field it is m o r e
than ever required for the perfomer has to w o r k at the closest
quarters a n d is subject at all times to the interference, good-
natured or malicious, of his patrons. H e must have, in addi-
tion, a never-failing audacity a n d a smiling imperturbability. H e
must have an inexhaustible f u n d of g o o d h u m o u r , p r o o f
against all mishaps, accidental or designed. H e should be able
to turn every unforeseen h a p p e n i n g to his o w n advantage, a n d
a b o v e all, he must have a g o o d address; in plain A m e r i c a n ,
he must be a g o o d mixer. A t the same time he must m a i n t a i n
a most courteous d e m e a n o r a n d take care to a v o i d u n d u e
familiarity. In short, he must be, a gentleman at all times.
This list of qualifications m a y seem to be a rather formid-
able one, but these qualities can b e cultivated, a n d even if the
reader confines his endeavours in the magic art to his o w n
f a m i l y circle or that of intimate friends, their practice will help
to equip h i m for greater success in whatever line of life he m a y
pursue to gain his daily bread a n d butter, a n d greatly aid h i m
in getting a d d i t i o n a l slices of cake, so acceptable to all of us.
A w o r d with regard to dress. This should be in g o o d
taste a n d faultless in fit a n d condition. Particular attention
must b e p a i d to the hands. T h e y should be regularly mani-
cured a n d kept in the best possible condition. No regulations
can be laid d o w n for the performer's patter, b u t all gags a n d
jokes that are azure in color must be avoided.
T o sum up, the successful cafe performer will have such
confidence in himself, a n d such a g o o d address a n d appear-
ance. that so far f r o m there being a n y feeling of condescension
for him on the part of his patrons, they will rather get the
impression that it is through his genial good h u m o r that they
have the opportunity of seeing his feats.

C H A P T E R II.

INTRODUCTORY TRICKS
A vital part of the cafe performer's art is his introduction.
It is not sufficient b y a n y means to step u p to a table, take a
pack of cards from your pocket a n d b a l d l y m a k e the age-old
request. "Please take a c a r d . " T h o u g h 1 h a v e seen just that
done. T h e reaction of most people w o u l d be antagonistic a n d
the performer w o u l d have an a d d e d difficulty in overcoming
this feeling. N o one likes to feel that something is being forced
u p o n him. The approach to the particular table selected for
attack should be apparently accidental a n d the first feat per-
formed should be of such a striking nature that the sitters'
interest is aroused, m a k i n g them wish to see more. Perhaps
the best way of illustrating methods of approach a n d o p e n i n g
feats will be to describe those a d o p t e d b y some of the most
successful performers in this field.
M. MOREAU'S OPENING.
M . Moreau flourished in the cafes of Paris in the latter part
of last century. H e was acclaimed b y His- magical conferes as
the cleverest card artiste of his time. H e confined his work
to cafes a n d private engagements, a n d seldom, if ever, appear-
ed on the stage. H e n c e his fame has not extended to other
countries, but from reports that have c o m e to us he was un-
d o u b t e d l y a marvellously clever magician. His favorite m e t h o d
of introducing himself was this: Entering a cafe he w o u l d
quickly select a table that appeared likely to yield h i m the best
returns, as for instance one that was well filled, at which the
sitters, h a v i n g just finished their meal, were relaxing for a
chat. H e w o u l d seat himself at a table nearby a n d , while
waiting for his order to be filled, w o u l d take out a pack of
cards a n d begin b u i l d i n g a fancy card castle. Occasionally
before placing a card he w o u l d throw it in the air, m a k i n g it
return to his fingers, b o o m e r a n g fashion. Presently, as if b y
accident, a card w o u l d fall on the table h e h a d chosen for
attack. W a l k i n g over to it he w o u l d apologize profusely for
his clumsiness. H e w o u l d then, again apologizing for the stray-
ing of his cards, abstract a n u m b e r of them f r o m the sleeve
of one of the sitters, at the same t i m e seizing the o p p o r t u n i t y
of pushing a particular card well u p the patron's sleeve a n d
leaving it there. This card w o u l d figure later on in a trick
in which a duplicate card w o u l d apparently vanish f r o m the
p a c k a n d be f o u n d in his sleeve b y the spectator himself. Hav-
ing thus broken the ice, he w o u l d find his little audience ready
a n d anxious to see more, with the result that at the end of his
performance the voluntary contributions for the entertainment
he had given were very satisfactory to h i m . Unfortunately
details of his tricks have not c o m e d o w n to us b u t he is said
to have played with the cards as a virtuoso improvises on the
keys of a piano.

ANOTHER OPENING METHOD.

A n o t h e r Parisian performer, w h o attained great success
in the same field, invariably began b y a p p r o a c h i n g a table
a n d , w i t h a n apology, w o u l d pull a Louis D ' O r ( g o l d coin)
f r o m a spot on a sitter's clothing, following this b y p r o d u c i n g
several m o r e f r o m the other patrons. These he w o u l d let lie,
carelessly, on the table, while h e proceeded with several other
tricks. T h e psychological reaction being that, in the end, the
least his audience felt they could d o was to a d d to his stock
of gold. This m e t h o d c a n n o t b e followed exactly here, g o l d
coin being taboo, b u t the same idea can b e a p p l i e d to dollar
or five dollar bills. For instance, taking crisp, new bills, roll
u p four or five lengthwise, cigarette fashion, a n d clip them in
a row between your right t h u m b a n d the side of the h a n d .
Casually abstract them, one b y one, f r o m various parts of a
patron's coat. A roll of bills, neatly folded, has been secreted
in a fold of your leftt sleeve just below the elbow, the o p e n i n g
of the fold being towards the wrist. A f t e r p r o d u c i n g the single
bills, unroll them a n d show t h e m in your right h a n d . Pull u p
the right sleeve w i t h your left h a n d , transfer the bills to your
left h a n d a n d pull u p the left sleeve with the right h a n d , at
the same time securing the folded bills. D e v e l o p these u n d e r
cover of the. single bills a n d spread the w h o l e lot, m a k i n g as
b i g a display as possible. Y o u might then remark that, "Some-
times the m a n a g e m e n t allows m e to distribute these as souve-
nirs," a n d you m a k e a m o t i o n of so doing, " u n f o r t u n a t e l y , "
you continue, " t o n i g h t is n o t one of those nights," a n d p u t the
bills in your pocket. H e r e again, the reaction of the spectators
w o u l d be that they were not dealing with some impecunious
fellow a n d they w o u l d feel ashamed to d o less than a d d to the
stock of bills.

Still another m o d e of entry used successfully is this: Pass-

i n g b y a table the performer stops casually a n d feels for a cigar-
ette. Failing to find one he borrows one, lighting it a n d taking
a few puffs, he remarks that it doesn't seem to d r a w well.
Breaking it open he abstracts a five dollar bill f r o m it. This
he hands to the person w h o gave him the cigarette, b u t when
the spectator opens this out he finds he has only a piece of
paper. T h e m e t h o d is sufficiently obvious. The b o r r o w e d
cigarette is p a l m e d a n d exchanged for a prepared one, the
p a l m e d one being d r o p p e d in a pocket in getting a match.
A f t e r the bill is shown it is c r u m p l e d u p a n d exchanged for a
little ball of paper. There is a m p l e opportunity for misdirec-
tion in m a k i n g the moves as the spectators have not been
expecting any set trick.
A g a i n in passing a table the performer m a y d r o p a
crumpled bill unnoticed b y the patrons. H e picks it u p a n d
asks if it belongs to a n y of the sitters. W h e t h e r a n y o n e claims
it jokingly or not, he hands it to someone to h o l d for future
restoration to the loser. H e r e again the person finds himself
h o l d i n g a piece of newspaper, w h e n he is asked to record the
n u m b e r of the bill.
A novel introduction that is being used at the present
time is this. The performer approaches a table carrying a tray
on which there is a small glass of whiskey. H e asks a gentle-
m a n , " P a r d o n me, d i d you order t h i s ? " The answer being
" N o , " he continues, "Neither did I , " puts the tray d o w n a n d
proceeds to vanish the glass of whiskey, using the well k n o w n
" S q u a s h " m e t h o d . The vanish, a n d the subsequent reproduc-
tion of the glass with the liquid still intact, is well calculated to
arouse the interest of the patrons. If the performer follows
this b y " t u r n i n g the whiskey into a m a n " b y swallowing it, he
w o u l d be well advised to use cold tea instead of the real
Mackay.

INTRODUCTION B Y T A B L E C A R D S .
This is a m e t h o d that is often used. Cards are printed
announcing that " T h e W o r l d ' s Greatest Magician, Senior
w h o has just arrived from Europe (or T i m b u c t o o ) will enter-
tain patrons with his marvellous a n d unrivalled feats of m a g i c , "
a n d so on a n d so forth. These cards are put on the tables
of the hotel or club rooms. Photographs with similar an-
nouncements are displayed in the l o b b y or ante-rooms. W h e n
the performer is ready to display his talent, the head waiter
picks a table in a p r o m i n e n t position a n d calls the attention
of the patrons there to the card. If they fall for his strong
recommendation he brings the artist along a n d he does his
performance. If he is a g o o d entertainer a n d the patrons at
other tables see that his customers are having a g o o d time,
he has n o difficulty in continuing f r o m table to table. But
stress must be laid on entertainment. A l l intricate or l o n g
drawn out problems should be a v o i d e d as poison, n o matter
h o w clever they m a y seem to the operator himself.
A l w a y s include a trick with a bill a n d , without being
ostentatious, take occasion to display a roll, even if it is only
stage m o n e y with a dollar bill around it. Y o u m a y say, " N o w
I need a b i l l " a n d bring out the roll, then continue, " b u t per-
haps it will be better if I use one of yours," so you put the
roll back in your pocket a n d b o r r o w a bill.
D o n ' t do too m u c h a n d let your last trick be one calcu-
lated to upset the gravity of the sitters as m u c h as possible.
W h a t you want is some hearty laughs so politely termed "Belly
laughs" b y Variety, so that the rest of the house c a n n o t help
noticing them. For example, if you finish with a version of
the cups a n d balls, bring out potatoes or unions f r o m two of
the cups, a n d from the last a mechanical toy, a mouse for
example, set to scoot across the table when the cup is lifted.
T h e resulting excitement, particularly amongst the ladies, will
d r a w all attention to your table a n d there will b e a d e m a n d
for your services at the others.
Just one further example from an actual performer's
method. H a v e your w a n d in your right sleeve. A p p r o a c h a
person a n d with a casual apology, thrust your right h a n d under
his coat. W i t h the left h a n d on the outside of the coat press
the end of the w a n d which you have let protrude f r o m the
sleeve, against his b o d y , r a p i d l y slide the right h a n d b a c k to
the other end a n d then slowly w i t h d r a w the w a n d f r o m his
coat.
F r o m these examples you can either select one, or a d a p t
s o m e little trick of your o w n to get the same result, that is, an
apparently casual or accidental approach. O n c e h a v i n g gained
the attention a n d interest of your little audience y o u must be
prepared to continue without delay with tricks that lead u p to
your best effort a n d then stop. Beware of d r a g g i n g out the
entertainment. O f course, you must exercise good j u d g m e n t
a n d if your reception justifies it, a d d a trick or two, but as a
general rule it is better to leave your patrons w a n t i n g m o r e
than run the risk of boring them. F o l l o w C o h a n ' s rule a n d
" l e a v e them l a u g h i n g . "

CHAPTER III.

MISCELLANEOUS TRICKS
PRODUCTION OF WAND.
Most performers n o w a d a y s affect to despise the use of
the w a n d . This is a great mistake especially in close work.
H a n d l i n g the w a n d can be m a d e to cover m a n y m o v e m e n t s
that are otherwise a w k w a r d , especially in covering the p a l m i n g
of objects. A graceful touch of the w a n d gives a reason for
some magical result a n d for w a n t of a better explanation will
be accepted as such by most of your audience, if you enter
into the spirit of the thing yourself. There's n o need to be
serious about it. D o it with a smile as if you were more than
sceptical about it yourself a n d affect to be pleasantly surprised
at the result.
Here is a good way to produce the w a n d at the start of
your routine. H a v e the w a n d , a rather small one, in your left
sleeve. Take a white pocket handkerchief
from your pocket. H o l d it b y the corner
in the right h a n d a n d draw it through
your left h a n d upwards. H o l d it up right
for a m o m e n t , then as if trying to balance
it on your left hand, let the corner in the
right hand drop, keeping hold of the op-
posite diagonal corner with the left h a n d .
A t the same time let the left h a n d drop,
allowing the w a n d to drop out of the
sleeve into the curved left fingers, the
back of the h a n d to the front.
Raise the left hand a n d with the right
seize the corner of the handkerchief a n d
the end of the w a n d . Pull the w a n d , a n d
the handkerchief behind it, upwards, so
that the w a n d is concealed in the folds.
Twist the fabric around the w a n d loosely
but tightly enough for it to remain a r o u n d
the top of the w a n d .
Balance the handkerchief upright on the left h a n d then
suddenly strip the w a n d out from the upper end with the right
hand. Let your w a n d be something out of the ordinary.
Instead of the conventional black w a n d with white tips, have it
of ivory with gold tips, even if it is only imitation. Have
something a b o u t it that will attract attention. For instance,
Charles Bertram always used a w a n d with sparkling d i a m o n d
set in each end.

2. T H E P E A R TRICK
Here is a trick the effect of which is as surprising as one
could wish. There is a dish of pears on the table. Take one
and ask a spectator to push a dime, which he has m a r k e d
plainly, right into the fruit. H a n d the pear to a second person
with the request that he push the prongs of a fork into it, mak-
ing four small holes. A s k a third m e m b e r of the group to
cut a segment out of the pear and eat it. Take the pear a n d
toss it to the first spectator, w h o finds to his astonishment, that
it is whole, with his marked d i m e in it a n d the marks of the
fork on it.
 T o d o the trick, secure a pear beforehand, push a d i m e
into it a n d m a r k it with the prongs of a fork. Secrete this
under the vest or in your coat pocket. T a k e a pear f r o m the
dish, selecting one of a b o u t the same size a n d appearance as
the prepared one. A s k someone to m a r k a d i m e a n d then
push it into the fruit a n d a second spectator to m a r k it b y
thrusting the prongs of a fork into the p u l p . A s he does this
hold the fruit in your right h a n d in such a w a y that the marks
must be m a d e in a b o u t the same position as those on the
prepared pear. A s this is being d o n e p a l m the prepared pear
in the left h a n d . Turn to the left a n d , g o i n g to the other side
of the table, apparently transfer the pear to your left h a n d ,
really p a l m i n g it a n d showing yours. G i v e this to a third per-
son, asking h i m to cut out a segment, without interfering with
a d i m e or the p r o n g marks, a n d eat it.

This done, take the pear, again m a k e a n exchange in

passing it to the right h a n d , a n d i m m e d i a t e l y toss the w h o l e
pear across the table to the first spectator, asking h i m to take
out his d i m e a n d identify it. A s he starts to d o this he is
astonished to find the pear whole again, with his d i m e in it a n d
the prong marks on it. In the m e a n t i m e you have disposed
of the other pear.

Smartly d o n e this trick has a most astonishing effect. T h e

m o v e m e n t s f r o m one side of the table to the other afford
a m p l e cover for the necessary exchanges a n d , as the spectators
have n o idea of w h a t y o u are a b o u t to d o , they h a v e n o occa-
sion to look for a n y trickery.

3. A SUGAR AND COFFEE MYSTIFICATION

This trick, properly introduced, has an extraordinary

effect. Let us suppose that coffee is being served with sugar
cubes. A s k someone to take a cube a n d h a n d h i m an indelible
pencil with which to print his initials plainly on one side.
W h i l e he is d o n g this, secretly wet the ball of your right t h u m b .
If you are h a v i n g coffee yourself this can be d o n e in h a n d l i n g
the s p o o n ; if not, affect a contemplative attitude, h a n d o n
chin, a n d turn a w a y slightly, as if you d i d not wish to h a v e
a n y o p p o r t u n i t y of seeing the initials as they are being printed.
It is an easy matter then to wet the t h u m b .
W h e n the person has written his initials on the sugar cube,
tell h i m to turn the initialed side d o w n w a r d s . Take the cube
f r o m h i m between the t h u m b a n d fingers, the t h u m b below
a n d its ball pressing firmly on the writing. H o l d it over his
cup of coffee for a m o m e n t a n d then d r o p it in. A n impres-
sion, in reverse, will have been transferred to the ball of your
thumb. Keeping this imprint out of sight, take the person's
left h a n d with your right, h o l d i n g it with your fingers on the
back a n d the t h u m b pressing against his p a l m . B y this means
an exact reproduction of the initials is m a d e in the m i d d l e of
his p a l m . G u i d e his h a n d over his coffee cup a n d have h i m
hold it there, p a l m downwards, of course, while you impress
on him to concentrate on his initials. Explain the process
whereby the stream of thought waves will act on the vaporized
atoms of the writing, causing them to collect a n d reproduce
themselves on the p a l m of his h a n d o r a n y such fantastic
explanation as m a y suit your style of patter. A n y w a y p r o v e
your point by having him turn his h a n d p a l m upwards a n d
showing to all the astonishing results of the experiment.

The trick can also b e d o n e with beer, ginger ale, etc.,

but not with quite so good an effect. It is well to carry a few
pieces of cube sugar in case granulated sugar only is served.
Y o u may, before the proper k i n d of audience, show your
erudition by remarking that the w o r d "coffee" is an adaptation
of the A r a b i a n w o r d " g a h w a h " or Turkish " q a h v e h , " m e a n i n g
wine. T h e Turks pronounce it " k a h v e h . " " C o f f e e " c a m e into
use in the English language at the close of the sixteenth century.
This gives you an opportunity of tying u p the trick with the
famed mysteries of the East. A n d this will be only right since
according to Ponsin, the French author, the trick originated
in India.

4. T H E RING A N D T H E W A N D
This is a very old trick which has been revived recently
with good results. A s in all the surviving feats of the old time
magicians the plot is simple. A borrowed ring is placed on a
w a n d , the ends of which are held b y a spectator a n d the
magician causes the ring to vanish, finding it later in a specta-
tor's coat or elsewhere.

T o d o the trick borrow a gentleman's ring, a signet ring,

for example, a n d h o l d it so that the plain part of the b a n d
o n l y shows. Take the w a n d a n d pass the ring onto it several
times very openly, letting it d r o p off into the left h a n d . Once
more m a k e the m o t i o n of passing the ring onto the w a n d ,
copying exactly the m o v e m e n t s m a d e w h e n you really d i d so,
but instead slide the w a n d a l o n g the outside of the ring which
you retain in the right h a n d near the base of the fingers, a n d
then hold the w a n d b y the m i d d l e with the same h a n d . Ask
a spectator to hold the ends of the w a n d a n d first offer h i m the
right h a n d end to grasp with his left h a n d , m o t i o n i n g with the
left h a n d which passes below your right h a n d . In offering
 the left end of the w a n d to the
spectator your left hand again
passes b e l o w the right a n d this
time secretly let the ring d r o p
into it. O n n o account look at
your hands at this m o m e n t .
Address the spectator b o l d l y
a n d look him straight in the eye
a n d , as soon as the ring is safely
in the left h a n d , announce
what you are going to do.
Simulate great effort w o r k i n g
your h a n d up a n d d o w n the
w a n d , a n d finally remove it
showing that the ring has gone.
Retrieve it from a spectator's
pocket, or wherever you please.
If it is left at this stage thei trick is weak. Most people
will quickly arrive at the correct s o l u t i o n t h a t the ring was
not really put on the w a n d at all, a n d this is just the frame of
m i n d you w a n t them to have. It is the follow-up that gives
the trick its punch. G o right ahead a n d again show h o w the
ring is put on a n d d r o p p e d off. Then really put the ring on
the w a n d , covering the action with your fingers, so that it is
not actually seen to be on the w a n d . In the m e a n t i m e you
have secretly secured in your left h a n d a ring of your own.
A g a i n offer the ends of the w a n d to be held by a spectator,
a n d as before, m o t i o n with the left hand, passing it below the
right, but this time m a k e a p a l p a b l y clumsy catch, as if the
ring had really d r o p p e d from the right h a n d . Continue, how-
ever, without the slightest hesitation a n d have the ends held
as before, but if you can, affect a furtive, anxious expression.
A n n o u n c e that the ring being firmly on the w a n d , you will
again remove it b y magic. A challenge is sure to result, that
the ring was never put on the w a n d at all, that it was seen to
d r o p into your left hand, a n d that it can be seen there now,
as you a w k w a r d l y allow a part of the plain b a n d to be visible.
Keep u p the argument but refuse to open either h a n d . Finally
give in a n d a d m i t that the spectators are too smart for you.

T o retrieve your character as a magician, undertake to

pass the ring back onto the w a n d while the ends are still firmly
held. G i v e the spectators no time to think, m a k e a throwing
m o t i o n with the left h a n d a n d at the same m o m e n t pull your
right h a n d rapidly a w a y f r o m the w a n d , m a k i n g the b o r r o w e d
ring spin around it. U n d e r cover of surprise d r o p your o w n
ring into a pocket. The trick in this form is peculiarly suitable
for close work a n d it can be varied in m a n y ways. Giovanni,
the pickpocket magician, gets a w o n d e r f u l effect from it.
T h e action of passing the ring onto the w a n d should be
studied before a mirror so that your moves when pretending
to put it on will be exactly the same. The ring should be held
near the roots of the fingers a n d the h a n d slid over the w a n d .

5. T H E FLYING RING
This is a trick that depends on the same m o v e described
in the preceding feat, that is, a secret transfer from one h a n d
to the other. Beforehand place two small rubber b a n d s in
your outside coat pocket on the right h a n d side. T o begin
with, borrow a ring, put it on your left p a l m , slowly close the
fingers on it a n d turn the h a n d back uppermost, raising it to
about shoulder height, the arm half bent.
Ask for the loan of a handkerchief a n d , while getting it,
quietly work the ring into such a position that b y lifting the
tip of the left m i d d l e finger it will drop. T a k e the handkerchief
in the right hand a n d throw it over the left fist completely
covering it. Bring out one of
the b a n d s from your right coat
pocket a n d ask a spectator to
pass it over the handkerchief
a n d d o w n to your wrist; as y o u
m a k e this request, gesture in-
dicatively with the right h a n d ,
passing over the back of the
left a n d under the handker-
chief towards the left elbow.
Here is the critical point a n d
the success of the trick depends
on smooth, nonchalant work-
ing. A s the right h a n d passes
under the left let the ring d r o p
into it. There must be n o stop-
page of the hand a n d no indica-
tion of m a k i n g a catch. T h e m o v e is very similar to the d r o p
billiard ball vanish.
W h e n the handkerchief has been fastened round the left
h a n d with the rubber b a n d , borrow a second one. Y o u have
utilized the interval to work the ring into a position at the
roots of the right second a n d third fingers, so that with it held
thus the p a l m of the h a n d can be safely shown. Close the
fingers slowly, have the second handkerchief thrown over the
fist a n d fastened in the same way with the second rubber b a n d
which the spectator has taken from your pocket for you.
Expatiate on the absolute fairness of the procedure a n d
the impossibility of taking the ring from the left h a n d without
first taking the covering off, then announce that that is just
what is about to happen. Assert that the ring will pass u p the
sleeve, across the chest, into the other sleeve a n d d o w n into
your right h a n d . G i v e the audience the choice of which finger
the ring is to appear on, as if that a d d e d still greater difficulty
to the feat. The choice h a v i n g been m a d e , shake the left arm,
waggle the shoulders a n d then shake the right arm, as if govern-
ing the motions of the ring, but, in the meantime, slip it on
the chosen finger. A s k the spectator to remove the rubber
b a n d a n d the handkerchief from the left h a n d , open it a n d
show that the ring has gone. In the same w a y have the right
h a n d freed a n d show the ring on the selected finger. A l l o w
the owner to take it off himself.
The indicatory gesture of the right h a n d over a n d under
the left a n d the d r o p p i n g of the ring, must be tried out before
a mirror. S m o o t h l y worked this little illusion is very effective.
However, it should not b e included in the same p r o g r a m as
the ring a n d w a n d trick.

6. C U T A N D R E S T O R E D
The recent great popularity of the cut a n d restored rope
trick, a popularity that is perhaps greater with magicians than
with their audiences, is such that one can hardly witness a
magical performance without seeing the trick d o n e several
times. W o r k i n g under the conditions described in this b o o k
a performer w o u l d hardly burden himself with the lengths
of rope he w o u l d require for the n u m b e r of times he w o u l d
have to w o r k the trick each evening. However, there are
variations of the same trick with less cumbersome material,
cotton thread for example, which are even more effective for
close work.

WITH COTTON THREAD

F r o m a spool of white cotton break off a n u m b e r of pieces
of a b o u t fifteen inches in length. Prepare each of these as
follows: W i n d the thread around the first a n d second finger
tips. T a k e the thread off
a n d squeeze B.B. together
so that the little package is
flattened ( 2 ) . Next fold
it in half bringing A . over
to A . ( 3 ) . F o l d it once
more m a k i n g it into a tiny
c o m p a c t package ( 4 ) a n d
finally w i n d the free end
of the thread a r o u n d it
several times from X to
Y.
 Place these little balls in the corners of your pockets so
that you can easily secure them when required, a n d have the
spool in one of these pockets. Let us suppose that you have
led the talk to the subject of the I n d i a n R o p e Trick. Offer to
show the real H i n d u m e t h o d , a n d bring out the spool. Break
off a fifteen inch length a n d causually let it be seen that your
hands are otherwise quite empty. Replace the spool in the
pocket, at the same time n i p p i n g one of the little balls of thread
between the first joints of your second a n d third fingers.
Stretch the thread between the first fingers a n d t h u m b s of
each hand, closing the other fingers on the p a l m . Let a spec-
tator cut the thread in the m i d d l e with a sharp pair of scissors
(carry a pocket pair for this p u r p o s e ) . T h e instant the cut is
m a d e bring the ends together with a sharp twisting m o v e m e n t ,
take them in the left h a n d a n d rub them together for a m o m e n t .
T a k e the lower ends between the right finger a n d t h u m b a n d
again stretch out the cotton, n o w double, to be cut as before.
Repeat the same manoeuvers exactly after each cut is m a d e
until the resulting pieces are too small to be cut again. Then
with the right h a n d fingers only rub the pieces together very
openly, rolling them into a little ball and, in the process, a d d i n g
the little ball from between the second a n d third fingers. H o l d
the two pressed tightly together, slowly show all parts1 of your
h a n d a n d then resume the rubbing, bringing the whole piece
a b o v e the other little b u n d l e which you conceal between the
first joints of the second a n d third fingers. The m o m e n t it is
secure, take h o l d of the free end of the w h o l e piece a n d slowly
d r a w it out to full length.
D o not be deceived b y the apparent simplicity of the
trick. After all nothing could be more magical if the restora-
tion were really m a d e a n d this is the effect on the spectators.
W o r k it as if it were a real H i n d u mystery a n d you will be
surprised at the reception the trick will get. M a k e the utmost
of the deceptive twisting a n d r u b b i n g together of the ends as
they are brought together after each cut is m a d e , as if the whole
thing depended on that alone.

W I T H STRING
Fix an elastic card u p your sleeve a n d loop one end over
a trouser button on the right h a n d side; to the free end tie a
small loop or string, a b o u t four inches in length. The com-
bined length of the elastic a n d the string loop must be such
that the end of the l o o p will lie in the shirt cuff, safely out of
sight, yet readily obtainable.
Show a piece of string of the same quality as the l o o p a n d
have it measured. There is n o necessity to carry a foot rule
for the p u r p o s e j u s t stretch it on the table a n d m a k e marks
at the ends with a pencil. Place the string across the left h a n d
a n d m a k e a great fuss about taking it b y the exact m i d d l e .
M a k e several attempts to find the spot, each time drawing the
string, d o u b l e d , towards the left finger tips, but without success
a n d laying the string across the h a n d again. Finally get the
end of the loop from the cuff a n d d r a w both it a n d the m i d d l e
of the string towards the finger tips but carry only the loop
into sight. Deliberately cut this a n d have the four ends, two
of the loop a n d two of the string itself in plain sight. Roll
the string up in your hands a n d at the same time allow the
elastic to d r a w the cut l o o p up your sleeve. Stretch the string
out, showing it restored a n d have it measured.

7. P O C K E T KNIFE A N D B O T T L E
This is a trick that has been lost sight of apparently, yet
it is well worth the attention of any performer for close work.
The effect is t h i s a borrowed pocket-knife is d r o p p e d into a
bottle from which, at c o m m a n d , it gradually rises until it comes
right out a n d topples to the floor. The needful is simply a
length of about two feet of fine black silk thread, one end of
which is fastened to the lowest button of your vest, the other
being a l o o p which is h u n g on the top vest button. The bottle
to b e used must be one without a shoulder, the sides sloping
d o w n evenly, a n d it should be of clear glass.
Borrow a pocket-knife a n d open the large blade. Pass
it for examination a n d seize the o p p o r t u n i t y of getting the silk
l o o p over the left fingers. T a k e the knife back a n d h a n d the
bottle to be examined in its turn, while you secretly slip the
b l a d e of the knfe through the loop of silk u p to the notch near
the handle. H o l d the knife,
the b l a d e with its p o i n t
downwards, keeping the l o o p
taut, between your right
t h u m b a n d the first joint of
the forefinger, the silk run-
n i n g back under the other
three fingers, which you keep
closed. T a k e the bottle in
the left h a n d , hold it in a
sloping position a n d let the
knife slide d o w n into it.
This must b e d o n e in such a
w a y that the l o o p will retain
its hold on the notch a n d yet
allow the p o i n t of the knife
to strike the b o t t o m of the
bottle with an audible
"plunk."
 The position now should be that the silk is stretched taut
a n d that the least outward or u p w a r d motion of the bottle will
cause the knife to rise. Order it to d o so a n d , very slowly,
m o v e the bottle away from you, the knife gradually rising until
it comes right to the top. Let it topple to the floor, the l o o p
slipping free as it does so. H a n d the bottle a n d the knife out
again, they will tell no tales as to h o w the trick was done.
Experiment will show that even at close quarters the silk is
hidden by the bottle and your arm. A m o v e m e n t of the bottle
straight outwards is less perceptible than an u p w a r d move-
ment.

8. T E A R I N G A B U T T O N FROM A S P E C T A T O R ' S C O A T
This is a trick that has m a d e the reputation of more than
one magician. It is not a difficult feat but it requires some
audacity to carry it through properly a n d that is p r o b a b l y the
reason w h y it is not used more often. The effect is that a
button is deliberately torn from a spectator's vest, shown
separate a n d then attached to the cloth again. The w o r k i n g
is quite simple a n d easy to d o if one has sufficient confidence.
Most vest buttons are black a n d all that is necessary is
to carry one of these with a few loose ends of thread attached
to it to give it the appearance of h a v i n g been torn off. Have
this in a h a n d y pocket. W h e n ready to d o the trick, get this
button between the tips of the right first a n d second fingers.
A p p r o a c h your victim a n d , m a k i n g a remark about one of his
vest buttons being loose, open the lowest part of his vest,
freeing one button. Place the ball of the left t h u m b just below
the button grasping the lower part of his vest between the
t h u m b a n d fingers. Bring your right fingers to the button
which is just a b o v e your left t h u m b nail, a n d pick at it several
times bringing the right h a n d away each time a n d leaving the
button in full view, but of course, hiding the button between
your first a n d second fingers.
A g a i n bring the right fing-
ers over the vest button a n d ,
under cover of them, slide
the left t h u m b upwards a lit-
tle, covering the vest button
a n d leaving yours with its
side clipped against the cloth
by the tip of the left t h u m b ,
just above the button n o w
concealed. Pick at your
button, which the spectators
take to be the one they have
seen right along, a n d bring
your hand away again ,the
fingers separated.
 N o w grip your button b y its side a n d snap it away with
a sharp jerk. S h o w this button with the little ends of thread
hanging from it a n d point to the vest. There is no button
n o w a b o v e your left t h u m b a n d the spectators d o not realize
that you have simply slid the t h u m b over the real vest button.
H o w e v e r , give them n o time to think about it. Show the loose
button again, apparently put it back on the vest, t h u m b palm-
ing it in transit, a n d placing the tips of the empty fingers over
the left t h u m b . R u b the finger tips on the cloth a n d , under
cover of them, slide the left t h u m b back slightly, so that w h e n
the right fingers are removed the real vest button is again
visible a n d , of course, firmly attached. M a k e a great to d o
about h a v i n g this tested to prove that you have really sewn
it back again firmly b y magic.
T h e effect obtained b y this feat is well worth the small
effort required to master it. It is advisable to always carry
a b r o w n a n d a grey button, as well as the black one, in case
of emergency.

CHAPTER IV.

TRICKS WITH HANDKERCHIEFS

1. W A N D THROUGH A HANDKERCHIEF
Place a large handkerchief over the left fist so that the
center of the fabric is exactly over the t h u m b o p e n i n g at the
top of the fist. M a k e a well or depression in the handkerchief
b y thrusting the first two fingers of the right h a n d d o w n into
the t h u m b opening. Push one end of the w a n d into the well
a n d push it d o w n a few inches then turn the left h a n d over

a n d show the handkerchief hanging d o w n with its center on

top of the w a n d . This is a feint to show there is no hole in
the material.
 Begin again. Lay the handkerchief over the fist a n d
apparently m a k e a well just as before, but this time bring the
second finger out a n d over the left t h u m b a n d m a k e a second
well outside the first. It is into this second well or tunnel that
you thrust the end of the w a n d this time. H o l d it for a
m o m e n t about three inches inside the fist then put the right
hand below a n d let the w a n d slide through catching it in the
right hand. Immediately shake the handkerchief out a n d show
it to be whole, not holey.

2, PULLING A H A N D K E R C H I E F T H R O U G H A W A N D
Twist a large handkerchief ropewise a n d lay it over the
w a n d so that the end towards the front is about two inches
shorter than the rear one. H o l d the m i d d l e of the fabric d o w n
on top of the w a n d with the left t h u m b a n d roll the two ends
around the w a n d f r o m front to back. It will be f o u n d that
on the second or third turn the short end will flop back on
your side of the w a n d . Seize both ends at that stage a n d pull,
the handkerchef will c o m e clear away f r o m the w a n d , having
apparently passed through it.

3. CUT A N D RESTORED HANDKERCHIEF

O n e of the oldest a n d still one of the best tricks is that
of cutting the center out of a borrowed handkerchief a n d re-
storing it. A s always it is just a matter of h o w the trick is
done. Here is the best way of preparing for the trick.
A r o u n d the inside of the left sleeve, on the side nearest to
the body, sew a piece of flat elastic at about half inch intervals.
Cut a white handkerchief into a n u m b e r of little squares of four
inches, take each of these b y the center a n d pull them through
the elastic loops so that the center points c o m e through close
to the edge of the sleeve. Thus prepared, a n d with a pair of
scissors in your pocket, you, are ready to show the trick.
B o r r o w a white handkerchief, take it by the m i d d l e a n d
d r a w it through the left fist several times taking a d v a n t a g e of
the m o v e m e n t to show all parts of the hands e m p t y without
referring to the fact. D r a w it through once more so that a
couple of inches of the fabric protrudes f r o m the fist. With
the right h a n d push the left sleeve u p a little| at the same time
n i p p i n g o n e of the small squares a n d draw it out under cover
of the handkerchief. A s you pass the right h a n d upwards
again to seize the m i d d l e of the handkerchief leave the small
piece under the left t h u m b . D r a w the handkerchief away as
before a n d once m o r e d r a w it through the left fist, "{[his time
however, leave the center of the handkerchief in the p a l m clos-
ing the last three left fingers on it, d r a w u p the center of the
small square a n d let it protrude f r o m the fist just as the real
center of the handkerchief
did before.
A s k i n g permission to mark
the fabric, take out the scis-
sors a n d cut the small square,
taking nearly all of it. Snip
off the remainder of the little
square under pretence oi
evening u p the edges. Crum-
ple u p the handkerchief a n d
thrust it into the owner's poc-
ket.
Burn the cut pieces on an ash tray. C r u m p l e the ashes
in a little piece of newspaper a n d vanish the little ball by palm-
ing it in the right h a n d as you pretend to put it in the left.
T a p the h a n d with the scissors a n d get rid of the paper ball
in putting them back in your pocket. O p e n the left h a n d ,
empty, take the handkerchief a n d spread it out, restored. If
you wish to be logical, though logic has little to d o with magic,
you can have a duplicate piece of paper balled up, p a l m it a n d
find it in the person's pocket. O p e n it. a n d show that the
ashes have disappeared.

CUT A N D RESTORED HANDKERCHIEF

Another W a y
A f t e r h a v i n g apparently cut out the center the performeT
spreads the handkerchief over his leg a n d a large hole shows.
The d a m a g e is then magically restored.
Y o u have a circular piece of thin black metal in a h a n d y
pocket a n d this has a fine sharp hook soldered on the back.
P a l m this a n d , in spreading the fabric over your leg, h o o k the
g i m m i c k to the center of the handkerchief. P a l m it again in
rolling up the handkerchief.
In this case the piece must be a small one, a b o u t the size
of the fake a n d in apparently cutting it from the handkerchief
make a false cut, that is the blades pass between the edges of
the piece a n d the handkerchief. Let the piece fall on the
table, then after p a l m i n g the metal piece, c r u m p l e the handker-
chief in the left hand, thrust your right h a n d into your coat
pocket to get a pinch of restoration powder, d r o p the g i m m i c k
a n d secure a t h u m b tip. H o l d i n g the left h a n d clenched pre-
tend to push the powder into the left fist at the t h u m b o p e n i n g
a n d leave the tip in the fist.
Take the small piece a n d push it into the fist, really into
the tip, which you carry away in the usual manner. Seize a
corner of the handkerchief with the t h u m b a n d fingers of the
right hand, fingers in front, t h u m b behind, a n d shake it out.
Take the opposite corner in the left h a n d a n d spread the fabric
out. Cross the hands to show the other side a n d seize the
opportunity to d r o p the tip in the outside coat pocket.

5. T H E D A N C I N G L A D Y
In the m i d d l e of one side of a large linen handkerchief
tie a knot, then take the fabric by the corners of the opposite
side as in Fig. 1. Twirl the handkerchief round between the
hands skipping rope fashion until it is tightly twisted as in
Fig. 2. W i t h o u t allowing the folds to untwist, grasp both ends
in one hand, take the knot in the other a n d pull the resulting
figuretf upright as in Fig. 3. It forms a grotesque, large h i p p e d
figure with the knot for the head a n d the two free corners re-
presenting the arms.
A slight m o v e m e n t of the hands will cause the hips to
sway a n d b y releasing one of the twisted ends a n d twisting the
other sharply the figure will execute a marvellous high kick a n d
twirl. This little trick is a very old one, but Mr. Larsen, the
genial editor of the Genii, has a d d e d new zest to it by setting
it to music or rather to rhyme, t h u s
" F a t i m a was a dancer gay.
For fifty cents she'd dance this way.
But if a dollar you w o u l d pay,
She'd d o the ta ra ra b o o m de aye II!"

This high kick should be executed at the " a y e . "

TRICKS WITH BILLS

I have already laid stress on the necessity of including a
trick or two with b o r r o w e d bills. Before actually d o i n g the
trick it is well to perform a little flourish, apparently im-
p r o m p t u , with the borrowed bill. The following will be f o u n d
diverting:
 1: A N IMPROMPTU DRINKING CUP
G e t your t h u m b tip, that indispensable accessory, in
position on your right t h u m b . Borrow a bill a n d roll it into
a little cylinder, using the tip of the
right t h u m b to start the roll a n d leav-
ing the t h u m b tip inside. Take the
bill thus rolled in the left h a n d a n d
with the left h a n d pick u p a bottle,
a jug, or whatever liquid container
m a y be on the table, a n d pour a little
of the contents into the rolled bill,
that is, into the t h u m b tip. F r o m this
drink the liquid, remarking that a
bill always improves the flavour of
the wine, or whatever the drink m a y
be. W i t h a reverse m o v e m e n t un-
roll the bill, getting the g i m m i c k
back on your thumb, a n d at once h a n d the bill out for examina-
tion. N o trace of moisture will be found.
Y o u m a y follow this b y

2. T E A R I N G A BILL T O PIECES
Borrow a bill, being careful to take one that is in good
condition, the newer the better. S m o o t h it out, using -both
h a n d s a n d let it be seen plainly that they are otherwise empty.
H o l d it in the left h a n d vertically. S u d d e n l y seize the upper
right hand corner between the right t h u m b a n d first finger a n d
jerk the right h a n d sharply d o w n w a r d s towards the' b o d y as if
tearing the bill in half. A rustling sound will result as the
fingers pass over the bill a n d leave the corner, bent d o w n , be-
tween the third a n d little fingers of the left h a n d . Keep the
right t h u m b a n d finger together as if they held half of the bill
and, without a m o m e n t ' s hesitation, b r i n g the two hands to-
gether, under pretence of placing the halves together.
Repeat the same manoeuvre, apparently tearing the
halves to quarters, but in reality merely d o u b l i n g the bill d o w n
as before. Bring the hands together again a n d this time simu-
late great effort in tearing the folded pieces apart. Show both
hands separate for a m o m e n t with the thumbs a n d the fingers
gripped tightly together at their tips. Finally put the imaginary
fragments in the right h a n d on those in the left, that is, on the
folded bill, roll the bill into a small ball, b l o w on it, a n d slowly
open it out, whole as at first.
The trick m a y be repeated with an a d d e d effect. Secrete
a crumpled bill of your o w n in a fold of your left sleeve at
the elbow, the opening of the fold must be towards the wrist.
Offer to show h o w the trick was d o n e a n d again smooth out
the bill. H o l d i n g it in your right h a n d show it on all sides,
a l l o w i n g it to sink into the m i n d s of the spectators that you
have nothing but the bill, a n d with your left h a n d pull u p the
right sleeve. Transfer the bill to the left hand, show that h a n d
e m p t y a n d pull u p the left sleeve, securing your o w n bill with
the right fingers. Conceal this in the bent fingers a n d repeat
the first two pretended tears as above, but in appearing to tear
it for the third time actually show part of your o w n bill between
the right t h u m b a n d forefinger. The audience will thus be
satisfied that the bill really has been torn. Repeat the
manoeuvre several times, crumpling each bill smaller as you
pretend to tear the fragments into tiny pieces.
Finally p u t b o t h bills together, squeezing them tightly,
a n d show all parts of your hands. Slowly open out] the bor-
rowed bill, h o l d i n g the other, now crumpled into a small ball,
b e h i n d it. P a l m this in the left h a n d a n d get rid of it as you
h a n d the borrowed bill back.
T h e trick requires boldness of execution rather than great
skill. T h e result will justify the trouble of mastering it.

3. A BILL A N D C A R D COMBINATION
A little preliminary preparation is necessary for this trick,
but the effect justifies it. A borrowed bill is vanished a n d a
chosen card is torn up, the pieces beingi held b y the spectator.
The card is m a d e whole a n d inside it, enclosed between the
two layers of its material, is f o u n d the borrowed bill. This
is taken out by the owner a n d its number is identified b y h i m .
T o prepare, take a card, a court card is best, a n d split it
by soaking it in water. R e m o v e all the glue from b o t h pieces
a n d dry them between sheets of blotting paper under pressure.
W h e n they are quite dry a n d flat, glue them together round two
sides a n d one end, leaving o n e end open a n d using but little
glue so that there is as m u c h space in the card envelope as
possible. W h e n the glue has set, fold the card in half a n d in
half again, pressing the creases firmly so that it can readily
be folded the same way, that is, into quarters. In the back
lining of your right outside coat pocket fix a paper clip with a
small safety pin, open out the card a n d insert the back of the
card in the clip so that the opening is upwards. Squeeze the
sides of the card well open. In the corner' of a handkerchief
sew a small w a d of paper which is to masquerade as a folded
bill. Y o u are ready.
T o begin force a duplicate of the prepared card a n d leave
it for the m o m e n t in the person's h a n d . Borrow a bill of any
denomination, the larger the better, first h a v i n g its n u m b e r
recorded. F o l d it u p into a w a d of a b o u t the same size as
that in your handkerchief, say a b o u t 1 i-in. b y f-in. W r a p it
u p in your handkerchief apparently, b u t really clip it at the
roots of the m i d d l e fingers of your right h a n d a n d carry the
corner with the w a d sewn in it under the m i d d l e of the fabric.
Twist the handkerchief under the w a d a n d give it to a spectator
to h o l d . Place the handkerchief between his finger a n d t h u m b
so that the w a d is just a b o v e the fork' of the t h u m b a n d m a k e
h i m h o l d the rest of the fabric b e l o w with his other h a n d . It
is thus m a d e safe from any u n t o w a r d investigation.
N o w call attention to the chosen card. Instruct the spec-
tator to fold it carefuly in half a n d tear it along the crease, then
put the halves together, fold them in half a n d tear them the
same way. W h i l e this is being d o n e a n d you are concentrating
your whole attention on the tearing being done properly, as if
everything depended on that, quietly slip the bill into the card
in your pocket, detach the card f r o m the clip a n d fold it into
quarters, the creases already in it a l l o w i n g this to be d o n e easily.
Clip the' folded card at the roots of the m i d d l e fingers of your
right h a n d .
The card h a v i n g been torn to your satisfaction, b o r r o w
a handkerchief. H o l d it u p b y two corners a n d spread it out
showing one side, then cross your arms a n d show the other
side. In d o i n g this you show the palms of b o t h hands, the
folded card in your right h a n d being covered b y one corner of
the fabric. T h r o w the handkerchief over your right h a n d , at
once taking the card between the tips of the two first fingers.
Lean over a n d take the pieces of the chosen card with the left
h a n d , place them under the handkerchief, leaving them clipped
at the roots of the two m i d d l e fingers a n d i m m e d i a t e l y pushing
u p the folded card under the m i d d l e of the handkerchief. Seize
this from a b o v e with the left h a n d a n d give it to someone to
hold.
Y o u have n o w merely to finish the trick with d r a m a t i c
effect. W h i s k a w a y your handkerchief in which the borrowed
bill was supposed to be w r a p p e d a n d shake it out. G e t the
w a d d e d corner in one h a n d a n d show all parts of the fabric.
S h o w i n g your hands freely, lift one corner of the other hand-
kerchief a n d take out the card. It still appears to be in pieces,
so y o u b l o w on it, then open it o u t slowly a n d show it to be
whole again. By gripping the open end you can show all parts
of it a n d it will appear to be intact. Still h o l d i n g the open end
ask the owner of the bill to feel it. H e will at once say that
there is something inside it. Let h i m tear off half the card a n d
extract his bill which he at once identifies b y its n u m b e r . The
open end of the card which remains in your h a n d s you tear
u p a n d toss away.
By r u b b i n g one side of the open end of the card envelope
with diachylon, a n d squeezing the card tightly w h e n you show
that the card has been restored, all parts of it can be examined.
It is interesting to note that diachylon, so m u c h in v o g u e n o w
with magicians, was used b y Hofzinser over sixty years ago.
Cards prepared for this trick can be obtained f r o m the pub-
lisher of this b o o k .

4, C I G A R E T T E A N D BILL TRICK
T h e effect is that a borrowed bill is burned a n d later on is
recovered f r o m a borrowed cigarette. It is akin to the p o p u l a r
card a n d cigarette trick b u t m u c h easier to w o r k at close
quarters.
Prepare a cigarette b y extracting some of the tobacco a n d
insert in its place a bill of your o w n , folded a n d rolled into
small compass. Light the cigarette, taking two or three puffs,
just enough to blacken the end, a n d let it go out. T a k e a plain
business envelope a n d with a razor b l a d e m a k e a slit a b o u t one
a n d a half inches long, just below where the point of the flap
will reach when it is g u m m e d d o w n . T h e slit must run parallel
w i t h the sides of the envelope.
Begin b y b o r r o w i n g a cigarette a n d you may, for a d d e d
effect, ask the lender to put it between your lips himself a n d
light a match for you. T a k e two or three puffs a n d let it go
out. Borrow a bill, taking one that resembles your o w n as
closely as possible, a n d have its n u m b e r recorded. F o l d it
until it forms a neat package a b o u t one a n d a half inches b y
three-quarters of a n inch, a n d in d o i n g this let it be seen that
your hands are otherwise empty. S h o w the envelope with
your t h u m b over the slit so that it appears ordinary. Open
it with the address side to the front a n d put the folded bill in-
side, taking care to push its lower end through the slit so that
it protrudes at the back of the envelope. Cover this end of
the bill with your t h u m b a n d turn the envelope a r o u n d showing
that the bill is actually inside the envelope.
A g a i n turn the envelope, address side to the front a n d
lift it to your m o u t h to wet the flap in the usual way, at the
same time pulling the bill through the slit with right t h u m b and
letting it drop into your right h a n d at the roots of the m i d d l e
fingers, where a slight contraction of the fingers will hold it
securely. Take the envelope in your left h a n d a n d thrust the
right h a n d into your pocket for a match. Bring one out a n d
leave the bill behind. Light the match a n d set fire to the enve-
lope, holding it over an ash tray; this diversion gives you a m p l e
cover for exchanging the borrowed cigarette for the prepared
one. A few m o m e n t s later you casually relight the cigarette at
the flame of the burning envelope, remarking that you always
use dollar bills as cigarette lighterswhen you can borrow
them.
After getting as much fun from the apparent burning of
the bill as you can, open your cigarette a n d produce your bill
from it. In the meantime you have quietly unrolled the bor-
rowed bill in your pocket until it is just d o u b l e d in half. Show
your bill plainly, fold it in half a n d m a k e a gesture of h a n d i n g
it to the owner, then draw back a n d say, " B y the way, you gave
me this bill, d i d n ' t y o u ? " H e naturally answers, " Y e s . "
T h a n k him a n d put the bill in your pocket. This gets a laugh
a n d gives you the opportunity required for exchanging it for
the borrowed bill. H a n d this to the owner a n d have the num-
ber checked.
The trick will be found easy to work a n d very effective.
It is advisable, if you have the spare capital, to prepare a num-
ber of cigarettes at the same iime. The first few m a y be
troublesome but a little practice will m a k e the work easy.

5. A BILL C H A N G E O V E R
Take a $ 1 0 bill a n d a $1 bill a n d you will find after a
little experimenting that they can be folded in such a w a y that
the resulting packages will look almost exactly alike. F o l d a
dollar bill of your own in this m a n n e r a n d place it in a clip or
pocket. W h e n ready to present the trick, get the folded bill
in the right h a n d a n d hold it clipped at the roots of your second
a n d third fingers, a position which allows you to show the p a l m
of the h a n d empty on occasion.
 Borrow a Ten D o l l a r bill a n d fold it in exactly the same
way, m a k i n g a duplicate package. W h i l e f o l d i n g it, if you
keep the two m i d d l e fingers of the right h a n d bent inwards,
you can show the p a l m freely a n d there will be no suspicion
that you have anything besides the visible bill in your hands.
Finally get the two bills one on the other a n d h o l d them tightly
as one bill, showing all parts of your hands. A s k some one
to take charge of the Ten Dollar bill a n d , as you p u t it appar-
ently in his h a n d , slide the O n e D o l l a r bill forward with the
t h u m b a n d clip the Ten D o l l a r bill at the roots of the m i d d l e
fingers. M a k e h i m close his h a n d on the Ten D o l l a r bill, as
he supposes, a n d clench his fist tightly. Tell h i m you are going
to take the bill out of his h a n d n o matter h o w tightly he holds
it.
N o w borrow a D o l l a r bill a n d repeat the same manoeuvres
exactly, this time exchanging the D o l l a r bill for the Ten spot
which you h a n d to a second spectator to h o l d in his fist. Pocket
the D o l l a r bill finally left in your h a n d .
M a k e a p a r a d e of passes over the spectators' hands as if
trying to conjure the bills away, causing them to clench their
fists m o r e tightly than ever. Finally decide to do it invisibly
b y m a k i n g the bills pass f r o m the one person to the other.
Use your favourite magical formula a n d m a k e the magic, pass.
T h e m a n w h o h a d the Ten D o l l a r bill finds h e holds the
D o l l a r bill, a n d the other spectator has the Ten D o l l a r bill
in place of the O n e .
H a n d the D o l l a r bill back to its owner a n d taking the Ten
D o l l a r bill, turn to its owner a n d ask h i m if he thinks h e can
h o l d it securely. N o matter w h a t he says, fold the bill as be-
fore, h o l d it between the t h u m b a n d first finger of the right
h a n d a n d instruct h i m to h o l d out his left h a n d . Tell h i m
you will put the bill on his h a n d a n d that he is to close his
fingers on it as rapidly as he can. Slap the bill d o w n on his
p a l m a n d he closes his fingers on it. Say that he was not half
quick enough a n d take the bill as before. A n n o u n c e that you
will c o u n t to three so that he will be prepared to act smartly.
Raise the right h a n d a b o u t level with the ear a n d strike d o w n
on his p a l m , counting " O n e . " Raise your h a n d again a n d this
time slip the bill i n t o your collar at the side of the neck a n d
instantly slap your h a n d d o w n , h o l d i n g the t h u m b a n d finger
exactly as when the bill was there, counting " T w o . " Once
m o r e raise the h a n d a n d slap it d o w n on his p a l m , counting
"Three." A u t o m a t i c a l l y he will clench his fist, grip it at once
with the left h a n d a n d h o l d it closed. Y o u r right h a n d is seen
to b e e m p t y a n d you say to him, jokingly, " N o w , I suppose
if I can get the bill away f r o m you I can have i t ? " A m o m e n t
later let h i m open his h a n d , the bill has vanished.

H a v e as m u c h fun over its disappearance as you can a n d

feign bewilderment as to its whereabouts. Pull u p your sleeves
a n d feel in your pockets, n o sign of it. R u n your hands through
your hair, standing with the left side to the spectators, a n d
nip the bill from the collar with the tips of the right first a n d
second fingers.
H a v i n g regained possession of the bill you can pretend
to find it anywhere you p l e a s e i n another person's pocket,
under the table cloth, anywhere that will make its reappearance
effective.
Before leaving the subject of bills I might mention that an
Egyptian magician, popular in the States, has built a reputation
on a bill trick. Borrowing a Ten Dollar bill he seemingly
places it in a spectator's hand, telling h i m to h o l d it tightly.
But in place of the bill a piece of newspaper is found. Reach-
ing into the spectator's pocket he produces the bill. Working
the same gag about " Y o u gave m e this b i l l ? " he calmly pockets
it a n d goes on with his performance. H i g h l y profitable when
it comes off but too often leads to an ugly situation!
 C H A P T E R VI.

tricks with cards

THE TACKED CARD
O f the innumerable tricks with cards only the snappiest
a n d most striking should b e d o n e at the table. T h e necessary
action must be carried through smartly a n d the finish m a d e
as startling as possible. A l l l o n g d r a w n out counting of cards
a n d involved arrangements must be a v o i d e d . T h e trick with
a t h u m b tack, in which a chosen card is i m p a l e d on the wall,
or ceiling, is still one of the best a n d , though it m a y be old to
magicians, the effect is new a n d striking to present d a y
audiences.
T o prepare for the trick push a t h u m b tack through the
m i d d l e of a card, the p o i n t protruding at the back, a n d place
it in your pocket. Force a duplicate of this card on a spectator.
Let h i m replace it a n d shuffle the pack so that the card is really
lost in the shuffle. P a l m the card f r o m your pocket a n d taking
the pack back a d d it to the top, then hold the cards in your
left .hand, covering the p r o t r u d i n g p o i n t with your t h u m b .
Next introduce a packet of t h u m b tacks, on the lower side
of which you have stuck, with a spot of wax, the head of a tack
the p o i n t of which has been filed off. A s k someone to pick
out a tack, then as you close the box, secretly scrape off the
tack head a n d h o l d it between the tips of the right second a n d
third fingers. T a k e the selected tack with the right t h u m b a n d
first finger a n d , m o v i n g the h a n d a little upwards, as if to show
it better, let it d r o p into the p a l m a n d show the d u m m y h e a d
in its place.
H o l d i n g the pack upright in your left h a n d , m a k e a break
with the left t h u m b a n d d r o p the d u m m y head into it. Close
the break leaving the impression that the tack is somewhere
in the m i d d l e of the pack, in reality it has slipped through
into your left h a n d .
T a k e the pack in your right h a n d , the faces of the cards
towards you, the backs outermost. A s k the n a m e of the chosen
card a n d instantly throw the pack squarely against the wall or
the ceiling. T h e chosen card remains firmly tacked while all
the other cards scatter a n d fall. Care must be taken that the
pack hits squarely a n d , if the ceiling is high, some little practice
in throwing the pack should be m a d e beforehand.
If the ceiling is too high, a n d the walls n o t of w o o d , you
can secure the same effect b y t h r o w i n g the pack against a door.
Fastidious performers m a y prefer to p a l m the chosen card
before h a v i n g the pack shuffled, b u t the risk of this card show-
ing up on the floor is so slight that it may be disregarded a n d
the extra effect gained by having the drawer replace his card
anywhere in the pack and then shuffling to his heart's content,
is worth the risk. Audacity is a sine qua non in close quarter
work.
A t a pinch the effect can be obtained b y using a pellet of
wax, in which case the duplicate card is not required but the
result is not so striking. Using the t h u m b tack method the
trick has been a favourite of Horace Goldin's for m a n y years.

2. A S N A P P Y T O R N C A R D R E S T O R A T I O N
The feat of reproducing a card that has been torn u p and
all the pieces but one destroyed, has been done in many ways.
The restored card has been found in a cigar or cigarette, in' an
orange or an egg, etc. Here is a new idea;
H a v e a duplicate of the card to be forced, suppose this
is the Nine of Clubs. Tear off from one corner a piece about
one inch by three-eighths and put this piece in a clip or pocket
from which you can procure it unperceived when it is wanted.
Fold the remainder of the card in half, and half again, and
roll it up tightly. A r o u n d it roll a piece of cellophane, twisting
the ends tightly so that the little package will be moisture proof
if held in your mouth for a minute or two. H a v e this also in
a handy pocket or clip. T w o small squares of newspaper will
also be necessary, one of them, crumpled into a loose ball you
put in your right coat pocket.
Briefly, force the Nine of Clubs. H a v e it held u p to view
so that all can take note of it and seize the opportunity to get
the corner torn from the duplicate card. H o l d this in your
right hand between the tips of the first and second fingers a n d
take the pack in the same hand for a m o m e n t which gives you
an excuse for taking the card back in your left hand. Put the
pack down, bring your right hand over to the card as if to tear
off a corner and adjust the hidden piece to the back of the
card. Tear the corner off the chosen card, using the other one
as a guide to get a piece as closely resembling it as possible.
This leaves you with two corners between the right t h u m b and
fingers. Slide the top one into view a n d clip the other between
the second and third fingers. H a n d the visible corner to a
spectator to hold and give the mutilated card to a second per-
son, asking him to complete its destruction b y tearing it into
small pieces. D r o p the hidden corner into your pocket in
taking out your cigarette case.
Ask permission to smoke while finishing the trick, ex>
plaining that the strain on your nerves is very great a n d so on.
If the spectators think you are going to reproduce the card
from the cigarette so much the better. R o l l the fragments of
the card in the little square of paper, squeezing it into a ball
about the same size as the ball which you have just p a l m e d in
replacing your cigarette case. Exchange the balls a n d set fire
to the e m p t y one, b u t see that there is an ash tray h a n d y
before lighting it. A s it burns lean over a n d re-light your
cigarette at the flame. This gives you a m p l e o p p o r t u n i t y to
d r o p the ball of pieces in a pocket a n d secure the little cello-
phane package at the tips of the first a n d second fingers. T h e
next m o v e is to get this into your m o u t h . T a k e the cigarette
from your m o u t h in the same h a n d , as you ask the spectator
w h o has the corner to h o l d it up. In replacing the cigarette
between the lips slip the little package into your m o u t h .
By this t i m e the paper will have been reduced to ashes.
S h o w that there is n o trace of the card left, then break open
the cigarette finding only tobacco there. Feign a sudden chok-
ing a n d show the package in your m o u t h . Put your hands to
your m o u t h a n d quickly unrolling the cellophane, open out the
card a n d take it f r o m your m o u t h . " I always forget," you
say, " O n e should never inhale in d o i n g this trick." T h e pro-
duction of the card, perfectly dry, a n d the fitting of the piece
to it, m a k e the trick most effective.

3. A P O K E R D E A L
If you include any card tricks in your p r o g r a m it is m o r e
than likely that someone will remark, " I w o u l d n ' t like to p l a y
poker with h i m . " T h a t will be your cue to show your ability
to deal extraordinary hands. Most p e o p l e think that a n y card
magician can d o this at will, but, in reality, very few magicians
k n o w a n y t h i n g a b o u t gamblers' methods, a n d in the course of
a long career in magic I can count on the fingers of one h a n d
the magicians I have met w h o have mastered the art of stack-
ing, second a n d b o t t o m dealing, a n d the other artifices in the
gambler's repertoire. H o w e v e r , to impress the p u b l i c it is n o t
necessary to spend the enormous a m o u n t of time in practicing
to acquire facility in these sleights. O n e convincing deal 19 all
that has to be done. The following arrangement will be f o u n d
to m a k e an extraordinary impression.
A little preliminary arrangement is necessary. In your
u p p e r left vest pocket place the four Kings a n d four Aces f r o m
the pack to' be used, arranged K i n g , Ace, K i n g , Ace, through-
out.
Thus prepared, h a n d the deck to b e shuffled b y several
persons calling particular attention to the fact that you cannot
possibly k n o w the whereabouts of a n y card at all. Takei the
pack a n d in squaring the cards, p a l m half a dozen, thrust your
h a n d u n d e r the coat of the last person w h o shuffled a n d pro-
duce them fanned out. R e m a r k jokingly, " T h a t ' s not fair, try-
i n g to d o tricks on m e . " R e p l a c e the cards a n d p a l m another
lot. " I can d o that t o o , " y o u continue. Produce the cards
f r o m behind the knee. " I can send them u p m y sleeve even,
watch." Riffle the cards a n d , without p a l m i n g any, thrust
your h a n d under the coat, take the packet f r o m the vest pocket
a n d carry them u p to the shoulder. Pull the coat open with
the left h a n d a n d show the cards being pulled out of the sleeve.
F a n them out but keep them with the backs outwards. Put
them on the top of the pack a n d you are all set for the poker
deal.
False shuffle as thoroughly as possible. For instance,
first w i t h an overhand shuffle using the jog, then a riffle shuffle
leaving the eight cards o n the top with one card above. Get
rid of this card with the Erdnase cut, offer the pack to b e cut
b y a spectator. C o m p l e t e the cut a n d slip the tip of the
little finger between the packets. H a v e your o p p o n e n t selected
a n d deal one card to h i m a n d one to yourself very openly
f r o m the top of the deck. M a k e ai m o t i o n of dealing another
card to h i m but pause, h o l d i n g the pack in position for the
pass. M a k e some remark about not h a v i n g fixed the stakes
a n d under cover of an appropriate gesture m a k e the pass. It
makes no difference whether the spectator is willing to bet or
not, for after all, you say, y o u never bet on a certainty. Con-
tinue the deal, he gets the four Kings as against your four
Aces. For the fun of the thing see h o w far he w o u l d go in
betting before turning the Aces.
A f t e r h a v i n g m a d e the pass, deal the cards very slowly
a n d openly. T h e knowledge of the possibility of dealing
seconds a n d b o t t o m s has b e c o m e widespread of late, m a i n l y
through novices trying to parade their dexterity, b u t also I a m
sorry to say b y m a n y professionals seeking to gain applause
b y exposing the sleight a n d then d o i n g it imperceptibly.
Carried through b o l d l y a n d with a passable a m o u n t of
skill the feat makes as strong a climax to a series of card tricks
as can be desired.
A n alternative m e t h o d of m a n i p u l a t i o n is this: After
the false shuffles, p a l m the eight cards from the top a n d offer
the pack to be cut as it lies on your left h a n d . A s soon as the
spectator lifts off a portion, take the remainder with the right
h a n d , a d d i n g the p a l m e d cards, take the cut from the spectator
with the left h a n d a n d reassemble the deck. Begin the deal
immediately. T h e p a l m e d cards are in your h a n d for a few
m o m e n t s only a n d the movements are quite natural so n o
suspicion should be aroused. There must be n o hesitation a n d
your whole attention must be concentrated on the left h a n d
a n d t h ^ person m a k i n g the cut. P a l m i n g cards really requires
m o r e confidence than skill.
Space will n o t permit details of any further tricks with
cards. T h e student must refer to the m a n y books a n d
pamphlets recently published on this branch of the art. For
e x a m p l e " T h e Encycopedia of Card Tricks" edited by m e
a n d published b y M a x H o l d e n will be f o u n d to cover the
ground exhaustively.

CHAPTER VII.

tricks with cigarettes

ROLLING A CIGARETTE W I T H O N E H A N D
F r o m both ends of a cigarette remove a little of the
tobacco to m a k e them resemble a h a n d rolled cigarette. Paste
a cigarette paper lengthwise a l o n g it b y its edge, Fig. 1. Put
the paper back in the b o o k of papers, the cigarette lying a l o n g
its edge, Fig. 2, a n d put it in your pocket.
T o perform the trick, take out the b o o k of papers keep-
ing the cigarette concealed. O p e n the b o o k , b l o w it to sepa-
rate a paper a n d take the prepared one, the cigarette h i d d e n
b y being held behind the second finger of the left h a n d , one
end pressed against the p a l m , the other end against the second
joint. Replace the b o o k of papers, crease the paper in half
b y turning it back towards yourself, take out tobacco with right
h a n d a n d pretend to pour some into the paper. H o l d the left
fingers in front of paper a n d rather high up so that this pre-
tence cannot be detected. W i t h the left t h u m b a n d fingers
roll the cigarette in the paper to which it is g u m m e d , a simple
matter, but d o n ' t make it appear too easy. Squeeze the enda,
put in m o u t h a n d light up.
 MIGRATING CIGARETTE
Break off a b o u t one quarter of a cigarette a n d put both
pieces in your right outside coat pocket. Put t h u m b tip in left
trousers pocket.
Borrow four cigarettes a n d lay t h e m on the table in front
of you. Pick u p one a n d break off a b o u t one quarter of it
a n d place this small piece in your right coat pocket, retaining
the longer piece in the left h a n d , secuing the three-quarter
length cigarette in your fingers. Pick u p the three b o r r o w e d
cigarettes with the right h a n d a d d i n g the broken cigarette a n d
place all four in a spectator's h a n d , closing his fingers on them.
T a k e the mutilated cigarette f r o m the left h a n d a n d show
it, then apparently replace it in the left h a n d , t h u m b gripping
it in the right, a n d proceed to crumble it a w a y with the left
fingers. Rest the right fingers on the edge of the table as you
lean towards the spectator a n d d r o p the t h u m b gripped piece
to the floor. D r a w i n g all attention to the left h a n d a n d m o v i n g
forward a little, kick the piece well under the table. Still
w o r k i n g the left fingers, h o l d the h a n d over that of the specta-
tor, open the h a n d a n d show the cigarette has vanished. The
spectator finds it in his h a n d with the other three.'
T a k e the b r o k e n cigarette a n d break it into three pieces.
In the meantime, however, you h a v e quietly secured one of the
small pieces f r o m your pocket in your right h a n d . D r o p the
three pieces on the table. Pick u p one a n d p u t it in your left
h a n d . D o the same with another, secretly a d d i n g the p a l m e d
piece. T a k e the last one a n d p u t it in your pocket, really nip-
p i n g it between the fingers.
" T w o pieces in m y left h a n d , one in m y pocket. Right?
W e l l watch it c o m e b a c k . " O p e n the left h a n d a n d d r o p the
three on the table.
Repeat the m o v e m e n t s exactly as before.
Thrust b o t h hands into y o u r trousers pocket as you step
back apparently amused b y the result, a n d secure t h u m b tip
on left t h u m b . A s you b r i n g the hands out f o r m the left h a n d
into a fist, n i p p i n g off the t h u m b tip with the fingers into the
clenched h a n d . T a k e u p one piece a n d push it into the fist,
i.e., into the tip. D o the same with another piece a n d this time
bring the tip away. Pick u p the third, fingers in front, t h u m b
b e h i n d a n d push it into the left fist. Turn to the right as you
crumble the left fingers as before, scrape off the t h u m b tip
into your trousers pocket a n d secure a cigarette from a dropper
or clip under the edge of the coat.
O p e n the left h a n d a n d pretend to be surprised at the
result. Show the one small piece. M a k e the m o t i o n of placing
it in the right h a n d , finger gripping it in the left. Finally pro-
duce the w h o l e cigarette in your right h a n d .
 THE FOUR HOBOS
Show four cigarettes, borrowed if possible, a n d introduce
them to the c o m p a n y as the four hobos, " A m b l i n g ' A r r y , "
" D i c k Dead-eye," "Shuffling S a m " a n d " W e a r y W i l l i e . "
Place them on the table, or preferably on the carpet at the
four points of an imaginary square of about two feet.

A m b l i n g 'Arry. D i c k Deadeye.
1. 2.
3. 4.
Shuffling S a m . Weary Willie.
1 ake two napkins a n d fold them into six inch squares a n d
call them the hobos overcoats.
H o l d them, one in each hand, thumbs above, fingers be-
low, as you patter about the four hobos being caught out one
winter's night in the open, without shelter a n d with only two
overcoats between them. Relate h o w they fought for the
coats. A m b l i n g A r r y a n d D i c k Deadeye getting them at first
a n d you hold the serviettes over 1 a n d 2. Then S a m a n d
Willie get them a n d you cover ? a n d 4 in the same way.
Then Dick grabs one from Sam, cover 2 with n a p k i n in left
h a n d , a n d W e a r y W i l l i e gets the other, cover 4 with right
hand napkin.
U n d e r cover of the n a p k i n n i p the cigarette at 4 with the
backs of the right second a n d third fingers a n d h o l d it. Now
comes the critical move. Lift the left h a n d n a p k i n from 2 a n d
bring it back to cover 4 at the same time lifting the right h a n d
n a p k i n a n d with it covering 1, d r o p p i n g the stolen cigarette
under it. The spectators must not be allowed to see 4 spot
empty. The n a p k i n in the left h a n d must be d r o p e d at 4 the
m o m e n t the right h a n d lifts its n a p k i n with the cigarette under
it. There are n o w two cigarettes under the n a p k i n at 1 a n d
n o n e under that at 4.

Pick u p Sam at 3, pretend to

place the cigarette in the left h a n d ,
t h u m b gripping it in the right
hand as you explain that S a m got
very cold a n d decided to creep
under cover with 'Arry. Pretend
to throw the cigarette with the
left hand, show it empty, pick u p
the n a p k i n at 1, at once passing
it to the right h a n d covering the
p a l m e d cigarette. T w o cigarettes
are seen at 1.
 Place the n a p k i n over them with the right h a n d , d r o p p i n g
the p a l m e d cigarette at the same time. Pick u p D i c k Deadeye
at 2, saying that he got the same idea. R e p e a t the movements,
p a l m i n g the cigarette lifting the n a p k i n , showing three cigar-
ettes at 1, then cover them again d r o p p i n g the fourth cigarette
underneath.
A little later, you continue, a terrific gust of w i n d , lifted
b o t h overcoat a n d Weary W i l l i e a n d d r o p p e d them right on
top of the other three hobos a n d their overcoat. Lift the nap-
kin at 4 as if g r a b b i n g the cigarette beneath it a n d d r o p it on
top of the n a p k i n at 1. " A n d there all four were, riding out
the storm as snug as bugs in a r u g , " so saying lift b o t h napkins
a n d show all four cigarettes together.
W o r k e d smartly the trick is surefire. A n y time napkins
are not available use two soft felt hats for covers.

CHAPTER VIII.

sponge b a l l tricks
Tricks with sponge balls, although they are of quite recent
introduction, have already become very p o p u l a r b o t h \^ith
magicians and'audiences. T h e few sleights which are necessary
are very m u c h more easily mastered than those with solid balls
a n d the sponges themselves can be carried in a vest pocket.
T h e balls should b e cut from a large sponge of the porous
k i n d which can be obtained at any A u t o Accessory Store for
a r o u n d 1 5c. Four balls a b o u t one a n d a half inches in dia-
meter, a n d four a b o u t three-quarter inch, will b e required for
the tricks that follow. First cut the sponge into squares, then
round off the corners with a sharp pair of scissors. There is n o
necessity to try to m a k e a perfect sphere, a rough ball is all
that is needed.
T o prepare for the trick take three of the larger balls,
squeeze them very tightly together a n d then tie them with a
weak black thread criss-cross. Place them in a pocket, or
under your vest, so that you can obtain them secretly whenever
necessary. T h e fourth large ball a n d the four small balls go
into your outside coat pocket on the right h a n d side.
T o begin you m a y bring the fourth large ball from your
pocket openly, or produce it b y magic from the air or from a
spectator's clothing. In either case toss it out a n d seize the
opportunity to get the three balls tied together into you left
h a n d . H o l d them at the roots of the first a n d second fingers
b y b e n d i n g these fingers inwards. Take back the single ball,
show it between the t h u m b a n d forefinger of the right h a n d
a n d apparently place it in your left hand. Really you roll the
ball to the other three fingers which close oni it a n d retain it,
the left fingers closing on the empty tips of the t h u m b a n d
forefinger. W i t h d r a w the forefinger slowly a n d keep it point-
ing to the left h a n d .
C r u m b l e the left fingers a n d keeping the fist closed let
one ball emerge at the t h u m b opening after the m a n n e r of a
hen laying an egg. D r o p this on the table a n d repeat the pro-
duction with the other two. Pick u p one ball with right fore-
finger and thumb and
place it in your left hand.
Pick up a second but this
time roll it with the t h u m b
against the ball gripped b y
the three fingers, squeeze
the two tightly together
a n d place them in your
left as one. Close the left
h a n d a n d raise it a little.
Pick u p the last ball a n d
put it in your right coat pocket, as you say . . . .
" T w o balls in m y left h a n d a n d one in m y pocket. R i g h t ?
V e r y well watch the third one."
O p e n the left h a n d a n d let the three balls roll out o n t o
the table. In putting the h a n d in the coat pocket with the last
ball a pretence only was m a d e of leaving it in the pocket, really
you bring it out in the h a n d , finger gripped as before. Repeat
the moves but this time a d d the stolen ball to the first ball
you place in the left hand a n d show the h a n d e m p t y as you pick
u p the second ball. Contrary to the customary rule this trick
gains b y repetition a n d will bear d o i n g a third time. It should be
d o n e rather smartly, the spectators being given n o time to
cogitate on its various phases.
This routine was invented a n d performed by M o r a (form-
erly "Silent ' ) with solid balls, a m u c h more difficult operation,
with which he created a perfect illusion.
In placing the third ball in the coat pocket the third time,
really d r o p it, a n d n i p one of the small balls between the
fingers. Pick u p one of the large balls, rolling the little one
against it a n d put the two in your left h a n d as one. The small
ball can be completely hidden b y the fingers against the side of
the larger ball. Place another in the left h a n d a n d the third
in your pocket. D r o p this one a n d secure another ball.
A s k h o w m a n y balls there are in your left h a n d now. Some
will say, " t w o , " some " t h r e e , " a n d the surprise when you
open the left h a n d a n d roll out two large balls a n d one little
o n e will be great.
 A d d the second small ball to the one just produced,
squeeze t h e m tightly together a n d place them in the left h a n d
as one ball. Place one of the two large ones in the left h a n d
also a n d the third into your pocket. A s before d r o p this a n d
get a third small ball in your finger grip.
O p e n the left h a n d a n d roll out one large ball a n d two
small ones. Repeat exactly the same manoeuvres, a d d i n g the
third small ball a n d d r o p p i n g the last large one in your pocket,
so that, finally you d r o p three small balls f r o m the left h a n d .
This makes an effective climax so y o u m a y d r o p the balls into
your pocket a n d go on to something else, or b y using a t h u m b
or a finger tip proceed to vanish all three, or again, with the
three balls on the table a n d the extra one in your pocket you
are all set for a display of the Cups a n d Balls.
For any further information a b o u t sponge balls I can
r e c o m m e n d A u d l e y W a l s h ' s " S p o n g e Ball M a n i p u l a t i o n s , "
which is obtainable f r o m the author or the magic depots.

CHAPTER IX.

tricks with coins

1. COIN RISING F R O M A G L A S S OF BEER
Briefly the effect of this trick is that a coin, which has
been d r o p p e d b y a spectator into a glass of beer, rises spon-
taneously to the rim of the glass, whence it is taken a n d h a n d e d
at once for examination. T h e trick is d o n e at the closest
quarters.
T h e secret is a hair a n d a pellet of wax, b u t the m e t h o d
of concealing these accessories is very ingenious. T a k e a length
of hair of a b o u t fourteen inches a n d tie one end to the lower
button on the side of the left sleeve. T o the other end attach a
pellet of wax a n d , bringing it under a n d right around the sleeve,
press the wax on the same button. Thus attached the hair
can b e carried safely for any length of time a n d is always
ready for use.
Borrow a coin, a half dollar or a quarter, first h a v i n g it
m a r k e d . A s this is being d o n e pull the left sleeve back a little
a n d secure the pellet of wax. Receive the coin in the left h a n d ,
pass it to the right h a n d a n d press the w a x on its lower side.
H o l d the coin directly over a glass of beer a n d ask the owner
to take it a n d d r o p it into the glass when you count three.
Since you hold the coin flat he can only grip it by its edges a n d
therefore he cannot interfere with the wax or the hair. A t the
w o r d " t h r e e " he lets it d r o p into the beer.
 T o m a k e the coin rise you have simply to m o v e your left
h a n d very slowly a w a y from the glass, at the same time m a k i n g
passes with your right hand. A s soon as it arrives at the b r i m
of the tumbler, take it with the right hand, detach the wax
a n d h a n d the coin to the owner. A s he identifies the m a r k ,
again adjust the left sleeve a n d press the wax on the b u t t o n
as before. A l l is ready fo a repetition of the trick if so desired.
It will be noted that the coin rises against the side of the
glass nearest to you. It is m u c h more effective to m a k e it rise
from the side nearest the spectators. T o d o this simply pass
the left h a n d in front of the glass a n d then back again below
it as if merely to show that n o connections with anything out-
side exist. The hair will be quite invisible even though it runs
d o w n the glass on the side nearest the audience. In this case
it is effective to let the coin topple right out of the glass into
the h a n d h o l d i n g the glass.
It will be well here to note several other ingenious ways
of fixing a hair a n d wax pellet. The usual m e t h o d is to attach
one end to the lowest button of the vest a n d press the wax on
the top button. This has the advantage of being very easy to
arrange, but there is always the chance of the hair getting in the
w a y in the course of other tricks. A m u c h better w a y is to fix
a tiny weight to one end of the hair a n d let this into the lining
of the coat b y cutting a small slit a little a b o v e the level of
the outside coat pocket on
the left side. Then thread
the hair through the cloth
a n d fix the pellet of wax
to it. W h e n it is free the
weight will draw it u p
against the coat on the
outside, yet it can b e se-
cured at will in the per-
fectly natural action of
adjusting the handker-
chief a n d d r a w n out to
whatever distance m a y be
necessary for the trick.
The m o m e n t it is released
the weight will fall a n d
draw it back against the
cloth. There is then noth-
ing to get rid of a n d the thread c a n n o t get out of place.
O n e of our cleverest close quarter workers utilizes this
idea b y fixing the hair in the same w a y in his right trousers
leg, the wax being d r a w n against the cloth just at the point
to which his fingers reach when the arm is held at the side.
In this position the hair is instantly available at any time,
obtainable without any suspicious groping a n d cannot b e dis-
arranged.
It must be left to the reader to m a k e other uses of this
ingenious 1 accessory. A card m a y be m a d e to w a l k out of the
pack, to rise f r o m a glass or a hat, a bill can be m a d e to per-
f o r m extraordinary gyrations, in fact there is n o end to the
various tricks to which it m a y be a p p l i e d for close work.
U n d e r artificial light the hair is' invisible at very close quarters.

2. B O R R O W E D COIN P U L L E D T H R O U G H S L E E V E
A T ELBOW.
Borrow a half dollar, first h a v i n g it marked. T a k e the
coin in your right h a n d in which you h o l d a similar coin
p a l m e d . Transfer the m a r k e d coin to the left h a n d a n d b e n d
u p your right forearm so that the p a l m is opposite your face.
Say that you will d r o p the borrowed coin into your right
sleeve a n d this you really do, letting it d r o p b e h i n d the right
wrist so that the spectators cannot see it go. A t once seize
the coin p a l m e d in the right h a n d a n d m a k e a m o t i o n of drop-
p i n g it into the sleeve b u t change your m i n d a n d decide to use
the left sleeve.
T a k e the coin (your substitute) in the right h a n d a n d
b e n d u p the left forearm, the fingers touching your left cheek.
A p p a r e n t l y insert it in the sleeve, in reality, h o l d i n g the coin
between the t h u m b a n d first finger, insert the other three
fingers in the sleeve a n d , under cover of the left wrist, d r o p
the coin intc* the outside coat pocket. A t once shake the cuff
with the right h a n d as if to send the coin well d o w n to the
elbow.
Casually d r o p the right arm to the side, letting the bor-
rowed coin d r o p from the sleeve into the right h a n d in the
finger hold position. Place the fingers a n d the coin against
the left elbow, then turn to the left a n d pretend to pull the
coin through the fabric with the tips of the right t h u m b a n d
fingers. Show that the cloth is uninjured a n d h a n d the coin
back for identification.

3. COIN A N D SILVER B O X E S
A little preparation is required for this trick which is one
of the best that can b e done at close quarters. T w o small flat
nickel boxes, self-locking, the innermost large e n o u g h . t o take
a half dollar a n d a coin slide with a clip, b y means of w h i c h it
can be h o o k e d to the outside of the breast pocket, are neces-
sary. T o prepare, place the end of the slide under the lids
of the two boxes a n d encircle the boxes with rubber hands
"every-which" way. A r o u n d the boxes w i n d several yards of
half inch ribbon also in every direction so that when the coin
slide is pulled out the ribbon will encircle its every part. In-
sert the parcel in a leather draw purse, or in a boy's m a r b l e
bag, the m o u t h of the slide protruding. D r a w the string tight
a n d h o o k the slide to the outside edge of your breast pocket.
Y o u need also a half dollar on which you have scratched
a m a r k , a cross for instance, with the point of a pen knife; a
p e n n y a n d a piece of paper a b o u t six inches b y four. Have
coin a n d knife in left trousers pocket.
T o begin, ask for the loan of a half dollar. T a k e out
your penknife ( p a l m i n g your m a r k e d c o i n ) , open the b l a d e
a n d h a n d it to the person offering the half dollar asking h i m
to m a r k it for later identification. This done, take the knife
in your right h a n d a n d the borrowed coin in the left a n d , in
bringing your h a n d u p as if to note the m a r k , m a k e the o n e
h a n d change, ( p . 6. " C o i n M a g i c . " )
" W e l l , you will k n o w that coin a g a i n , " you say. " B y the
w a y is it a g o o d o n e ? " a n d y o u ring it on the table. "Sounda
all right. W h e n I borrow g o o d m o n e y I always like to show
I ' m a responsible p a r t y , " y o u continue. Put your left h a n d to
your breast pocket, d r o p the half dollar in the slide, push your
fingers into the pocket so that the bulge caused apparently b y
the h a n d going into the pocket can b e seen b y the spectators,
detach the purse, bring it out a n d h a n d it to the owner of the
half dollar, telling h i m to put it in his pocket as security.
T a k e the piece of paper, fold over a b o u t one-third of its
length, crease it well, then fold another third a n d crease that.
N o w f o l d a b o u t one-third of its w i d t h a n d crease that, then
7
another third a n d crease that. O p e n out the paper, put the
half dollar in the m i d d l e a n d fold it b y the creases. R a p it on
the table or against a glass a n d have someone feel that it is
really there. M e a n t i m e get the p e n n y into your right h a n d
fingers. M a k e a n excuse that you w a n t to see the m a r k once
more, open the paper ,take out the coin, look at the mark,
a n d again ring the coin on the table.
Crease the lower fold of the paper lengthwise towards
yourself, run the right h a n d fingers along it a n d d r o p the p e n n y
in the fold. Pick u p the half dollar, show it plainly, a n d place
it apparently in the fold, really on the outside, a n d h o l d it
there with your t h u m b ; complete the folds a n d in so d o i n g let
it b e seen that b o t h h a n d s are empty. T h e position is that the
p e n n y is w r a p p e d in the p a p e r while the half dollar is on the
outside but h i d d e n b y the side folds. Squeeze the paper d o w n
around the edges of the coin so that its shape can be plainly
seen, then let it slip out into your left h a n d . Lean forward
to rap the coin against the glass a n d slip your half dollar into
the left trousers pocket. T h e p e n n y will m a k e the sound when
you strike the packet against the glass a n d there can be n o
suspicion that you have already abstracted the half dollar.
H o l d the paper packet very openly w i t h the fingers of
b o t h hands, shake the p e n n y d o w n into the left corner, then
deliberately tear the paper in half. Turn the halves upwards
letting the p e n n y slip into the left finger^ a n d continue tearing
the paper into tiny fragments. T o the audience the coin
vanished at that m o m e n t .
H a v e the spectator take your purse f r o m his pocket, open
it a n d take out the r i b b o n parcel. Let h i m u n w i n d this a n d
r e m o v e the rubber b a n d s f r o m the locked boxes. A t this p o i n t
y o u m a y create some amusement b y p r o d u c i n g f r o m your
pocket a huge key with the little key on its end. Finally in
the inner b o x the b o r r o w e d coin is f o u n d a n d the m a r k is
identified b y the owner.
Experience has proved that this is still one of the most
mystifying a n d talk p r o v o k i n g tricks that can be d o n e at the
closest quarters.

4. COIN A N D G L A S S OF W A T E R
Y o u require a small tumbler, a handkerchief, a rubber
b a n d in left vest pocket a n d a borrowed half dollar which has
been m a r k e d b y the owner. Fill the glass a b o u t one-third with
water, openly place the coin in the center of the handkerchief
a n d seize it through the fabric with the t h u m b a n d fingers of
the right h a n d . Pick u p the glass with the left h a n d , h o l d i n g
it b y the base between the left t h u m b a n d forefinger, a n d
drape the handkerchief over the glass so that the coin is three
or four inches above the m o u t h of the tumbler.
Say that you will d r o p the coin at the w o r d "Three.
C o u n t slowly a n d , just before you d r o p the coin, slope the
glass a little outwards a n d b e n d the second, third, a n d fourth
fingers of the left h a n d inwards forming a sort of cup. The
coin then drops, strikes the side of the glass a n d falU into the
cupped left fingers. Let the
coin slide into the left p a l m a n d
hold the b o t t o m of the glass
over it. R e m o v e the handker-
chief a n d allow a spectator to
look d o w n into the glass, he
sees the coin a n d the illusion
of its being in the water in the
glass is perfect.
D r a w the fabric d o w n tightly
over the m o u t h of the glass a n d
hold it in the right h a n d while
the left h a n d goes to the vest
pocket for the rubber b a n d .
Secure the handkerchief by
slipping the rubber b a n d over it near the base of the glass
a n d h a n d it to a spectator to hold. Y o u have possession of
the marked coin which you can reproduce in any w a y you
desire after you have apparently m a d e it vanish from the glass
in the spectator's hands. If he has some knowledge of magic
a n d suspects the use of a glass disc so m u c h the better as far
as you are concerned a n d you m a k e the most of it.

5. COIN A N D T W O C A R D S
For this pretty little i m p r o m p t u trick, have a half dollar
secretly clipped in the left h a n d at the base of the two m i d d l e
fingers. A s k a spectator to h a n d you a card, any card will d o .
Receive it with the right h a n d a n d carry the coin b e h i n d it.
W i t h a careless gesture show the left hand empty, snap the
card with the left fingers a n d again take it in that h a n d , clip-
p i n g the coin b e h i n d it.
A s k for another cord a n d take it with the right h a n d .
Turn it a r o u n d showing all parts of it a n d your h a n d . D o not
say anything a b o u t the h a n d s being e m p t y at any time, just
let the fact b e unmistakeable a n d let it sink in automatically,
so to speak.
G i v e the spectators the choice of h a v i n g the cards put
together face to face, or back to back, a n d act accordingly.
W h a t e v e r the position chosen it is an easy matter to slide them
together so that the coin is between them. L a y the cards on
the table. Borrow a half dollar a n d take it in the right h a n d ,
then p u t that h a n d under the table, just below the two cards.
Place the edge of the coin against the w o o d a n d snap it flat
with a loud click, let it slide into the sleeve a n d bring the h a n d
u p empty. Lift the top card of the two a n d reveal the coin.
D o not be tempted to try to m a k e the trick stronger b y
h a v i n g the coin m a r k e d a n d then m a k i n g a switch. JusB w o r k
the trick smartly as described a b o v e a n d the result will be
f o u n d to b e quite satisfactory.
6. A NOVEL VANISH
A coin held at the tips of the left fingers is covered with
a borrowed handkerchief. The coin vanishes, b o t h h a n d s are
shown e m p t y a n d the handkerchief returned, n o trace of the
coin remaining.
Before starting the trick see that the m o u t h of your outer
coat pocket on the left side is well open. T a k e the coin in the
left h a n d , h o l d i n g it flat between the tips of the t h u m b a n d
the first a n d second fingers, edge upwards. T a k e the hand-
kerchief b y one corner with the right h a n d , the rest of the
fabric h a n g i n g d o w n . Call attention to the coin a n d slowly
d r a w the handkerchief back over it so that the corner in the
right t h u m b a n d fingers will travel directly towards the coat
pocket. A p p a r e n t l y the idea is to get the coin under the
m i d d l e of the handkerchief precisely a n d you are not satisfied
so you draw it away, the coin remaining a t ' t h e left finger tips.
Cover it again in the same w a y a n d again the result is not
satisfactory. O n c e more d r a w the handkerchief over the coin
a n d this t i m e secretly nip it with the tip of the right m i d d l e
finger against the side of the t h u m b , carry it away b e h i n d the
corner of the handkerchief a n d w h e n the h a n d reaches the
coat pocket, let the coin d r o p into it.
In the m e a n t i m e the fabric is d r a p e d over the tip of the
left forefinger, which simulates the shape of the coin. Con-
centrate your w h o l e attention on the supposed coin. Let the
corner of the handkerchief d r o p from the right h a n d a n d , after
a, m o m e n t or two, ask the owner of the coin to h o l d it under
the handkerchief. Pretend to be astonished at its disappear-
ance a n d proceed to reproduce the original m a r k e d coin in
whatever m a n n e r the trick in h a n d calls for.

7. COIN F O U N D IN A D I N N E R R O L L
Pick u p a roll a n d , pretending to weigh it, turn it a b o u t
in all directions, thereby indirectly letting everyone see that
there is n o opening in it. " P a r d o n m e , " you say, " b u t this
roll seems to be rather heavy.. Perhaps there is something in
it intended for m e . " Break it open a n d , i m b e d d e d in the
center, there is a five-dollar gold piece. " R e a l l y , " you con-
tinue, " I must c o m p l i m e n t you on this ingenious card of invita-
tion to your d i n n e r , " a n d pocket the coin.
The trick is done thus: P a l m the gold coin in the right
h a n d a n d , as you turn the roll over a n d over from h a n d to
hand, get the coin to the finger tips a n d hold it underneath the
roll. Take this by the ends a n d press t h e m upwards a little,
b e n d i n g the m i d d l e down-
wards with the thumbs, thus
breaking the roll on its lower
side. Push the coin into the
opening with the tips of the
fingers. Finally break the roll
apart b y pressing the ends
d o w n w a r d s a n d reveal the
coin e m b e d d e d in the bread
in the m i d d l e . If you wish
to repeat the trick, merely pre-
tend to p u t the coin in your pocket, really p a l m it.
This little feat can be done with almost a n y k i n d of small
cake a n d makes a fine i m p r o m p t u trick for use when out with
a party of friends.
8. T H E BEST COIN F O L D
T h e trick of w r a p p i n g a coin in a piece of paper a n d
causing it to vanish, has been d o n e in m a n y ways. The fol-
lowing remains the best:
Take a piece of paper, about three inches b y two in size,
a n d place a coin, a half dollar for instance, on its center. Turn
the paper upwards so that the coin, held against the paper
b y the tip of the left t h u m b , is on the side nearest to you.
Fold the upper end of the paper back over the coin a n d d o w n ,
but d o not bring the edges of the paper quite together, let the
inner edge be about a quarter of an inch a b o v e the other.
See illustration.
N o w fold the sides of the paper outwards but not so
tightly around the coin as to prevent it sliding away freely
when required. Turn
the packet u p w a r d a n d
fold d o w n the last side
outwards. T o the spec-
tators it will appear
that the coin has been
fairly a n d securely fold-
ed around the coin. In
reality the last side has
been folded u p o n itself
a n d the coin is simply
in a pocket, from which
it can be let slide free
at will.
 H o l d the open side of the pocket tightly between the
t h u m b a n d fingers a n d show it on all sides, allowing a specta-
tor to feel that the coin really is there. Press the paper firmly
d o w n around the edges of the coin so that an impression of it
will remain after the coin has been abstracted. H o l d the
packet u p to view at the tips of the right t h u m b a n d fingers,
the back of the h a n d to the front a n d the fingers pressed
firmly together. Then let the coin slide out a n d d o w n to the
first joints of the second a n d third fingers, a slight contraction
of which will hold it securely. Transfer the packet to the left
h a n d a n d hold it in the same way, the impression of the coin
is still visible a n d the audience will have no suspicion that it
has already departed. Thrust the right h a n d into your pocket
to get a match a n d leave the coin behind. Light the paper
a n d let it burn slowly away. T h e coin has vanished a n d the
h a n d s are seen to be e m p t y .
The trick can be worked so openly a n d deliberately that
it is very convincing. It can be m a d e even more startling by
using flash paper to w r a p the coin.

9. T H E COIN A N D H A R N E S S RINGS
Three harness rings are used in this trick, two of them
being unprepared but the third has a disc of white paper neatly
glued over one side. A small square of cardboard of the same
colour as the disc of paper a n d a visiting card of such size
as to cover the ring, complete the equipment. Conceal the
prepared ring in such a position that it can be easily secured
when wanted.
H a n d the two fair rings out for examination a n d quietly
get the prepared one into your left hand. T a k e back one of
the rings a n d transfer it to your left hand, retaining it a n d

showing the faked ring. Place this on the cardboard, faked

side downwards. Take back the second ring a n d put it d o w n
alongside the first. T o work the trick place the unprepared
ring on top of the faked one a n d on both place the business
card, the w i d t h of which must be such that it covers the rings
but allows you to lift them by the sides. Put a d i m e on the
cardboard, lift the card and the rings together a n d place them
over the dime. W h e n you take off the card the d i m e is n o
longer visible.
There are m a n y interesting variations of the trick a n d with
a little study a fine routine can be worked out. For example,
place a d i m e in the fair ring as it lies on the c a r d b o a r d a n d
pick it out again. D o this several times. Then remove the
fair ring a n d place the faked ring over the dime, at once pick-
ing out a d i m e from it which you had clipped at the finger
tips. Put this d i m e d o w n on the faked ring a n d take it out
again. Then, h o l d i n g the d i m e in the right hand, place the
ring over the faked one a n d cover both with the business card.
V a n i s h the d i m e a n d reveal the first d i m e b y lifting the card
ar.d the ring together.
In similar fashion a d i m e can be changed to a quarter
a n d back again. Finally exchange the faked ring for the second
fair one a n d if the exchanges have been smoothly d o n e you will
have as complete a mystery as could be wished for for close
work.

10. COIN T H R O U G H T H E H A N D
Borrow a coin, call this A . , taking it after it has been
marked. Exchange it for a similar coin of your own, call this
B., leaving A . gripped at the base of the two left m i d d l e
fingers. H o l d B. u p a n d describe the m a r k on A . of which
you h a d taken mental note.
S w i n g to the left a n d turn the left h a n d over, bringing its
back to the front, t h u m b d o w n w a r d s . A . being h i d d e n in the
b e n d of the left fingers, the p a l m of the h a n d can b e safely
shown in the turn. H o l d B. edgewise with the tips of the right
t h u m b a n d fingers, keeping as m u c h of the coin in view as
possible, a n d press its opposite edge against the back of the
left hand. Slowly slide the tips of the t h u m b a n d fingers over
B. creating the illusion of the
coin being slowly pushed in-
to the back of the hand, at
the same time close the fing-
ers of the left hand, b r i n g i n g
A . into the clenched fist:
G r i p B. by b e n d i n g the third
a n d fourth fingers on it a n d
bring the right h a n d slowly
away, letting it be seen that
the p a l m is empty.
Turn the left h a n d back
d o w n w a r d s a n d open it finger b y finger showing the m a r k e d
coin A . lying on its p a l m . W i t h a little appropriate patter
a b o u t the passage of matter through matter the trick can be
m a d e quite convincing.

CHAPTER X.

tricks a t t h e table
If your address is g o o d a n d you have succeeded in pleas-
ing your little audience, it is more than likely that you will b e
asked to sit d o w n a n d partake of some refreshment. You
must be prepared to carry on under these conditions. For-
tunately there are m a n y suitable tricks. A selection of the
best only can be given here.

1. V A N I S H I N G A G L A S S OF WINE
Suppose you are invited to have a glass of wine. Take
it a n d drink a b o u t half the contents, then m a k i n g s o m e remark
to draw all attention to yourself, suddenly toss the glass in the
air. It vanishes. Recover it, still half full, f r o m under your
neighbour's coat.
B o l d l y d o n e the effect is startling. T o m a n a g e the
vanish, open your legs a little a n d h o l d your n a p k i n in the
left h a n d . A s you lower the glass, after h a v i n g d r u n k half
the wine or a little more, leave it between your legs, instantly
bring u p your h a n d with a quick throwing m o t i o n a n d follow
the supposed flight of the glass with your eyes. Clip the glass
with your legs on the instant a n d d o not let the right h a n d
dwell for a m o m e n t .

T o recover the glass, put the n a p k i n over it with the left

h a n d as the right moves u p w a r d s in the throw, take it up, still
covered u p a n d w h i p it under your neighbour's coat pulling
it open with the free h a n d . Then b r i n g it out very slowly.
The trick can b e d o n e with a whiskey glass, or a small tea or
coffee cup, with equally g o o d effect. A l w a y s m a k e sure of
h a v i n g everyone's attention as the vanish is m a d e for the trick
cannot b e repeated.
 2. V A N I S H I N G A P L A T E
T o d o this successfully a
seat must b e secured at a
corner of the table. Pick u p
a small plate, hold it u p mak-
ing some remark a b o u t the
pattern, then lower the right
h a n d with the plate a n d
m a k e a vigorous throw to-
wards the ceiling. It appa-
rently vanishes in mid-air
a n d , as in the preceding
trick, your eyes follow its
supposed flight intently. In
reality it has been quickly
gripped between the calf a n d
the thigh of your leg. A g a i n
the h a n d must not be allow-
ed to dwell for a m o m e n t in
the action of so depositing
the plate.
A n o t h e r m e t h o d is to rise
slightly, as if to m a k e the
throw a very vigorous one, a n d then slip the plate on to the
seat of the chair.
In either case, to recover the plate, take the napkin, well
spread, in your left hand, b r i n g the plate under it with your
right, a n d quickly rising from your chair, dash forward a n d
pretend to catch the plate just before it reaches the floor.
The student will be well advised to give these feats plenty
of practice in his own h o m e circle before a t t e m p t i n g them in
public. But given the necessary audacity they are no harder
to d o successfully than m a n y other feats not half so startling.

3. S W A L L O W I N G A KNIFE
Place a large knife, the larger the better, a carving knife
even, if one is available, on the table in front of y o u so that
it lies parallel with the edge of the table. Pull the sleeves back
a n d put your bent forearms on the table crossed, with the
hands overlapping the knife, which is thus completely hidden.
N i p the knife with the t h u m b s a n d raise it from the table, keep-
ing the hands a n d arms in the same position. Raise one h a n d
a n d pretend to m a k e an attempt to swallow the knife. Feign
to choke a n d put the knife d o w n . Repeat the same manoeuvres.
A t the third attempt, d r o p the knife into your lap b u t
continue the lifting m o v e m e n t in exactly the same m a n n e r as
before, then pretend to put one end of the knife into your
m o u t h a n d swallow it. Show your hands a n d carelessly let the
left d r o p to the lap a n d cover the knife with your n a p k i n .
It can be recovered later on from under the coat or vest.
A g o o d m e t h o d with a small knife is to have a false tip.
Secretly adjust this to the knife b l a d e and, after h a v i n g drop-
ped the knife allow the tip to remain in view. After the pre-
tended swallowing p a l m this a n d get rid of it in taking a
toothpick from the vest pocket.
In using a penknife for a trick it m a y be accidentally
d r o p p e d on the floor after several unsuccessful attempts to
swallow it. In picking it u p leave it clipped in the b e n d be-
h i n d the knee. Bring the h a n d u p to the m o u t h e m p t y but held
in such a way that it appears to hold the knife. Just' as in the
other m e t h o d the moves must be m a d e smoothly a n d without
hesitation.

4. A SPOON OR FORK T H R O U G H A G L A S S
Take a tumbler in your left h a n d so that its m o u t h isf to-
wards the wrist a n d the b o t t o m at the finger tips. H o l d the
article to be thrust through the
b o t t o m of the glass in the right
hand a n d push it into the glass
two or three times, letting it strike
sharply against the b o t t o m . Then,
instead of putting the end into the
tumbler, pass it between the h a n d
a n d the outside of the glass a n d
let some two or three inches of it
protrude b e y o n d the fingers. To
all appearance the article has
passed right through the b o t t o m
of the glass. The handle of a fork
or spoon, a skewer, in fact any-
thing of a similar nature, m a y be
used.

5. P L A T E A N D B R E A D PELLETS
H o l d u p a plate a n d claim you can see right through it.
T o prove this assertion squeeze some bread into little balls,
m a k i n g four but showing only three, conceal the fourth in the
fingers. Pick up t w o plates a n d in turning them upside d o w n
drop the extra pellet under one of them. Take one of the
three visible pellets, vanish it a n d pick u p the plate, revealing
the one just before loaded under it. Replace the plate secretly
d r o p p i n g the pellet just p a l m e d . Vanish another a n d show
two under the plate. Repeat with the third.
Continue by lifting the second plate with the h a n d hold-
ing the extra pellet, that is, pick u p the plate to your left with
the right h a n d . Show that there is n o t h i n g under it a n d that
there are three pellets under the right h a n d plate. H o l d the
plates with the thumbs a b o v e a n d the fingers underneath. Put
b o t h d o w n , d r o p the p a l m e d ball under the left h a n d plate a n d
nip one of the pellets between your left fingers from under
the plate to the right. M a k e m o t i o n of passing one, ball from
plate to plate. Lift the plates a n d show two balls under one
a n d o n e under the other. In similar fashion the two remaining
balls are passed one after the other, finally three under the
left h a n d plate, n o n e under the other.

6. VANISHING MATCHES
Show a box of safety matches. E m p t y out the matches
onto the m i d d l e of your handkerchief a n d gather it u p in a
bundle. A l l o w anyone to feel that the matches are really there,
then seize one corner of the fabric a n d shake it out, the matches
have vanished. Plunge your h a n d into a pocket, bring the
matches out a n d let them fall in a shower on the table.

Beforehand stretch a small rubber b a n d around one end

of the matchbox. O n most boxes there is a black b a n d mark-
ed across the top near one end, if the b o x is n o t so marked,
m a k e a black line with pen a n d ink. The m e t h o d of vanishing
the matches is simple. In opening the box draw the b a n d off
a n d leave it around the left finger tips, spread the handkerchief
over this hand, a n d as soon as the h a n d is under cover, stretch
the b a n d b y extending the fingers widely. Push the fabric
d o w n in the m i d d l e m a k i n g a de-
pression or little well, a n d it is into
this that the matches are poured.
Bring the corners of the handker-
chief over m a k i n g a b u n d l e a n d ,
under cover of this, let the b a n d
slip off the fingers. T h e matches
will then be safely held in a kind of
little bag b y the rubber b a n d a n d
the handkerchief m a y be shaken
vigorously to prove they really have
vanished. H a v e matches in pocket
for the supposed reproduction.

This little wrinkle is very useful a n d m a y be used to vanish

any small article, a marble, a die, a coin or even a bill.
 7. C I G A R E T T E P A P E R S
The torn a n d restored cigarette paper remains one of
the best of i m p r o m p t u tricks. In the expert hands of M r .
Nate Leipzig this little trick attains the proportions of an illusion
T h e following m e t h o d gives a little twist to the feat which is
effective. Begin b y h a v i n g a whole paper, rolled into a tiny
ball, concealed in your fingers, or you m a y n i p it b e h i n d a
second paper which you show to the spectators. Tear this
visible paper into small fragments, roll it into a tiny ball a n d
exchange it for the whole one. L a y this supposed ball of
pieces on the table a n d invite a spectator to place his h a n d s
firmly on it.

T a k e a second paper a n d , without tearing it, openly roll

it up, exchange it for the ball of pieces a n d lay this on the
table for a second spectator to hold. A t c o m m a n d the pieces
a n d the w h o l e paper change places. T h e restoration of the
torn pieces then makes a good follow up.

8. T H E W A L N U T SHELLS A N D T H E P E A
This trick which is very fine for close table work, has been
exhaustively treated in a recent publication. I w o u l d advise
readers to get this, the necessary shells a n d the special pea f r o m
a magical dealer a n d study the trick from the directions given.
I have not the space to devote to it here. T h a t the trick is
well worth w h i l e is p r o v e d b y the fact that it was a great
favourite with Charles Bertram, the famous English Magician.
I have seen h i m set a w h o l e table in an uproar w i t h his work-
i n g it.

A recent addition to the trick m a y b e mentioned. After

putting the shell over the pea, cover b o t h with an inverted
coffee cup. T h e evanishment of the pea under these condi-
tions appears startling to the spectators.

There are m a n y tricks obtainable f r o m the dealers which

are effective for close w o r k : of recent introduction are the
C o r d a n d Egyptian Vase, latest Rising Pencil, card reel for
Rising Cards or Balancing a Chair, the " N o c k - N o c k " pencil
" C l i p p o , " etc.

Y o u will have to try these out for yourself a n d select the

ones that are most suitable. Beware of l o a d i n g yourself u p
with articles that are plainly m a d e for trick purposes. Deve-
lop dexterity a n d it will be f o u n d that something magical can
be d o n e with almost any article in c o m m o n use.
 CHAPTER XI.

vesting a n d sleeving
I have a v o i d e d as far as possible a n y description of
sleights. There has been such a flood of books a n d p a m p h l e t s
giving directions for various moves with cards, coins, etc., etc.,
that it w o u l d have been a waste of space to treat the subject
here. There are, however, two methods of vanishing small
objects which have been almost totally neglected a n d in the
h o p e that the rising generation of magicians will realize their
value a n d master them, I include an explanation of them.

1. VESTING
The magician w h o works at close quarters has n o black
art wells, table or chair servantes, nor other mechanical ap-
pliances to aid h i m . H e must rely entirely u p o n ' h i s dexterity,
plus whatever help his clothing m a y give h i m . A t first thought
it w o u l d seem that to say that any small article can be thrust
under the vest a n d so vanished without the surrounding spec-
tators k n o w i n g just w h a t is being done w o u l d b e ridiculous.
But those w h o h a v e seen one of our best card manipulators
vest playing cards so adroitly that even w h e n you k n o w w h a t
he is d o i n g you can hardly believe that the m o v e has been
m a d e , will k n o w h o w deceptive this sleight can be m a d e .

T o vanish any small article such as a ball, a small orange,

etc., take it in the right h a n d , toss it i n t o the air a n d catch it,
the h a n d sinking just below the edge of the vest where the left
h a n d rests. C o m p l e t i n g the catch bring the left h a n d d o w n
over the right p a l m , the object then being held between the
hands. R e p e a t this toss a n d catch several times, then to vanish
the article, as the right h a n d comes u p to meet the left, w h i p
the article under the vest a n d instantly bring the two hands
together as before, as if the object remained between them.
R u b this away to nothing as realistically as possible.

W h e n an article is slipped under the vest the b o d y should

b e turned slightly away a n d the w h o l e action d o n e smoothly,
swiftly a n d without any f u m b l i n g or hesitation. W h e n the
vesting is d o n e the action! of catching the object between the
hands should be exactly the same as in the previous catches.
A few trials before a mirror will give an idea of the proper
m o v e s a n d then it will be merely a matter of devoting sufficient
t i m e to practice to acquire perfection in the sleight.

Vesting is very useful for changing one article for another.

For instance w e will say that an a p p l e held in the right h a n d
is to b e secretly exchanged for an orange. P a l m the orange
in the left h a n d a n d when the hands are brought together after
the apple has been thrust under the vest, the orange is naturally
brought between them. A f t e r a little r u b b i n g show the magical
change. This is ten times more effective than a transformation
brought a b o u t with the aid of a black art well or other mechani-
cal accessory.

2. SLEEVING
This manoeuvre also is neglected b y most performers yet
it can be developed to a high pitch of perfection. A n expert
can sleeve a coin or other small object without the slightest
fear of detection. There are several methods a n d coins are
the easiest to manage, therefore, practice should be m a d e with
them first. Let us suppose that you have a coin p a l m e d in
your right h a n d a n d a challenge has been m a d e for you to
show that h a n d . T o sleeve the coin f r o m this position it is
necessary to thrust the a r m out rapidly, releasing the coin at
the same m o m e n t , a n d this must be d o n e under cover of a
natural m o v e m e n t . A d v a n c e towards the challenger, saying
in reply, " I d o n ' t understand you. H o w can I have the coin
in m y h a n d ? M y h a n d is empty. See for yourself." Shoot
the h a n d out under his nose a n d sleeve the coin. Turn the
h a n d over showing it empty. S h o w the left h a n d e m p t y also
as you let the coin slide out of the sleeve into the right p a l m .
Shake b o t h sleeves vigorously a n d produce the coin from one
of the person's pockets.

A n o t h e r m e t h o d of sleeving is to show the coin on the

ends of the fingers, the p a l m of the h a n d being upwards. Turn
the h a n d over a n d close the fingers sharply. T h e action will
shoot the coin u p into the sleeve.

A g a i n , the coin m a y be held between the t h u m b a n d the

second finger at their tips, the back of the h a n d uppermost.
By snapping the tip of the second finger against the base of
the t h u m b the coin will b e flicked smartly u p the sleeve. This
is most suitable for small coins though I have k n o w n performers
w h o could d o it with a coin of a n y size.

Still another m e t h o d is to lay the coin on the table a n d

in the act of d r a w i n g it back to the edge a n d apparently pick-
i n g it up, the coin is sent u p the sleeve.
Finally, this last m e t h o d is most deceptive if cleverly
done. Toss the coin u p into the air a n d as it falls m a k e a pre-
 , tence of catching it, really letting
it fall into the sleeve. T h e b a c k
of the h a n d should be towards
the spectators a n d if the d r o p p i n g
of the coin a n d the pretended
catch are well timed the illusion
is perfect.
H a v i n g got the coin into the
sleeve, let it fall d o w n to the
elbow joint where it can be held
b y pressing it between the point
of the elbow a n d the sleeve. The
sleeve can then be shaken with
the p a l m of the h a n d towards the
spectators, a convincing move.
The mastery of these two moves, vesting a n d sleeving,
will n o t only i m p r o v e the working of m a n y of your tricks but
will also greatly increase your confidence through the know-
ledge that you can cope with m a n y a w k w a r d situations which
w o u l d be likely to floor any performer to use them.

effective gags
WATCH
In your left h a n d secretly hold a small b u n c h of keys.
Borrow a watch a n d apparently transfer it from your right
h a n d to your left, p a l m i n g it in the right h a n d . Close the left
h a n d on the keys a n d raise it high looking at it intently. "Do
you k n o w the best way to regulate a w a t c h ? " you ask the
owner. Then suddenly dash the bunch of keys to the floor.
U n d e r cover of the resulting clash, everyone must look at the
spot expecting to see the watch smashed, there is a m p l e time
to slip the watch into a pocket, for subsequent reproduction
as m a y be desired.

FLASH PAPER
A t the climax of a card trick you have secretly secured
a small ball of flash paper which you hold under the deck in
your right hand. Take a cigarette you are s m o k i n g in your
left h a n d , touch the lighted end to the flash ball with the left
h a n d . Let the paper fall instantly. The resulting flash is very
effective a n d surprising.
 M A T C H LIGHTING F A K E
It is a good plan to have several of these on your person
at different spots, for instance under the lapels a n d the vest.
W h e n e v e r a person has taken out a cigarette a n d is about to
take a match from his pocket to light it, reach out to h i m with
a match f r o m the fake. D o it smartly a n d the lighted match
will appear to have been caught from the air. The thing
should be d o n e quite casually a n d without remark. Just go on
with whatever you were doing,, or saying, as if to take lighted
matches from the air is a mere trifle.
A g a i n you m a y have a fake in each trousers pocket. Hav-
ing used a match put it, still lighted, in one pocket, extinguish-
ing it in the pocket b y r u b b i n g a finger over the flame. A
little later pretend to feel some discomfort, reach into the
pocket a n d pull out another lighted match. Put this one,
lighted, in the other pocket. Repeat the same b y p l a y at in-
tervals, it gains b y repetition.

BITING A PIECE O U T OF A P L A T E
The performer picks u p a plate a n d apparently bites a
piece out of it. There is a loud snap a n d the plate is shown
with a piece out of its side. It is then restored.
A n irregular flat piece of metal, black, is slid over the
edge of the plate just before the magician puts the plate to
his m o u t h . The snap is caused by clicking a coin against the
back of the plate a n d the restoration is d o n e very simply by
p a l m i n g off the piece of metal under cover of rubbing the
plate.

C A R E OF T H E H A N D S
W h e n the hands are rough a n d the skin wrinkled, rub
them vigorously every night before retiring with heated al-
m o n d oil, cocoa butter or olive oil.
 First wash the hands thoroughly, rinse in w a r m water
so that the pores are kept open, a n d then rub as m u c h of the
oil into the skin as it will take. D o not overheat the oil, it
should be merely w a r m e d .
The following is a formula for a lotion that will soften
a n d whiten the hands:
Strained H o n e y ... ... 1 oz.
L e m o n Juice ... ... ... 1 oz.
Cologne ... ... ... 1 oz.
M i x the ingredients thoroughly, rub vigorously into the
hands at night, then don an old pair of kid gloves a n d keep
them on till morning.

CONCLUSION
I cannot d o better in closing than to quote f r o m Sachs,
the author of one of the best books on magic, viz. "Sleight of
Hand." H e writes:

" T h e conjurer must start with one principle

firmly fixed in his m i n d , that he is to deceive his
audience in every possible way. A t no t i m e is he to
d o that which he says he is doing. Every look a n d
gesture, besides every word, should tend to lead the
m i n d into the w r o n g groove. M I S D I R E C T I O N is
the grand basis of the conjuror's actions a n d the
more natural the performer's movements in this par-
ticular the more complete jvill be his success. Every
conjuror can best suit himself if only he is firmly
convinced of the necessity for D I S D I R E C T I O N . "

These words a p p l y with double force to the performer

w h o works at close quarters since he must depend solely on
his skill a n d his misdirection.

THAT'S
JEAN HUGARD.
 J e a n H u g a r d ' s S e r i e s Of C a r d Manipulalioii
A S E R I E S OF R E A L P R O F E S S I O N A L C A R D S E C R E T S
If You Do Card Tricks You Cannot Afford T o Be W i t h o u t This 3r*,
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