Cards and Balls Tricks

8 s

I

WITH PATTER Compiled and Edited by WILL GOLDSTON

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CONTENTS THE " E N C O R E "

C

T H E PRINTING-OUT

oduction

RISING C A R D

THE " O . K . "

BILLIARD BALL

C

Every Magician who wishes to keep up-to-date with his work, should subscribe to one or other of the magical journals. If he is doubtful which of them to choose, he will be well advised to decide on " T h e Magazine of Magic." T h a t magazine, a specimen copy of which is presented with this volume, is easily first as regards explanations of new tricks and in other i m p o r t a n t respects.

of this Booklet

are

Copyright.

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2 3

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4 4

PASS

PASS...

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5

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5

T H E B I L L I A R D B A L L THAT D I M I N I S H E S

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5

BILLIARD BALL

T H E MULTIPLYING

BALL

BALL

... PASS

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THE " P E R F E C T "

DIMINISHING CARDS

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6

THE " P E R F E C T "

WANDERING C A R D . . .

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6

THE " P E R F E C T "

RISING C A R D

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7

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7

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7

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8

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8

T H E C A R D S TO B O U Q U E T T H E DISSOLVING

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B A L L IN W I N E G L A S S

T H E T W I R L I N G C A R D ON W A N D THE " A L A D D I N "

In this department of Magic, as in all others, there are tricks for the beginner, tricks for the more advanced student, and tricks for the expert performer. Some of each sort are included in this booklet. But, speaking generally, all the Contents will, if carefully studied, be of service to the average Magician. Almost without exception tricks with Cards and Bails benefit, by the accompaniment of appropriate patter. The patter in the following pages has been carefully compiled, and has proved to he effectual by actual test. But the reader with an inventive mind and a gift for talk will doubtless make c h a n g e s — t o p i c a l o r otherwise—here and there. Indeed written patter should never be regarded as final, but always as a basis for individual work. This is the second volume of a series of " patter b o o k l e t s " on Magic. The first volume, " Effective Modern Tricks with P a t t e r , " can be obtained f r o m any bookseller or magic dealer at the price of 1/-. Other volumes will be published in due course at the same price.

PAGE L

...

...

REBOUNDING

T H E " FINGER CLUTCH "

ARD aiul H a l l T r i c k s are popular with all classes of audiences. The fact that they are performed with familiar objects is ill their favour. Everybody can do ordinary things with Cards and Balls; accordingly everybody is interested in extraordinary things done with them.

...

F R A M E AND C A R D

THE " A . P . " THE

The Contents

CHANGING CARD

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C Y L I N D E R AND B A L L S

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PATTER

My next is a trick with a playing card, and t o do a card trick properly 011c m u s t have a c a r d . Of c o u r s e , you will u n d e r s t a n d t h a t it is not absolutely n e c e s s a r y to have a card, but if you d o n ' t i t ' s not a card trick and t h e r e t h e m a t t e r e n d s . H e r e is a C o u r t C a r d . L e t m e s h o w you my right h a n d — t h i s thing h e r e at t h e end of my a r m s — q u i t e e m p t y . By simply stroking t h e f a c e of t h e card in this m a n n e r you see it h a s c h a n g e d into s o m e t h i n g entirely different. I see you a p p r e c i a t e t h e c h a n g e so I will do it again which is a n o t h e r way of saying I r e p e a t it. Now you see it h a s c h a n g e d again, and you are a t perfect liberty t o examine it.

The

Prmiing-Ovt

Frame

® C a r d Trick

I N V E N T E D BY P E R C Y

PKI.LEW

SECRET

Unknown to t h e audience, t h e r e arc really t h r e e pieces of glass used, and on examination it will be noticed t h a t they differ in size slightly. F o r t h e sake of convenience \vc will n u m b e r t h e glasses 1, 11, and 3. Nos. 1 and 2. These are slightly smaller than No. .3, and when placcd in t h e f r a m e from t h e back, drop right t h r o u g h . No. 3, being made larger, retains its position when placed in t h e f r a m e . In addition to the frame, a paper is used. Personally t h e inventor always uses Home Nates, having found s a m e a convenient size. P r e s u m i n g Home Notes is used, open same exactly in half, and remove t h e wireclips which keep s h e e t s together. Now t e a r t h e top or c e n t r e sheet carefully in halves. These t w o half-sheets arc needed for the "trick, and for convenience wc will call t h e m loose sheet /I and loose sheet B. A duplicate of the card used in the experiment, a f t e r having a small c o r n e r taken off, is fixed facc d o w n w a r d s on glass No. 1. To do this, d r a w the top HOME Norn

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and bottom edges of the card vertically across a piece, of dry soap, which leaves a very minute portion of soap'< on t h e top and bottom edges of t h e card. If card is now pressed face d o w n w a r d s on glass No. 1, it will remain fixed until wanted, when with a slight twitch of t h e finger it will immediately come away, leaving no t r a c e on t h e card or glass. Glass No. 1 in this condition with card on top is placcd on Home Notes u n d e r n e a t h loose s h e e t B, as per sketch. Before covering glass, however, t h e f r a m e is placed over it for a m o m e n t , whilst a pencil mark is made on t h e left hand side of top sheet of Home Notes (o denote later t h e correct position for f r a m e . The f r a m e is now taken away, and loose sheet B placed over glass as instructed above. The paper in this open condition is placcd on your table slightly to t h e f r o n t of s a m e , and unknown to t h e audicnce you have t h e duplicate card and glass underneath t h e top sheet B. The f r a m e is placed on your paper with two pieces of glass and hinged back. < f course glass No. 3 is placed in first to prevent No. 2 from dropping t h r o u g h . The other piecc of paper is rolled into a ball with t h e small corncr which was torn from t h e card, in t h e centre, This is vested ready to be

exchanged later on in t h e trick for a n o t h e r similar b: m a d e up in f r o n t of t h e audience, and which will i explained later. An ordinary t u m b l e r is also on t h e table, ready f use during t h e trick. To

PERFORM

A card is forced, similar to t h e one you intend pr ducitig in t h e f r a m e . T h e f r a m e having been shown to be ordinary, bai is removed, and also t w o pieces of glass. P e r f o r m now lays f r a m e on t h e table to t h e rear of t h e paper see sketch—and explains he is going to replace t h e par of t h e f r a m e . First he places in t h e f r a m e No. 2 glas which being smaller than t h e r e b a t e of t h e f r a m e , goright through on to the table. This is, of cours unknown to t h e audience, the sound being t h e s a m e ; if dropped into t h e f r a m e . No. 3 glass now placed i being larger, r e t a i n s its position whilst back is plac< in and fixed. Now comes an i m p o r t a n t move. Taking hold f r a m e at corners A and B with forc-finger and t h u m b each hand respectively, p e r f o r m e r with a sliding mov mcnt lifts A and B and d r a w s C and D along towari t h e paper. This has t h e effect of shooting t h e piece < glass No. 2 underneath Hon Notes. This is quite a n a t u r and easy move, and absolute indetectable, as a p p a r e n t l y tl f r a m e h a s been merely lifted ar shown to audience. S t r e s s is now laid upon t l fact t h a t with t h e exception of tt t w o pieccs of glass, and t h e b a e t h e f r a m e is otherwise e m p t One half of hinged back may I opened and audicnce invited t look t h r o u g h glass as it is irnpo sible for anyone to detect t h e fa< t h a t t h e r e is only one piece ( glass in t h e f r a m e . Back is OIK again closed. In this condition t h e f r a m e placed face down on Home Note; directly over glass No. 1, which covered with loose sheet B, th guide, of course, being t h e penc mark. from 7um6/*r Approaching t h e spectatc who selected the card, p e r f o r m e r asks him to mar P same. Before he can do so, however, p e r f o r m e r take card from him, and explaining t h e easiest way to do s is to tear a corner, suits t h e action to t h e word, c course, tearing s a m e similar to t h e duplicate card an immediately handing t h e t w o pieces back to him. Rs t u r n i n g to table p e r f o r m e r takes hold of loose sheet 1 by t h e right hand, and giving a s h a r p pull, pulls th paper clean away without disturbing e i t h e r t h e fram or t h e glass, leaving glass No. 1 with card direct! under the frame. The paper is now taken to t h e person with t h e tori card, and he is asked to place s a m e (with t h e corncr) it t h e c e n t r e of t h e paper and to roll t h e lot into a ball W h i l e he is so doing t h e r e is ample time and c o v e r t get t h e duplicate ball of paper from vest into right hand Taking ball of paper f r o m s p e c t a t o r into left hand an making t h e excuse t h a t it is not rolled tightly enougli h a n d s are brought t o g e t h e r presumably to make ji smaller. An exchange is m a d e and t h e ball containin t h e corner only dropped into t h e t u m b l e r . i T h e tumbler containing roll with torn corner is noil replaced on tabic, to side of Home Notes. Now takiij' hold of t h e t o p sheet of paper by t h e right and left han) c e n t r e D and E (without disturbing f r a m e ) t h e wholl

CARD

AND

BALL

•II lot is lifted and rested on m o u t h of t h e t u m b l e r which >emust be smaller t h a n t h e f r a m e . This forces t h e glass No. 1 with card a t t a c h e d , well home in t h e front r e b a t e "of the frame. P e r f o r m e r now explains to his audience t h a t a card h a s been sclectcd, marked, rolled up in paper, and placed in a t u m b l e r covered with a sheet of paper. An 3'empty f r a m e containing two pieces of glass has been placed on top of t u m b l e r to isolate it. A f t e r explaining his intentions, t h e f r a m e is lifted "'from t h e t u m b l e r with t h e t h u m b on top and fingers - u n d e r n e a t h , and s a m e t u r n e d over, t o show t h e card t l h a s arrived as predicted. 3 Picking up t h e t u m b l e r with t h e o t h e r hand t h e II person w h o rolled up t h e p a p e r is asked to take s a m e q a n d unroll. H e of coursc finds t h e corner. T h e back Mis then taken from f r a m e , and t h e two pieces of glass n, taken out as one, a slight twist being given to t h e m at -f s a m e time. This has t h e effect of loosening t h e card between t h e t w o pieces of glass, when s p e c t a t o r may be olasked to draw card f r o m between same, and to c o m p a r e olwith c o r n e r in his hand to see t h a t it fits, e •M ol

PATTER

n T h e little f r a m e I introduce to you is no novelty, aibcing an ordinary p h o t o g r a p h e r ' s printing-out f r a m e . Ijlt, however, has one peculiarity and t h a t is, it has an leadditional s h e e t of glass, t h u s making t w o in t h e f r a m e id

The " A . P . " Rising Card Trick The houlette used in t h e trick has no deception in j. connection with it, being merely a b i a s s holder of t h e ^ d e s i g n shown by o u r a r t i s t and nickel plated. T h e ^ c u r v e d a r m s below it enable t h e houlette to be kept up0

TRICKS

3

instead of one. Both t h e s e glasses and t h e hinged back I offer for your close scrutiny. W h i l s t t h e examination is going on, p e r h a p s I can induce you, Sir, t o take one card from my pack and make a mental image of it on t h e t a b l e t s of your grey m a t t e r . Thank you .' Now- w a t c h me carefully, please. H e r e goes No. 1 glass into t h e f r a m e : here goes No. 2. T h e hinged back placed in position, keeps everything s e c u r e , and you will kindly notice t h e glasses have had nothing placcd between t h e m . For f u r t h e r security, p e r h a p s you would mark t h e card you selected. Let me do so. This is t h e best w a y ; to t e a r a piece from it. Kindly place both into this sheet of paper, and roll s a m e into a ball. T h a n k s 1 You've made quite a good job of it. So t h a t it may be before you t h e whole time I p e r f o r m , I'll placc t h e little parcel in this t u m b l e r . To r e t u r n to t h e f r a m e . This I lodge daintily on top of t h e glass, and you will notice t h a t I d o n ' t touch s a m e with my fingers. Now Sir, which would like me to use—the small piece or t h e mutilated card ? T h e large piece ! Very well. P a s s ! H e r e you see, we have t h e card b e t w e e n t h e two s h e e t s of glass, a f a c t which p e r h a p s you will verify, whilst in t h e paper ball we have t h e small piece only. If t h e card and t h e piece are fitted t o g e t h e r , I know you will be convinced t h a t t h e original card is restored.

T h u s p r e p a r e d , and with houlette and depleted pack on table, t h e experiment is ready to be p e r f o r m e d . T h r e e c a r d s arc freely d r a w n , r e t u r n e d t o pack, and b r o u g h t t o t h e top by m e a n s of one or o t h e r of t h e familiar shifts. Now, whilst t h e houlette is being examined, t h e faked stack of cards is palmed and added to t h e pack.

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i n g h t by being gripped b e t w e e n second and third fingers. • W h e n t h e trick is introduced a b o u t 12 cards m u s t be discarded, so h a t a pack of only 40 c a r d s is used. T h e >1 hook at end of t h r e a d is fixed to right side at t h e waist, nthe exact place being d e t e r m i n e d by e x p e r i m e n t . T h e nfakc is dropped into right t r o u s e r pocket, or a side Jjpocket if working in a dinner jacket or lounge suit. l

o

Thnrod throuqh f'ngersunder- a rm T h e reason for using only 40 cards will now be appreciated. The pack and t h e fake t o g e t h e r are dropped into houlette, and t h e latter clipped in fingers. T h e t h r e a d by this a r r a n g e m e n t r u n s u n d e r t h e h a n d and a r m , and is quite out of sight of a u d i c n c e . To c a u s e t h e c a r d s to rise, t h e hand h a s only to be pushed slightly forward, this action bringing "the t h r e a d to a

tension and forcing t h e top card of pack upwards. Obviously when t h e spike of fake is in repose, it presses into t h e t o p card and carries it upwards when t h r e a d is pulled. Some p e r f o r m e r s elect to fix t h e t h r e a d to body a f t e r t h e fake is in position in houlette, but this s e e m s to be a far clumsier expedient than t h e method indicated above. PATTER

My next trick is a card experiment. To do a card trick properly one m u s t h a v e a pack of cards ; of course it's not absolutely necessary t o have cards, but if you don't have t h e m it's not a card trick. P e r h a p s 1 can induce t h r e e of t h e more bold of you each to select a card from t h e pack. Will you Sir, t a k e one ? N o ! d o n ' t take two, t h a t ' s greedy. Madam, will you oblige me by selecting one of t h e s e c a r d s from t h e middle ; t h a t ' s t h e middle in t h e c e n t r e . Thank you ! P e r h a p s I can persuade you also to take a card from t h e pack, Sir, and make quite sure you will know it again when you see it. Kindly replace it in t h e middle of t h e pack. Thank you ! I'll trouble you Madam to lose your card in t h e pack. Many t h a n k s ! Now for t h e last card (not t h e lost chord). Will you kindly replace it in t h e middle of t h e pack, S i r ? T h a n k s ! The t h r e e c a r d s now being returned, I'll ask a lady to shuffle t h e pack. Will you, Madam ? I take it you have shuffled t h e cards to your entire satisfaction ? I shall now place t h e pack fairly into this skeleton houlette, and hold s a m e at a r m ' s length. Now when 1 command, your card Sir will rise from t h e c e n t r e of t h e pack without any h u m a n aid. W a t c h ! The Five of S p a d e s (or whatever the card was). T h a t I believe was t h e one you selected. Will you remove it yourself, and examine it. (Repeat with two remaining cards).

This sleight is a preliminary t o ball moves, t h e production of t h e first ball from e m p t y h a n d s being its motive. Standing with his left side to audience, p e r f o r m e r exhibits both h a n d s at a r m ' s length, t h e left unknown to onlookers concealing a ball in t h e palm. Showing his right hand from both sides, it is placed palm on back of left, as shown in Fig. 1, t h e position being almost immediately reversed to t h a t shown in Fig. 2. In t h e latter position, t h e palm of t h e left hand is placed upon back of right so t h a t the right t h u m b lies partly on back of left t h r o u g h t h e left t h u m b fork. ' I n this position, t h e right hand palms t h e ball from t h e left, t h e whole body simultaneously making a t u r n to t h e right. Left hand may now be shown from both sides, t h e back of right being kept t o w a r d s s p e c t a t o r s . T h e actual production of t h e ball may be left to individual t a s t e .

The Rebounding Billiard Ball Pass

P e r f o r m e r s t a n d s left side to audience w i t h a ball lying openly on left palm, as shown in first photo. Advancing t h e right hand to a point a b o u t 9 in. above t h e left, t h e ball is tossed u p w a r d s and c a u g h t by the right. W i t h a s h a r p downward t h r o w t h e ball is trans' ferred to left, a pronounced " smack " being caused as t h e ball strikes palm. This move is p e r f o r m e d three times, t h e ball at t h e last t h r o w , however, being pro pelled with extra force, so t h a t it r e b o u n d s into righl hand which follows t h e downward course of t h e sphere T h e closed left hand is elevated, whilst t h e right seek! t h e open profonde to dispose of t h e ball. The sleight resembles in m a n y respects t h e familial jerk-back palm with a coin.

%

CARD

AND

BALL

The " Finger-Clutch " Ball Pass This pass h a s a particularly dainty effect, and is well worth t h e little time s p e n t in m a s t e r i n g it. T h e ball is held between t h e first and second lingers of right hand, as shown in Fig. 1, t h e palm being turned t o w a r d s t h e audience. T h e t h u m b of left hand now passes between t h e o u t s t r e t c h e d second and third fingers of t h e right h a n d , and behind t h e ball, for t h e p u r p o s e of

Multiplying Ba.ll Trick

Fig

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TRICKS

o

allowing fingers to close round it (Fig. 2). A c o m p l e t e turn is next given to body t o bring right side to audience, under cover of which t h e ball is allowed t o fall into right h a n d , in which it is s t r a i g h t w a y palmed. T h e closed left hand is elevated, and audience led to believe by t h e direction of p e r f o r m e r ' s eyes t h a t t h e ball is in t h e closed fist. Of course, t h e s p h e r e may be reproduced in any m a n n e r t h e p e r f o r m e r chooses.

The B i l l i a r d B a l l t h a t

Diminishes

F/6-2,

7ho secret op juecejs J/es fn /he. manipulation of /he Shell and ball as shewn in the idiayranx.. Pracfrce* /he movement shewn and Hie. res!"/seasy /he she// 'S held full fucmy audience.dropping /he. £net ftnqer behmcl ll (Fiq.l.) /hesolid hall can be ro//td ouf ric/h/up between /he. t>fand Z"*finyers thus pro clue my fvco balls. In fjerformmij,firs!produce/tie one ball (and shettj by jleiahl cf hand,or secre/ly. Pew roll outsold bat/and show tno(fj c e i v i n g y o u e v e n if I w e r e s o d i s p o s e d . I t is n e c e s s a r y n o w t h a t you s e l e c t o n e of t h e s e h e a p s (patter here must be governed by circumstances). K e e p your h a n d o n t h e h e a p you h a v e c h o s e n . W e ' l l call t h a t h e a p " U r i a h " — I s a y t h a t s l o w l y in c a s e you t h i n k I am insulting you. T h e three discarded packets I return t o p a c k , a n d s h u f f l e s a m e in t h i s m a n n e r . N o w you fondly i m a g i n e t h a t I h a v e t h e t h r e e " t h r e e s " in this p a c k . A s a m a t t e r of f a c t i t ' s all a d e l u s i o n ; t h e pack a s y o u s e e ( r i p p l e edges) c o n t a i n s n o t h r e e s f o r t h e s i m p l e r e a s o n t h a t t h e h e a p you h a v e s e l e c t e d c o n t a i n s the complete set.

T k e " P e r f e c t " Rising C a r d Trick

C a r d s to Bouquet Trick

Prepare a fength of thread. mth a foop a/one Cnd. and a ICnot, nth. a. pud of wax, at the Other end The loop pits oi/er the second button of fhe. uaisfcoat and the h/ax is pressed on fd the bottom, buttonThe thread hantfj down- and /S in risible ftaviny forced three cards yet ffiem fo die badr of du- pack, and wfnk f f i e yobfeb is berny examined, yet rVar pad on fo f i f h t fUunttnait tfhen ptuctna flack In oohtet press li/axhad on fo focoer"pcirf of hack card (f7& 2) 76 makt Card rise // IS onfy necessary f i straighten •— thread by moving arm forward, or body back as tit f / a 3. fee move first Card and scrape a f f IMaX on fo fhwnib naif ayain Hand card ou/~ for inspection and fake back Old of a/ass to Shout no connection tfas is /he chance to press urax on fo second card Repeat mores also with fftird card.

Prepare fur ffie frtcU by -threading ffie. Jprmcy bo upuef under -the band on tke pack card, cos sfuiu/n in fbe i ffus fraf on. Sh'UJ Hie face, at- the. cards fannec/ oaf fodtmcy care, that ffie. ffowers are not .seen Pfs you cfooe fart f j u t t au/ay spring ffowers ovtf/ch ujiff open oaf, and enbrefy COnceaf ffie cards.

PATTER

I always do this trick w h e n performing before a h i g h - c l a s s a u d i e n c e . iMost c o n j u r o r s k e e p t h e i r b e s t t r i c k s t o finish t h e i r E n t e r t a i n m e n t . 1 don't —all m y t r i c k s a r e good ; of c o u r s e , if o n e j u d g e s by t h e a p p l a u s e h e r e , I m u s t be c l e v e r ! It is a g r e a t mistake to talk when performing. I never d o ! This t r i c k is k n o w n a s t h e o b e d i e n t c a r d s . T o d o a c a r d t r i c k p r o p e r l y o n e m u s t h a v e a p a c k of c a r d s . Of course, it's not absolutely necessary to have cards, but if you d o n ' t h a v e t h e m i t ' s n o t a c a r d t r i c k . P e r h a p s I c a n i n d u c e t h r e e of t h e m o r e bold a m o n g y o u t o e a c h select a card from t h e pack. Will you, Sir, take one. N o ! d o n ' t t a k e t w o , t h a t ' s g r e e d y . M a d a m , will you oblige m e by s e l e c t i n g o n e of t h e s e c a r d s f r o m t h e m i d d l e . T h a t ' s t h e m i d d l e in t h e c e n t r e , t h e r e . T h a n k you ! P e r h a p s I can persuade you also t o take a card f r o m t h e p a c k , Sir, a n d m a k e q u i t e s u r e you will k n o w it a g a i n w h e n you s e e it. Kindly r e p l a c e it in t h e m i d d l e . T h a n k you ! I'll t r o u b l e y o u . M a d a m , t o lose y o u r c a r d in t h e p a c k . M a n y t h a n k s ! N o w f o r t h e l a s t c a r d (not t h e L o s t C h o r d ) . W i l l y o u kindly r e p l a c e it in t h e m i d d l e of t h e p a c k , S i r ? T h a n k s ! T h e t h r e e c a r d s n o w b e i n g r e t u r n e d , I'll a s k a lady t o s h u f f l e t h e p a c k . W i l l you, A l a d a m ? I t a k e it you h a v e s h u f f l e d t h e c a r d s t o y o u r e n t i r e s a t i s f a c t i o n . I shall n o w p l a c e t h e p a c k f a i r l y i n t o t h i s c l e a r g l a s s t u m b l e r , a n d hold s a m e a t a r m ' s l e n g t h . N o w w h e n I c o m m a n d , y o u r c a r d Sir, will rise f r o m t h e p a c k , w i t h o u t a n y h u m a n a i d . W a t c h !

The

Editor

thanks

the

following

contributors:— PERCY CLIFFORD

PELLEW

THOMPSON STANLEY

and COLLINS.

PATTER

H a v i n g finished m y c a r d e x p e r i m e n t s , I will a s a l a s t e f f o r t i n t r o d u c e a little t r i c k w h i c h I d e d i c a t e w i t h v e r y kind r e g a r d s solely t o t h e l a d i e s . H e r e in m y h a n d s I h a v e a n u m b e r (or e v e n m o r e ) of o r d i n a r y c a r d s . L e t u s c o u n t t h e m t o s e c if t h e y a r c all h e r e . I s h a l l n o w c o v e r t h e m f o r a f e w m o m e n t s w i t h o n e or o t h e r of my h a n d s o r b o t h , a n d i n s t a n t l y w e h a v e a l a r g e b o u q u e t w h i c h I shall be p l e a s e d t o h a n d t o o n e of t h e ladies—next time I come.

The Dissolving B a l l in W i n e g l a s s IMPROVED

METHOD

The tumbler stands before the. audience, with the ytass bet/ behind f t . unseen. fahe up thebull (proved solid J and drop it fntb the tumbler place a handkerchief over a//, mc/udiny y/ass fatfe . FIG. I Pew bake up handkerchief n/ith the yfass fake and show audience bat/ is sbt/l there fPecovev fumbter. ctvoppma fake rfytif down on to ball fake yrips ffatt and u/hen hand Kerchief is uyam removed brings bat! away with it f f i y 2 ) bio/d handkerchief ever a net Jervatfe. and drop fahe and butt fumb/e*has already been seen emphy ; and haudWcrck^fCan new be shaken ou-fand! shown empty.

T h e A l a d d i n Cylinder a n d

PATTER

Having shown you how I make Balls multiply, appear and disappear, I want to show you a very extraordinary trick with this last one. Here is an ordinary tumbler made of clear glass. I like tricks with tumblers because one can put so much Spirit into them. May I borrow a handkerchief from a gentleman for a few seconds ! Many thanks, Sir ! Now watch me carefully. If I drop the ball into the tumbler in this manner, I think you will agree if you give the matter a few moment's reflection, that it impossible for it to be submitted to any sleight-of-hand manipulation on my part. I now cover the glass with the handkerchief, and will ask you to notice that the ball is still lying in its glass case. I shall now command the ball to disappear. Presto ! Go ! Here is the glass as empty as a Suffragette's speech, and you are at perfect liberty to examine it so long as you don't try to bend it—that warps the glass. 1 return your handkerchief Sir, with very many thanks for the loan of it.

f=-/a Z

The qtass Cylinder // prepared b» f/aa'ny the transparent °/*n "f' This to He audience spears to be an ordt»«ru a/ass tube . unbared /tcw'^ sf"""t Cardboard tube . I. and ' u . ?«'/'/y /./-.. A//hp.otrof. afeiti. the balls, Hie yfass former into ala. cylinder re mh> the FaUe. . Flt/.l

'iinmq

Twirling C a r d on W a n d

Balls

Vow

Cover

with,

th*

—

Carl board cb/mney and when r€mo*,nj c?r«sp Hie tin,** as jhewn ,n Ft