Dai Vernon and Lewis Ganson - Malini and His Magic

MALINIV AND HIS MAGIC BY

DAI VERNON EDITED BY

LEWIS GANSON

MALINI

ADHDPHSPWAIHCI by DAI VERNON Edited by LEWIS GANSON Illustrations by DENNIS PATTEN

Published by L & L Publishing Quality Magical Literature PO. Box 100 Tahoma. California 96142

L & L Publishing thanks Excalibur Promotions Limited of Supreme House Bideford

Devon EX 39 3YA England for granting permission for the material in this book to be reproduced. The exclusive distribution rights for this title in the United Kingdom and Europe have been granted to Excalibur Promotions Limited, Supreme House. Bideford. North Devon. EX 39 3YA. England. © Copyright L & L Publishing 1999. All rights reserved.

Note: The copyright of the material in this book reverts to Excalibur Promotions Limited 30.5.20” Printed in Canada

CONTENTS

Pogo Numbcr

OREWORD

ZHAPTER ONE.

MALINI. THE MAN

IHAPTER TWO.

MALINI'5 FULL EVENING SHOW ......

ZHAPTER THREE.

MALINI'S METHODS

2|

ZHAP'IER FOUR.

MALINI AT THE BAR

43

IHAPTER FIVE.

MALINI AT THE DINNER TABLE

IHAPTER SIX.

MALINI AND A PACK OF CARDS.

......

IHAPTER SEVEN.

MISCELLANEOUS MAGIC ......

IHAPTER EIGHT.

MALINI THE PROMOTER

CHAPTER NINE.

EDWIN DEARN'S LETTER .....

FOREWORD Max Malini was one of the most extraordinary personalities in the him-"y 0‘ the performance of magic. In this boo Dai emon shows how '“cceufully Malini acted the role of m 'cian. and explains the clever methods by which he entertained and mystified audiences all over the world. By being taken behind the scenes we are enabled to see why Malini became a legend.

Much of the material for this book was recorded on tape. with Dai Vernon speaking from detailed notes prepared in collaboration With Faucets Ross. The combination of Dai Vernon and Faucett Ross was ideal for compiling a book on Malini. Dsi new him over a long period. and by becoming as close to Malini as he would allow anyone to be. had been able hIS magic. With an unequalled knowledge of magic. histo study the man and inventive genius and Supteli‘ie performing skill, Dai Vernon was able to understand every facet of F t R . . Malini 3 magic. of Dzuiet oss himself a top . . and Confidante . flight magician and friend provided the initiative and driveI required close to assemble the facts and present them in chronolog ical order. ' Credit goes to _Charles Larke y,‘ one of the leading magicians in America's Midwest. for attending to the technical side of the recording and providing the necessary equipme nt.

The recordings were sent to Harry Stanley

back for Mavis Mnrrell to type. It was a long in London who played them and painstaking task. but it orowded me with the manuscript for editing.

On a recent tour of Australia. the well-known magician Jay Marshall met an, an intimate friend of Max Malini. At Jay's suggestion. I wrote to Mr. Beam. and he most kindly provided photographs an Maliniana From his collection. Additionally. his letters were of such interest en able to compile a composite letter from the contents to form that l have a chapter of :he book.

EdWin A.

Stanley Simpson of Southampton. kindly provided the actual cheque rearoduced on page 87 and also lent me a copy of the book OLD PlNK'UN

DAYS by J. B. Booth, mentioned in Chapters One and Nine. Additionally. in drew my attention to the book TWO GUN COHEN by Charles Drage, in which Malini is mentioned. Morris (Two Gun) Cohen was one of London s East End Jewish boys who became a Chinese General—Malini was with him n Shanghai at one time. and his magical performance is mentioned on page 205 )f the paper back edition (published by Hamilton & 0).). ~

Many magicians have kindly supplied miiglerial whish has enabled ine‘ to '

t'

givititnui‘rfiolglafiub; Edwardon

M

‘ '.

have

een a

e to stu y a very orig et er.

a "a. McGuire to the late 1'. Nelson Domino. .

At that

Jeriod. Mr. McGuire was acting as business manager for Malini'. and was :onsequently able to make an intimate study of the greathmagiuan s methods

Ind technique. The letter gives a detailed account of Mahni a programme and -xplains the methods he used. Incidentally Eddie (Tex) McGuire. a fine

leizht of hand performer in his own right. is the author of that much sought after

nanuscript The Phantom of the Card Table which details the methods of the elusive card expert Walter Scott.

dBisbop kindly supplied me with a copy of his article on Mahi. published in the I. B. M. (British Ring) Wat—A I958. This onlains an eye- witness account by the late Eric de la Mare of Malini s full everns show with interesting sidelights on the methods used. Additionally. RonId Bishop himself met Malini and saw his show at the Brighton Pavilion. whenhe Played for one week In the Throne Room. The pack of cards sed by Mtinl for his Card subbing at one of the performances pM.r Bishop at‘tlendedy is ow in the Magic Circle Mm The I95 5 September Issue of Peter Warlock’s PENTACRAM contaied an interesting article by Eric e la Mare on Malini. which told of his repulsion

in the East and leads up to an explanation of Ericde la Mare 3 own methodfor

producing a brick fro shat—an efiect used by Malini (but with a diffeent method) and Iater adapted by him for producing a block of Ice

GeraldK K'osky In Los Angeles and Frederica In Glasgow both sent artzles

they have written on Malini. which enabled me to check. confirm and add tcihc

material supplied by Dai Vernon and Faucett Ross Lowe also aided me in the search for Maliniana.

A

AM

Otherrsources of information from which confirmation of informationhas

been derived are OKITO ON MA IC: Vernon OF MA ACIC. Stanley Collin's INCONSEQUENTIALITIES Ii): THE LNK INC. RINC I948; Bill Woodfield's MAGICANA (May I946)—MALNIS

VANISH OF THE DECK and an intersesting article by 5. Leo Hom—

NOTES ON MAX MALINI from THESPHINX.

After reading the manuscript prepared from the original recordings. My Clements kindly wrote a pape per containing valuable suggestions as to the teatment of the material for presentation in boo orrn. Last. but certainly not the least worthy on the list of credits. is Dmnis Patten. whose excellent illustrations teII so much more than wor

thanks to all these good peop ewho have enabled a record to b!

preserved of the work of one of the world'lsegreatest magicians—MAX MALINI

LEWIS GANSON

wk

Photograph by Edwin A. Dearn.

v-“ a. an.“

MALINI.

UHF-

THE.

MAN

I understand that Max Malini's real name was Max Kat: Breit, but have only little knowledge of his early background. Although. over the years, I have endeavoured to fill the gaps in the information on his childhood. it would seem that all that Is known Is that was born in the town of Catt,rov on the borders of Poland and Austria, In the year l873 and immigrated to New York with his family at a very ear y age

At the age of twelve. Max became an acrobat but three years later came under the spell of Professor Seiden, a magician. fire-eater and ventriloquist who kept a drinking saloon on the we axwas an apt pupil and Seiden taught him sleight of hand tricks including The Cups and Balls', which he featured later In his work. By his early twenties he was a fully fledged busker and saloon entertainer and there is no don t that the experience he gained under these hard conditions enabled him to cope with any situation. He would walk into a saloon m im— self known by the name that he had adopted. then perform with everyday articles which were readily available; knives glasses. matches. etc. His early associates were Professor Walters and the famous Emile Jarrow, who later became one of Vaudeville s greatest comedy magicians. During his middle twenties. Malini began to move in different circles; he became a private entertainer and the reputation he acquired with his entertaining magic gained him entree into the most exclusive circles—financial and social. both in America and Europe. A list of prominent people entertained by Malini sounds almost fantastic. He presented performances before several American Presidents at the White House. and had many Command Performances for British Royalty at Buckingham Palace. He received decorations or gifts from almost every Monarch in Europe and Asia. Not only did he merely ebecame their intimate friend. entertain royalty. but In manycase I one time he spent a considerable time as the guest of the Duke of Windsor. who was then Prince of Wales On speCIial occasions Malini wore on his shirt front a gorgeously bejewelled ornament which was presented to him by the King of SiIrna 9

One of Malini's advertisements reads as follows:

MAX MALINI THE MAGICIAN

HAS HAD THE HONOUR OF APPEARING BEFORE THE FOLLOWING NOTABLES: In United States The Late President McKinley

The Late Pres:dentarH ding

In Europe “d ForeignComtrtes

King Edward VII. England.

The Late President Collidge President Roosevelt ohn D. Rockefeller J. PIerpont Morgan

King George V. England. King George VI. England. House of Peers. Japan. PresIdent Mechado. Cuba

John Jaco Astor John J. Pershing and many others.

ing 0 Lord Derby Duke of Portland.

Mrs. Corneillus Vanderbilt

President lbanez. Chile.

YOU WILL THRIIJ. AND MARVEL AS YOU WATCH THIS WONDERFUL MONARCH OF MYSTERY Frrom a written description of Malini s physique, it would seem that nature had been unkind to him as e was a an ,squat man with exceedingly short arms. Nevertheless. he dressedm texpensively and talked with great dignity despitea deep gIIttnleral voice. decidedly At foreign accent and amusing distortion of the English language. first view, one might set himdown as an opera star or impressario. Malini definitely impressed people and commanded attention; his overpowering self—con dence and stage presence could never be daunted. and per— e was a product of a different era than our own. He Iiv formed In the midst of great wealth privilege and pomp and although little-known to the general public, he was actually an idol among people One of his sayings was. "You've got to mix of wealth and distinction. with people with money if you want to make money"—this he certainly did. and whether he had money in his pocket or not a cent in the world, he always lived well and indulged his expensive tastes. Many are the stories recounted about Malini. and no doubt some embellishments have been added after years of being told and retold, but the following one was vouched for by Malini himself and Is also kOld Pink’un Days by ].B recorded In the book hen in London. Malini frequented Romano s andbecam When it was known that h: extremelynwell-known to the clientele.

had been commanded to appear at Sandringham by King Edward, on the occasion of Queen Alexandras birthday, there was much goodnatured leg-pulling at Romano's Bar,a dMax received some alarming advice on the etiquette to be adopted Innthe Royal presence. "M said one client, Whenever the King addresses you, remember—fall on your knees". "On my knees!" replied Malini ”.Goot l tink l rcmember '. Another sportsman said. Don t forget to always address "Royal and Sacr the King as Your Royal and Sacred Majesty" A third one dthe obedient Max Majesty—Coot. l remember" said advised. ”Keep walking backwards all the time, Max". "Valk backwards. Coot—l remember dat" said the thoughtful Max. The day after the command performance, his various advisers clustered round him at Romano's. eager to ply him with questions. Max forestalled them by saying with a chuckle, "Ach, und you tink I swallow all dat fmlishness——dis is Max Malini—4 know de Royal etiket Ven de King gome up to me an say— usiness all right. you bet me. choost like dat——— Ferry clefer. Mr. Malini ferry clefner inteet. I no fall No. l knows on my knees or say 'Royal and Sacred tommy-no de etiket—l choost say.' Much obliged Royal Mister 8eand der King he lat? and say Haf a cigar and i say You bet Malini had particularly small hands, so small that when he palmed a card. part of it protruded and the secret would have been detected had he not resorted to other subterfuges. He had fingers so short and pudgy that It seemed impossible that they could perform manipulations requirTo understand how Malini overcame these handicaps. it ing finesse. is necessary to study his meth To Malini, an effect had to be simple. direct. anld easy to follow. His methods were usually simple, but they were always hidden by strong misdirection. His general theory was never to do a sleight when ewas a master of delay on his han attention was {ac occurring when least expected. action. the sleightu Charlie Miller, a great friend of mine. had the pleasure of seeing Malini work. many. many times and was wi him for some time in California. Once he asked Malini, "Max, how'Is it youcan canalway fool people with these sleights of yours?" Max replied. "Well, you don t do it when they are watchin at do you mean?" ask Charlie "Well. take this Side Slip l do" Max replied. ".well I wait. tl "What do you mean by I wait, I wait ?" said Charlie, "Well, wait". i wait until they are not lookingl!" replied Malini. Said Charlie. I But how long do you wait ?". Malini replied. "l'll wait a week". in Other words. Malini would never do a sleight while he was being closely observed. He would always wait until he could distract attention in

some way. He used to sum up this theory of misdirection In the short phrase. It s the Eye o,w harl Ie and I us to wonder what he meant exactly by his it s the Eye . and after much discussion came to the following conclusion. Most people in magic will know that an audience will look in the direction that the performer looks. This is one meaning of Malini's phrase. but what I think he really meant was this. He had a very infectious way of talking and when he addressed you with a sudden remark, or spoke to you. it was almost impossible to keep from looking him straight in the face. Naturally. when you caughlthis eye. you could not watch two things at the same time, thenh shands would makethe secret manoeuver So.if had to sum up in allifew words the true secret of Malini s misdirection. l would say that he never. never made a quick move of any kin e always did everything slowly. Manny magicians make a quick move and try to deceive by qui ness. Malini did everything slowly. In fact. if you happened to be looking at his hands at the time he made some of his moves. you would see every detail of the move. but with the strong misdirection he used. he could make these moves slowly and smoothly and they passed unnoticed by all observers. My first contact with Malini, came at a very early age. I can vividly recall my father reading from our local newspaper. "The Ottowa Evening journal", that Malini was to perform at the Lido Club. This was Ottowa's leading Men's Club of which my father was a member. I endeavoured to coax my father to take me to the show. but he considered that l was far too young to attend such an affair. However. I managed to sneak into the lobby of the club, and by peeking through a partly open door. I saw most of the programme. This was my very first view of a really great magician. and the fact that Malini depended on skill. using only a minimum of apaparatus, appealed to me greatly, and left an indelible Impiiqession. I t many years later that I actually met Malini; it was in New York. at8the old Waldorf Astoria Hotel. which In those days was on 34th Street In his room, Malini t mostly about his travels: about hissexperiences and so forth but he did do a couple of tricks. I found out later that he rarely did tricks for anyone unless it meant either money in his pocket. or some other with eac personal gain. After this. I met Malini many times meeting became more and more impressed; so it is only fair to say that he greatly influenced my magical thinking. and for nearly fifty years l have closely studied his methods and philosophy. Most of the effects described. I have actually seen Malini perform. and many of them I have sought to adapt to my own presentation.

. ulcu on J"! uctooer. we; at Honolulu. Hawaii. He had been ill for some months and had become so weak kthat his last performance (entertaining Soldiers and Sailors was given while seat in a chair. 50 passed one of the really great figures of magic.

CHAPTER

MALINI’S

FULL

‘I'WU

EVENING

SHOW

When Malini presented his full evening show. it was often at some well-known Hotel. usually in one of the Ilrooms. At one end of the ballroom a temporary platform was erected—simply a platform raised a few feet from the floor. To one side of the platform was a screened-off partition. which Malini used as a dressing room. The platform itself was beautifully decorated with potted plants and flowers suppliedby a local florist Malini often obtained these decorations free of charge. simply by virtue of doing a few tricks for the florist. in the centre of the p altform was a large table. on which was six packs 0foards, two tumblers and two silver table ves. This compri all e visible apparatus used during the first part of the three part programme. After an overture. played by a small orchestra. Malini made his appearance, beautifully dressed in a white costume. His opening announcement was very brief, and simply called attention to the fact that he used no apparatus or paraphernalia what—so-ever, and had no assistants. He then proceeded to perform the following effects.

PART

ONE

SILK VANISH. For his first effect he remov\ed a white silk handkerchief from his breast pocket, placed it deliberately in an old-fashioned lamp chimney or glass tube. then holding the palms of both hands over the ends of the . he dramatically counted "One. two, three" and upon the count of three. the white silk visibly vanished. ausing an instant he then reproduced the handkerchief from the collar of his shirt.

COLOUR CHANGE. Next he closed his left hand into a fist and deliberately pushed the white silk into the top of his closed hand. When it emerged from the bottom it had changed to a small American flag. This simple effect. was accompanied by witty and pertinent patter. l5

LEVITATION. For his next demonstration Malini requested the loan of a cigar a c

tendered he said. ever min Loo ! and from the first cigar he produced a second one—a sort of multiplication. Returning to the platform he placed the two cigars across the two tumblers and placing his hands upon the cigars, he exerted a slight pressure. then suddenly raised his hands when the two cigars were seen to be sticking to his palms~ -a levitation. He then walked through the audience, holding the cigars levitated. but after the word "Co", the cigars dropped from his fingers onto the floor-«which brought thunderous applause. Next he displayed two silver table knives which he likewise placed across the two tumblers. Placing his finger-tips against the blades of the knives. he suddenly raised his han s. and again a levitation occurred. the two knives sticking to his fingertips. Simple as both the cigar and knife tricks were. they produced a very considerable impression. PENETRATION

AND

VANISH

OF

A

TUMBLER.

Picking up the two tumblers. Malini created the illusion of passing one tumbler through the other; very similar to the familiar procedure of passing one cup through another. often used in connection with the popular 'Cups and Balls' trick. Then. holding one tumbler in his right hand. he would apparently toss it into the air. where it vanished in full view.

CARD MAGIC. Malini's card work came next and was unquestionably the finest part of the entire programme. To begin. he asked for the assistance of six gentlemen volunteers from the audience. They were seated on chairs three on each side of the table. Picking up six new and unopened packs of cards. Malini handed one each to the volunteers, with the request that the packs be opened and the cards given a thorough shuffle. After this was done. Malini then requested each volunteer to remove a card from his pack After the cards had been selected. he told the volunteers to place their cards In their pockets so that the faces of the cards could not be seen. When all this was done. Malini walked to the front of the platform. and made the following speec . Ladies and Gentlemen, as many of you know. I have travelled the world over. l have performed in practically every civilised city of [6

the globe. Now many people ask me. 'Malini. in all your travels, and with all the people that you meet, in the various nations of the World, what do you find is a common trait. a common custom or a common thought among all people?‘ That my friends is very simple to answer. The one common trait among all people is man's love for women, and to demonstrate the truth of that statement. l'm going to ask the six gentlemen here on the platform, to remove their cards from their pockets. and show you what cards were actually selected." Whereupon, each volunteer removed the card from his pocket. and all six were shown to be the Queen of Hearts!: eloquently demonstrating the truth of Malini's previous statement.

Next. Malini took one of the packs and requested a volunteer to Without any apparent merely peek at any one of the fifty-two cards. moves or manipulation. he squared the pack. then dramatically pointed into the air. and the selected card appeared to materialise between his this was happening. as and at. peeked was card Another fingers. e pack was again squared Malini asked everyone to watch the pack. and placed on the palm of the assistant's hand. then Malini asked the assistant to place his forefinger against the top card so as to exert pres~ sure upon the pack. He then requested the name of the selected car . and upon it being given. he asked the volunteer to turn over the top card. which was found to be the one originally peeked. With another spectator. Malini simply requested him to think of a card as he slowly riffled them in front of his eyes. Again after squaring the pack. the thought of card was produced in mysterious fashion; sometimes from the spectator's pocket (which. incidentally. was a favourite trick of the late Paul Rosini).

BLINDFOLD CARD STABBING. His famous Blindfold Card Stabbing was undoubtedly Malini's greatest trick. For this effect, he had eight to ten cards actually drawn from the pack. They were then replaced in the pack after being noted. the pack shuffled and placed on the table. Malini was then blindfolded With a couple of borrowed handkerchiefs. He also borrowed a penknife. The cards of the entire pack were scattered over the table. apparently hopelessly mixed. then requesting the name of the first card, Malini stabbed with the penknife. and it was seen that he had impaled the correct card. After this. the remaining cards were located and stabbed under apparently impossible conditions. To locate the last card. Malini dramatically stabbed the penknife through a card and into the table. He then tipped the table so that all the remaining cards fell to the 17

floor. The knife was pulled free to disclose the face of the impaled card which was seen to be the final card selected. This trick inevitably created a profound sensation and for many years it puzzled magicians and the lay public alike. Card stabbing terminated the first part of Malini's programme.

PART

TWO

For the second part of the programme Malini entered wearing black knickers, black stockings. a black cloak and so forth; an entire change of costume.

THE EGG BAG. He opened the second part with the Egg Bag. but by giving it the typical Malini touch. it presented an entirely different appearance from the usual presentation. He first explained how a French magician did "This magician . said the trick many years ago by vesting theeeg.g Malini. was a cheater. i too cheat, Ladies and Gentlemen. but honest to goodness. lonly cheat a leetle The effectiveness of his actions and routine are somewhat difficult to convey in print. Afteer demonstrating how several foreign magicians (including Italians and Germans) did the g. then caused it to vanis trick. he placed an egg in t spectator was asked to feel In the bag. but nothing was found. Another spectator was asked to feel In the bag. and this person discovered the egg. Again. another spectator was asked to feel in the g once more. but no egg, then yet another spectator reached in and produced the egg. This was repeated with different members of the audience. To end the effect. the egg was apparently cast into the air, vanished, then produced from a lady's hair.

CUT

AND

RESTORED

RIBBON.

Usi sung the assistance of two boys. he performed the familiar Cut and Restored Ribbon The ribbon was apparently cut in half. knotted. and the two ends held by the two volunteers. After which he cut away the knot. when of course. the ribbon was found to be completely restor

18

.

THE COIN GAME. With the same two boys helping. Malini borrowed a quarter. a halfdollar and a handkerchief. His right hand was first tightly tied with the handkerchief. the handkerchief being wrapped around his fingers and thumb. with only his forefinger projecting. Then the half-dollar was placed on the palm of one of the boys, and the quarter delicately balanced on Malini's forefinger. He suddenly dashed his finger downwards to slap the balanced quarter against the half-dollar in the boy's palm. He quickly withdrew the finger. and the quarter would be seen to be still balanced upon the forefinger. We would like to make this clear—he actually hit the half-dollar with the quarter on his forefinger then immediately withdrew the finger. when the quarter was always found to be balanced as at the start. The idea of the game (and it was more of a game than a trick). was that the boy had to grab the quarter off his finger, Malini offering to give him fifty dollars if he succeeded. Try as he would, the first boy was unable to catch the quarter. then the game was repeated with the other boy. As the second boy appeared to be more ambitious. and a little quicker than the first boy. Malini cut the reward from fifty dollars to twenty-five dollars! As stated. this was more of a game or puzzle than an actual trick. but given the familiar Malini touch, considerable comedy was produced.

BlLlS. LEMON AND EGG. Malini's next trick was the Bills, Lemon and Egg Trick. A five and a ten dollar bill were borrowed and wrapped in separate handkerchiefs. The two boys previously mentioned again assisted in the trick. and one of them selected an egg from a bowl of eggs. Then a lemon was magically produced from the nose of the other boy and held in full view. The bills were vanished from the handkerchiefs, the lemon was cut open and the five dollar bill found inside. The egg was then broken with a wand. and the ten dollar bill found inside. This sounds like a very simple effect. but in Malini's hands it produced a complete illusion. ln fact. on occasions it was almost as effective as his famous Card Stabbing trick. This usually concluded the second part of his programme, but sometimes he would add his famous "Button Trick".

THE BUTTON TRICK. For this he would apparently espy a loose button on the coat of one of his assistants. He would seemingly bite off the button. show it

l9

between his teeth. then dramatically replace the button on the coat. when of course. the button would be discovered to be firmly sewed on. Now followed a five minute intermission.

PART THREE For the third part of his performance, Maliniappeared dressed In a beautiful Chinese robe or costume, and announced that he would give an impersonation of Ching Ling Foo. the famous oriental necromancer.

PRODUCTION OF 1W0 BOWLS OF WATER. A large foulard was displayed on both sides, spread on the stage and upon being lifted, a monster bowl. fi ed with water, was pr uc.ed The procedure was again repeated. and this time a tall cylindrical bowl filled with water and gold fish was produc.ed This latter bowl actually weighed nearly fifty pounds. This was very. very effective and was one of the largest productions of this type ever performed.

THE INERTIA TRICK. Malini showed five glass tumblers and placed them in position on the table. A tray whic was a out an inch and a half eep. was placed on top of the tumblers. Five tubes were made by rolling up playing cards and these were placed on the tray, each car r tube being directly above a tumbler beneath the tray. FInally, five raw eggs were balanced on the tubes. Glasses, tray and eggs were left standing in position on the table while a deck of cards was picked up. Malini then quickly performed one or two fancy shuffles and demonstrated his skill at card throwing. Then with a dramatic cry of Lookl". Malini suddenly gave the tray a quick blow. The tray and holders fell to the floor and the five eggs dropped safely into the five glass tumblers. This concluded Malini's full evening performance. Obviously. his programme was subject to alteration and he lengthened it on occasions by adding effects which e more usually reserv rved for his performances at the bar or dinner table. We will deal with these tricks in the chapters which follow. 20

CHAPTER THREE MALINI’S METHODS We will now explain the various methods used in Malini's full evening programme. It mustbe emphasised that the total effect was not entirely due to the tricks themselves. but rather to Malini s personality and mode of presentation He always worked very slowly. and the programme was interspersed with various amusing remarks. anecdotes and bits of business. Throughout the programme he would repeat the statement. 'Honest to goodness. Ladies and Gentlemen. I only cheet a leetle At other times as he was applauded, Malini would hold up his hand and say. "Ladies and Gentlemen. that 3 nothing at all . .'lm just getting warme up' . ten. before doing a tnck. he would say to the orchestra. just a tiny waltz

PART ONE SILK VANISH. For the vanish of the handkerchief In the glass tube. Malini used the familiar pull. His pull was simply a strap. fastened to his left arm with a cord attached which passed across his shoulders and down his right sleeve. terminating in a cat--gut loop. The silk was through the loop and afta display was pushed into the glass tube. Holding a hand over each end of the tube Malini paused for a moment. then dramatically counted One two. three" . On the count of '"three . both his arms were sharply extended forward. when the silk would be

rapidly drawn out of sight up his right sleeve

A somewhat more elaborate pull used for this effect is shown at Figure I. As Malini commenced with the Silk Vanish. the necessary restriction of arm movement did not matter, but should the reader desire to perform such a vanish anytime during the act. a slight modification to ess eye is sewn to the back of the trousers A die: the pull Is necessary and the end of the cord passed through this eye. then attached to a small curtain ring (instead of the pin as shown). Additionally, a hook (with the hook end upwards). is sewn inside the left trouser pocket. The cal—gut loop is over the right cuff link at the start The cord can now be of sufficient length to allow freedom of movement.

\V hen necessary to make the vanish the cat-gut loop Is slipped off the cuff link onto the thumb and first finger. A half turn to the left

21

Haw the pull is won

loop our right cult-link

D “II the tube is hell

22

covers me next nano gomg under the jacket to pull the ring to the left trouser pocket. where it is slipped over the hook. This takes up the slack. ln displaying the silk it is slipped through the cat-gut loop until it comes to the centre. then doubled before being pushed into the glass tube. Everything is now ready for the vanish.

COLOUR CHANCE. After the vanish of the silk. Malini produced a duplicate from the collar of his shirt. Simultaneously, he e stole a small handkerchief tube from the edge of his vest. He would tube. of course. was loaded with a small American flag. then create the familiar effect of pushing the handkerchief into his fist and changing it into a ag.

LEVlTATlON. The levitation of the two cigars was something a bit unusual. for he used no gimmicks whatever. Malini possessed a very peculiar type of skin: it might be called an oily or moist apperdermis. He could actually press his hand against a cigar or any other light object. such as a pencil. and the object would cling tenaciously to his palm. Individuals with dry skins will find the effect impossible to perform. but there are many who possess the requisite type of skin.

We must make clear that when he borrowed a cigar, he secretly palmed a duplicate from his outer breast pocket. and holding it directly behind the borrowed cigar. he separated the two hands giving the effect of multiplication. The levitation of a table knife is familiar to most magicians. By p ac-

with the two mlddle fingers, it will easily found that the knife can levitated. Figure 2 shows the position of the fingertips. A similar effect. using a wand is clearly explained in Hoffmann's Later Magic. Incidentally, Charlie Miller is presenting the Knife Levitation in his programme with great success.

PENETRATION AND VANISH OF A TUMBLER. The passing of one tumbler through the other should require no explanation.

23

as it has been performed in conjunction with the Cups and Balls for over a hundred years, but for newcomers, the illustration (Figure 3) will be more than adequate.

_ — all 'I' IS tlen reltml

The vanish of the tumbler likewise requires very little explana— Malini simply held the tion. tumbler between his hands. apparently tossed it into the air. separated the hands but palming the tumbler in the right hand (Figure 4). Very quickly he would produce the tumbler from under the coat, or elsewhere, from some person in the audience.

Putnam‘s View of um The illustration shows what would be a whisky ‘shot' glass being palmed. but it is emphasised that Malini also performed the vanish with a tumbler. His very small hands were quite unable to hide the tumbler. but the misdirection of the tossing action was so strong that all eyes followed the apparent upward flight. Before thoughts could be switched, Malini had reached out and was in the act of producing the tumbler from elsewhere. His first CARD MAGIC. Malini's card work was superb. card trick, utilizing the six new packs of cards. was simplicity itself, but Each person fairly shuffled his pack of cards, produced a great effect. then Malini went to the first person. and under the pretext of removing 24

and discarding the advertising card and the Joker, located the Queen of is was repeat Hearts. which was then forced upon the volunteer. with the other five volunteers, so eventually each volunteer had a Queen of Hearts in his pocket to enable the eEect tobe conclu . At this point, Malini had several cards peeked at. and by the side—slip would get them to the top of the pack, after which they were produced in a later chapter, the technique of in several different fashions. kwill be carefully Malini 3 side-steal used In conjunction with the peek. explained. as will Malini s technique for forcing a card merely thought of as the pack was riffled.

As We mentioned previously. BLINDl‘ OLD CARD STABBINC undoubtedly Malini s greatest effect was the Blindfold Card Stabbing. Upon this trick his reputation largely rested This Is an effect which once mastered, coul gain a real reputation for any perrformer, so at this point we will carefully explain every detail of this masterpiece, leaving nothing to the imagination. As we have been conversant with the trick for many years, and have performed it many times, We feel confident in being able to submit a full and true explanation. When Malini had the cards selected. it was an entirely free selec~ tion because he did not care what cards were chosen. Now each person was holding a card and he went back to the first person and had the card returned to the pack. His method of having the card returned was that he simply held the pack face down in his left hand and riffled the other end, allowing the personda perfectly fair selection of the position in which to replace the card but he generally had it placed ter the card was inserted. somewhere around the centre of the pack.

Malini would push it further In.

Even if the person pushed it right In

himself. it made no difference. as Malini secured a break below the card with his little finger. He would go to the second spectator and riffle and stop exactly at the place where he was holdng the break, and have the second card inserted. Right here we re reminded that some people have difficulty In riff-ling to the spot where the break Is. This Is a very simple thing. If you hold a break with your little finger. hold the pack nthe ordinary dealing position. the left thumb across the pack centre; now riffle the cards slowly. commencing with the lower half. naturally. and when you begin to approach the spot where the break is. simply pull downwards with the little finger which is holding the break. in other words. the lower packet is pulled in a dOWWard direction. and the cards will automatically flip by and stop exactly at the break. the feel being exactly the same as if you had a short card in the pack. This was the procedure Malini adopted. He riffled the pack slowly as he approached a person. then the moment they started to 25

insert the card he would pull down with his little finger which made the cards flip by rapidly to the break for the card to be inserted In the right

spot.

Sometimes, somebody would be a little awkward and insist on putting the ca near the top or bottom of the pack; in other words. This did not perturb it Would not be inserted In the required spo P0confusion. we will explain Malini because he had a way (which to avoid He Would approach later) of bringing the card to the proper position each spectator and have his card returned below the one previously placed in the pack, so after the return of the last card he was holding a break below, say, eight cards. if we assume eight cards were used. (The actual num r is immaterial as sometimes he won d ave eight cards selected and other times as many as twelve: that is, the numbers ranged e would not shift the cards. somewhere between eight and twelve.) He merely made a small step cut them. or handle them In any wa at the break and placed the cards onythe table. Now he talked about the trick and told where he had performed it, naming the famous people who had been present. Then he would pick up the pack (taking the break again from the step). toy with it a little, give it a couple of cuts, actually cutting at the break and lay the pack to his left on the table Remember, all the cards selected (slightly to the left of centre). were now on the bottom of the pack, with the first chosen card at a position eight up from the bottom—assuming eight cards were chosen. ext Malini was blindfolded by someone in the audience who used two handkerchiefs for the purpose. This person then guided Malini back to the table and on the way he stumbled a little. as if by accident but I ea when blindfolded to not overdo the acting. Actually its a goodd really close your eyes, t en you will act perfectly natural. because you ni used to close his eyes as he was led back to ly cannot see. Malin the table and would grope a little, then say to the spectator, First you must cut the cards into three piles" and he gestured with his hands to the right, so that the person would naturally pick up cards frrom the pack and Cut them into three piles. laying out the piles from left to right.

With the pack cut into three. the almost equal divisions WI-uld be about seventeen cards in each pile. so that he was almost assured that he would have at least ten or twelve cards in the first (bottom) pile. However, to preventso ebodmy cutting and only leaving about half a dozen ttom pile, Malini said Keep the piles even . Even a remark in the like this was amusing. as Malini had a gutteral voice, strong accent and uaint pronounciation After the cards have been divided into three qu fairly equal piles. Malini asked to have his hand guided to the first pile. w en by this time he would have the knife in his hand. He said, "Will you guide mv hand to the first pile" . When this was done he placed the point of the knife on the first pile and gave it a forward push, which would fan or spread the cards In a forward direction on the table. 26

Next he said. "Put my hand over the second pile", and he also spread these cards forward. then repeated the procedure with the third pile. After this the volunteer was dismissed and Malini stood behind the table. Very slowly. he brought the knife down to the pile on the left, but unbeknown to the audience. he counted to the eighth card from the bottom (assuming eight cards were used as in Figure 5), and he

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slowly dragged up this card with the point of the knife. so it was resting Then he stabbed the card with the point of the isolated on the table. knife, had the first card named, then dramatically turned it up to show the face. The spectators would be quite nonplussed to understand how he could go over a spread of cards like that. pick one out from somewhere near the centre. and show it to be one of the identical cards selected.

The procedure was slightly different for the revelation of the other cards. Malini started swirling e car and mixing them around on the table-top with the point of the knife. He did not touch the pile on the left which contained the selected cards. but kept swirling the others around. then as he approached the spread pile to the left with the tip of the knife. he contacted the card which was formerly below Naturally, when he had removed the eighth the card just removed. card, he had spread the cards more and left a division, so it was easy to see this division by looking down the side of his nose under the blindfold. Keeping the point of his knife in contact with the card, he moved it over to the right and onto the spread cards of the other two piles. then continued to move the knife around so that the card went

27

over and under the other cards. but always remained in contact with the point of the ni e. Thiscreated an excellent illusion because it could not seen that the knife blade remained on t e one card all the time. as it was intermingled so rapidly with the other car 8 Now Malini brought the contacted card either to the left or the right. forward or backwar it ma e no difference). the intention being to just slightly segregate it from the rest. avingI in a nown position. hem t e nife to other cards and sw wirled tthem around but without losing sight of the one segregated. or disturbing the other selected cards. He dramatically stabbed the segregated card. but before showing it would ask. Vat vas the name of the second carr'fd heetn teh card was named he turned the knife to show the face of thecar.d This procedure was carried out for the remainder of the cards. with the exception of the last one. The location of the last selected card was simple enough because it was the last one left of the originally undisturbed section. e attabbed this. then leaving the knife sticking through the card into the table. he swept the rest of the cards fromt etable. He didmthis very carelessly; very nonchalantly. then had the las card dramatic flourish he whipped off the blindfoldt and simulmtaneously held up the last card. On occasions he would tip the table to let all cards, except the one stabbed fall to the floor. We should make it clear that when we wrote about cutting the cards into three piles. and stated that the important pile remained isolated after Malini had removed the first card, we should add that if the first pile happened to have a few more cards than the required number. he would flip some of the upper cards from that pile over among those of the other two piles. In other words. the only cards that he left undisturbed were the actual pile of say eight cards. This little pile of selected cards were left separate at all times and never allowed to intermingle. except one card at a time. by the method mentioned. When we saw him perform this trick at the Firidian Hotel in Florida. Malini missed one card. lt was the Four of Clubs. He could not seem to find it. though he stabbed and stabbed. even in places where there were no ca 3! Then he said "Vell, we von't vorry about that card" and went on to find the other cards. When he neared the end of the trick. somebody named their card (we'll say the sixth man named his card) and Malini suddenly stabbed and stabbed two cards at once. so when he turned up the knife, two cards were impaled on the point. 28

The missing Four of Clubs was one of them and the other one was the sixth card named. Malini said. " l told you not to vorry about the Four of Clubs". In the above explanation. we promised to disclose the method used by Malini when a spectator was awkward and would not return the card to the right spot in the pack. Such an occurrance did not perturb Malini in the least. for as soon as he saw what was about to happen. he would draw the cards back and deliberately give the cards a little shuffle, remarking, " It makes no difference where you place the card". During the shuffle. he brought the entire block to the bottom of the pack. Now he rifl'led the cards very slowly. allowing the spectator to place the card As soon as the card was replaced. anywhere in the pack he wished. he held a break above the card. then by the simple action of placing his fingers into the opening. and making a movement like a pass. e slipped this lone card to the bottom. below the block which he had With already gathered together by the method already explained. another cut, pass. or a simple shuffle. he brought the block back to the centre and continued having the cards returned singly. one below the other.

At the conclusion of his Card Stabbing trick. Malini made very good use of the trick of removing the knots (the well-known slip~knots) from the handkerchief. When the blindfold was removed, both hand— kerchiefs had a number of knots in them. which he had previously instructed the people to tie by saying. "Now make it nice and tight; tie In other words. he had plenty of knots tied in the more. tie more". handkerchiefs. As he removed these two handkerchiefs. he very neatly upset the knots by the straightening method. as used by such well— known performers as Charlie Edwards, Blackstone and Horace Goldin ,__ in fact. most of the old timers did this trick very adroitly. Well. Malini would 'dissolve' the knots under cover of the handkerchiefs themselves then hand them back minus the knots. This added a nice little extra touch of mystery.

PART TWO ECG BAG. In our opinion. the three best performers of the Egg Bag Trick were Max Malini, Horace Goldin and Arnold De Biere. Cardini once told us that he considered that the Egg Bag was the outstanding effect in Horace Goldin's complete evening show. even though he did many big illusions and spectacular effects. Coldin employed a bald-headed man. put the bag on top of his head. and managed to produce many comedy situations.

Malini had many touches which he added to the Egg Bag. making it very artistic. He never banged the bag to try to prove it empty. but handled it carefully and importantly.

Malini always used a black bag made of rather thin material. because a bag made of thick woolly material. appears must too bulky and there is not much mystery about an egg being concealed in the folds of a heavy piece of cloth. The bag was of such a size that Malini's hand could fit into it comfortably and by extending his fingers wide apart. the bag could be fully flattened out (Figure 6a). In other words, the bag conformed to the size of his hand. Of course. a person with a large hand could not use the bag which Malini used. as Malini had a very small hand. so the smaller the hand. the smaller the bag. Malini always the type of Egg Bag with a double side. but one corner of the inner wall was cut away as in Figure 6b. so that the moment the egg was released from the double lining. it would fall out of this comer and easily accessible. In other words. it fell immediately to the bottom of the bag and out of the triangular opening. When the bag was turned inside out. Malini held it with this opening to the rear. but occasionally he would turn it over. then is thumb cross over and cover the exact opening. when the join in the material could not be seen.

To commence the performance. Malini placed the egg in the bag. but he did not place it in and tuck it inside the double lining as so many performers do, but very neatly and gently dropped the egg in the bag and held it up saying. "Lookl", then with a slight stroking movement he would show that the bag was apparently empty. Next he would place his hand inside the bag for the purpose of turning it inside out. and it was at this moment that he inserted the egg into the double lining. dropping it in the comer where the opening was. all in the action of turning the bag inside out. He turned it back and forth several times remarking. "You can do this all night if you vish". then he placed the bag perfectly flat on his hand and spread his fingers apart. the em: would sink down below the level of his hand. This allowed him to place both

30

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palms together and smooth the bag over so that the surface looked perfectly Hat because the egg sunk down either between the two middle fingers. or sometimes between the forefinger and thumb. This allowed him to give the bag a gentle stroking and a patting motion. making it so Hat that it seemed impossible that anything so fragile, or as large as an egg could be concealed In the folds (Figure 6c).1hen he would go Reach into the bag with your right up to some spectator and say. hand—feel in the bag". They would feel nothing “Now reach In with your left hand" he would say and when they did. it always caused a laugh when they came out with the egg.

For He had many little dodges while performing the Egg Bag. instance. let us assume that the bag is being held at the top. the egg held by the right hand through the double lining: some inquisitive person might be anxious to feel under this hand. to see if something is being It is a simple matter to carry out the well-known concealed there. 'pinch vanish' as used with a coin: the egg being very smooth, there is very little friction and a pinch will cause it to jump. as it were. from one hand to the other. while inside the double lining of the bag (Figure 6d). In this way Malini could show alternately one hand empty then the other. It really was a very convincing way of showing that there was nothing concealed in his hands and that there was nothing in the bag. He also had another very nice little move. There is an old dodge. nown to most EggBag wor ers where they get the egg in the corner kn then twist the bag up. but they have to conceal this corner where the egg naturally creates a bulge; they have to conceal it behind the tightly He allowed the egg to settle closedhand. Malini didnt do this. to one comer. then he took two diagonally opposite comers (not the Now corner where the egg was conceale . and he twisted the bag. this caused the bag to elongate. as it were. and In the middle of the bag the unheld comers would naturallyhstick up. so even though the ln other egg was concealed there it looked as i the bag was empty. words, the bag looked as if it was held delicately at opposite corners by the fingers and thumb of each hand. w ere it seeme as if it were impossible to conceal an egg The other two corners which prejected in the centre of the bag were sufficient cover to completely conceal the ). egg. (Figure Malini's presentation. as we remarked before, was quite unique. He would say. "A French magician cheats; he puts the egg up under his vaistcoat". To demonstrate, Malini deliberately pushed the egg up under his jacket then said. "But, of course, he hides this with the bag. Other magicians only pretend to have the egg in the bag. when really they hold it behind with their thumb like this". He turned the bag

32

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" Of course", said Malini. "when they want to take the egg thumb. from the bag they simply turn the bag inside out which brings the egg inside. then they reach in and take out the egg. They are all cheaters. but I only cheat a leetle bitl".

Yes. it was Malini's presentation which made the trick; more than his actual handling of the bag. One of his mannerisms was to fold the bag in half; sometimes he'd fold it again (that is, into quarters) which made a very compact little bundle. This bundle was placed flat on his fingers and the egg allowed to settle down between his two middle fingers. so that it appeared to be perfectly flat when the other hand was . ln this way he created a feeling that the egg had absoru lutely disappeared into thin air.

The vanish of the egg Which he used for the climax, was the simplest possible thing, but it is one of the really great illusions that can be created and acted on. It is a question of following Houdini's instructions "that the magician must be an actor"—and Malini acted this out brilliantly.

Holding the bag in his left hand and the egg in his right. he tossed the egg into the air for about a foot, then caught it between both hands. Both hands met to catch the egg which dropped on top of the bag. He gently tossed it again, from his hand. On the third and final toss he just allowed a portion of the bag to fold over on top of the egg, so that the egg was in a simple fold of the bag. then he instantly raised his right hand with a dramatic gesture and made a throwing motion (Figure 6f). The audience saw his right hand empty: they looked back at his left hand. but by this time. the bag had been allowed to unfold. and the egg was nestling on his palm under the flat bag . . . apparently the egg had

Suddenly he reached out palm with the egg under cover of the bag. to somebody's whiskers. or a girl's hair. and produced the vanished egg.

BILLS. LEMON and ECG. Undoubtedly one of the most popular tricks in Malini's programme was the one in whic two borrow— ed bills were discovered. one inside a lemon and the other in an egg. Over the years the trick in which a borrowed bill or bills. are found inside a lemon has been very popular. lt was probably originated by the late Emile Jarrow. However, Malini combined the trick of producing a borrowed bill from a lemon. with producing another bill from e combination 0f the two strong effects resulted in an an egg. 33

exceptionally fine trick. The only actual apparItus used in the that was the familiar 'Card in the Egg Wand (Figure 7a). obtainable from some magic dealers. The wan nd is he] ow and has a sliding piston This prepared hollow wand rested on his table. Also on his table was abowl containing a dozen or so raw eggs. In his left trouser pocket Malini had a lemon which had been prepared by making a hole In it in the customary fashion (Figure 7b). Malini would commence the trick

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® Ink in Iona otes. A one dollar bill by requesting the loan of two bills or bank no e and a five dollar bill or a five and a ten. it really did not matter. asked the lenders whoever they might be, to mark or identify the bills first lender, requested the to He alked up 88“1-5! m any way theya up it rolled bill. first the took then the use of his pocket handkerchief tightly bending it in the centre. and asked the lender to hold it aloft. Malini received the handkerchief In his right hand. took back the bill In his left hand. and apparentlyccovered the bill with the handkerchief. at he actual y i . of ourse was to th-umb palm the bill His left hand emerged from beneath the handkerchief and the two hands started tightly rolling the centre of the handkerchief. giving the ImpresWhat he was sion that he was rolling the bill In the handkerchief actually doing was merely rolling the handkerchief itself into a very By a very simple move Malini This roll was then doubled tight roll placed the thumb-palmed bill behind the handkerchief. which enabled him to carelessly pass the handkerchief from hand to hand. each hand being seen empty. He then re--finger—palmedtthe bill in the left hand and requested the spectator to hold the handkerchief high ’44

in the air. The tightly rolled handkerchief perfectly simulated a bil While cautioning the spectator to hold the under a handkerchief. handkerchief high. Malini's left hand (with the palmed bill) carelessly entered his left trouser pocket. and the bill was loaded into the lemon Next he turned to the second party who had a bill in readiness. took the bill, and rolled it as before. He likewise borrowed a second handker. chief, and precisely the same process was followed as in the first case, the second spectator eventually holding his handkerchief high in the air. At this point. Malini carelessly picked up the hollow wand and while talking, slipped the bill inside the tip of the wand. This was carried out in an instant. and he carelessly placed down the wand on the table. Turning to the first spectator. Malini asked him if he had a lemon. 0n receiving a negative reply. he carelessly placed his hand in his pocket. palmed the loaded lemon and deliberately reached under the spectator's coat and produced the lemon. which inevitably produced a laugh. Next he had the second spectatOr choose any egg from the bowl. Turning back to the first spectator. Malini held the lemon high in the air in his left hand. He told the audience to watch the bill in the handkerchief. and likewise watch the lemon. At the count of three. he dramatically snatched the corner of the handkerchief. shook it out. and of course. the bill a disappeared. Removing a kni e from his pocket. Malini cut open the lemon in the customary fashion. and re— vealed the borrowed bill nestling in the very heart of the fruit. He offered the half lemon to the spectator for him to pull out the bill and identify it. After a pause, Malini picked up the loaded wand from the table, walked over to the spectator who was holding the egg. and asked him to hold it just a little higher. Again. he snatched the handkerchief from the lender's hand—«the second bill had vanished. It was then a simple matter upon cracking the egg with the wand, to load the second bill. Malini removed the bill daintily with his fingertips. unrolled it. wiped it dry and had it identified by the lender. Incidentally. this trick would make a perfect club trick today. as it is not too difficult to per orrn. and recommends itself owing to its strong effect and simple preparation.

THE COIN CAME. The next effect in Malini's programme was one he often did. especially when there Were some boys in the audienCe, He borrowed a half-dollar and a quarter. invited two boys up, and told them he was going to give them a chance to win a prize—in fact. quite 35

a substantial prize. Malini placed the half-dollar on the outstretched palm of one of the boys. then told the other boy to tie up his (Malini's) hand. with the exception of his forefinger. The y wou wrap a handkerchief very tightly round Malini's closed fist and tie it. but leaving the extended forefinger uncover . Now Malini balanced the quarter on the tip of his extended forefinger and announced. " ow I'm going to give a prize of fifty dollars if this boy can catch the quarter when l strike it against the half-dollar on his open palm. “I count 'three'. then Remember. the half-dollar strike it against the coin in your pa m" was reposing on the boy's outstretched palm and the quarter was daintily balanced on Malini's forefinger. Malini counted. "One—two hree" and on the count of 'three'. he quickly turned his hand over, slapped the quarter on top of the half with a resounding click and instantly moved back his hand. The boy clenched his fist. but missed the quarter completely. as it was seen to be still balanced on Malini's forefinger. Malini told the boy he would give him three chances. Twice again he slapped the half with the quarter. but each time the boy failed to catch the coin. Then Malini said. "We'll have to give this other boy a chance". He cued the second boy to be a little quicker than the first one and immediately after the first slap Malini suddenly paused and said, ” I'm going to change the prize to twenty-five dollars with this boy!". This got a considerable laugh from the audience. This trick is very simple to perform. All you have to do is to The fact simply pinch the coin between the forefinger and thumb. that the handkerchief encircles the other three fingers and thumb does not prevent this being done. as there is enough 'give' in the cloth to allow the coin to be pinched (Figure 88). This is done as the hand is

turned and brought down tor one com to stun: the other. As Inc edge of the one coin clicks its edge against the coin on the boy 3 palm, the hand Is moved back quickly. the thumb removed when the finger is seen to be still extended with the quarter balanced on the tip ( Figure 8b). Simple as it is. Malini obtained a great deal of amusement from the trick.

Some years ago. I was with Leipzig and Manuel (who was one of our greatest coin manipulators). and we all did tricks for some very One of distinguished people, including several newspaper editors. the tricks which impressed them most was this balancing of the coin on the finger and striking it against the coin on the palm. Manuel did this for the Art Editor of The New York Times, who said it was the most marvellous exhibition of dexterity he had ever seen. That just goes to prove that sometimes tricks which magicians pass up because of their simplicity are very effective from the layman 3 point of view

THE BU-l—l'ON TRICK. Another trick which Malini often put in his programme. was the aforementioned 'Button Biting Trick '. Again this Is a very simple trick to perform. All that is needed Is to have a button In your pocket which Is stolen when you see one which matches it pretty closely on a suitable victim Now this button of yours is an ordinary one with some thread hanging from it (Figure 9a). other words the thread has been wound round and inserted through the centre holes. with perhaps three—quarters or an inch of loose thread hanging down—just as it would be if the button had been wrenched from the cloth. ni would simply have his button palmed in his right hand Malin reach with his left hand for the person 8 jacket and pull the coat towards him. As he placed his right hand on the jacket he covered the original button with his right thumb. but allowed the palmed button to project from under this thumb (Figure 9b . A person glancing down would see the feke button. not his own original button. Now Malini slowly edthe coat towards his mouth gripped the button bent forward. pulled utton was now in between his teeth and apparently bit it off. full view between his lips with some thread hanging from it (Figure 9c). With his left hand Malini pretended to pick some loose threads from the jacket itself. his rigttthum concealing t e real button from view. He suddenly reached up with his left fingers pretended to take the button from between his lips, but actually pushed it into his mouth He did this very neatly. making a perfect illusion of seemingly taking the button from his mouth. and apparently holding it between his 37

fingers. Then he brought his fingers down over the blanksspace (the spot on the coat where the button was origin y), and he slid his thumb With first a rubbing motion, he then lifted off the original button. his hand slowly, and there was the button as it was at first. To read about it makes it seem like a very simple trick but well acted. and acted up the way Malini did, it was a veritable miracle oprove the strength of Malini 3 button trick. it should be menTo tioned that In I922, at a public reception at the White House. Malini apparently bit a button oi? the coat of the late President Warren G. Harding The result was that the next day the Washington newspape ran a front page story describing the event. and it was the talk of the whole town for long afterwards. This well demonstrates Malini s ability to gain publicity by doing simple tricks In a dramatic manner, at the right time. and for the right people.

CUT AND RESTORED RlBBON. As we mentioned earlierr, Malini often did the Cut and Restored Ribbon trick In the second part of his programme. His method was simplicity itself; he simply

38

had a small loop of ribbon threaded on the ribbon itself This was secretly slid to the centre by the fingers, and when shown. represented the centre of the ribbon (Figure l0). It was then cut. knotted and later the ends and the knot itself trimmed away, when. of course. the ribbon itself was apparently restored even though the ends had been held by two boys or two other assist-

ants.

Manny tirn magicians would demonstrate complicat rope tricks to Ma Ini. on occasion a well-known Los Angeles magician presented a clever rope routine. involving the cutting and restoration of rope

snorted. shook his head and sai . No good. Too complicated. Cut the rope once and restore it —that s enough!

PART

THREE

Mal1ni commenced the third part of his full evening show attired In elaborate Chinese robes. and quickly produc in succession. a large bowl of water. followed by a similarly large cylinder of water. \Ve do not intend to go into detail as to how the trick was done in the text. but the illustration (Figure l l ), shows the elaborate harness and special covering for the production of a large bowl or tub of water.

To be frank. the production of the bowl and cylinder of water was never too skilfully performed. Malini himself realised this. but on the other hand. it produced colour and flash. so he inevitably included it in his full evening show.

THE lNERTlA TRICK. Malini climaxed his show with the lnertia trick. This was the placing of five tumblers on a table and covering them with a thin flat tray. A number of cards. rolled In the form of cylinders or tubes were placed on the tray immediately above the glasses. then raw eggs placed atop the cylinders. The effect was to knock away the tray so that the eggs fell. one into each of the glasses. which remained in position. Many people consider this a very difficult trick to perform. In its original form. it did require a great degree of dexterity and skill. However. there Is a very simple method of doing the trick. which can be acquired with a few minutes practice. lnstead of knocking the tray with the heel of the hand. simply hit one corner of the tray a sharp blow with the right forefinger. This will cause the tray to spin away from the glasses. when if the eggs and tubes have been placed correctly on the tray over the glasses the eggs will safely drop into the tumblers Before Malini actually knocked away the tray he performed several simple card shuffles. cuts and ornamental sleights. He was likewise very expert in performing the so callde Boomerang“Card Tossing a card into the air. with a backspin. it would return to his hand.

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42

MALINI

AT THE

BAR

Some of Malini's most telling efiects were performed in fashionable taverns and bars. Here. by virtue of his magic. he made contact With important people, which almost invariably resulted in lucrative dates and engagements. In the bar of the famous old Waldorf Astoria Hotel in New ork, for many years there was displayed a large paving stone on which were inscribed the following words,‘ stone was [I twas dated around l92l, but we have alini" . magically by Max forgotten the exact date. Old time bartenders throughout the world still relate stories of Max Malini and his marvellous magic. Buttonce again we must emphasise strongly that it was Malini himself; his personality . his acting; his uncantIy tImIng even more than his methods. that created a lasting impression. With Malini magic seemed to happen spontaneously; in other words. he was an opportunist who took advantage of every possib e circumstance and occasion. He would never. as many magicians do, take a coin from his pocket and perform a trick. If he wanted to do a trick with, say. a half—dollar, he would wait until he was standing at a bar. or some place where somebody was handling money, such as receiving change then he would suddenly say. Hey. give me a coin and s ow you a little trick". in other words. everything seemed as if it just happened naturally. COIN FOLD. One of Malini a favourite tricks In the bar. and one that Is typical of him, is the so—called Coi old. Pa ay particular attention to the psychology he used with this trick

Most magicians are familiar with the trick of taking a small square of paper. and f0 d up a coin in it in such a way that they can later extract the coin secretly by letting It fall or slide down through the folded paper. There are several ways of making this fold, but to Malini the actual method was not the important factor. The thing was that after gaining everyone's interest in the manner described above he took a twenty at piece from his pocket. passed it around for examination and said. ".Centlemen I ll now show you a trick With this gold coin". H ped it up in the paper. using the well-known coin fold. After folding lhe paper neatly around the coin, he asked two or three people to feel the coin through the paper. When he had secretly stolen the coin (re— taining it in the finger-palm position) he deliberately tore the paper into small pieces After it was torn up. he readied down and tossed the PIBCCS (WItlI the com hIdden behind them) into a cuspidor on the floor.

43

I‘UVV

"Hun-u“; u . v-v-J

----—p----— - --

-- ---------—- ...... -~-—-----

-- v-n-a— u..- -

a tWenty dollar gold piece into the spittle and beer soaked sawdust ll a cuspidor. but this it what he actually did. l watched him for a coupl< of hours at a time. and I saw him wait for the porter and follow him ou to retrieve his twenty dollar gold piece as the cuspidor was emptied The psychology here is a good example of how Malini's mind Workec on such an effect. For the coin fold itself. Malini used the same method popular witl I his contemporaries, and described by C. Lang eil in his book Modern Conjurer. As the description is no longer readily available we will explain the method.

The paper used needs to be about four inches by six inches and a fold is made across it. so that one side is about an inch shorter than the other.

Starting with the coin in the right hand and the paper in the left hand as in Figure I, place the coin in the fold—-Figure 2. With the left thumb and fingers close the paper over the coin—Figure 3. Holding the paper with the short side towards you, double both sides of the paper forward—Figures 4 and 5. Holding the packet at each side. bend forward the top of the paper—Figure 6. It now appears as if the coin is trapped in the folded paper—actually the top is still open because in the beginning. one side of the packet was shorter than the other. To show the coin is still there, take the packet in the right hand and tap it against the table (or some other hard object). In taking the packet back into the left hand. it is taken by the bottom edge, so turning it upside down—Figure 7. ln this position the coin can slide out into the right fingers (Figure S—rexposed view) which takes it in the fingerpalm position. All that remains is for the packet to be torn in halves slowly and dramatically—Figure 9, then again torn into very small pieces. Figure l0 shows an exposed view of the finger-palmed coin as the packet is being torn up,

WATER FROM CANE. Another simple thing Malini did is almost a school boy trick, yet he obtained a tremendous effect from it. He would retire to wash his hands. and while in the bathroom he took a small piece of toilet tissue. After rolling it up into a ball. he soaked it in water and placed it behind his ear. Later. while talking at the bar When it was and having a few drinks. he ordered a straight whisky. served he said. " I'd like a little water with my whisky . . . oh. never

45

mind" then he picked up his can: (he always carried a cane) and al the same time he stroked his hair. stealing the soaked ball In his fingers. He brought the ball against the cane. about six inches up from the ferrule. Holding the ferrule of his cane over his glass. he squeezed with his fingers and the water would drip down from his cane into the whisky—Figure I I.

This impromptu effect created id it. a sensation whenever he People would say. “May I look at that cane Malini?" and, of course. there was nothing to fin . He also used to do the Weeping This Is Coin by the same method. the old-time trick of taking a coin and He ueezing it to make it '1q used to say. ".Look I ll make the Eagle cry . He never referred to the side of a coin as Heads or Tails : he always said A Lady on this side and an Eagle on this side", for he had an amusing and pictureesque way of speaking.

COIN VANISH. Another trick he often performed was the van— ish of a coin froma glass of liquid by means of a glass disc. which he substituted for the coin. If water was not readily available. he dropped the glass disc into his whisky. and made the coin vanish that way. While on the subject of this trick with the glass disc, I must mention one of the most cunning uses for this disc that l have ever It was devised by Mac McDonald, a magician who unfortunheard of. ately lost the use of his right arm, so could only employ his left hand or his magic. He did this trick in a most unusual way. I saw im perform it at the Park Central Hotel, New York. in front of some of the bfist posted magicians in New York City. and he completely bewildered t em.

stead of using a coin. he took out a metal disc about the size of a half-dollar and proceeded to give a little talk about it. He said that this disc was made in Germany from a very special alloy. which was perfectly solid. and could be tested in every way. He dropped the isc on the table to prove that it had a proper “ring like a real coin.

’ He then stated that it was instantly soluble in water. bartender. “ Will you hand me a glass with a little water insaild. toPtrl:

'jigger‘ viously he had planted with the bartender a whisky glass, or 'jiggers:

as it is known. This was a perfectly ordinary one. but some have a slight recess at the bottom. so that a coin will nest inside the bottom of the glass. If the glass is placed flat on the table it can be slid forward, taking the coin with it. the coin 'riding' along u'nderneath the glass.

The only other thing Mac used was a glass disc. the same size as the metal one.

Remember. Mac could only use his left hand,

h h d

slal: disc in the finger—palm position of that hand at thiosafneatintileeag ' @Stctin tlr' ation. When he took the glass . "ass " INS” it placed and r bartende from the on the bar or table, he loaded the glass disc (y) underneath the 'jiger' when. as both were transparent, there was nothing to show (Figure IZa).

After the spectators had handled and toyed with the metal 'coin' and found it was perfectly solid. Mac placed it down very close to the glass on the table (2) . He then asked somebody to cover the glass with a handkerchief. when naturally the handkerchief would not only cover the glass but the coin as well. because it was resting at the foot of the With his left hand Mac glass. reached underneath the handkerchief and groped around a little for the coin. then seemingly brought it up underneath the handkerchief and asked somebody to hold it through the cloth. What actually happened was that under cover of the handkerchief. he slipped the metal disc under the glass. picked up the glass disc instead and lifted it for a spectator to grasp through the handker.

, _ II”: “n

1 - mu! Iisc 47

chief (Figure IZb). Actually. it was the glass disc which was held above the glass, but the spectator thought he was holding the metal. When I count three. l want you to drop the metal into the Mac said glass" . Well. he counted" One, two, three" andthe disc was release? Mac said. and was heard to clunk as it hit the inside of the glass "Remove the handkerchief and when this was done. and the spectators glanced down into the glass, it looked exactly as if the metal was inside at the bottom, although it was actually in the recess underneath Up to this point there appeared to be no the glass (Figure I2c). unusual effect, but Mac said. Lift the glass", and when it was lifted the wee ' ‘ " to find that the metal was beneath the glass. having apparently penetrated the bottom. Before the spectators had time to do much in the way of examina‘ tion, Mac said. "You see. what happens is this. When you drop the metal into the glass . . . (he deliberately dropped it in then dipped two fingers into the glass and took it out again. but he took out the two discs together) . . . it dropped right through the glass". He fingerpalmed the glass disc and showed the metal one. He repeated the effect. but reverted back to the old method of doing it. He had the glass covered again, placed his hand under the handkerchief and switched the metal disc for the glass one, getting a spectator to grip the glass disc through the handkerchief. He brought out his hand. with the metal finger-palmed. As the spectator was holding the glass disc over the glass Mac said Now be carefu rop it right into the glass this time . The spectator dropped it in the glass again and Mac said. I m afraid you dropped it too violently.. .from oogreat a height. Take the handkerchief off" . This was done and nothing could be seen in the glass not even when someone lifted it. hen Mac reached under the table, brought out the metal disc and said. "It not only penetrated the glass this time, it also penetrated the table top!" This was a beautiful adaptation of an old trick. and remember this magician only had one arm, but he performed so expertly that even a very dear friend of mine (who shall be nameless) : a very keen observer. coul not understand that a glass disc was used. He told me. " Dai. there was no disc in that glass". for he failed to notice the natural action when. during the explanation. Mac dropped in the metal disc and took out both together. WHISKY-WATER TRANSPOSITION. Another effect which Malini found most effective, was the trick of filling one jigger with whisky, another jigger with water. then inverting one over the other with a visiting card between the two. Now if this visiting card is just 48

moved slightly, so that air is allowed to pass along one edge of the glass. and over the edge of the cards. the two liquids will transpose. lt is not y can do it the first too well—known, but this is a natural law. Any time they try. as there is really no trick to it. lt is quite interesting to watch the reaction of a person who has never seen it be ore. MACNETlC CIGARETTE PAPER. The reader will remember that l have mentioned Malini's cane in connection with the trick he did in which he added water to his whisky from the ferrule. When somebody said. "Well. gee, how do you get water out of a cane?". Malini would sometimes follow this up by saying. ” This is a very funny cane ——look at this". He balanced the cane across the back of a chair. He would take some little time to do this, finding the exact point of balance. so that the cane was at right angles to the back of the chair. Next he endeavoured to borrow a piece of cigarette paper, but if no one could oblige he took it from a cigarette; in other words he tore the cigarette apart by splitting the paper down the middle. He took the ragged piece of paper and rubbed it briskly on his coat sleeve. then held it near the ferrule of his cane. He did this several times. finally holding the paper fully an inch away from the cane. then s owly moved his hand to the right or the left. when the cane would slowly follow the paper in a mysterious manner. Even people w 0 know about static electricity also know t at you cannot use a piece of paper to attract a heavy cane the way Malini did. What they did not know was that Malini had a

@

a.

49

small piece of amber comb concealed In the same hand which held the . Sometimes he concealed an amber cigar holder in his hand pa (Figure l3)—he was always smoking cigars and hadbeen given many presents of cigar holders—so it was t camber concealed in the hand which was rubbed on his sleeve. not the paper—this little item is very mysterious when well presented. PRODUCTION OF A CLASS OF BEER. Perhaps the most surprising trick of all which Malini performed in a bar, was the produc— tion of a glass of beer under a hat.

The reader may be acquainted with the misdirection used In this trick where a coin is put underneath a hat, then a guess is made whether it is heads or tails and so on. Finally. on the third or fourth lifting of the hat. you load something underneath it for production later. Malini nd the manner he obtained it is very often produced a glass of beer an interesting. He would be sitting at the table with some four or five would wait until the waiter mcn. drinking at some taver orabar. got very busy, then he would suddenly decide that he wanted another drlink. As the waiters were so usy, e would have to wait. so he Never mind I will go and get it myself". He got up from the table and walked over to the bar. but at the same time as he bought a whisky he also ordered a beer. This glass of beer he slipped under his jacket. holding it by the pressure of his left arm. He was a very patient fellow this Malini. for he would sit there in readiness sometimes for as long as half an hour. Sometimes I have known him to sit for even an hour with something concealed under his coat. Malini would never otter to do a trick. He would always wait until he was coaxed and even when somebody said, " Malini. aren't you going to show us another trick" Max would hedge and defer as long as possible. He would wait until he thought the moment was right. then he said. "Hi show you von more trick before we leaVH" I'll show you von more trick. Have you got a half a dollar?. .and I want your hat". He put the hat over the half dollar and asked a spectator to guess whether it was heads or “tails (the lady or the Heagle ). it did not make any difference if the answer was right or wrong. He always worded his conversation so it appeared as if he was doing some miraculous mind reading. t ey called wrong. he said " No. you see you can t guess . If the second time the correct answer was given, he said ".Vell I made a little mistake. but look l show you what I do" . He covered the coin again, but by this time he had loaded the glass of beer under the hat. This loading of the beer was not difficult. as before he got ready to cover the coin. he reached up under his left shoulder with his right hand and brought the glass own between his knees. In Figure l4 the jacket is shown buttoned up. but actually it was left undone to enable the beer to be stolen and brought down under cover of the jacket to his lap where it was held 50

es. urely between his knee secu On the third lifting of the hat.

”a“ is first MN _

table and the of level very quickly loaded the glass in the hat with his left hand. the top of through pinching it the hat with his right hand.

I!" am —

he 31mply lifted the glass to the

:

1m: mm '1

He had a very fine way of placing the hat back on the table. There was no suspicion of holding anything heavy. He just seemed to place the hat He delicately on the table. placed it down carefully so as to prevent the glass sounding When he against the table. lifted the hat. the spectators naturally expected to see the coin. and were absolutely amazed when they saw the large glass of beer.

- thu tmsttmd tn has "in to ”action

At this point. I lORN AND RESTORED STRAW COVER Would like to illustrate the way Malini prepared for a trick long in a vance. One time in the Congress Hotel. I called up to Malini's room to See him. After we had sat around for some time and had a few drinks ol Vat '69 (his favourite whisky), I asked him to show me a trick and he said. " l show you a little card trick. There are some cards in the top drawer of that bureau". I went over and opened the top drawer and there were two or three packs of cards. but I also noticed a large pile o soda straws still in their paper covers. Several of these paper covers had the names of different hotels printed on them. At a glance, I could see some from t e Blackstone. some rom the Drake Hotel. also the e had quite a pile of them. probably from Congress Hotel. and so on. 5|

about fifteen different hotels. Now say a person was taking him oveI to the Edgwater Beach Hotel in Chicago. from the Congress or the Drake (or wherever he was staying). he would usually know where he was going because perhaps the man would say. " Let's go over to the Edgwatcr Beach Hotel and have a drink with a friend of mine". Malini would load up with one of the appropriate paper covers. In other words. he just crumpled it into a little pellet. Perhaps two hours later. or even longer. somebody at the bar of the Edgwater Beach Hotel might "Malini. show us a little trick" and Max would reply. Vell. I do asallittle trick for you but let 3 have a drink first". Malini ordered

duplicate already In his pocket. Malini pic ed up the straw loo it very intently and said, Vot an age we are living In. . .everything is advertising. Look. vot a vonderful vay to advertise. You can even use an ordinary soda straw without seeing the name of the hotel. Vot an age ve are living in '. Hetookoff the This Is a clever idea paper. crumpled it up. then as if changing his mind said00 ”Vait a He now performed the minute. I show you a little trick vith it ordinary Tom and Restored cigarette paper trick. but the fact that he had first commented on. and seemed surprised that the paper carried advertising matter. made people convinced that it was all impromptu. with no possibility of a duplicate being us . It was this kind of thing that made Malini a sensation wherever he worked. and people talked about his tricks for months afterwards. Even today you meet old timers who say. " One time l met a little fellah in a bar and he did so and so". The stories have grown as they are told and retold. until it appears that Malini created miracles.

COIN SWITCH. One of Nate Leipzig; favourite tricks (and was the Copper and Silver Transposition one of my favourites too).w This Is the effect where a person holds a silver coin in his hand while You ask him to hold the silver you take a copper coin in your hand as tightly as he can. then when you snap your fingers (or some such thing). the two coins transpose; that is he now holds the copper This trick has several variations. and the coin and you the silver reason it is such a striking effect Is that any trick In which a person is actually holding something In their hand when a change occurs, has a ’ is another fine example. and nge e very strong impact. enjoys great popularity because the multiplication occurs while a person is holding a ball, or balls. in their closed hand. Now l am high-lighting the Copper and Silver Transposition in order to explain the simple switch used by Malini. 52

acopper coin palmed In his right hand In the regular paun He hada position. He Would take the silver dollaortand toss it from hand to hand but ensuring that the two coins didn tmeet. He always had the spectator on his right and kept his right hand tilted at an angle as he tossed the coin from the fingers of one hand onto the fingers of the other. in other war the angle of his right 69 W hand prevented the S mtg spectator piliom “seeing . N Igure m into the “m "I.“ This created a l ) wonderful effect. as the 0 I spectator had the impression of seeing both J hands. but he only ac— \\ tually saw the left palm. Silver mi. 1.5;“ \ As Malini tossed the mm m“ to u“ \\ visible coin from hand to hand he kept saying. " A Lady; an Eagle— A Lady: an Eagle . Finally he apparently retained it in his let hand but what actually happened was that when the visible coin landed dhe finger-palmed it and released the other coin from in the right hand, his right palm. Then he simply said. "Hold the coin" and of course. e had already made the substitution. He would also make the same switch when he completed the change. l mention this to illustrate what a simple change he used—no intricate finger-flinging or cleverlooking manoeuvres; just a simple toss from hand to hand. It was all so very disarming that he completely bewildered people with this trick. THE VANISHlNG WHISKY. To illustrate how extremely bold and audacious Malini was w en he performed. here is a description of a trick that had me worried for years. l heard about it from a person who had seen Malini perform it and who endeavoured to duplicate the feat. It sounded impossible the way it was described to me. This person was with Malini all day; had several drinks with him. and was positive about what took place. Well. the description was accurate, but the means of accomplishing this miracle was really childishly simple. It was the kind of trick that a young boy might invent if he had never performed a trick in his life. but it worked when Malini did it and created at the fellow told me was that he was in a bar a tremendous effect. with Malini who ordered two straight whiskys. The bartender came and placed the two whiskys down, one in front of my friend and one in front of Malini. and asked if they would like a ‘chaser’. They both re— plied "No. we will take it straight", Malini said. “Let's: drink to so and 53

They both lifted their glasses. but when my friend lifted his. there so was nothing in it!——the whisky had disappeared! I insisted that Malini must have touched the glass. or something. but my friend said. ”No. the bartender just placed the two drinks in front of us. and when I lifted my glass, the whisky suddenly vanished as I lifted it up". Obviously this sounded preposterous to me, but years later Charlie Miller saw Malini do this in San Francisco and he told me exactly what took place. le to see the method because I had tipped him off to watch for this trick.

What actually occurred was simplicity itself. Malini ordered two straight whiskys. which were brought an placed one in front of Malini. and the other In front of his friend. The bartender naturally asked if or something else), to which Malini they wanted a chaser (sodao replied. No. we ll drink it straight". Malini lifted his glass and immediately engaged his friend In conversation; saying something about the decorations they used to have in the old time bars around New York. ew his friend's attention to a picture. a painting. or something at r. Immediately his friend glanced in the direction the end of t e Malini indicated, Malini gulped his whisky down In one swallow (and he was veryg at this!) quickly set the empty glass down In front of his friend and picked up the full glass. Malini said. "eW ll. let 3 drink a little toast to so and so ',and when his friend picked up his glass he was naturally amazed to find it empty. whi e there was a full one in Malini's han .

This all sounds fantastically audacious. but It illustrates how Malini could make a reputation on a trick 0 is type. as ave ear many people rave about this very effect. Malini must haveperrmfo ed it on many occasions but he certainly got away with it and really fooled people.

54

CHAPTERFIVE MALINI AT THE DINNER TABLE

Malini was thoroughly at home at the dinner table. He enjoyed good food. and wine . loved to talk and could tell some very interesting stories. Afterall .he knew notables In every part of{the world, and would recount his meetings and experiences with them.

PRODUCTION OF A BLOCK OF ICE. One of Malini's greatest tricks; one that caused a sensation whenever he performed it. was the production of a large block of Ice from under a hat. This production was identical with the glass of beer from under a hat explained in Chapter Four. but presented a totally different problem. How and wltere did Malini conceal the ice? Where did he get it in the first p ce?

I remember being completely fooled on a certain occasion in New ok. I was at a party with a friend of mine named Bert Morey. who incidentally had entertained Malini on one occasion at the St. Francis nths! He had seen Malini perform the Ice proHotel for over six men duction many times and he told me he had never even been able to find l must admit that to this day, I do not know where Malini got the Ice exactly how he got it or where it came from. Obviously it must have been secretly passed to him by a waiter, an accomplice, a friend. or he may even have gone into the kitchen and got it himself. Whatever his arrangements were. he always managed to obtain it secretly. Howt was by means of y. ever. I do know how he held the ice on his a small pair of Ice tongs. These are probably rare these days. but In the days when Ice was sold In the cake. there used to be me tongs of all nmade In sterling silver. Some of these shapes and sizes; someeven ice tongs had ring--like handles at the top w ich when gripped and squeezed held the ice firm y, ut when released the slightest touch would dislodge the ice. Malini had a pair of these tongs strung around his shoulders with a ribbon or tape. They came under his left mm and were covered by his jacket. The Ice was held In the point of the Jaws of these tongs. it only required the slightest lifting motion of the right hand. when placed under the block of Ice. for it to be released and fall on the palm of the hand. Malini would sit for quite a while with the Ice in the tongs. 55

A magician by the name of Tommy Martin, who made a hit with his magical performances In this country some yea ago. gave me his word of honour that one time he saw Malini stand at3a bar for fully half Until then ld dnot know that an hour with the Ice under his coat. Malini performed this trick at the bar. but he certainly did on this occasion. Naturally ice will melt in that length of time. but Tommy said that this did not seem to disturb Malini in the least, although it was noticeable that his shirt and jacket were quite wet on the left side. Malin smethod for producing the Ice was exactly the same as for the glass of beer under the hat. He would take a coin. borrow a hat. and on the occasion l was so completely fooled. it was a lady's hat which he borrowed. We were dining at the B ue Ribbon Restaurant in New York——Bert Morey had asked me to watch Malini carefully. We were both determined to find out how Malini obtained the block of ice, but ”I swear to this day that on this occasion Malini did not have time to load up after we sat at the table. The way he introduced the trick was this. He looked across the table at the lady and said. "Excuse me. madam. but isn't that a Paris hat you are wearing?". She replied. "Yes. Max. it is". and he said. "Ah. you can always tell a Parisian hat. The finest milliners in the world. Would you mind if I look at it?". She handed Malini the hat. which was a little turbaned affair. shaped something like a low fez. Malini picked it up and showed the label to everybody at the table, saying. " Look. even the label; see how beautifully it is lined. Ah. Paris is the place for a lady's hat". Then he started to hand it back to her. but seemingly changing his mind said. uVait a minute, l show you a leetle trick". He borrowed a half dollar from somebody. spun it on the table. placed the hat over the coin and said. “Guess—Lady or EagleP". Well. on this occasion 'lady' was called and he picked up the hat and Again he spun the said " See. you cannot fail, the coin is 'lady' When they said coin, covered it. then asked somebody to guess. "Lady" again he lifted the hat and said, ”Lady again you see. as I told If it had been ‘Eagle' he would have you. you can never fail". said. " You can never guess". He was a quick thinker and could adapt his speech and actions according to the circumstances. Finally he did miss on the third time and looked a little concerned. He dropped the hat slightly below the level of the table, but already his right hand had sneaked under his coat and the ice was now in his lap. When he lower— ed the hat the ice was very skilfully loaded inside. then the hat placed back on the table. Although I knew Malini was going to do this trick and was sitting across the table from him. I did not see the ice actually loaded. for he handled this trick very beautifully. I will never forget the waiter who was standing behind Malini; he almost keeled over when Malini lifted 56

the hat to reveal the Ice.

l ne enec: cremeu a prorouno impression on

everybody who was there, and was something for them to remember all their lives.

VANlSHlNC TOBACCO. Another trick that Malini often performed at a dinner table began with im borrowing a cigarette from Sometimes he someone, and splitting the paper lengthwise. Would do the Tom and Restored Cigarette Paper Trick with this paper, but on other occasions he just crumpled the paper into a small ball and the table onto off tobacco the scooped he Next table. the on it placed his left palm. where it lay in a little mound. He picked up the paper, placed it in the centre of this mound. then placed his right hand. palm downwards, over the tobacco and commenced making a circular motion. rubbing his palms together. He rubbed them for fully thirty seconds, then closed his left hand, raised his right hand (almost straight) and made passes over the left hand.

He slowly opened his left hand and

the tobacco had vanished. He immediately rose, a second and walked away from the table. When body said."What happened to the tobacco Max; it?". Max said, " Vell. look under the ashtray". the ashtray and there was the pile of tobacco.

excused himself for he came back everywhat happened to They looked under

Obviously. this tobacco was not the same as he vanished; he had loaded it sometime previously. but hard as this is to believe. Malini actually palmed the other tobacco. The thing had me puzzled for years. but Charlie Miller who is very familiar with the works of Malini. told me the secret. Charlie spent some months with Malini in California just before he died. Malini was getting careless as he got older. He had been a heavy drinker all his life. and these were his last days of performing. for shortly after he left for Honolu|u~—where he died. Charlie Miller watched how he palmed the tobacco. It would be impossible to palm some kinds of tobacco as it is dry and crisp and would not cling together. Other types are damp and have the quality Malini could roll this that when rolled. will form a kind of ball. tobacco into a ball between his palms. and actually palm it at the base of the third and second fingers of his right hand, in the same

manner as for the old time palm for the ball in the ' Cups and Balls' trick.

After closing his left fingers he lifted his right hand straight up. made some passes with it. and as he pulled his chair close to the table. he used the well-known gambler's ‘get-away'; that is. placed the tobacco in the fold of his trousers under his knee. en he would bring his right hand out again. wave it over his closed left hand. then open his left fingers when the tobacco had apparently completely disappeared. When he pushed his chair away from the table again to retire for a second. he recouped the tobacco and got rid of it. On returning to the table. all he had to do was to lift the ashtray where he had previously hidden some tobacco. 57

l was discussing this tobacco vanish with Dr. Irvin of Kansas City and he had an idea for a little gimmick. consisting of a hook and little pin point. on which the pellet of tobacco was impaled. Doc. lrvin's idea was to palm this little gimmick in his right hand. then as he pulled back his left sleeve the palm of the right hand would turn up underneath the sleeve and the hook would go on the under side of the left sleeve. Then. of course. the left hand could be opened slowly and the tobacco would have vanished. l have mentioned this just to give you. the reader, an idea how much thought went into this trick by magicians of that era. and how Malini had everybody fooled by the method he used. LUMP SUGAR. Here is another trick which Malini performed. lt is quite simple and almost anyone can do it. but it always produces a good effect. This is the changing of granulated sugar into a lump.

Malini would say to some lady. "Will you take a teaspoon of that sugar. and pour it into my hand". then he held out his hand for her to put it into his closed fist. With his other hand Malini made passes over it. then opened his hand to disclose a lump of sugar which he dropped into his tea or coffee.

e secret is that Malini palmed a lump of sugar which he had previously hollowed out with a penknife until it was just a s ell. e held this so that the opening was upwards and as the lady poured the sugar into his fist. it went inside the hollow cube. All he had to do was to hold his thumb over the hole to show the cube. then immediately destroyed the evidence by dropping the lump of sugar into his coffee where it melt . Malini performed several tricks with sugar. He used to do the trick known as the ‘ Free and Unlimited Coinage of Silver' which is described in my book (Dai Vernon Book of Magic). Instead of using coins he planted sugar under different articles on the table. \Vhen someone asked him to do a trick he would say, .. Vait a minute". then ifted up one of the articles to disclose a lump of sugar underneath. Next he lifted another article and found a second lump and so on until he had accumulated four lumps of sugar. He then proceeded to do the Well-known ‘Chink-a—Chink Trick' which is described so well in Stars of Magic, by my friend Mahomed Bey (Sam Horowitz). incidentally. Malini taught this trick personally to Sam Horowitz. It was wonderful to watch the way Malini secured the extra lump of sugar for this trick. He had it hidden either behind or in the folds of a serviette (table napkin). When he began the trick he placed his palms over the sugar saying. “ Chink-a-chink. chink-a-chink". Suddenly. as if noticing that the table napkin was obstructing someone's

58

view. he pushed it aside. and In the action he very cleverly palmed the extra lump. then proceeded with the trick.

PAPER KNIFE. Another efiect Malini performed was a standard trick many years ago. ln their programmes. performers like Galli Galli included a knife tridt In which six small squares of paper are placed on the knife. three on each side. The squares are removed but mysteriously return when the knife is clinked against a glass.

The usual method for performing this trick Is well known and it is not proposed to explain it in this treatise but a method Stuart J showed me many years ago is exceptionally good. Incidentally, Stuart some time with Malini In Cincinatti and observed several Judah spenta of his meth The knife has to be prepared beforehand; that is three tiny squares of paper (about a quarter of a postage stamp in size) are moistened and stuck on the blade of the knife about an inch apart; three on each side. In Judah's method the pieces on one side must exactly coincide with those on the other; that Is. the pieces on each side of the blade must be exactly opposite each other. Additionally. three extra pieces are used and placed in between the pieces on one side of the knife. 50 actually there are six pieces on one side and only three on the other.

—————————

The way Stuart Judah performed the effect was very clever. “Her silt He took the knife. and by the wellknown Paddle Move showed that there were three pieces of paper on each side of the blade. actually only showing the side that had the three pieces of paper, then making the paddle move to show the same side again nbeknown to the spectators.therew plec on the other side (Figure l. ) Now he would slowly and deliberately place his nger below and his thumb on top of the first pair and drag 0 both the lower and upper papers, fan them out to show that he really had two. then drop them In an ashtray. Again he would put his thumb on top of the upper paper of the next pair and his forefinger underneath and pull off both together. fan them out and drop them in the ashtray. He 59

would do this a third time when of course, there was nothing left on top of the knife. By making the Paddle Move, he showed the knife was perfectly clean on both sides. Finally, by merely knocking the knife against a glass (to get the sound effect). he flipped the knife over when suddenly three pieces of paper would appear on the blade. By making the Paddle Move again. he showed that apparently there were now three pieces on each side. This Is a very simple and novel way to do the trick, and will fool even a person who knows the orthodox method because it is entirely different.

BILL lN ClC-ARETrE. A novel way of passing a bill inside a He had cigarette was often adopted by Malini at the dinner table plenty of nerve and stupendous audacity. Being able to engage in absorbing conversation. he could even secretly load a cigarette while seated at the table. His hands would drop below the table level and he would roll out enough tobacco from a cigarette to insert a bill of his own. He often did this. but on other occasions he was more fastidious and would retire, perhaps to get a drink at the bar or make a telephone call. This enabled him to make a nmter job. The way he did the trick was very clever because he obtained a cigarette unbeknown to the people at the table. He spotted somebody who was smoking a rare or unusual brand of cigarette and would casually ask for one. Unbeknown to the lender. Malini had a cigarette would instantly substitute it for his own, light it take a few puffs. then Bein acigar smoker. this did not look una.y dash It out in the ashtra natural. The thing was. that he8had obtained In an usn uspicious manner. a cigarette of a rare brand into which he would load a rolled bill. Perhaps even an hour or so later. Malini would be asked to do Hewould ask someone for the loan another trick. and woulda ee. of a bill. He did not care what kind of bill was offered; it could be a one dollar bill a five. a ten. a twenty; whatever bill was handed to him he would roll it up into a small package as explained in Chapter Three. Next he apparently rolled the bill in a table napkin. Actually he adopted the same procedure as for his trick in which two bills were found. one in a lemon and the other in an egg, only instead of employing a handkerchief for the vanish. he used a table napkin. A table napkin adapts itself better to this rolled up condition than a handkerchief. because it is a heavier texture and makes a firmer package Although no bill was actually inside the napkin. this was impossible to detect. even though he would get a spectator to hold the rolled napkin—the person thought he was holding the bill inside the cloth. Malini would now borrow another cigarette from the same person who had previously given him one and so would ensure that he obtained one of 60

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He would previously acquired and loaded an hour or so earlier. light the cigarette take a few puffs. look at it and say. i thought these were good cigarettes. but this one doesn t seem to be as good as it should . In full view he would deliberately break the cigarette in half and extract the bill. All the time he had retained the original borrowed bill in the finger palm position and was able to switch it for the other.

Malini's method for making switches was almost perfection. be— cause he never made an awkward or unusual move: just an apparently natural passing of an object from one hand to the other. ln this trick he would extract his own bill still rolled up from the cigarette; instantly pass it to the other hand substituting it for the original bill which he The owner himself would unroll the bill handed back to the owner and confirm that it was the identical one that he had loaned Malini.

Another trick that Malini liked to CUTTING THE MENU perform was the effect of taking a menu or playing card. and using a dessert knife to apparently cut it in h.alf This Is a very pretty illusion it i blade which fits over the blade of the regular dinner or dessert knife. it is only half a blade which fits over the rreal one. and has a little the end (Figure 2). These fake half—blades are sold by many ealers. Malini was able to place this fake blade over the real one and remove it again under the His handling closest scrutiny. was very efficient and the trick always seemed to greatly mystify The apparently careless ople. but natural way he han ed the knife created a perfect illusion in his hands

Hall II“:

JARROW'S RESTORED CIGARETTE. Before I close this chapter. l would like to comment on a trick performed by Emil Jarrow, as it is similar in style to the work Malini did. Emil Jarrow was Malini's associate and worked with him for many years when they 'busked' together in the old days. incidentally. I consider this trick to be one of the finest accomplished by pure sleight of hand that I have ever seen. 6|

Jarrow performed it superbly well and it always created a wonderful impression on the people who witness it.

As with Malini. Jarrow commenced by borrowing a cigarette from someone who smoked an unusual brand. He instantly switched it for one of his own which he lit and began to smoke. Unlike Malini. Emil Jarrow was an inveterate cigarette smoker. and nobody thought anything about him borrowing and lighting a cigarette. Sometime later he made very good use of the borrOWed cigarette which he had left behind in his pocket when reaching in for matches.

At the appropriate time Jarrow again borrowed a cigarette from the own the same person, an very open y and cleanly split the paper do middle: opened the two halves and pouredt e tobacco out onto the person s outstretched palm. He picked up the paper. crumpled it into a small ball and placed it on top of the mound of tobacco the man was holding. Under the pretence of taking something from his pocket, Jarrow also obtained the whole cigarette whic was, of course. a dupliBy stroking his hair. cate to the one whichhe had just mutilated e very Jarrow allowed the cigarette to slide up his right sleeve. slowly and openly pulled back both sleeves almost to the elbow. As he usually wore a shirt with short sleeves. or rolled his cuffs back beyond the bend In his elbow. there was nothing to obstructt epassage objects that went up his sleeve. As Jarrow extended his left handanhe said, Pour the tobacco on my hand" and his right arm dropped naturally to his side. Of course. the sleeve dropped down again and so did the concealed cigarette. which he caught In his curled right fingers. He then clipped it between the centre of his thumb and the side of his hand, near the little finger; that Is it was cross-palmed In the right hand. Drawing attention to the tobacco In his left hand. he brought his right hand OVEI’ it with a kind of circular sweeping movement and ‘sleeved' the tobacco, in his right sleeve. At t e same time he secretly dropped the palmed cigarette into his left hand and immediately closed his left fingers. Tuming his e t hand over he gently rubbed eback with his now empty right hand. then slowly pushed the cigarette out of his left fist with his left thumb, so that the cigarette emerged from the little finger side. The effect was that the tobacco seemed to suddenly restore itself into a cigarette in full view. Of course Jarrow gave the cigarette to the person he had borrowed it from, who found it to be the same ma ake. The person could not figure out as to how in the world the cigarette could be restored. He knew it was the identical brand, and new that no one at the table had any duplicates. quite losing sight of the fact that Jarrow had borrowed one sometime previously.

62

People talking at a table are not conscious of these things; they give a cigarette to somebody and do not recall a 'natural' incident of this kind.

To 3ee Jarrow perform this trick was to see a veritable miracle. It looked as if he totally destroyed a cigarette, which a moment later restored itself In full view—under the closest scrutiny.

63

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64

CHAPTER

MALINI

AND

A

SIX

PACK OF CARDS

Malini excelled with cards and although he had very small hands he always used the large sized poker cards. In the days w en he was working Bridge cards were rarely seen. even though they were on the market and easily Obtainable if required. COLOUR CHANCE. I. like some of my friends who specialise in cards, believe that the Colour Change, well performed. is one of the most striking effects that can possibly be performed with a pack of It is visual and mysterious. but it must be performed flawlessly cards. in order to procure the beautiful effect of a startling change. Malini. unlike most magicians. did not turn his side to the audience and extend his left hand when exhibiting the colour change. He did this trick almost entirely surrounded by people. and usually performed standing, although he could do it equally well sitting down. He was a very short man. and even when he was standing most people towered over him and obtained a very good view of the cards which he held horizontally in front of him. He would make a remark such as. ” My hand is hardly big enough to cover the cards", then he illustrated this by placing his hand over the face Up pack. He removed his hand. showed about half the surface of the cards, covered the pack again and immediately lifted his hand slowly from the pack, when it was seen that the transformation had taken place. Again he covered the cards and this time he slowly hinged his hand forward (by using the fingers as a fulcrum). slowly elevating the wrist. when the card had again changed in a very mysterious way. This was flawlessly performed by Malini. Sometimes he would even draw back the face card of the pack after the change. to show the card below, and so seemingly prove by visual means that he had not slipped another card on top of the original face card. To perform this change Malini used the second method given in Erdnase’s The Expert at the CardTable (Page '52 of the I934 Edition). In this method the back card is pushed forward with the left index finger. the pack being held at the left fingertips. As the back card is pushed forward it is hinged into the palm of the right hand. This Colour Change is usually very badly performed by many magicians because the right hand makes all kinds of contortions and moves. Properly done, the right hand covers the pack and remains almost motionless as the left hand does the work. Erdnase describes this very clearly in the section of the book on transformations. He gives several methods, but the second one is by far the best of the Colour Change 65

moves, because it can be done instantly. No 'get-ready' is necessary and the 'palm' is silent, clean and Very rapid. but one must employ the proper misdirection. The right hand must stay absolutely motionless as the back card is pushed into it. After that gestures can be made. but the card must be neatly palmed and the whole thing executed in a faultless manner. otherwise the effect is destroyed. Malini's idea of pulling the face card back to prove that the second card was not the original face card, was usually only performed for magicians. He moistened the palm of his right hand before he commenced the Colour Change moves. Naturally this put a little moisture on the face card of the pack before the change took place. so after a card had been stolen from the back of the pack and deposited on top, all that was necessary was to push the second finger on the face card and slide it back. Owing to the moisture it would drag the second card with it and expose the card apparently below; actually two cards were pulled back to disclose the third card. Malini performed this flawlessly as he did the Change itself.

MALlNl'S CARD VANlSH. Here is an example of how expert Malini was at deceiving people by simple means. It happened in England many years ago. Cardini, a very good friend of mine, who I have known ever since he first came to America, told me a very interest— Ing story which occurred while he was employed selling magical apparatus at Camages Store, in London. n t ose ys ini was always practising magic. even behind the counter at Camage's Store. On this occasion he was practising the back and front palm. and study— ing his actions in a mirror. Suddenly he became conscious of a little man. a stranger. watching him. Cardini turned and asked. " Excuse me Sir. is there anything I can get you .3" and the little stranger replied, ' on re vasting your time, you're vasting your time". Cardini said, "Well, I'm just doing a little practising". The little stranger took the cards and said. "If you vant to vanish a card. here's the vay you do it" and he suddenly held up a card and it just seemed to vanish into thin air. Both hands were empty. there was no reversing or manoeuvering of any kind; the card just seemed to melt away. The little stranger clfopped a visiting card face down on the counter, walked away to the lift and went downstairs. Cardini looked around to see if the vanished card was on the floor. but it was not there . . . it had mysteriously disap~ peared. When Cardini recovered from his astonishment, he ran to the lift, went downstairs. out of the store. and looked in both directions up and down the street. but the stranger had gone. When Cardini returned, he turned the visiting card face up, and on it was written ' Max Malini. Honest to Goodness. I only cheat a little'. This was Cardini's only chance of ever meeting Malini. and his one regret is that he did 66

not look at the visiting mrd sooner. this day.

He often comments upon it to

From Cardini s careful description of Malini s card vanish I am n those days. everybody wore a almost certain that he Hvested it. Malini had short arms so that is hands came just a vest (waistcoat) little below the bottom of his vest. He was able. with the most natural card up under his vest. Many the shoot and hand his up move. to bring of the old timers used the vest a great deal. There was a fellow named Clinton Albert Adams who did a whole act in which he used the vest to get rid of articles. He had a great reputation around Detroit where Nate Leipzig lived at the time. Leipzig often commented that Adams ell . Malini was also was a miracle man when it came to vesting. one who could vest very well. and often used this way of disposing People not familiar with 'vesting' are astonished at how of articles. effective it can be when properly handled. CARD FROM MOUTH. Often after Malini had vanished a card. people would ask. ”Where is the cardP—What happened to it?" Malini. who was always smoking cigars. would say. "Why. here it is!" and he would remove his cigar and with his forefinger and thumb. take He did this very well. but some a folded card from his mouth. people object to taking things from the mouth; it is not considered good taste. Malini was able to get away with things that other people could not because he was a real character and people excused this kind of It was very amusing to see him take a card from his thing from him mout

His method was to palm out a card previously and fold it secretly He was very meticulous about the way the cards were but veryneat.ly folded. and neatly folded them Into four. This Is quite a simple thing to do with practice. Instead of throwing away that old pack. just practice folding cards secretly. and I guarantee that by the time you have done it fifty-two times you will be able to fold a card. with your hands at your sides. in a very efficient manner. CARD lN HAT. Malini's approach to every trick was different to what is generally employed by magicians. is magic was of a very high order and he had very unusual and original ways of doing things. For instance. if we asked the average magician how he would secretly into a man s hat while. say, standing at a bar where introduce a ca everybody had their hat on. he might say. ” Well. l would ask the man if I could see what make of hat he was wearing. l d look at it and say it was a Scott. Dunn s or a Stetson. or something like that. slip the card under the sweat band then give the hat back". Now In that case. when a card Is later produced from the hat. the man might remember that his 67

hat had been previously handled. and it would be very easy for him to retrace his thoughts and know when the card had been introduced. Not so with Malini's method. He would be standing at the bar telling about his experiences in different countries and would talk about how careful he always was of his health (this was not true!). He would say something like. "l've always taken good care of myself. because I look after my health. How old do you think I am)". The man would comment and guess his age, then Malini would ask How old are you?". The man would mention his age. then Malini would say. Vat! lodon t nwould proudly lift off The believe it. .let me see yourrhai his hat to show that he had a full growth of hmairnand stand there holding out his hand. Malini would say, wou d never have believed it'" then as he helped the man replace his hat, Malini would introduce the palmed card. Later. when he forced a duplicate of this card. vanished it, and found it again in the man's hat. I guarantee that the man would not remember that he even had had his hat off. This illustrates how Malini prepared far in advance for many of his effects. He used delay‘ ing tactics to great advantage. CARD REVELATION. A typical example of the use of ‘delay' is that Malini often had several cards selected and would reveal them in different ways, except for the last card. This card would be at the centre of the pack and Malini held a 'break' above the card. He placed the pack down on the table or bar, leaving a slight step to replace the break; in other words the top half of the pack overlapped the bottom half by an almost imperceptible amount. As he put down the cards, Malini said" Right gentlemen. we ve had enoughptricks. let 3 have a little drink. .let 5 talk a little" . The cards might remain untouched for several minutes before some person would whisper to his friend. ”He didn t find my card" . or "eH forgot my card". Malin ni appeared to ignore these remarks. A little later, he turned to the fellow and said, hat were you saying about a card?" The fellow might say, u'That s alright. we ll forget about it" Malini said. No. I von t forget. Did you take a card?" . When the person affirmed this Malini said "That 3 very simple" and he picked up the pack (recovered the break) and allowed the cards to dribble as it were. off his hands. In other words. the cards would slip off like a waterfall, one after the other. As he let the cards slip singly over his hand, the chosen card would cling to his fingertips as he had rather moist skin.

What made this revelation of a card particularly effective was the apparent careless way Malini suddenly found a card. ltoo as if he had complete control and could instantly find any card In the pack.

RlFFLE FORCE. Another different handling of a standard sleight used by Malini was with the Riffle Force Most magicians are

68

acquainted with the method at milling the outer eno or a pan“ m.” slightly hesitating to allow one card to show more than the others, after asking an observer to think of one card. Naturally the card at the point of hesitation is the one that is usually thought of. because it is the only one which is clearly seen.

Malini did this by first riffling all the cards then did it again and e hesitated at, say, t e Ten of iamonds. at w ich he held a reak. then said. " Some people can't think of a card when you riifle them like this" and he riifled them again, allowing the man another clear view of the same card. Then he said, " l vonder if you can watch close enough to see a card when l riffle the deck)". The person Would look at the cards as Malini made to riffle but more often than not would say, " I've Malini would say. ”Vat do you mean. already thought of one". you've already got one) You thinking of the bottom card)". The fellow would say, " No. l saw a card". Malini would say, "But i haven't started yet. Well. alright. think of the card". By either shuffling or employing the slip he brought the card to the top. Malini then removed some other card from the pack, say the Three of Spades, held it up and said. " You see how easy it is. I've got the card you remembered", but the fellow would say. ”No, you haven't even got the colour right!" Malini asked "Vell. vat vas the card?" and would be to d " e en of Diamonds". He then told the fellow to blow on it and when turned Of face up it was seen to have changed to the Ten of Diamonds. course, Malini had simply top changed the card after having shown the Three of Spades. He made the top change very slowly and was able to achieve complete deception because the man never dreamt that Malini knew what the card was in the first place. When the mentally selected card was revealed it was a real knock-out.

THE PEEK FORCE. Another standard sleight which Malini ven a person who employed in a novel manner was the peek force. is well versed in cards will be fooled if Malini's exact procedure is adopted.

As Malini held the pack be would have someone peek at a card; a perfectly free choice, because they lifted the very edge of the pack slightly. and looked at any card. Actually Malini secretly secured a break at the card, with his left little finger, squared up the cards very evenly and holding the pack at his left fingertips, tilted it so that it was horizontal: in other words. so that he was looking down on the side of the pack. With his right thumb he opened the cards like a book: not at the place where the card was peeked at. but at some other spot above the break. He opened them very cleanly. exposing the face of a card. Now he opened the pack a second time, at some other place. then by slightly relaxing his left hand hold where he was holding the break, he 69

allowed the cards to open automatically at the break. It was very easy to discern the right place because there would be a small triangular opening down at the base where the cards hing . T e card seen was the one above the one peeked at, so Malini would again close the pack. and now holding no break whatsoever. he would square the cards perfectly and even allow the man to square them up. Malini now knew the card next to the peeked card. so he took the cards. slowly fanned them face up and asked the person to see whether his card was still in the pack. All Malini did was to count a number of cards beyond the peeked at card. so that when he cut the cards or shuffled them he would know the position of the selected card, which was generally about ten or eleven from the top. Then he said, ”Hold out your hand—take the pack" and he gave the person the pack. He continued. "I'm going to tell you a number. number eleven. Count eleven cards very slowly. face up. on my han The man would commence counting, and if he counted too quickly Malini said "Slower. slower". en e came to number ten, Malini said, "Stop—the eleventh card. Lookl". e person would turn up the top card and see the card he formerly peeked at. All this manoeuvering gave Malini a chance to memorize seven or eight cards which were dealt face up in the hand. He commenced memorising, say. about the fifth card and remembered the fifth. si th. seventh. eighth. ninth and tenth cards. He had a very retentive memory and had no trouble in remembering these cards. en he took back the pack from the person who had been dealing. Malini cut the pack so that this remembered block was in the centre of the pack. He spread the cards out and holding them in one hand said. "Draw any card you like". The moment the person's fingers came near the pack. Malini shifted the pack slightly by turning his body to right or left. and had the helper's hand go on to section where these six or seven memorised cards were. lt was a very simple matter to see which one was taken. and the moment the card was removed Malini said, "Vell, vat's the use of doing this trick. you took the Nine of Clubs" (or whatever card was taken). This would really amaze the person because he knew the cards were not marked, and the possibility of a force was not considered because the selection was so free. It used to completely mystify very well posted card men, and it was things like this which enhanced Malini's reputation. People used to talk about him with awe and even professional magicians could not fathom his methods.

THE. SIAMESE. ACES. In his book The Art of Magic, T. Nelson Downs describes a trick the effect of which is. briefly, that two Aces are removed from the pack. which is then cut into three heaps. After placing one Ace on the centre heap. the performer displays the second Ace. A spectator ‘maliciously' places some cards on top of the Ace

70

from one of the other heaps. The performer, not noticing this disarrangement of the cards, places the second Ace on top of the first heap: places the third heap on top of the first. then the two on the middle Cards are now dealt from the bottom. face upwards, when the heap two Aces come together.

It is not our intention to describe the method given by Downs other than to say that it depends upon a ey car and the use of the Malini had his own way of getting the same result and he even glide strengthened the efl‘ect by having the pack shuffled.

His method was to nick each red Ace with his thumb nail and the means whereby he achieved this illustrates how careful he was to avoid detection.

After removing the two red Aces from the pack. he took one in each hand delicately holding them face down between his forefinger and thumb. He slowly moved his right hand to the right and very slowly turned the card face up. Every eye would follow the hand moving to the right. and as Malini was turning the hand to bring the card face up, he made the nick in the other card with his left thumb nail. After turning the right hand card face down again he brought his other hand to his front. then moved his left hand to the left and slowly turned the card face up, making a nick in the right hand card as all eyes followed the action of the left hand. This strong misdirection was used to cover the pressure of his thumb nail, which raised a tiny bump at about the centre of the inner Naturally. these Aces could now be end of each of the two Aces. placed on two of the three heaps Into which the pack had been cut. and It did not matter how the cards were mixed or in what order the heaps were reassembled (the pack could even be shuffled)—for the tell tale nicks were there to be felt. Malini would simply deal cards face up from the bottom of the face down pack, but when he felt a “bump he made the glide. then continued to deal cards until the secon nd 'bu ump was found. Now he dealt the two Aces. one immediately after the other THE. SlDE SLIP One of the most important items in Mal mi 3 card work was his 5Ide Slip. We have spent probably thirty or forty years thinking about and reconstructing the Side Slip as Malini perform» ed it. No one was ever conscious o t e move; the ca seemed to come apparently to the top without any manoeuvre of any kind. it was Malini s manner of performing the sleight which made this possible Nate Leipzig used to slip a card out from the centre of the pack into his palm then. after a brief interval would replace it on top of the pack. He did this under cover of the movement of bringing the pack up to his ear riflling the cards and pretending to listen to the sound. Max Malini

7i

nearly always did it with the same movement and the same misdirection. but he did not palm the card when he pushed it out from the centre. To avoid the pack breaking (i.e. the two halves separating) when he pushed the card out. he used strong pressure with his left fingers (curled under the pack) to bend or warp the bottom cards so that they were concave. This allowed the very tip of his left fingers to come in contact with the card above t e rea . y releasing the finger pressure the si e slip— bottom cards would straighten. but in the action e car to ped was forced partly out from the side of the pack. Now his right little and third fingers pressed down on the outer right corner of the card. and with a motion very much like the movement he used in the Colour The Change. the card was pushed out and tilted into his right hand. moment this occurred his right hand crossed to the left. over the pack; left the card on top and continued In one even movement up to his forehead where his forefinger would touch his head as he said Concentrate The moment his right finger touched his forehead. the on the card". there was a onean upward movement so thatth otherm wo. handmcommenced nother words. the right hand moved up to the head and the left hand followed, in an even flow. When Charlie Miller was living in Los Angeles l exchanged many letters with him. and used to be continually asking him for information about Malmi. because at the time Malini was working there (in fact he ore e made is final was aroundLos ng es for over six men s ocean trip to Honolulu)“. Charlie had many chances to observe Malini working. sol plaguet with questions and between the two of us l think we have perfectlynanalysed this Side Slip of Malini's.

e main point was the motion of coming up to the head with the right hand then the left; in other words Malini never palmed the card for later replacement as Leipzig did. The movement of tilting the card out of the pack and onto the top of the deck was almost a continuous Never at any time was the card gripped In the right hand. it was one. merely levered out of the pack with the little and third fingers, tilted up then tilted back on to the top of the pack as the right hand made the movement to the left. across the pack and up to the forehead. This action is very hard to explain in words, but you can understand the action. if you will just bring your right hand up in a natural way to your forehead. say "Concentrate". then immediately follow up with your These are the exact movements Malini adopted when he left hen.d performed his Side Slip.

VANlSH OF THE PACK. I cannot bring this Chapter to a close without commenting on one of Malini's most startling effects with cards —the complete vanish of the entire pack. I f you have met anyone who 72

has seen this performed, it is almost certain that the description you were given will not have helped to solve the method. because everyone seems to describe the effect differently. With Malini's exact handling the reader will probably have nearly as much success as Malini. l t must be done exactly as he performed it. In other words. it must be acted out to create the desired effect. Malini said that he wanted someone to peek at a card, but he did not offer the pack in the customary way by just holding out his left hand. He screened the whole pack from the spectator's view. by holding the cards well down in his left hand. so that almost the entire pack was hidden by the hand. Then he brought his right hand up to the pack with the fingers close together. the hand screening the right side of the pack. This was done in his initial instructions to the spectator to accustom him to this position of holding the cards. By the simple expedient of pulling his chair forward a little closer to the spectator so necessarily moving his hands below the table level, he would leave ,the cards under his thigh on the chair. or gripped under his knee. then he brought up his hands to the same position that he held them previously and said. "Take a little peek". The moment the spectator reached forward with his hand to take a peek. Malini suddenly spread his hands wide apart. and with a bewildered expression on his face. looked around ondthe floor as if he himself did not know what had happened to the car 3.

The effect was that the pack just seemed to suddenly disintegrate.

The trick is not difficult. but it must be acted extremely well especially when you move your empty hands forward as if holding the pack. One must act and behave exactly as if the hands were holding the cards. and if one does this with sincerity and good simulation a

really strong effect is produced.

Perhaps the reader will not achieve

quite the same dramatic effect as Malini. but at least he will have a lot of fun trying it. and will find it not nearly so difficult as he may imagine.

CHAPTER

SEVEN

MISCELLANEOUS MAGIC If we were to set down all the stories that have been told about Malini it would fill a book ten times the size of this one. However. in this work we are only commenting about the things we have actually encountered, or have been told by friends who actually witnessed them.

BASE-BALL VANlSH. Charlie Miller spent several months with Malini in California before Max made his final trip to Honolulu, where he died. Charlie saw Malini work many tricks in and around Los Angeles and recounts the following amusing incident.

One day he was out walking with Malini when a baseball rolled There across the street; some boys ha been playing with the ba . was a policeman standing by who evidently new Malini. because as Malini picked up the ball the policeman called out, "Let me see you do something with that, Malini". Malini took the ball and apparently threw it into the air where it vanished. Actually he used exactly the same actions as he did for vanishing the egg in the Egg Bag Trick. He tossed it up into the air twice. then palmed it as his hand made a third tossing action. The policeman really thought he saw the base-ball vanish in mid-air. and the expression on his face proved that he was absolutely flabbergasted. As he recovered from the shock the policeman said. " What happened to the ball . . . where is it Max?". Malini said " Look", lifted his hat from his head. and the ball rolled off his shiny dome.

Charlie Miller is able to give a very good imitation of this effect. He vanishes a ball as Malini did. loads it under his hat as he lifts it and allows the ball to roll off the top of his head. BOOK

TEST.

On the same day that Malini made the baseball vanish, he and Charlie were walking down one of the main streets in Los Ange es and they called in at a book shop. Charlie had in mind the purchase of a book. and while he was asking the assistant about the book. Malini was browsing around the book shelves. He picked a volume from one of the shelves. glanced through the pages and just before he returned it to the shelf. he had slipped a match between two of the pages. He memorised the first word on the left hand page. Meanwhile. Charlie continued his conversation with the assistant. and a little later when they were about to leave. Malini said to the assistant " Hey. l show you

75

something". He reached over and removed the volume that he had Without opening the book he secretly inserted previously prepared. his little finger between the two pages (at the inner end of the book) rom the front the pages and allowed the match to fall to the floor. closed as they should be. Turning his head tightly all be to were seen away. Malini riffled the pages and told the assistant to say " Stop" whenever he wished. It was a simple matter to let the book open at the required page. in almost exactly the same manner as when one riifles a pack of cards and stops at a previously obtained break. Malini asked the shop assistant to memorise the first word on the page, then handed him the closed book and told him to concentrate. Malini then Charlie said simply named the word that he had previously noted. that this absolutely bewildered the assistant, who asked in awe who this fellow was who could perform such wonders.

BILLET READING. ln hot weather, or on other occasions when people had their e jackets off. Malini would often take advantage of the situation. could be pretty certain that they were not carrying any paper. and when perhaps one of them went to the bathroom, Malini would call out. .. W ile you are in there, write a message; write something on a piece of paper and crumple it up into a ball". Now the only paper that was available was toilet paper, so the fellow would tear off a piece, jot down a word or sentence on the paper and crumple it up. When he came out Malini would say. " Have you got the paper?" and on being shown the ll would say. "Here, crumple it up tighter" and took the paper and immediately and secretly exchanged it for a piece he had previously crump up. e only held the ball momentarily. before seemingly giving it back. and the fact that he had touched it was never remem ere now delayed his climax by moving around. passing out drinks and amusing people with his interesting chatter. This also enabled him to peek at the word or sentence. Eventually he would reveal the name or message the person was thinking of. take the ball from him and in passing it for confirmation. exchange it once more.

TELEPHONE TRICK. On occasions such as this Malini often performed the old Telephone trick. He told a person to ring a certain num . then the voice at the other end of the line would name a card previously selected by someone in the room. Magicians know that there are many ways of performing this trick. but Malini adopted the easiest procedure. which was forcing a card which he had previously arranged to have named by

76

a confederate. Malini forced exceptionally well and created Just as Dll an effect with this simple way of performing the telephone trick as sent: other magicians do who use the extremely ingenious and subtle method: that have been devised.

Malini was a very sensitive character and used to resent anybody doing tricks in his presence. especially if they in any way resembled any of the effects he performed. I remember on one occasion when l was in Miami. I had an important engagement at the Carl Cables Hotel. At that time the Carl Cables was quite a place; it was during the boom—time in Florida. and this was a very large and important social affair. l had to entertain both at the Night Club connected with the hotel and at the Naturally. hotel itself. so I had to have an entire change of p.rogramme I wanted to perform strong tricks so I included the Card Stabbing Trick, not with eight or ten cards as Malini did, but with three cards. A ew days later I went into the McCallister Hotel. met Malin‘ii‘iinnthe lobby ny Malini S and We stayed talking in the lounge for some time turned to me and said.‘ Vernon. I don t vant you to do my tricks". l replied. " Max, l haven t been doing any of your tricks' . "But" . he retorted. You ve been doing the Stabbing Trick—l don t vant you to do it“ . l said. ".Well Max I don t do that trick very often but I do However. the other night I did perform it sometimes with one card. it with three cards". He insisted. "You're doing my trick—don't do it". I felt entitled to say, "Well Max. after all. it's not really your trick. This trick is a very old one—the Divining Rod—it's been described in Erdnase and many other words on cards". His reply was. "Not vith more than one card". I admitted. "Well. that's true probably: i never heard of it being described with more than one card". His next words were. "That's my trick—don't do it". I did not prolong the argument for I rather admired the way he stood up for what he considered to be his own. ‘rights. He seemed to relent somewhat and amused me by saying. ”.Vernon lm going to give you a very good trick. I ml going to give you a vonderful trick. You can do this von instead". asked "What is it Max?" and he said "Vell. it s a trick where you make a silver dollar. or half—a—dollar float in mid~air" . l asked about the method so he said. Vell you understand. you get a hat pin; you know the old fashioned hat pin with a head don it like a coin about the size of a nickel? You put some gum on it (Malini never referred to wax. he always called it gum). then you put it up your sleeve. You understand? Now you get a potato. Yo ou put this up underryour vaist— coat. A potato see? Nowy bourrow a half—dollar and you hold it between your two hands andyyou do the oldbebending trick vith it; you know. where you make the coin appear to be:soft you bend it. then you suddenly hold your hands very still. then move them away and the coin remains suspended In the mid-air. Understand). .All you have to do Is slip the pin from your sleeve and stick the gum on the 77

coin, and stick the point in the potato. and if you've got the right angle. it‘s a beautiful effect. The coin stays very steady in the air. lt's a beautiful trick. You can't get this effect with a piece of string!". I tactfully replied. "Well Max. it's a beautiful idea. I've read something like that, but first how do you get the pin out of your sleeve) Then how do you stick it in the potato? How do you cover this? How do you attach it)". "This you've got to vork out for yourself my boy e sai . "There is a way, but anyhow this is a very fine trick; this trick vould suit you!". This will give the reader some idea how much help you could expect from Malini, and how 'co-operative' he was in helping you with your own difficulties!

MATCHING MATCHES. Here is another very effective trick Malini did, which I saw him perform in the old Waldorf Hotel in New York. In those days. before the advent of paper matches, they usually had on the table a little stand which held wooden matches in a box. so that a match could be removed to light one's cigar. cigarette or pipe. Malini would say to somebody. "Take out a handful of matches . . . . o . take some more . . . . go on help yourself . . . . take some matches". The person would remove matches from the matchbox. then Malini would reach over and also take a handful (or rather a 'pinch') of matches. Malini would place both his hands below the table and it could be seen that he was counting his matches. then he would say "I have exactly nine matches. How many do you have?". The fellow Would count out his matches and he too would have exactly nine. This created a very fine efiect because Malini did not ask any questions. or impose conditions. He counted his matches first. stated t e num r and when the other fellow counted his. he had exactly the same number. Magicians in England could still perform it in the same way. as often matchboxes are placed on the table but, of course. it can also be adapted for where paper matches are in common use.

The secret is that some time previously Malini had counted all the matches remaining in the box. e ept careful check of the times an y took a match to li ht a cigarette or cigar, so would know the number of matches used. 0 give an illustration. we will assume that there were twenty matches in the box in the first place and that two matches Were later removed. so Malini knew that there was a balance of eighteen matches left in the box. en he considered the time suitable. Malini would ask somebody to take out a pinch of matches, and

78

he could estimate roughly how many they took. Of course, he could not be sure within three or four, but he could see approximately how many they took. Nowhe wou take almost all the matches remaining . For instance; in our exampletthere were eighteen matches In t e box, andmsupposing the fellow took seven (Malini did not know the exact ber) ow if Malini took out some matches and only left two. he would know that the total held between them was sixteen, so counting his matches It was very easy to dedu uce how many the other felylow had In his hand. Malini would of course, miscal is own count to This make it conform with the number that the fellow had removed little thing. simple as it is. had a very strong effect.

TOP CHANGE. To end this chapter I will comment on one of the stratagems Malini used in one of his methods for executing the Top Change with ca 3.

He brought the selected card to the top in the customary way, then removed any mthe pack without showing its face. Very deliberately, andywith arbig sweep of his hand. he slapped this card violently on top of the pack and said," 0 . change any card into your car However. when he showed the face. of course, it was the wrong card This slap was so violent and was such an unusual move for Malini to make. that it was completely disarming. and the spectators would immediately relax Now Malini would very quietly make a top change then say. ".No that s not the card? Vell, maybe l slapped too hard" . This time he gave the pack a gentle slap. In such a manner that the spectators could see that he could not possibly change the card— then when he revealed the correct card the effect was particularly strong.

Bydoing something entirely foreign to his usual methods (i.e. the hard slap) he was able to submerge the Important move of making the change He was very successful with this stratagem and would fool cven magicians who were very familiar with the top change: they never saw him make the move. and were completely deceived.

79

‘—

Ounglli In: Club NOTICE A 5 III Dinner “in he N‘I'Vfll at 11.15 It"! III IFIc IIoIIIy III-conded Guests' Room. Grand Stand.

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By Order of the Slewnrds.

A. W. OLSEN.

Secrzlury. Shmlyluu' Race Club.

80

CHAPTER

EIGHT

MALINI THE PROMOTER The section of the tape recording from which this chapter is compiled was recorded by Faucet! Rou, although D-i Vernon also added some observations and comments. —Editor.

I first saw Malini in I922. in Washington. BC. when he presented his full evening programme in the Ballroom of the Roosevelt Hotel. Being just a Actually I saw the show on two consecutive nights. young college student at the time. Max really impressed me.

For several years after this I had no contact with Malini but one week-end In I926. l was visiting my old friend T. Nelson Downs, The King of Coins. at his home In Marshaltown, Iowa. While l was there Downs received a letter from Edward Dillon McGuire (Eddie At that time Eddie was McGuire) of Providence. Rhode Island. business manager and personal representative to Max Malini. and in the letter he detailed at great length. some of Malini's tricks and methods. In addition he also described many of Malini's promotion schemes.

It is astonishing how much Malini could get done in the way of service to himself. and in the provision of necessary commodities, by virtue of merely doing a few tricks. For example. if he wanted a floral display to decorate his platform, he would call on a florist. engage him in conversation. do a few tricks for him, then tell him a few stories. and by his remarkable powers of persuasion. he would somehow induce the florist to contribute the display without any carh ge. it is rather difficult to understand how he accomplished all this. but8 he did have the wer of influencing people to do things for him, simply by doing a lav tricks. telling a few stories and by making himself generally agree— a e. In I927. in my native town here In St. joseph. l met a very wealthy lumberman who rejoiced in the name of Moses Apple—we always Moa Apple had been spending the winter in Hot called him Mo. o very famous mid-American resort townM Springs. Arkensaw: Malini. taxM stayed at the famous Eastman Hotel. where he When i met Mo. he asked me if l knew Malini. and Imtold him I did. so he gave me a long account of not only howhe had met Malini. but how lroom of the Malini had promoted a very lucrative show in the Eastman Hotel. Here is approximately what he told me. 8!

He said. "Every night. a bunch of us. .myself and maybe fifteen to twenty of my friends. usedtto play cards in the corner of the lobby. Well. one night, a little short heavy set stranger walked in. and asked if he could play a hand ofcads. We didn t know who he was. but we invited him to play. Naturally, we played a few hands of cards. then the stranger picked up the pack and did several very remarkable card tricks. Thiis immediately aroused our curiosity. so we tactfully ini. that he was questioned him and he told us his name was ax a magician and that he had performed and entertained people throughout the world. For the next few days. my friends an myself were in constant touch with Malini; we would invite him up to our rooms for drinks and he in turn would invite us up to his room. During this time he continually performed tricks of various kinds. Well. this went on for approximately a week and by the end of that time we thought that Max Malini was just about the grandest guy in the world. However. perhaps a week or ten days after first meeting him. Max stopped me in the lobby. ln his hand he had a bunch of tickets and said to me. "Mo my friend. l'm going to present a full evening's show in the ballroom of the hotel . . . l would like to have a good crowd. I know you will be present. and l would like your friends to be there" . He handed me about a dozen tickets. and l noticed that they were three dollars apiece. a total of thirty-six dollars. He said easy. just sell them to your friends". Well. of course I didn t like the idea of charging people in the hotel but l gave him the thirty-six dollars tore up most of the tickets and let it go at that. Later I found out that my friends who had been entertained by Malini. had been approached in exactly the same way. They also had accepted ten or twelve tickets and paid for them in cash. so the night of the show Malini didn't have too large an audience, but he must have had five OI six hundred dollars in his pocket'. Well that is the story of my local lumberman friend. and Malini must have done the same thing in many cities throughout the length and breadth of the land. Here is another typical example of Malini 3 methods for getting things done. When Max was living for almost a year in Sout America, he met by chance a very famous Brazilian portrait painter. This painter was one of the most highly paid portrait artists in South America. His portraits never sold for less than five thousand dollars apiece. Malini met him. did a number of tricks. and his artist friend. in order to reciprocate said. Max. what can l do for you u"? ax sai ”My friend. it 3 very simple, just paint my portrait". it was a very tall order. but the artist did paint Max 3 portrait in almost life size. and Max used that oil painting for the rest of his liff.e He displayed it in hotel lobbies to advertise himself and his shows. and also had a reproduction of the painting on his brochures and pu ublicity matter. Ont epage opposite is a reproduction of an advertisement for Malini s fareWell per-

82

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formance at the Shanghai Race Club. This is from Edwin Dearn's col— lection and shows the portrait. The pendant that Malini has around his neck is made of jade. With the name MALlNl picked out in diamonds. It was presented to him by the King of Siam. At the beginning of this chapter is shown the bill with details of the evening's festivities. In another part of South America. Malini made the acquaintance of a wealthy art dealer, who had many va uable curios and wor s 0 art for sale. Max entertained this dealer and at the conclusion of the programme. the art dealer was so enraptured with ax's personality. magic and interesting anecdotes that he said. Max. I feel that I cannot repay you in money. but what can I offer you 3" Well Max had already surveyed the contents of the dealer 3 curio shop. and had noted a very valuable Ivory antique carving. worth several thousand dollars. Max very modestly said. "My friend. you can give me that little ivory carving". "\Vell Max", said the dealer. that is probably the most valuable thing l have In the entire shop". Max gently reminded him that he had offered him anything. so Max ended up by walking out of the shop with the high-priced antique under his arm. Max Malini was never modest when it came to asking for things! Throughout this book we have stressed that Malini was a great opportunist: here Is a typical example of his meth

One day In Washington. many years ago. he happened to be In a fashionable tailor 8 shop. when on the clothes rack he noticed a formal suit which had just been cleaned pressed and probably repaired. On the suit was a tag with the name of the owner; a very well-known United States Senator. Max got very friendly with the tailor and induced him to sew a playing card into the lining of the suit. Although we know this actually occurred we have no way of knowing how Max was able to capitalise on that planted playing card, but you can take if for granted that he managed it in some way. He may have had to wait for a long time. but the chances are that maybe a week later. a month later. or even six months later have gave a show In Washington where that particular politician was present. He probably forced a duplicate of the hidden card, caused it to vanish. and it is easy to imagine the eated when the Senator was requested to astonishment that would be crea That is remove the card (the duplicate) from the lining of his coat. just one of the many things Max Malini used to do. He was known to have planted cards behind pictures in various homes. He might not return to that home for six months, possibly a year, possibly never, but if he did there was a carrd planted somew ere in some inaccessible location. and he could always capitalise on it.

84

Well, at this stage Dai Vernon probably has some observations to

make in connection With Malini and his methods of promotion. so We will see what he has to add.

(Dai Vernon adds)-——

I would like to add to that story you told

about the South American art dealer. because I too heard the story when

l was down in that part of the country. Without knowing the full facts l think readers might find it difficult to believe that this man wOuld give Malini such a valuable item, which was actually a carving of ' e I ere are only two such carvings in the World. r' Last Su understand the other one is in the Vatican in Rome.

Malini went about getting the carving in a rather special way. Anybody who know the South American people, knows that they have a great deal of pride. lt is most likely that during the evening when Malini had performed for the dealer. they had had some drinks and the dealer was in a carefree and generous mood. He said, " ax, you come down to my store tomorrow morning. and you can pick out anything that you fancy. Anything in the store. l don't care what it is: a lamp, an antique, a painting. anything you want". So when Malini called. he browsed around and spotted this antique carving in one of the show cases. He had seen one like it in Rome, and remembered that he had heard that there were only two in the world. and that the other one was in South America. Taking a chance. he casually remarked. “I'm very fond of ivory carving. I think I would like that". The dealer said. "Well Max. that's one of my most valuable possessions. I'd hate to part with it, but have something else". Malini didn't press the point at all. lie just said. "Very well. it's alright. forget about it. forget about it", but As I said previously. these South he assumed a hurt expression. Americans have a lot of pride, and when Malini said "No. forget about it" the dealer tried to persuade him to make another choice by saying. "Well, couldn't you pick out something else Max. something you'd fancy more than this". However Malini said. "No forget about it. you don't have to give me anything." Now this South American had so much pride that rather than refuse Malini his request. he actually gave him the carving. l heard that the dealer excused his action to his wife by saying, ”Well. after all, this Malini travels around so much and he's certainly going to show this carving wherever he travels. so it will be seen by a great many people. He knows the right class of people who will appreciate something like this. I think it is in very good hands".

Whenever Malini gave a full evening's performance there was no y friend Bert Morey. a such thing as a 'free list'————everyone pai . wealthy man. who was also a great friend of Nate Leipzig. went to live in San Francisco. He invited Malini to visit him at his hotel. and after a few drinks said. "Max. why don't you move in here. I have a big apart—

85

ment in the hotel. why don't you share it with me?". Max didn't need a second invitation—he moved in! Bert told me that he enjoyed Malini's company very much; they both liked to drink and always had plenty of good whisky. Malini was very fastidious with his clothes. Bert paid for all his cleanhaving them pressed and cleaned regularly. ing and laundry bills. paid his liquor bills, took him out to dinners and different entertainments. in fact paid all his bills for expensive living for six months. When Malini was nearly ready to leave for an engagement somewhere In the Orient. he came to Bert and said. "Bert. before I go I'm going to give a little show In the hotel here. How would you like to buy a couple of tickets for m w"? Bert to me. "Dai. you can ieve it or not but I actually handed that little guy money for two tickets. Anybody who has nerve like that, I give them credit for it. I used to be a salesman before I inherited money from my father. and know something of the ways of the world. That guy has something. l actually parted with cash for those ticketsl". (Faucett Ross continues)— Probably one of the largest and most eprivate parties ever staged in America was given by the FishenrsBrothers of Detroit. sometime in the I920 s. The Fisher Brothers were manufacturers of the car bodies used by the General Motor Corporation. and the Fisher Body Works was. and still is. one of the largest manufacturing concerns in America. At that time the Fisher Brothers, who were the heads of the company. used to put on an annual party for all their officials, friends and motor dealers throughout the country. On this particular occasion. There would be several thousand guests they decided to break all records with the most elaborate party to date. Mr. Fisher made elaborate plans and arrangements—he even had a large This building cost auditorium built in the grounds of his home. him many thousands of dollars. then he had it decorated with over He obtained the thirty-five thousand dollars worth of cut flowers. services of three leading orchestras of America. including that of Through his New York connections he booked Paul Whiteman. twenty-one of the finest theatrical acts that money could obtain. Among others he had Frank Fay as Master of Ceremonies. who was at that time considered to be the finest In America. He had the immortal and there was Ann Pennington, one of the stars of the Zeigfeld Follies; Frilzy Cheff, and others too numerous to mention. All plans had definitely been made; everything was in readin for a real extravaganza costing a hundredandfifty thousand dollars. These figures. we are reliably informed are substantially accurate. The afternoon before the party the figure of Max Malini presented itself at the offices of the Fisher Body Corporation. He elbowed his way 86

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87

through various Secretaries and Vice~Presidents. and somehow got into the private office of the President of the concern. the elder Mr. Fisher. He announced his errand opened his scrap books. showed the places where he had played during his career. told of the notables throughout the world whohe had entertained. and all In all made quite an impressive pitch. it is even quite possible that he bit a button off Mr. Fisher 3 vest! We understand that Mr. Fisher was visibly Impressed, but Malini. thats all very well, l don t doubt your he finally said. ' Mr.M plans are definitely made so Ifear that we must defer the pleasure". Max would never take "No" for an answer. so he made him a proposi— tion. He said. "Mr. Fisher. I'll tell you what I'll do. I will perform at your party tonight. but after all the other acts have gone on. Now if I ain't the outstanding sensation of the entire programme. you owe me nothing. On the other hand. if I am the hit of the evening, you pay me two thousand dollars". Possibly this was a somewhat uncouth proposition. but somehow he managed to persuade Mr. Fisher to book him for the programme that evening.

The wonderful floor show went off as scheduled. Frank Fay did a marvellous job 'M.C'ing'. Will Rogers was at his best. and Ann Pennington danced and sang divinely. All in all it was a tremendously successful evening. The show actually took over three hours and after the twenty-first act had been on, Frank Fay walked forward and said, "Ladies and Gentlemen. the show is actually over, but I have just been informed that we have one more act that was not scheduled. I don't know the next act; l have never met the gentleman. but l think his name is Malini. and I'm told that he is a magician. Anyway. here he is". Well. under these somewhat unimpressive conditions little Max Malini waddled out onto the platform carrying a small table. on which were several packs of cards, a couple of tumblers and a bowl of eggs. He began his performance before a very sated. sophisticated audience. l don t know how long he performed; probably thirty minutes, but at the conclusion of his programme he received a standing ovation. He literally had the audience cheering. and this Is not an exaggeration, but a recorded fact. lt goes without saying that he collected his two thousand dollars. and In additi nbecame a close friend of the Fisher Brothers who booked him for many future functions. After following an avalanche of talent as Malini did one wonders what he said or did which so greatly impressed the audience. Un dou tedly he did not do more than four or five tricks, but among themw was the Blindfold Card Stabbing which was the sensation of the evening— the real feature. 88

It is a fact that magicians have a tendency to copy a successful trick. Max Malini did the Blindfold Card Stabbing for nearly forty years, but for some reason no one today—mot a single person as far as l know—is doing this trick as Malini did it. A few may be catching a card on the end of a sword. or stabbing a card with a gimmiked dagger, but no one is actually performing the Card Stabbing even approximately as Malini presented it. The reason for this maybe Is that Malini and his tricks are very little known among present day magicians. because so little has During his career he never been written about his methods. performed at magical conventions; he was rarely seen in a magic shop So there are and he mixed very little with other magicians The late very few magicians living who actually saw Malini work Paul Rosini was possibly more influenced professionally by Malini than e used many of Malini 3 its of business', several of any one else. his tricks. anddcertainly some of his patter, yet Paul Rosini never met. Malini nor dhe ever see him work!a in t is book devoted to Malini ryis ncere attempt to explain and his magic Dai Veenmonashasmaade the Blindfold Card Stabbing trick In full detail and I am quoting him. when he says that he hopes that some of the more enterprising magicians of today study the instructions. give the trick the requisite amount 0 practice. then go out and make their reputation with this trick for un— doubtedly. when properly performed. it is a reputation--maker.

Of Malini very often received very large fees for his work. course. nowadays top flight performers sometimes get thousands of dollars for a week's work. but in the days Malini worked, a thousand dollars for a single performance was almost unheard of. However, I will relate what happened on one occasion when Malini received a thousand dollars for a performance.

was making a trip on a ship from Europe to America and as everyone knows. there is usually an entertainment during the ngre. voluntteer~ ni being voyage. given by the passengers. edMalin ed to do some magic and performedhis famousgBlindfold Card Stabbing trick plus just one other trick. After he had finished. a lady walked up to him and said that she would very much like to engage him for a party esai , "l am told you are a was having in Tuxedo Park. shew ugidgIng by those marvellous tricks you professional entertainer. and in did. am sure my guests would be delighted with a full evening 5 performance given by you. l would like to have some idea of your fees. I don t know anything about these matters. so please tell me how much Malini said rrmforrnance . you would charge for a full eveninpeg “M ml charge one thousand dollars Well. this did not daunt the en I will engage you to entertain my guests" . lady who then sai A few weeks after he arrived In New York. Malini received confirmation of this engagement. When he arrived at Tuxedo Park Station. he had 89

hardly anything with him; just a small suitcase. He was standing on the platform where he had been told he would be met by the lady s chauffeur. Malini saw the chauffeur looking around so he walked over and said. I m Malini" . The chauffeur sai , "l was sent down to meet you at the station Mr. Malini". l have the station wagon over there Has your apparatus and paraphernalia been put of? the train yet)". [t's all right here Max replied," lhave no paraphernalia or apparatus in this little bag" . The chauffeur was aghast and said, But Mr. Malini, I understand that you are a surely you have a show here tonight professional magician and that you have all sorts of illusions. with cages Malini simply said I am the show" . of animals and large boxes". Well the driver did not look convinced. but he had been instructed to first take Malini to a little inn. quite near the residence of this a y (who I do not propose to name). Malini went to his room. unpacked a bottle of Scotch and settled down to have a few drinks. Time passed and eventually the 'phone rang. It was the lady calling and she said, "Mr. Malini. I don't know what to do. You know I have a very large party this evening. Most of the guests have arrived, and we have everything rea y. l have a little theatre in my home. everything is arranged, t e stage is nicely decorated. but I thought you would be here long befor this to fix up everything and arrange your different tricks and illusions"e. Malini assured her that everything wouldbe bealright, but she insisted "M.r Malini, you understand that you are to give a full evening show? l know on the ship you just took a pack of cards and did a few little things. but this Is a full evening show. and l have some very important guests You re the only entertainer we have. ax sai "'Dont worry, everything will be alrigt"h . e lady was certainly not convinced. especially as it was obvious that alini a a several drinks, and his voice was huskier than usual. She was almost on the point of nervous prostration. However, Malini did his show. and as usual was a tremendous hit. Now I ave heard that story from two reliable sources. and additionally. when l was in a ini 3 room one ay said, ax. is it true that you met so and so on the ship coming from Europe and that she engaged you to perform at that tremendous party she gave "in Tuxedo Park?" Max said, "Certainly it s true. l ll show you . mmamaged amongst his papers and took out a couple of portfolios and he finally dug out a8letter which he handed me to read. The letter said "Dear Mr. Malini, I can t tell you how enthusiastic my guests were about your performance. In all my life. l have never had congratulations from so many people. At my home I have had musicians. pianists, opera stars. but you certainly thrilled and enthused my gues ests. Please accept the enclosed little gift as a further reward for your marvellous perrormf rrnance on that evening". I said ax. what was the littdle gift?". "Oh" he said. I forget; l think it was about tw w-o-hundred and fifty dollars" . I said Did you also get your thousand dollars?" He replied. "Of course l got my thousand dollars. 90

What do you think! l always collect the money". That was Malini. He never failed to get paid handsomely, but he always pleased his customers. Malini. by the wildest stretch of imagination, could never be conn act. his English was far from immaculate sidered a literary man. ome of his expressions. although picturand his spelling terrible! esque. were 0 ten uncouth But the strange thing Is. that during his lifetime. Malini wrote his autobiography which he entitled Just Malini. Now. l know of no one. with the exception of his son. Ozier. who has actually read the autobiography. It has been In manuscript form for about thirty-five years; maybe longer. After he wrote it. Malini submitted it to a literary critic for possible editing and revision. The critic carefully read over t e manuscript and said Malini. don t change it l you ever publish it. have it published iust as it is. in your own language which 13 so typical of your personality".

Someyears ago my friend. Dai Vernon. saw the manuscript alnd m qu actually read one page. but other than Malini s son. Ozier sure no one has ever read it. It has never been published although attempt was maade in Los Angeles to have the autobiography published In serial form. it would certainly make an excellent serial for a magical magazine. although naturally the present owner of the autobiography (Malini s son). Is more interested in selling it for general publication. Anyway. it is my devout hope that sometime in the future the autobiography will see the light of print. if and when it does. then l m sure that everyone who Is reading these pages will be anxious to purchase a copy. for without doubt it will recount Malini s wonderful experiences during his travels around the wor Malini has been referred to as the last of the Mountebanks' Maybe today he would not have so many chances to exploit his extraordinary abilities, for In his days. life was more leisurely Therre was g'rea eat wealth; big parties and entertainments were the vogue. Malini let nothing stand In his way when he wished to make lucrative contacts and was true to his own philosophy. for he once said to our friend Manuel. the great coin manipulator. “You know Manuel. l chaSe after the Golden Chariot. l may never catch up with it. but you never can tell a piece may break off and HI get hold of it, If you want to make money. you ve got to go where money is" . Malini certainly had a nose for money and made enough during his lifetime to leave a fortune. but the fact Is. he left nothing In cash. He always lived extremely well would often bet quite heavily on horses and was fond of his whisky If he did not leave money. he certainly left behind some wonderful memories. and a great reputation. 9|

Jun M-lini

92

Before bringing this book to a close we would like to make the following observations on some of the tricks described. as on hearing the tapes played we felt that additions should be made for clarification

RIFFUE FORCE. In the description of Malini‘s full evening show, after the explanation of the trick with the six Queens, is the trick In which the Riffle What Malini actually did was to take one of the Force was used. packs. walk up to one of the volunteers seated on the platform, and force a card near the centre of the deck by riffling the pack before his eyes. We have explained that this is the old dodge. the result of the hesitation on one card. After this was done. Malini brought the card to the top of the pack. gave it a false cut, and possibly a false shuffle. then said, "I will now find your card". He nonchalantly riflled through the pack and brought out an entirely different card picked at random. held it up and said. "This is your card". This. of course, was denied. and as the denial was made. Malini made his top change. quite Indetect— ably. then asked the assistant. "Vell. vat vas your card?". The spec— tator naturally told him the actual name of the selected card, whereupon Malini drawled. in his gravel like voice, "Vell. vat in the vorld am I showing you?" as he displayed the correct card. Paul Rosini included this trick in many of his night club progran’r mes. with great success.

COIN VANISH. On page forty-six Dai Vernon has explained that Mac McDonald did not use an actual coin for the vanish. buta a disc of smooth metal cused a disc ins ead of a actually an aluminium disc. The reason cause the disc was smooth which matched the glass disc. coin. was ow some very observing spectator holding a bona fide half—dollar or half-crown under a handkerchief, might possibly detect a difference between a real coin and a disc of glass. so McDonald being a real artist and taking no chances. used the smooth metal disc. One other thing we should mention in connection with the trick is the manner he switched the metal and glass discs under cover of the handkeI’Chief. The reader will recall In the description. where the glass disc was under (or in) the recess of the tumbler and the metal disc was placed very close to the little tumbler, Mac had only one hand so after the ‘jigger' and metal coin were covered with the handkerchief, it was merely a case of lifting the glass and setting it over the meta disc. This left the glass disc on the table. for him to immediately pick up and ask the spectator to hold through the cloth of the handkerchief. 93

WHISKY—WATER

TRANSPOSITION.

Dai Vernon explained this on page 48. This has undoubtedly been included in some of the old text books of magic. but very few modern magicians (including myself) had ever actually seen the trick performed Ma Ini s exact procedure. was to first fill t esmall jigger with water to the very top, then he took a small business car or visiting card, and placed it on top of the jigger . Then the second of water and inverted it when of course. the water was hel in y the card. Now e would lower the 'jigger' of water gently and place it atop the 'jigger' of whisky. in order to cause the two liquids to visibly transpose. it was only necessary, in the act of adjusting the tumblers. to move or pull out the intervening card a fraction of an inch. so t at air could enter. Whisky being lighter than water. naturally tends to rise, and water being heavier than whisky. follows the path of least resistance, and goes down. Thus a gradua transposition occurs. Many years ago. this used to be a favourite trick of bar—tenders. but today the trick has largely been forgotten.

VANISHING TOBACCO. This is described on page 57. I happen to be the first person to whom the late Dr. E. G. lrvin described hisrneth for duplicating Malini 3 Tobacco Vanish. Here Is a description of the actual gimmik as Dr lrvin made it up. and I would also describe his exact moves as ar as I can recall lrvin actually used the metal cap from a bottle. There is a cork lining inside a bottle cap, which he removed. e next sawed off approximately a quarter of an inch from the point end of a common pin and soldered the portion remaining upright to the centre of the inside of the bottle cap. Now he filled the bottle cap with cigarette tobacco; he actually glued it in and allowed some to project over the sides of cap so that the cap presented a very natu appearance of a pile of tobacco. He painted the head of the pin brown to match the tobacco. On the opposite side of the cap he soldered a small needle point. This little gimmik can beemployed In several different ways, but here Is an authentic description of the way Dr. lrvin

He had the little bottle mp palmed in his left hand.

Hew

about the paper) then with his right fingers he picked up not all the tobacco. but a considerable portion of it, between the tips of his right He apparently placed this loose tobacco in the fingers and thumb.

94

palm of his left hand. but what he actually did was that as the right fingers and thumb met the palm of the left hand, he did not release the real tobacco but withdrew the right hand. and the fake tobacco could be seen on the palm of his left hand. Then he drew back his left sleeve 3 little and in so doing. simply pushed the loose tobacco inside the e He slowly waved (or rotated) his right an over sleeve. pile of tobacco, and engaged the upright head of the pin between the second and third fingers of his right hand. As lie raised the right hand he quickly closed the fingers of the left hand to prevent the empty being seen. Next he dramatically waved his flat right hand over the closed8left hand and asked somebody to hold his left wrist tightly As they did so. his right hand containing the stolen gimmik, was lowered to his side. and the gimmik was secretly attached to the rear portion of his right trouser leg by the needle point. After the wrist was tightly held. Dr. lrvin brought up the empty right hand again. waved it over the left hand. then slowly opened the left fingers. The tobacco had vanished, and he was able to show both hands quite empty. On later lowering his left arm. the tobacco fell into his waiting hand and could be disposed of at his convenience.

95

CHAPTER

EDWIN

NINE

DEARN’S

LETTER

The letter-- received from Mr. Edwin Deon: during the compilation at this book an of such intmlt that we decided to putbzh’ekm together and have included them as me . ~—Editor. compo-it. letter to form a chapter of the

l9/8/V6l .

" lArchwood", 25 Beaconsfield Road. Chatswood, Nr. Sydney, N.S.W., Australia

My Dear Mr. Canson,

You will observe that I am writing this letter on August l9th. l96l which is a reversible date. for when it is turned upside down it still reads right side up viz: l9/8/6l. If my calculations are correct. the same thing will happen on November l9th, but not again until |98| . To have a thing looking right side up when it is upside dOWn is real magic. Oh! if this troubled. cockeyed. 'upside down' world of ours had the same power. how much happier we should all be. First let me thank you for your letter of August 5th. I am pleased to be selected to furnish photographs and material for the biographical work on my old friend ax Malini. whom I held in great esteem. Unfortunately, some of my large collection of magical data and curiosa vanished wit the Japanese invasion of Shanghai during the second World War. Such as l have you are at liberty to use if suitable.

You ask for personal impressions and stories of the amazing Max Malini whose magical m us operan i was unique. Stories are legion would hate and it is very difiicult to separate the corn from the chaff. to report anything that would in any way discredit the ability. or new for nearly forty years. character. of this great little man whom He would vanish for years and suddenly appear quite unexpectedly in the mysterious East, like the legendary Charlier. mentioned by Prof. Hofimann and Charles Bertram.

I never knew a man who could gate—crash like Max; he had the gift of walking into any private club or institution without an invitation, and after he had introduced himself to the most important person present. he would be welcomed with open arms—everybody seemed pleased to see him and he was made welcome.

97

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100

A paper. with medicine bottle corks instead of the standard balls. vivacious young French lady persisted In raising the g asses at inopportune moments. which annoyed Malini intensely At last he stopped his You ve come performance and addressed the lady thus. "Madam! here to enjoy yourself—you ve had a goat dinner—and everythink to You are now being entertained by von of the make you happy. greatest machicians In da vorld, and you are nod satisfied. Vot do y0u (Oh. Mr. Canaan. was my face red!) I tried to calm Max vant?" by saying that the lady meant no harm. it was all In fun. Max was still adamant and said. ”If da lady don't know her manners. she must be leached" Stories of Malini are legion and one could go on and on. Did you know that Malini was gaoled in Korea on his way home from the Far East in l925? lt was due to a misunderstanding. not for committing a crime. it happened after completing his trip from China on his fifth tyyears of travelling. ln the orty trip to the Far East in more than to middle of the night. at a little station called Shin-Wiyu on the boun— dary between Manchuria and Korea. the police awakened him. dragged him off the train. took him back to Antung and held him in gaol for lt more than four hours. They thought his passport was invalid. appeared that the passport was past the date of expiration. but before leaving Mukden Malini had seen the American Consul who had taken him to the Japanese Consul for a temporaryvIsa to be issued at a cost of twenty Yen. This visa was valid until he reached Seoul where he or some could get his passport renewed and obtain a new visa. reason the officers on the train refused to recognise his temporary visa merican Consul e Am until they received instructions from Antung. wrote to the foreign affairs department at Seoul and finally received a As there was no train formal apology from the Governor General out of Antung that night Malini assumed that it was best to spend the night in gaol and leave by the next train at daybreak. According to accounts. he gave an impromptu performance to the gaol officials. After this he proceeded to Tokyo where he had engagements to fulfill. Malini s magic was not of the finger—flinging type—his tricks were simple In plot—never complicated like many of the tricks we see t They seemed to work themselves. without any apparent effort on the rt of Malini. To see him throw a glass tumbler into the air when surrounded by an audience, and seemingly cause it to vanish In mid-air. was an experience never to be forgotten. I saw im perform this feat several times and was astonished by the illusion. Another of Malini s specialities was his ButtonBiting Trick (biting a button from the coat amember of the audience and replacing it). This trick has been done by many performers but never quite in the same telling manner as Ma ini. l0]

Malini 3 hands were very small, which made his manipulations all the more remar a e wore a 5} size gove. nowt is or a fact because I personally supplied him with gloves when he was in Shanghai.

Malini was undoubtedly a magical opportunist—he was always on the look—out to surprise people when they least expected that he was going to work an effect. Many of the effects or miracles attributed to Malini were performed by him perhaps only once or twice in his lifetime. Conditions had to be just right and he was never in a hurry—he would wait for hours. even days. to gain publicity by performing a seeming miracle. Malini had the distinction of having performed before more Royalty and notables than any other performer past or present, and many are the tales that could be told regarding many of these engagements. I will pick one out of the bag at random regarding his performance before the late King Edward. Seeing that the King was present on entering the room where the guests were assem led—Ma Ini was about to start his performance when the King held up his hand and checked him. "Mr. Malini" he said "the Queen is not heere yet". When the Queen entered she gave Malini a smile of recognition for she had met him two years previously at Lady de Grey 3 house an so his performance at We c was his 0nd command performance in England In the years l903/5) Malini told me that King Edward rdecam to see him In the ante—room after the performance shook hands with him and congratulated him on his presentation. Malini to use his own words. said. busted into tears and said hank you your gracious Majesty, you are the greatest King In the world and you have shaked my hand wo glasses of champagne were then served and the King and Malini drank a toast together. l can well believe that this happen for King Edward loved conjuring. l have heard it said that the great Charles Bertram used to visit King Edward unofficially quite often in his private apartments at Buckingham Palace. where he gava lessons in conjuring to the King.

One of Malini's idiosyncrasies was his reluctance to accept cigars Experience had from anyone. unless he knew the donor very well. taught him to beware of practical jokers. it appears that some one in high office once gave him what seemed to be a most excellent Havana cigar. He didn't light up at the time, but later he handed it to the Secretary of a fashionable club—thinking to impress (while they were discussing a performance to be given by Malini at the club). The Secretary lit up, and after taking a few puffs. the cigar blew up in his face. The result was that Malini lost a good engagement. ”Never again' said Max. 102

Just in case you are not familiar with a book published many years ago and now out of print. namely Un ys y .3. am writing an extract from the same. relating to Max Malini. Strange to say Malini had no knowledge of this item prior to my ing his attention to it. The flood gates of his memory were opened and he vouched for the truth of it. It relates to his heated and immortal defence of his friend Caruso, when the great tenor was the victim of a mistaken accusation on the part of the police. and is unlikely to be foregotten by those who heard it. Flatly declaring his friend to be incapable of the absurd charge. little Max proceeded to make the elusive compliments: "But vould a lady haf called der cop? Nod on her dintype! A lady vould hav said 'Oxcuse me Johnny Fresh. but l cand stop. I have a date alretty. Skiddool' Dat's vat a LADY vould haf did". nobservations I would say that Malini was not Frrom particularlmyyfoonnd of fraternising with magicians, either amateur or professional. and was certainly not given to indulging In private con versations or confidences either about his work or family life. on short or casual acquaintance. He cerrtainly did not suffer gladly intrusions into his private affairs. but to those he liked after due trial (which certainly took a long time). he was a staunch frien for li e. Max was very understanding and tender-hearted under the skin, and l have known him to shed tears when trouble and misfortune had fallen on those!»e he knew and loved. Perhhaps the floodgates of his mernowry those occasions by fleeting thoughts of his own battle with lifepefor Max had his ups and . He could beas coseloseas an oyster or as communicative as an open k. lt all depended on his mood, but he rarely spoke about his private affairs (outside of show business) to anyone consequently quite a lot of interesting information concerning this wonderful little man has been lost to posterity Unfortunately, people who really knew him In his early days are either no longer with us or are lost tract of. ndn now Malini—the last of the footloose magical troupers. has joined the immortals In——we peaceful place than the word we are now livingo in. in —this dreadful atomic age.

Malini's business slogan was. ”YOU'LL WONDER WHEN l'M COMING—YOU'LL WONDER MORE WHEN l'M GONE". Old ax has been gone nineteen years, and l for one am still wondering. To keep his memory green.a alarge framed photograph (size l3 inches by l 7 inches) hangs In my hallway for all to see. It Is signed as follows: ‘To my frien Deam, rom sfriend Max Malini 5/5/1935'. I study this portrait at frequent intervals and I won er and marvel. Visitors enlighten them and recount stories. experiences and legends of a great magician whom I hold in reverence. 104

In case you don't already know the details pertaining to Malini's death. Max Malini passed away on October 3rd, I942 at his old happy hunting ground, Honolulu. Hawaii. According to reports at the time, he had been ill for some months and at last became so weak that his last performance was given while seated in a chair. He was engaged in entertaining soldiers and sailors. ls it not strange that he should pass away in Honolulu P—because he made his first real foreign success there— when Hawaii was ruled by Queen Liliuokalani.

Looking forward to seeing the book in due course and with sincere good wishes for your continued success. Yours most sincerely and fraternally. Edwin A. Dearn.

l05

A Iltleh by M-Iini 0‘ Li Hon. Gang. aim Ambusulor to the court of SI. James, (or when ma: one. [no perform-net.

l07