Jean Hugard - Close-up Magic for the Night Club Magician Copy 2

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T H E N I G H T CLUB MAGICIAN

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The Night Club Field and Its Requirements INTRODUCTORY THICKS M. Moreau's Opening Other Performers Card Announcements MISCELLANEOUS TRICKS 12. Sugar and Coffee Mystification 3. The Ring and Wand 4. The Flying Ring 5. Cut and Restored a. With Cotton Thread b. With String .'. G. Pocket Knife and Bottle 7. Tearing Off and Restoring a Button Chapter IV. TRICKS WITH BILLS 1. Impromptu Drinking Cup 2. Tearing a Bill and Restoring It 3. Bill and Card Combination 4. Cigarette and Bill Trick 5. A Bill Change Over Chapter V. TRICKS WITH CARDS 1. The Tacked Card 2. Snappy Card Restoration 3. A Poker Deal Extraordinary Chapter VI. TRICKS WITH COINS 1. Coin from Glass of Liquid 2. Coin and Two Cards 3. Novel Vanish 4. Coin in a Dinner Boll 5. The Best Coin Fold fi. Coin and Harness Bings 7. Coin Through Hand Chapter VII. TRICKS AT THE TABLE 1. Vanishing a Glass of Wine 2. Vanishing a Plate 3. Swallowing a Knife 4. Spoon Through a Glass 5. Plate and Balls 0. Vanishing Matches 7. Cigarette Papers 8. Walnut Shells and Pea Chapter VIII. VESTING AND SLEEVING T h e

Published by MAX HOLDEN 220 W. 42nd St., N. Y. C.

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Copyright, 1934, by Max Holden.

C H A P T E R I. T H E N I G H T C L U B F I E L D A N D ITS R E Q U I R E M E N T S In France, and on the continent of E u r o p e generally, a recognized branch of the art of m a g i c has been f o r a very l o n g t i m e the giving of i m p r o m p t u p e r f o r m a n c e s to the patrons of cafes. It is quite possible that the m a g i c i a n of the cafes represents the intermediate step between the itinerant street trixter and the illusionist of the stage. The field is a w i d e one and w h i l e its scope is necessarily restricted, as c o m p a r e d w i t h stage work, m a n y clever p e r f o r m e r s have acquired f a m e a n d f o r t u n e by w o r k i n g it. Until quite recently this branch of the art has been a l m o s t w h o l l y neglected in the United States. T h e decay of vaudeville and the rapid rise to popidarity of the cafes and night clubs have aroused the profession to its n e w opportunities. It d o e s provide a lucrative field f o r clever performers, but the qualifications required f o r success in it are perhaps even m o r e e x a c t i n g than f o r vaudeville or stage w o r k generally. T h e greatest authority on m a g i c has said that "for success in m a g i c three things are necessary; firstly, dexterity; secondly, dexterity; and thirdly, dexterity." In the cafe field it is m o r e than ever required for the p e r f o r m e r has to w o r k at the closest quarters a n d is subject at all times to the interference, good-natured or malicious, of his patrons. He m u s t have, in addition, a never-failing audacity and a smiling imperturability. He m u s t have an inexhaustible f u n d of g o o d h u m o r , proof against all m i s h a p s , accidental or designed. H e should be able to turn every u n f o r e s e e n h a p p e n i n g to his o w n advantage, and above all, he m u s t have a g o o d address; in plain A m e r i c a n , he m u s t be a g o o d mixer. At the s a m e time he m u s t m a i n t a i n a m o s t courteous d e m e a n o r and take care to avoid u n d u e familiarity. In short, he m u s t be a g e n t l e m e n at all times. This list of qualifies!tions m a y s e e m to be a rather f o r m i d a b l e one, but these qualities can be cultivated, and even if the reader confines his endeavors in the m a g i c art to his o w n f a m i l y circle or that of intimate friends, their practice will help to equip h i m f o r greater sucess in w h a t e v e r line of life he m a y pursue to gain his daily bread and butter, and greatly aid h i m in getting additional slices of cake, so acceptable to all of us. A w o r d w i t h regard to dress. This should be in g o o d taste and faultless in fit and condition. Particular attention m u s t be paid to the hands. T h e y should be regularly m a n i c u r e d and kept in the best possible condition. N o regulations can be laid d o w n f o r the performer's patter, but all gags and jokes that are azure in color m u s t be avoided. T o s u m up, the successful cafe p e r f o r m e r will h a v e s u c h confidence in himself, and s u c h a g o o d address and appearance, that so far f r o m there being a n y feeling of condescension b y his patrons f o r h i m , they will rather get the impression that it is through his genial g o o d h u m o r that they have the opportunity of seeing his feats.

C H A P T E R II

INTRODUCTORY TRICKS A vital part of the cafe performer's art is his introduction. It is not by a n y m e a n s g o o d e n o u g h to,step up to a table, take a pack of cards f r o m y o u r pocket and baldly m a k e the age-old request, "Please take a card". T h o u g h I have seen just that done. T h e reaction of m o s t people w o u l d be antagonistic a n d the p e r f o r m e r w o u l d h a v e a n added difficulty in o v e r c o m i n g this feeling. N o one likes to feel that s o m e t h i n g is being forced u p o n him. T h e approach to the particular table selected f o r attack should be apparently accidental and the first feat p e r f o r m e d should be of s u c h a striking nature that the sitters' interest is aroused, and m a k e t h e m w i s h to sec m o r e . Perh a p s the best w a y of illustrating m e t h o d s of a p p r o a c h and o p e n i n g f e a t s will be to describe those a d o p t e d b y s o m e of the m o s t successful p e r f o r m e r s in this field. M. M O R E A U ' S O P E N I N G M. M o r e a u flourished in the cafes of Paris in the latter part of last century. H e w a s a c c l a i m e d b y his m a g i c a l c o n f e r e s as the cleverest card artiste of his time. H e confinejl his w o r k to c a f e s a n d private e n g a g e m e n t s , a n d s e l d o m , if ever, appeared on the stage. H e n c e his f a m e has not e x t e n d e d to other countries, but f r o m reports that h a v e c o m e to us he w a s u n d o u b t e d l y a m a r v e l o u s l y clever m a g i cian. His favorite m e t h o d of introducing h i m s e l f w a s this: E n t e r i n g a c a f e he w o u l d quickly select a table that appeared likely to yield h i m the best returns, as f o r instance o n e that w a s w e l l filled, at w h i c h the sitters, h a v i n g just finished their m e a l , w e r e relaxing f o r a chat. H e w o u l d seat himself at a table nearby and, w h i l e w a i t i n g f o r his order to be filled, w o u l d take out a pack of cards and begin building a f a n c y card castle. Occasionally before placing a card he w o u l d t h r o w it in the air, m a k i n g it return to his fingers, b o o m e r a n g fashion. Presently, as if by accident, a card w o u l d fall on the table h e had c h o s e n f o r attack. W a l k i n g over to it he w o u l d apologize p r o f u s e l y f o r his clumsiness. H e w o u l d then, again apologizing f o r the straying of his cards, abstract a n u m b e r of t h e m f r o m the sleeve of one of the sitters, at the s a m e time seizing the opportunity of p u s h i n g a particular card well up the patron's sleeve and leaving it there. T h i s card w o u l d figure later on in a trick in w h i c h a card, a duplicate, w o u l d apparently vanish f r o m the pack and be f o u n d in his sleeve by the spectator himself. H a v i n g thus broken the ice, he w o u l d find his little audience ready and a n x i o u s to see more, w i t h the result that at the end of his p e r f o r m a n c e the voluntary contributions f o r the entertainm e n t lie had given w e r e very satisfactory to h i m . U n f o r t u n a t e l y details of his tricks have not c o m e d o w n to us but he is said to h a v e played w i t h the cards as a virtuoso i m p r o v i s e s on the k e y s of a piano.

ANOTHER OPENING METHOD Another Parisian p e r f o r m e r w h o attained great success in the cafe field invariably began by approaching a table, and w i t h an apology, w o u l d pull a Louis d'Or (gold c o i n ) , f r o m a spot on a sitter's clothing, f o l l o w i n g this by producing several m o r e f r o m other patrons. These he w o u l d let lie carelessly on the table w h i l e he proceeded with several other tricks. T h e psychological reaction b e i n g that in the end the least his audience could do w o u l d be to add to his slock of gold. This m e t h o d could be adopted very well in the W e s t ern Stales with five dollar gold pieces, or silver dollars, but w o u l d not be suitable here in the East w h e r e s m a l l coins o n l y are in popular circulation. H o w e v e r ihe s a m e idea can be applied to dollar o r five dollar bills. F o r instance, taking crisp n e w bills y o u roll up f o u r or five lengthwise, cigarette fashion, a n d clip t h e m in a r o w b e t w e e n y o u r right t h u m b and the side of y o u r hand. T h e n y o u casually abstract them, o n e b y one, f r o m various parts of a patron's coat. You h a v e a roll of bills, n e a t l y folded into a small package, in a fold of your left sleeve just b e l o w the elbow. A f t e r p r o d u c i n g the single bills, y o u unreal them, and, s h o w i n g t h e m in y o u r right hand, you pull up your right sleeve w i t h y o u r left hand, y o u transfer the bills to y o u r left h a n d and pull up y o u r sleeve w i t h the right, at the s a m e time securing the roll. Y o u develop the roll u n d e r cover of the single bills and spread the w h o l e lot out, m a k i n g as big a display as possible. Y o u m i g h t then r e m a r k that " S o m e t i m e s the m a n a g e m e n t a l l o w s m e to distribute the bills as souvenirs," a n d y o u m a k e a m o t i o n of so doing, "unfortunately tonight is not o n e of those nights", and y o u pocket the bills. Here again, the reaction of the spectators w o u l d be that here is n o i m p e c u n i o u s f e l l o w and they w o u l d feel a s h a m e d to do less than add to the bills. Still a n o t h e r m o d e of entry successfully used is this: P a s s i n g b y the table selected the p e r f o r m e r stops casually and feels f o r a cigarette. Failing to find one he b o r r o w s one, lighting it and taking a f e w puffs, he r e m a r k s that it doesn't s e e m to d r a w well. B r e a k i n g it open he abstracts a five dollar bill. H e hands it to the person w h o gave h i m the cigarette. On o p e n i n g it out h e finds h e h a s o n l y a piece of newspaper. T h e m e t h o d is sufficiently obvious. T h e borr o w e d cigarette is p a l m e d and e x c h a n g e d f o r the prepared one, w h i c h is disposed of in getting a m a t c h f r o m the pocket. A f t e r s h o w i n g the bill it is c r u m p l e d into a ball and e x c h a n g e d f o r the little ball of paper. There is a m p l e opportunity f o r misdirection in m a k i n g these m o v e s as the spectators have not b e e n expecting a n y set trick.

A g a i n in passing a table the p e r f o r m e r m a y drop a c r u m p l e d bill u n n o t i c e d b y the patrons. H e picks it up and asks if it belongs to a n y of the sitters. W h e t h e r a n y o n e c l a i m s il j o k i n g l y or not, he h a n d s it to s o m e o n e to hold f o r future restoration to the loser. Here again the person finds himself holding a piece of n e w s p a p e r , w h e n he is asked to record the n u m b e r of the bill. INTRODUCTION BY TABLE CARDS A m e t h o d of introduction that is o f t e n u s e d is this. £ a r d s are printed a n n o u n c i n g that "The Great Magician w h o has just arrived f r o m E u r o p e (or T i m b u c t o o ) , will entertain patrons w i t h bis m a r v e l l o u s and unrivalled feats of magic", and so o n a n d s o forth. T h e s e cards arc put on the tables of the hotel or club r o o m s . Y o u m a y also h a v e several of y o u r photographs, w i t h similar a n n o u n c e m e n t s , displayed in the l o b b y or a n t e r o o m s . W h e n y o u are ready to display y o u r talents, the h e a d w a i t e r picks a table in a p r o m i n e n t position a n d calls the attention of the patrons there to the card. If they fall f o r his strong r e c o m m e n d a t i o n of y o u r ability he brings y o u a l o n g a n d y o u do y o u r stunts. If y o u are a g o o d entertainer, and the patrons at other tables see that y o u r first cust o m e r s are h a v i n g a g o o d time, y o u will have n o difficulty in continuing f r o m table to table. B u t stress m u s t be laid o n entertaining. Avoid as poison all intricate or l o n g d r a w n out p r o b l e m s , n o m a t t e r h o w clever y o u think y o u arc. A l w a y s include a trick w i t h a bill, and, w i t h o u t b e i n g ostentatious take occasion to display a roll, e v e n if it is o n l y stage m o n e y w i t h a dollar bill a r o u n d it. Y o u m a y say, " N o w I need a bill," a n d y o u bring out y o u r roll, "but perhaps it w o u l d be better if I ulsed one of yours," so y o u put y o u r roll back in y o u r pocket a n d b o r r o w a bill. Don't do too m u c h a n d let y o u r last trick he o n e calculated to upset the gravity of the sitters as m u c h as possible. W h a t y o u w a n t is hearty laughs, so politely t e r m e d "Belly-laughs" b y Variety, so that the rest of the h o u s e can't help noticing. F o r instance, if y o u finish w i t h a version of the cups and balls, bring out potatoes or o n i o n s f r o m t w o of the cups, a n d f r o m the last a m e c h a n i c a l toy, set to scoot across the table w h e n the cup is lifted. T h e resulting excitement, particularly a m o n g the ladies, will d r a w all attention to y o u r table and there will be a d e m a n d f o r y o u r services at the others. Just one f u r t h e r e x a m p l e f r o m an actual p e r f o r m e r ' s m e t h o d s . Y o u h a v e y o u r w a n d in y o u r right sleeve. Y o u a p p r o a c h a p e r s o n and w i t h a casual apology, y o u thrust y o u r right h a n d u n d e r his coat. W i t h y o u r left h a n d o n the outside of the coat y o u press -the

end of the w a n d , w h i c h y o u have caused to protrude f r o m the right sleeve, against his body, rapidly slide y o u r right h a n d back to the other end and then s l o w l y w i t h d r a w the w a n d f r o m his coat. F r o m these e x a m p l e s y o u can either select one of the m e t h o d s described, or adapt s o m e little trick of y o u r o w n p r o g r a m to get the s a m e result, that is, an apparently casual or accidental approach. Once having gained the attention and interest of y o u r little audience y o u m u s t be prepared to continue w i t h o u t delay w i t h tricks that lead up to y o u r best effort and then stop. B e w a r e of dragging out y o u r entertainment. Of course, y o u m u s t exercise g o o d j u d g e m e n t , and if y o u r reception justifies it, y o u m a y add a trick or two, but as a general rule it is better to leave y o u r patrons w a n t i n g more, than run the risk of boring t h e m . C H A P T E R III.

MISCELLANEOUS TRICKS 1. T H E P E A R TRICK H e r e is a trick the effect of w h i c h is as surprising as o n e could wish. There is a dish of pears on the table. Y o u take one and ask a spectator to push a dime, w h i c h h e h a s m a r k e d plainly, right into the fruit. H a n d i n g the pear to a s e c o n d p e r s o n y o u h a v e h i m press the prongs of a fork into it m a k i n g f o u r , s m a l l holes. A third m e m b e r of the group present is told to cut a s e g m e n t out of the p e a r and eat it. Y o u take the fruit and toss it to the first spectator, w h o , to his astonishment, finds it quite w h o l e , w i t h his m a r k e d d i m e in it and the m a r k s of the f o r k on it. T o do the trick y o u have secured a pear beforehand, in it y o u p u s h a d i m e a n d y o u m a r k it w i t h the p r o n g s of a fork. T h i s pear y o u have under y o u r vest or in a coat pocket. Y o u take a pear f r o m the dish, selecting one of about the s a m e size a n d appearance as the o n e y o u have prepared. Y o u ask s o m e o n e to m a r k a d i m e a n d then p u s h it into the fruit. N e x t y o u have a second spectator m a r k the skin b y thrusting the p r o n g s of a fork into the pulp. F o r this .you hold the fruit in such a w a y that the m a r k s m u s t be m a d e in just about the s a m e position as those o n y o u r o w n pear. A s this is being done p a l m y o u r pear in y o u r left hand. T u r n i n g to y o u r left a n d g o i n g to the other side of the table, y o u transfer the pear to y o u r left hand, really p a l m i n g it and s h o w i n g y o u r duplicate. Y o u give this to a third person, asking h i m to cut out a s e g m e n t , w i t h o u t interfering w i t h the d i m e or m a r k s , and eat it.

This having been d o n e y o u take the cut pear, again m a k e a n e x c h a n g e in passing it to y o u r right h a n d and i m m e d i a t e l y toss this o n e across the table to the first spectator, asking h i m to take out his d i m e . a n d i d e n t i f y the m a r k s . A s he g o e s to do this h e is astonished to find the fruit is w h o l e again, w i t h his d i m e in it a n d the p r o n g m a r k s o n it. In the m e a n t i m e y o u h a v e got rid of y o u r pear. S m a r t l y d o n e this little trick has a m o s t astonishing effect. Y o u r m o v e m e n t s f r o m one side of the table to the other afford a m ple c o v e r f o r the necessary e x c h a n g e s a n d as the spectators h a v e n o idea of w h a t y o u are g o i n g to do they have n o occasion to look f o r a n y e x c h a n g e or trickery. 2. A S U G A R A N D C O F F E E M Y S T I F I C A T I O N T h i s trick, properly introduced has a n extraordinary effect. Let u s suppose that coffee is being served w i t h loaf sugar. Y o u ask s o m e o n e to take a l u m p of the s u g a r and y o u h a n d h i m an indelible pencil w i t h w h i c h h e is to print his initials plainly o n o n e side of the l u m p . W h i l e h e is d o i n g this y o u surreptitiously w e t the ball of your right t h u m b . If y o u 'are h a v i n g coffee yourself y o u can do this easily in h a n d l i n g y o u r s p o o n ; if not, y o u affect a c o n t e m p l a t i v e attitude, h a n d o n chin, a n d turn slightly a w a y , as if y o u did not w i s h to h a v e a n y opportunity of s e e i n g the initials a s they arc b e i n g printed. Y o u thus secure the necesary m o i s t u r e f r o m y o u r m o u t h . W h e n the person has written his initials o n the l u m p , y o u tell h i m to turn the initialled side d o w n w a r d s . Y o u take the s u g a r f r o m h i m b e t w e e n y o u r right t h u m b a n d fingers, the t h u m b b e l o w a n d its ball pressing tightly o n the writing. Y o u hold it o v e r his c o f f e e cup f o r a m o m e n t , then drop it in. A n i m p r e s s i o n of the initials in reverse will then be transferred to the ball of y o u r t h u m b . Keeping this imprint out of sight, y o u take the person's left h a n d w i t h y o u r right, h o l d i n g it w i t h y o u r fingers o n the back and the ball of y o u r t h u m b pressing 011 his p a l m . T h u s y o u secretly transfer a n exact reproduction of his initials to the m i d d l e of the p a l m of his hand. Y o u guide his h a n d over his coffee cup and h a v e h i m h o l d it there, p a l m d o w n w a r d s , of course, w h i l e y o u tell h i m to concentrate his thoughts on his initials. Y o u explain the process w h e r e b y the s t r e a m of thought w a v e s will act 011 the vaporized a t o m s of the writing, causing t h e m to collect a n d reproduce t h e m s e l v e s o n the p a l m of his h a n d . . . or a n y s u c h fairy tale as m a y suit y o u r style of patter. A n y w a y y o u p r o v e y o u r point b y h a v i n g h i m turn his h a n d p a l m u p w a r d s , s h o w i n g to all the astonishing results of the experiment.

T h e trick can also be d o n e w i t h beer, ginger ale, etc., but not w i t h quite so g o o d an effect. It is well to carry a f e w pieces of the loaf sugar in case granulated s u g a r only is served. Y o u m a y before appropriate audiences s h o w y o u r erudition b y r e m a r k i n g that the ,word coffee is an adaption of the Arabian w o r d "galiwah" or Turkish "qahveh" m e a n i n g wine. T h e T u r k s p r o n o u n c e it "kahveli". Coffee c a m e into use in the E n g l i s h l a n g u a g e at the close of the sixteenth century. Tins gives y o u a chance of tying up the trick w i t h the f a m e d m y s t e r i e s of the East. 3. T H E RING A ^ D W A N D This is a very old trick w h i c h has recently been revived w i t h g o o d effect. As in all the surviving feats of the old-time magicians, the plot is simple. A b o r r o w e d ring is put 011 a w a n d , the ends of w h i c h arc held b y a spectator, a n d the m a g i c i a n causes the ring to vanish, finding it later in a spectator's pocket or elsewhere. You b o r r o w a g e n t l e m a n ' s ring, a signet ring f o r e x a m p l e , a n d y o u hold it so that the plain part of the b a n d s h o w s . T a k i n g y o u r w a n d y o u pass the ring o n it several times v e r y openly, and let it drop off into y o u r left hand. Y o u m a k e the m o t i o n s of again passing the ring on the w a n d , c o p y i n g exactly the m o v e m e n t s y o u m a d e in really putting it on, but instead y o u slide the w a n d along outside the ring w h i c h y o u retain in y o u r right h a n d near the b a s e of y o u r fingers a n d then hold the w a n d b y its m i d d l e in the s a m e hand. Y o u ask a spectator to take hold of the ends of the w a n d . Y o u offer first the right h a n d end f o r h i m to grasp in his left h a n d a n d y o u r left h a n d passes under y o u r right in m o t i o n i n g f o r h i m to do this. As y o u turn the left e n d of the w a n d towards his right hand, y o u r l e f t h a n d passes under y o u r right again. This time y o u secretly let the ring drop into it. Y o u m u s t not on a n y account look at y o u r h a n d s at this m o m e n t . Address the spectator boldly a n d look h i m straight in the eye. A s s o o n as the ring is safely in y o u r left h a n d y o u ann o u n c e w h a t y o u are g o i n g to do. Y o u s i m u l a t e great effort, w o r k ing y o u r h a n d up and d o w n the w a n d , finally r e m o v e it s h o w i n g that the ring is gone. Y o u can find it in a spectator's p o c k e t or w h e r e y o u will. If left at this stage the trick is w e a k . Most people w o u l d quickly arrive at the correct solution—that the ring w a s not really placed o n the w a n d at all, and this is just the f r a m e of m i n d y o u w i s h t h e m to have. It is the f o l l o w - u p that gives the trick its punch. Y o u g o right o n and again y o u s h o w h o w the ring is put o n a n d dropp e d off. T h e n y o u really put the ring o n the w a n d , covering y o u r m o t i o n s w i t h y o u r closed fingers, so that the ring is not actually

seen to be o n the w a n d . In the m e a n t i m e y o u h a v e secretly secured in y o u r left h a n d a ring of y o u r o w n . Again y o u offer the ends of the w a n d to be held b y the spectator. A s b e f o r e y o u m o t i o n w i t h y o u r left h a n d passing it b e l o w y o u r right, but this t i m e y o u m a k e a palpably c l u m s y catch, as if the ring bad really dropped f r o m y o u r right hand. Y o u g o right on, h o w e v e r , and have the ends held as before, but y o u affect a furtive expression. A g a i n y o u a n n o u n c e that the ring being firmly on the w a n d , y o u will take it off b y m a g i c . Y o u are sure to be challenged, y o u will be told that the ring w a s never put o n the w a n d , that it w a s seen to drop into y o u r left hand, that it can be seen there n o w , as y o u a w k a r d l y a l l o w a part of the plain b a n d of y o u r ring to be visible in y o u r left hand. Y o u k e e p up the a r g u m e n t , but y o u refuse to o p e n either hand. F i n a l l y y o u give in and a d m i t that the spectators w e r e too sharp f o r y o u . H o w ever y o u say that y o u m u s t do s o m e t h i n g to retrieve y o u r character, s o y o u undertake to pass the ring on to the w a n d a l t h o u g h the ends are so firmly held. Giving t h e m n o t i m e to think y o u m a k e a throwi n g m o t i o n w i t h the left hand, a n d pulling y o u r right a w a y f r o m the w a n d , y o u cause the b o r r o w e d ring to spin rapidly a r o u n d it. U n d e r cover of this surprise y o u get rid of y o u r o w n ring f r o m y o u r left hand. T h e trick in this f o r m is peculiarly suitable f o r close w o r k and it can be varied in. m a n y w a y s . Giovanni, the pickpocket magician, gets w o n d e r f u l effect f r o m it. T h e action of passing the ring on the w a n d s h o u l d be studied b e f o r e a mirror, so that y o u r m o v e s w h e n pretending to put the ring o n will be exactly the s a m e . T h e ring s h o u l d be h e l d n e a r the roots of the fingers a n d the h a n d slid o v e r the w a n d . 4. T H E F L Y I N G RING T h i s is a trick that depends 011 the s a m e m o v e described in the preceding feat, that is, a secret transfer f r o m o n e h a n d to the other. Y o u require t w o s m a l l rubber bands, w h i c h y o u h a v e in y o u r coat pocket on the right side. Y o u b o r r o w a ring and y o u put it on y o u r left p a l m , then s l o w l y close y o u r fingers o n it a n d turn y o u r h a n d back u p p e r m o s t , h o l d i n g it about shoulder high, the a r m half bent, Y o u ask f o r a handkerchief, and, w h i l e getting it, y o u quietly w o r k the ring into s u c h a position that b y lifting the tip of y o u r left m i d dle finger the ring will drop. T a k i n g the handkerchief in y o u r right h a n d y o u t h r o w it over y o u r left fist, c o m p l e t e l y covering it. Y o u then take o n e of the b a n d s f r o m y o u r right coat pocket a n d ask a spectator to p a s s it over the handkerchief, so f a s t e n i n g r o u n d y o u r wrist; as y o u m a k e this request y o u m a k e a n indicatory ges-

hire w i t h y o u r right hand, passing it over the back of y o u r left, then d o w n and under the handkerchief towards y o u r left elbow. Here is the critical point a n d the w h o l e trick depends on s m o o t h , nonchalant w o r k i n g . As the right h a n d passes y o u drop the ring into it. There m u s t be n o stoppage a n d n o indication of y o u r m a k i n g a catch. If y o u k n o w the billiard ball drop vanish y o u will recognize the m o v e . T h e handkerchief over y o u r left h a n d h a v i n g been secured w i t h the band, y o u ask f o r a second handkerchief. Y o u h a v e utilized the interval to w o r k the ring into position at the roots of the second a n d third fingers of y o u r right hand. Concealing it thus y o u can safely h o l d y o u r h a n d so that the p a l m is visible. A s before, y o u close the fingers s l o w l y and have the second handkerchief t h r o w n over it a n d fastened r o u n d the wrist, the spectator h a v i n g taken the second b a n d f r o m y o u r p o c k e t f o r you. H a v i n g expatiated o n the fairness of y o u r procedure a n d the impossibility of y o u r r e m o v i n g the ring f r o m the left h a n d unless the covering is taken off first, y o u say that is w h a t y o u are about to do. Y o u assert that y o u will m a k e the ring pass up y o u r left sleeve, d o w n y o u r right a n d into y o u r right hand. Y o u ask o n w h i c h f m g e r the audience w o u l d like it to appear as if that added still greater difficulty to the feat. T h e choice havi n g been m a d e , y o u shake y o u r left a r m , w a g g l e y o u r shoulders and then shake y o u r right a r m as if y o u w e r e g o v e r n i n g the m o v e m e n t s of the ring, in the m e a n t i m e slipping it o n the c h o s e n finger. Y o u have the b a n d and handkerchief r e m o v e d f r o m y o u r left hand, the ring is gone. Y o u r right h a n d is freed a n d y o u display the ring on the chosen finger. Y o u a l l o w the o w n e r to take it off. T h e indicatory gesture of the right h a n d over a n d u n d e r the left a n d the dropping of the ring m u s t be tried out b e f o r e a mirror. S m o o t h l y w o r k e d this little illusion is v e r y effective. It should not be included in the s a m e p r o g r a m as the R i n g and W a n d trick. 5. C U T A N D R E S T O R E D T h e recent great popularity of the cut and restored rope, a popularity that is, perhaps, greater w i t h m a g i c i a n s t h a n w i t h their audiences, is s u c h that o n e c a n h a r d l y see a m a g i c a l p r o g r a m w i t h out witnessing this trick. W o r k i n g u n d e r the conditions described in this b o o k a p e r f o r m e r w o u l d hardly b u r d e n h i m s e l f w i t h the lengths of rope he w o u l d require f o r the n u m b e r of t i m e s h e w o u l d have to w o r k the trick o n the s a m e evening. H o w e v e r there are variations of the s a m e feat w i t h less c u m b e r s o m e material, cotton thread f o r instance, w i n c h are e v e n m o r e effective f o r close w o r k .

W I T H C O T T O N T H R E A D . Y o u h a v e a spool of w h i l e cotton in y o u r pocket and f r o m it y o u have previously broken oil' a n u m b e r of pieces of about 15 inches in length. These y o u h a v e rolled up into little balls so that they will u n w i n d easily, a n d y o u h a v e put t h e m in y o u r pockets so that y o u can get t h e m one at a time as required. In a corner of the pocket carrying the spool you have o n e of these little balls. Let us suppose y o u h a v e led the talk to the subject of the rope trick of India. Y o u offer to s h o w the real H i n d u m e t h o d a n d you bring out the spool of thread. Y o u break off a 15 inch length, a n d you take the opportunity of letting it be seen that y o u r h a n d s are e m p t y otherwise. Y o u replace the spool in y o u r pocket, at the s a m e t i m e nipping the little ball of thread b e t w e e n the first joints of y o u r second and third fingers. You take the thread b e t w e e n the tips of the first finger a n d t h u m b of e a c h hand, closing the other fingers on y o u r p a l m s . Y o u h a v e a spectator cut the thread in the m i d d l e w i t h a sharp pair of scissors ( y o u carry a pocket pair f o r this p u r p o s e ) . T h e instant the cut is m a d e bring the cut ends together w i t h a sharp twisting m o v e m e n t , take both ends in the left fingers a n d rub t h e m together f o r a m o m e n t . T a k e the l o w e r ends w i t h the right finger and t h u m b a n d again stretch out the cotton, n o w double, to be cut. Repeat the s a m e m a n o e u v r e s e x a c t l y a f t e r each cut is m a d e until the resulting bits are loo short to be cut again. T h e n w i t h y o u r right fingers o n l y y o u very openly r u b the pieces together, rolling t h e m into-a little ball and, in the process, y o u add the ball f r o m between your second and third finger tips. H o l d i n g the t w o balls pressed tightly together, y o u s l o w l y s h o w all parts of y o u r fingers a n d hand, then r e s u m e the rubbing, bringing the w h o l e piece a b o v e the other little bundle, w h i c h y o u conceal b e t w e e n the first joints of y o u r second and third fingers. T h e m o m e n t y o u h a v e it secure y o u take hold of the free end of the w h o l e piece and s l o w l y d r a w it out to full length. D o not be misled by the apparent simplicity of the trick. W o r k it as if it w e r e a real H i n d u m y s t e r y a n d y o u will be surprised at the reception it will get. Make the u t m o s t of the deceptive twisting and rubbing together of the ends as y o u bring tlieni together after each cut is m a d e , as if the w h o l e thing depends o n that alone. W I T H STRING. Y o u have an elastic cord r u n n i n g up y o u r left sleeve across y o u r back, the end b e i n g l o o p e d over o n e of the trouser buttons on the right side. The free end has a loop of string tied to it. T h e length of the elastic a n d the string loop m u s t b e such that the end of the loop will lie in y o u r shirt cuff, safely out of sight, and yet readily get-at-able. Y o u s h o w a piece of string and y o u have it measured. There is no necessity to carry a f o o t rule, y o u enn h a v e it stretched on

the table and t w o pencil m a r k s m a d e at tlie points the ends reach. You place the string across y o u r left h a n d and y o u m a k e a great f u s s about taking it in the exact middle. Y o u m a k e several attempts, each time d r a w i n g the string, doubled, towards the left finger tips, but you are not satisfied and you lay the string across y o u r h a n d again. Finally y o u get the loop f r o m y o u r sleeve and y o u d r a w both it and the m i d d l e part of the string towards y o u r finger tips. B u t y o u bring only the loop into sight. Y o u deliberately cut this thru and y o u have f o u r ends plainly in sight. Y o u have n o w o n l y to roll the string up in y o u r left hand, at the s a m e time a l l o w i n g the elastic to draw the cut loop up y o u r sleeve. Y o u stretch the string out s h o w i n g it restored and again have it measured. 6. P O C K E T K N I F E A N D B O T T L E This is a trick that has apparently been lost sight of, yet it is well w o r t h the attention of any p e r f o r m e r f o r close quarter w o r k . T h e effect is this—a b o r r o w e d k n i f e is dropped into a bottle in w h i c h , at c o m m a n d , it gradually rises, until it c o m e s right out a n d topples to the floor. T o d o it 3'ou need about t w o feet of fine black silk, o n e end of w h i c h y o u fasten to the l o w e s t button of y o u r vest, w h i l e at the other end y o u m a k e a loop w h i c h y o u h a n g o n the top vest button. Y o u see that a bottle is h a n d y ; this m u s t be one w i t h o u t a shoulder, the sides sloping d o w n evenly. You b o r r o w a p e n k n i f e and y o u open the large blade. Y o u have it e x a m i n e d and take the opportunity to secure the loop of silk with your left fingers. T a k i n g back the k n i f e y o u have the bottle e x a m i n e d in its turn a n d y o u secretly slip the blade of the k n i f e through the loop of silk up to the n o t c h near the handle. Y o u h o l d the knife, blade pointing d o w n w a r d s , b e t w e e n y o u r right t h u m b and first joint of y o u r forefinger, keeping the loop taut, the silk running back under y o u r other three fingers, w h i c h y o u k e e p closed. T a k i n g the bottle in y o u r left h a n d y o u hold it in a sloping position and let the k n i f e slide into it. This m u s t be d o n e in s u c h a w a y that the loop will r e m a i n in the notch and yet allow the point of the k n i f e to strike the b o t t o m of the bottle w i t h an audible "plunk". T h e position n o w should be that the silk is stretched taut a n d the least o u t w a r d or u p w a r d m o t i o n of the bottle will cause the k n i f e to rise. This y o u order it to do and, v e r y slowly, y o u m o v e the bottle a w a y f r o m you, the k n i f e gradually rising until it c o m e s right to the top. Y o u let it topple to the floor, slipping out of the loop as it does so. Bottle and k n i f e m a y then be h a n d e d back a n d will tell 110 tales of h o w the trick w a s done. E x p e r i m e n t will s h o w that, e v e n at close quarters, the silk is quite hidden b y the bottle and y o u r arms.

7. T E A R I N G A B U T T O N F R O M A S P E C T A T O R ' S V E S T This is a trick w h i c h has helped to m a k e the reputation of m o r e than one magician. It is not a difficult feat but it requires s o m e audacity to carry it through properly, w h i c h is probably the reason w h y it is not m o r e o f t e n used. The effect is that y o u deliberately tear oil' a button f r o m a spectator's vest, s h o w it separate f r o m the vest a n d then attach it again. T h e w o r k i n g is quite s i m p l e a n d easy to do if y o u h a v e sufficient confidence. Most vest buttons are black and all y o u need to carry is o n e of these to w h i c h y o u tie an end or t w o of thread to give it the appearance of h a v i n g b e e n torn off the vest. You h a v e this in y o u r pocket. W h e n y o u are ready to do the trick y o u get this button b e t w e e n the tips of y o u r right first and second fingers. Y o u a p p r o a c h y o u r v i c t i m and, m a k i n g s o m e r e m a r k about one of his vest buttons being loose, y o u o p e n the l o w e s t part of his vest, freeing o n e button. P l a c e the ball of y o u r left t h u m b just b e l o w the button a n d grasp (he l o w e r edge of his vest b e t w e e n y o u r t h u m b and fingers. B r i n g y o u r right fingers to the button w h i c h is just a b o v e y o u r left t h u m b nail a n d pick at it several times, bringing y o u r right h a n d a w a y each time, leaving the button in full view, but, of course, hiding the one y o u have between y o u r first and second fingers. Again bring your right fingers over the button and, under cover of them, slide y o u r left t h u m b u p w a r d a little, c o v e r i n g his vest button and leaving yours w i t h its side clipped against the cloth b y the tip of y o u r left t h u m b , just a b o v e the button n o w concealed. Pick at y o u r button, w h i c h the spectators take to he the one they h a v e seen right along, and bring y o u r hand a w a y again. N o w grip your button by its side and w i t h a sharp jerk s n a p it a w a y . S h o w this button w i t h the little bits of thread h a n g i n g f r o m it and point to the vest. There is 110 button n o w a b o v e y o u r left t h u m b and the spectators do not realize that y o u have s i m p l y slid y o u r t h u m b over the real button. H o w e v e r , y o u give t h e m 110 time to think about it. A g a i n y o u s h o w the loose button, then as y o u apparently put it back on the vest y o u t h u m b p a l m it, placing y o u r e m p t y fingers over y o u r left t h u m b tip. R u b the tips of y o u r fingers over the cloth and, u n d e r their cover, slide y o u r left t h u m b back slightly, so that w h e n you r e m o v e y o u r right h a n d the real vest button is again visible and firmly attached. T h e effect obtained by this little feat is well w o r t h the effort to m a s t e r it. It is advisable to carry a b r o w n and grey button, as well as the black, f o r use in an e m e r g e n c y .

C H A P T E R IV.

TRICKS WITH BILLS I have already laid stress on the necessity of including a trick or t w o w i t h b o r r o w e d bills. B e f o r e actually doing the trick it is well to do a little flourish, apparently i m p r o m p t u , w i t h the b o r r o w e d bill. The f o l l o w i n g will he f o u n d diverting: AN IMPROMPTU DRINKING CUP You have a t h u m b tip, that ubiquitous fake, w h i c h y o u get secretly on y o u r right thumb. You b o r r o w a bill a n d y o u roll it into a little, cylinder, using the tip of the right t h u m b to start rolling it, and y o u leave the t h u m b tip inside the roll. Y o u take the cylinder in y o u r left h a n d and w i t h y o u r right y o u pick up a bottle, a jug, or w h a t e v e r liquid container m a y be o n the table, and y o u p o u r a little of the contents into the rolled bill, i.e. into the t h u m b tip. F r o m this y o u drink it, r e m a r k i n g that a bill a l w a y s i m p r o v e s the flavor of the w i n e , or w h a t ever the drink m a y be. W i t h a reverse m o v e m e n t y o u unroll the bill, getting the fake onto y o u r t h u m b tip, and at once h a n d the bill f o r examination. N o trace of m o i s t u r e will be f o u n d . Y o u m a y f o l l o w this by 2. T E A R I N G B I L L TO P I E C E S You b o r o w a bill, being careful to take o n e that is in g o o d condition, the n e w e r the better. Y o u s m o o t h it out, using both hands, and letting it be seen plainly that they are o t h e r w i s e empty. S u d d e n l y y o u take the upper right h a n d corner b e t w e e n the t h u m b and first finger of y o u r right h a n d and jerk the h a n d sharply d o w n w a r d s towards y o u r body as if tearing the bill in half. A rustling s o u n d will result as you bend the corner d o w n and leave it b e t w e e n the third a n d little fingers of y o u r left hand. Y o u hold the right t h u m b and fingers together, as if half the bill w e r e there and, w i t h o u t a m o m e n t ' s hesitation, y o u bring the two h a n d s together w i t h a pretense of placing the halves one on the other. Y o u repeat the s a m e m a n o e u v r e , apparently tearing the halves to quarters, but really only doubling the bill d o w n as before. B r i n g the h a n d s together once m o r e a n d this t i m e s i m u l a t e great effort in tearing the folded pieces of the bill. S h o w b o t h h a n d s separate f o r a m o m e n t , t h u m b s and fingers gripped tightly together at their tips. Finally put the i m a g i n a r y f r a g m e n t s in the right h a n d o n those in the left, i. e. o n the w h o l e bill, roll the bill into a s m a l l ball, b l o w o n it, a n d s l o w l y o p e n it out restored.

T h e trick m a y be repeated w i t h added effect. Just b e f o r e h a n d y o u h a v e secreted a bill of y o u r o w n in a f o l d of y o u r left sleeve at the elbow. Y o u offer to s h o w h o w the trick w a s d o n e and again y o u s m o o t h out the bill. Holding it in y o u r right h a n d y o u s h o w all parts of it, letting it sink into the audience's m i n d that the bill is all y o u h o l d a n d w i t h y o u r left h a n d pull up the right sleeve. T r a n s f e r the bill to y o u r left hand, s h o w i n g that h a n d also o t h e r w i s e e m p t y , and pull up y o u r left sleeve, securing y o u r o w n bill in y o u r right hand. T h i s bill should be f o l d e d to quarter size. Concealing this in the b e n d of right fingers, y o u repeat the first t w o pretended tearings of the bill, but w h e n y o u appear to tear it the third time y o u actually s h o w part of y o u r o w n bill b e t w e e n y o u r right finger a n d t h u m b , the audience will be persuaded y o u really have torn the bill. Y o u repeat the m a n oeuvre several times, c r u m p l i n g each bill s m a l l e r as y o u pretend to tear the f r a g m e n t s into tiny pieces. F i n a l l y put b o t h bills together, squeezing t h e m tightly, and s h o w all parts of y o u r hands. S l o w l y open out the b o r r o w e d bill, h o l d i n g yours, n o w c r u m p l e d into a s m a l l ball, behind it. P a l m this in y o u r left h a n d and get rid of it as y o u h a n d the b o r r o w e d bill b a c k to its owner. T h e trick requires b o l d n e s s of execution m o r e than skill. T h e result will j u s t i f y the trouble of m a s t e r i n g it. 3. B I L L A N D C A R D C O M B I N A T I O N A little preliminary preparation is necessary f o r this trick, but the effect is w e l l w o r t h the trouble. A b o r r o w e d bill is vanished, a c h o s e n card is torn up and the pieces are held b y a spectator. T h e card is m a d e w h o l e a n d inside it, enclosed b e t w e e n the t w o layers of its material, is f o u n d the b o r r o w e d bill. This is taken out b y the o w n e r and its n u m b e r identified b y h i m . T o prepare y o u take a card, a court card is best f o r the trick, a n d y o u split it b y s o a k i n g it in water. R e m o v e all the glue f r o m b o t h pieces and dry t h e m b e t w e e n sheets of blotting paper u n d e r a weight. W h e n they are quite dry a n d flat, glue t h e m together r o u n d t w o sides a n d one end, leaving one end open and using but little glue so that there is as m u c h free space in the card envelope as is possible. W h e n the glue has set, crease the card in half and again in half, pressing the creases firmly so that the card can b e readily f o l d e d in the s a m e w a y , that is, into quarters. In the back lining of y o u r right outside coat pocket fix a paper clip w i t h a s a f e t y pin, open out the card a n d insert the back of the card in the clip so that the o p e n i n g is upwards. Squeeze the sides of the card well open. In a corner of y o u r handkerchief h a v e s e w n a s m a l l w a d of paper, w h i c h is to m a s querade as a f o l d e d bill. Y o u are ready.

If)

C L O S E - U P MAGIC

F r o m y o u r pack y o u f o r c e a duplicate of y o u r prepared card, w h i c h y o u leave f o r a m o m e n t in the person's hand. Y o u b o r r o w a bill, a n y denomination, the larger the better. Y o u fold it up into a w a d of about the s a m e size as that in y o u r handkerchief, say about 1 Vl> in. b y % in. Y o u w r a p it in y o u r handkerchief apparently. Really y o u clip it at the roots of the m i d d l e fingers of y o u r right h a n d a n d bring the corner with the w a d s e w n in it u n d e r the m i d d l e of the handkerchief. Y o u twist the handkerchief u n d e r the w a d a n d give it to a spectator to hold. Y o u place the handkerchief b e t w e e n his finger and t h u m b so that the w a d is just above the f o r k of the t h u m b a n d m a k e h i m hold the rest of the handkerchief b e l o w in his other hand. It is thus m a d e safe f r o m a n y u n t o w a r d investigation. N o w y o u call attention to the chosen card. Y o u ask the holder to crease it carefully in half and then tear it along the crease, then to put the halves together, crease t h e m in half a n d tear t h e m in the s a m e w a y . W h i l e this is being done and y o u are concentrating y o u r w h o l e attention on the tearing, as if everything depended o n that, y o u h a v e quietly slipped the bill into the card in y o u r pocket, detached the card f r o m the clip a n d folded it into quarters, the creases already in it a l l o w i n g you to do this easily. Y o u clip the folded card at the roots of y o u r m i d d l e fingers. T h e card having been torn to y o u r satisfaction, y o u b o r r o w a handkerchief. Y o u take it by t w o corners a n d spread it out, s h o w i n g one side, then cross y o u r a r m s and s h o w the other side. Y o u thus s h o w the p a l m s of both hands, the f o l d e d card in y o u r right h a n d being covered by a corner. Y o u t h r o w the handkerchief over y o u r right hand, at once taking the folded card b e t w e e n the tips of y o u r first t w o fingers. Y o u lean over a n d take the pieces of the c h o s e n card w i t h y o u r left hand, y o u put t h e m u n d e r the handkerchief, really leaving t h e m at the roots of the t w o m i d d l e fingers a n d at the s a m e m o m e n t p u s h i n g up the f o l d e d card u n d e r the m i l d d l e of the fabric. Y o u grip the card f r o m a b o v e w i t h the left h a n d a n d get s o m e o n e to hold it. Y o u h a v e n o w only to finish the trick w i t h d r a m a t i c effect. Y o u w h i s k a w a y y o u r handkerchief, in w h i c h the b o r r o w e d note w a s supposed to be, and shake it out. B y getting the w a d d e d corner in o n e h a n d y o u can s h o w all parts of the handkerchief. S h o w i n g y o u r h a n d s freely y o u lift the edge of the other handkerchief and take out the card. Y o u s l o w l y o p e n it out and s h o w it is w h o l e again. B y gripping the o p e n end y o u can deliberately s h o w that all its edges are intact. Still holding this end y o u have the o w n e r of the bill feel it. H e will at o n c e say that there is s o m e t h i n g inside it. Y o u let h i m tear off half and extract his bill, w h i c h he identifies b y its n u m b e r , w h i c h s h o u l d h a v e b e e n recorded at the t i m e the bill w a s bori*owed. T h e piece of the card r e m a i n i n g in y o u r h a n d y o u tear up a n d toss a w a y .

B y rubbing one side of the open end of the card envelope w i t h diachylon, a n d then squeezing that part tightly w h e n s h o w i n g the card to be restored, y o u can a l l o w all parts of the card to be e x a m i n e d . It is interesting to note that diachylon, so m u c h in v o g u e n o w w i t h magicians, w a s used by H o f z i n s e r over sixty years ago. Cards prepared f o r this trick can be obtained f r o m the publisher of this book. 4. C I G A R E T T E A N D B I L L TRICK T h e effect of this trick is that a b o r r o w e d bill is b u r n e d a n d later o n recovered f r o m a b o r r o w e d cigarette. It is akin to the p o p u l a r card and cigarette trick but m u c h easier to w o r k at close quarters. B e f o r e h a n d y o u prepare a cigarette b y extracting part of the tobacco and y o u insert in its place, a bill of y o u r o w n , f o l d e d a n d rolled into s m a l l compass. Y o u light the cigarette a n d take t w o or three puffs, just e n o u g h to b l a c k e n the end, then let it g o out. Y o u also require a plain business envelope, in the back of w h i c h y o u m a k e a slit w i t h a razor blade, about one and a half inches long, just b e l o w the point that the flap will reach w h e n closed d o w n . T h e slit m u s t r u n parellel w i t h the sides of the envelope. Y o u begin b y b o r r o w i n g a cigarette, a n d y o u m a y , f o r added effect, ask the lender to put it b e t w e e n y o u r lips himself a n d light a m a t c h f o r you. Y o u take t w o or three p u f f s a n d let it g o out. Y o u also b o r r o w a bill, taking o n e that r e s e m b l e s y o u r o w n as closely as possible. Y o u f o l d it until it is in a neat p a c k a g e a b o u t 1 y in. b y % in. in dimensions. W h i l e doing this y o u are careful to let it be seen that y o u r h a n d s are o t h e r w i s e e m p t y . Y o u s h o w the envelope, w i t h y o u r t h u m b over the slit, so that it appears p e r f e c t l y fair. Y o u o p e n it w i t h the address side to the front a n d y o u put the f o l d e d bill inside, taking care to p u s h its l o w e r end t h r o u g h the slit, so that it protrudes at the back of the envelope. Y o u c o v e r this end of the bill w i t h y o u r left t h u m b a n d turn the envelope s h o w i n g the bill actually inside. A g a i n turn the envelope, address side to the front, a n d lift it to y o u r m o u t h to m o i s t e n the flap in the usual w a y , at the s a m e time pulling the bill t h r o u g h the slit w i t h y o u r right t h u m b , letting it drop into y o u r right h a n d at the roots of y o u r m i d d l e fingers, a slight contraction of w h i c h will hold it securely. Y o u then take the envelope in y o u r left h a n d a n d thrust y o u r right into y o u r p o c k e t to get a m a t c h a n d y o u leave the bill in y o u r pocket. Y o u set fire to the envelope, h o l d i n g it over an a s h tray, a n d this diversion gives y o u a m p l e cover f o r e x c h a n g i n g the b o r r o w e d cigarette f o r the prepared one. A f e w m o m e n t s later y o u casually relight the cigarette at the f l a m e of the envelope, r e m a r k i n g that y o u a l w a y s use dollar bills as cigarette l i g h t e r s — w h e n y o u can b o r r o w t h e m . 2

A f t e r getting as m u c h f u n f r o m the apparent b u r n i n g of the bill as y o u can y o u open y o u r cigarette and produce y o u r bill f r o m it. In the m e a n t i m e y o u have quietly unrolled the bill in y o u r pocket until it is just doubled in half. Y o u s h o w y o u r bill plainly, f o l d it in half and m a k e a gesture of h a n d i n g it to the lender, but y o u stop and say, "By the w a y , y o u gave m e this bill, didn't y o u ? " H e answers, "Yes." Y o u thank h i m and put the bill in y o u r pocket. This gets a laugh and gives y o u an opportunity of e x c h a n g i n g it f o r the b o r r o w e d bill. Y o u h a n d this to the o w n e r and have the n u m b e r identified. T h e trick will be f o u n d easy to w o r k and very effective. It is well, if y o u h a v e the spare capital, to prepare a n u m b e r of cigarettes at once. T h e firse f e w m a y be s o m e w h a t t r o u b l e s o m e but a little practice will m a k e the w o r k easy. 5. A B I L L C H A N G E O Y E R T a k e a $10 bill a n d a $1 bill, y o u will find that, after a little exp e r i m e n t i n g they can be f o l d e d in s u c h a w a y that the resulting p a c k a g e s will look exactly alike. Y o u f o l d a dollar bill of y o u r o w n in this m a n n e r a n d secrete it in a clip or pocket. W h e n y o u are ready to present the trick, y o u obtain y o u r f o l d e d bill in y o u r right h a n d and hold it clipped at the roots of y o u r second and third fingers, w h i c h allows you to s h o w the p a l m of y o u r h a n d e m p t y . Y o u b o r r o w a $10 bill and y o u f o l d it in exactly the s a m e w a y , m a k i n g a duplicate package of it. W h i l e f o l d i n g it if y o u k e e p y o u r t w o right m i d d l e fingers bent y o u will be able to s h o w the p a l m of y o u r right h a n d freely and th ie will be n o suspicion that y o u h a v e anything besides the visible bill in y o u r hands. F i n a l l y y o u get the t w o bills together and hold t h e m tightly as one, s h o w i n g all parts of y o u r hands. Y o u ask s o m e o n e to take charge of the $10 bill a n d as y o u put it apparently in his h a n d y o u slide y o u r $1 bill f o r w a r d w i t h y o u r t h u m b and clip the $10 bill at the roOts of y o u r m i d d l e fingers. Y o u m a k e h i m close his h a n d o n the $10 bill, as he supposes, a n d clench his fist tightly. Y o u tell h i m y o u are g o i n g to take the bill out of his h a n d n o m a t t e r h o w tightly he holds it. N e x t y o u b o r r o w a $1 bill a n d y o u repeat the s a m e m a n o e u v r e s exactly, this t i m e e x c h a n g i n g the dollar bill f o r the ten spot, w h i c h y o u h a n d to a second spectator to hold in his fist. Y o u pocket the dollar bill finally left in y o u r h a n d a n d y o u m a k e a parade of passes over the spectators' h a n d s as if trying to conjure the bills a w a y , causing t h e m to clench their h a n d s tighter t h a n ever. Y o u decide to do it invisibly b y m a k i n g the bills p a s s f r o m o n e pers o n to another. "Hey, Presto, Pass," y o u e x c l a i m a n d y o u m a k e y o u r

m a g i c passes. Tlie m a n w h o held the $10 bill finds he h a s the $1 bill a n d the other spectator has the $10 in place of the $1. Y o u take the $1 bill back to its o w n e r and taking the $10 bill y o u turn to its o w n e r and ask h i m if he thinks he can hold it. N o m a t t e r w h a t he says, y o u fold the bill as before, take it between the first finger and t h u m b of y o u r right hand and ask h i m to hold out his left hand. Y o u say y o u will put the bill on his h a n d and y o u want h i m to close his fingers on it rapidly. Y o u slap the bill d o w n on his p a l m a n d he closes his fingers on it. You tell h i m he wasn't half quick e n o u g h a n d y o u take the bill again as before. This time y o u say you will count "three" so that lie will be prepared to act smartly. Y o u raise y o u r right h a n d about level w i t h y o u r ear and strike d o w n on his p a l m , saying "One". Raise y o u r h a n d again, but this time slip the bill into y o u r collar at the side of y o u r neck a n d instantly bring y o u r h a n d d o w n , h o l d i n g y o u r t h u m b and fingers exactly as w h e n the bill w a s there, a n d count "Two". Once m o r e raise y o u r h a n d a n d slap it d o w n o n his p a l m , calling "Three". Automatically he will clench his fist a n d y o u at o n c e grip it w i t h y o u r left h a n d and k e e p it closed. Y o u r right h a n d is seen to b e e m p t y and you say j o k i n g l y to h i m , " N o w , if I can get the bill a w a y f r o m y o u I suppose I can h a v e it?" H e opens his h a n d —• the bill has vanished. Y o u have as m u c h f u n over its disappearance as y o u can and y o u f e i g n b e w i l d e r m e n t as to its w h e r e a b o u t s . You pull up y o u r sleeves, y o u feel y o u r pockets, no sign of it. Y o u run y o u r h a n d s t h r o u g h y o u r hair a n d y o u nip the hill f r o m y o u r collar w i t h the tips of y o u r right first a n d second lingers of y o u r right hand. H a v i n g regained possession of the bill you can pretend to find it a n y w h e r e y o u please—in another person's pocket, under the table cloth, a n y w h e r e you find the o c a s i o n will m a k e its re-appearance m o s t effective. A n E g y p t i a n Magician playing in N e w York City at this time, s e e m i n g l y places a five dollar bill in the h a n d of a spectator, asking h i m to hold the bill tight. B u t in place of the bill a folded piece of paper is f o u n d . T h e m a g i c i a n i m m e d i a t e l y reaches into the spectat o r s ^ inside pocket and produces the m i s s i n g five. N e x t a small chicken is p r o d u c e d and vanished and spectator asked to reach into his inside p o c k e t a n d there is a chicken. Clever misdirection a n d loading. This s a m e m a g i c i a n p e r f o r m s the cups a n d balls and at finish u n d e r the cups he finds small chickens. A g a i n t w o m a g i c i a n s are p e r f o r m i n g the L e m o n Trick, b o t h h a v e different m e t h o d s a n d b o t h b e i n g talked about. One m a g i c i a n w i t h t w o pitchers of clear w a t e r p e r f o r m s "Any drink called f o r " p o u r i n g out into s m a l l glasses the drink requested.

CHAPTER V

TRICKS WITH CARDS 1. T H E T A C K E D C A R D Of the i n n u m e r a b l e tricks w i t h cards only the m o s t "snappy" and striking should be d o n e at the table. T h e necessary action m u s t be carried through s m a r t l y and the finish m a d e as startling as possible. All l o n g d r a w n out counting of cards a n d involved arrangem e n t s m u s t be avoided. T h e trick w i t h a t h u m b tack, in w h i c h a chosen card is i m p a l e d on the wall or ceiling, is still one of the best, and though it m a y be old to magicians, the effect is n e w and striki n g to present d a y audiences. T o do the trick y o u h a v e a card in y o u r pocket, through the center of w h i c h y o u have pushed a t h u m b tack, the point protruding at the back of the card. Y o u force the duplicate of this card on a spectator. Y o u h a v e it replaced and then let the person shuffle the cards so that his card is really lost in the shuffle. Y o u secretly secure the card f r o m y o u r pocket and, taking back the pack, y o u add it to the pack, o n top, a n d y o u h o l d the cards in y o u r left hand. Y o u cover the protruding point w i t h y o u r t h u m b . N e x t y o u introduce a p a c k e t of t h u m b tacks, o n the l o w e r side of w h i c h y o u h a v e stuck the head of a tack, the point of w h i c h h a s been filed ofi', w i t h a spot of w a x . Y o u h a v e s o m e o n e pick out a t h u m b tack and y o u secretly scrape off the tack h e a d and hold it b e t w e e n the first joints of y o u r right second and third fingers. Y o u take the selected tack w i t h y o u r t h u m b a n d first finger, and, m o v i n g y o u r h a n d u p w a r d a little, as if to s h o w it better, y o u let it drop i n t o y o u r p a l m and s h o w the d u m m y head in its place. Holding the pack upright in y o u r left hand, m a k e a break w i t h y o u r left t h u m b and drop the d u m m y h e a d into it. Y o u close the break leaving the impression that the tack is s o m e w h e r e in the m i d dle of the pack, really y o u h a v e let the d u m m y h e a d slip through the pack into y o u r left hand. Y o u get rid of the e x a m i n e d tack f r o m y o u r right h a n d b y dropping it into the packet f r o m w h i c h it w a s taken, as y o u close it. You then take the pack in y o u r right hand, the f a c e s of the cards towards y o u and the b a c k s outermost. Y o u h a v e the c h o s e n card n a m e d , and instantly y o u t h r o w the pack squarely against the w a l l or ceiling. T h e chosen card r e m a i n s tacked firmly w h i l e all the other cards scatter a n d fall. Care m u s t be taken that the pack hits squarely and, if the ceiling is high, s o m e little practice in t h r o w i n g the pack should b e m a d e beforehand.

If the ceiling is too h i g h and the walls not of w o o d y o u can secure the s a m e effect b y t h r o w i n g the pack against a door. Fastidious p e r f o r m e r s m a y prefer to p a l m the chosen card before h a v i n g the pack shuffled, but the risk of this card s h o w i n g up on the floor is s o slight that it m a y be disregarded and the extra effect gained b y h a v i n g the d r a w e r replace his card a n y w h e r e in the pack a n d then shuffle to his heart's content. A u d a c i t y is a sine qua non w i t h the close quarter w o r k e r . At a p i n c h the effect m a y be obtained b y using a pellet of w a x . In this case a duplicate card is not required, but the result is not so striking. U s i n g the t h u m b tack m e t h o d the trick has been a f a v o r i t e of H o r a c e Goldin's f o r m a n y years. 2. A S N A P P Y T O R N C A R D R E S T O R A T I O N T h e feat of reproducing a card that has been torn u p and all the pieces but one destroyed, has been done in m a n y w a y s . T h e restored card h a s been f o u n d in a cigar or cigarette, in a n o r a n g e or an egg, etc. H e r e is a n e w idea: Y o u h a v e a duplicate of the card y o u are g o i n g to force, say it is the nine of clubs. Y o u tear off f r o m o n e c o r n e r a piece about % in. b y 1 in., and y o u h a v e this corner in a clip or pocket f r o m w h i c h y o u can obtain it nnpcrceived w h e n y o u require it. T h e r e m a i n d e r of the card y o u fold in half l e n g t h w i s e a n d roll it up a s tightly as y o u can. R o u n d it y o u roll a piece of cellophane, twisting the ends tightly, s o that the little p a c k a g e will be m o i s t u r e proof if held in y o u r m o u t h f o r a m i n u t e or two. T h i s you h a v e in a h a n d y pocket. T w o s m a l l squares of n e w s p a p e r Mill also be necessary, o n e of w h i c h , rolled into a loose ball, y o u h a v e in y o u r right coat pocket. Briefly, y o u f o r c e the nine of clubs. Y o u have it held u p to v i e w so that all can take note of it a n d y o u seize the opportunity of securing the corner torn f r o m y o u r duplicate card. H o l d i n g this in y o u r right h a n d b e t w e e n the tips of y o u r first a n d second fingers, y o u take the pack in the s a m e h a n d f o r a m o m e n t giving y o u an excuse f o r taking the chosen card back in y o u r left hand. Put the pack d o w n a n d bringing y o u r right h a n d to the card as if to tear oil' a corner, y o u adjust y o u r hidden piece to the back of the card, at o n c e tearing it, using y o u r corner as a guide to get a piece as closely r e s e m b l i n g it as possible. T h u s y o u h a v e t w o corners b e t w e e n y o u r right t h u m b a n d fingers. Y o u slide the top o n e out into v i e w a n d clip the other b e t w e e n y o u r s e c o n d and third fingers. Y o u h a n d the visible corner to a spectator,to be held and the mutilated card to a second person, a s k i n g h i m to c o m p l e t e its destruction b y tearing it into s m a l l bits. T h e h i d d e n c o m e r y o u get rid of b y dropping it into y o u r p o c k e t i n taking out y o u r cigarette case.

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Y o u ask p e r m i s s i o n to s m o k e w h i l e y o u finish the trick, the strain on y o u r nerves being so great and so on. If the audience think y o u are g o i n g to reproduce the card f r o m the cigarette so m u c h the better. T h e pieces of the card y o u roll up in the square of paper and y o u squeeze the ball into about the s a m e size as the e m p t y ball of paper w h i c h y o u have just p a l m e d in replacing y o u r cigarette case. Y o u e x c h a n g e the balls a n d set fire to the e m p t y o n e — s e e that there is an ash tray h a n d y before y o u light it. As it burns y o u lean over and relight y o u r cigarette at the flame. Y o u h a v e a m p l e opp o r t u n i t y to get rid of the balled up f r a g m e n t s of card and grip the little cellophane p a c k a g e at the tips of y o u r first and second fingers. T h e next m o v e is to get this into y o u r m o u t h . Y o u take y o u r cigarette f r o m y o u r m o u t h in the s a m e hand, as y o u ask the spectator w h o has the corner to hold it up. As y o u replace the cigarette between y o u r lips y o u slip the little packa'ge in y o u r m o u t h . B y this time the paper will h a v e been reduced to ashes. Y o u s h o w there is n o trace of the card left and y o u break o p e n y o u r cigarette but y o u find o n l y tobacco there. Y o u f e i g n a sudden choking. Y o u put y o u r h a n d s to y o u r m o u t h a n d quickly unrolling the cellop h a n e open out the card and bring it f r o m y o u r m o u t h . "I a l w a y s f o r g e t " y o u say, "one should n e v e r inhale w h i l e d o i n g this trick." T h e production of the card, perfectly dry, a n d the fitting of the piece to it, m a k e the trick m o s t effective. 3. A P O C K E R D E A L If y o u include a n y tricks w i t h cards in y o u r p r o g r a m it is probable that s o m e o n e will remark, "I w o u l d n ' t like to p l a y p o k e r w i t h h i m . " That will be y o u r cue to s h o w y o u r ability to deal extraordin a r y poker hands. Most people think that a n y card m a g i c i a n can do this at will, but in reality, very f e w m a g i c i a n s k n o w anything about gamblers' m e t h o d s , and in the course of a l o n g career in m a g i c I can count on the fingers of one h a n d the m a g i c i a n s I h a v e m e t w h o have m a s t e r e d the art of stacking, second and b o t t o m dealing, a n d the other artifices in the gambler's repertoire. H o w e v e r , to i m p r e s s the public, it is not necessary to spend the e n o r m o u s a m o u n t of time necessary to acquire facility w i t h these sleights. If y o u can m a k e one deal that is c o n v i n c i n g that is all y o u w a n t . T h e f o l l o w i n g arr a n g e m e n t will be f o u n d to m a k e an extraordinary impression. A little prior a r r a n g e m e n t is necessary. In the upper left vest pocket y o u have the f o u r k i n g s and the f o u r aces of the pack y o u h a v e used f o r other tricks. T h e s e eight cards are arranged, king, ace, king, throughout. You have the pack shuffled b y several of the spectators and y o u call special attention to this to c o n v i n c e everyone that y o u cannot possibly k n o w the w h e r e a b o u t s of a n y particular card.

Y o u take the pack and m a k e several of the m o v e s k n o w n as "The P a l m a n d Recovery." F o r instance, y o u p a l m a packet f r o m the top and, thrusting y o u r h a n d under a spectator's coat, produce t h e m in a fan. Y o u repeat the m o v e getting cards f r o m behind y o u r left knee, and again f r o m behind y o u r right knee. T h e n p a l m i n g o n l y a couple of cards y o u s h o w h o w easy it is to pass cards up y o u r sleeve. Y o u riffle the pack w i t h y o u r left t h u m b and at once thrust y o u r right hand under the left side of y o u r coat, you pull out the eight cards f r o m y o u r vest pocket, adding the t w o p a l m e d cards on top of t h e m and bring t h e m out fanned, but w i t h their f a c e s a w a y f r o m the spectators. Close up the cards and add t h e m to the top of the pack. Y o u n o w h a v e m e r e l y to get rid of the t w o cards a b o v e the setu p packet of k i n g s a n d aces a n d y o u are ready f o r a p o k e r miracle. S o y o u shuffle, first r u n n i n g oil' (he two (op cards, then false shuffli n g as c o n v i n c i n g l y as y o u r skill permits, finish w i t h several false cuts a n d leave the arranged k i n g s a n d aces o n lop. Offer the p a c k l y i n g on y o u r left h a n d to b e cut, c o m p l e t e the cut a n d slip the tip of y o u r little finger b e t w e e n the packets. H a v e y o u r opponent selected a n d deal o n e card to h i m a n d o n e to yourself, very openly, f r o m the top of the deck. M a k e a m o t i o n of dealing a second card to h i m , but pause, holding the pack in position f o r the pass. Y o u m a k e s o m e r e m a r k about not h a v i n g fixed the slakes, a n d u n d e r cover of a n appropriate gesture y o u m a k e the pass. It m a k e s 110 difference w h e t h e r y o u r o p p o n e n t is willing to bet or not, you s a y that after all y o u never bet 011 a sure thing, a n d you continue the deal. H e gets the f o u r k i n g s and you the f o u r aces. F o r the f u n of the thing y o u m a y see h o w far lie w o u l d go in belting 011 his h a n d b e f o r e y o u turn y o u r f o u r aces. A s s o o n as y o u are set, that is, after h a v i n g m a d e the pass, y o u s h o u l d deal the cards very s l o w l y and openly. T h e k n o w l e d g e of the possibility of dealing seconds has b e c o m e quite widespread of late, m a i n l y through novices trying to parade dexterity. Carried t h r o u g h confidently a n d w i t h a passable degree of skill, Ibis feat f o r m s as strong a c l i m a x as can be desired to a series of card tricks. A n alternative m e t h o d of m a n i p u l a t i o n is this: A f t e r y o u r false shuffles p a l m the eight cards f r o m the top and offer the pack to be cut as it lies on y o u r left hand. As s o o n as the spectator lifts off a portion, take the rest with y o u r right hand, adding the p a l m e d cards to them, take the cut f r o m the spectator w i t h y o u r left h a n d a n d r e a s s e m b l e the pack. B e g i n the deal i m m e d i a t e ly. T h e p a l m e d cards are in y o u r h a n d f o r a f e w m o m e n t s o n l y a n d

y o u r m o v e m e n t s are quite natural, so there is nothing to arouse a n y suspicion. Of course there m u s t be no hesitation and y o u r w h o l e attention m u s t be concentrated on the left h a n d and the person m a k ing the cut. P a l m i n g cards really requires m o r e confidence than skill. Space will not permit details of further tricks w i t h cards. T h e student m u s t refer to the m a n y b o o k s a n d p a m p h l e t s recently published o n this branch of the art. M a n y very subtle a r r a n g e m e n t s suitable f o r close w o r k will be f o u n d in A n n e m a n n ' s recent book, "Sh-Sh-It's a Secret." C H A P T E R VI.

TRICKS WITH COINS

1. COIN RISING F R O M G L A S S OF B E E R Briefly the effect of this trick is that a coin, w h i c h has b e e n dropped b y a spectator into a glass of beer, rises s p o n t a n e o u s l y to the r i m of the glass, w h e n c e y o u take it and at once h a n d it f o r exa m i n a t i o n . T h e trick is d o n e at the closest quarters. T h e secret is a hair a n d a pellet of w a x , but the m e t h o d of concealing these accessories is v e r y ingenious. Y o u take a length of hair of about fourteen inches and tie o n e e n d to the l o w e r button on y o u r left sleeve, the one nearest y o u r hand. T o the other end y o u attach a pellet of w a x and, bringing it u n d e r a n d right a r o u n d the sleeve, press the w a x on the s a m e button. T h u s attached the hair can be carried safely f o r a n y length of time and is a l w a y s ready f o r use. T o do the trick y o u ask f o r a coip, a half-dollar or a quarter, a n d y o u have it marked. A s this is being d o n e you pull y o u r left sleeve back a little a n d secure the pellet of w a x . Y o u receive the coin in y o u r left h a n d w h i c h passes it to the right and y o u press the w a x o n its l o w e r side. T h e n hold the coin directly over a glass of beer a n d ask the o w n e r to take it and drop it as y o u count three. Since y o u are holding the coin flat he can o n l y grip it b y its edges a n d therefore he cannot disturb the w a x or the hair. At the w o r d "three" he lets it drop into the beer. T o m a k e the coin rise out y o u h a v e s i m p l y to m o v e y o u r left h a n d very s l o w l y f r o m the glass at the s a m e t i m e m a k i n g mysterious passes w i t h y o u r right hand. A s s o o n as it arrives at the b r i m of the t u m b l e r y o u take it in y o u r right fingers, detach the w a x a n d h a n d the coin to the o w n e r of it. A s the m a r k is b e i n g identified, y o u again adjust* y o u r left sleeve and attach the pellet of w a x as before. Y o u are then ready f o r a repetition of the trick at will.

It will be w e l l to note here several other ingenious w a y s of fixi n g a hair and w a x pellet. T h e usual m e t h o d is to attach one e n d to the l o w e s t button of y o u r vest a n d press the w a x o n the other e n d of the hair to the top vest button. This has the a d v a n t a g e of bei n g v e r y easy to fix, but there is a l w a y s the chance of the hair getting in y o u r w a y in the course of other tricks. A m u c h better w a y is to f a s t e n a tiny w e i g h t to one end of the hair and let this into (lie lini n g of y o u r coat b y cutting a small slit a liltle a b o v e the level of y o u r outside coat pocket 011 the left side. T h e n thread the hair t h r o u g h the cloth and fix the pellet of w a x to it. W h e n it is free the w e i g h t will d r a w it up against y o u r coat 011 the outside, yet y o u can secure it at will, in the perfectly natural action of a d j u s t i n g y o u r handkerchief, and d r a w it out to w h a t e v e r distance m a y be necessary f o r y o u r trick. T h e m o m e n t y o u release it the w e i g h t will fall a n d d r a w it back against the cloth. Y o u will then have n o t h i n g to get rid of a n d n o t h i n g suspicious can s h o w up. One of o u r cleverest close quarter w o r k e r s utilizes this idea b y fixing the hair in the s a m e w a y in his left trouser leg, the w a x being d r a w n against the cloth at about the height of the fork of the trousers. I11 this position it is readily get-at-able a n d perfectly safe for a n y length of lime. It m u s t be left to the reader to m a k e other uses of this v e r y ing e n i o u s accessory. A card m a y be m a d e to w a l k out of the pack, to rise f r o m a glass or out of a hat, a bill can be m a d e to p e r f o r m extraordinary gyrations, in fact there is 110 e n d to the various Iricks to w h i c h it m a y be applied f o r close w o r k . U n d e r artificial light the hair is invisible. 2. COIN A N D T W O C A R D S F o r this pretty little i m p r o m p t u trick y o u get a half-dollar secretly into y o u r left hand, h o l d i n g it b y b e n d i n g the two m i d d l e fingers slightly inward, the edges of the coin being clipped b e t w e e n their s e c o n d joints and the base of the fingers. Y o u ask s o m e o n e to h a n d y o u a card, a n y card. Y o u receive it w i t h y o u r right h a n d a n d transfer it to y o u r left, placing it o v e r the coin. You s h o w the card thus a n d a m o m e n t later y o u take it again in y o u r right h a n d carrying the coin a w a y b e h i n d it. W i t h a careless gesture y o u let it be seen that y o u r left h a n d is e m p t y . W i t h y o u r left fingers snap the card a n d again take it in that hand, securing the coin behind it. Y o u ask f o r a n o t h e r card and take it in y o u r right hand. You turn it a r o u n d s h o w i n g all parts of it a n d y o u r hand. Don't say a n y t h i n g about y o u r h a n d s being e m p t y at a n y time, just let the fact b e u n m i s t a k e a b l e a n d let it sink in automatically, so to speak. Y o u give the spectators the choice of h a v i n g the cards put together f a c e to f a c e or back to back, a n d y o u act accordingly. W h i c h *

20

C I, O S !•: - U 1' M A C. I C

ever position is chosen it is an easy m a t t e r f o r y o u to slide t h e m together so that the hidden coin is b e t w e e n them. Y o u lay the cards on the table. N e x t you b o r r o w a half-dollar. Y o u take it in y o u r right h a n d and put y o u r hand under the table, just b e l o w the cards. Y o u place the side of the coin against the w o o d and snap it flat w i t h a sharp click, let it slide into y o u r sleeve and bring up y o u r h a n d e m p t y . T h e top card of the t w o is lifted and there is the coin. D o not be tempted to try to m a k e the trick stronger b y havi n g the coin m a r k e d and then w o r k i n g an exchange. Just w o r k the trick smartly as above a n d y o u will find the result quite satisfactory. 3. A N O V E L V A N I S H A coin held at the tips of the left fingers is covered w i t h a borr o w e d handkerchief. T h e coin vanishes, both h a n d s are s h o w n e m p ty and the handkerchief returned, n o trace of the coin r e m a i n i n g . B e f o r e starting the trick sec that the m o u t h of y o u r outer coat pocket on the left side is well opened. Y o u take the coin in y o u r left hand, h o l d i n g it fiat b e t w e e n the tips of y o u r t h u m b and first a n d second fingers, edge upwards. Y o u have the handkerchief in y o u r right hand, h o l d i n g it b y o n e corner, the rest h a n g i n g d o w n . Calling attention to the coin y o u s l o w l y d r a w the handkerchief back over it so that the corner held in the right t h u m b a n d fingers w i l l c o m e directly towards y o u r coat pocket. Apparently y o u are tryi n g to get the coin just u n d e r the m i d d l e of the handkerchief a n d y o u are not satisfied, so you draw the handkerchief a w a y again, the coin r e m a i n i n g at y o u r left finger tips. Cover it again in the s a m e w a y and again the result is not satisfactory. T h e third time y o u d r a w the handkerchief over y o u secretly nip the coin w i t h the tip of y o u r second right finger against the side of y o u r t h u m b and carry it back behind the corner of the handkerchief, w h e n y o u r h a n d arrives just over y o u r coat pocket y o u let the coin drop into it. In the m e a t i m e the handkerchief is draped over the tip of y o u r left forefinger, w h i c h simulates the shape of the coin. Y o u keep y o u r w h o l e attention fixed on this supposed coin. Y o u let the corner of the fabric drop f r o m y o u r right h a n d and, after a m o m e n t or t w o you ask the o w n e r of the coin to hold it u n d e r the handkerchief. Y o u affect to be astonished at its disappearance a n d y o u proceed to rep r o d u c e the original m a r k e d coin in w h a t e v e r m a n n e r the trick in h a n d calls for. 4. COIN F O U N D I N A D I N N E R R O L L Y o u take up a dinner roll and, pretending to w e i g h it, y o u turn it about in all directions, thereby indirectly letting e v e r y o n e see that

there is n o o p e n i n g in it. " P a r d o n m e , " y o u say, "hut this roll s e e m s to be rather heavy. P e r h a p s there is s o m e t h i n g in i( intended f o r m e . " Y o u break it open and find, i m b e d d e d in the center, a live-dollar gold piece. "Really," y o u say, "I m u s t c o m p l i m e n t you on this i n g e n i o u s card of invitation to y o u r dinner," and y o u pocket the coin. Y o u do the trick thus: Y o u h a v e previously secretly got the gold coin into y o u r right h a n d and, as y o u turn the roll over and over, y o u get the coin to the tips of y o u r fingers and hold it underneath the roll. You then lake this b y the ends and b e n d these u p w a r d s a little, pressing the m i d d l e d o w n w i t h y o u r t h u m b s , thus b r e a k i n g the roll o n its l o w e r side. Y o u p u s h the coin into the o p e n i n g with the tips of y o u r fingers. F i n a l l y y o u break the roll apart and reveal the coin i m b e d d e d in the bread in the middle. Y o u m a y o n l y pretend to pocket Hie coin a n d if y o u care to y o u can repeat the trick. T h i s little f e a t can be d o n e w i t h almost a n y kind of small cake and is a fine i m p r o m p t u trick f o r use w h e n y o u arc out w i t h a party of friends. 5. T H E B E S T COIN F O L D T h e trick of w r a p p i n g u p a coin in a piece of paper and c a u s i n g it to vanish has b e e n d o n e in m a n y w a y s . T h e old m e t h o d r e m a i n s the best. Y o u take a piece of paper about three i n c h e s b y two in size a n d y o u place a coin, a half-dollar, f o r instance, 011 its center. Y o u turn the paper u p w a r d s s o that the coin, held against the paper b y the tip of y o u r left t h u m b ^ i s o n the side nearest to you. F o l d the upper end of the p a p e r back o v e r the coin and d o w n , but do liot b r i n g the edges of the paper quite together, let the inner edge be about a quarter of an i n c h a b o v e the other. N o w f o l d the sides of the paper o u t w a r d s on the coin but not so tightly that it w i l l not be free to slip a w a y w h e n required. T u r n the little p a c k e t u p w a r d and f o l d d o w n the last side outwards. T o the spectators it will appear that the paper has b e e n fairly and securely f o l d e d r o u n d the coin. In reality the last side has been f o l d e d o n itself a n d the coin is simply' in a pocket, f r o m w h i c h y o u can let it slide at will. Y o u hold the o p e n side of the packet tightly b e t w e e n y o u r t h u m b a n d fingers a n d y o u can then s h o w it f r e e l y o n all sides, letting the spectators f e e l that the coin is really there. Y o u press the paper in firmly r o u n d the edges of the coin s o that a n i m p r e s s i o n of it w i l l r e m a i n visible after the coin slides a w a y . H o l d the packet u p to

v i e w at the tips of y o u r right fingers a n d t h u m b , back of y o u r h a n d to the front and fingers pressed closely together. T h e n let the coin slide out and d o w n to the ends of y o u r second and third fingers, a slight contraction of w h i c h will hold it securely. T r a n s f e r the packet to y o u r left h a n d and hold it in the s a m e w a y , the i m p r e s s i o n of the coin is still visible and the audience will h a v e n o suspicion that it has already departed. Thrust y o u r right h a n d into y o u r pocket to get a m a t c h and leave the coin behind. Y o u light the paper and let it burn s l o w l y away. T h e coin has vanished and y o u r h a n d s are seen to be empty. T h e trick can be w o r k e d so openly and deliberately that it is v e r y convincing. It can b e m a d e e v e n m o r e startling b y using flash p a p e r to w r a p the coin up in. 6. COIN A N D H A R N E S S R I N G S T h r e e harness rings are used in this trick, t w o are quite unprepared, but the third has a disc of w h i t e paper neatly glued o v e r o n e side. A s m a l l square of cardboard of the s a m e color as the disc of paper, and a visiting card of s u c h size as to cover the ring, are also necessary. Y o u have the f a k e d ring w h e r e y o u can get it easily. Y o u h a n d the two fair rings out f o r e x a m i n a t i o n and y o u take the opportunity of getting the f a k e d ring in y o u r hand. Y o u e x c h a n g e o n e of the fair rings f o r this and y o u put it d o w n on the cardboard, covered side d o w n . T o w o r k the trick y o u put the fair ring o n top of the f a k e d o n e and on both y o u put a business card, the w i d t h of w h i c h m u s t be s u c h that it covers the rings but a l l o w s y o u to lift t h e m up w i t h it b y the sides. Y o u place a d i m e d o w n o n the cardboard, lift the card and the rings together and put t h e m over the d i m e . W h e n y o u lift the card the d i m e h a s vanished. There arc m a n y interesting variations of the trick a n d w i t h a little study y o u can w o r k out a fine routine. F o r instance, y o u put a d i m e in the fair ring as it lies o n the cardboard, and pick it out again. D o this several times. T h e n r e m o v e the fair ring a n d put the f a k e ring over the d i m e , at once picking out a d i m e w h i c h y o u h a d clipped at y o u r finger tips. P u t this d i m e d o w n in the f a k e ring a n d again take it out. T h e n h o l d i n g this d i m e in y o u r right h a n d put the fair ring on the f a k e o n e a n d the business card over both. V a n i s h the d i m e and then reveal the original b y lifting the card and rings together. In similar f a s h i o n a d i m e can be c h a n g e d to a quarter a n d back again. F i n a l l y y o u e x c h a n g e the f a k e ring f o r the s e c o n d f a i r o n e and if y o u r e x c h a n g e s h a v e been properly d o n e y o u will have as complete a m y s t e r y as y o u could w i s h f o r close w o r k .

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7. COIN T H R O U G H T H E H A N D Y o u b o r r o w a coin, call this A, taking it after it lias been m a r k e d . Y o u e x c h a n g e it f o r a similar coin of y o u r o w n , B, leaving A in the b e n d of y o u r t w o left m i d d l e fingers. Y o u hold up B and describe the m a r k 011 A, of w h i c h y o u had taken mental note previously. S w i n g to the left and turn y o u r left h a n d over, bringing its back to the front, t h u m b d o w n w a r d . T h e coin, A, b e i n g hidden b y the b e n d in y o u r left fingers, y o u can safely s h o w the p a l m of the h a n d in the turn. H o l d i n g B e d g e w i s e A v i t l i the tips of the right t h u m b a n d fingers, k e e p i n g as m u c h of the coin in v i e w as possible, press its opposite side against the back of y o u r left hand. S l o w l y slide the tips of the right t h u m b and fingers over B, creating the illusi o n of the coin b e i n g s l o w l y p u s h e d into the back of the hand. At ihe s a m e t i m e s l o w l y close the fingers of y o u r left hand, bring A into the p a l m of y o u r clenched fist. Grip B by b e n d i n g the third a n d f o u r t h fingers o n it a n d r e m o v e the right h a n d slowly, letting it be seen that the p a l m is e m p t y . T u r n y o u r left hand, back d o w n w a r d s and s l o w l y open the fingers, s h o w i n g the m a r k e d coin lying o n its p a l m . W i t h a little appropriate patter a b o u t the p a s s a g e of m a t t e r through matter, the trick can be m a d e quite convincing. C H A P T E R VII.

TRICKS AT THE TABLE If y o u r address is g o o d a n d y o u h a v e succeeded in pleasing y o u r little audience, it is m o r e than likely that y o u will be a s k e d to sit d o w n a n d partake of s o m e r e f r e s h m e n t . Y o u m u s t be prepared to carry o n u n d e r these conditions. F o r t u n a t e l y there are m a n y suitable tricks. A selection of the best o n l y can be given here. 1. V A N I S H I N G A G L A S S O F W I N E Y o u are a s k e d to h a v e a glass of w i n e . Y o u take it a n d drink about half the contents, then m a k i n g s o m e r e m a r k to d r a w all attention to yourself, y o u s u d d e n l y toss the glass into the air. It vanishes. Y o u r e c o v e r it, still half full, f r o m u n d e r y o u r neighbor's coat. B o l d l y d o n e the effect is startling. T o m a n a g e the v a n i s h y o u o p e n y o u r legs a little and hold y o u r serviette in y o u r left hand. As y o u l o w e r the glass, after drinking half the w i n e , or a little m o r e , y o u l e a v e it b e t w e e n y o u r legs, instantly bring y o u r h a n d up w i t h a quick t h r o w i n g m o t i o n a n d f o l l o w i n g the s u p p o s e d flight of the glass intently w i t h y o u r eyes. Y o u m u s t clip the glass b e t w e e n y o u r legs o n the instant a n d the right h a n d m u s t not dwell there f o r a moment.

T o recover the g l a s s — y o u have covered it w i t h y o u r serviette as y o u r right h a n d m o v e d u p w a r d s and y o u take it up, still covered, a n d y o u w h i p it under y o u r neighbor's coat w h i c h y o u pull open w i t h y o u r free hand. Y o u bring it out very slowly. T h e trick can b e d o n e w i t h a w h i s k y glass, or a small tea or coffee cup w i t h equally g o o d effect. A l w a y s be sure y o u h a v e the attention of e v e r y b o d y as y o u m a k e the vanish, for y o u can't repeat the trick. 2. V A N I S H I N G A P L A T E T o do this successfully y o u m u s t secure a seat at a corner of the table. Y o u take a s m a l l plate and holding it up y o u m a k e a r e m a r k about the pattern, then l o w e r i n g y o u r right h a n d w i t h the plate, y o u m a k e a v i g o r o u s t h r o w t o w a r d s the ceiling. T h e plate apparently v a n i s h e s in m i d a i r and as in the preceding v a n i s h y o u are caref u l to let y o u r gaze f o l l o w its flight intently. In reality y o u liav'j quickly gripped it b e t w e e n the calf and thigh of y o u r leg. A s b e f o r e the h a n d m u s t not dwell o n the action of depositing the plate f o r a moment. A n o t h e r m e t h o d is to rise slightly, as if to m a k e the t h r o w a n extra v i g o r o u s one, a n d then slip the plate u n d e r y o u o n y o u r chair scat. In either case, to recover the plate y o u take y o u r serviette w e l l spread, in y o u r left hand, b r i n g the plate u n d e r it w i t h y o u r right h a n d and, quickly rising f r o m y o u r chair, d a s h f o r w a r d a n d pretend to catch the plate just b e f o r e it reaches the floor. T h e student will be w e l l advised to give these feats plenty of practice in his o w n h o m e circle before a t t e m p t i n g t h e m in public. B u t given the necessary audacity they are no harder to do successf u l l y than m a n y other feats n o t half so startling. 3. S W A L L O W I N G A K N I F E Y o u place a large knife, the larger the better, a carving k n i f e even, if one is available, on the table in front of you, so that it lies parallel w i t h the edge of the table. Y o u pull y o u r sleeves back a n d put y o u r bent f o r e a r m s on the table crossed, w i t h y o u r h a n d s overlapping o n the knife, w h i c h is thus c o m p l e t e l y hidden. N i p the k n i f e w i t h y o u r t h u m b s and raise it f r o m the table, keeping y o u r h a n d s and a r m s in the s a m e position. Raise o n e h a n d a n d pretend to m a k e an a t t e m p t to s w a l l o w the knife. F e i g n to c h o k e and put the k n i f e d o w n . Repeat the s a m e m a n o e u v r e s . At y o u r third attempt drop the k n i f e into y o u r lap but continue the lifting m o v e m e n t exactly as before, pretend to put o n e end of the k n i f e in y o u r m o u t h and s w a l l o w it. S h o w y o u r h a n d s and carelessl y let y o u r left drop to y o u r lap a n d cover the k n i f e w i t h y o u r serviette. It m a y be recovered later f r o m u n d e r y o u r coat or vest.

TRICKS A T T H E T A B L E A g o o d m e t h o d w i t h a small k n i f e is to h a v e a false tip. Y o u secretly adjust this to the k n i f e blade, and, after h a v i n g dropped the k n i f e y o u a l l o w the tip to r e m a i n in view. After the s w a l l o w i n g y o u can p a l m this a n d get rid of it in taking a toothpick f r o m y o u r vest pocket. U s i n g a penknife, y o u m a y accidentally drop it on the floor after several u n s u c c e s s f u l a t t e m p t s to s w a l l o w it. T h e n in picking it up y o u leave it clipped in the b e n d behind y o u r knee. Y o u r h a n d continues on its w a y to y o u r m o u t h e m p t y but disposed in such a m a n ner that the k n i f e appears to be held in it. Just as w i t h the other m e t h o d s y o u r m o v e s m u s t be w o r k e d s m o o t h l y a n d w i t h o u t hesitation. 4. S P O O N OR F O R K T H R O U G H A G L A S S T a k e a t u m b l e r in y o u r left h a n d in s u c h a Avay that the m o u t h is t o w a r d s y o u r w r i s t a n d the b o t t o m at y o u r finger tips. H o l d i n g the article to b e p a s s e d t h r o u g h the b o t t o m of the glass in y o u r right hand, y o u thrust it into t h e glass t w o or three times, letting it strike s h a r p l y against the b o t t o m . T h e n instead of p u t t i n g the end into the t u m b l e r pass it b e t w e e n the h a n d a n d the outside, a l l o w i n g two or three inches to protrude b e y o n d the fingers. T o all appearance the article has penetrated the b o t t o m of the glass. Y o u m a y use the handle of a f o r k or spoon, a s k e w e r — i n fact a n y t h i n g of similar nature. 5. P L A T E S A N D B R E A D P E L L E T S Y o u h o l d up a plate and y o u say y o u can see t h r o u g h it. T o p r o v e y o u r assertion y o u squeeze s o m e bread into pellets or s m a l l balls. Y o u m a k e f o u r but y o u s h o w three only, concealing o n e in y o u r fingers. T a k e up t w o plates a n d in turning t h e m upside d o w n drop the extra pellet u n d e r o n e of them. T a k e up one of the three visible pellets, vanish it a n d pick up the plate s h o w i n g the o n e just before loaded under it. Replace the plate secretly d r o p p i n g the ball just p a l m e d . V a n i s h a n o t h e r pellet a n d s h o w t w o u n d e r the plate. Repeat w i t h the third. C o n t i n u e b y lifting the second plate w i t h the h a n d holding the extra pellet, in other w o r d s take up the plate on y o u r left in y o u r right hand. Cross y o u r a r m s a n d w i t h y o u r left hand lift the plate on y o u r right. S h o w that u n d e r the left h a n d plate there is n o t h i n g w h i l e three balls are u n d e r the right h a n d plate. P u t b o t h plates d o w n , d r o p p i n g the p a l m e d ball u n d e r the left h a n d plate a n d n i p p i n g o n e of the pellets b e t w e e n y o u r left fingers f r o m u n d e r the plate to the right. M a k e m o t i o n s of passing o n e ball. Lift the plates a n d s h o w

t w o u n d e r o n e and one under the other. In similar f a s h i o n the t w o r e m a i n i n g halls are passed in sucession finally s h o w i n g all three u n d e r the plate on the left and n o n e under that on the right. 6. V A N I S H I N G M A T C H E S Y o u s h o w a b o x of s a f e t y matches. Y o u e m p t y out the m a t c h e s on to the m i d d l e of y o u r handkerchief w h i c h y o u gather up in a bundle. A n y o n e m a y feel that the m a t c h e s are really there, yet seizing o n e corner of the fabric you s h a k e it out, the m a t c h e s h a v e vanished. Y o u p l u n g e y o u r h a n d into y o u r pocket a n d y o u b r i n g t h e m out letting t h e m fall in a s h o w e r on the table. R o u n d one end of the m a t c h b o x y o u h a v e stretched a s m a l l r u b b e r band. On m o s t b o x e s there is a black b a n d m a r k e d across the top near each end. If y o u r b o x is not so m a r k e d then put a black ink line there and stretch the rubber b a n d o v e r it. T h e m e t h o d of v a n i s h i n g is simple. As y o u o p e n the b o x y o u d r a w the b a n d off a n d l e a v e it r o u n d the finger tips of y o u r left hand, spread the handkerchief o v e r this hand, and as s o o n as the h a n d is hidden, stretch the rubber b y extending the fingers. P u s h the m i d d l e of the fabric d o w n m a k i n g a little w e l l a n d into this y o u p o u r the m a t c h e s . B r i n g the corners of the handkerchief o v e r m a k i n g a bundle, and, u n d e r c o v e r of this let the band slip off the fingers. T h e m a t c h e s will then be enclosed securely and the handkerchief m a y be s h a k e n vigorously to prove they have really vanished. This little w r i n k l e is v e r y u s e f u l a n d it m a y be u s e d to v a n i s h a n y s m a l l article, s u c h as a marble, a die, a coin or e v e n a bill. 7. C I G A R E T T E P A P E R S T h e torn a n d restored cigarette paper r e m a i n s one of the best of i m p r o m p t u tricks. In the expert h a n d s of Mr. N a t e Leipzig this trick attains the proportions of a real illusion. T h e f o l l o w i n g m e t h o d gives a little twist to the feat w h i c h is effective. Y o u begin b y h a v i n g a w h o l e paper, rolled into a tiny ball, concealed in y o u r fingers, or y o u m a y nip it b e h i n d the paper y o u s h o w to the spectators. Y o u tear this visible paper into small f r a g m e n t s a n d roll it into a tiny ball, w h i c h y o u e x c h a n g e f o r y o u r o w n w h o l e paper. Y o u l a y this supp o s e d ball of pieces on the table a n d get a spectator to place his h a n d firmly on it. Y o u take a second paper and, w i t h o u t tearing it, y o u roll it up, again m a k i n g a secret exchange, but apparently y o u place this w h o l e piece on the table f o r a second spectator to hold. At y o u r c o m m a n d the pieces and the w h o l e paper c h a n g e places. T h e spectator w h o held the pieces n o w finds he has the w h o l e p a p e r a n d vice versa.

8. T H E W A L N U T S H E L L S A N D P E A T h i s trick w h i c h is very fine f o r close table work,"has been treated e x h a u s t i v e l y in a recent publication. ' I w o u l d advise the reader to obtain this a n d the necessary shells a n d special pea f r o m a m a g ical dealer and study the trick f r o m the directions given. I have not the space to devote to it here. That the trick is w o r t h while is proved b y the fact that it w a s a great f a v o r i t e w i t h Charles Bertram, the f a m o u s E n g l i s h magician. I have seen h i m set a w h o l e table in an u p r o a r w i t h his w o r k i n g . A recent addition to the trick m a y be m e n t i o n e d . A f t e r y o u put the shell over the pea y o u cover b o t h w i t h an inverted colfcc cup. T h e v a n i s h m e n t of the pea u n d e r these conditions is startling. T h e r e are m a n y tricks obtainable f r o m the m a g i c dealers that are effective f o r close w o r k . Of recent introduction are "Squash" a fine v a n i s h a n d r e c o v e r y of a w h i s k e y glass a n d liquid; "Egyptian Vase," the latest f o r m of the "Bising Pencil," a g o o d vest pull b y S h a n n o n . T h e card reel f o r the R i s i n g cards; this reel is also u s e f u l f o r m a n y other effects, s u c h as b a l a n c i n g a chair; a silk j u m p i n g f r o m floor to hand, etc.; "Topit", a p o c k e t f o r v a n i s h i n g cards, glasses a n d other s m a l l articles. Y o u will h a v e to try these out f o r yourself a n d select those that are m o s t suitable f o r y o u r style of w o r k i n g . B u t b e w a r e of loading yourself up w i t h articles that palpably are m a d e f o r trick purposes. D e v e l o p dexterity a n d y o u will find that constant practice will enable y o u to do s o m e t h i n g m a g i c a l w i t h a l m o s t a n y article in c o m m o n use. C H A P T E R VIII.

VESTING AND SLEEVING I h a v e avoided as far as possible a n y description of sleights. There has b e e n s u c h a flood of b o o k s a n d p a m p h l e t s giving directions f o r various m o v e s w i t h cards, coins, etc., etc., that it w o u l d h a v e b e e n a w a s t e of space to treat o n the subject herein. T h e r e are h o w e v e r , t w o m e t h o d s of v a n i s h i n g s m a l l objects w h i c h h a v e b e e n totally neglected, a n d in the h o p e that the rising generation of m a g i cians will realize their v a l u e and m a s t e r t h e m I include an explanation of t h e m .

1.

VESTING

T h e m a g i c i a n w h o w o r k s at close quarters has n o black art wells, table or chair servantes, or other m e c h a n i c a l appliances to aid h i m . H e m u s t rely entirely on his dexterity, plus w h a t e v e r help his clothing m a y give him. At first thought it w o u l d s e e m that to say that y o u can thrust a n y s m a l l article under y o u r vest a n d so vanish it without the s u r r o u n d i n g spectators k n o w i n g just w h a t y o u are doing, w o u l d be ridiculous. B u t those w h o have seen one of o u r best card m a n i p u l a t o r s vest playing cards so adroitly that, even w h e n y o u k n o w w h a t he is doing, y o u can h a r d l y realize that the m o v e has b e e n m a d e , will k n o w h o w deceptive this sleight really is. T o v a n i s h a n y small article, s u c h as a ball, a s m a l l orange, etc., y o u take "it in y o u r right hand, toss it into the air a n d catch it, y o u r h a n d sinking just b e l o w the edge of y o u r vest w h e r e y o u r left h a n d rests. C o m p l e t i n g the catch y o u bring y o u r left h a n d d o w n over y o u r right p a l m , the object then b e i n g held b e t w e e n y o u r hands. Repeat the toss and catch several times. T h e n to v a n i s h the article, as y o u r right h a n d c o m e s up to m e e t the left, the latter h a n d raises the edge of y o u r vest slightly, y o u r right h a n d w h i p s the article under the vest and instantly the t w o h a n d s arc b r o u g h t together just as before as if they really held s o m e t h i n g . Y o u then proceed to r u b this a w a y to n o t h i n g as realistically as possible. W h e n y o u slip an article u n d e r y o u r vest y o u should turn y o u r b o d y slightly a w a y . T h e Avhole action m u s t he done s m o o t h l y a n d swiftly, w i t h o u t a n y f u m b l i n g or hesitation. W h e n the vesting is d o n e the action of catching the object b e t w e e n the h a n d s should be exactly the s a m e as in y o u r previous catches. A f e w trials b e f o r e a m i r r o r will give y o u the right idea of the m o v e s a n d then it will o n l y be a m a t t e r of d e v o t i n g sufficient t i m e to acquire perfection. V e s t i n g is v e r y u s e f u l f o r c h a n g i n g o n e article f o r another. In y o u r right h a n d y o u m a y h a v e a s m a l l apple a n d y o u desire to exc h a n g e this secretly f o r a n orange. Y o u p a l m the o r a n g e in y o u r right h a n d a n d w h e n the h a n d s are b r o u g h t together a f t e r the apple has b e e n thrust u n d e r y o u r vest, the o r a n g e is naturally b r o u g h t

b e t w e e n t h e m . A f t e r a little rubbing y o u s h o w the change. S u c h a c h a n g e is ten t i m e s m o r e effective than o n e d o n e b y a black art table or other m e c h a n i c a l accessory. 2. S L E E V I N G This m a n o e u v r e is also neglected b y m o s t p e r f o r m e r s and yet it can be developed to a h i g h pitch of perfection. A n expert can sleeve a coin or other small object w i t h o u t the slightest possibility of detection. T h e r e are several m e t h o d s b y w h i c h a n article c a n be shot into the sleeve. Coins are the easiest to m a n a g e a n d practice should be w i t h t h e m first. S u p p o s e y o u h a v e a coin p a l m e d in y o u r right h a n d a n d y o u are o p e n l y challenged to s h o w that hand. T o sleeve the coin f r o m this position it is necessary to thrust out y o u r a r m rapidly, releasing the coin at the s a m e m o m e n t . Y o u m u s t do this u n d e r c o v e r of a natural m o v e m e n t . Y o u a d v a n c e towards y o u r challenger, s a y i n g in reply, "I don't u n d e r s t a n d you. H o w can I h a v e the coin in m y h a n d ? M y h a n d is e m p t y . See f o r yourself." Shoot y o u r h a n d out u n d e r his nose a n d sleeve the coin. Turn y o u r hand, s h o w i n g it e m p t y . S h o w y o u r left h a n d also, letting the coin fall f r o m the sleeve into y o u r right p a l m . S h a k e both sleeves vigorously a n d p r o d u c e the coin f r o m o n e of his pockets. A s e c o n d m e t h o d of sleeving is to s h o w the coin at the e n d s of y o u r fingers, p a l m of the h a n d being u p w a r d s . Y o u turn y o u r h a n d over a n d close the fingers sharply. This action will shoot the coin u p y o u r sleeve. Again, y o u m a y hold the coin b e t w e e n y o u r t h u m b and s e c o n d finger tips, y o u r h a n d b e i n g turned back u p p e r m o s t . B y snapping y o u r s e c o n d finger tip against the base of y o u r t h u m b the coin can be flicked s m a r t l y up the sleeve. This is m o s t suitable w i t h s m a l l coins, though I h a v e k n o w n p e r f o r m e r s to use it w i t h coins of a n y size. Still a n o t h e r m e t h o d is to lay the coin 011 a table a n d in the act of d r a w i n g it back to the edge a n d apparently picking it up, the coin is sent u p the sleeve. Finally, this last m e t h o d is m o s t deceptive if cleverly done. Y o u toss the coin into the air. As it falls y o u m a k e a pretence of catching it, really y o u let fall into y o u r sleeve. If the dropping of the coin a n d the pretended catch are w e l l t i m e d the illusion is perfect.

H a v i n g got the coin into y o u r sleeve if y o u let it fall right to t e l b o w joint, then b y holding the f o r e a r m very slightly bent, y o u can hold the coin securely by pressing it b e t w e e n the point of the elbow and the sleeve. Y o u s h a k e y o u r sleeve w i t h the p a l m of y o u r h a n d towards the spectators, a c o n v i n c i n g m o v e . T h e m a s t e r y of these t w o m o v e s , vesting a n d sleeving will not only i m p r o v e the w o r k i n g of m a n y of y o u r tricks, but will also greatly increase y o u r confidence through the k n o w l e d g e that y o u will be able to cope w i t h situations w h i c h w o u l d be likely to floor a n y p e r f o r m e r unable to u s e t h e m . I cannot do better, in closing, than quote f r o m Sachs, the a u t h o r of o n e of the best b o o k s o n m a g i c , viz., "Sleight of Hand." H e writes: "The conjurer m u s t start w i t h o n e principle fixed firmly in his m i n d , that he is to deceive his audience in every w a y possible. At no time is he to do that w h i c h he says he is doing. E v e r y look a n d gesture, besides every w o r d , should tend to lead the m i n d into the w r o n g groove. M I S D I R E C T I O N is the grand basis of the conjurer's actions, and the m o r e natural the performer's m o v e m e n t s in this particular, the m o r e c o m p l e t e will be his success. E v e r y conjurer can best suit h i m s e l f , if only he is firmly c o n v i n c e d of the necessity f o r m i s direction." T h e s e w o r d s apply w i t h double f o r c e to the p e r f o r m e r w h o w o r k s at close Quarters and m u s t depend solely on his skill and misdirection.

JEAN HUGARD