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Principles and
Deceptions
Photo by J. McDermott
ARTHUR H. BUCKLEY Past President of The Society of American Magicians, Assembly No. 3, Chicago, Illinois. Past President of The International Brotherhood of Magicians, Ring 43, Chicago, Illinois. Also life member of The Society of Indian Magicians, Bombay, India.
Ill
•r ^jCK- \e
Principles and
Deceptions By
ARTHUR
Vrinted by
BUCKLEY
T H E WILLIAMSON PRESS, INC., SPRINGFIELD,
III.
358
ILLUSTRATIONS
Photography By LEO R. NEWMAN,
CHICAGO
Copyright, 1948, by ARTHUR H. BUCKLEY.
VI
NO PART OF THIS BOOK MAY BE PRINTED WITHOUT PERMISSION IN WRITING FROM THE AUTHOR-PUBLISHER. Protected By The Copyright Laws of The United States of America. 1948.
FIRST EDITION
Vll
Dedicated to ALLAN SHAW and the Memory of T. NELSON DOWNS
IX
PRINCIPLES and DECEPTIONS
CONTENTS CHAPTER ONE
Page
Photograph of the Author
iii
Dedication
ix
Introduction by Theo Bamberg (Okito)
xix
Foreword by the Author
xx
The Principles of Magic
22
Manipulation
25
Substitution Duplication
"
Camouflage
26
Imitation
"
False Partition Concealed Mechanism Falsification Arrangement
27
Preparation Misdirection Concealment
28
XI
PRINCIPLES and DECEPTIONS
CONTENTS
CHAPTER ONE (Continued)
Page
The Entertainment Value
30
Showmanship
33
Sleight of Hand
"
Something New
34
Invention
35
Talking Acts Versus Silent Acts, and Pantomine
37
The Practice of Leaving the Stage Unattended
"
Assistants from the Audience
38
Fakes and Accessories
"
Gimacs
39
The Plot
40
Timing, Rhythm and Pace
40
Footwork
42
Presenting the Act in Public
43
Xll
PRINCIPLES and DECEPTIONS
CONTENTS
Magic With Coins CHAPTER TWO
Page
Sleeving
47
The Muscle Pass with One Silver Dollar
48
Chinese Coin Mystery
49
A Coin, A Ring and a Handkerchief
51
The Bounce Vanish
52
The Rear of the Thumb Palm
53
The Pencil and the Silver Dollar
54
The Turnover Pass With One Coin
55
The Pinch Pass With a Single Coin
56
A Very Pretty Disappearance
"
Allan Shaw's Vanish of a Coin
57
Front and Back of Hand Transfer of a Coin
58
Three Methods of Producing a Coin
59
Downs' Palm (first method)
61
"
(second method)
62
The Vanish of a Coin From the Fold of the Pants Leg
63
Second Method . .
64
Third Method
64
xiii
PRINCIPLES and DECEPTIONS
CONTENTS Magic With Coins CHAPTER TWO (Continued)
Page
To Pass Four Coins From Hand to Hand, Through Your Head One At a Time
65
The French Drop and the Eye-glass
65
The "Roll Down" Production for Four Coins (Buckley Method) The Downs "Click Pass" Viewed from a New Angle
66
(improved)
68
An Illusive Pass (original)
69
The Click Pass and the Table
69
The Spread Vanish (Allen Shaw)
70
The Color Changing Discs (original)
70
A Fine Coin Transfer Pass (by Downs)
72
The Throw Away Vanish of Five Coins (original)
73
The Appearance of Five Coins One After Another At the Finger Tips (Allan Shaw) The Surprise Appearance of a Coin (by Ron Leonard) The Magnetic Pass With One Or Several Coins
xiv
74 76
PRINCIPLES and DECEPTIONS
CONTENTS Magic With Coins CHAPTER TWO (Continued)
Page
Silken Silver (by Frank Cruse)
77
Borrowed Money
78
John Mulholland's Slide Pass With a Single Coin
81
Another Very Effective Production of Five Coins in the Left Hand (original)
82
The Lynn Pennies (by Terry Lynn)
83
The Steal (my method)
84
Passing Several Coins Through the Table At Which You Are Seated
85
The French Drop (improved)
86
Another Original Five Coin Pass
"
The "Miser's Dream"
87
Finale To "The Miser's Dream" (by W. J. Alkinson)
89
Coin Through Handkerchief (original)
90
A Coin Vanish and Reappearance By That Clever Artiste (Carlyle)
91
The Steal (by Cardini)
92
Twenty-one Cents (by Ross Bertram)
94
Coins Pass One By One From the Left Hand to the Right Hand 96 xv
PRINCIPLES and DECEPTIONS
CONTENTS Magic With Coins CHAPTER TWO (Continued)
Page
The Transfer of a Silver Dollar From One Hand to the Other
99
John Platt's Chinese Coin on Pencil Illusion (with permission) 100 Five Silver Dollars and a Handkerchief Routine
102
An Invisible Journey (improved)
106
The Eureka Vanish (by T. Nelson Downs)
107
Production of Five Coins One By One At Fingertips and An Original Change Over
108
The Thumb Pass With a Silver Dollar
109
Split Fans and Coin Production (original)
110
A Production of Twenty-four Coins in a Series of Fans, An Original Routine (by John Brown Cook) "The Multiple Roll Out" (by John Brown Cook)
112 114
A Phantasy in Silver—A Complete Act with Coins, Fully and Carefully Explained and Illustrated 115 A Phantasy in Silver—A Complete Act as it was presented by the Author at the I.B.M. Show, Chicago, on Jan. 17, 1948. 116
xvi
PRINCIPLES and DECEPTIONS
CONTENTS
Magic With Cards CHAPTER THREE
Page
Magic W i t h Cards
137
Foreword to Chapter Three
139
Opening F o r a Card A c t
143
A Finish for a Card A c t
145
T h e Buckley False Shuffle
146
Cards to Pocket, W i t h T e n Cards (with improvements)
148
T h e Count (original)
151
T h e False Count for More
152
My Card in Cigarette Illusion (with improvements)
153
T h e T h i r t y Cards and T w o Assistants (with improvements). . . 155 Ten and T e n
157
T h e Vanish of t h e Last T w o Cards in Presenting t h e T e n Cards to Pocket
159
Method of Double Cutting Cards
160
T h e Triple Climax (original)
161
An Amazing Card Illusion, J u s t T h i n k of a Card
164
T h e Crimp (one hand) Exchanging a Card in Passing
167 168
The Peek Location
169
The Hofzinser Force
"
The Slap Shift
170
Sighting While Fanning the Cards
171
xvii
PRINCIPLES and DECEPTIONS
CONTENTS Magic With Billiard Balls CHAPTER FOUR
Page
My Original Billiard Ball and Card Harness
174
Pointers
175
The Production of a Ball From Behind the Left Hand followed by the Take Away Vanish 176 A Ball Held in the Finger Palm Position by the Left Hand is Secretly Removed by the Right Hand in Passing
177
The Wrist Roll
178
The Production of a Ball on the Fist
179
Moving the Ball Down from the Fist Position to the First and Second Fingers The Production of a Ball Between the Middle Fingers from
180
the Palm Without Aid from the Thumb
182
The "De'Biere" Production of a Ball
184
The Ball Roll from Finger to Finger
186
The Ball Roll with Another Ball Concealed in Your Palm
188
The Knee Roll Vanish
190
The Strike Vanish
192
The Wrist Roll and Palm Off Vanish
193
Concealing a Ball Behind the Hand While Both Palms Are Shown Color Changes (first method) (second method) (third method) (fourth method) The Ball and the Handkerchief
194 196 198 200 202 204
Production of Eight Solid Balls at the Finger Tips Without a Shell
206
Concluding Remarks
218
xvni
INTRODUCTION
While cards have always been assigned first place in manipulative magic, coins and billiard balls are equally welcome for the high entertainment value of the seeming miracles they may be adapted to create. I have been privileged to study the contents of this book, and I am both pleased and astonished by the remarkable knowledge the author has displayed on the handling of his subject, which has come to pass from his forty years' professional experience in its many branches. It is with great admiration for his ability in the dual capacity of the artist and teacher that I attach my signature to these introductory remarks to herald this advancement of the art of manipulative magic. This is truly a great book on practical manipulative magic, taught in a manner that will inject new life into magic and perpetuate many masterpieces of great skill. The author has given credit to others and to the great masters, Downs and Shaw. These men were great artists in their day, and no doubt they would rank highly in the practice of their art today, but I am confident their knowledge and combined skill could not exceed the modern methods taught in these pages. I wish to compliment the author, Arthur Buckley, and recommend to you this great book. T H E O . BAMBERG (Okito)
xix
FOREWORD The practices as set forth herein and the theories of my contemporaries will often be found at variance, and sometimes in direct conflict. It is self evident that theories which are antithetical cannot both be true. Because of this, I have carefully analyzed such statements as fully and clearly as I am capable of doing before printing the things I judge to be correct. I find it to be impossible for a mind informed on the principles of magic and the inner workings of illusion to receive impressions similar to one not so informed. The reason for this is the informed person is necessarily conscious of the reality of the happening. Such a person sees these things differently than an uninformed person. The latter is often merged in the tangled bewilderment of his own imagination and the pseudo evidence offered him by the magician. When the evidence of which a spectator is conscious is subjected to the process of analytical reason, the spectator is often left more bewildered than before. This, I believe, is why some children more correctly define the workings of many illusions better than one capable of reasoning analytically. Perhaps my lasting impressions of Allan Shaw are founded on my complete ignorance of the ways and wiles of magicians. I was privileged to see this master before I was enlightened by such understanding, and to this day I still retain those first impressions—the shock of seeing the hand of Allan Shaw, with the grace and artistry of a Paderewski, pluck from the air a coin! It was amazing! How could anyone formulate, let alone believe, in such a theory that the coin was concealed within the open hand when the fingers were moved with such apparent freedom as evidence of the contrary! Shaw's quiet, easy manner was in itself a highly potent factor in disbursing the evidence that may eventually have given support to such beliefs. Those around me as I watched Shaw's performance with my intense and always growing interest were no wiser in their deductions, so I became an admiring, baffled spectator until one day I made inquiries at a large book store (Dymocks) about a treatise on the subject of coin magic, and to my pleasure and amazement I was directed to a shelf containing "Magic Stage Illusions and Scientific Diversions" by H. T. Hopkins, Sachs' "Sleight of Hand," "New Era Card Tricks," "Conjuring for Amateurs" by Ellis Stanyon, xx
"Magic by Professor Hoffman," Howard Thurston's "Card Tricks," and "Expert at the Card Table" by Erdnase, and my eyes popped at the sight of the little treasure of my dreams, "Modern Coin Manipulation" by T. Nelson Downs. If I had discovered a gold mine, which in fact I had, it could not have given me either the surprise or the happiness the purchase of this little book brought to me. It was later my constant and treasured companion in the years to follow. Within the hour I was thus initiated into the secret working of this lovable, wonderful art. I could now become a magician, or perhaps a man like Allan Shaw! A master! How many years would it take? What did it matter? Time was only relative. I would study, learn and practice. Closeted for hours alone in my room, I would practice every moment when I had the time available to do so. I recall one morning my mother, in those days an early riser, came downstairs one morning to find me practicing in front of the sideboard mirror, and exclaimed, "You are up early this morning, son." I replied, "I haven't been to bed yet, mother." I was not conscious of the passing time, so intent was I on learning to become a magician. In a commendable, though naturally an amateurish way, I copied ray idol, Allan Shaw, and dreamed of that other man in the book, T. Nelson Downs, in the far-off land of America. Only six months passed when my chance suddenly came. I was launched on a professional career as young Dante, "King of Koins." Such was my egotism and superb lack of modesty that I proclaimed myself the King, but in my heart I can now truthfully say I never felt that I was any more than a poor and inferior imitation of Shaw. Later I had the opportunity and pleasure of seeing Owen Clark present the Maskelyn and Devant show in Sydney, Australia, and when fairly dexterous (for my years and the time spent) in card manipulating, gleaned mostly from the books of Thurston and Erdnase, I became the self-crowned King, not alone of coins, but also "King of Kards." I have before me as I write the evidence of this naive guilt, a newspaper clipping relating to these early performances. Fortunately, as my knowledge of cards and dexterity grew, my self-bestowed titles were allowed to diminish to more sensible proportions. The Author.
xxi
THE PRINCIPLES OF MAGIC The principles of magic are very definite things indeed, and each and every one has a very essential application, as I shall attempt to show. Magicians, those who practice the art of magic, often do so without being aware that magic has a set of principles on which the art they practice is founded. This is undoubtedly because magic may be and is often acquired, practiced and taught without knowledge of or reference to its principles; nevertheless, the principles are present even though some may not be fully aware of them. I believe a comprehensive understanding is equipment that will not fail to recompense anyone for the study. Perhaps you may have a right to question ray authority for stating that this or that is a principle of magic, and because I am concerned with what you think, I shall try to prove ray point on a basis of logic. Music, as we are better aware, has recognized principles on which that art is founded, but it is also practiced by many without any training or knowledge of these things; that is, they cannot read music. That, to some extent, is not unlike the magician who may build an illusion and present it, often very commendably, without knowledge of the principles embraced. To ascertain each and every principle that magic is comprised of will require much care and research. I trust you will find the list I give complete. My method is to carefully search the different types of magical effects, define and enumerate the principles upon which each is founded, and by that means I hope to embrace them all. For example, I shall take a few effects that embrace principles that differ from each other. The first example: If you see a magician tie a knot in a handkerchief and later the knot disappears, what would you say was the principle embraced in this procedure? Disappearance? No, because disappearance is not a principle, but an effect. Or to put it more clearly, the principles of magic which permitted the illusion of disappearance of the knot to be effected were in fact two, falsification and manipulation, for, you know, the knot was never tied. For our second example, a lady enters a box, the box is locked, a moment later the lady makes her appearance elsewhere and the box is shown to be empty. Again the effect is disappearance and reappearance, but the principles that permitted these effects to be brought about in a magical manner were false partition and concealed mechanism, for the box in this example had an extra concealed bottom to which was attached the back, and the mechanism permitted the bottom to take the place of the back when the box was closed, and thus permitted the girl to hide behind the newly formed back, lying on the part that formed the back before the girl entered the box. Another principle besides false partition and concealed mechanism was involved because the girl, in reality hidden behind the false partition of the box, apparently walked on the stage from the wing and before the box had left our sight. This principle 22
is duplication. The girl who walked on stage sufficiently resembled the girl who disappeared to be mistakenly identified as the same one that vanished. A handkerchief disappears from a water bottle or decanter at the command "Go!", and instantly reappears in another glass-stoppered bottle held by an assistant. The principles underlying this effect are again concealed mechanism, and also manipulation, for the performer manipulated the "sleeve pull" to cause the first handkerchief to leave the first decanter by way of its neck and pass quickly up his sleeve, and the assistant released the spring pull that rapidly caused the duplicate handkerchief to be drawn through an opening in the rear side of the stoppered bottle into its interior, by the thread passed through a tiny hole in the bottom of the bottle, so in addition to the principles of concealed mechanism and manipulation, the principle of duplication is also employed. I believe we can also safely add the principle of falsification, for the bottle, held by the assistant, was falsified by having a hole cut in its side and a hole drilled in its bottom for the thread to pass through. The performer places a girl on a table, and after covering her with a sheet causes her to rise into the air off the table. The table is pushed aside, a hoop passed over the girl, and lo! at a command the girl vanishes. The sheet, under which her form could be plainly discerned, flutters empty in the air. The audience looks at the table to see if she could have been exchanged for something more easily disposed of than flesh and blood, but no, the table is far too thin and innocent for this contingency. The principles that permit this illusion to be sustained are substitution, concealed mechanism, manipulation and camouflage. Substitution of a wire form for the girl during the interval that the girl was hidden from view by the manipulation of the sheet; the secret mechanism employed to permit the form to be substituted for the girl on the table as the girl passed through the elastic trap in the table top into the table; the camouflage principle that makes a thing look thinner than it is by constructing bevels that taper to the sides from the center, decorating and making the table appear much thinner than it really is; the secret arrangement of the threads that permitted a solid hoop to be passed unmistakably and completely over the suspended form. A glass jug is seen to be full of milk. A large portion of the milk is poured into a cone made from a sheet of paper. The jug is seen three parts empty after the act of pouring is discontinued. The paper is unrolled and tossed away. It is empty; the milk seemed to vanish. The principles that permitted this to be accomplished were false partition and manipulation. The jug has a transparent celluloid partition which is cemented inside the jug to within a space of a quarter of an inch of its sides, and secured firmly to the bottom by cement. When the jug is tilted to imitate the act of pouring the milk into the paper cone, the milk runs into the celluloid container from between the space outside the container on the inside of the jug, satisfying the appearance of the milk being poured. The principles embraced by this effect are therefore imitation, false partition and manipulation. 23
A glass jug full of water, together with several empty glasses, stands on a tray. From the jug the magician pours the water, but as it reaches the glass it changes to a different colored liquid which the magician designates as wine. The principle is manipulation if the magician manipulated the chemicals in pellet form into the glasses, or preparation if he prepared the glasses with the chemicals beforehand. In presenting the chemical change as an illusion of turning water to wine, he would be depending on them being uninformed on the subject of chemical reactions. If they were so enlightened they could not concede anything unusual. There would be no phenomenon. The principles of chemistry, like those of mechanics, optics, electronics, acoustics or other sciences, are often used in magic to advantage. They cannot, however, be considered principles of magic any more than a pot of paint used to camouflage some piece of apparatus, for in such an instance the paint plays a parallel role. The principles of magic, as I will show, are: (1) Manipulation, (2) Substitution, (3) Duplication, (4) Camouflage, (5) Imitation, (6) Partition, (7) Concealed mechanism, (8) Arrangement, (9) Preparation and (10) Falsification. With these ten formidable devices I believe that all magic is accomplished. The magic itself, the illusion, is: (1) Transference, (2) Transposition, (3) Disappearance, (4) Appearance, (5) Penetration, (6) Restoration, (7) Change, (8) Levitation, (9) Suspension, (10) Elongation, Contraction, or Distortion. They are the psychological effects the magician aims to create in the minds of his audience, and should not be confused with the aforesaid principles, which are the fundamentals, the tools as it were, to create the illusion of the latter. A knowledge of the laws of Magnetism, Electricity, Electronics, Optics, Hydrostatics, Pneumatics, Hydraulics, Chemistry, Mathematics, Mechanics and Accoustics serves the magician in bringing about a state of illusion. (1) Misdirection, (2) Sustained Attention, (3) Diverted Attention, (4) Restriction, (5) Repetition, (6) Conclusion, (7) Climax, (8) Anti-Climax, (9) Mannerism, (10) Surprise, (11) Expectancy, (12) Memory, (13) Mnemonics, (14) Reconstructive Imagination, (15) Dramatics and (16) Humor are the abstract or psychological factors that aid in its accomplishment. All our senses are subject to illusion—Seeing, Hearing, Touching, Tasting and Smelling. Every mental concept is formed from the sensations received through these organs, and it is not given either to reason or innate understanding that sensations are received by other means, or that concepts can be formulated otherwise. Whenever phenomena seem apparent, it is well to reason that all things are explainable by natural laws, though the explanation may not always be within the limited comprehension or immediate understanding. 24
For example, let us suppose that ten magicians, thoroughly proficient in their art, were to witness the performance of a mentalist (as we regard this term), after being thoroughly searched and locked in a room with the magicians, read a page from any book previously selected by the said magicians and handed to his sponsor, stationed in another room apart from the mentalist. If the mentalist read or wrote down the words from the page of the book selected and also described all things accurately shown to the sponsor, would that be Telepathy, thought projection, or just a good illusion? When something is performed that cannot be immediately explained, it is no criterion for supposing it to be contrary to natural law. This illusion could be performed by the sponsor being in cahoots, and an expert telegraphist, using apparatus for sending out a wave of high amplitude of a frequency above the hearing ability of the average person, or more specifically, the said magicians. The only ability the pseudo mentalist would require is a knowledge of the Morse code and a hearing of unusual pitch, enabling him to hear about eighteen thousand cycles per second. I have met such men, but not among magicians. The pitch or frequency audible to normal hearing cuts off sharply at about eight thousand cycles per second, so another baffling phenomenon is explained by the principles of concealed mechanism. MANIPULATION Manipulation is the manner in which an object is handled to create an illusion in the mind of a spectator, or aid in its creation; i. e., to cause belief that something really occurred that did not, due in the main to the manner in which the object was handled or manipulated. There are many examples that may be cited: (1) unsuspectedly loading a glass from a secret well in the table into a hat as the hat is taken from the table; (2) cutting and restoring a turban; and of course the multitude of card, coin, ball, thimble, handkerchief, watches and cigarette routines, etc., etc. SUBSTITUTION Substitution, the second principle of magic, is sometimes dependent to an extent on manipulation, such as when connected with small objects as in the card and cigarette illusion when the prepared cigarette is secretly exchanged or substituted for the borrowed cigarette. But substitution also applies to substituting one assistant for another, exemplified by an assistant garbed in suitable costume as the performer, and under the pretense of removing a screen, or substituting a wire frame for a female assistant stretched out on the table as in "Asra," or making the top change with cards, etc. DUPLICATION Duplication, the third principle of magic, is exemplified in all illusions in which doubles are essential to the effect, and likewise in the smaller illusions such as the quarter stack or passing 25
a fan of cards through the knees where a fan of cards is really in each hand. There is an almost endless stream of examples that may be related here. CAMOUFLAGE
Camouflage, the fourth principle of magic, is the art of disguise, of making something appear different from what it really is—a table that is six inches deep to appear to have a depth of perhaps only three inches, or a box to be empty when it has a flap, or a shelf usually at an angle, with a gold or silver bar to conceal its edge, or a cabinet with a mirror which makes you believe you see the whole inside when in fact you see only half and again the same half reflected, or a sheet of glass at an angle and the lights arranged to let you see through it one moment and to see reflected light the next. Optics play an important part in camouflaging. Lot's wife, the pillar of salt, is an example. Or a half shell to represent a billiard ball. Or black art. IMITATION Imitation, the fifth principle of magic, may be exemplified by the imitation of sounds created by another source than that from which they appear to emanate, as in the bell under the glass illusion, an imitation hand that holds the blind or curtain while the real hand rings the tambourine behind it, etc., etc. FALSE PARTITION
False partition is the sixth principle of magic. All cabinets, boxes, platforms, cages, glasses and other things that have a partition secretly arranged to conceal for the purpose of effecting an exchange appearance or disappearance or transformation, or perhaps to hide some secret mechanism or contrivance that plays a useful part in an illusion. False partition and camouflage often go together, but not necessarily. CONCEALED MECHANISM
Concealed mechanism, the seventh principle, is exemplified by the clockwork pack in the rising cards, or the thread which likewise causes the spectator's cards' timely appearance, or the mechanism that causes the lady to float through space, or that which permits the coin to appear at the end of your wand, or the cigarette to appear in your cigarette holder, etc. FALSIFICATION
Falsification, the eighth principle of magic, is exemplified by things that are something else quite different from the things they appear to be, such as a bowl of goldfish with black silk around the bowl placed inside of another bowl with a hollow stem so that it looks like a bowl of ink, but appears as what it really is when the silk is suddenly pulled down the table leg. Or the pigeons 26
caught in the air, really being only feathers on springs pushed out and pulled back into the rod supporting the net as a pigeon is released to synchronize with the disappearance of the feathers. ARRANGEMENT Arrangement is the ninth principle of magic, and is exemplified in Paul Curry's card illusion, "Out of This World," wherein the red and black cards are separated from each other, or the "Cards from Four Pockets," or the Howard Thurston arrangement so often credited to Si Stebbins. Other illusions besides those with cards depend on the principle of arrangement. Arrangement must not be conflicted with preparation, for we may prepare a single thing, but to arrange there must be more than one, and it must be arranged with relation to others. Therefore, I have concluded that the tenth principle of magic is preparation. PREPARATION Preparation is exemplified in the "Card Found in the Cigarette," "Long and Short Cards," "Dollar Bill and Lemon," "Rabbit from a Hat," or a thousand and one such items. Without these fundamental principles, the pillars of illusion, there would be no magic. This may be perhaps less obvious to some magicians than others. Many may prefer to enumerate other things and consider them principles. Others may ask, "What about mental magic, mindreaders, etc." To this the answer is—all mental magic is dependent on those things that I have already defined as principles, or that is my contention and experience. You must really think, and think very deeply, to get a clear and proper understanding of these concepts, and not confuse them with the things of lesser import. For example, misdirection or concealment is a consequence, perhaps of certain types of manipulation such as palming, or it may be dependent on the principle of camouflage or the principle of false partition. It is a desirable result, a consequence of a principle, but not in itself a principle.
MISDIRECTION In "The Secrets of Conjuring" Robert Houdin tells about misdirection, and most authors who have written about magic since Houdin's day have more or less been content to pass on his teachings on this subject. In the hope of clarifying the existing confusion on this important subject, I have searched the magic literature and dictionaries without avail or agreement with those matters taught as misdirection. It does seem, to my way of thinking, to have been disturbingly misapplied to magic. Mis—meaning as a prefix, wrong. Therefore, misdirection—meaning wrongly directed. If you agree on this definition, then let us further consider in magic terminology directed attention and misdirected attention. Whether it be one person's thoughts or many is of no consequence for the moment. 27
If a performer by some means has directed the thoughts of his audience to the conclusion that he has done something which he has not done, he has wrongly directed them into this belief, hence, misdirection. It may be construed that all magic is misdirection; however, I disagree with this contention. We are not at this moment concerned with the technique or methods employed in misdirection, for they may be many and varied to suit the occasion, but I do propose to show that the term misdirection is wrongly applied when it embraces what is definable as diverted attention. For example, a disturbance of some kind takes place on one side of the stage so that the audience will not be cognizant of the fact that the performer left the stage for a moment. That, to my mind, is stretching misdirection beyond its normal dictionary confines without occasion or gain, for this is an example of diverting attention. Diverting attention is sufficiently important in itself not to be embraced by the term misdirection. Pickpockets and their confederates often start a fight so that they divert attention from the act of picking the pockets of the spectators, which is then more apt to succeed. Magicians have many subtle means at their command for diverting attention at a crucial moment from the procedure under observation. Surprise is one method that is sure to succeed in diverting attention, whether it be occasioned by the sudden appearance of a ball, card, thimble or rabbit. This newly found interest on the part of his audience provides the performer with the needed second or two of diverted attention while he secures the next load. Woe betide the performer who attempts to secure the required load without having first diverted attention from the place of procurement. The only person that will be fooled is in all probability the performer if he should attempt it, unless, of course, there is some other suitable means of coverage provided. There is one other word that is equal in importance to misdirection and diverted attention. That is sustained attention. It is useful when you have something in one hand which the audience believes is in the other, and by some simple act you are thus enabled to dispose of it under cover of picking up an object from the table, or taking something to be used from your pocket. You center the attention of your audience on your closed empty hand while you casually dispose of the object in the other. This is really sustained attention, and has nothing in common with misdirection or diverted attention, except that they are all important abstract things in the magician's art. Some writers of magic literature consider misdirection as a fundamental principle of the magician's art; with this I do not agree. Important as misdirection is, I can only consider it as a consequence, a necessary result.
CONCEALMENT By this I mean to hold in your hand an object in such a manner that its presence passes unsuspected. There are two ways in 28
which this may be accomplished. One is by the very naturalness of the position of your hand, at ease, while concealing a ball, a coin or a card. The second is by the sheer impossibility of the position of the hand to retain the object, while you actually do retain it. To clarify this I am compelled to disagree with my contemporaries. In billiard ball manipulative practices it has always been most forcibly brought to bear that the hand should always be natural. But practice has taught me the error of this, even more forcibly. I do not believe that these writers always intend to teach what their printed words convey, for I have observed many do the things quite contrary to their teachings. The subject of naturalness is often over-emphasized. For example, you have a ball concealed and are showing first your empty left hand, and then your empty right hand, after transferring the ball from one hand to the other. I don't care how adroitly you do this, it is not a natural move, nor is it intended or expected to be. There is a certain license that you may take. You are a person creating illusion by the practice of ball manipulating, and are not expected to conform to orthodox procedure or do things naturally. Your success or failure will depend on the artistic manner in which you produce the illusion and the degree the illusion you are presenting baffles your audience. However, there is a great deal to be said in favor of the deceptiveness of any move that is natural over one that is not natural, or should I say unorthodox, for with practice any move becomes natural. I admit audiences are more easily led into believing or accepting something that they are accustomed to rather than something contrary to it. For example, a ball is placed in the left hand by the right hand. The simplicity of this act seems to offer no room for deception, unless the act is marred by the clumsy retraction of the ball on the part of the performer. Let us suppose the performer has expertly palmed the ball in the right hand while appearing to place the ball into the left hand, and the right hand has assumed an at ease posture that has all the elements of naturalness. The effect then produced is that the ball was placed into the left hand and is being concealed there. However, if the ball had rested on the fourth finger and thumb of the partly closed hand, the left hand also held partly closed and inverted so the fourth fingers of each hand are touching one another, the right hand when partly opened so the ball drops into the right hand, and the left hand closes as if it caught the ball when actually the ball was palmed in the right hand, an equally startling illusion may be thus created, and perhaps even more convincingly, that the ball was transferred to the left hand while actually retained in the right hand. However, the moves had no semblance to natural ones at all. Do you see my point? The move I last described is taught herein. I believe it to be the most convincing transfer given. Then is it clear that naturalness has an important place, but should be accepted as a flexible rule rather than one to dominate any and every situation. 29
I recommend that you practice all the moves you wish to embrace in your performances until they can be done with as equal ease and facility as you perform those which you consider as natural moves. There are situations in great numbers where the moves and methods are quite unnatural, if by natural we mean that which we are taught through our lives to accept as orthodox. Just keep in mind that you are an illusionist, and the effect sought is illusion. The manner in which you create the illusion is secondary to its sustained intensity. Your ability as a performer and artist will assuredly be judged, in the main, on the streamlined artistry with which you give your performance, and the magnitude and the intensity with which the illusion is sustained in the minds of your audience, and not on how natural or unnatural you are or do things.
THE ENTERTAINMENT VALUE In the presentation of magic on a stage, platform, in a drawing room or on the floor of a night club there is one thing common to each and all of which, when it is summed up, the result may be expressed as entertainment value. In itself this is a very complex thing, and it cannot be judged as many often do on laughs alone. There is quite a difference between being amused and being entertained. You may listen to a wonderful singer and not be amused, though thoroughly entertained. Let us imagine for a moment that the act is that of a magician. The music commences—the stage lights are on—the curtain rises on a pleasing stage setting. The performer, confident and smartly dressed, enters at the right moment, and he receives a round of applause. Why? Has he done anything more than enter? I think so—he has already entertained. The music, setting, approach, his attire and confident, though perhaps modest, manner have immensely pleased his audience. They are made ready to receive what he has to offer. They already feel that here is a performer that will not disappoint them. He has secured favorable attention. That is the basis of every good act that has ever appeared publicly. Remember, I said favorable attention, for he may have done many things to secure attention, but it could have been unfavorable and not to their liking. In the case at hand, the performer is a magician. Therefore, it behooves him to prove the point, not by a long monologue, but by some piece of business that will change the favorable attention to one of interest. This may be done in many ways, but preferably by a vehicle that has novelty, is neither too long nor too brief, has a very simple plot and a surprise climax. You may find a hundred such effects at hand—the handkerchief and the water bottles; the gloves to a dove; the vanishing and reappearing cane; or the cards to pocket. These are a few that meet the necessary requirements, while the thumb tie, the passe bottles, the die box and such effects may be tremendous in their place, 30
but entirely unsuitable as openers for the reasons heretofore given. The plot is too long, and the favorable attention secured at the beginning is likely to sag rather than change to interest. Let us consider that the right effect for our audience has been performed in a correct, streamlined fashion, and the interest of our audience is now assured if we do naught to change it. We can now take a little levity and present some effect that we know to be good but would not have been as successful as an opener as it will now because of the interest that is now apparent. We can feel it. The hushed silence, that expectancy, propels itself towards us from the audience. They are willing to listen and be attentive to what we have to say and show them. We must not disappoint them. Our tricks have all been selected with the taste of a connoisseur, and in that manner we must serve them. The whole show must not be too long, nor too short, but just right, and with the proper climax. How long a performance should be is another problem. Some magicians can give a two hour show that is too short for all his audience. Another may be on stage only eight minutes and it is too long, but his act might have been excellent if cut to six minutes. Some people have the natural attributes for public performance, but most of us have to work, and work really hard for years to acquire even a small degree of real success. Experience is essential, however, to each and every one of us, so when you have organized and arranged the show as you think it should be, and given to it the practice to be reasonably assured of the results, put it on, and if it is not the success you expected, try to find out what was wrong, and continue to try and try again. That is what almost every performer that got any place worth mentioning had to do. A few items for the start, and you can add, change or subtract as you gain more experience. If you have the qualities essential to a performer in your system, experience is the only thing to develop them. Experience develops assurance, both in yourself and in your audience. Confidence is seldom lacking in the amateur. He is usually overconfident and given to very much overrating his own limited ability. This is really a particular brand of ignorance, a lack of knowledge of the real technique and a proper understanding of the requirements of the art. You have heard the saying, "Fools rush in where angels fear to tread." Nervousness is something quite apart from confidence. Many of the greatest artists of the day in all fields of theatrical performances are nervous just before going on stage. This is probably brought about by anxiety, the true artist being fully aware of what is expected of him, and as he is always anxious to do his very best, the slightest imperfection while doing so is tremendously magnified in his mind. Things that are so small the audience seldom notices them can tear his sensitive soul almost apart. When you begin to take your performances that seriously, you are entering, if you have not already arrived, at the shrine. The one thing that seems more important than any other single thing to a performer presenting magic is good posture. The finest 31
clothes made cannot cover up its absence. Any man or woman with good posture can often wear clothes well which on others would create unsought amusement. Good posture can be cultivated by all of us, whether big or small, tall or thin, fat or short. It is the way we stand, the gestures we make with our hands and arms, and how we shift our bodies. Believe me, this is really something to take note of. It is what instantly tells the audience as you walk out if you are really a performer or just aspiring to become one. Not all performers with professional experience have good posture; seldom do we see an amateur of short stage experience abundant with it. Dress is something else apart from posture. The performer should be well tailored. Unless there is some special reason for deviating from this rule, he should always look well to his attire throughout, and see to it that he is well and perfectly groomed in the smallest detail. The stage setting is something else, and is not always within or fully under the performer's control. However, when practicable, it should be in keeping with his dress and of the best materials he can afford. I would strongly recommend that every amateur aspiring to stage performances secure some practice with a microphone. During my own stage career we did not have these desirable devices. However, I do know that it is a great mistake to continually handle this instrument as a convience for your hands to rest. Leave the microphone alone. The talking part of your act should be done through the microphone, and you must judge the pitch of your voice according to the distance your performance compels you to move away from it, so that the vocal sounds emitted from the speakers will be as nearly as possible of similar volume. Don't leave this to chance. It should be practiced. There is one thing more of importance which I wish to say to every magician. Go to see the performances of the top dramatic actors and ask yourself why they do this and do that. Note their posture, how they turn and walk and sit, where they stand while talking. Note all these details and how they pitch their voices, and ask yourself why? Why? There is a real and thoroughly logical reason. This is their art, and you can get free lessons from an audience seat if you are observant and really want to know. I remember many years ago I went to see the performances of Fred Niblo, the American actor, many times just to see him enter and hand his hat, cane and gloves to the butler, walk into the room and acknowledge first the company and then the audience. I was positively thrilled. I felt the blood tingle in my head and veins, and by the reception accorded his entrance I knew I was not alone in my feeling. I sincerely trust that you may benefit somewhat from these few crumbs of theatrical wisdom, and remember, it all sums up to entertainment value, and there are more ways of entertaining an audience besides amusing them and making them laugh. 32
SHOWMANSHIP Webster defines the term: skillful display by or as by a showman; also, gift for such display. In the final analysis, perhaps this definition is adequate, but somehow it seems too meager, failing to convey the importance the term deserves. It does not seem to distinguish between the different degrees of presentation, for it says skillful display as by a showman. Showman is defined as one who exhibits, so we may reason from this premise and rightly say that showmanship is defined by Webster as a skillful display by an exhibitor. I have witnessed many skillful exhibitions of magic that I would not call showmanship. Whenever I refer to a magician as a showman I have in mind a person skilled in stagecraft who clearly understands and practices how to weigh, judge and sway an audience and play on their emotions to advantage, being at all times equal to any incident of the occasion. A thoroughly efficient master of the stage. I have seen great showmen who were not very capable magicians, and I have seen great artists who were weak on showmanship. These artists possessed so much real talent and skill in their art that any showmanship, as heretofore stated, seemed unnecessary. They were proficient in their presentation to the "nth" degree, and that sufficed. There was no need of any bluff or fanfare, so dear to the heart of showmen and so necessary to the art of showmanship, when he takes six rabbits from a mechanical box and sells you a miracle!
SLEIGHT OF HAND Everyone interested in sleight of hand should own a copy of "Magic Without Apparatus" by Camille Gaultier. This book of Gaultier's offers the student a priceless fund of knowledge, means and ways of successful men of magic with cards, coins, billiard balls, cigarettes and thimbles. In my humble opinion it is the most complete work of its kind thus far published. From experience I have found that it is better at the beginning to become proficient in the sleight that one intends to use rather than divide the practice time on numerous sleights that will seldom, if ever, be used when mastered. This I find particularly so with coin sleights. Coins are more difficult to master than cards or any other small objects are to the same degree of proficiency. I shall be content to offer only such ways of handling coins as I have found the most desirable. The credit for several of these moves in the main belongs to T. Nelson Downs, and though some of the moves have been previously described by others, I trust that the descriptions and photo engravings herein will serve in a measure as an aid to proficiency rather than a mere reiteration. Remember that in presenting an act with coins you desire to create illusion, not show how dexterously you can juggle the coins. 33
I must say that with some performers this is not always so. Where I have found that four or five coins suffice to produce the desired effect, I use only that number, and will not be misled into using a dozen to illustrate to you how dexterous I am, for then you may be more apt to fall into the same error. Believe me, it is really more difficult to master the sleights with a single coin than it is to do so with several, the reason often being that the hand is more likely to be suspected if it is poised at all unnaturally when one coin only has disappeared than it would be if several had similarly vanished together. Therefore, I recommend that you master the passes with one coin until you are thoroughly proficient. To illustrate what can be accomplished with practice, I no longer find it difficult to back palm ten American dollars with either the right or the left hand, or front palm the same number, secreting them, all ten "Downs palmed" under the thumb with the palm facing the audience, and produce them one by one at the fingertips, with the palm facing the audience. I mention this, not as a palming feat to be duplicated, but to show what can be done. It's practical value in the main is to strengthen the hand muscles and develop speed and ease of transfer from fingers to palm, and vice versa.
SOMETHING NEW Magicians are continually hankering after something new and easy to do. In the first place, almost any effect may be revamped and dressed in your own personality and served to the customers as a decidedly new effect. Popularity often ages a new effect soon after it is born, particularly when it can be readily imitated with little practice and no great expense. Effects that can be produced by simple methods are usually dangerous to build your reputation on, because every Tom, Dick and Harry who can shuffle a pack of bridge cards can add it to his repertoire with very little effort. Therefore, I say perform the effects that require some study and practice and are not necessarily easy to acquire and perform. Your reputation as a magician then rests on firmer soil. So-called critics, who often do not know the rudiments of stagecraft, condemn the methods of this or that effect because it is difficult to do and takes practice, and they all too often acclaim effects because of the ease with which they may be acquired, without reflecting at all on what a difficult effect, once mastered, really does for a performer. Having read a few books or magazines, and acquired a meager knowledge, some want to be considered experts without practice, study and hard work. Let us review any other profession, for instance music, painting, engineering, medicine, chemistry, dentistry. Reflect for a moment—why can anyone join a magical society and call himself a magician simply because he does a few tricks? Is a man a musician because he plays a few airs or tunes on the piano or mouth organ or player piano? The latter in most instances is a far better comparison. I believe that anyone should have to earn the right to be called a magician by the performances he gives, and what he really knows about the practice of magic. 34
Some writers of today pirate anything they think will serve their pamphlets or books, sometimes changing an effect that takes their fancy by using Kings instead of Aces or using a red deck instead of a blue, or some other less obvious change in the method to produce the same, already well-planned effect. They usually have little knowledge of existing methods and they often ignorantly believe a simple change here or there entitles them to steal some masterly principle or effect of another magician and then often publish it as their own. This sort of thing is so apparent in so many of these current cheaply produced books by irresponsible authors. Magic is an art, and requires an intellectual approach to its principles; but like music, it has that which attracts all kinds of dabblers who wish to run before they learn to walk. Magic most certainly does offer a reward almost instantly for the merest tyro. This I think is unfortunate for magic. There is little, if anything, that can be done about it because it puts dollars in the dealers' pockets and helps swell the lists of club members of the magic societies. To the professional magician or author of magic books it provides a clientele for his wares, and these things have their advantages. If they are not the kind of advantage to be taken by choice, they do have their compensations. Magic as an art is all right as a statement, but defining it as such is quite a different story. We say that this book or that discloses certain fundamental principles of magic. Exactly what do we mean, and do authors really mean what they say—"fundamental principles?"
INVENTION It would be nice if all magicians could and would invent the tricks they use, but, being human, this is not likely to ever be the case. It has been said that imitation is the sincerest form of flattery, but it is an expensive flattery for the magician who has spent many months, or even years, working to complete a routine or an act, only to have it copied and performed publicly for profit by some usurper. Many magicians would invent some, if not all, of their effects if they knew how. Now I do not know if inventing is something that can be taught or acquired, but in those to whom there is a dormant faculty, perhaps a way may be shown how to bring this sleeping talent to life. With this thought in mind, I shall proceed to outline what seems to me important and essential. To begin with, there are only twelve effects possible that I know of which are useful in accomplishing a magical result, and these areas follows: (1) production, (2) disappearance, (3) suspension, (4) levitation, (5) change without disappearance, (6) secret communication, (7) escape, (8) restoration, (9) penetration, (10) transference, (11) elongation, (12) contraction. Before we continue, let us analyze these things in their enumerated order. 35
Production is anything produced in a mysterious manner, such as mysterious raps or sounds on a table, or the more material appearance of a silk, ball or girl from nowhere, or a rabbit from an empty hat, etc., etc. Disappearance — a card or a ball or a girl suddenly vanishes, etc. Transposition is the combined results of appearance and disappearance. These two amply explain most transpositions. However, I believe there are transpositions made with manipulation wherein there is no disappearance or appearance as an effect is accomplished, so for the sake of completeness let us add transference as in the classic card effects "Cards to Pocket," "Ten and Ten," "Thirty Cards and Committee." Suspension is when some object is suspended either in the air or on the points of swords. It differs from levitation because the latter conveys to mind that the object is in motion and while in motion it is levitated, and when the motion is stopped it is suspended, perhaps without any apparent support, such as the levitation of Princess Karnac, or the suspension of a girl on the points of swords, or the zombie glasses, performed by Jack Gwynne. Change without disappearance—the ink to water or the wine and water changes. Secret communication is the act of conveying or obtaining knowledge by secret methods, such as code, in which the question conveys the information for the answer, or by prearranged signals expressed in silence, or by wireless or other mechanical or electrical means, or other secretly employed mechanisms. Escape—as from a box or handcuffs or cell, etc. Restoration — as when a rope is cut or a card is torn or a handkerchief is burnt in part or whole, etc. It may be argued that this is simply appearance and disappearance, but the effect is restoration. Penetration—as the card or cigarette through the handkerchief, etc. Transference, as in the cards to pocket, or a woman shot from a cannon to a box in the dome of the theater. Elongation—stretching a woman, a coin or your finger. Contraction—the diminishing cards, etc. The effects that may be produced, while numerous, are limited much more so than may be at first suspected. I shall give you a list of effects with cards. It is not intended to be complete, but to serve only as a helpful guide for your future information and help you in the process of inventing new and useful tricks. 36
TALKING ACTS VERSUS SILENT ACTS AND PANTOMIME Each of the three types has certain advantages. The talking acts are usually limited to the countries speaking the same language as the performer does, while silent acts are not. It is quite apparent that many more effects are possible when not limited by silence. When the voice is cultured and pleasing much is added to a performance, but when the opposite is true the general effect is less pleasing than if performed in complete silence. If you have a pleasing voice or care to pay the price and time necessary to cultivate it, then I would recommend that you by all means do so. If you have not this vocal faculty of a good delivery and likewise do not care much about its cultivation, then you will most probably succeed more readily if your performances are given in silence. If you should find that you have the faculty for pantomime, then by all means develop this desirable talent, for it is truly rare, and the present number of pantomime acts on magic are few indeed. There is a very great difference between a silent act of magic and a magic act in pantomime. Of the latter I can recall at this moment only four such acts—Dick Cardini, the immaculate Englishman; Sammy Berman, the tramp; Dr. Clutterhouse, the crazy doctor; and Johnny Platt, the Indian fakir. There are times when it is good showmanship for a performer doing a talking act to do some of his bag of tricks in silence, and I venture to say that during the manipulation of billiard balls is one of these times. Whenever you work in silence, let the music speak for you. The soft strains of a catchy waltz tune is always good for such acts, I think that a magic act should never be given by choice without musical accompaniment.
THE PRACTICE OF LEAVING THE STAGE UNATTENDED Now this is where I really stick my neck out, for I am going to say it is bad showmanship for a performer to leave his stage unattended, and poor showmanship for him to leave it at all to enter the audience. Yet I have seen the topnotchers like Thurston, Dante, Blackstone, Jack Gwynne and a host of others do this very thing. I do not expect them to agree with me. If they did, they would not leave their stage. Doing so is a disturbing period for many of their audience. It is an uninteresting interval, a deliberate distraction. Seldom, if ever, do the majority know what is going on, and many care less. So I say, the performer's place is on the stage. However, in some instances where the performer has a bevy of beautiful girl assistants who stand at attention during the performer's absence in the audience, this does provide a spectacle of interest. I believe in most instances the performance would suffer less if the assistants, in place of the performer, could be sent into the audience to accomplish what purpose the performer desired, while the performance continues under the performer's direction. 37
ASSISTANTS FROM THE AUDIENCE Getting people to come from the audience onto the stage is something that has drawbacks. In the first place, your dignity as a performer will often suffer to an extent if you are compelled to beg or plead, and it does not enhance the situation any to wait more than a few seconds for such response. On a fast-moving vaudeville bill any delay of this character is fatal to your future bookings. It is therefore best to arrange with someone already show to oblige you by coming promptly from the audience stage when asked, or arrange for seats and put someone show. Usually one person will suffice. When one comes up, will follow.
in the to the in the others
These assistants are better if left to their own devices and are not prompted beforehand, or their actions may look prearranged. For this reason, I specify magicians excepted, or place the magician in the least important position when on stage. Not that you have anything to guard against, except that he is most certain to forget the card you ask him to remember or act as if afraid to tie your thumbs or overact the part of an uninformed person on magical matters, but it is a fact that an audience will quickly detect these things, and your performance will suffer from it.
FAKES AND ACCESSORIES One, or even two, half shells are indispensable adjuncts to the ball act of most manipulators, but you will not find their use mentioned herein; first, because I do not have anything to add to that which has already been published by my contemporaries, and second, I consider this very worthy accessory has already been greatly overworked, and unless its use is unsuspected even by those familiar with the practice, the reputation of the magician for using such aids is in danger of diminishing. I therefore recommend you the following manipulative practices without the use of shells. Ball manipulations require considerable practice to do well, and a portion of the time of each day should be given to practice if you aspire to the competence of an expert. In these pages I will reveal to you only the tried and tested methods and the moves that I have personally found to appeal to audiences, whether they were comprised of magicians or persons less informed about these things. I recommend that you be not content to deal only with the practices set forth herein, but search carefully through the magical literature of the past years where you will find much that is good about this art of manipulating balls that has been neglected or forgotten. The true value of this book lies in what you learn from its pages, that I may profit by your satisfaction derived from the things herein. I suggest that at the very beginning of your studies you formulate a routine, set a purpose in mind that you desire to accomplish, and with this thought practice the things applicable to its attainment, rather than try this and that without reason. 38
GIMACS There are some excellent effects made possible through coins that have been gimaced and secret accessories, and an excellent opportunity lies ahead for someone competent to write about such things, for I am sure there are a lot of magicians to whom the subject would be of interest. Personally I have steered clear of these things with few exceptions, not because the illusion created is less effective or less entertaining (in fact, these effects when well performed are often incomprehensible). However I have seen so many bungle them. I shall always admire them in good hands, especially the "quarter stack and sales tax"—the twenty-one cents, a dime, two nickels and one cent, the English penny and the florin to two English pennies, the cent and the dime and the half dollar and bottle. The shell coins and the folding half dollars are excellent when properly used, and a hooked coin is almost indispensable. Another beautiful gadget is a coin fastened to a length of elastic and down the sleeve. After this talk you may wonder why I am describing to you a coin clip to use in "The Miser's Dream," so I had better explain. "The Miser's Dream" is an act of repeating the production of coins from the air! The manipulation should be very convincing on two counts; first, that the coin produced is really thrown into the hat, and second, the hand is definitely empty preceding the production of the coin. That's if you would create the maximum illusion possible for the great majority, if not all, of your audience without these things being true in fact. So I have created a small gimack to aid you in bringing this about and will now divulge it to you for the first time. The gimac consists of a metal clip painted to blend with your finger and made to fasten half way around the finger between the first and second joints of the first finger, from the palm side. On this metal clip is a wire which passes through holes in the clip, and to the wire is carefully soldered a silver dollar. The dollar is fastened so that it may be held up as pictured in the photo, Fig. 1, by the thumb, and also as pictured by Fig. 2 when released. I think you begin to see the true value of this gimac. If not, put it on your finger and stand in front of a mirror and produce the coin by pressing on the dollar, then bringing your hand over the hat. Open the hand so the coin may fall over and be caught in position as pictured. Like all good things, it should be used sparingly. About six coins caught in this manner is sufficient. I find it an advantage to use a shell dollar for this because of its relative lightness.
ILLUSION It has always been confusing what name to give the things magicians perform. "Tricks" sounds to me more like juggling feats or acrobatics. "Effects" is another word that fails to convey the proper meaning. From carefully reviewing the situation, I have concluded that the proper word is "illusion." 39
An illusion is performed with any object, coins, balls, matchheads, women or tigers. It makes no difference in the final analysis. It still remains an illusion if it is a feat of magic. Though we have become accustomed to associate the word illusion with something big, the sense of this breaks down when analyzed. Why should we not refer to the penny and dime illusion as what it rightfully is, an illusion? You hold a glass horizontal and lay a dime inside, near the edge, and en the dime, half covering it, you lay a penny. Then you turn the glass nearly perpendicular so the coins slide to the bottom, and lo! The dime is seen to pass clean through the solid bottom of the glass, and falls on the table, leaving only the penny in the glass, which can be inspected. I think you will agree that is an illusion, for the dime fitted neatly into the penny, which was of course hollowed out to receive it, and the dime was half a dime and faced with half a penny. We may have said, what is the effect? But illusion and effect are not synonomous terms any more than trick and illusion are. I would say the trick lies in the manufacture, and the illusion in the performance of seemingly passing the dime through the tumbler. Trick, when used synonomously with illusion, is to me debasing magic, and effect is lacking in description. Perhaps magicians of yesteryear considered "illusion" as too descriptive. It perhaps told too much when they wished to have their audiences believe they possessed supernatural power and their feats were above the art of mere illusion. However, today magicians have no such purpose. We practice the art of illusion, for (as heretofore stated) without illusion there can be no magic! Illusion is magic and magic is illusion, and it would be perfectly proper to say when we want to describe an illusion, what is the magic! Some wit or cryptographist interchanged the letters of the word "magic" and said, what's the gimac?
THE PLOT The plot is different from the illusion, and although many illusions are presented without any plot, it is usually better to have a plot when such is possible. Suppose you place a coin in the left hand, close it and open it, showing that the coin has vanished. The illusion was perhaps in the coin being placed into the hand when the coin did not go into the hand at all, or after it was placed in the hand it may have been secretly manipulated up the sleeve. Perhaps the illusion was very complete in this manner, and it may not be improved had it formed or played a part in the plot; that depends on your ability to conceive a suitable plot for such an illusion. The plot may be comedy, drama or a simple, apparently natural result.
TIMING. RHYTHM AND PACE Timing is one of the most important things in artistic magic, and is also an indispensable aid to the creation of perfect manipulative illusions with small objects. The fundamentals of good tim40
ing should be thoroughly understood by all real magicians, for without it only mediocrity can exist. What is meant by timing pace and rhythm I shall try to make clear by examples. Suppose the purpose is to count out ten cards. Timing is the pace at which the cards are counted, while rhythm is the regularity with which the pace is maintained, the beat, so to speak. The pace with which any magical effect is presented is very important indeed, and having found by practical presentation to be correct, the pace should be maintained. This is more difficult to do than to say, I assure you, and it takes an experienced performer to maintain his own set pace under all circumstances. Some may contend that different audiences require different speeds. However, I believe this to be the fault of the presentation; something therein is lacking; otherwise the pace would not need to be altered, once it is determined by practical experience. I do not advocate that each and all the effects in an act should be set at the same pace. A change of tempo is very desirable at times, and what is right for one effect is not so for another. Likewise, one performer may find a quick medium or slow pace best suited to his methods, while that of another quite the opposite. But having set the pace for any one effect, it should remain unchanged throughout, and not be altered at places where it is necessary to make some moves to execute a "top change" or a pass or "load" a hat or get hold of a pull—everything you do should be done with the same pace to accomplish the effect sought, and don't forget the rhythm, the beat. Now I have heard it explained, mistakenly I believe, that timing is executing the things you intend to be done secretly, such as getting a ball from its holder under the coat with one hand as you are holding attention by some move with the other. However, though I quite recognize the importance of synchronizing these moves, I prefer to say that their success magically is dependent on other things besides timing, in some instances misdirection, in others sustained attention, and others surprise. Timing is an important factor in that the pace with which these things are carried out must not be changed, slowed up or quickened, for any alteration of the pace will attract attention to itself and help defeat the purpose sought. I understand that some performers so well recognize the importance of timing that they do the same things at each and every performance at exactly the same position on the stage while they say the self same words or give the same smile, and have the same bar of music repeated. Each detail is synchronized. You think this is too mechanical? Oh, no! Rehearsal and practice cures this fault. The performer must be sure and confident of everything that plays a part and fully recognize its importance and the effect it will have on the spectators. 41
I have always admired the East Indian magicians for their superb timing, and I think we may learn much in this respect from their performances.
FOOTWORK The manner in which he moves about the stage is to any performer highly important; so important, in fact that it cannot be ignored or left to chance without dire consequences. For some of us it is a relatively easy accomplishment to walk and move gracefully, but for others it is quite difficult to do at all correctly. There are specific rules which, when learned and followed, help make the going more simple. Some who read this will probably be rattled or a little taken aback to be told of things they have been doing and, in their own estimation, getting away with—things that are incorrect, awkward and clumsy. Believe me, it is no simple matter, to be lightly disposed of. Rather, it is a thing to be practiced over and over as you would a difficult sleight until you can walk on stage and about your stage and off your stage with grace, easy balance and surety. Try these simple things first as exercises. Stand up straight with your hands by your sides and your heels together. Now make a complete right turn, and then a complete left turn. Well, how did you fare? Now try it this way. You are standing facing the audience with your heels together and hands at your sides. Turn your left foot in so the toe is pointing to the right. Place the weight of your body on your left foot. Then lift your right foot and place the toe against the heel of the left foot. The heel of the right foot is off the floor, and you are now facing about thirty degrees to the right. Raise up on the balls of your feet and turn about face. Then draw the right foot back to the left, heels touching. Place the left foot forward of the right foot, heel of the left just beyond the right toe and pointing about forty-five degrees towards the right. This is a difficult position to sustain, but not at all difficult, when you shift your weight and turn on the balls of your feet, bringing your right foot back to the left, heels again touching. Try this over and over until you can do it with grace, and not at all in military fashion. The moves should blend into a rhythmic whole without any jerkiness. Try similar moves for making a complete left turn. You have mastered these. Then try this one: A table is at your left side, and on the table is a book. Pick up the book, carry it five paces to your right and place it on a chair. How did you fare? Did you do it gracefully, without excess movements? Did you, on reaching the chair, find you had an awkward, ungraceful movement of your feet to complete the movement of placing the book on the chair? If not, you are doing well. Now place another table ten feet back of the first table. Standing at the right of the front table, carry 42
an object to the rear table and place it there, and take another object from that table and carry it to the chair. How did you fare? Did you follow out the idea that a performer should not turn his back on his audience? Whoever thought that crazy one up I don't know, but I do know there is no such rule in good stagecraft. Try picking up the object from the front table, holding it clear of your body so it does not pass from the audience's view. Then turn your back deliberately and walk up stage to your rear table, and place the object on the table. Turn around and face the audience again. Of course, if there is any talking to be done, be sure that when you make your address you are facing the audience. There are many ways of moving about your stage from table to table, but the correct one is always the least awkward, the most graceful method. Each move should be carefully studied and practiced with adequate care until you can do it without thinking about it at all. When you finish your act, try to arrange it so you are not more than five feet from the exit so you may bow to acknowledge the applause and then make a graceful exit. If you finish the act at the center of the stage, be sure your act warrants sufficient applause for you to take the time to walk to the exit wing and bow before you exit while the audience is still applauding. That is why it is always best to finish near the exit; if you do this you may take an extra bow for the time lost in walking from center stage. There is no detail too small or sufficiently unimportant to be neglected. If I have made you self conscious of your movements on the stage, then I have accomplished in part my purpose, for I know you will work to correct any of the details that are at fault.
PRESENTING THE ACT IN PUBLIC Before an act is ready to present in front of an audience, it is advisable, if not actually essential, that the intended performer should already have given some public appearances. One way in which this may be done is to first thoroughly rehearse one, or at most two, things until you are perfectly familiar with their routines and every word you will say and the tempo at which you will deliver your words. Note the time and properly regulate your speed. This will require a great deal of practice. Also, make the conditions under which you rehearse similar to those under which you will present the routine before your public. When you feel that you are really quite ready, then and only then arrange for your performance to be shown, possibly at your club. Don't ask your magician friends to criticize and tell you about your show at this stage. Seldom are magicians capable of giving a fair, unbiased opinion of another magic act, for few indeed really know the important things that permit an agent to sell an act. Wait until you have had some experience in the presentation before you seek the opinions of others. 43
There will be many things to improve, unless you are the one and only exception. You will be far from perfect, and the nearer you think you are to being a great performer in all probability will be a fair indication of how far you really fall short of the mark. Whatever the results, continue to practice and make as many public appearances as you can. Add something to your routine when you feel the occasion warrants it if you are equal to doing so, but don't crowd yourself. Go slowly at first, and always work towards a routine which you should aim to perfect. Don't be satisfied with mediocrity. Remember, one or two things done well are far better than many done poorly. Don't be always changing, looking for something new. Start off with tried and tested material that you know others have performed successfully. You can always add the untried things, one by one, at a later date when you have become accustomed to working before an audience and remember that an audience that has paid admission is much more difficult to satisfy than one that has not. Working on a fast moving vaudeville bill with other acts is the real test of your ability. Whenever you are given a choice, get on the program early, for as the show progresses audiences get more critical than they are earlier in the evening. Don't bleed your audience. By that I mean do an act in which each thing you do warrants more applause than the preceding one. Do not wait unduly long for the applause to subside, and only wait when it is warranted. You will succeed better by this method.
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Principles and Deceptions
CHAPTER TWO
Magic With Coins
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SLEEVING This is something that can very easily be overdone. A little is quite sufficient, even when well done. It is bad, very bad magic when the execution is poor. Now I propose to tell you a few things about sleeving which you may already know. In that case, perhaps the effect will be of interest. When about to perform any effects in which you use the methods of sleeving, have your shirt sleeves folded back to the forearm or else use a tightly buttoned shirt cuff and a full coat cuff so that there is no likelihood of the coins being impeded or stopped at the entrance of the coat cuff. Next, the coin is not thrown up the sleeve, but is carried there by the momentum of the preceding act, such as a coin on the back of the left hand moving smartly in the direction of the right hand is suddenly stopped, and the momentum carries the coin off the hand as the right hand is timed to cover it, and if the sleeve is here to receive the coin, up the sleeve it travels. The next method is the act of closing the hand with a coin on the fingers, at the same time turning the hand over. The coin is propelled up the sleeve of the hand which held the coin, without doing anything more than turning over the hand and closing it, but of course closing the fingers with the required rapidity to propel the coin up the sleeve. Another method is the "pinch". The coin is held on the second finger of the right hand, and the first finger helps support the coin The left hand approaches to take the coin, and at the moment the left hand covers the coin, the thumb of the right hand is pressed firmly against the edge of the coin. The applied pressure shoots the coin up the left sleeve. Another method is to drop the coin out of the hand, letting it slide down the arm and the sleeve, of course. The back of the hand is turned towards the audience, while the coin slides out of the almost closed fist down the forearm and sleeve. Jarrow developed the art of sleeving to a high degree of perfection. He would take the makeup of a cigarette (paper and tobacco) in one hand, vanish them up the sleeve, and extract a made cigarette from the closed hand. He would also cause a small quantity of salt to leave one hand and appear in another. Ross Bertram and John Mulholland are past masters of sleeving. A Short Routine In Which Sleeving Plays The Ma/or Part
Hold half a dollar in the right hand between the first and fourth fingers. On the back of the left hand place a quarter. Move the left hand from a one-foot distance quickly towards the right hand held at waist level. Stop the movement of the left hand suddenly. The quarter will shoot up the sleeve if this is done correctly, and the onlookers will simply think you have covered up the quarter with your right hand. 47
SLEEVING {Continued) The half dollar held in the right hand takes the place of the quarter. The right hand is lowered to secretly regain possession of the quarter from the sleeve. By gravity it falls into the half closed hand. You palm the quarter or hold it as you did the half dollar. Pick up the half dollar off the back of the left hand with the thumb and first finger. Drop it into the palm of the left hand. Close the hand. Open the hand, pick up the half and throw the quarter into the hand as you palm the half. Close the hand. Sleeve the half by the act of partly closing the fingers. Let the right hand be seen empty. Open the left, take out the quarter, and if borrowed, return it to the lender. Or you may prefer the second method of changing the half dollar back to the quarter. Having changed the quarter to the half dollar on the back of the left hand, as heretofore described, you pick up the half dollar off the back of the left hand and lay it on the palm of the left hand, closing the left hand on the coin as if you intended something to happen. This gives you the necessary interval to lower the right hand without attracting any attention. The quarter drops out of the sleeve into the right hand, and the left hand is opened. As the right hand is brought up to the left hand again, a quick motion and a sudden stop of the left hand towards the right hand, impels the half dollar into the right sleeve. The hands are brought together and the quarter left on the left palm. The hands are separated to reveal the quarter where the half was a second ago.
THE MUSCLE PASS WITH ONE SILVER DOLLAR The success of this coin pass depends on your ability to palm a coin and then exert pressure by the thumb muscle to cause the coin to spring several inches from the palm without any visible movement of the hands that would cause the coin to spring and bridge the distance between the two hands several inches apart. A coin, seemingly placed in the left hand but palmed in the right (see any of the methods described herein), is vanished, and the left hand shown empty, back and front. The right hand is moved up in front of the left. As the left hand is closed and turned over, the coin palmed in the right hand is sprung and caught by the left hand as it closes and turns over. A moment later the left hand is opened and the coin shown therein. A very deceptive pass when properly carried out. 48
CHINESE COIN MYSTERY On pages 81 through 88 of Volume 3 of the Tarbell Course of Magic is an effect, "Ring, Rope and Pin", which you are advised to read and digest, for the effect I shall describe is an adaptation of that effect. The Effect: Performer has a piece of string approximately three feet in length, and fairly soft, threaded, on a Chinese coin. The two ends of the string are already tied, and are shown to the spectators. The spectators are told that a Chinese magician in the Orient gave the coin to the performer as a lucky piece for saving his life, or any other harmless build-up the performer cares to concoct. He continues to explain that the coin has proven unusually fortunate for him. He says, "The Chinese prophesied with considerable truth that while you retained this in your possession you could never be so unfortunate as to be destitute because, though the coin itself was perhaps not worth more than one-twenty-fifth of a cent, you really were not entirely without money. So by this very sound Chinese logic the boy wearing this coin bestowed it around my neck. The coin can be put on the string without untying the knot, but it cannot be removed unless the string is cut, the knot undone or the coin defaced. Let me show you how the coin is put on the string." When the performer receives the coin from the spectators, he proceeds to untie the string and remove the coin. He then reties the knot in the ends of the string and lays the coin on a plate on the table. The knot is tied in the string, and someone is asked to hold the knot. The performer picks up the coin and proceeds to place it on the string. A moment later he asks the spectator if he can remove it under the aforesaid conditions. He has given the spectator an impossible task. The Working: You never actually take the coin off the string. You have two coins alike, and here is the manner in which the second coin is used. The Chinese "Kash" is about the same size as an American quarter or an English shilling, and the duplicate is secreted in the right hand at the base of the third finger. The knot in the string is untied. The two ends of the string are then held between the first finger and thumb of the right hand while the first finger and thumb of the left hand takes hold of the coin on the string. The left hand is held above the right hand. The right hand lets go the ends which now hang down, and the right hand is placed around the string, back of hand towards 49
Chinese Coin Mystery spectators. This brings the thumb and first finger into position as they would be if taking hold of the coin in the left hand, and the string is drawn through the right hand, and the duplicate coin in the right hand is dropped on the plate. This act alone convinces everybody that the coin came off the string. However, the first finger and thumb of the right hand take hold of the center of the string and pull it up and over the first finger of the left hand until only six inches of the two ends hang down. The right hand takes hold of both ends and passes them under the fourth finger of the right hand and over the third finger. Then the ends are passed over and through the thus formed loop, pulling the loop off the third and fourth fingers, and pulling on the ends, the string is thus tied in a knot three inches from the end of the string. All this time the coin on the string was held under the left thumb against the second finger. The knotted end of the string is now drawn towards you until only about four inches of the loop end hang over the first finger of the left hand. The right hand takes hold of this loop and passes it over the first finger and under the second finger of the left hand, and thus ties a loose knot. The duplicate coin is taken from the plate, and after it is shown, it is held on the fingers of the right hand, which catches hold of the loop and draws the string through the coin to the other knot. The right hand at the completion of this move should be over the handkerchief pocket of the coat. The duplicate coin is released and secretly falls into the pocket. The string is drawn back again, and then concealing what you are really doing, the two hands untie the loose knot at the loop end, the coin is moved down to the middle and the knot retied.
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A COIN, A RING AND A HANDKERCHIEF By Harry King of King and
Ionia
This simple, but excellent effect, Harry King performed at the I.B.M. meeting in Chicago on February 13th, 1948, completely mystifying all those present. Several discovered the secret after they had had time to think it over. The effect: Two of the audience are invited to hold a fine linen or silk handkerchief, which the performer provides, by the four corners. The performer either borrows or removes from his finger a ring, which he allows to be examined. Then he offers a silver dollar for close inspection. The dollar he places in the middle of the outstretched handkerchief which is held at the corners by the two assistants. The ring is then handed to one assistant, who is told to pass the two corners of the handkerchief through the ring. Then the other assistant is told to pass the two corners he is holding also through the ring. Thus the silver dollar is held securely at the middle of the handkerchief. The handkerchief is held at the four corners with the dollar held by the ring at its center. The performer then places an opaque handkerchief or cloth over the handkerchief securing the dollar, saying, "I will attempt to remove the dollar and the ring without the assistants letting go of the corners of the handkerchief." The effect is performed as follows: The coin and ring are worked to the rear edge of the handkerchief where the coin can be easily slipped out, and then the ring falls off, or the edge of the handkerchief nearest the performer is rolled or gathered and pushed through the ring. This allows the dollar to come out. Silly, isn't it; but if you do it well it will baffle any audience. It is the very old principle of the coin on the string, but Harry King found it could be done with a handkerchief without letting go of the corners. An effect somewhat similar, with a different presentation, was described by Hoffman in "More Magic," with a watch. 51
THE BOUNCE VANISH From one to five coins may be dropped into the left hand from the right, and a moment later the left hand opened and shown empty. The illusion is quite good. Try one coin first. Hold your left hand six inches in front of your body, palm up and stretched flat at waist level. In your right hand hold a coin; any size coin will do, from one cent to a dollar. With the right hand, bounce the coin, flat, from the right hand onto the palm of the left hand. At the same instant the coin strikes the palm of the left hand, raise it slightly towards the right, and the coin will bounce off the left hand. Now if you close the left hand as if the coin were retained there, and catch the coin on the rebound with your partly closed fingers of the right hand, you will deceive the onlooker because he hears the coin strike the hand, and the rebound is so instantaneous that the eye does not follow it. Here is one place where the hand is really quicker than the eye. My good friend, Harry Solomon does this sleight very well. After you master this method of bouncing the coin, and you can do it creditably as an illusion so the spectators will be convinced that the coin thrown into the left hand is really retained there, it becomes a simple matter to strengthen this belief by sleeving the coin. This is best accomplished by holding the right hand back upwards with the coin resting on the middle fingers momentarily, and then propelling the coin up the right sleeve by an almost imperceptable closing motion of the fingers. This move is taught on pages 47 and 48 herein. The sleight is completed by showing the right hand empty, in a careless rather than a pointed fashion, by indicating towards the closed left hand with the right hand palm open and facing up. Then before the left hand is opened the coin is recovered by dropping the right hand to the side and allowing the coin to pass from the sleeve to the curled fingers. The right hand with the coin "finger palmed" is passed over the open left hand and the coin is dropped therein, where a moment later it is revealed.
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THE REAR OF THUMB PALM In No. 1, Vol. 1 of Ellis Stanyon's "Magic," dated October, 1900 (that's forty-seven years ago), on Page 3 appears "A New Reverse Palm for Vanishing a Coin." The coin is held between the tips ot the forefinger and thumb. The hand is then apparently closed on the coin, and a moment later on opening the hand the coin has disappeared. In the act of closing the hand, the forefinger carries the coin to the right of the thumb, which grips it as shown in Fig. 4. This is Stanyon's description, just in case some aspiring wizard should happen to reinvent it in 1948. However, I do think a more detailed description of the move will prove helpful to many of my readers. With the coin held by the tip of the first finger and thumb, bend the finger and thumb back to the position shown in Fig. 2. Then withdraw the thumb, and pinch the coin under the first finger (See Fig. 3). Then bend the thumb down until it touches the root of the fourth finger. Now straighten the thumb, pushing back the coin with it to the position shown in Fig. 4. Fig. 5 shows the move completed.
When you have mastered the palming as described, try this for beauty. With your right side towards the audience, hold the right hand about chest level, with a dollar front palmed. Now transfer the coin to the back thumb palm position as you turn over your right hand, bringing the palm towards the audience and then back again to the first position. It is a very valuable and important detail that you no doubt will appreciate when you try it. 53
THE PENCIL AND THE SILVER DOLLAR By Paul Rosini
Most every magician has at one time or another vanished a coin up his sleeve, but here is a totally different use for the sleeve, as subtle as it is excellent. My friend, the originator, Paul Rosini, has kindly given me permission to publish it here. The illusion:— The left hand is closed on a silver dollar, taken from the right hand. The back of the closed left hand is then tapped by a pencil, held in the right hand, and used as a wand, and lo! the coin vanishes. The left hand is empty. Suspicion is then subtly drawn to the right hand, but it is also seen unmistakably empty except for the pencil. The coin has truly disappeared. The left hand is again closed, and the pencil is used by the right hand to tap lightly on the back of the closed left hand, which, upon being opened, reveals therein the same silver dollar which, for effect, may have been marked beforehand or the date noted by a spectator. The working of this beautiful coin illusion performed in the Paul Rosini fashion will be explained, but first the secret, which lies in unsuspectedly retaining the coin in the right hand while seemingly placing it in the left, holding the attention on the left hand while the right hand takes a pencil from the left inside pocket, this act affording an opportunity of secretly dropping the coin from the right hand, while removing the pencil, into the left sleeve, where it remains because of the outstretched left hand. The pencil is drawn from the pocket and held in the right hand in such a manner that this act of removing a pencil from the pocket will leave no suspicion that the coin was being disposed of. Magicians who may suspect that the coin was retained by the right hand instead of being placed in the left hand should be encouraged momentarily to believe it is still concealed there. The pencil is held horizontally between the second finger and thumb, very delicately. After the left hand has been shown empty, the left hand is closed and the right hand attracts the attention as a possible hiding place for the coin, and in this interim of distraction the left hand is lowered, allowing the coin to slide down the sleeve to the fingers and be palmed. Again the left hand is raised as the right is proved empty. The back of the fingers are lightly tapped with the pencil. With proper dramatic poise, the coin is revealed in the left hand as the hand is opened. Paul Rosini pours his personality into this splendid illusion with such effect that it becomes a truly great piece of magic. Thank you, Paul Rosini. 54
THE TURNOVER PASS WITH ONE COIN The hands are held in front of the body with the coin resting on the fingers of the right hand, as in Fig. 1. By lowering and raising the fingers of the right hand suddenly without any other movement of the hands, the coin is tossed up off the fingers to drop onto the fingers of the left hand, as in Fig. 2. The left hand, with the coin, moves out to the tips of the fingers of the right hand, as seen in Fig. 3. The hands turn towards the left, bringing the backs of the hands to the spectators. The left hand turns over as it closes, but the coin falls unseen onto the fingers of the right hand, and is held by the bent second and third fingers. An added subtle touch is to bring the right hand towards the audience, the bent down second and third fingers concealing the coin while the left hand is supposedly holding the coin. The left hand is shown empty, and the coin produced as desired.
This is a good place to tell you about the way of opening your hand to reveal a coin therein or closing the hand on a coin before it disappears. This simple act may be greatly enhanced from a point of commonplace to something artistic to watch by gracefully and without haste opening the hand, one finger at a time, commencing with the little finger and following it with the others, not too quickly nor too slowly. It requires practice to get the full effect out of it. It is such little things as these that reveal the artist. 55
THE PINCH PASS WITH A SINGLE COIN A really top sleight if you will do it as follows: Hold the coin by its edge between the first finger and thumb of the right hand. The third and fourth fingers are touching the fourth finger of the left hand, and the coin is a full two inches in front and away from the left palm. Suddenly pinch the coin, causing it to assume the position as shown in Fig. 2 between the first finger and the thumb of the right hand, and at the same instant close and turn over the left hand as if the coin sprang into it. Then let the coin fall onto the second, third and fourth fingers of the right hand as you lower the hand.
A VERY PRETTY DISAPPEARANCE Hold a silver dollar between the left thumb and forefinger, and place your handkerchief over the coin. Do this by drawing the handkerchief from front to rear, and draw it the first time far enough to expose the coin. The second time as the right hand with the handkerchief passes over the coin, the third finger and thumb secretly steal the coin. The move is completely concealed by the handkerchief being drawn toward the top pocket of your coat, where the coin is secretly dropped. A few mysterious passes are made over the handkerchief supposedly covering the coin, then upon taking the handkerchief away, the coin has vanished. 56
ALLAN SHAW'S VANISH OF A COIN If I had to take only one method of a vanish of a single coin, I would unhesitatingly choose this one because when it is performed correctly the illusion is perfect in every detail. It was a regular interlude in Mr. Shaw's coin act. Please try to do it as I will explain it or the true beauty of the sleight may be lost. Standing facing the audience, the performer holds a coin in his right hand on the second and third fingers, supported by its edge between the first and fourth finger, hand at a slight angle with the floor (see Fig. 1). The left hand is held below the right hand, the fourth finger of the left hand an inch in front of, and at right angles to, the second and third fingers of the right hand.
The performer's body is bent over from the waist, with the hands in the position described and depicted in Fig 1. Now from the wrists, and without moving the arms, bring the hands up to the position shown in Fig. 2 and then down as in Fig. 1 again, (but keep the coin held as in Fig. 1) and then up as in Fig. 2. Now as the hand is brought down the third time, the coin in the right hand is back palmed as shown in Fig. 2, and the fingers of the left hand close as if the coin were tossed into that hand from the right hand. As I have already stated, if your timing is correct, the sleight is a perfect illusion. The coin seen rotating behind the fingers looks as if it were being tossed to the other hand (see Fig. 4). The left hand is slowly opened and the coin slowly produced from behind the right leg. As a matter of record, Mr. Shaw used a hooked dollar for this sleight, and the first time he placed his right hand behind the right leg, he left the coin, and brought away the hand without it, seemingly squeezed it away in his hand, showed the hand empty, and then returned the hand to the leg to really produce the coin. 57
FRONT AND BACK OF HAND TRANSFER OF A COIN The secret transfer of a coin from the front to the back of the hand is an important sleight for all coin manipulators, and the technique should be thoroughly mastered. The coin may be held as
shown in either of photographs 1, 2 or 4. If held as shown in Fig. 1 between the first finger and the thumb, the hand is lowered about ten inches with the coin to the position shown in Fig. 2 and transferred in the interim of this downward passage to the second finger and thumb. As the hand is being brought up, the first and fourth fingers are placed into position on the edge of the coin as shown in Fig. 4. During the ascent, the coin is rotated by the second and third fingers and assumes a position on the back of the fingers. The fourth finger releases its hold, and the coin is pinched between the first and second fingers. The same moves apply if the coin has been held between its edges by the first and fourth fingers as seen in Fig. 4 of the thumb palm. The coin is first allowed to slide down the hand to finger palm position. I strongly advise against rotating the coin to the front to show the back of the hand for a very good reason. I do not consider the move sufficiently convincing to prove anything else other than that you are manipulating, besides the great difficulty of accomplishment. 58
THREE METHODS OF PRODUCING A COIN There are three original ways that I find very effective for causing the instant appearance of a coin secreted in the position at the back of the hand by the first and second fingers, as previously shown. The first of these methods is very difficult and requires considerable practice, but it is really worth it. With an imperceptible short, upward jerk, the coin is released and rotates over the first finger to be caught and held by the thumb and first fingertip. Figs. 1, 2 and 3 clearly show the course of the coin.
Second Method In the second method the coin is produced at the extreme fingertips as shown in Figs. 1, 2, 3 and 4. The third finger first assumes a position on the edge of the coin, and then the back of the second finger causes the coin to rotate, the first and third fingers acting as a fulcrum for it to pivot, as shown in Fig. 2. The third finger, releases the coin as the second finger flips it around to be held as shown in Fig. 3 by the first and second fingers. The first, second and third fingers straighten, and the coin is thus caused to assume the position as shown in Fig. 4
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Third Method The third method differs considerably from both of the former methods, and is done as follows. Perform the sleight just described of placing the third finger on the edge of the coin as in Fig. 1 while held between the first and second fingers at the back of the hand. Rotate the coin with the second finger as shown in Fig. 2, and the coin assumes the position of Fig. 3. The thumb nail is placed against the lower side of the coin and tips it up to the first finger.
Fourth Method The next move is producing a coin from the "Downs' " front palm. The coin is held by its edge in the palm, concealed by the thumb. The fingers are then closed over the coin, the second finger passing above the coin, and the third finger passing below the coin. The fingers shoot out, carrying the coin held between them, still hidden by the thumb. The thumb passes under the coin and the coin is shot up and held by the thumb and first finger. This is a very practical move and is indispensable to me in the performance of the "Miser's Dream." The move is effective with either the palm or back of the hand towards the audience.
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DOWNS' PALM First Method The next two moves look very much alike, but on closer study they will be found to have important practical differences. The first is the transfer of several coins (five are shown in the illustrations) to the lower "Downs' " thumb palm. This method of palming allows the thumb of my hand, which is normal in size, to secrete eight American dollars without difficulty. These pictures are taken at an angle so the coins can be easily followed throughout the moves.
Fig. 1 depicts the coins held between the second finger and thumb of the right hand. They are rotated on their sides into position between the second and third fingers (see Fig. 2). The thumb is then withdrawn, and the fingers curl towards the palm (see Fig. 3), pressing the coins into position. The thumb is lowered over the edge (see Fig. 4). Fig. 5 depicts the manner in which the bottom coin of the stack is brought away by the second and third fingers, and Fig. 6 shows how the coin is then brought up by the thumb to 61
make its appearance. The remaining coins are brought out in a similar method, one by one. They are thus produced at the thumb and fingertip, to be released as they appear and allowed to fall into a waiting receptacle.
DOWNS' PALM Second Method The next move has these differences, and is called the "Downs' upper palm." The coins are held as shown in Fig. 1, fanned out between the first finger and thumb, reclining on the side of the second finger which facilitates the fan of coins being readily closed together as in Fig. 2. The coins are held between the first and second fingers, and then the thumb swings down out of the way as seen in Fig. 3.
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The five coins are thus pressed into the fork of the thumb (see Fig. 4), and the fingers may now be straightened. Fig. 5 depicts the manner in which the coins are carried, one by one, from under the stack and make their reappearance as in Fig. 6 between the thumb and first finger. Both this and the former method should be carefully practiced. They form the basis of all expert coin acts.
THE VANISH OF A COIN FROM THE FOLD OF THE PANTS LEG Take a silver dollar between the tips of the first, second and third fingers. Place it against the left leg, and with the fingers of your left hand fold the leg of your pants down over the coin. (See Fig. 1.) As soon as the coin is hidden from view, grip the coin with the second finger and thumb of the left hand, holding the pants with your first finger and thumb.
Then grip the coin between the third and fourth fingers of your right hand and bend them in towards your palm with the coin thus concealed. Don't palm the coin. Hold it between the third and fourth fingers as shown in Fig. 3. Now with the finger and thumb of the right hand, pinch the pants below the fold, and with the finger and thumb of the left hand pinch the pants above the fold, and pull out the fold to show the coin has disappeared. Produce the coin from the back of the right leg. 63
ON THE LEG PASS WITH A SILVER DOLLAR Second Method With the coin resting on the middle fingers of the right hand, the first finger and thumb of each hand each seize a piece of the pants material about midway between the hip and the knee in front of the left leg. The right hand is separated from the left hand by about two inches. The hands fold the cloth of the pants thus held so that the fingers of the left hand can enter upwards into the fold. The right hand lays the silver dollar on the cloth that is over the fingers, and the coin is then held by the thumb and first and second fingers of the left hand. (See Fig. 1.) The left thumb slides the coin up into the palm as the first finger points to the fold in the cloth. The right hand is lowered to pinch the cloth about four inches below the fold, and in this manner the fold is pulled out and the coin has seemingly disappeared, to be reproduced from behind the left leg by the left hand.
ON THE LEG PASS WITH A SILVER DOLLAR Third Method The coin is held in the right hand on the fingers. With the first finger and thumb, make a fold in the pants as described in the second method, and place the coin into position. Turn up the fold on the coin, but hold the coin with the right thumb and first finger, while the third and fourth fingers steal into the fold and secretly carry the coin away between them. The coin is not palmed, but held by the bent third and fourth fingers, while the other fingers of the left hand and the right hand pull out the fold to show the coin is gone. The coin is reproduced from behind the left leg. 64
TO PASS FOUR COINS FROM HAND TO HAND THROUGH YOUR HEAD, ONE AT A TIME This effect is based on an unusual sleight I think published for the first time, though it is somewhat similar to a sleight in Gaultier's book, "Magic Without Apparatus," Page 104, "Invisible Transfer of a Coin from Hand to Hand when the Spectators have been Forewarned." The sleight I am about to describe is made in reverse, and that is why the hand must be raised to the head, as you will better understand as the description continues. The four coins are unmistakably placed into the right hand, and both hands are closed and placed on the table, separated by several inches, with the backs of the fingers on the table. Suddenly both hands are raised, and while still closed are placed against the ears, one hand on either side of the head. The hands are lowered, and on being opened one coin is seen in the left hand and only three remaining in the right. The same moves are repeated three more times, and each time one coin is seen to have passed from the right hand into the left hand. The method by which this sleight is accomplished is as follows: The coins in the right hand rest on the tips of the closed fingers when the hands are on the table, and it is a simple matter for the second and third fingertips to work the coin into a protruding position against the palm near the wrist. Then as the hands are turned inwards, the protruding coin is shot rapidly across to the left hand. The move and action are made so fast that the eye does not follow the passage of the coin through the short distance it travels.
THE FRENCH DROP AND THE EYE GLASS The performer shows two silver dollars. One he uses for a monocle, the other he vanishes by the "French drop", keeping the left hand closed to simulate that the first dollar rests therein, while actually it is palmed in the right hand. The right hand catches the dollar as it falls from the eye, care being exercised to not allow one coin to fall on the other. The left hand makes a short throw towards the right hand, and the palmed dollar is allowed to fall on the one reclining on the two bent middle fingers. The audible click tends to heighten the illusion. 65
THE ROLL DOWN PRODUCTION FOR FOUR COINS Buckley's Method This is a spectacular, though quite difficult, sleight to perform. It requires considerable practice, perhaps one hundred hours to do at all well. A stack of four coins is produced from the Downs' palm, together as one, and placed in position in the left hand, as seen in Fig. 1. The left hand gives an imperceptible upward and downward movement, and four coins are seen between the fingers as in Fig. 5. The sleight is clearly shown in Figs. 1, 2, 3, 4 and 5 as these photographs were taken with the sleight in progress. I have seen a similar sleight performed in steps of rolling down two and then rolling each two to make the four. I do not think the latter method compares with the excellence of this method. The pictures tell the whole story far better than words. It is acquired by feeling and balance as the coins unfold themselves as the photographs depict. Fig. 6 shows the right hand producing the fifth coin and adding it to the four displayed in the left hand. When it is performed as described, it is no longer a juggling feat, but a beautiful illusion of four coins created from one.
FIVE COINS ARE SEEN AND HEARD TO FALL INTO A GLASS AND A MOMENT LATER VANISH This is an effect originated by me some thirty-five years ago and first shown before the A.S.M. in Sydney, Australia. It baffled those present. No one could explain where the coins had gone. The fingers of the left hand are curled around an empty drinking glass. Resting across the fingers of the right hand are six half dollars. The right hand is brought up nearly level with the chin, and the coins tossed into the glass. Several mysterious passes are made over the glass, which is finally inverted and shown empty. The description is true with one exception. The coins are thrown over the glass, which is held in the left hand, into a small glass concealed at the top of the V in your vest. The small glass, with the coins, is removed at the first opportunity. A very deceptive stunt! 66
THE "ROLL DOWN" PRODUCTION (Buckley's Method!
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THE "DOWNS'
CLICK PASS" VIEWED FROM A
NEW ANGLE
[Improved)
This beautiful move has been greatly enhanced by a simple change I will now describe. Fig. 1 shows the five coins in the first position as seen by the spectators. The hand gives the coins an imperceptible upward toss, and they rotate, as shown in Fig. 2, to fall on the third finger, as seen in Fig. 3.
As the coins are thus caught on the bent third finger, they make a loud click, hence the name "Click Pass", and the left hand is brought up as if to actually catch the coins. But the moment the left hand passes in front of the right hand, the second and third fingers of the right hand press the coins into the "lower Downs' palm", where they are secreted, while the left hand continues its upward journey as if it had the coins. The illusion is perfect. The spectators not only hear the coins fall into the left hand, but seemingly see them as well, which greatly enhances the illusion. 68
AN ILLUSIVE PASS (Original) Another excellent pass with a single coin is as follows: Rest the coin on the side of the second finger against the first finger of the right hand, the thumb supporting it exactly as depicted in Fig. 1, photographed from the rear. The hands are in front of the body, and you are standing erect. Now as you turn left, the right hand turns slightly as the thumb is removed, and the coin falls over, resting on its side against the second finger of the right hand. The left hand partly closes as if it had received the coin. However, that does not happen because the coin is pinched on its sides by the first and second fingers. (See Fig. 2.)
The coin is reproduced by placing the right thumb against the edge of the coin, and then supporting the coin on the edge opposite the right thumb by the first finger. The hand is turned to bring the face of the coin into view.
THE CLICK PASS AND THE TABLE Five coins are arranged in the right hand, and seemingly transferred by the "Downs' click pass" (explained herein under that heading) to the left hand. The left hand is on top the table, while the right hand is passed beneath the table. The sound of the coins can be heard as the left hand taps the table top; a moment later the left hand is pressed flat on the table top, and the coins are heard to fall into the right hand beneath the table. The illusion of the tapping is created by tapping the coins on the underside of the table with the right hand while the left hand makes the motions. 69
THE SPREAD VANISH (ALLAN SHAW) This is rightly credited to one of the world's great coin manipulators, Mr. Allan Shaw, a performer at the height cf fame from 1906 to 1912. The first time I saw Mr. Shaw perform was in Auckland, New Zealand in 1908, and he used this move at that time as a single coin vanish. I confess I have used it ever since. There are other equally effective moves of Mr. Shaw's that I shall describe herein. Mr. Shaw has retired from the stage and is living in Australia. His act was something to enthuse over—perfect in every detail—I am sure that others who recall his act will agree. Referring to the five illustrations, No. 1 shows the thumb and first finger of the right hand supporting the five coins. Fig. 2 shows the fingers of the left hand closed loosely around the coins as they are closed together by the closing action of the left hand. Fig. 3 shows both hands about to make a half turn. The five coins are still held between the fingers and thumb of the right hand, and withdrawn as both hands make the turn (see Fig. 4). The coins are shifted from the first finger to the second finger and thumb as the turn is completed, and the first finger points to the left hand as in Fig. 5. The photos were made from the side to show the action. The right hand holding the coins is lowered to the side, and under cover of this action the coins are palmed, using the "Downs' lower palm". The right hand, with the coins thus concealed by the thumb, is facing palm towards the audience. At the proper moment the left hand is slowly turned and opened—fourth finger, third finger, second and first. Try this with one coin, and later work up to five.
THE ONE HAND COLOR CHANGING DISCS {Original) Take four discs of plastic, preferably each the size of a silver dollar. One is gold in color, one silver, one red and one blue. Procure these secretly from a dropper, a clip or the vest pocket, and hold them in the "upper Downs' palm". The order of the stack from the bottom to the top is silver, red, gold and blue. Produce the silver one (method already explained), palm facing audience. Turn the disc about so both sides are freely seen. Then let it drop silently onto the blue disc. Produce the red disc and show it the same way as you did the silver disc. Then slip the red disc on the silver disc, and produce the gold disc. Display the gold disc, both sides, and slip it on the blue disc. After duly displaying the blue disc, slip it onto the red disc, and produce the silver disc. 70
THE SPREAD VANISH Allan Shaw
FIG.3
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FIVE COIN TRANSFER PASS By Downs Five coins are held between the first two fingers and thumb in the right hand in a fanned-out manner, as depicted in Fig. 1. These are held about chin height in front of the body, while you stand erect facing your audience. The left hand is then brought up to waist level, and the five coins, still fanned, are brought smartly down on the left hand, as shown in Fig. 2. The instant that the coins touch the left hand, the thumb and finger of the right hand loosen their hold so that the coins stack up as shown in Fig. 3. As the fingers of the left hand apparently close on the coins, the first and second fingers of the right hand, already in position to grip the coins, transfer the coins to the upper Downs' palm. (See Fig. 4, 5 and 6.) The right hand is then lowered and held with the thumb concealing the coin, palm facing audience, while the right hand simulates the act of squeezing the coins away to nothing, a moment later to be slowly opened and seen empty. The coins are then produced from the upper Downs' palm, one at a time, and tossed into the left hand.
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THE THROW AWAY VANISH OF FIVE COINS (Original} This is a continuation of the last move, and blends to form a beautiful routine. A coin is held between the first finger and thumb of the right hand, and four coins are displayed between the fingers of the left hand. The performer, standing with his right side towards the audience, brings his right hand with the coin smartly down to his side and up to waist height to simulate the act of throwing the coin into space. During the upward flight of the hand the coin is Downs' palmed. Another coin is then taken from the third and fourth fingers of the left hand, and the right hand simulates the tossing of the coin into space while the coin is palmed beneath the first one. It is easy to palm the coin by letting it fall back on the first coin Downs' palmed. However, it is better, though more difficult, to place it underneath the first coin, placing it there with the two middle fingers. The palming is completed during the tossing action. I recommend it as being more silent than stacking the coins one on another. (Shown in Fig. 1 and 2.) When four coins have apparently been tossed away and palmed in the right hand, the right hand approaches the left hand to take
the fifth coin, and the two middle fingers of the left hand secretly secure the coins from the right palm as shown. This is my change over move. Before the hands are separated, the body commences a right turn to bring the left side towards the audience. See the reproduction of coins at fingertips. The coin is vanished, back palmed by the right hand, transferred to the front palm as a left turn is made, and the right hand points to the left hand, seemingly empty though actually concealing four coins Downs' palmed. The right hand reaches out, and the palmed coins are produced, one by one, to appear at the thumb and fingertip. The right hand simulates the act of throwing the coin into the left hand. The coin is palmed in the right hand, 73
and the four coins palmed there are revealed as only one coin. These are rolled with caution up to the thumb and first finger. It is better if the right hand does not aid in this move. Now both hands move down four inches and back up, and the left hand holds the four coins spread between the fingers, and the right holds the fifth as seen in Fig. 6 of the Buckley Roll Down production explained and depicted heretofore.
THE APPEARANCE OF FIVE COINS, ONE AFTER ANOTHER, AT THE FINGERTIPS By Allan Shaw I believe this to be the most difficult of all coin sleights to do with silver dollar coins because of their weight. However, I still maintain it to be worthy of the necessary practice to do with dollars. Five coins are held in the lower Downs' palm position. The hand is held about eighteen inches in front of the face, the fingers pointing up. The fingers momentarily dip into the palm, the second finger pressing down on four of the five coins, while the third finger slides the bottom coin of the stack of five off the stack. (See Fig. 1.) The fingers are straightened. The bottom coin is thus carried up between the two middle fingers. (See Fig. 2.) The coin is then transferred from position 2 to the thumb and first finger. (See Fig. 3.) The other fingers dip into the palm and remove a second coin from the bottom of the stack as before and shown in Fig. 3. This coin is carried up between the middle fingers and placed against the nail of the first finger. Fig. 4 shows the coin being brought up from the palm. It is transferred to the nail of the first finger as in Fig. 5, and the second finger presses on the coin, causing it to slip off the nail of the first finger with an audible click onto the first coin. Fig. 6 shows the move being repeated with the third coin. Fig. 7 shows the first finger and thumb holding the first two coins, and the middle finger carrying up the third coin, and the palm retaining the other two coins. Fig. 8 gives a view of the third coin being placed on the nail of the first finger. Fig. 9 shows the completion of the moves, with all five coins held by the first finger and thumb. The moves are made smartly and at a continuous, unbroken pace. The real beauty of this move lies in smartly bringing the coins up at the same short, regular intervals, and snapping them into place. An excellent description of these moves appears on Pages 324 and 325 of "Magic Without Apparatus" by Gaultier, and the move is credited to T. Nelson Downs. I saw Allan Shaw successfully perform it as described in Sydney, Australia at the Tivoli Theatre in 1909. 74
THE APPEARANCE OF FIVE COINS, ONE AFTER ANOTHER, AT THE FINGERTIPS Allan Shaw
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THE SURPRISE APPEARANCE OF A COIN By Ron Leonard (Canada) The appearance of a coin on the back of the left hand after covering the latter with the palm of the empty right hand is a very surprising move indeed. A coin is placed on the open left hand, and the left hand is closed on the coin and the back of the hand turned upwards. The right hand is then slapped palm down on the back of the left hand, and without apparently opening the left hand, there on the back of the closed left hand is the coin, when the right hand is raised.
This effect may be produced with any size coin from one cent to a dollar. The secret lies in working the coin unobserved part way out of the closed left hand between the fork of the first finger and the thumb, and then suddenly raising both the hands a few inches. This action causes the coin to gain momentum, and when the direction of the motion of the hands is suddenly changed to a descent from an ascent, the coin is thrown against the right palm and brought into place on the left hand. Figs. 1, 2 and 3 clearly depict the moves.
THE MAGNETIC PASS WITH ONE OR SEVERAL COINS The title is intentionally descriptive. On the back of the leg above the right knee inside the pants is strapped a four ounce Alnico magnet. It should be shaped as a horseshoe so that the magnetic strength of both poles are additive. Have a steel disk turned by a machinist, preferably Brown and Sharpe one-sixteenth inch ground flat stock, and have it heat treated and hardened, then flash chromed. The edge may be knurled if it is possible for you to have this done. You are then ready to perform some very interesting and mysterious passes. When you touch this coin to the back of your leg, the magnet will hold it there. You may remove your hand 76
and the find ing
show it to be empty, reach out as if to grab the coin from air, supposedly transfer it to your left hand, vanish it and it behind the right leg, this time actually taking it and drawit out from the cloth.
You may perform with several coins if you desire, and if your magnet is strong enough. A good Alnico horseshoe magnet when magnetically saturated will suspend, through the thickness of the usual suiting material, about twice the weight of the magnet. This will convey some idea of the possibilities of such a contraption as an aid to your manipulative skill. For pocket effects, the steel one-cent pieces are made to order. The device has many advantages over the hooked coin, and you will undoubtedly find many useful purposes to which the gadget can be put to work for building up some new effects.
SILKEN SILVER by Frank Cruse The illusion: The left hand takes a silver dollar from the right hand. A moment later the left hand is opened, and the silver dollar is seen to have changed to a fifteen inch silk. Preparation: Carefully pleat a fifteen inch silk into a compact bundle, and fasten it securely with a piece of thread. Form a loop above the knot. Suspend the bundle from the left thumb so it hangs in the center of the left palm. The Working: Hold a silver dollar between the thumb and forefinger of the right hand in front and above the left hand. Turn the left hand over so that the bundled silk remains hidden from the spectators' view by the right hand. The left hand seemingly takes the dollar, but actually the right hand palms it. The left hand turns over and recovers the silk. The left hand moves away with the silk. The right thumb and forefinger tug at one corner and pull it slowly out of the half closed left hand, moving towards the top pocket of the coat. At the right moment the silver dollar is secretly dropped into the pocket, and the silk displayed, with the hands otherwise quite empty. (I thank my friend, Frank Cruse, for granting me permission to include the working of this excellent effect.) 77
BORROWED MONEY This is an effect with several borrowed one dollar bills wherein the bills are caused to disappear from one envelope and pass into three envelopes which the spectator sealed up, one inside the other. Take a red envelope and place a bill inside, one from which you have copied the serial number. Seal the envelope and place it in a larger size envelope, a blue one, and seal it. Then place it in the false pocket of a small silver tray, and place this on your plastic top table. On the tray place three envelopes, one to match the red one, the blue one and a white one larger than the blue one. Take out your billfold and ask if anyone has two one-dollar bills for a two-dollar bill. Go down and get it, give the two-dollar bill and take the two one-dollar bills. You have your wallet open from which you take the two-dollar bill. Put the two one-dollar bills into your wallet and take out a one-dollar bill of your own. You should be moving back towards the stage when you do this. Any suspicion that may be created is later entirely dispersed. You stop near or at the front row of seats and say to one of the onlookers, "You look like a person I can trust. Please copy the number of this bill." Hand a card and pencil to the spectator for this purpose, and leave the one-dollar bill with the spectator. Return to the stage and pick up the tray, or have your assistant bring it to you. Say, "Now I am going to ask you to put the card on which you wrote the number of the bill in your pocket, and I am going to request you to not let the bill out of your hand or sight for a single moment. That's fair enough, don't you think so?" Addressing a second spectator, "Sir, you look like a cautious person. Will you take that red envelope from the tray and see i-hat it is quite unprepared and is empty. Now, will you please take the blue envelope and see that it is also empty and unprepared. Place the red envelope in the blue envelope and seal it. Now place both sealed envelopes in the white envelope. Now, before you let it out of your hands for one single moment, write your name across the face of the envelope. Now drop it on the tray. Thank you!" The performer returns to the stage. A pair of clips suspended by a ribbon or cord from above are attached to the envelope, but when taking the envelope from the tray, the two sealed envelopes containing the extra bill are secretly withdrawn from the secret compartment and kept behind the signed envelope. Both sealed envelopes are thus suspended. 78
The performer says to the audience, "So far, so good. Now there is an adage I would like to tell you about, which is that a magician should never tell his audience what he is going to do before he does it. Well, I am going to do just that, tell you all just what I propose to do. I shall disintegrate the bill the gentleman has and cause it to afterwards materialize inside that sealed envelope. Of course, some of you will leave here tonight and say, 'He did not do it. It's impossible.' Well, be that as it may, you are about to witness that very thing. Sir, will you stand up, hold up the bill and come up here. Oh no, I am not going to wheedle the bill from you. Don't even allow me to so much as touch it for a single moment. Will you please read off the number again." The performer writes it on the slate and places the slate on a chair in full view. "Have you a match. Here is one. Please burn just a tiny piece off one corner of the bill." As the spectator touches the match to the bill, it goes up in flames because it is a flash bill (explanation to follow). "Sir, you should not have done that. Please be more careful next time. It's a good thing we kept the serial number or we would not be able to get our bill back." Performer unclips the envelopes and tears the end off, seems to remove the blue one from the white one, but takes the blue one from behind the white one, drops the white one on the table, moves over towards the assisting spectator and tears the top off the blue envelope. He takes out the red one and hands it to the assisting spectator and says, "Please be careful this time. Will you tear open the envelope and tell me what you find. You don't say—a one-dollar bill. Now who would have thought it? Do you think it could be the same bill? You don't eh? Well, please read the number aloud. 2,789,621 —well, that's the number here. What does your card say? It says the same? Thank you kindly. Please hand the bill to the gentleman who sealed the envelope to recheck. You may keep it as a souvenir, but I warn you, don't put a match near it." The essential points of the trick that have not been completely clarified at the beginning are as follows: The exchange of bill: The performer puts the two dollar bills he obtains from the spectator for his one two-dollar bill into his wallet as he walks away, and takes a prepared one-dollar bill from his wallet. This passes unchallenged because the number of the bill is written down after he hands it to a spectator, and no two bills have the same number, but you may obtain ten new bills from a bank for a ten-dollar bill, and it is not difficult to overcome the obstacle of a three and an eight in the last place when all the other numbers are the same. The red envelope with the other bill sealed inside the blue envelope is a sliding fit in the false bottom of the small tray, and when the spectator seals the three envelopes, one inside the other, 79
they are dropped with the name side up on the tray. The envelopes inside the false bottom are secretly removed when taking the envelopes off the tray. When they are held by the suspended clips, the front sealed envelope hides the others from view. By simply tearing off the end and removing the blue envelope containing the red one from the back instead of from the white envelope, the illusion is quite sound. The way to make flash paper is to soak the paper first in acid, wash the acid out in distilled water and allow to dry. I realize this is a lot of trouble, and am therefore describing an alternative method that may be preferred because of its relative simplicity and economy. The duplicate bill, otherwise unprepared, is unmistakably placed under a handkerchief and given to the spectator to hold onto. The performer withdraws his hand after covering the bill so his hands are seen clearly to be empty. In other words, the spectator is convinced he holds the bill, which in truth he does. What he is not aware of is that a double handkerchief is used, and the bill is inside the handkerchief, stitched around three of its sides. Another method, for which I am indebted to Terry Lynn, is to have a corner of the bill that is sealed inside the envelope and loaded into the false bottom of the tray, lightly stuck on the back of a packet of matches, so that it can be easily removed with one hand holding the matches. This is laid on your table till wanted. The man with the bill is asked to tear off the top left corner so it may be thus identified again. The performer picks up the matches and, taking the corner torn from the corner of the bill by the spectator, transfers the corner to his right hand holding the matches, and transfers the matches to his left hand. But in doing so, the corners are exchanged, and the corner from the spectator's bill rests unsuspected, concealed under the match packet. The performer asks the spectator which part of the bill he shall use. The question is made in an ambiguous manner, because whatever the answer, the performer says, "You hold the corner then and give me the bill." This he either openly burns or, using the slit envelope, steals it through the slit and burns the piece of paper, folded and placed inside to represent the bill. If you prefer to use a regular handkerchief in place of the double one, you may do so by having a bill or piece of paper folded and sewn into the hem. This calls for palming the bill when you put it under the handkerchief and giving the sewn-in bill to the spectator to hold. This is essentially an illusion for a club or drawing room and do not recommend it for the theatres as it is a little slow and breaks the rule as set forth in Chapter One, "Don't leave your stage."
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JOHN MULHOLLAND'S SLIDE PASS WITH A SINGLE COIN This is an excellent piece of deception. The coin lies on the palm of the right hand, as in Fig. 1. The hand is tilted downward, and the coin slides down to the position shown in Fig. 2, where it is held by pressure brought to bear on the edge of the coin by the first and fourth fingers. The left hand closes as if the coin had gone down the right hand and off the fingers into the left hand. The body then makes a part left turn, and the hands are brought to the position shown in Fig. 3. The illusion is complete when the timing is right. The left hand is shown empty, and the coin is produced at the thumb and first fingertip. The move will also work with several coins at one time. The sound of the coins gathering on the curved right fingers enhances the illusion considerably.
This move with several coins is a particular favorite of J. B. Cook. He excels in the application of this move to several excellent coin effects. The move was previously published without credit to the originator, John Mulholland, in whose skillful hands it is a perfect and thoroughly convincing illusion. This is to be expected from one who is as skillful as J. H. 81
ANOTHER VERY EFFECTIVE PRODUCTION OF FIVE COINS, ONE BY ONE, IN THE LEFT HAND (Original) The right hand has produced five coins at the fingertips, and during this production the left hand has secretly procured from a "holder" on the left side five coins and transferred them to the Downs' palm position. The coins in the right hand are now held displayed spread out between the fingers and thumb, and in this manner they are lowered into the left hand that already has five coins secretly palmed. As the right hand coins are hidden by the left hand fingers, they are secretly palmed, and the five coins in the left hand are exposed to view, thus convincing the spectators that the coins displayed a moment previously were transferred to the left hand. The five coins are allowed to slide off the left hand fingers into some receptacle (I use a hat). The left hand is now brought to shoulder level; your right side is facing the audience.
The right hand is brought up in front of the left hand, and the bottom coin of the stack of five Downs' palmed is removed from the stack by the second and third fingers of the right hand. See Fig. 1. This picture was taken so that the coin was exposed as it was removed from the palm position. The right hand now moves in front of the left wrist, past the left hand and back again, and the left hand is closed and turned over. However, during these actions the coin secretly held in between the two middle fingers of the right hand was secretly dropped into the left hand just before it closed and was turned over. This is not difficult, but must be properly synchronized or the illusion to follow will be marred. 82
The left hand is opened and the coin revealed there. The coin slides off the hand and is caught between the thumb and first finger of the right hand, as shown in Fig. 2. This position was photographed to show the other coins held in the hand. You now make a right turn to bring the left side towards the audience, and the coin held between the finger and thumb of the right hand is dropped into the hat. You then turn left and repeat the moves, but this time instead of turning right again, the left hand is held about eighteen inches above the hat on the table and turned around and slowly opened, revealing the coin in the hand. It is allowed to slide down the hand and fall into the hat. The moves are repeated for the remaining four coins. The last coin I transfer from the right to the left hand by the muscle pass described herein.
THE LYNN PENNIES By Terry Lynn
From the table, one by one, seven pennies are taken with the right hand and placed into your empty left hand. A spectator is requested to extend his right hand, and you again transfer the pennies, one by one, with your right hand into his hand. Turning his hand over after he closes it on the pennies, ask him how many coins he has. On hearing him state, "Seven", you cause one coin to leave his, and count the six coins back into your hand. Repeat the illusion with six, and then with five. The moves that permit this illusion to be performed are as follows. The coins are each picked up between your first fingertip and thumb and transferred from your left hand and laid, most precisely, into the spectator's extended hand. On transferring the second to the last coin in the exact manner you did the coins preceding it, you only touch this coin on the other coins without releasing it, and immediately tip the last coin from your left hand over into his right hand as you close the fingers of his hand on the coins, with your right hand still secretly retaining the second to the last coin. There is no haste about this. It is all done at an even pace. The illusion is perfect. You may say, "How many coins did I count into your hand, please? Now I shall take one away." Tap the back of the spectator's hand lightly with your left fingertips and show the coin in your right hand. Count the coins very deliberately, one by one, back into your left hand, and repeat. 83
THE STEAL I My Method! Having produced five silver dollars with your right hand from the lower "Downs' palm" position and thrown them into your open left hand, proceed as follows: Close the left hand on the five coins and turn it over so that the back of the left hand and the right side of the body are towards the audience. See Fig. 1. The second and third fingertips of your left hand work out the dollar immediately under them, so that it protrudes well out of the hand at the wrist. Place the pad of the second finger of the right hand on the knuckle joint of the first finger of the left hand, and, keeping the right hand still, rotate the left hand so that the backs of the closed fingers of the left hand are brought up against the side of the palm of the right hand. The protruding coin should then be at the fork of the right thumb. See Fig. 2. The coin is palmed by the right thumb, and the right hand moves down, the hand remaining open. See Fig. 3.
You turn, facing the audience, as the right hand is brought across in front of your body. The right hand is closed, and the coin that is thumb palmed is first dropped on the fingers, and from there it is back palmed, as the palm of the hand is brought to face the audience. These moves are synchronized with the turn so that the coin is not seen during its passage from the front thumb palm to the back palm position. The coin is then produced at the fingers, flipped several feet into the air, caught in the right hand and placed on a display stand. All of the aforesaid moves are repeated, and the second coin is placed on the stand. The third coin is taken to the thumb palm and then produced at the left elbow, and likewise placed on the stand. 84
The fourth coin is taken to the thumb palm, and then as the hand is turned palm to audience it is back thumb palmed, and the hand carried over to the right side, palm facing the audience. The coin is produced and placed on the stand. The fifth coin is then shown in the left hand. The hand is closed and turned over, and the coin is stolen as was the first coin by the fork of the right thumb. The right hand is turned over, and the coin passes to the back thumb palm position. The left hand is opened to show the coin is gone, and then turned to bring the back of the thumb against the coin in the right hand. The coin is transferred to the left hand. The right hand is then brought under the left hand and the coin released. Falling behind the left hand, the coin is caught on the fingers of the right hand and produced at the fingertips. The photos clearly show how a coin in the left hand is first worked into position between the fingertips and the palm, and then by turning over the left hand under the cover of the right hand, the coin is brought to the right hand, thumb palm position, just as the right hand is moving away.
PASSING SEVERAL COINS THROUGH A TABLE AT WHICH YOU ARE SEATED This is an effect that should be performed while seated at a table. In the right hand take three silver dollars and one half dollar, and in the left hand three silver dollars. Show the coins on the palms of the open hands. Close the left hand on the three silver dollars therein, and lower it under the table. As you do so, leave the three dollars in a stack on your left leg, and bring the closed left hand up on top of the table again. The right hand spills out the three dollars and the half dollar on the table as you say, "Three dollars and a half dollar in the right hand." The right hand gathers up the four coins and thumb palms the half dollar. You hold the three dollars secretly between the knuckles and the palm so they can be released to fall on the table without any movement being apparent of opening the right hand. Now you open the left hand and drop the three dollars from the right hand as you say, "And three dollars in the left hand." The left hand picks up the three dollars and passes under the table. The right hand is slapped on the table on the half dollar as the left hand brings the three dollars forcibly against the underside of the table. As the left hand is brought up, the other three dollars are reclaimed from off the knee. The right hand is raised as you say, "The half dollar always gives trouble." Drop the six dollars from the left hand on the table. 85
THE FRENCH DROP
(Improved)
The "French drop" has served well the masters of years gone by, and is still recognized as a basic coin sleight. However, I have found the following variation of the basic method to be more adaptable to my usage, so I pass it on to you. The coin on display, held at right angle to the floor, rests on edge between the thumb and first finger of the right hand, thumb and top finger together and at a slight angle with the floor. The fingers of the left hand move in front of the coin, the thumb behind the coin. The thumb is an inch and a half away from the coin in the position shown in Fig. 2, which was photographed from above. Fig. 3 is the same view as Fig. 2, also taken from above. In this position the thumb releases the coin, and the coin falls onto the second, third and fourth fingers. No movement of the right hand should be apparent to the spectators.
The left hand seemingly takes the coin, and as it moves away to the left, both hands turn to bring the backs of the hands towards the audience. A further effective addition to these moves is to hold the coin as explained and shown in Fig. 1, and touching it on its rim with the tips of the second and third fingers of the left hand, cause it to rotate through 180 degrees, and then continue the move as aforesaid. The rotating action adds tremendously to the effect, as a trial will prove. If you learn to do this correctly you will never use the older method again.
ANOTHER ORIGINAL FIVE COIN PASS Four coins are concealed by the "Downs' palm" in the left hand, and one coin is back palmed in the right hand. You are standing with your left side towards the audience, right hand outstretched palm facing audience. On your left side is a table and a stand for supporting five coins. The back palmed coin is produced at the fingertips of the outstretched right hand. The left hand is brought up to the right hand for the apparent reason of taking away the 86
coin, but instead the coin is back palmed, and one of the coins in the "Downs' palm" position is produced at the left fingertips. These moves of the right and the left hand must be synchronized so the effect will be that the coin was actually taken from the right hand fingertips. The left hand, with a coin displayed between the thumb and first finger and three coins in the "Downs' palm" position, is brought across in front of the body, and places the coin in the display stand. The right hand reaches out, and again a coin appears at the fingertips. The left hand is brought up, and the aforesaid moves are repeated. These moves are gone through until all five coins are in the stand.
THE MISER'S DREAM Catching coins in succession from the air dates back to Robert Houdin. However, I feel certain that T. Nelson Downs who presented the money catching act under the title, "The Miser's Dream," had developed this effect into an act that was a far call from the simple, though effective, feat of Robert Houdin's day. Only the most simple coin palms were known then, by comparison with the methods known today. Downs lifted the art of coin manipulation in his day to heights undreamed of in the days of Robert Houdin. Therefore, when I think of coins I think of Downs the inventor, the master, whose performances were a feature in the leading theatres of London, and on the continent, and in New York. I am going to say right now that it needs an artist of considerable skill or a great showman to perform "The Miser's Dream" as Downs and Allan Shaw performed it. It is not sufficient to simply know how—it takes real talent to get anything like the maximum entertainment value from such an act. I have seen "The Miser's Dream" performed with all sorts of hats—some with tin plates in the crown, others with saucers, buckets, glasses and bowls—all sorts of fakes and contraptions used by a large number of performers, some comedy, others dramatic. I never did see Downs. The performance by Allan Shaw, however, stands out from all others I have seen beyond any comparison. This artiste had great charm, poise, deliberation, dramatic talent and an unusual degree of manipulative skill. He made use of about sixteen coins. Every coin he produced at his fingertips was a real magical effect in itself. In a cultivated and well-modulated voice he entertained you with his subtle witicisms, such as, "I taught this to a friend of mine. He died, poor fellow. Sheer exhaustion." In these pages I will describe to you the details and improvements in the manipulative art for performing this act, and set forth a number of gags, some of which you may find to have desirable pos87
sibilities. I performed the coin act for two years, and was featured in the opposition theatres to Allen Shaw in 1909 in Australia. I wai, however, a poor imitation of Allen Shaw, and these doings were those of the theatre management rather than by any choice of mine. But Shaw took it very philosophically, and there never was any friction between us because of it. I admired Shaw's work. To me he was the pinnacle of perfection. His work was something to be aimed at and to try to attain. Because of this, I know of no better way of getting over to you the importance of the details that may otherwise be overlooked than to sketch a verbal picture of Shaw's act. Shaw's music was eight bars of introduction, then into "Hearts and Flowers" (too shopworn for further use, but as a talking accompaniment it then had no equal). The stage was carpeted to the footlights. Blue velvet drops hung in number two. One small occasional table was at right of center. There was one traveling spot each side, off stage, about ten feet up, and spot from front, with all other lights out. On the table was a silk hat, mouth down. Shaw, in faultless evening clothes, entered center. "Ladies and gentlemen, my original presentation of 'A Miser's Dream'—money, and how to get it." Shaw casually picked up the silk hat and observed it empty, loaded coins from the rear rim and proceeded to catch one coin after another, hesitating again and again to display each coin and to get gag after gag across, keeping his audience amused with the witty dialogue and amazed and entertained at his skill, finishing the "dream" by producing six coins from the air as he made a grab, interjecting a little amusement by apparently tossing a coin into the air and catching it in the hat at the termination of its flight, taking a coin from his shoe as he said, "Fancy money for boot protectors," and pushing a coin through the side of the hat. Shaw then performed a number of passes with one coin that were the very poetry of motion and most baffling to watch. Later he used five coins, his optical illusion as he called it, with one coin and a hat. He finished his act with a brilliant roll of a coin across the fingers, saying, "This you can do, but it does take practice. I found the first fifteen years the hardest." Tossing the coin into the air, he caught it as he walked off to great applause. Curtain. Time, six minutes. This somewhat vague description will perhaps help you to better visualize this successful act. Shaw used Australian half crowns when I saw him perform. However, I recommend that you use the American dollars. These are the coins that I always used, even in Australia. They may seem, and perhaps are, more difficult at the beginning, but they pay you well for the additional time spent in practice to become proficient in their use. I venture the opinion that the coin act as presented by Allen Shaw would be a top act in our leading night clubs today. 88
FINALE TO "THE MISER'S DREAM" By W. J. Alkinson This is something I read in July "Magic," by Ellis Stanyon, 1902, and after successfully trying it for my wife and sister I recommend you try it. I think it very good. At the completion of "The Miser's Dream," empty the coins from the hat and place the hat on the seat of a chair behind which is suitably arranged a secret pocket to receive the coins. Take as many coins as you can do the "Downs' click pass" with in your right hand, and after seemingly tossing the coins into your left hand, approach the hat and simulate the act of letting the coins fall from the left hand into the hat, while your right hand with the coins is on the back of the chair and the coins are released to fall into the pocket. I can speak from experience—even at eight feet the illusion was quite mystifying.
TWO PLAYING CARDS, FOUR HALF DOLLARS AND A HANDKERCHIEF This excellent trick is simply a modification of an effect published in Stanyon's "Magic Dec," 1904. In place of the paper squares suggested by John N. Hilliard, I recommend that two playing cards be used, that the coins be half dollars and that the manipulation of the cards to conceal the coins be as explained herein. Otherwise the trick is essentially Hilliard's. Place a felt pad or several napkins under the tablecloth to eliminate revealing sounds during the working of the trick. Place a handkerchief on the table over the padded cloth, or else place it on the carpeted floor; on the handkerchief place the four half dollars in a square. They should be about six inches apart. Take the two cards, preferably an Ace and a King, and while pattering away place the Ace held in the left hand, on the coin at the left rear corner and the King on the coin at the right rear corner. Say, "Here I place the Ace and here the King. Now I place the King here and the Ace here." Cross the hands and place the Ace on the coin at the right front corner and the King on the coin at the left front corner. Without a change of pace, pick up the coin with the left hand at the right front corner between the second finger under the coin and the thumb on the card. Before you take the card, the Ace, away with the coin thus held, the right hand with the King is carried over the place where the coin was to take the place of the Ace as it is removed, and the left hand lays 89
the Ace and the coin down at the left front corner without letting the coins touch each other. The left hand picks up the left rear corner, and the right hand picks up the coin that is there and moves with the coin showing under the handkerchief. As soon as it is out of sight, the coin is dropped on the table, and the hand moves under the handkerchief till it reaches the two coins under the Ace. At that moment the left hand holding the corner of the handkerchief recovers the coin from the table. The right hand jingles the two coins under the Ace and is withdrawn from under the handkerchief, clearly shown empty. The Ace is lifted and immediately passed to the left hand, which drops the corner of the handkerchief to take the Ace from the right hand, and in this manner the coin is secretly transferred to the underside of the Ace and laid silently on the other two coins from which it was just removed. The left hand picks up the left corner of the handkerchief again, and the right hand takes up the coin from the right front corner and passes under the handkerchief, silently dropping the coin when out of sight. Jingle the coins under the Ace, and withdraw the right hand and show it empty. The right hand picks up the Ace, and three coins are seen lying there. The Ace is transferred straight away to the left hand that has recovered the dropped coin from the table as before, and card and coin are silently replaced with the other three coins. The King is tapped and then turned over, and the coin has vanished. The Ace is duly raised, and the four coins are seen together. The success of this effect depends on not letting the coins talk when they should not, and on a fairly fast, unbroken working pace from beginning to end.
COIN THROUGH HANDKERCHIEF (Original) The coin, preferably a silver dollar, is secreted in the right hand, finger palmed. A handkerchief, preferably white silk, is taken from the pocket and displayed by two corners. The coin is held in front of the corner covered by the fingers holding the silk. The left hand corner is placed on the right hand corner over the coin. The front bottom corner is folded up on the previously folded corner, and the remaining corner is folded behind under the right thumb. In this manner the left hand holds the silk by its four corners. The right hand is now closed and opened. It then seemingly plucks a coin from the air. As the performer makes a throwing motion in the direction of the silk, the coin secretly held between the corners is let fall to the middle of the silk. The right hand takes hold of the coin through the silk at the middle, and without the left hand letting go of the four corners, the center of the silk is brought up above the left hand, and the coin is released, secretly falling into the left hand. 90
The left hand carries the coin up to the right hand, behind the silk, and the procedure of pulling the coin through the center of the silk is successfully undertaken. The coin is removed and the silk shown. This is an excellent piece of business. Try pulling the handkerchief down with the right hand and retain the coin displayed between the finger and thumb of the left hand. The effect is even more startling as the act of slowly pulling down on the handkerchief the coin held between the finger and thumb of the left hand come into view.
A COIN VANISH AND REAPPEARANCE By That Clever Artiste (Carlyle) Hold a silver dollar between the thumb and fingers of your right hand, thumb on top, and place the coin in your left hand, which is outstretched at arm's length and shoulder height. Close your left hand fingers on the coin. Turn the left hand over so the back of the hand is towards the audience, and tilt the thumb and first finger so they are pointing directly away from the audience. The audience is unable to see them in this position. The left hand has the coin in it, so the move is really a fair one so far. Then say, "Watch, no up-the-sleeve business." With the right hand, push back the coat sleeve. This action pulls the shirt sleeve up also, and the buttoned cuff of the shirt is tight around your arm about six inches up the arm from your wrist. Say, "Everything is fair and above board. No deception really." While making this statement, the left hand is opened, and the coin is openly dropped into the right hand. The coin is again held between the thumb and first finger and placed in the left hand, which closes on the coin and turns over as was done the first time. But this time the coin is retained by the finger and thumb of the right hand, which tilts as before to conceal it. The right hand, with the coin thus held, is placed behind the left wrist, and the coin is pressed against the front part of the left arm, which is then furthest from the audience. The second finger of the right hand and the right thumb are pressed against the wrist. You say, "Hold my wrist," to one of the spectators, and at the same time the fingers of the right hand press the coin half way under the shirt cuff between the cuff and the arm. This allows you to remove your hand and let the hand be seen empty. With the proper dramatics, your left hand is slowly (very slowly) opened—the coin is gone! Then you say to the spectator, "Hold the wrist more tightly," and as you illustrate your words by actions rotate the hand, bringing the coin still under the shirt cuff to the front and directly under the hand. The coin is easily taken by the thumb and fingers, and as the hand moves past the left hand you open your left hand and show the coin in your right hand, held between the finger and thumb by its milled edge. The illusion is that the coin was in your left hand and you took it with your right. 91
THE STEAL By Cardini
This is an effective piece of coin manipulation, by Cardini. With his permission I pass it on to you. Five silver dollars are dropped into the left hand. The hand is closed and turned to bring the back of the hand towards the audience. The fingers of the right hand are shown empty, and then tap the back of the closed left hand. The left hand turns over as the right hand is drawn away. The right hand is closed, and a coin emerges from between the thumb and first finger without opening, as if the coin were being disgorged. It is very effective and quite mysterious to watch. The left hand is opened, and only four coins remain. The aforesaid moves are all repeated, and then three coins only remain. This is repeated three more times until all the coins have passed from the left to the right hand. The moves by which this transit of coins is accomplished are as follows: The five silver coins are held in the left hand (see Fig. 1). The left hand closes on the five coins and turns over (see Fig. 2). The second and third fingers of the left hand press lightly on the face of one coin, and rapidly but silently work it out until it protrudes as in Fig. 3. The right hand is shown empty and brought to position as in Fig. 3. The left hand is then turned over. This act brings the coin into a position so it may be secretly secured by the two middle fingers of the right hand, as depicted in Fig. 4. For a moment don't follow the photographs further than Fig. 4. The right hand closes on the coin, and the hand is withdrawn about twelve inches away from the left hand and commences a light crushing action which causes the coin therein to slowly emerge from the hand between the thumb and finger base. The moves are repeated until no coins are in the left hand. I can say from watching Cardini perform this from a distance of four feet, the illusion was perfect and left nothing to be desired. Cardini does not steal the first two coins by the described method, preferring to thumb palm them one by one as they are turned back from the right to the left hand. For those who wish to add a different touch to the effect, let us go back to Fig. 4 and pass on to Fig. 5. The coin is placed behind the closed left hand as shown in Fig. 6 and Fig. 7, and a tilt backwards of the left hand causes the coin to be secretly secured by the flesh of the back of the hand and the wrist (see Fig. 8). The right hand is shown empty, and the fingers and thumb are placed on the left wrist as if taking the pulse, and the coin is allowed to slide secretly into the hand to be produced as aforesaid. 92
THE STEAL By Cardini
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TWENTY-ONE CENTS By Ross Bertram {Toronto, Canada)
While the original version of this trick necessitated the use of shell coins, this method is accomplished with borrowed coins if desired, and therefore places the effect in the 'impromptu class'. You will find here a few subtleties which elevate the trick to a new standard. One or two trials will please you and at the same time astonish the spectators. EFFECT: Performer places two nickles, a dime and a cent in his left hand and closes same. All of the coins except one of the nickles vanish. The remaining nickle is ordinary and may be examined. METHOD: Fig. 1. The coins are laid on the table in the following order: from left to right: Nickle, Cent, Dime and Nickle. Fig. 2. The left hand is held with the palm upward, fingers close together. The left-hand nickle is picked up by the right hand, held at tips of index fingers and thumb, the coin being gripped at its edge and extending out from the side of the finger and thumb. Right hand then approaches left, the hands being turned so that their fingers are parallel, and the nickle is placed on the left palm, at the base of the third finger. The cent is picked up in the same way and placed on the nickle; then the dime is placed on the cent, making a stack of three coins. As each coin is placed in the left hand, the total amount of money in the left hand at that point is counted aloud by the performer. Fig. 3. The last coin (nickle) is picked in the same way as the others, and the right hand is brought down over the stack so that inner side of second finger-tip presses down on the left edge of the stack, thus tilting the stack. Fig. 4. Third finger closes in and the stack is nipped between the second and third fingers. The nickle is deposited on the palm in the same instant that the stack is nipped away, the left hand closing immediately. The act of gripping the stack causes the coins to click together, simulating the sound of the nickle being placed on top of the stack. Fig. 5. With the right hand reach to a spectator at your right, grasp his left arm at the wrist or elbow, and request him to hold out his left hand. Ask him how much money you have in your left hand, then open the hand, dropping the nickle onto spectator's outstretched palm. He invariably examines the coin. While he is doing so, drop your loaded right hand to your side; then hold out empty left hand to receive the coin. The right hand, with fingers curled, is brought up, and nickle is taken between extended thumb and index finger. It is placed in the right hand trouser pocket, the stack being left there at the same time. 94
TWENTY-ONE CENTS By Ross Bertram A Master of Close-Up Coin Magic
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COINS PASS, ONE BY ONE, FROM THE LEFT HAND TO THE RIGHT HAND
The performer takes four dollars from his vest pocket and places them in a square about six inches apart on the table (see Fig. 1). He picks up the four coins, one by one, and drops each coin onto the palm of his left hand (see Fig. 2). He tips the coins from the left hand to the right hand, spreading them in the palm of his right hand with his left fingertips so everyone can plainly see the four coins. He once more tips the coins back to the left hand and spreads them again with his right fingertips so that everyone may see the four coins. He then tips the four coins onto the table. These moves were all made to convince the onlookers that only four coins are used throughout this trick. With his right hand the performer picks up the first coin and places it on the palm of his outstretched left hand, and likewise places the remaining three coins, one by one, alongside the first. He then closes both hands and turns them face down. From the closed right fist the performer works a coin out, as shown in Fig. 6. The coin drops on the table, and the empty right palm is turned up. The left hand drops three coins on the right hand, and the right hand turns them back into the left hand. The left hand drops them onto the table. The right hand picks them up, one at a time, and drops them into the palm of the left hand. Both hands close, and the second coin is squeezed out of the right hand and let fall on the table. The right hand is opened and turned palm up. The left hand drops two coins on the right palm. The right hand drops them back into the left hand. Both hands are closed and turned down, and the third coin is squeezed from the right fist. The right hand is opened, and the left hand drops one coin into the right hand, and the right hand turns it back to the left hand. The performer takes a pencil from his pocket and, dropping the coin from his left hand onto the table, asks a spectator if he would care to mark this coin. No one offers to do so. The coin is taken in the right hand and turned over to the left hand. Both hands are closed, and the coin is squeezed out of the right fist, and both hands are seen empty. This fine effect depends on the following secret moves, and good timing. 96
When you reach into your vest pocket to procure the four coins for the trick, you secretly palm a fifth coin in the right hand from the vest right side pocket. Take the four coins openly from the left side vest pocket, place them on the table, using both hands to arrange the four coins into a square.
With the right hand secreting the fifth coin, pick up the four coins, one by one, and drop them openly, for all to see, into the left palm, opening and shutting the left hand as each coin is dropped into it (see Fig. 2). Now bring the hands together. The left hand 97
tips three of the four coins into the right hand. The coin in the center of the palm of the left hand is secretly palmed. The right hand is opened, and four coins are seen. That is the crux of the illusion, and it is a very good one indeed. You should practice this move until you can do it as effectively and naturally as if you were transferring all the coins from one hand to the other. The remaining moves to learn are as follows: When you have two coins in your left hand after squeezing out the third coin from the right fist, these two coins must not be allowed to "talk," for the spectators believe there is only one coin, and one coin does not rattle. With one coin palmed in the left and one on the fingers, drop the one that is held on the left hand fingers on the outstretched palm of the right hand, and immediately pretend to turn it back to the left hand, the left hand opening to reveal the coin already there. With the coin in the left hand now in full view, the right hand with the other coin palmed reaches to the top left side pocket for a pencil (have one ready). The coin is disposed of without arousing the least suspicion. The method of palming is not very important. Use the one you are most proficient in. Many will prefer the thumb palm, while others will prefer either the straight palm or holding the coin in the crook of the fingers. I personally think for this effect that the thumb palm offers advantages not presented by the other methods. However, use the one you find best. The last coin is disposed of by use of a move described in Gaultier's book, "Magic Without Apparatus," Page 314. It is credited to Mr. Trewey, and is perfect for this effect. The coin is held in the left hand, both hands palm up separated a space of six inches. As the hands are closed they are turned smartly over, the thumbs momentarily being brought together. At this moment the left hand partly opens to allow the momentum caused by the move to carry the coin unsuspected to the right hand. A trial will tell you more than a volume of words, so try it out right now. You will like it, I feel sure.
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THE TRANSFER OF A SILVER DOLLAR FROM ONE HAND TO THE OTHER For those with a preference for artistic movement of the hands to prove them, by conjuror's logic, to be empty, the following moves are presented. Stand with your right side facing the audience, or a mirror for practice. Both hands are at shoulder height, the left hand palm facing extended beyond the right hand back of right hand facing. In the right hand, front thumb palmed, is a silver dollar. The right hand is slowly turned over to show the palm, but when is has been rotated through about forty-five degrees, the first finger is closed around the thumb palmed coin, which holds it firmly, while the thumb releases its hold and reaches clear across the coin to the root of the fourth finger, thus bringing the thumb into position to back thumb palm the coin as the hand is opened at the completion of the turn, which should be less than half a revolution, and made at one continuous pace. The left hand is then turned over to bring the back of the hand facing out in the same slow manner. The last move is made so the left hand is now lower than the right hand and directly under it. The backs of the two index fingers of the open hands are now brought momentarily together, and the coin is readily transferred from the back thumb palm of the right hand to the back thumb palm of the left hand. At the completion of the transfer, both palms are facing the floor. The right hand is rotated to bring its back to the audience. To do this properly, the sides of the tip of the fingers should remain touching during the last move. The left hand, with the coin back thumb palmed, is rotated to bring the palms facing. The right hand acts as a cover to keep the coin from being seen. The right hand is lowered in front of the left palm, passing downwards until the left little fingertip touches the right thumb tip. With the finger and thumb tips still engaged, the right hand is turned over to show its palm, and then turned down again. Bringing the fingers of the right hand partly under the side of the left hand, the coin is released from the back left thumb palm, and falls secretly into the partly closed fingers of the right hand. The left hand then partly closes on the right thumb; the hands move away from one another. The left hand is slowly opened, and the right hand produces the coin at the tip of the finger and thumb by the simple act of sliding it up the fingers with the thumb. I feel I should warn you to practice these moves very carefully from the instructions I have given if you would retain all of their beauty and illusion. 99
JOHN PLATT'S CHINESE COIN ON PENCIL ILLUSION IWITH PERMISSION) This illusion has already appeared in the "Sphinx" magazine with permission of John Platt. However, the changes herein suggested lie only in the use of a pencil and a Chinese coin in place of using a ring and a wand. Taking a Chinese brass coin from your pocket (one with a hole through its center), you say, "This coin recalls a story that may possibly interest you. If you don't mind, I would like to tell you about it. I was playing in a town called Pekin, now called Peeping. The incident I am about to relate occurred in the market place there about nine o'clock in the morning of July seventh. I have very good reason to remember both the day, which was Thursday, and the date, July the seventh. They had brought some twenty coolie prisoners from the jail house to the market place, and they were kneeling while a guard stretched out their necks by their queues as another proceeded to quickly lop off their heads, one after the other, with a heavy two-handed sword. I asked an Englishman standing nearby what it was all about. He said, 'They are river pirates and they chop off their heads if it does not rain.' Well, I sood there fascinated, and not a little nauseated, by this spectacle, and as the third head rolled to the flagstones, this Chinese cash (Cash is the Chinese name for this coin) rolled over to my feet and stood on edge. Fascinated, I watched it intently, for the coin had fallen from the decapitated coolie's hand. Dazedly I stooped to pick it up, but to my amazement it was no longer there. Later a very strange thing happened. I hastened away from the place, feeling quite troubled about the whole affair. Imagine my bewilderment when, on reaching the hotel, I found the coin in my pocket. You may say it was a lapse of memory, that I picked up the coin and myself placed it in my pocket. However, to this day I am superstitious about this coin, and believe it has eerie properties. On three separate occasions I have thought it best to dispose of it. Once I threw it in the sea, but on going to my cabin later, the coin was on my pillow. I assure you, gentlemen, that on more than one occasion I have had cause to be quite disturbed. This little demonstration will, perhaps, help you to understand what I mean. "Look, I will place the coin in my left hand and place this handkerchief around my hand. Would you mind slipping that rubber band over my hand to hold the handkerchief securely on my wrist to completely encircle the hand holding the coin? Thank you. "See this lead pencil. Examine it, please. It's just an ordinary pencil as you see." While you show the pencil, your right hand can also be plainly seen empty without your saying so. Then, holding the pencil with your hand around its middle, you ask a spectator to clasp one hand around each end of the pencil. You then place your hand 100 '
with the handkerchief around the pencil, remove the rubber band, and on pulling the handkerchief away, the pencil is through the hole in the Chinese coin, although the spectator did not let go of its ends. The secret of this very fine illusion is fairly simple when explained, because each of the moves has been carefully timed, arranged and planned with forethought. The story puts the audience in a receptive mood for the mystery. The left hand is held, palm up; the coin is placed in it, and the hand, plain for all to see, is closed on the coin and then turned over. A handkerchief is taken from the pocket with the right hand and held by one side midway between two corners, thumb uppermost and the four fingers bent under the handkerchief. The right hand is held about six inches above the left hand, which is holding the coin. The handkerchief is hanging down on the left side of the right hand. In this manner the handkerchief is laid over the back of the left hand and drawn down by the right hand to center the left hand with the handkerchief. If the right hand is holding the handkerchief as described, the coin can be dropped from the left hand and caught by the fingers of the right hand with complete secrecy. The right hand flips the coin up the right sleeve, and then gathers the handkerchief over the left hand. A rubber band previously given to a spectator is passed over the hand by him to secure the handkerchief around the left wrist. You reach for the pencil lying on the table and let the coin in your right sleeve drop secretly into your hand. Take up the pencil so that one end passes into the hole through the coin. Press the other end of the pencil against the left hand so that your right hand is brought to the middle of the pencil now concealing the coin which is on the pencil. Ask someone to hold the pencil by its ends, and bring your left hand over to take the place of the right. Remove the rubber band, then the handkerchief, and the coin is seen on the pencil.
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FIVE SILVER DOLLARS AND A HANDKERCHIEF ROUTINE
This is a beautiful illusion that I worked out about two years ago with five dollars and a handkerchief. It is something quite new and different and should appeal to the coin manipulator who wants something apart from the ordinary run of coin passes. It will no doubt lead the way to many different versions and variations. Five dollars are held, not palmed, in the right hand. The right hand removes by a corner a fine, but not transparent, cambric handkerchief from the handkerchief pocket of the coat and shakes it out. The left hand seizes the opposite corner of the handkerchief, and the handkerchief is displayed for a moment. The left hand releases its corner with a slight upward toss and is passed under the handkerchief so that the handkerchief falls and lies spread over the open left hand. The five silver dollars are then dropped, one at a time, onto the handkerchief, and then openly turned back into the right hand again. A Downs "click pass" is executed, as described previously. The left hand closes on the handkerchief as if the coins were held therein, while actually they are secretly Downs palmed in the right hand. Performer should be standing with his left side facing the audience while executing the move, so that the palm of the right hand facing the audience will disperse any suspicion of the deception. The left hand turns over with the handkerchief so the four corners fall downward together, the middle held supposedly with the coins. The four fingers of the right hand pass around the handkerchief about four inches down from the left hand, the thumb passing behind the handkerchief. The coins are all this time Downs palmed in the right hand. The right hand moves down the handkerchief to the four corners, and holds them bunched together. The left hand now lowers the middle of the handkerchief, supposedly with the coins therein. The both hands are holding the handkerchief. The corners in the right hand conceal the coins, which are allowed to lie loosely on the fingers. Both hands jog up and down three or four times, and the coins clink together. The audience thinks the coins are in the middle of the handkerchief. The illusion is heightened that they are still there by the clink of the coins as the hankerchief is shaken. The first finger and thumb of the right hand seize a corner of the handkerchief and suddenly pull it out of the left hand and shake it out. The illusion is very startling, for the coins seem to vanish. 102
Because of the moves to follow, the five coins should be Downs palmed just prior to shaking out the handkerchief. With the handkerchief held by a corner between the thumb and first fingertip of the right hand, the performer turns right to bring the left side of his body towards the audience. The careless manner in which the hankerchief is held and shaken seems to make it impractical to hold the coins without their being seen, but such is actually the case. Now follow these moves very carefully. The right hand is holding the handkerchief by a corner, and has five coins Downs palmed, the palm of the right hand facing the audience. Show the left palm to the audience by holding it about six inches from the right hand. Then take hold of the handkerchief at the corner held by the right hand, and draw it along the hem until the adjacent corner is reached. Then turn the body facing the audience, with the hankerchief held by the two corners, one corner in each hand. Now turn left to bring the right side towards the audience. Release the right hand from the corner and hold the handkerchief up by the left hand corner only. Pass the second, third and fourth fingers of the left hand in front of the handkerchief. This leaves the handkerchief held between the second and third fingers. The thumb and second and third fingers are spread open to reveal the hand empty. The right hand, with the coins Downs palmed, passes the two middle fingers and thumb in opposite directions completely around the handkerchief until the fingertips and thumb tip meet. This is done about four inches from the right hand. Now with the hands, handkerchief and coins held thus, you make a right turn to bring the left side to the audience. Now draw the right hand slowly down and off the end of the handkerchief, and again pass the fingers and thumb around the handkerchief, four inches from the left hand, and draw the right hand off the end again. Pass the right hand around the middle of the handkerchief, and turn left to bring the right side towards the audience. The left hand releases the handkerchief and the hand is shown, back and front, with the fingers apart, while the right hand holds the handkerchief. The left hand fingers and thumb take the handkerchief by the corner again, and the right hand is drawn off the end. The second and third fingers of the right hand extract the underneath coin, and the hand passes as before around the handkerchief, but this time as it passes off the end, a dollar is seen to emerge from the folds of the handkerchief, the coin between the tips of the thumb and first finger. The coin is laid aside or dropped into the right side pocket. 103
The moves are repeated, and a second coin appears as before. Now the right hand passes around the handkerchief for a third time but this time the performer makes a right turn to bring the left side to the audience, and the right hand is drawn off the handkerchief without a coin appearing. The right hand is now brought up level with and behind the left hand, and the two middle fingers of the left hand are placed, one above and one below, the three coins held Downs palmed in the right hand. The right hand moves down the handkerchief, leaving the coins held by the fingers of the left hand. The right hand seizes the bottom corner of the handkerchief, and the left hand lets go of the handkerchief and then presses the three coins into the Downs palm position. The left hand is then passed around the handkerchief until the thumb and middle fingertips meet. You now make a left turn and draw the handkerchief and the left hand apart, keeping the thumb tip and middle fingertip together to conceal the coins. The handkerchief corner is now transferred from the first finger and thumb tip of the right hand to the first finger and thumb tip of the left hand. This is done very precisely to give the impression that there is no possibility of any deception. The performer then turns face on to the audience. The right hand passes as before around the handkerchief about two inches from the left hand. The middle fingers of the left hand move out the bottom coin of the three and hold it behind the handkerchief. The coin is allowed to fall, and is caught by the right hand. As the hand moves down the handkerchief, this coin is moved by the fingers to be held by its milled edge. As the hand passes off the handkerchief, the coin is seen displayed, a truly beautiful effect if the handkerchief is drawn off the coin sideways. The third coin is laid aside, and the moves of seizing the handkerchief with the right hand two inches below the left hand and droppng a coin into the right hand from the left hand are repeated, but this time a coin is not produced. The handkerchief is pulled through the right hand to the corner where it is held by the right thumb and first finger. Then the performer turns right and places the left hand around the middle section of the handkerchief and draws it down the handkerchief, revealing the coin therein displayed between the thumb and second fingertip. You now have the last coin finger palmed in your right hand, which holds the handkerchief by one corner, and you are face on to your audience. Place the fingertip and thumb tip of the handkerchief next to the right hem to the adjacent corner. Place the the right hand corner, and hold them and first finger. 104
of the left hand on the seam hand, and draw it along the left hand corner in front of together by the right thumb
The left hand is drawn along the folded hem, and then it reaches down to the two loose corners which lie close together because of the aforesaid straightening action. The two corners are picked up together by the right hand thumb and first finger, which hold them about one inch from the extreme edge. They are brought up behind the right hand held corners, and as the thumb and first finger take hold of the third corner, leaving the back corner for a moment, the coin held finger palmed by the second, third and fourth fingers of the right hand, is moved together with these fingers behind the three folds of the handkerchief, and the first finger and thumb of the left hand holding the remaining corner of the handkerchief seize it and place the coin and the four corners of the handkerchief together. The right hand is then removed to be shown empty, and the handkerchief is held by the extreme edge with the thumb and first finger. Turn left and hold the handkerchief at arm's length from the body. Reach into the air with your right hand, and appear to catch a coin. Throw it towards the handkerchief, and at the same time release the coin, allowing it to drop to the center of the handkerchief. When the coin falls into the handkerchief, the right hand secretly procures a coin, tied in a small piece of cambric to match the handkerchief, from under the side of the coat where it is held by a clip. With this small bundle concealed, the right hand seizes the handkerchief near its middle, with the coin inside of it, and, twisting the coin and the handkerchief together, holds the piece of cambric with the same hand as if the coin, with its shape now seen, was actually inside the handkerchief. Pick up from the table a pair of sharp scissors, and cut the "handkerchief," letting the coin out. Place the handkerchief with the original coin in your handkerchief pocket, and perform a few passes with the second coin. Finally cause it to vanish. Pull the handkerchief from the pocket, letting the coin fall to the floor. Show the handkerchief restored. The piece of cambric may be disposed of by the act of placing the scissors in the side pocket. This is a very effective and pretty routine, and will repay you well for the time and practice necessary to perform it.
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AN INVISIBLE JOURNEY (Improved) Two silver dollars are held in the left hand, and two silver dollars and one half dollar in the right hand. Place the four dollars in a square on the table, and the half dollar in the center. See Fig. 1. Stack two of the dollars, and pick them up with the fingertips and thumb of the left hand. Stack the two remaining dollars on the half dollar on the table with the thumb and fingertips of the right hand, (see Fig. 2) and as you turn over the right hand, transfer the three coins on the second and third fingers to the palm, pressing the two dollars into the palm position. The half dollar, being smaller, cannot be held thus. Then turn the hand over, letting the two dollars fall into the left hand as you close the hand. See Fig. 3. Now with both hands held closed, fingernails on the table, open the left hand and let the two dollars fall on the table, saying, "Two silver dollars in the left hand." Recover the two coins unassisted by the righ hand, and, while apparently simply closing the two coins in the hand, secretly maneuver them to be held on the backs of the two middle fingers (see left hand, Fig. 3) and supported on their edges by the first and second fingers so that they may be instantly released and left on the table without any apparent motion of the left hand releasing the coins (that's important). The half dollar held on the fingers of the right hand (see Fig. 3) is dropped on the two dollars which the left hand releases as the left hand is moved to the left, and the right hand partly opens as you say, "The right hand holds two silver dollars and a half dollar." Immediately stack the two dollars, and the half dollar on top, and pick up the stack with the fingers and thumb of the right hand. Make a short movement with the left hand towards the right hand, and release the palmed coins in the right hand. They should fall with a clink, to indicate their arrival. 106
THE EUREKA VANISH A USEFUL SLEIGHT FOR VANISHING FIVE COINS IN SUCCESSION AT THE FINGERTIPS T. Nelson Downs This is not an entirely new sleight, being one of T. Nelson Downs. However, it plays an important role as part of the routine of my coin act, described at length under the heading, "A Phantasy in Silver." Five coins are on display on some suitable stand made of metal, bakelite or wood. The performer, with his left side towards the audience, picks up the coin nearest him with his first finger and thumb of his left hand, and transfers the coin quite openly to the first finger and thumb of his right hand, which is held palm facing audience, as shown in Fig. 1. The coin is vanished by the back palm, and is held between the first and second fingers so that the hand is relaxed. The left hand takes the second coin from the stand and places it between the first finger and thumb of the right hand, exactly as the first coin was placed. Fig. 2 is a side view, and Fig. 3 is a rear view showing how the coin already on the back of the hand is transferred to the second and third fingers of the left hand. The coin pinched between the first and second fingers of the left hand is transferred by the middle fingers to the "Downs palm" while the right hand causes the second coin to disappear exactly as it did the first coin.
The left hand, holding the first coin concealed by the "Downs palm," takes from the display stand the third coin, transfers it to the thumb and first finger of the right hand, and in so doing the coin on the back of the right hand is secretly transferred to the two middle fingers of the left hand, which has the first coin in the "Downs palm." 107
Again as the right hand back palms the coin it holds between the first finger and thumb, the coin held between the two middle fingers of the left hand is transferred to the "Downs palm" along with the first coin already there. These moves as described are repeated until four coins are in the left hand, "Downs palm," and the fifth coin has been vanished by the right hand. These moves should be practiced well to eliminate any fumbling and until you can do it with complete silence. Yes, it is fairly difficult, but it will repay you for the time spent. During the entire performance of these sleights the left side of your body is towards the audience. Watch your angles and be certain the people seated in your left front can see what you want them to see and that the people on your right don't see too much.
REPRODUCTION OF FIVE COINS, ONE BY ONE, AT THE FINGERTIPS AND AN ORIGINAL
CHANGE OVER
This is a continuation of the last move commencing from the vanishing of the fifth coin by the right hand and the secret palming of the first four in the left hand. The right hand reproduces the coin, which it held back palmed, at the first finger and thumb tips, and rests it on the thumb nail. A flip of the thumb sends the coin several feet straight up, spinning into the air. The coin, on its descent, is caught by the right hand. This proves without words that the hand is otherwise empty.
The coin is now transferred to the thumb and first finger of the left hand, and you turn left to bring the right side of your body towards the audience and the right hand is shown back and front. The coin is taken and the French drop pass is performed. The coin is produced by the right hand and placed in the left hand as in Figs. 1, 2 and 3. The four coins palmed there are secured by the two middle fingers of the right hand (see Fig. 3.) As the right hand moves away, the four coins are transferred noiselessly to the "Downs palm", and three of the coins are then produced, one by one, and placed between the fingers of the left hand or thrown one by one as they are produced into the left hand. The fifth coin is then produced. 108
THE THUMB PASS WITH A SILVER DOLLAR This is quite different from any other method, and will, undoubtedly, have a certain appeal to many of my readers. The silver dollar is held between the first finger and the thumb of the left hand. The middle of the left thumb and the second joint of the first finger support the coin by its milled edge. The back of the left hand is towards the audience, with the coin held as aforesaid, at an angle. The position in which the coin is held is very important to the beauty of the illusion to follow. The right hand approaches from the side as if to take the coin between the tip of the first finger and thumb. The right thumb passes back of the dollar, and the finger slides in front of the dollar as the act of pushing the coin into the left hand is imitated. This action has brought the fork of the right thumb and fist against the edge of the coin, where it is readily palmed or held. The left hand closes as if it received the coin and moves away to be shown later empty.
FRONT THUMB PALM
Another useful palm is the thumb palm which also finds practical usage in the "Miser's Dream." The coin is held between the thumb and first fingertip, and under the pretext of tossing it into the hat held in the left hand, the coin is secretly conveyed by the first finger and thumb to the position as shown in Fig. 1. The thumb is withdrawn and the coin held by the folded first finger as in Fig. 2. The thumb is then brought down on the coin, and then the first finger is straightened and the coin is thumb palmed as seen in Fig. 3. These actions are made under cover of seemingly tossing the coin into the hat. The coin is produced from the thumb palm by simply reversing the described order of the actions as given. 109
SPLIT FANS AND COIN PRODUCTIONS I Original) While the left hand engages the attention of the audience by a production of cards, the right hand secretly secures a stack of four coins from the coin dropper attached to the right leg, concealed by the coat. The right hand, with the four coins "Downs thumb palmed," is raised to shoulder height, left side towards audience. The right hand is turned to show the back and front. The left hand, with about twelve cards held concealed between the thumb and fourth finger (see Fig. 1), is brought smartly up to the left hand, and the twelve cards are back palmed in the right hand. Fig. 2 shows how the twelve cards are placed into position behind the right hand. Fig. 3 shows how the coins and the cards are concealed. The photos are taken from an angle to deliberately expose the cards and coins to view for explanatory reasons only. The right hand reaches out, the fingers bend forward and the thumb fans the cards as seen in Fig. 4. The coins are shown held in against the thumb. The first finger pushes between the King of Clubs and the Ace of Hearts to separate the cards at that place (see Fig. 5), and the six front cards are fanned out by the thumb, while the rear six cards are held between the fingers as in Fig. 3. Fig. 6 depicts the audience's view of the move completed. Note the coins and their position in the hand. The six cards are allowed to fall as the hand opens out to carry the other six cards to the backhand position. The thumb conceals the four coins. The remaining six cards are then produced by bending forward the fingers as in Fig. 3, and the thumb fans the six cards as in Fig. 7. The six cards are allowed to fall, and the thumb fans out the coins as in Fig. 8, or they may be produced, one by one. It is assumed the reader is proficient in performing the "split fans" or that he will become accomplished in that sleight before seriously attempting to perform this one. Once proficient in the "split fans" (see Card Control, page 147-8), you should have little difficulty in mastering this other move.
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Ill
THE PRODUCTION OF TWENTY-FOUR IN A SERIES OF FANS.
COINS
I An Original Routine)
By John Brown Cook
Whose outstanding Coin Magic makes him unique amongst the present day coin manipulators. The following description and the nine accompanying photographs are his. John is without doubt the outstanding "close up" performer with coins in the U.S.A. I have watched his steady progress for the past five years.
John Brown Cook
In preparation for the production of fans of coins the performer is loaded with the left hand hanging naturally at the side and and holding a stack of fifteen or twenty silver dollars on the tips of the two middle fingers. This hand can look surprisingly natural while holding such a load. (See Fig. 3) The right hand holds four silver dollars in a back palm, supporting them between the sides of the first and little fingers near the tips. With an outward reach, palm toward the audience, the back palmed stack of coins is produced in a fan. In detail this move is as follows: First, the hand curls half-way into a fist. Even if only the outside coin is securely clipped by the first and middle fingers, no coins will drop because of the pressure of the middle and fourth fingers against the inside coin of the stack. Next, the first and little fingers are on their own, so they pinch very tightly to be sure to hold all the coins while the middle and fourth fingers draw back till the nails have just passed the middle of the coin. Now the thumb is placed close to the little fingertip, where it assists these fingers in pivoting the coins until they are firmly gripped between the ball of the thumb at the front edge and the middle and fourth fingers at the back. Last, the thumb tip moves the first coin upward a little more than half its width. Then the ball of the thumb rests on the next coin and slides both up about the same distance and engages the third coin, holding them in a group against the first finger, while the other fingers slide down slightly to space the other coin. A reversal of these same moves will back palm the coins. 112
The performer has produced the group of coins, Fig. 1. He looks with interest at them, and then makes a motion of dropping them into the left hand. This means that the left hand is brought from its natural hanging position at the side to waist height at the front, with the palm turned inward, as the right hand sweeps toward it. The right hand squares and back palms the four coins while making this sweep, pausing for a moment with palm out just as the coins are apparently dropped into the left hand, Fig. 2. The left thumb has lifted the top five or six coins by the edge, and at that moment allows the coins to riffle quickly back onto the stack. This series of moves is repeated three or four times, and the last time, with the same apparent motion of the right hand, the coins are not back palmed, but actually tossed onto the stack in the left hand.
Now the left hand is moved forward, palm up, to show the coins. By dropping the hand quickly a few inches, the coins are made to clink noisily against each other and spread themselves on the palm so they can be showered in plain view from the left hand to a hat, bowl, plate or other container. The loud solid silver clinking impresses the audience that real money is being used, and not magicians' tin discs. Actually, if the performer uses thin palming coins for his back palming, they finish on the top of the stack and their tinny sound is hardly noticeable in the shower of heavy coins. While the coins are being showered from the left hand, as described in the fan productions, the right drops to the side and takes a load of seven silver dollars, on top of which a nickel or a penny is waxed. As the shower is completed, the performer looks over his left shoulder and apparently sees another coin. He reaches across his body with the right hand, turning sufficiently to take another load of six silver dollars in a finger palm of the left hand, which is hanging at the side. At the end of the right arm reach, the performer pushes the nickel or penny into view at the fingertips, turns to face the audience, looks at the coin and tosses it away. Now he reaches toward the audience and shows the seven coins in the right hand as one, holding them in position for the roll-out. Three are thrown away, yet the remaining one spreads into four. This is repeated twice more. 113
"The Multiple Roll Out" By John Brown Cook
First the stack of coins is positioned between the thumb and the next two fingers, and the fourth finger takes its place beside the thumb, Fig. 4. The thumb releases the outer two coins and allows them to slide against the fourth finger, which, because of its angle, stops the inside coin slightly before it stops the outer one. This leaves the outer coin securely clipped between the fourth and little finger, and the next one clipped between the fourth and middle fingers. Now the thumb and first finger move the other coins straight back until the thumb is against the middle finger. (Fig. 5) In this position, coins are held with the ball of the thumb and back of middle finger at one side, and the ball of the index finger at the other side. Now the thumb grips all but one of the coins in that group. As the hand straightens, all the fingers and the four coins roll into view, Fig. 6.
Three coins are dropped onto the table, and the roll-out moves are repeated. This time the left hand comes up and, with thumb and forefinger, removes the coin which is between the index and middle finger in the spread. This move brings the left hand in exact position to add six finger palmed coins to the face of the one between the thumb and first finger, and to push the group back into proper position for additional roll-outs. Fig. 8 shows the performer's view of this as the load is approaching and the thumb is reaching for the coin to be taken away. Fig. 7 shows the audience view as the load is in position to be added and the coin is being gripped to be taken away. Naturally, to allay suspicion, the other two coins must be removed with a similar action. Fig. 9 shows the next coin being removed from a side angle so that the added load may be seen. Now the roll-out may be repeated twice more. 114
A PHANTASY IN SILVER
MY COMPLETE ACT WITH COINS, WITH EVERY DETAIL FOR A SCINTILLATING PRESENTATION FULLY AND CAREFULLY EXPLAINED AND ILLUSTRATED
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A PHANTASY IN SILVER (A complete coin act as it was last presented by me at the I.B.M. Show in Chicago, on January 17, 1948)
With Many Original Features
Properties: One table with a heavy base to give it stability. On the table is a trough made from a piece of brass tube, one and a half inches inside diameter, cut in half lengthwise, with a piece of brass soldered at each end. To the underside of this half tube or trough is soldered a 6/32 screw. A hole is drilled through the eighteen inch diameter, half inch thick table top, through which the screw holding the trough passes. A nut then holds the trough securely in place. Into this trough are placed twenty silver dollars. A black paper flap conceals them from the view of any prying eyes. (See Fig. 4 of plate "C," page 120.) The table top is bakelite, and has a three-quarter inch band of forty thousandths thick brass around its edge. The band is made to come flush with the bottom edge of the bakelite table top, and protrudes above the top one-quarter inch. This prevents the coins from falling off the table when they are turned out of the hat, as will be described later on. (See plate "A" and "B".) In the front of the top of the table, fixed by two screws, is a piece of bakelite that has a one-eighth inch wide slot, one-eighth inch deep and seven inches long, for standing up four coins as depicted. The coin harness shown in Fig. 1 and 2 of plate "C" comprises five separate coin holders. The one at the front right side holds five coins. The one at the rear right holds ten coins. The front left one holds five coins. The middle one holds five, and the rear one holds eight. All the coins used throughout the act are silver dollars, and are buffed to make them shine. On the table is a "Walsh" cane, ready to spring open when the clip is released. Also on the table or the left side pocket of your coat is a clean fine linen or cambric handkerchief, neatly folded. 116
A Phantasy in Silver
The performer holds in his right hand, pressed against his body, a silk opera hat, and concealed in his right hand is one silver dollar. (See Fig. 1 plate "A", page 130.) The lighting that I prefer is three spotlights, one each side and one from the front—no other lights. My musical arrangement is "The Storm" from William Tell for an introduction, followed immediately by "The Barcarole" from the Tales of Hoffman. Enter after musical introduction, carrying hat in right hand, pressed against body. Standing two feet behind the microphone, announce with deliberation, "Ladies and gentlemen—a phantasy in silver." Take a step back, turn right and spring the hat open (See Fig. 2 plate "A".) Place hat mouth downwards on the table, secretly and simultaneously pick up the twenty dollars with the left forefinger and thumb and drop them onto the rim of the hat. This must be done without watching. (See Fig. 3 plate "A".) Leave the hat thusly loaded on the table. Turn to face the audience, then right, bringing your left side towards the audience, and "back palm" the coin held secretly in the right hand. Extend the hand and produce the coin at the fingertips. Turn left, bringing the right side towards the audience, and shift the coin to finger and thumb position, and say, "The root of all evil." Then perform the improved French drop, reproduce the coin and say, "Money." Step back to the table, pick up the hat with the left hand as shown in Fig. 4 plate "A" the coins are held between the first finger and thumb on the rim of the hat and the second finger in front of the hat. The right hand tosses the coin into the hat and is then turned palm out, thumb down, facing the audience. The right hand takes hold of the hat by the far side rim. You then turn right, bringing the left side towards the audience (see Fig 5 plate "A"). Note how the left hand holding the rim conceals the dollars. The hat is turned over and momentarily held in the right hand, coins in the left.
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The hat is placed on the left hand over the coins. (See Fig. 6 plate "A", page 130.) The right hand secretly removes the five coins from the right front holder as you momentarily look into the hat. The right hand is raised, then extended to the right, with the coins palmed. A coin is produced at the fingertips from the Downs palm as you remark, "Easy money." You say this just before dropping this coin into the hat. Then reach out (right) and produce the next coin. As you pose with the coin at the fingertips, say, "The kind of money that magicians like to make." Drop the coin into the hat, reach out (right) again and produce another coin saying "Coin of the Realm." Drop the coin into the hat. Reach out (right) produce another coin and say, "Money from my ancestors." Drop the coin into the hat and produce the last of the five palmed coins from behind the cloth of the right leg. (See Fig. 9 plate "A".) Say, "I'm ashamed at times to take the money." Instead of dropping this coin into the hat, you turn left, bringing the right side towards the audience, and make ready with the left hand to drop one coin of the twenty coins held by the left hand as the right hand is brought over the mouth of the hat. The displayed coin is thumb palmed, as the coin is dropped from the left hand. If the hands are held as shown in Fig. 10 plate "A" and the moves properly synchronized, the illusion is perfect because the coin can be seen falling and looks as if it fell from the right hand, especially when there is no reason for suspecting the left hand of doing anything more than holding the hat. Produce the thumb palmed coin between the finger and thumb (see Fig. 8 plate "A"), and as before imitate dropping it into the hat, actually thumb palming the coin. Produce it again, holding it as before between the thumb and first finger as in Fig. 8 plate "A". Turn right with the coin thus displayed, bringing the left side towards the audience. You back palm the coin in the right hand as you pretend to throw it into the hat, letting a coin fall from the left hand to sychronize with this act as the coin is back palmed. You reach out (right) and produce the coin at the fingertips, saying, "I once taught this to a friend of mine." Simulate the act of throw-
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ing the coin into the hat as just explained. Produce the coin at the fingertips and say, "Poor fellow—he died." Simulate the act of dropping the coin into the hat, produce the coin again and say, "From sheer exhaustion." Simulate the act of dropping the coin into the hat after you turn left. Produce the coin between the thumb and finger from the thumb palm. Simulate the act of dropping the coin into the hat, produce the coin again, and as you press the coin against the side of the hat (see Fig. 11 plate "A"), say, "I wouldn't believe this if I were you." Press the coin against the hat, letting it slide behind the fingers as a coin is allowed to fall from the left hand. Thumb palm the coin and reproduce it, and as you press it against the side of the hat a second time, say, "Just make believe." Let the coin fall into the hat from the left hand. Produce the coin again, press it against the crown of the hat (see Fig. 1 plate "B", page 132 and say, "Merely an optical illusion." Let a coin fall from the left hand. Turn right, bringing the left side towards the audience and with your right hand still held as it pushed the coin against the crown of the hat, back palm the coin under the protection offered by the hat. Reach out (right) and produce the coin. Simulate the act of dropping the coin into the hat from the right hand. Reproduce the coin at the fingertips and say, "I only do this because there's money in it!" Simulate the act of dropping the coin into the hat and reproduce the coin. Repeat the act of dropping the coin into the hat. Reproduce the coin and say, "Fancy doing this for real money!" In the act of dropping the coin into the hat, reproduce the coin and say, "Just fancy." Produce the coin at the fingertips from the back palm, and turn facing the audience. Then lower the hat to the side of the left knee and say, "A painful experiment." Swing the right hand down towards the other side of the left knee as if you were throwing the coin through the knee. The knee is bent slightly. The coin is back palmed and one coin dropped from the left hand.
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Produce the coin again at the fingertips of the right hand, and standing with both knees close together, the hat at the left side, say, "Twice as painful." The coin is back palmed as the right hand swings down, and a coin is dropped from the left hand again. The coin is produced at the fingertips of the right hand from the back palm, and you turn left and then seemingly drop the coin into the hat as you thumb palm it. Reproduce the coin from the thumb palm, look at it for a moment and say in a disparaging tone, "A half a dollar." Simulate the act of throwing it carelessly away to the left. Actually thumb palm it. Reach out left and produce the coin, but raise the hat very slightly without looking in the directon of the hat, and let a coin fall from the fingers into the hat. (The idea you are trying to convey is that the half dollar fell into the hat even though you threw it away.) Simulate the act of throwing the coin displayed in the right hand into the hat, and produce it. This time, because you are out of coins in the left hand, drop it into the hat. Turn right, reach into the hat and gather up about sixteen coins and let them slide off your fingers back into the hat, say, "I could do this all night if I only had the time!" Bring your hand from the hat with as many coins as you can Downs palm. (I do this move with ten dollars.) Reach up in the air about three-quarters arm's length high, and say, "And the money." Produce the coins, one by one, rapidly, letting them fall into the hat as you do so. (See Fig. 2 plate "B", page 133.) When the last coin is in the hat, reach in the hat and again shower the coins. (See Fig. 3 plate "B".) Say, "The kind of money that I love to touch." Back palm six coins, reach up, and as you grab, produce them in the closed right hand, saying, "Spending money." Let the six coins fall back into the hat and move back to your table to place the hat on it. But as you are doing so, quickly grab up and Downs palm about eight coins in the right hand, hold-
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ing them against the inside of the hat. This will leave the left hand free, which slips down and secretly procures the eight coins from the left side holder. The hat is placed on the table, and the right hand produces three coins, one after another, in rapid succession, letting them fall into the hat. The left hand joins in and produces three coins, alternating with the right hand. The right hand then produces the remaining coins one by one. The left hand is turned to the left and lowered to the side, palm facing audience, with the five coins concealed in the Downs palm position. The left hand is not removed from view of the audience. Walk to the microphone and say, "Ladies and gentlemen, a travesty with five silver dollars." Then produce, one at a time, the five silver dollars Downs palmed in the left hand, transferring each coin as it is produced into the right hand. Perform the Allen Shaw fan pass, palming the five coins in the right hand in the Downs palm position. Then produce them, one by one, and as you do so, place the first four coins between the fingers of the right hand. Standing with your right side towards the audience, bring the right hand up quickly with the coin displayed between the finger and thumb, and Downs palm it. This act and those to follow simulate the throwing away of the coins. You take the second coin from the third and fourth finger position of the left hand, and while seemingly tossing it away, palm it under the second coin. Then turn right to bring your left side towards the audience. With the front of the right hand facing the audience, the third coin is Downs palmed under the throwing motion. The fourth coin is taken by the first finger and thumb of the right hand from the first and second fingers of the left hand, and while you display it, say, "Imagine throwing your money away." Perform the act of apparently throwing it away, actually palming it beneath the other three coins. Take the fifth coin from the left hand between the first finger and thumb of the right hand, but as you do this, the second and
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A Phantasy in Silver third fingers of the right hand carry the four coins from the Downs palm position in the right hand to the Downs palm in the left hand. Say, "Your money" as you do this. Then back palm the coin under cover of the throwing motion. Pause a moment with the palm exposed. Produce the coin at the fingertips, and as you turn left to bring the right side of your body towards the audience, place the coin held in the right hand in between the first finger and thumb of your left hand. This gives a natural reason for holding the left hand with the finger and thumb together, which also conceals the four coins in the Downs palm position. Show the right hand, back and front, slowly turning it over. Then take the exposed coin and hold it on edge between the first finger and thumb. Perform the new French drop. Move the left fingers and thumb quickly, touching them together to indicate the coin has gone. Produce it between the first finger and thumb of the right hand. Place it in the left hand between the first finger and thumb; as you do this, the four coins in the Downs palm position are seized by the middle fingers of the right hand and carried to the right palm. This is my "Change over", and is described in detail herein under the heading "Reproduction of five coins one by one at the fiingertips and an original change over." Turn right to face the audience, and produce the bottom coin of the four palmed between the first finger and thumb, and throw it into the left hand. At the same time let the coin held between the first finger and thumb of the left hand fall also into the hand, so that the coins click loudly together. The remaining three coins are produced in similar fashion and thrown, one by one, into the left hand. The fingers of the left hand close on the coins, and the hand is turned over. Turn left to bring the right side of your body facing the audience. Perform the sleight described herein as "The Steal", using my method. As you steal the first coin, turn right to bring your left 122
A Phantasy in Silver side towards the audience, and in doing so, back palm the coin in your right hand. Produce the coin at the first and second fingertips. Place it on display in the groove of the bakelite piece on your table. Turn left and repeat the moves for the second coin. Give it a flip with your thumb and send it spinning into the air. Catch it as it descends. Place it on display in the groove. Repeat the steal for the third coin, but this time produce it at the left elbow. Place it in the groove. Repeat the first moves for the fourth coin. Place it in the groove. Then walk across in front of your table so you are standing with your left side nearest to it. Show the coin in your left hand, and with your right hand gesture towards the coins in the groove and say, "A vulgar display of wealth." With the coin that is in your hand, perform the "French drop," the "Shaw pass" and the "take-away pass." As you vanish the coin the last time, say, "It's an illusive little thing." Step over to the table to bring your right side closest to it. Take the coins, one by one, from the groove, performing the Downs Eureka vanish. All these passes and moves are described herein. When the last of the five coins have been thusly vanished, this move leaves one coin back palmed in the right hand and four coins Downs palmed in the left hand. The coin is reproduced from the back palm at the fingertips. The left hand takes it between the first finger and thumb, palm of the left hand facing the audience, with the other four coins Downs palmed therein. The right hand is now shown back and front, and the coin is once more taken between the first finger and the thumb of the right hand, and you perform the leg vanish. Produce the coin from behind the left leg. Perform the "drop over," then the "roll down," both described herein. The coins are dropped into the right hand and turned back into the left hand, and then placed into position for the "improved 123
A Phantasy in Silver Downs click pass." The coins are thus vanished. Turn left to bring your right side towards the audience and produce the coins, one by one, at the fingertips of your right hand. (See the move titled "The Appearance of Five Coins One After Another at the Fingertips" by Allan Shaw.) While you are producing the coins, the left hand secretly extracts from the left side front holder the five coins, and Downs palms them; then the five coins in the right hand are seemingly placed in the left hand. Actually these coins are palmed, and the five coins already secretly held there are then displayed. (The illusion is a perfect one.) These coins are casually dropped into the hat. The right side of your body is brought towards the audience, and your left hand held up, palm towards audience, and the five coins are secretly transferred, one by one, to the left hand. The left hand is opened each time the right hand has passed in front of it and a coin is revealed. This move is very deceptive, and is described herein. Each coin as it is produced is let slide off the left hand into the hat until only one coin remains in the right hand. With the last coin you perform the Allan Shaw vanish. This gives you the right cover and opportunity for the left hand to secretly steal the second five coins from the holder as you produce the coin with the right hand from behind the right leg. Now this is very important. The coin just produced is placed between the thumb and first finger of the left hand, and the five coins, palmed in the left hand, are secretly transferred to the right hand. The coin in the left hand is dropped into the hat. The five coins now Downs palmed in the right hand are produced, one by one, and transferred to the left hand to be displayed between the fingers as in Fig. 9 plate "B," page 132. The four coins thus held are released from the fingers of the left hand and are caught in the right hand. They are then tossed back to the left and again into the right hand, and held on the palm while the left hand takes a handkerchief from the left side coat pocket. You are facing the audience while this is being done. 124
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The handkerchief is spread over the empty left hand so its center lies on the palm, and the five coins are first pressed by the middle fingers of the right hand into the right palm as the right hand is brought over the covered left hand as if to drop the coins there. But the coins are dropped only onto the curled right fingers, (see Fig. 1 plate "D") and as they fall from the palm they clink together, which heightens the illusion. The right hand is withdrawn as the left hand is closed on the center of the empty handkerchief and turned over. (See Fig. 2 plate "D".) The right hand, with the coins bunched together, takes hold of the hankerchief midway between its center and the four corners and is drawn towards the corners. As the left hand, still supporting the middle of the handkerchief, is lowered, both hands move up and down to cause the coins in the right hand to clink, clink together. (See Fig. 3 plate "D".) The illusion is that the coins are in the center of the handkerchef. A corner of the handkerchief is seized by the right hand, (see Fig. 5, plate D) and the handkerchief is pulled clear of the left. The corner is transferred to the first finger and thumb of the left hand after this hand is displayed, back and front. As the right hand moves away, the coins are transferred to the palm of the right hand from the curled fingers of the right hand, where they have been held till now, and the fingers of the right hand are passed around the handkerchief. The handkerchief is pulled through the fingers and thumb of the right hand. The move of pulling the handkerchief through the right hand is repeated a second time as you turn left to bring the right side towards the audience. (See Fig. 7 and 8 plate "D," page 136.) As the right hand approaches the handkerchief to stroke it for the third time, the two middle fingers of the right hand extract one of the five coins, and as the hand leaves the end of the handkerchief after completing the down stroke, this coin is displayed between the finger and thumb tips, and is then thrown into the hat. (See right hand, Fig. 7 plate "D".) The handkerchief is again stroked, and as the stroke is repeated a second coin appears and is thrown into the hat.
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Now make a right turn to bring the left side towards the audience, and as you do so, the two middle fingers of the right hand secretly transfer the three coins from the palm of the right hand to the palm of the left hand. This is done as the first finger and thumb of the right hand take the corner of the handkerchief from the first finger and thumb of the left hand. (See Figs. 9 and 10 plate "D" page 136.) The right hand now holds the three coins in the Downs' palm position, and the handkerchief is held by a corner between the first finger and thumb. The left hand is turned back and front to the audience to be shown empty, and it then strokes the handkerchief as you turn left to bring the right side towards the audience. You then take the corner of the handkerchief from the right hand between the first finger and the thumb of the left hand, and the right hand strokes the handkerchief. The stroking move is repeated, but as the right hand approaches to make the second stroke, the two middle fingers of the left hand extract a coin from the left palm and drop it. The coin should fall a distance of about three inches. The right hand is around the handkerchief when the coin is dropped. The handkerchief hides its fall from the audience. (See Fig. 1 plate "D".) The coin is caught at the fork of the thumb and first finger of the closed right hand. It then slides into the palm, and at the completion of the stroke is revealed at the thumb and fingertips. The moves of stroking the handkerchief and letting the fourth coin fall from the fingers of the left hand are repeated, as the right hand reaches the end of the handkerchief, the left hand closes around its end of the handkerchief, and the handkerchief is pulled from the left hand. The hand is opened and the coin revealed therein. (See Fig. 11, 12 plate "D".) The right hand now has the remaining coin and one corner of the handkerchief. The left hand takes an adjacent corner, and the handkerchef is thus displayed. The coin is held concealed under the fingers against and in front of the handkerchief. The left hand transfers its corner to 126
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the right hand, passing it in front of the coin. The coin now lies between the two corners of the handkerchief. The two corners and the coin thus held by the right hand are taken by the left hand, and the right hand slides down the border to gather up another corner, and transfers it to the left hand. The last corner is picked up by the right hand and transferred to the left hand; as simple as this is, it must be done with care and correctly or the move to follow will fail you. Holding the handkerchief up by four corners in the left hand, the right hand seems to pick a coin out of the air and tosses it towards the handkerchief. At the same instant the thumb and finger of the left hand releases the coin, which appears in the handkerchief in the middle, revealing itself by the sag. The right hand takes hold of the coin with the handkerchief, and the handkerchief is held up by its middle. The left hand has not as yet released its hold of the four corners. The finger and thumb release their hold of the coin, but still retain their hold on the handkerchief. The coin falls to be secretly caught on the fingers of the left hand. The left hand releases the corners and is brought up behind the handkerchief with the coin which is transferred to the fingers and thumb of the right hand, to be held behind the handkerchief. The left hand is shown empty, and the middle of the handkerchief with the coin hidden behind it is placed carefully into the crotch of the left thumb and first finger. The right hand pulls down on the four corners very slowly, and the handkerchef being pulled away gradually, brings the coin into view as though it penetrates the handkerchief. The coin is displayed and the handkerchief, held by two corners, one in each hand, is shown for a moment and then folded carefully but quickly and placed on the
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table by the left hand, which has first placed the coin on the back of the right hand in position for the finger roll. As the handkerchief is laid on the table, the Walsh cane is secretly picked up, and as the "roll" is executed the release is worked off the cane and made ready for opening. The coin is spun into the air and caught in the right hand, and then transferred to the finger and thumb of the left hand. The right hand then takes hold of the rim of the hat and turns it upside down, spilling all the coins out onto the table. The brass band around its edge keeps the coins from spilling off the table. The hat is placed on your head and the coin fixed in your right eye. The left hand reaches in the air, and the cane appears, held by its middle, and is placed under the left arm. Under cover of the surprise the appearance of the cane creates, the right hand descends to the coin holder, and the ten coins are extracted and Downs palmed. The hand reaches into the air, (See. Fig. 11 plate "B," page 119) and the band strikes up the chorus of "Old Lang Syne". As >ou walk in step to the music, produce the ten coins, one by one, throwing them into the left hand. At the wing you stop and turn, pour the coins from the left hand to the right, take the cane in your left hand, pass it to the right hand, remove your hat with your left hand, let the coin fall from your eye into the hat, pass the cane to your left hand holding the hat, and let the coins slide off the fingers of your right hand into the hat. (See Fig. 12 plate "B," page 132.) Exit. Hurry the music for bows. Perfect all the details of this act before presenting it and you will have an Act worth many, many times the price paid for it. Before closing this chapter on Coins I wish to say to every magician aspiring to present an act of coin manipulating not to fail to read and study very carefully that little jewel of a book "Modern Coin Manipulation" by T. Nelson Downs and heed the advice he gives in his concluding remark.
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A PHANTASY
IN SILVER
Plate "A" shows a series of positions taken at different intervals during the presentation of the "Phantasy of Silver". No. 1 shows the crushed hat held against the body as the entrance is made and you address your opening remarks to the audience. Note that the table is a few feet to the rear and at the left side. Photo No. 2 shows the hat sprung open as you turn towards the table. No. 3 shows the hat being placed on the table; the left hand hidden by the hat secretly lifts the twenty coins from the receptacle onto the rim of the hat. This takes only a fleeting moment. Between photos Nos. 3 and 4, the coin held concealed in the right hand during the execution of the moves in photos Nos. 1, 2 and 3, is produced at the fingertips, vanished and reproduced. Then the hat is picked up, as shown in photo 4, by the left hand, and the coin in the right hand thrown into the hat. Photo 5 shows the left hand holding the coins concealed as a left turn is made, and photo 6 shows how the hat is placed over the left hand concealing the coins. Photo 7 shows the absence of the right hand, which is taking advantage of this moment to secure five coins from the right side holder. Fig. 8 shows the first of these five coins being produced. The other four are in the Downs' palm position in the hand. There is a gap of considerable length between photos 8 and 9. The position 9 depicts the last of the five coins being produced from the cloth of the pants at the right knee. Photo 10 shows the position of the right hand and hat as the coin is thumb palmed, and the first coin of the stack of coins held in the left hand falls into the hat. (If these moves are properly synchronized, the coin can be seen falling behind the right hand, and the desired illusion is perfect.) Photos 11 and 12 show the position of the coin against the side of the hat as it is seemingly pushed through. The coin falls from the left hand to complete the illusion. Photo 1 of Plate B shows the coin being pushed through the bottom of the hat; photo 2 shows how the hat is held by the left hand while the right hand is inserted into the hat and gathers a 129
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PLATE "A"
130
A Phantasy in Silver handful of coins, letting them fall back into the hat. Then, repeating the first part of the move, eight or ten coins are quickly Downs palmed to be reproduced one by one. It is the gag that helps out here. The hand is placed in the hat, and the coins run through the fingers, six or seven coins are back palmed, performer reaches into the air and catches them in the palm, letting them fall off the hand into the hat, as in photo 3. Plate B, page 119. The hat is then placed on the table, but in taking the necessary step to the table, the right hand again quickly palms eight or ten coins from the hat. The hat is placed on the table, and these coins are produced, one by one, and thrown into the hat. As the second coin is thus produced, the left hand steals the load of eight coins from its holder, and both hands produce coins, as in photo 4. However, only three of the eight coins are produced from the left hand, which makes a total of eight or ten with the right hand and three with the left. There is quite a gap again in the continuity between photos 4 and 5; during this interval you have walked forward to the microphone to say, "A travesty with five silver dollars." Proceed to produce the five coins with the left hand placing them in the right hand. Vanish them by the Allen Shaw vanish, described herein, and then produce them as shown in photos 5, 6, 7 and 8 placing each coin between the fingers as you produce it. See Plate B, page 119. There is a gap in the routine between photos 8 and 9. Photo 9 shows the coins in position after the roll down. Photo 11 depicts the climax. The hat was placed on the head, the last dollar was placed into the eye socket to represent a monocle, the Walsh cane then produced and placed under the arm, at the same instant the right hand stole the load of ten coins from the holder. The music struck a popular air, and you walked off with your left side facing towards the audience, producing the coins one by one and throwing them into the left hand. At the exit wing you stop, face the audience, transfer the coins in the left hand to the right hand, seize the cane in the left hand and place it into the right hand, and with your left hand remove your hat. Holding the hat in front of you at waist level, you let the coin fall from your eye into the hat as you bow, and then shower the coins in the right hand into the hat. Exit. 131
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PLATE "B"
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A Phantasy in Silver
THE COIN
HOLDERS
AND LOADING TROUGH I Original I
PLATE "C Fig. 1 shows the two holders at the left side for 5 and 10 coins. Fig. 2 shows three holders for 5, 5 and 8 coins. Fig. 3 shows the coins being removed from one of the right side holders. Fig. 4 shows the twenty coins being lifted by the left hand from the trough on to the rim of the hat.
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THE COIN HOLDER FOR THE PHANTASY IN SILVER Plate C, Fig. 1 shows two of my coin holders and the convenient manner of suspending them from a belt. The front right side holder carries five silver dollars, and the rear one of the two carries ten silver dollars. Fig. 2 shows the three coin holders on the left side. The front two each carry five, and the rear holder on the left side carries eight silver dollars. Fig. 3 depicts the right hand removing the five dollars from the holder by inserting the thumb into the space above the coins and pressing down, the spring in the bronze wire from which the holders are made allows the holder to spread apart allowing the coins to come away. I have experimented with many types of holders and coin droppers, but these holders as depicted and the method of suspension from the waist on a belt I have found to be the most practical of them all. They fulfill the requirements, and hold the coins firmly without fear of their becoming disengaged prematurely. They are quickly and noiselessly released by the hand from the holder when required. I believe this idea to be a valuable contribution to the art of coin magic. Fig. 4 shows how the hand lifts the twenty silver dollars from the trough to place them on the rim of the opera hat. Referring to Plate D, page 136. Figs. 1, 2, 3, 4, 5 and 6 are behind the scene views. Fig. 1 depicts the five coins being apparently dropped from the right hand into the center of the handkerchief covering the left hand. Actually, the coins were first palmed and then allowed to fall on to the curved fingers, the sound of them falling thus adding to the illusion. Fig. 2 shows the left hand turned over, holding the handkerchief in a manner that encourages the belief the coins are therein, but the view is taken so as to really show the coins Downs palmed in the right hand, in the act of being placed around the handkerchief.
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Fig. 3 shows how the coins lie on the right hand behind the handkerchief. Shaking both hands with the handkerchief, the coins jingle and enhance the illusion that the coins are in the middle of the handkerchief. Fig 4 is the next move; raising the center of the handkerchief above the right hand. See the coins palmed therein. Fig. 5 depicts the coins now resting on the fingers of the right hand as a corner of the handkerchief is taken between the forefinger and thumb. Fig. 6 shows the position of the hands and the coins are on the fingers of the right hand as the handkerchief is pulled away from the left hand. Figs. 7 to 12 inclusive are audience views of the moves that follow, except Fig. 9 which depicts how the coins are held between the second and third fingers of the right hand and transferred to the Downs palm position of the left hand. Fig. 7 depicts the handkerchief held in the left hand after it is stroked by the right hand, which extracts a coin from the palm, creating the illusion it was drawn from the folds of the handkerchief. Fig. 8 shows the hand repeating the stroking move again to produce a second coin. After two coins are produced in this fashion, a turn is made from left to right, and as shown in Fig. 9, the coins are transferred from the right palm to the left palm, and the handkerchief taken in the right hand by the corner between the first finger and thumb, as is shown in Fig. 10. In Fig. 11, if you look closely, the coins may be seen in the left palm. The two middle fingers of the left hand are shown in the act of extricating the bottom coin, while the empty right hand strokes the handkerchief. On the second stroke the coin is dropped into the right hand. The moves as depicted are repeated, and Fig. 12 shows the handkerchief being pulled by the right hand out of the left hand. The coin therein is later revealed by opening the left hand. The coin held in the right hand is produced by the method of folding the handkerchief described hereinafter. (See "The Silver Dollar and Handkerchief" routine.)
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PLATE "D'
136
PRINCIPLES and DECEPTIONS
CHAPTER THREE
MAGIC WITH CARDS
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FOREWORD TO THE CHAPTER THREE—CARD MAGIC It has been stated by one author magician (and I think mistakenly) that "A card trick is either good or it is bad—just like eggs." I cannot stretch my imagination far enough to agree with this. Experience has taught me that card magic is no different in the basic interpretation than any other class of magic. To be magic, it must, first of all things, be an illusion. If it is not an illusion it is not magic! And if it is an illusion, then it is good because card tricks that are illusions must be good to be illusions. They are often presented in a dreary, long and tiring manner. What I consider a major fault is this mediocre, poor or very bad presentation of card magic. All the elements for a wonderful effect may be laid before a dozen magicians, but each will interpret and present it in a different way, though each may go through exactly similar motions and apply the same methods. There will be a considerable difference in the results. Each will embrace his own different personality, and the effect will suffer from or be elevated by the different degrees of skill, style and experience. What will be good entertainment in the hands of one performer will border on sheer boredom when presented by another. There is nothing unusual about that. It is the same with most things, be it music, painting, singing, dancing or magic! Another matter of some importance is "card magic" that is easy to learn, that which requires little if any manipulative skill; self-working illusions. These things I admire only for the creative thought necessary to give them birth, and also the art involved in their presentation to maintain their secret. However, I repeat myself in expressing that they are weak things on which to build the reputation of a magician because their strength lies wholly in their secret, which is much too easily disclosed. Once the secret is revealed, often someone will remark, "Why, that's nothing. I can do it!" Nor do I consider that the best way to approach the problem of producing an illusion is only by difficult methods. That is farthest from the truth of my reasoning. What I advocate is that any card magician that ever hopes to keep his reputation as such should acquire the requisite degree of skill to perform most any card illusion. After all, how many of these major sleights 139
Foreword to the Chapter on Cards are there? Perhaps ten. Oh, I know there is an endless supply of methods, but I am not advocating that it is essential to be proficient in a dozen ways of doing this or that sleight. Perfect yourself in one method and do that one deceptively, and you do not need to look for new and devious ways to attain the self-same purpose. Find the one that offers the most perfect illusion, but don't take something you will not practice sufficiently to attain the skill essential to perform it indetectably and convincingly, for then you will not be a magician but only a bungler. Unless a person has a natural talent for presentation, (seldom, however, the fortunate experience of the amateur magician,) he will find that presentation means a great deal more than simply doing the illusion before an audience, and if he is content to just stumble along, wishing and hoping that sheer repetition will suffice in making his performance artistic, he will assuredly meet only severe disappointment. First, he must carefully analyze each and every detail and eliminate all the unessentials, both in his speech and actions. In other words, he must streamline the whole procedure and then rehearse until it seems the most natural thing in the world for him to do. This only comes from long experience in presenting your performance in public. The fellow that gets ahead in magic is he that really attends to all the details first and then practices and practices indefatigably. This requires much discipline of mind. When his reasoning tells him he is ready, rather than his impatience, he should try the performance publicly. He should not expect too much at first, for audiences are unkind and critical, but that is the acid test. Though you may never intend to perform in a theatre, but aim only to show your wares at your magic club to other magicians, it will do you credit and help elevate your art to pay attention to this friendly advice, and there is no better time for you to start than now. If I intended to arrange an act for the public consumption, I would first select a number of illusions that demanded skill and artistry in presentation and were thoroughly adaptable to the auditorium in which the performances were intended to be given. These things would have to either meet my present capabilities or I should at least be willing to raise the standard of my limited abilities to embrace them. Then I would decide, at least temporarily, 140
Foreword to the Chapter on Cards on the order of arranging them, making sure the first illusion was bright and snappy, and would secure and hold their attention throughout. Nor would I make it so good or impossible that the other things that I had to show looked foolish by comparison, such as doing a miracle with the "Joe Berg deck" and then following it up with an effect that necessitated my having to look carefully through the pack of cards to find the card selected. Do magicians who do such things ever stop to think that the audience can only conclude you used a mechanical pack and are not so good when left to your own resources? Having selected the illusions for the program, I would make certain of the climax, aiming at making it spontaneous, startling and a sure curtain raiser. When all these things were attended to, then I would exercise all the care, judgment and patience I could muster to see that this intended act was really streamlined before I even commenced to practice. Or do you think all this is too much trouble? If you do, then you had better sell this book to reclaim what you can, for you have not what it takes to make a real magician, but in all likelihood you will simply graze along with the herd. Now, please do not rationalize. If you really want to do MAGIC, you must practice and practice and practice. There are many illusions that have the same principles for their basis, but differ so entirely in their modus operandi as to have little or no similarity to each other when considered from the audience's point of view. This is particularly well exemplified in the passing of the cards to the pocket as described herein (the ten cards to pocket), and in the thirty cards and the two spectators wherein five cards pass from one spectator's pocket to that of another, and in the ten and ten card illusion wherein three cards pass from the performer's packet of ten to the spectator's packet of ten held under a handkerchief. These are three totally different illusions in their presentation and modus operandi, but all are founded on the same principle, transference. In fact, they are so unlike in every respect that they may be, and in fact often are, successfully presented on the same program by the same performer. It would be foolish to say that all illusions depending on the same principles are alike. In truth, often magicians are baffled 141
Foreword to the Chapter on Cards
by the working of an illusion depending on the self-same principles with which they are fully acquainted, so do not disparage using the principle over again. But it is an advantage to offer variety and use different principles. A disappearance followed by an appearance is difficult to always distinguish between a transference, but restoration, penetration, and suspension do offer variety, and the wise performer will take full and proper advantage of all his tools. Very often the simplest of illusions, either with cards, coins or balls, are even more effective than those which take months to master properly. This is not always the advantage they first seem to offer, for I have found that illusions that are easy to do have certain drawbacks. For instance, they are immensely popular at first, often because of their deceptiveness and convincing effect, but because they are easy they have many adherents and because of this their popularity wanes and they are discarded by any who values his magical reputation as a skillful artist to any degree. Sometimes for this very reason many good things in magic pop up again years after being buried, and have another popular short lived revival. For this reason I suggest you acquire the things it takes practice to do well, and they will seldom die from over popularity of the doing among the magical fraternity. Often some illusion presents the appearance of being most difficult to do, while in truth it is simply the "know how" that is difficult, and when once learned it is more and more easy to do each and every time you perform it, and there is some real basis for your magical pride to sleep on when you have acquired a degree of talent from your own personal effort. This point cannot be overstressed, for it does mean so much to any magician. You must realize this if you will only pause and think about it. All the magicians that have stood out in the past were accomplished at sleight of hand. By this I do not mean to imply that they had to do cigarette, card, coin or ball productions, but they did have to be skilled at the sleights that formed the basis for most card, coin and ball illusions.
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OPENING FOR A CARD ACT Accessories: Walsh cane to silk handkerchief. Dove with streamers—red, white and blue, three feet in length, fastened to its legs. A glove pull, the barrel spring type of pull that is released by pulling the line out. Two packs of cards prepared for back palming. One paper clip to hold securely thirty cards. A pair of loose fitting white chamois leather or cotton gloves. Arrangement: The dove and the coiled ribbons are placed in the left sleeve of your coat, dove facing outwards. Thirty cards are placed in the clip, and the clip fastened to the right leg of your pants, far enough back and high enough to be amply protected from view, but easy enough to get at when wanted. The gloves are put on, and the cards concealed as follows: About twenty-six cards are held by the bent fingers of the left hand, outside the glove. About the same number are tucked in under the palm of the left glove. The cards in the left hand face the palm. Thirty-six cards are back palmed in the right hand which holds the cane in the fork of the thumb. Enter from left wing. Place the cane under the left arm. Produce six fans in succession in the right hand. Take the cane in your right hand and change cane to handkerchief. Place the handkerchief in your left hand, and secretly place cards into position for back palming in the right hand, that is, seize the cards behind the bent right fingers and straighten the fingers to back palm them. Place the handkerchief over the right hand so that you may readily take it by one corner in the left hand. As you do so, turn the right hand over, reverse palming the cards in the right hand. Place a corner of the handkerchief between the backs of the two middle fingers and reverse the right hand, and likewise the cards. Pull the handkerchief half way through the middle fingers and produce a fan of cards, then letting the cards fall. Then produce another fan and let it fall. Now pull the handkerchief through and out from between the fingers and produce the remainder of the cards in fans. Place the last fan of cards produced into the left hand. Take the handkerchief and place it in your right side pocket of your pants. Take the fan of cards from your left hand with your right hand, and under cover of this move back palm the cards clipped by the left fingers. Drop the visible cards and produce the back palmed cards in a series of fans. 143
Opening for a Card Act Take off the left glove, but first place your right thumb under the cards in the left hand, and as you pull the glove free, back palm the cards in the right hand. Produce a fan of cards, split the fan and back palm. Repeat the moves until you have only six cards back palmed. As the left hand approaches the right to remove the right glove, transfer the cards to the palm of the left hand. Remove the right glove and place it in the left hand. Regain the cards from the left hand to the back of the right hand. Produce a fan of cards. Roll up the gloves and attach to the pull. The gloves change to a dove, the dove coming out of your left sleeve by force of throw. Under cover of surprise, obtain the load of thirty cards from the right side holder with your right hand. Back palm the cards and produce them in series of fans. When there are only twelve to sixteen cards remaining in the last fan, split the fan, back palming half the cards. With the left hand take the fan of cards showing, and back palm them in the left hand, producing the ones from the back of the right hand. Repeat the moves of seemingly passing the cards from right to left and left to right, through the knees, and finally vanish (back palm) the fan in the left hand. Turn the body to bring the right side to the audience, at the same time bringing the cards in the right hand to the "front palm". Press the ends of the cards between the right palm and left arm to permit the fingers to be extended momentarily. Produce a fan at the left fingertips, and then vanish it and produce the fan at the right elbow. With the fan of cards in the right hand, get rid of the cards held in the left hand between the third and fourth fingers of the right hand, behind the fan held in the right hand. Square up the cards into one packet. Place it into the left hand. As you turn the left hand over, steal the cards between the second and third fingers. Turning to bring your left side to the audience, transfer the cards to the left fingers. Press the ends against the body, and open your fingers wide momentarily. The right hand procures the cards from this position and back palms them. As you turn left to bring your right side to the audience, the cards are secretly transferred behind the left hand (cards well back). This is done as the palms are brought together. The hands are held palms facing audience. You are face on, arms bent at elbows, fingers straight up. Bend the fingers of both hands to palms. (The cards are back past the middle joints to allow this.) The right hand is brought around behind the left to conceal the cards on the back of the left hand as they are quickly brought to the mouth and pushed half way into your mouth and rapidly pulled out by working the fingers and the thumbs of both hands while the packet is supported by the sides in the mouth. This makes a brilliant climax to the manipulation. 144
A FINISH FOR AN ACT
This finish is preferable for an act that has used the Walsh cane and gloves to a dove opening. Accessories: An appearing Walsh cane from an opera hat and a pair of white cotton gloves.
handkerchief,
Preparation of the gloves: The right glove is turned inside out. Then carefully sewn to the inside of the glove is a piece of white cloth, to which has been sewn feathers and a dove's head. This is made to look as lifelife as possible when held by the assistant, who hands it to you with the left glove tucked inside the right glove, prepared with the head and feathers of a dove. The Walsh cane, with an eighteen inch white silk handkerchief attached, is in the top left handkerchief pocket of your dinner jacket. The opera hat is closed and is hung behind a chair or table so it may be readily reached by the left hand at the surprise moment of the cane appearing. When the right hand lets the cane open, the left hand procures the hat and then causes the hat to spring open. The assistant meets the performer and hands him the dove, or what looks like a dove. He takes it with proper care, turns the gloves right side out and puts the left glove on. Carrying the right glove, he tips his hat and exits. If you are a stickler for detail, you may care to arrange a piece of cardboard with a portion of a handkerchief fastened to it in the handkerchief pocket, and a thread attached to the low end of the cardboard and brought through the coat and down to a button or stitched to the pants so that when you pull on the thread the handkerchief will appear in the pocket to supplement the one you used to change to the cane. Since the publication of "Card Control", I have had a feeling that several items, e.g. cards to pocket, card and cigarette, ten and ten, etc., should have appeared therein. Because of the vast changes and improvements that I have made in these effects since their previous publication in "Thirty Card Problems", I have decided to describe them again with the improved additions for their presentation, together with a few others that I unintentionally omitted from "Card Control".
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THE BUCKLEY FALSE SHUFFLE Creating and developing "false shuffle" methods is a fad of mine. I have already given to the fraternity excellent methods of false shuffling, several of which are published in my book, "Card Control". However, I do believe that the method that I am about to reveal is the one that will rate first place with many magicians. It has the advantage of being executed in the hands, and maintains the original order of all the cards. It is a riffle shuffle which can be repeated without fear of detection. It fulfills all the requirements that the most fastidious magician could desire. Follow the details closely. The cards should be fairly new for the best results. The pack is held in the left hand, face down, thumb at the index corner, first finger bent and resting on the back of the top card, the second, third and fourth fingers curled around the bottom of the pack. With the thumb, riffle about half the pack so they are released and fall onto the second, third and fourth fingers of the right hand, as in Fig. 1. The second, third and fourth fingers of the left hand then raise the bottom packet up to the right thumb, as in Fig. 2. Each hand then assumes the position with half the cards in each hand, ready for riffling the right hand packet into the left hand packet. This is done by the left thumb first releasing several cards of the left hand packet, and then both the thumbs riffle their packet together, the left hand finishing last, so that several cards of the left hand packet are above and several cards are below the interwoven right hand packet. See Fig. 3, which illustrates the position of the hands when the cards are thus riffled. Now follow all these moves very carefully. The right thumb is extended to the inside end of the left hand packet as the first, second and third fingers move over the outside end of the right hand packet. The fourth finger of the right hand supports the right hand packet at the side. This position is clearly shown in Fig. 4. Fig. 5 shows the position as seen from underneath the pack. The fingers of the right hand then extend across under the pack to the side of the right hand packet (see Fig. 6), and as the two packets are squeezed together by the fingers and fork of the thumb of the left hand, the fourth finger of the right hand presses on the end of the right hand packet, forcing the right hand packet to protrude from the inside end of the right hand packet about half an inch (see Fig 7). The right hand completely conceals the protruding end from view. (See Fig. 8.) Figs. 5, 6 and 7 were photographed from under the pack so the moves could be more easily followed. 146
The cards that were previously designated the left hand packet are held by their sides between the thumb on one side and the first finger of the left hand on the other side. The second, third and fourth fingers of the left hand support all the cards at the low side, as in Fig. 9. The right hand then changes its position to that shown in Fig. 10. This change of position of the right hand is made without exposing the protruding ends of the cards to view.
The right hand packet is then held firmly between the second and third fingers on one side, and the thumb on the other side, and moved diagonally as depicted in Fig. 11. The right hand pack is then withdrawn and placed on top of the left hand pack, but the fourth finger of the left hand is placed on the left hand packet before the right hand packet arrives, so that a break between the packets is maintained. (See Fig. 12.) The pack is then double cut below the break, and all the cards are then in their original order. I repeat, this is a truly great master sleight and worthy of your patience to perfect its execution in every detail. Sleights like these raise card conjuring to a higher standard. 147
CARDS TO POCKET, WITH TEN CARDS IWith
Improvements)
This classic of all card effects is undoubtedly one of the finest opening card illusions ever invented. To my knowledge it was first described in Lang Neil's book, "Modern Card Manipulation". Since then it has undergone many minor changes, but the basic idea of a number of cards passing from the hand to the pocket is the same. Arrangement: Ten cards are counted off a pack and bent together so that when they are replaced on the bottom of the pack they will have a good sized bridge at both ends, separating their ends from the pack. The pack is placed in the case and on a small table, which should be a little to the left of center of where you intend to stand to perform. Another detail is to arrange the ten cards so they are distinctive, one from another—a black king, a red five, a black ten, a red two, etc. The right hand pocket of your pants should be unsoiled, and quite empty. You enter, make a brief announcement, such as, "A few classics with a pack of playing cards". Pick up the pack from the table on your left and remove the cards from the case. Do this in silence and be very sure of each of these moves of this very simple act. Place the card case on the table and insert your little finger into the pack above the ten cards on the bottom. This is easy because of the end bridge. You can feel the place without looking at your hands or the pack (that's important). Riffle or perform the waterfall shuffle only a short distance to carelessly disperse any thought of a possibility of a separation. Do this with your little finger in the break. Then say, "For my first deception I use ten cards." You cut off the cards above the break and lay them on the table. Do this with nonchalance, and don't look at what you are doing. Look towards or at your audience. Transfer the packet of ten cards to your right hand and count them over into the left hand. A completely illustrated description of this count, and also the false counts are included herein for your convenience. As the fifth card is counted and placed into the left hand, your little finger is placed on the back of this card. The count is continued until all ten cards now lie in the left hand, the little finger secretly separating them into two packets. The right hand is brought to the left to square the packet, but actually moves the top packet of five cards forward about half way on the bottom packet of five cards, and the left thumb moves onto the edge. The packet of ten cards is pointing its end directly at the audience. No one can see that the packet is not square. You now say, "Notice my hand and pocket are quite empty." Turn the right pants pocket inside out, look down and say, "Nothing unusual, I assure you."
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Your right hand is held up, artistically poised, palm toward the audience for a moment that it may be observed empty without intentionally appearing to do so. You say, "My object is to cause these ten cards to pass along my arm, across ray body and into my pocket." Now here is a very excellent opportunity to explain something to you about proper timing. As you say, "My object is to cause these—", your right hand reaches the pack in your left hand, so that the right thumb passes behind the cards and the bottom packet of five cards is pressed firmly into the fork of the right thumb. The four fingers rest on the middle of the back of the top card of the top packet, and you continue to say, "cards". You turn left. The backs of the top packet may now be seen by the audience without their suspecting you have already more than half way accomplished the palm. Never once have you so much as glanced at your hands or the cards. Continue with your remarks, "up the arm". As you say this, your right hand, with the ten cards, moves away from the left hand, and you move the cards up the arm to illustrate your words, "across my body and into my pocket." Tap the cards near the pocket and continue, "without seeming to let them go." As you say this, you place the cards in the left hand, with the backs of the cards towards the audience. Grip the side edges of the protruding top packet with your two middle fingers and thumb. The right hand moves away with the bottom five cards, and when clear of the left hand, the cards are bent by closing the hand until the second finger rests under the right thumb. The first finger of the right hand is pointing up, and you say, "only one at a time." The right hand is moved across in front of your body to the right side pocket of your pants, and just as it reaches the pocket, the cards held therein are allowed to straighten, and the hand is held flat with the cards palmed. It is then inserted into the pocket, and you look towards your left hand and give the edges of the left hand packet a sharp, audible click, and with your eyes seemingly follow the passing of the card to your pocket. Remove your right hand from your pocket with the card displayed between the sides of the first and second fingers, and hold it momentarily in this fashion against the leg of your pants. Repeat the audible click and reach the empty hand into the pocket again, and produce the second card. The same moves are repeated for the third card. The fourth card has seemingly not arrived after the audible click, so you click again and look worried. Then you palm the fourth card from your pocket and produce it from behind your left knee, saying, in a relieved tone of voice, "I sometimes have trouble with that one." You now count the five cards remaining in your left hand as six. The method of this false count is illustrated and explained. The audible click is again made with the packet of five cards in the left hand, and the fifth card is taken out of the pocket with your right hand, as explained. The packet of five cards is
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taken from the left hand into the right hand and counted over into the hand in the same manner as the ten cards were counted. The fourth finger of the left hand is placed on the second card counted. In this way the two bottom cards are held separated from the three top cards. At the finish of the count cf the five cards, the right hand moves forward the packet of three top cards on the packet of two bottom cards, and the whole packet is held in the left hand with one of the ends towards the audience so the separation point is not seen. To give a reason for the move to follow, which allows the right hand to be seen empty, you say, "Sometimes when I try to pass two cards together those with ultra violet or even infra red vision do see a flicker." As you say, ''two cards", you hold up the right hand artistically with the palm towards the audience and two fingers held up. Then you take hold of the cards, pressing the bottom packet of two into the fork of the right thumb. Straighten the left hand out and turn it over, back and front, and replace the top three cards in the left hand, palming away the packet cf two. As your hand moves away with the cards, bend them to the right thumb and straighten two fingers as you say, "two", with a certain emphasis. Then thrust the hand slowly into the pants pocket and audibly click the packet of three in your left hand with your left thumb. Remove the two cards from your pocket. Then count the three cards so that it is quite apparent that there are only three. Say, "I'll give you one more chance to detect the illusion. Watch closely, please. I shall pass all three cards together." Saying this, you hold the cards squared together in your left hand by their side edges, and tap them gently into the left hand with several light taps with your right fingers. When they are almost hidden behind the left hand fingers, the right fingers press the end they were tapping, causing the card to rotate endwise and come into the right palm. The left hand moves away as if it held the cards. The right hand reaches into the pants pocket. The left hand seems to gently squeeze away the cards as you watch the process intently. The right hand draws forth the three cards, and you bow to receive the applause this fine effect will most assuredly bring forth. If I have seemed to be at all lengthy with this description, I have done so with the purpose of emphasizing the need for exact timing and carefully covering any false moves with those natural moves that were introduced to allay suspicion. It is worth the time and trouble to perfect the working to suit your own personality. It has served me well for nigh onto forty years, and will live as long as magic with cards is enjoyed. Six card effects as good as this go far to make a high-class card act.
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THE COUNT The Sleight: The cards are held level with ycur chin and from twelve to fifteen inches in front of you. The packet of ten cards is facing you. The bottom end at one corner rests on the fourth finger. The first, second and third fingers are on the side and thus press the cards into the fork of the thumb. The tip of the thumb rests on the bottcm end of the card, about half way between the two corners. This is the first position for the count. (See Fig. 1.) The second position (Fig. 2) is arrived at by pushing up the Jack of Clubs with the thumb until the ball of the first finger, not seen in the figure, and the ball of thumb hold the card at the bottom midway between the corners. The second finger stretches out and presses the corner and bends it around the tip of the first finger (Fig. 3). The first and second fingers stretch out with the card thus gripped at the corner. The card, released by the thumb, swings around and makes a sudden appearance at the fingertips of the first and second fingers (Fig. 4). It is important that the card be kept square with the pack or the sleight loses a great deal of its artistry. The card is removed by the left hand, and the sleight is repeated with the remaining nine cards, one at a time.
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lOriginal)
THE FALSE COUNT FOR MORE The Sleight: A packet of five cards is placed in the left hand, face down. The four fingers on one side press the other side into the left thumb fork. The thumb can push the top card well out over the tips of the fingers, and can readily draw it back again square with the other cards. The first card is pushed out in this manner, and the right hand is brought up to receive it in the following manner. The thumb of the right hand reaches over the back of the extended top card of the packet till it touches the far corner of this card. (See Fig. 1.) That puts the index corner into the fork of the right thumb, and in this manner this card is drawn off the packet into the right hand. Then another card is pushed off the top of the packet in the left hand exactly as before, and the right hand holding the first card approaches to take the second one. The position assumed when the two hands come together is as follows. The four fingers of the right hand with the card pass under the back of the left hand. The thumb reaches the far corner of the extended top card of the packet into the left hand and simulate the act of taking the card, but the left thumb draws it back, and the move is falsified. (See Fig. 2.) Showing the left thumb drawing back the card.
THE FALSE COUNT FOR MORE
The illusion is indistinguishable to the eye from the actual taking of the card, but wait! The illusion can be further heightened or completely destroyed because in taking a card in this manner there is a sound peculiar to the move. Therefore it becomes an essential part of the illusion to make the noise of the false move and the real move exactly alike. This is accomplished by the amount of pressure of the right thumb squeezing down on the cards as the hands are drawn apart. Close your eyes and listen. It won't take you long to make the move indetectably. 152
MIT CARD IN CIGARETTE ILLUSION IWith
Improvements)
The illusion: A chosen card is torn into small pieces, and one piece is retained by a spectator. The others are placed into an envelope and retained by the spectator. The performer borrows a cigarette, lights and smokes it. Noticing that the spectator assisting him is not smoking, he takes a cigarette from the spectator's ear and lights it for him, and both puff away for a moment or two. The performer suddenly asks the name of the card. On being told, he flicks the lighted ash from his cigarette and peels away the covering paper, revealing the card named, with a piece missing. The spectator is told to fit the piece to the card. The performer takes back the envelope and opens it, emptying out the tobacco, crushing the envelope and leaving it with the spectator for later examination if he wishes. Accessories: Three plain letter-size envelopes; two cigarettes; a pack of cards, and one card to match it from another pack, preferably a black 9, 10 or jack; a packet of matches and a pair of scissors. Arrangement: Place one of the envelopes inside the other. This is easy to do if you are careful. Roll the cigarette between your fingers, starting near one end and working up towards the other end until you have extracted three-fourth of the tobacco from the cigarette paper onto a plain sheet of paper. Then lay it aside for a moment while you roll the card. First tear off one of the index corners about three-quarters of an inch through the corner index spot. Place the piece inside the envelope behind the inside envelope. Place the tobacco from the cigarette inside the inside envelope and seal the flap lightly at one spot only onto the outside envelope. Fold over the outside flap and crease it down. Place the envelope into the inside pocket of your dinner jacket, ready for the performance. Roll the end of the untorn edge of the card over with your fingers very sharply so that you can roll the rest of the card over it into a tube that will fit inside the cigarette from which you took most of the tobacco. Do it very carefully, and be sure you have rolled the card tight enough to insert into the cigarette without tearing the cigarette paper. Press it carefully home up to the white border of the card. This will allow a considerable portion of the tobacco to remain in the cigarette. Then take the scissors and trim the excess tobacco off. Place the cigarette into your coat pocket on the lower left side, the tobacco end of the cigarette pointing rearward. Place a few grains of tobacco into the remaining envelope and seal it. When the seal is dry, tear it open, crush it into a ball and place it in the left pants pocket, up near the waistline. 153
Place the other cigarette and the packet of matches into your right side coat pocket. Take the duplicate card to the one inside the cigarette and crimp it on the corner so that you may use the cards for other card effects and yet at any time easily find this card when it is wanted. When the time arrives to perform this effect, you hold the pack in your hands and find the crimped card, cut it to the center and force it on the spectator you have requested to assist you. (If you are wary of the force, then look at the Hoffsinger's force in "Card Control". This cannot miss.) Say, "Tear it in half, please. Put the halves together and tear them again. My, but you're strong. Try once more. Fine. Will you put all the pieces together and try once more. Say, you wouldn't believe it, but you are the first person that I have seen do that. Place the pieces here." You have taken the envelope from your pocket while you watched the spectator tear the card as instructed, and your fingers opened up the inside and secured the torn corner, which you are now holding under the two middle fingers against the front side of the envelope. You extend your hands with the envelope held thus as you say, "Drop the pieces in here, please." As soon as the spectator has done so, you say, "Did you keep a piece. Then please do so." You withdraw the corner under your fingers and hand it to him. You seal the flap down and place the envelope in the opening of the spectator's vest, saying, "Do you mind if we leave this here for a moment." Turn to the audience and say, "Will someone oblige me with a cigarette?" As you say this, you tap both the side pockets of your coat as if you were unconsciously feeling for one. The left hand enters the pocket and secretly procures the prepared cigarette, holding it in the cup of the bent fingers, tobacco end resting near the fourth finger. The hand and concealed cigarette are brought forth as you reach to receive the cigarette handed to you. As soon as you take it, the right hand moves towards the left hand with the cigarette reclining on the fingers. As the hands are brought together, the left hand brings its cigarette to view, and the right hand is thrust into the right side pocket, with the secreted borrowed cigarette, to get the matches, leaving the cigarette behind and bringing forth the matches. The left hand places the faked cigarette in your mouth, and you casually light it. Returning the matches to your pocket, you procure a cigarette and withdraw your hand with the cigarette concealed. Pause a moment to draw on the cigarette you are smoking, and then say, "Do you smoke? I thought as much," and you pluck the cigarette from his ear and place it in his mouth. You reach into your pocket, bring out the matches and light his cigarette, return the matches to your pocket and procure another cigarette if you have two assistants, repeating the performance of finding the cigarette. 154
After a short pause, ask the name of the selected card, flick off the lighted ash and produce the card. Hand the card to the assistant to match the corner. While he does so, take away the envelope from his vest, open it and shake the tobacco into his hand. Crush the envelope, place it in your left hand (your right side is toward the audience), reach out to shake the assistant's hand, and exchange the envelopes. Place it in his hand and say, "Here, take all of the materials with you. You may be able to work it out for yourself." This is one of the finest illusions with cards (in my opinion). I worked it out and first used it in 1908, and have, during the years, added to the details of presentation. If you make it a part of your performance, I am sure you will profit by same.
THE THIRTY CARDS AND TWO ASSISTANTS I With
Improvements)
To the best of my knowledge, this effect first appeared in the "Modern Conjuror" by Lang Neil. It has always rated with me, and still does, as one of the ten best card effects ever invented. It lends itself admirably to any audience at any time or place. I am publishing it again here because I have a few original twists that I discovered while performing it as a regular item in my card act for more years than I care to remember. Having obtained the helpful assistance of two members of your audience, you station one at your left side and the other at your right. You are facing the audience, with a table in front of you. On the table rest a pack of cards. The bottom four cards of the pack are the four fives. Taking up the pack, you address the man on your left, saying, "I want you to take the cards out and count off thirty onto the table. Count them one by one to yourself like this." You illustrate by counting one, two, three, and dropping the cards one by one on the table, face down. You gather up the three cards, square the pack and hand it to the spectator with the request, "Will you do that, please?" You palm off the top of the pack about a dozen cards, and as soon as he takes the cards to carry out your instructions, you reach into his coat and produce the fan of cards, saying, "I only asked you to count them." Replace these cards on the pack and let him proceed with the count, but you count aloud each time he places a card on the table, regulating the pace of the count. When thirty cards have been counted, you say, "Please place the remainder of the pack here," pointing to the furthermost corner from you. 155
"Now will you gather the thirty cards into one heap." When he has done so, say, "Place the heap on the table and cut it to make two heaps. Now choose either heap. Place it in the inside pocket of your coat." As he takes away the heap he chose, you pick up the remaining heap and immediately push off the top of the pack five cards, one by one. Do this without looking at your hands. Square the cards up with the pack after you have inserted your fourth finger of the left hand to separate them. Remove your right hand and say, "Please button your coat." As you say this, you illustrate with your right hand, doing so expressly so it may be seen empty without otherwise referring to this fact. Just as the last button of the coat is fastened, (you are intently watching the procedure) your right hand takes the packet, palming the five cards off the top. You hand the packet to the spectator, saying, "Please count these also like you did the others." (You know he did not count the others, if by the others you mean the packet he placed in his pocket, but actually he did count thirty cards at first, so this exceedingly clever inference that he counted the cards he put into his pocket is most certain to click if your timing is right.) As the second packet of cards, minus the five you palmed, is being counted out onto the table, you do the calling out as the cards fall onto the table. When the last card is down, suppose the number is nine, you slowly and deliberately place your hand with the five palmed cards on top of the nine, and, looking straight up into the spectator's face, say, "And nine from thirty leaves how many?" This is a complete distraction, and comes suddenly as a surprise and if he hesitates you help him out of this simple dilemma by smilingly saying in an undertone, "Twenty-one." Square the five up with the nine, and hand the packet to the man on the right, but just as you do so, say, "Have you an inside breast pocket in the coat you are wearing?" You know that he has, but at this moment you wish to divert his thoughts because when you hand him fourteen cards instead of nine he could easily notice this discrepancy, but not if you give him a simple question to answer. You hand him the cards and say "Place them in your inside pocket, please." You do not refer to the number as you say this. When the cards are in his pocket, say, "Please button your coat on the nine cards," and turning to the man on your left again, you say, "And that leaves you with how many?" If he is slow, you repeat in an undertone, "Twenty-one," continuing, "And our mutual friend here has how many? Nine? Quite so." "Now the object is to cause the cards to leave your pocket, one by one, and pass across into the pocket of our mutual friend." You turn to the spectator on your right and say, "You don't mind me calling you our mutual friend, do you?" Take up the cards from the corner of the table with the four fives on the bottom of the pack. Cut the packet to bring the four fives to the approximate center and spread them so only the four fives are spread. Say, "Take one card, please." You don't look at your hands as the card is selected, for you know he can only take one of the four, and they are all fives. 156
"Call the number please. Five? Thank you. Then five cards I shall take from your pocket. Watch closely, for the closer you watch (pause), the closer you watch." You reach over with the packet of cards to his pocket and draw a line with the packet of cards to the other man's pocket, and give the packet a click with your thumb, saying as you look him in the eye, "Did you feel that one?" If he says, "Yes," you say, "Splendid. It's nice to know you are feeling okay. Let's try again." Repeat until the five cards have been duly passed. Then you say to the man on your left, "How many cards did you place in your pocket?" He answers, "Twenty-one," and you say, "Twenty-one is correct, and if I have taken away five you will now have only sixteen. Is that correct? Then sixteen is all you have. Please count them." Again you do the counting, dropping off to a slower pace as you say thirteen, fourteen, fifteen, sixteen." You look at him and smile with that expression—"You didn't think I could do it." You turn to the man on your right and say, "How many cards did you place in your pocket? And if I really passed five more into it, you should now have fourteen. Is that correct? Fourteen is the number. Please count them." As the cards are counted, you raise your voice on the last three cards counted, and take a bow.
TEN AND TEN This is another of the classic card illusions that has helped to make the name of more than one performer. The really good things do not die, especially when a touch to the presentation is added every so often. I have added one or two to the following description which I found from practical experience to be welcomed and appreciated by my audience. The illusion: The performer, standing with an assistant from his audience on his left and another on his right, hands a pack of playing cards to the assistant on his left, as he says, "Take the pack and count ten cards off the pack, face down, on my left hand." (There is no waste of words here. Your instructions are simple and clear. You have a reason for the cards being counted face down. An observing spectator may note and remember details that you do not want remembered. If you have the cards dealt face down from the beginning, the procedure will not be considered as an unusual one when they are counted that same way later. I think these little things are important.) With your left hand held palm upwards, the assisting spectator counts ten cards, one by one, from the top of the pack, faces down, on your outstretched hand. As each card is dealt, you count, "One, two, three, etc." up to ten. Then you say, "I will count them again over into the right hand," and your proceed to do so. Pull off the top card into your right hand with your right thumb, and the others one by one at a fairly rapid pace. However, when you have counted seven cards, you count the last three without any change of pace so that these three cards extend over the end nearest the thumb and first finger by about a third of their length. 157
At the completion of the count of ten, you press on the back of the top card with your right thumb to hold the cards in place. Outstretch your hand and say to the spectator on your right, "You watch them, please." This barefaced procedure disarms the spectator. He does not know what to think of the protruding cards, and will probably watch your hand and cards with no little curiosity, which you want him to do. You turn again to the person on your left, hold out your left hand and say, "Will you deal ten more cards please on my left hand?" You are now standing with your feet facing center, with your body turned left, your right hand outstretched to the right and your left hand held before the spectator on your left. You swing towards the right and bring the left hand holding ten cards to your right elbow, and say to the assistant on your right, "Have you a pocket handkerchief?" He will immediately look towards the pocket where he keeps it, and without waiting you swing left, and in doing so the right hand is brought to the left elbow, and in this act it naturally passes the left hand. When this happens the left thumb is placed on the protruding ends of the three top cards of the right hand packet, and they pass to the left hand packet. There is no hurry. Everything is carried out at a well regulated, even pace, without stops or hesitation. The right hand continues its journey up the left arm to your handkerchief pocket, where you must have a handkerchief in readiness. The thumb and first finger seize it by a corner, and you pull it from your pocket, handing it to the assistant on your left with the words, "Take this one, please. Oh, lay the cards on the table. Place the handkerchief over the ten cards in my left hand. Now hold the cards through the handkerchief. Careful, please. Those queens may object if you squeeze too tightly. I will count these once more." So saying, you false count the seven cards as ten, as described herein. Place the cards in your left hand, the face of the cards towards the audience, ready for the color change, and say, "I will pass these cards, one by one, from my hand into the handkerchief. Watch closely, please." As you make the last remark you palm the card from the back of the packet in your left hand. Passing your hand with the palmed card, leave it on the face of the pack, but appear to carry the face card away, watching intently. You make a pass in the direction of the handkerchief as a chord is struck on the piano, or drum and cymbals produce the sound effect. Two more times a card is passed. Each time you proceed as before, first palming off a card from the back of the pack and placing it on the front, and using the sound effects to simulate its passage to the handkerchief. A great deal of interest can be created here. In fact, the color change, if well done, is no small part of the illusion. When the three cards have been thus dealt with, you say as you count the cards onto the table, "And that leaves only one, two, three, four, five, six, seven cards; and in the handkerchief you have thirteen in place of ten. Please count them onto the table." As he uncovers the cards, take your handkerchief and return it to your pocket, and as the thirteen cards are dealt, count aloud. 158
TO VANISH THE LAST TWO CARDS IN PRESENTING "THE TEN CARDS TO POCKET" Place two cards, the King of Clubs, on the bottom in the left hand as in Fig. 1. You will observe from the photo that the cards are supported on side edges at one end between the left thumb and second finger. The first finger is on the face of the cards while the left hand is at the other end across the edge. The right hand pushes the cards, causing them to slide towards the left hand, but the outward pressure on the cards on the right hand causes the cards to rotate between the thumb and second finger of the left hand and come into the right hand, where they are palmed while seemingly pushed into the left hand.
The illusion is heightened by a half left turn as the palming move is executed, and the left hand in a half closed position is raised to shoulder height with the back of the hand towards the audience. The right hand is lowered and thrust into the pants pocket. The left hand is opened and turned around as the right hand produces the cards from the pocket. 159
METHOD OF DOUBLE CUTTING CARDS This sleight is one of the most useful sleights in card conjuring, and unless one is fully aware of what is happening it is impossible to follow, though ridiculously simple to perform. It should be practiced thoroughly before being used in public.
The Sleight: Place the pack in your left hand face up and cut off about half the pack with the right hand. Note the card cut to (say it is the three of clubs), and that is the card it is desired to bring to the bottom of the pack. Remember, the pack is held face up. When the cards lifted off above the three of clubs are replaced, the tip of the fourth finger of the left hand is inserted above the three of clubs to retain a break. (See Fig. 1.) The thumb of the right hand retains this break while the left hand is shifted to form a second break about halfway between the three of clubs and the top of the pack. (See Fig. 2.) The illustration depicts this latter break to be at the nine of spades. The right hand transfers the packet with the nine of spades at the bottom of it to the bottom of the pack. The act is a simple cut. The right hand returns to its former position, obtains the packet with the three of clubs and transfers this packet to the bottom, and that's all there is to it. Of course, you hold the pack face down while performing this sleight for the effect described herein. 160
THE TRIPLE CLIMAX
I Original)
This is another effect that has served me well for many years. It was originated by me around 1910 or 1911 in the early days of my career as a professional card magician. The illusion: Three cards that are seen in the pack by the spectators are discovered in a novel manner. The working: An assistant from the audience stands at the performer's right side, which, for explanatory reasons, shall henceforth be referred to as Assistant No. 1. On the performer's right stands Assistant No. 2. Assistant No. 1 is requested to look at a card in the pack. The performer extends his left hand, holding the pack, and raises the corners with the fingers of his right hand, being careful not to expose any of the cards to the assistant, saying, "I want you to just open the pack at the index corner, like this, and look at one card, only one. Is that quite clear?" (See "The Peek", herein.) The performer raises his hand with the pack, and Assistant No. 1 peeks at one card. "Please remember it." The performer has, by means of the sleight described at the end of this explanation, retained a break with the tip of the fourth finger. He proceeds to casually cut the cards several times, doing so by means of the double cut (explained herein), which secretly brings the spectator's card to the Bottom of the pack, where the performer secretly glimpses and remembers it. By means of the riffle shuffle, made very casually and ever so fairly, the card thus glimpsed remains on the bottom. The performer turns to Assistant No. 2, saying, "Would you mind lifting the cards at the corner of the pack, just open the cards like this." (Illustrate without letting the faces of the cards be seen.) "Just one card you are to look at. Thank you. You will of course remember it? That's splendid." While you were saying this, you secretly inserted the tip of your fourth finger into the pack below this card, and now you cut off this card with the cards above it in your right hand, and fairly riffle the two packets together. Take care to riffle the card lying on the bottom of the 161
Triple Climax right hand packet first. Then riffle several cards from the left hand packet and complete the riffle. This brings the No. 2 Assistant's card to the bottom of the pack, and the No. 1 Assistant's card second card from the bottom of the pack. Give the pack another casual riffle shuffle. Keep several of the bottom cards intact, but riffle an indifferent card to the bottom and crimp it at the index corner. Then, looking at Assistant No. 1, say, "You remember the card you saw? Will you point to any card in the pack." Spread the cards out fanways before him, saying, "With your first finger point to any one card. I want you to be sure you have a free choice. That one? Splendid." Cut the cards, transferring the bottom card which you crimped the corner of from the left hand packet to the right hand packet. This is called the "Hofzinser force" (see description herein). Hand him this packet and say, "Note the card you chose, and shuffle the cards." Take the packet from him at the completion of the shuffle, and say, "Now if I shuffle these into these, that will be fair and square." While you are talking and shuffling the cards, you locate the crimped card and insert your fourth finger of the left hand above it. Then cut off the cards above the crimped card. You should now have on the bottom of the pack in your left hand the second assistant's card next, and above it the first assistant's card, and on the top of this packet the crimped card. Riffle the two packets together, riffling the right hand packet into the left hand packet. Holding the pack of cards in your left hand. With your right hand take the lower half and place it on the other half, first putting down your fourth finger on the crimped card to keep the location. Then, pushing the two assistants' cards with the tips of the fingers of your left hand, you withdraw your fourth finger and reinsert it above the assistants' cards, and perform the double cut (described herein). The cards now lie: Assistant No. One's first card on top; Assistant No. Two's card second; and Assistant No. One's second card third from the top. You say to No. One Assistant, "Take the pack and deal the cards, one by one, face down on my left hand." Hand him the pack and repeat "Face down, so I can't see when you deal your card." As the cards are dealt, say aloud, "One, two, three." At "three" stop him, and as if you just thought of it, say, to No. Two Assistant, "Do you think you could tell him to stop when he reaches his card? " He will probably reply, "I don't know his card." "Then just say 'stop' any old time before he reaches thirteen, because thirteen is unlucky." (This is to prevent the 162
Triple Climax count being drawn out to the point of boredom.) As each card is placed on your hand, you bring the right hand down onto the packet of cards and promptly raise it to receive the next card dealt. When Assistant No. Two calls "Stop!" you bring down the right hand on the packet of cards in the left hand and raise it a few inches and bring it down on the packet of cards again. (This is to enable you to execute the "Slap Shift", described herein.) As you turn your head to look in his direction, say, "You meant him to stop now?" Not waiting for an answer, you say to Assistant No. One, "Will you lift off the top card? Please name your card first. The first card you thought of, please. The two of spades? Lift it off the pack, please, and hold it up so that everyone may see it." At this moment, shift the bottom card of the packet in your left hand to the top of the packet. Take the card from him, and as you turn to the No. Two Assistant on your right, make the top change. Hold the cards, face down, about a foot below his eyes, and say, "Your card was not by chance also the two of spades? No? What is your card, please?" When he names it, say, "Please blow on the two of spades. Now it's the seven of hearts, your card?" Palm the bottom card of the packet (this is the crimped card), and drop the rest of the cards on a chair or a table. Say to Assistant No. One, "I believe you have forgotten the second card you thought of." He will name it if he has not forgotten. In most cases you name it for him. Reach into his inside coat pocket and take the card out. Before explaining the sleights employed in the method of the "Triple Climax", I wish to say to you that I have found from professional experience this to be one of the very finest of stage and/or drawing room effects. It must be performed briskly—no undue stalling or fumbling. There is not a move in the whole effect that is not completely protected by a natural action, and I am confident that those who take the time and care to incorporate it into their routine will use it ever after. Of course, it is more difficult than a thousand others that you can do overnight, but this is a saleable professional effect. Ask yourself, "Is it not worth while?" And another thing, the sleights embraced by this effect are ready to serve you henceforth. They are yours forever, once mastered. They are not too difficult if you will give a little of your time to correctly understand them. Here they are—The slap shift, the top change, the double cut, the palm, the peak, the Hofzinser force. 163
AN AMAZING CARD ILLUSION
(Original)
JUST THINK OF A CARD This is one of the finest of intimate card illusions that I have had the pleasure of working. The effect and the sleight of peeking at the card I claim to be entirely original. It is one of the thirty uncompleted card effects I left with Zado Goldenberg to do with as he saw fit at the time I left for Australia in 1923. These were later published by Dariel Fitzkee. During the last twenty-five years I have worked this illusion many times and added to its splendid effect, so I feel that in justice to it, it should appear here with my present presentation. So here it is. While you stand and efficiently riffle shuffle the pack of cards, you address the gathering: "I am going to have several of you people select a card, not by removing it from the pack, but just by thinking of it." Having completed the riffle shuffle while talking, you square the pack and approach a spectator with the pack held by both hands, face down. The cards are run from left to right until about ten cards at the center of the pack are spread in a semi-circle and the other cards below and above the fannedout ten are not spread. All this must be done in a very casual way, not at all appearing as too planned. As you reach the first spectator, you raise the cards and hold them centered before his eyes and watch his eyes to see that his gaze does not wander from the fanned-out cards. You say as you raise the cards for him to see, "Please think of one card, only one, and having made up your mind please don't change it." You allow only sufficient time for him to make up his mind, moving the cards in a small arc back and forth to keep the fanned-out cards before his gaze. Close the pack together, secretly inserting your fourth finger of the left hand below the bottom card of the fan as you close it, and say, "Did you see one? Thank you." (Now it would be more than likely that the spectators near the person making the selection may have seen the fanned-out cards, so you must pick your victims at sufficiently remote points of the group to avoid this happening.) Double cut the cards below the left fourth finger to bring the ten fanned-out cards to the bottom of the pack, and riffle the pack in a manner to insure the group of ten remaining undisturbed, and holding the pack in the left hand in position for the Hindu shuffle (see "Card Control"), undercut about forty cards of the pack and Hindu shuffle about twenty cards of this packet on the packet in 164
An Amazing Card Illusion the left hand, and drop the fourth left finger on them. Then place the remaining twenty cards which you have in the right hand on the left hand packet. The ten now directly above the left hand fourth finger are the ten cards from which the first spectator made his selection. You spread the ten cards as before, holding the pack face down so no one sees them prematurely, and you approach your second victim. Holding the fan directly before his eyes and watching his eyes, you repeat, "Please think of one." Now here is an important point that it may take you some time to discover for yourself. As you hold the cards before the spectator and you watch his eyes, you can usually tell where and when he makes his choice, and you try to have the choice made so that different cards of the fanned-out cards are selected by different spectators. The same procedure of shuffling, cutting and fanning the cards before the third spectator is gone through, until you have five cards remembered by five of the spectators. Then you shuffle the pack as heretofore explained to keep the ten cards on the bottom of the pack. Hold the pack in your right hand, face down, in position for an overhand shuffle, that is, so the thumb of the left hand can pull off the cards from the pack into the left hand, one by one. Pull off four cards in this manner, and then as you pull the next card with the left thumb take the bottom card of the right hand packet with it. That will make a packet of six cards in your left hand, and the second top card may be one of the cards the spectators chose to think of. Lay this packet on the table and continue to once more shuffle off four cards, one by one, and then one from the bottom, with the sixth card taken from the top, and lay this packet alongside the first packet. Repeat this until you have about eight packets, each containing six cards. You have kept talking while you shuffled, saying, "Let me see. I had five of you select cards, not take them out of the pack, but you just thought of any of the cards as I spread the pack before you. At no time did I look at the faces of any cards of the pack, nor will I do so now, so I could not know what cards you are thinking of. Yet I will try to tell you those very cards. You pick up the third heap of six and spread it face down with care, fanned out in both hands. The fingers of your hands are underneath the faces, and your thumbs are on the backs. As you raise the fan of cards thus, the left thumb pushes up the index corner far enough for you to glimpse the index of this card, which may or may not be a chosen one. The six cards are held 165
An Amazing Card Illusion fanned in the right hand only, before the first spectator, and you ask, "Look carefully. Is your card there?" You go from one to another, making the same statement. (We will assume that the card you glimpsed the index of, is the six of spades, and that the fourth spectator you approach says, "Yes, my card is there.") Then you know the six of spades is the fourth spectator's card. You continue to ask the fifth spectator, and lay the cards squared in a packet on the table, and pick up the second set of six. While you fan them and glimpse the index of the second top card, you retain in your memory the six of spades the first card you glimpsed, the fourth spectator's card, and say to the first spectator, "Is your card there?", and the second, third and fourth spectators, but the fourth spectator will say, "No, my card was in the other packet," and you say, "Oh, yes. You did tell me that. Please think of it and see if I can read your mind. The six of spades, I believe." Then address the fifth spectator, "You say your card is there?" Close the fan and lay it on the first discarded packet. Say to the fifth spectator, "Please think of it. A little harder, please. The two of clubs. I see you like the deuces wild." You take up the fifth packet, and the first and second spectators both acknowledge that their cards are in the packet. You lay the packet of cards aside on the other discarded cards and say, "Will you think of your cards, and I will see what impression I receive the strongest." You say, "You are both thinking of the same card, the Jack of hearts." Now assuming you go through all the packets except the last packet, and the third spectator has not acknowledged that his card is in any one of the packets so far shown, then you rightly assume, barring errors on his part, that the card must be the second top card of the last packet, so you glimpse it and palm it from the pack to your pocket as you gather up the cards and shuffle them, saying, "I would like to show you another one." At this point you will probably be interrupted by the person whose card you have not declared, and you say, "That is right. I did not tell you your card, did I? Here, shuffle the cards please." And you hand the pack over, being careless about it, but making sure that they see your hands are not withholding any of the cards. While the shuffle is being made, say, "Please tell me— what is the name of your card?" He says it, and you take it from your pocket, saying, "That's funny how you thought of that one." If you will practice this card illusion until you can do it with all the frills it embraces, you will have the finest intimate group card effect I know about. 166
THE CRIMP (One Hand) To crimp a card so that it may be readily located anywhere in the pack while the pack of cards is held squared in the hands is one of the oldest methods of location but it still remains one of the very best of all. First because all you need to do to locate the card is turn the pack on its side. There are many good and simple methods already published from which you may exercise your choice of placing a crimp. A favorite of mine is to place the crimp after the card has been
returned by holding the pack fanned in both hands and bending the corner with the second finger of the right hand over the second finger of the left hand. However, this method illustrated is excellent for crimping the bottom card and only using one hand to accomplish the process. Fig. 1 shows the fourth finger crimping the card. Fig. 2 shows how the spectators see the pack while the finger secretly does the work. It should never be so crude as to be noticeable by the spectator.
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EXCHANGING
A CARD IN PASSING Top Change
Hold the cards in your left hand in position for dealing. Take a card in your right hand and hold it between the first finger and thumb at the inside end at one index corner. Display the card to an imaginary assistant supposedly standing on your left side. Turn to a second imaginary assistant standing on your right side, and as you do so, lower the right hand holding the cards at a slow even pace and up again, the card still held between the first finger and thumb, held back up, face of the card parallel with the floor, the card about fifteen inches from the chin of the imaginary assistant. This move is made so that the right hand holding the card passes just in front of the left hand holding the pack without any change of pace, and you turn your head from the assistant at your left to the one at your right. The exchange is made in passing the pack as follows: As the right hand approaches the pack from the left, the left thumb moves the top card a third of its width over the left finger, where it is retained in that position by the light pressure of the thumb, not the ball of the thumb, for that part is not actually resting on the card. As the right hand with the card to be exchanged comes level with the pack, the card in the right hand is brought under the left thumb and the card over the pack passes between the second and third fingers of the right hand. The left thumb draws the card wedged under it onto and square with the pack as the right hand continues on its journey with the card between the second and third fingers. Under cover of this continuous movement, the thumb replaces the first finger, and the second finger is then replaced by the first finger as the travel motion ceases. No haste or hurry, just a steady easy-going, natural pace. Now one more thing before I close this explanation. There are three more travel moves executing this sleight. If the card is first shown to a person at the right and you then turn left, the right hand is brought to the pack held as explained in the first method, and the card exchanged as explained, but the right hand now holding the exchanged card between the two middle fingers stops, and the left hand is moved away to direct or gesture to the assistant on your left side. The right hand approaching and the left hand moving away should be made one continuous move. The third method: Having taken a card from someone you are addressing, the right hand with the card is moved in the direction of your body. At the same time the left hand moves in the direction of the spectator you are addressing, and as the two hands come abreast of each other, the exchange is made, as explained, in passing. The fourth method is made the same way, but the hands move in the opposite directions, a method that I do not care for.
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THE PEEK LOCATION
(Original)
Fig. 1 depicts the spectator's hand raising the corners of the cards to look at a card, which is the six of clubs in the illustration. The pack is held in the performer's right hand, the four fingers resting up one side of the pack, and the thumb lying across the corner exactly as depicted in Fig. 2. If you will try this position as shown you will observe that the cards open bookwise, and on closing when released they will pinch a little of the fourth finger between the opening. This is a truly great improvement on the older method of pinching the first finger as taught by others. It's these little touches that really mean so much to better card magic.
THE HOFZINSER FAN FORCE The pack of cards is spread in a fan, faces down, before the spectator. The performer's right hand assists in the final spreading. The right thumb is on the backs of the cards, the fingers underneath. In this manner the right hand, unobserved, easily moves the bottom card of the pack across to the right under the fingers of the left hand. When the spectator points to the back of any card, the right hand carefully draws the cards at this point to the right to form a separation. Square these cards carefully with the bottom card, and offer them to the spectator to observe the bottom card. Performer tells him to shuffle the cards after he remembers the card he pointed to. Because of the very lightly bent corner, this card is easily located after the shuffle. 169
"THE SLAP SHIFT" (See THE TRIPLE CLIMAX)
The Sleight: As the first card from the top is dealt into your left hand (that's the first selected card), you partly close and again open the fingers of your left hand on the card, and on each card dealt by the spectator. As each card is dealt, the right hand slaps down on the card firmly, but not too heavily, covering the cards. Each time this covering move is made, the cards slide over the edge of the first card, and the inside edge of the selected card is uncovered. (See Fig. 1.) It is then very lightly gripped by the base of the right thumb and first joint of the first finger. (See Fig. 2.) You call, "One! Two! Three!", etc., very deliberately as the cards are dealt, pausing no longer than is necessary with the hands together, the dealt cards between them, sufficient to give the dealer time to say, "Stop," if he is going to do so. If "Stop" is called you lift the bottom card six inches above the packet dealt. Fig. 3 is a camera view from the rear showing hand with card slightly tilted, and it is thus placed on the top of the other cards already dealt. The photos are intended to show how card is brought up from the bottom of the packet in the left hand and unsuspectingly placed on top of them. You have the spectator name his card, and then let him lift it off the packet. During the distraction that ensues palm the bottom card and place it on the top ready for the top change.
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In my manuscript of "Thirty Card Tricks" I describe an effect that calls for a dexterous handling of this sleight because it must be performed repetitiously. There is no danger of detection if the sleight is properly executed. A packet of six cards, the faces of which are unknown to you, are face down on the table. What you do secretly know is that the second top card is a card which has been selected, and you desire to secretly learn the name of this card.
The Sleight: The cards are picked up with the right hand and placed, face to palm, held spread out, in the left hand, as shown in Fig. 1, holding them at a 30° angle with the floor. The cards held in the hands in this position are raised to face the spectator. You ask him if he sees his card. As the cards are beng raised, the left thumb tilts up the index corner of the second card sufficiently to glimpse it. A split second does it, and you secretly look at the index of the spectator's card under the cover afforded by other cards, as shown in Fig. 2. 171
PRINCIPLES AND DECEPTIONS
CHAPTER FOUR
MAGIC WITH BILLIARD BALLS
173
SIGHTING
MY ORIGINAL
WHILE FANNING
THE CARDS
BILLIARD BALL AND CARD HARNESS
Similar In Many Respects To My Coin Harness.
Showing the manner in which Billiard Balls or Cards are held by a belt to be suspended from the waist. This allows the balls to be readily concealed by the coat and easily procured when wanted. The Cards are in a paper clip as shown but I found that a screw and nut through the extension on the clip to prevent its two halves from completely closing is desirable to eliminate the noise of closing.
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PRINCIPLES and DECEPTIONS CHAPTER FOUR
Magic With Billiard Balls
Pointers:
The type of ball that I find best suited for manipulating, and sold by many of our magical dealers, is the spray gun lacquered hardwood variety. These balls sell at from two to four dollars each, according to their quality, and may be obtained in several sizes, ranging from one and a half inches to two and one-eighth inches. The two inch ball I believe to be the most suitable for the average hand. An advantage that the solid wood ball has over the hollow plastic ball lies in its solidity. It may be knocked against another ball to indicate it's solid, or dropped intentionally for the same purpose. At the beginning, the larger size balls are somewhat more difficult to handle than the smaller balls, but use, and practice mean everything. The appearance of a two inch ball instead of a ball that is one and three-quarters inches is much greater than can be imagined without a trial. Cardini uses solid wood polished balls, two and one-quarter inches, and his hand is, if anything, a trifle smaller than average. Bill Baird has a normal size hand, and he also uses the two and one-quarter inch ball. So unless you have some sensible reason for using the smaller ball, let's settle for the two inch or larger ball of solid spray gun lacquered hardwood. The colors are red or white. White is used because the ball looks a trifle larger than red. But of the two, red is easier to see under average stage conditions, so in the main, red is the color we recommend for the greater number of balls; for our color changes, white; and when another different color is to be used, then green or blue is a suitable contrast. 175
THE PRODUCTION OF A BALL FROM BEHIND THE LEFT HAND FOLLOWED BY THE TAKE AWAY VANISH The ball is palmed in the right hand, back of hand towards audience. The left hand is held palm towards audience, as in Fig. 1. The right hand is turned palm towards audience as it is brought up behind the left hand. The moves must be timed so that the ball remains concealed. See Figs. 2 and 3. The second finger of the right hand rests on the ball, and the hand is drawn d o w n wards, causing the ball to be rolled on the back of the left hand and the second finger to the position shown in Fig. 4. The vanish: The left hand is rotated against the ball to bring the thumb pointing downwards, and the back of the left hand towards the audience. The second finger of the right hand supports the ball against the left hand during the move. See Fig. 5. The right hand moves up so that the fork of the thumb is pressed against the first finger of the left hand. The ball is 176
not moved up, but allowed to slide down the fingers to the right palm. The palming of the ball in the right hand is assisted by the third finger of the right hand. The right hand is rotated to bring the back of the hand towards the audience. See Fig. 6. The right hand is moved away with the ball palmed, the left hand partly closes as if it had retained the ball.
A BALL HELD IN THE FINGER PALM POSITION BY THE LEFT HAND IS SECRETLY REMOVED BY THE RIGHT HAND IN PASSING The three photos are all taken from the rear to expose the moves. In Fig. 1 the left hand retains the ball in the finger palm position. The palm of the right hand moves across the back of the left hand. See Fig. 1. The second finger and thumb press lightly on the ball, see Fig. 2, and carry it beyond the left hand. The fingers of the left hand curl to their former position before the right hand exposes them. See Fig. 3. As the right hand is moved away after leaving the left hand, the ball is palmed and the left hand is turned palm towards the audience. The move may be reversed and the ball recovered by the left hand, and perhaps produced by the little finger as explained. See the De Biere production.
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THE WRIST ROLL The right hand is brought up to the left hand and the ball placed against the left wrist. See Fig. 1. The right hand is then closed so the backs of the fingers are against it. See Fig. 2. The right hand is then opened as it is rotated to bring the palm of the hand facing the audience. See Fig. 3. The left hand is then rotated to bring the back of this hand towards the audience. See Fig. 4. The right hand is then rotated as the ball is rolled onto the back of the left hand, as in Fig. 5. The ball is then palmed in the right hand, and the left hand turned over, as in Fig. 6.
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THE PRODUCTION OF A BALL ON THE FIST The ball is palmed as in Fig. 1. The second finger wraps itself around the ball, see Fig. 2, and on retracting, rolls the ball to the position shown in Fig. 3. The fourth finger is then brought up against the underside of the ball, and the thumb reaches over and rests against the second joint of the fourth finger, as in Fig. 4. The fingers of the hand are then closed as the thumb carries the ball upwards, see Fig. 5, and on completion of the move the ball rests as shown in Fig. 6.
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MOVING
THE BALL DOWN FROM THE FIST
POSITION TO THE FIRST AND SECOND FINGERS
This move is designed to follow the move just described, and if it is carried out as it will now be explained, you will find it a very effective piece of manipulation. The ball rests on the closed fist, as in Fig. 6 of the last move described. The fingers and thumb of the hand open in one continuous move, the ball rolling down from the closed fist to the first and second fingers, as depicted in Fig. 4. However, for the purpose of explanation, the move is shown in steps. Fig. 2 shows the second finger lagging behind as the fingers are opened and the ball is checked on its forward roll. The first finger moves over the top of the ball, as in Fig. 3. The fingers straighten as in Fig. 4, with the ball between the thumb and first finger position. The thumb is bent down to the second finger as in Fig. 5, and then the thumb rolls the ball ever the first finger to the position shown in Fig. 6. When this move is made skillfully, with the back of the hand towards the audience, the ball seems to be on wires. Follow each move carefully.
180
MOVING THE BALL TO THE FIRST AND SECOND FINGER FROM THE FIST
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THE PRODUCTION OF A BALL BETWEEN THE TWO MIDDLE FINGERS FROM THE PALM WITHOUT AID FROM THE THUMB This is a somewhat difficult move to master, so please pay attention to the details that at first may not appear to you as significant. They really are, as you will find from practicing the move. These photos, like most of the others, were made from the rear, and in posing I have tried to do so by going through the completed move and freezing at the crucial movents so that the photos would convey the correct and important points of the move. Particularly notice photo One. Study the seemingly relaxed position of the right hand, with the ball palmed, and yet the ball is held quite firmly as it had to be, for the heat of the photographer's lights was quite intense. Fig. 2 shows the second fingertip resting on the palmed ball. In this position it can move the ball up and back into the position of Fig. 3. Then the third finger passes under the ball as shown in Fig. 4, and the fingers then move out with the ball, as in Fig. 5, to the position as shown in Fig. 6.
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PRODUCTION OF A BALL BETWEEN THE TWO MIDDLE FINGERS FROM THE PALM WITHOUT AID FROM THE THUMB
183
THE DE BIERE PRODUCTION
OF A BALL FROM THE
PALM TO THE THIRD AND FOURTH FINGER De Biere is the performer to whom credit for this splendid move must be given. De Bier was one of the greatest performers of his day and he excelled with Billiard Balls. It is thirty-five years since I saw him use the move, and I have not seen it used since. It seems a great pity, for it is definitely outstanding to see the ball pop up between the third and fourth fingers, with almost no movement of the hand or at most a very slight one. The six views are taken from the rear. The ball is palmed as in Fig. 1. The third finger reaches across the ball as far as it can, wrapping itself over and around the ball, as in Fig. 2. The finger then retracts, rolling the ball with it to the position as in Fig. 3. The top of the thumb is then placed against the ball as in Fig. 4, and the fourth finger is then brought over the ball to rest against the thumb, as in Fig. 5. The fingers suddenly straighten out, and the ball pops up as in Fig. 6. This is easy enough when you follow each move carefully, isn't it? Of course the moves blend more nearly into one with practice. These separate moves blend more nearly into a single move with practice, but take it slowly at first. Speed will come later. I have found that a slight, almost imperceptible little toss of the hand considerably aids in getting the ball into position shown in Fig. 3.
184
THE "DE BIERE" PRODUCTION OF A BALL FROM THE PALM TO THE THIRD AND FOURTH FINGER
185
THE "BALL ROLL" FROM FINGER TO FINGER This is not only a very pretty and dexterous move to watch, but it serves a double purpose of very great value to the ball manipulator. First, it permits the performer to sustain attention on the hand while he procures another ball with the hand that is seemingly disengaged. Also, it is one of the best exercises for developing dexterity in the fingers and stabilzing the palm muscles. While the six photos are self explanatory, for the sake of clearness I am describing each move. The ball is held between the first finger and thumb of your right hand. The second finger is then carried under the ball to rest against the side of the thumb, as shown in Fig. 1. The thumb releases the ball, and the fingers, on straightening, carry the ball to the position shown in Fig. 2. The third finger then moves under the ball and rests against the side of the first finger. See Fig. 3. The fingers again straighten, and the ball is carried to the positon shown in Fig. 4. The fourth finger is then carried under the ball until it rests against the second finger, as in Fig. 5. Again the fingers straighten, and the ball is carried to the position shown in Fig. 6. The thumb reaches across the ball to rest against the fourth fingertip, and the first finger is placed against the third fingertip. The thumb and first finger return the ball to the first position described, not shown. The foregoing moves are repeated. Practice slowly at first, and later as you acquire speed the return action from the last to the first position is so fast that you cannot tell the ball is not rolled back, finger to finger, and though this latter move may be
186
accomplished, I do not recommend it as the other action explained is quicker, and I believe it is the better one. It is used today by all the top ranking ball manipulators. It had a place in my ball routine more than 27 years ago.
THE "BALL ROLL" FROM FINGER TO FINGER
187
THE "BALL ROLL" WITH ANOTHER BALL CONCEALED IN YOUR PALM This is like the first "ball roll" described, but it has a different purpose. It apparently convinces the watcher that your hand is empty, other than of the ball being manipulated, because of the seeming impossibility of holding a ball palmed while you so dexterously roll a ball between your fingers. If you can palm a ball, which I assume you can, and you can roll a ball which you are advised to learn from the foregoing explanation, then you are going to have very little trouble indeed to do both of these things at the same time, as you will find for yourself after a little practice. Remember, knowing what your fingers are supposed to do puts an end to more than four-fifths of the trouble. Observe the illustrations and note the way each finger lies in respect to the others. I repeat, this move will repay any ball manipulator far more for the time spent in its perfection than any other that I know, so be patient and practice with determination. The moves are exactly similar to those described for the "Ball Roll" from finger to finger so I will not repeat the description but refer you to the description already given under that heading.
188
THE "BALL ROLL" WITH ANOTHER BALL IN THE PALM
189
"THE KNEE ROLL VANISH" The photos were taken from the left side to expose the moves to your view. The right hand, with back of hand towards audience, holds the ball between the extended second and third fingers, and the left hand takes the ball between the first finger and the thumb. See Fig. 1. The fingers of the left hand close but not around the ball. They press the ball against the left leg just above the knee (see Fig. 2), and the left hand is rotated on the ball, palm outwards (see Fig. 3). At the same time the right hand, also palm outwards, is brought partly behind the left hand so that the third and fourth fingers of the right hand pass each side of the ball and support it. See Fig. 4. Turning partly towards the left, both hands carry the ball thus concealed to shoulder level. See Fig. 4. The right hand supports the ball between the third and fourth fingers, while the left hand conceals it. The left hand is then rotated to bring its palm towards the ball, as in Fig. 5. The ball is palmed by the left hand, and the right hand moves away. The left hand produces the ball between the third and fourth fingers, as heretofore explained. See De Biere's production.
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FIG. I
FIG.2
THE STRIKE VANISH The extreme simplicity of this move may discourage its use, but permit me to assure you it is quite as effective as others requiring a great deal more skill. The views are taken from the rear. The left fist supports the ball. The palm of the right hand is brought smartly down on the ball as though to strike it into the closed right hand. See Fig. 1.
The left hand is immediately turned over and raised to a position above the right hand. See Fig. 2. The left hand then appears to squeeze the ball away and is turned palm toward the audience as it is opened. The right hand produces the ball as fancy dictates. Do not pass this without trying it.
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THE "WRIST ROLL" AND PALM OFF VANISH The ball is produced, as heretofore explained, at the third and fourth fingers (see Fig. 1), and then allowed to fall into the right hand, as in Fig. 2. The ball is then thrown from the right hand and caught by the left hand. See Fig. 3. Figs. 1, 2 and 3 are as seen by the audience. Figs. 4, 5 and 6 are rear views. The ball is rolled from the palm by the tips of the second and third fingers of the left hand to the left wrist. See Fig. 4. The left hand is then turned. The right hand conceals the ball. See Fig. 5. The left hand remains closed as if it retained the ball. The right hand, with the ball palmed, moves away, and the left hand is opened, the ball being produced as desired. 193
CONCEALING A BALL BEHIND THE HAND WHILE BOTH PALMS ARE SHOWN This six views are all self-explanatory. They are taken from the rear. The ball is palmed in the left hand. The fingers of both hands are interlocked, the first finger of the right hand being uppermost in the interlocked position. See Fig. 1. That is important. The thumb and first finger of the right hand seize the ball as in Fig. 2, and the hands rotate to bring the palms outward, but the ball is always hidden by the left hand. See Fig. 3. As the palms of both hands are brought towards the audience, the fingers are separated, the ball being held in position by the right thumb tip. See Fig. 4. The right hand then moves over behind the left, as in Fig. 5, and palms the ball. The right hand remains in this position, and you turn left to bring the right side of your body towards the audience, and likewise the backs of the hands. The right hand with the ball palmed is then moved away and the ball produced as your fancy dictates. This is not a new move but there are important points in the description not previously given such as the interlocked position of the hands and the method of recovery.
194
CONCEALING A BALL BEHIND THE HAND WHILE BOTH PALMS ARE SHOWN
195
COLOR CHANGES
I Original Methods) Color changes, when well performed and good, are always extremely popular. I have given several different methods as I find it desirable to have a repertoire in this branch of ball manipulation.
Method 7
This explanation includes a plate with four photographic views, all taken from the rear. The right hand holds a red ball concealed in the palm and a white ball opened displayed between the first finger and thumb. The left hand, palm out, is held at shoulder level, with your right side towards the audience. Place the white ball in the left hand, close it and turn it over. Lower the right hand a little for a moment, and finger palm the red ball. See Fig. 2. Then raise the right hand smartly to the left, and just as it reaches the left hand, produce the red ball between the fingers and thumb of the left hand, where it is partly inserted by the right hand. This, when correctly done, appears that the white ball changed to red, and is now emerging from the left hand. See Fig. 3, which shows the red ball being pushed into place before it emerges. The ball is squeezed out of the left hand and is caught on the closed right fist. The left hand, with the white ball palmed, is immediately above the left hand, with thumbs touching. The left hand is rotated without separating the two thumbs. This brings the white ball, concealed perfectly by the closed right hand during the rotation of the hand, to the right palm. The white ball is then palmed in the right hand, and you are back to the first position and may repeat the moves or follow on to the next.
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Co/or Changes
197
Co/or Changes
Method 2
Following on from the last position of the two balls, the white one palmed in the right hand, the red one on the closed right fist, the left hand behind the right hand, having first transferred the white ball to the left palm. This method is illustrated in six photographic views. The left hand takes the ball from the top of the closed right fist and holds it by the pads of the fingers against the palm. See Fig. 1. The left hand is then lowered behind the right hand, as shown in Fig. 2. When the left hand is concealed from the audience's view, the white ball is palmed, and the left hand fingers straighten at the same time. The palmed red ball in the right hand is rolled under the pressure of the right hand fingers to the finger palm position of the right hand. Fig. 3 is a view of Fig. 2 taken from above, looking down into the hands, and shows the exact position of the two balls. The right hand is drawn towards the left wrist, carrying the white ball now palmed, and the left fingers curl around the red ball to keep up with the move so as to give the appearance the fingers around the ball never altered during the change, simply that the left hand was drawn over the white ball and it changed to red. Fig. 4 is a view also taken from above to show the move in action. Fig. 5 depicts the red ball coming into view. The left hand places the red ball on the closed right fist to complete the change.
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FIG.2
Co/or Changes Method 3 The red ball is rolled to the first and second finger position, and then rolled down to the fourth finger. The manner in which this is accomplished has already been explained and illustruated. See the "Roll down". The balls are now held in the right hand in the position as shown in Fig. 1. Figs. 1, 4, 5 and 6 of these illustrations were photographed from behind, and Figs. 2 and 3 were made at an angle for the best explanatory reasons. Standing with your right side towards the audience, the left hand is held at shoulder level, palm facing the audience. The right hand is brought up to the left hand so that the white ball is pressing into the left palm. See Fig. 2. The left hand palms the white ball, and the two hands rotate on the red ball. This brings the hands into the position shown in Fig. 4. The first finger of the left hand presses into the fork of the right thumb, and the right hand palms the red ball. The left hand closes on the white ball, as in Fig. 5. The left hand is raised and the right hand lowered, and the white ball is produced at the third and fourth fingers, as depicted in Fig. 6. The left hand is turned around and the white ball placed on the closed right hand.
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Co/or Changes
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Color Changes
Method 4
The four views depicting the moves of the fourth method are all taken from the rear. A red ball rests on the closed right fist, back of the right hand towards the audience, and on the palm is a white ball. The left palm is brought, palm to palm, with the right hand, and the white ball palmed into the left hand. The left hand is then rotated, protected by the cover afforded by the right hand, and placed directly under the right hand, as in Fig. 2. The right thumb opens and the red ball seems to pass into the left hand, but what takes place is that the right hand stops the descent of the red ball and palms it therein, while the left hand simulates the act of catching it. Actually, it simply closes around the white ball already in the palm. See Fig. 3. The left hand is raised, and the white ball is produced at the third and fourth fingers, as shown in Fig. 4.
"THE THROW
VANISH"
This move though not accompanied by any illustrations is far too important to be left out and it can be learned from the text. A ball is held between the first finger and thumb of the right hand. You are standing with your right side towards the audience. The back of the left hand is also towards them. The ball is thrown up to the left hand and caught and a moment later released and caught by the right hand. The move is repeated. The third time the ball is palmed, the left hand closing as though it actually caught the ball. A thoroughly convincing sleight. 202
COLOR CHANGES
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THE BALL AND THE HANDKERCHIEF This makes a nice interlude to any ball routine. The illusion is that a ball placed in the center of a silk handkerchief passes through its center without leaving a hole. A two-inch colored ball is held in the right hand. The two middle fingers press the ball against the palm to retain it, (not conceal it), while the first fingertip and thumb of the right hand seize a corner of a pocket handkerchief and pull it from the pocket of your coat. The first finger and thumb of the left hand take hold of the adjacent corner, and in this manner the handkerchief is held up, displayed before your audience. With a short, upward toss, the left hand releases its corner and immediately places the left hand palm upwards under the center of the handkerchief. The ball is dropped from the right hand onto the center of the handkerchief resting on the left hand. The first, second and third fingers and the thumb of the left hand balance the ball on the fingers and thumb tip, so that it is plainly brought to view. The fingers and thumb of the left hand then move the handkerchief up around the ball in a rolling motion until the ball is completely concealed by the folds of the handkerchief. The right hand then takes hold of the corner of the handkerchief nearest the body, with the palm of the right hand uppermost. The ball is allowed to roll down the handkerchief under cover of the folds of the handkerchief to the right hand. It is palmed, and both hands are turned over. The left hand is still half closed as if it contained the ball inside the handkerchief, hanging corners downward by its center from the left hand. The right hand, with the ball palmed, is moved up to the left hand behind the handkerchief, bringing the ball to the fingers of the left hand, where it is held between the right hand palm and the two middle fingers of the left hand. The fingers of the right hand pass around in front of the handkerchief, the thumb around the back of it. The left thumb and fingers release their hold when the first finger and thumb of the right hand pass around the handkerchief near the ball. The second finger and thumb of the left hand pass around the handkerchief from behind and between the right hand and ball, and the right hand is withdrawn. The right hand then takes hold of the corners and tugs gently downward several times. As the 204
The Ball and The Handkerchief ball comes into view as if it were penetrating the handkerchief, the handkerchief is finally pulled away, and the ball remains on the left hand. Or you may prefer to seemingly cause the ball to vanish after dropping it into the middle of the handkerchief; in that case after the ball is palmed in the right hand and the handkerchief is held corners down from the middle in the left hand, the right hand holds one corner as the left hand lets the center of the handkerchief fall presenting an appearance of a very pretty vanish.
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THE PRODUCTION OF EIGHT SOLID BALLS AT THE FINGERTIPS WITHOUT A SHELL This, my friends, is really something that has required a lot of ingenuity. First of all, there was the problem of arrangement, and then the difficulty of concealment. However, like most things, it is relatively simple when these and the manipulative problems are all solved for you, as is the case here. Follow the instructions implicitly and you will find fairly smooth sailing. So let's go to work. The eight balls are concealed as follows: one and two at arm's length behind the right leg in the ball holder hanging from your belt; three and four in the same position behind the left leg; five and six at the vest line on the right side; and seven and eight at the vest line on the left side, suspended from shoulder straps. These are the places in which the balls may be most suitably concealed and yet be readily procured secretly, as required. My ball holders are made of hard drawn copper or bronze wire, about one-sixteenth inch in diameter. They are fastened together in pairs so that they will remain in their proper places. Each of the holders retains two two-inch balls securely in place, but releases them readily when a light downward pressure is applied to the ball. As a precautionary measure against the balls being seen as you are moving about, a loose fitting cloth cover of a dark or similar material to your clothes is fastened, mouth downward, over the holders. I have found evening dress clothes the most suitable for this ball production act, mainly because the dress coat terminates at the vest line, forward of the hips. This is very desirable for obtaining the last four balls from the vest level which I have found to be the most practicable. Assuming you are dressed in evening clothes and the balls have been arranged as explained, you obtain ball One from the holder at your right leg. This is done while you stand facing your audience, or with your left side partly towards them. With your left hand seize your handkerchief by one of its protruding corners between your left thumb and first finger, while you carefully and intently watch this action, draw the handkerchief from your handkerchief pocket. At the same time synchronize the act of secretly procuring Number One ball, and, palming it in your right hand, turn left as you hold the handkerchief up by the corner so the left hand is seen otherwise quite empty. The right hand, with the ball palmed, lightly takes hold of the handkerchief around the middle and strokes it; as you stroke the handkerchief with the right hand, you face the audience. This act gives the impression that the right hand must also be empty. As the right hand passes off the end of the handkerchief, you close the fingers of your hand around the ball, and, finger palming the ball, pass your thumb and fingers around opposite sides of the handkerchief,. 206
Production of Bight Solid Balls at the Fingertips and then move your hand downwards to again stroke it. As you do so, your thumb rolls the ball into position between the thumb and second fingertip, and the handkerchief is drawn away, revealing the ball held at the thumb and second fingertip. Hold the handkerchief by the two adjacent corners. The ball is held in the right hand. Let go the left corner and place the left hand under the middle of the handkerchief. Lay the ball in the middle and grip the ball through the handkerchief with the thumb and second finger of the left hand. Turn the hand over so that the four corners of the handkerchief fall downwards, the handkerchief concealing the ball. The first fingertip moves over the ball and pinches a small piece of the handkerchief against the left thumb. The right hand, palm up, takes a hold of a corner of the handkerchief, and the second finger of the left hand releases the ball, which falls into the right hand, where it is palmed as the right hand pulls the handkerchief away from the left hand. The handkerchief corner held by the right hand is then transferred to the first finger and thumb of the left hand, and the right hand again strokes the handkerchief twice, as before explained, the second time producing the ball. (If you prefer it, this ball may be a different color to the eight balls. In that case it is returned to the holder, a special one like those at the vest, and the first of the eight balls secured. Procurement of this ball is accomplished when the handkerchief is transferred to the thumb and finger of the left hand and the ball is vanished. You bring your left side towards the audience and smartly but unhurriedly press the ball back into its holder, from the finger palm position, and procure the ball of another color. You simply repeat the moves as described. This is a very pretty move, as you will realize when you try it.) The ball, having been produced, is transferred to the left hand. As you drop your right hand to secure the second ball, the left hand tucks the handkerchief back in your pocket. You watch the action intently. With the ball procured in the right hand, you turn slightly left as you bring up the right hand and take the ball from the left hand, which completes the replacement of the handkerchief in the pocket. The right hand now has one ball showing and one secreted in the palm. Execute the "roll down" (described herein). While doing so, you secretly procure two balls with your left hand from their 207
Production of Eight Solid Balls at the Fingertips
holders on the left leg. Your right side is towards the audience while you are doing this. Now bring up the left hand with the back of the hand towards the audience. Place the ball you have rolled to the third and fourth fingers of your right hand in between the third and fourth fingers of your left hand. At the same time secretly transfer the finger palmed ball in the left hand to the finger palm position in the right hand. Extending your right arm, produce the ball at the thumb and first fingertips, immediately rolling it back and forth between the fingers, (see roll with ball palmed) terminating the roll at the third and fourth finger position. Bring the right hand up to the left and transfer this ball to the second and third fingers of the left hand. As the transfer is completed, rotate the left hand and secretly transfer the ball in the palm of the left hand to the finger palm position of the right hand. With the right hand, produce the finger palmed ball at the thumb and first fingertip. Execute the "Roll down" several times, and then transfer it from the third and fourth fingers to the first and second fingers of the left hand. (See Fig. 6, plate K). Again extend the right arm and produce the ball from the right palm, roll it back and forth and transfer it to the thumb and first finger of the left hand. (See Fig. 3, Plate K). Display the four balls as though you had reached the climax. You do this by looking towards the audience and smiling, but as you do so, the right hand is brought in front of your right side, and secretly procures the two balls from the holder. You reach out as before and produce the ball that is finger palmed, and repeat the roll. While you do this, the two balls from the left holder are pressed into the left palm. This is not as difficult as it may seem. The fact that you have four balls between your fingers aids the procedure and helps conceal the extra balls. The rolling action holds the attention so you do not have to hurry. You finish the roll with the ball between the first and second finger, and then roll the ball from the palm with the second and third finger, and then to the thumb and second finger. The third finger smartly moves it into place between the third and second fingers.
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Production of Eight Solid Balls at the Fingertips
Plate K
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Production of Eight Solid Balls at the Fingertips The hand is shown back and front and brought to the left hand palm, facing palm. Four balls are between the fingers and two lying on the palm of the left hand, palm upwards. The right hand has two balls between the first, second and third fingers. The palm of the right hand is placed on the ball in the palm of the left hand nearest the fork of the middle fingers. The right hand is then drawn towards the left wrist. This action brings the ball that is in the palm of the left hand into the palm of the right hand, and at the same time rolls the ball at the fork of the middle fingers of the left hand into the left palm proper. The left hand is then turned over to bring the back of the hand towards the audience, and the right hand clicks the balls against the balls in the left hand and moves away to produce the secretly palmed ball. This is done by bending the third and fourth fingers around the palmed ball. Bending the hand open and holding the ball under the third and fourth fingers, the thumb moves the ball up to be held between the thumb and third fingers, while the fourth finger moves it into place between the third and fourth fingers. Both hands are brought palm to palm again to click the balls together, and the ball in the left palm is secretly transferred to the right palm, which moves away from the left hand. This ball is produced from the palm by first tilting the right hand down at a slight angle and letting the ball roll down to the center position of the other three balls. The right thumb is moved over to rest its tip between the fork of the third and fourth fingers and touch the side of the eighth ball. Straightening the thumb, the ball is rolled up smartly into place between the first finger and thumb. You turn facing the audience. Both hands are brought up to head level, one hand at each side, backs of hands towards audience. The hands are then lowered, palms to audience, as you bow. Allow the balls to fall on something so that their solidity is self evident. Curtain. The moves will be clearly understood from the illustrations. In order not to confuse you, I did not tie in the illustrations with the description, but explained them separately. Don't let this frighten you. It is not nearly as difficult as it sounds, though it is assumed that you are a fairly capable exponent of the art of manipulation before you attempt this act, for you would hardly be likely to attempt exercises in mathematics before you learned the rudiments of arithmetic. This is an alternative method that may prove more practical 210
Production of Eight Solid Balls at the Fingertips for the production of the last four balls between the fingers on display. This gives the performer a moment when the audience is not likely to be watching over-critically, mainly because this climax seems to them to indicate the production is finished. The two balls on the right side vest holder are secretly secured in the right hand and held, one ball finger palmed and the other ball in the palm muscles of the right hand. The right hand reaches out to the left, and the finger palmed ball is produced between the first and second finger. The production of the second ball follows, being produced by first closing the second and third fingers around the palmed ball and by straightening the palm of the hand, rolling the ball to the finger palm position. The thumb is then placed under the ball and rolls it up slightly, where it is supported between the thumb and second finger. The third finger is then laid against the thumb. The hand is straightened with a ball between the first and second fingers and a ball between the second and third fingers. The hand is then turned palm out and back again. The two hands are brought palm to palm, and the balls in each hand clicked together. The left hand presses the ball held between the thumb and first finger into the right palm, and the left thumb is held against the left first finger and the left hand turned over, so the back of the left hand is towards the audience. This action prevents the spectators from observing the ball is not between the left thumb and first finger. The right hand produces the third ball from the right palm by closing the third and fourth fingers over the ball in the palm and then straightening the palm. The ball is held under the third and fourth fingers. The tip of the right thumb is placed against the ball, and the ball is rolled up slightly to be supported between the thumb and third fingers. The fourth finger is placed against the side of the thumb. The thumb removes its support, and the ball is produced and held between the third and fourth fingers as the hand is straightened out. At this moment the thumb and first finger of the left hand secretly procure a ball from the vest holder. The hands are brought palm to palm, and the balls clicked together. The first finger and thumb press the ball into the palm, and as before the left hand is turned over. The right hand now has 211
Production of Eight Solid Balls at the Fingertips a ball between the first and second fingers, the second and third fingers and the third and fourth fingers, and a ball on the palm. The right hand reaches out and slightly downwards at an angle so the ball in the palm will roll when released against the ball between the second and third fingers and between the other two balls. In this position the thumb is brought under and against the ball, and the ball is easily rolled to position between the thumb and first finger. Immediately the balls are clicked together, the hands then are raised, one at each side of the head, backs of the hands towards the audience, and then both hands are lowered to waist level, palms out. Figs. 1, 2 and 3 of Plate Kl are audience views of the hands, while Figs. 4, 5 and 6 are the same positions as 1, 2 and 3, but taken from the rear. Figs. 1 and 4 show the two hands extended to the performer's left, with two balls held in each. The position is maintained only momentarily so the audience is not allowed any lengthy opportunity to ponder the whys and wherefores. The right hand is extended beyond the left, and a ball appears between the first and second fingers. The ball is rapidly rolled down to the second and third fingers, and then to the third and fourth fingers, and is immediately transferred to the third and fourth fingers of the left hand, as depicted in Figs. 2 and 5, plate Kl. The finger palmed ball in the left hand is simultaneously transferred to the finger palm position of the right hand. The right hand is extended beyond the left hand, and the finger palmed ball is produced between the first and second fingers as was previously explained. The ball is rapidly rolled to the third and fourth finger position, and then the ball is transferred to the second and third fingers of the left hand. This move is depicted in Figs. 1 and 4 of Plate K2. The left hand is turned over, and the ball in the palm of the left hand is secretly brought to the finger palm position of the right hand, and transferred as shown in Figs. 2 and 5, Plate Kl. The right hand is extended beyond the left hand, and the finger palmed ball appears between the first and second fingers, rolled to the third and fourth fingers and transferred to the first and 212
Production of Eight Solid Balls at the Fingertips
Plate Kl
213
Production of Eight Solid Balls at the Fingertips second fingers of the left hand, as shown in Fig 3, Plate Kl. Fig. 6 is not a rear view of Fig. 3. The left hand is rotated to bring its empty palm towards the audience. The right hand produces the ball from its palm, and rolls it down to the third and fourth fingers as heretofore described, and transfers the ball to the thumb and first finger. Or you have an alternative method of producing the first ball from the right hand finger palm position. The second ball is transferred from the finger palm position of the left hand to the finger palm position of the right hand, and produced. The third ball is produced from the right hand palm, and as it is placed into position in the left hand, the left hand is rotated and the ball in the left palm secretly transferred to the right hand. This move is shown in Fig. 6, Plate Kl. The ball is then produced and placed into position between the thumb and first finger of the left hand, and the four balls displayed, while the right hand secretly procures the two balls from the vest holder. The right hand now has a somewhat difficult job to do to produce four more solid balls, so let us carefully examine Plate K3* These are all rear views of the moves. Fig. 1 shows the position following the position as depicted for the right hand in Fig. 1, Plate Kl, where the two balls are kept one in the palm and one in the finger palm position. We proceed as follows to produce the finger palmed ball. The right thumb moves over the finger palmed ball and rolls it up with the right thumb against the first finger, and the second finger closes under the ball, as shown in Fig. 1, Plate K3. The hand opens, and the ball is displayed between the first and second fingers. The ball is rolled down to the fourth finger and transferred back to its first and second finger position. The two middle fingers then close over the palmed ball and retract the ball to the finger palm position. The right thumb then moves into position against the ball as depicted in Fig. 2, Plate K2. The third finger of the right hand then closes under the ball as shown in Fig. 3, Plate K2. The hand is straightened, and the two balls are displayed, one between the first and second fingers and one between the second and third fingers. At this point the right hand is brought to the left hand, palm facing palm, and the balls in the right hand are struck twice sharply against the two balls held by the second and third and fourth fingers of the left hand, and then against the other two balls held by the thumb and first finger and the first finger and second finger. This detail is important, because as the hands are moved apart, the ball held by the thumb and first finger of the left hand is pressed into the palm of the right hand, and the thumb of the left hand closed against the first finger of the left hand. This is done as the left hand is turned over to bring the back of the hand towards the audience. .214
Production of Eight Solid Balls at the Fingertips
Plate K2
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Production of Eight Solid Balls at the Fingertips The right hand extends out, and the ball is produced from the right palm by first wrapping the third finger over the ball and then retracting it. Then place the thumb against the ball and pass the fourth finger underneath it, as shown in Fig. 4, Plate K2. The hand is then straightened, and the ball displayed. A ball is now between the first and second, second and third and third and fourth fingers. During this time the left hand conveniently recovered a ball between the thumb and first finger from the left vest holder, and the two hands are brought palm to palm and the balls struck together sharply. As the hands separate, the ball between the first finger and thumb of the left hand is pressed into the right palm as heretofore explained. The hands are moved apart. The left hand turns over. The right hand produces the ball from the palm as the left hand steals to the left vest holder for a ball to replace the one secretly transferred to the right palm. The eighth ball is moved from the palm to the finger and thumb position, as depicted in Figs. 6, 7 and 8, Plate K2. Fig. 6, Plate K2, shows the ball released from the palm, rolled against the ball between the two middle fingers. The thumb is instantly moved over the ball, as depicted in Fig. 7, Plate K2, and rolled up to be displayed, as shown in Fig. 8, Plate K2. Fig. 9, Plate K2, shows the eighth ball being transferred from the thumb and first finger of the left hand to the palm of the right hand. Both hands click the eight balls together. The hands are raised to each side of the head as the performer faces the audience. Then as che performer bows, the hands are lowered to waist level, and the balls are released to fall on a tray so their solidity is instantly apparent. The applause you will receive from any audience will repay you for the time you spend to produce this masterly illusion with solid balls. Referring to Plate K3, this shows a variation in the method for producing the last four balls. It may appeal to some more than others, so I offer it only for completeness. As the right hand displays the first four balls produced and the right hand takes advantage of the moment to secretly procure two balls from the right vest holder, the left hand gets into position to press the balls from the left vest holder into the left hand. The right hand is extended towards the left to produce the finger palmea bail, and then the palmed ball. The hands are brought together, and the ball in the palm of the left hand is transferred to the palm of the right hand. The ball in the finger palm position of the left hand is rolled to the palm of the left hand. The seventh ball is produced, and the hands, on being brought together again to strike their balls together, transfer the eighth ball to the right palm, from where it is produced as heretofore explained. The additional balls are not noticed because of the four balls the left hand is holding. These moves are clearly depicted in Figs. 1 to 6 of Plate K3. If you have good hands, and want to do it, you will! 216
Production of Eight Solid Balls at the Fingertips
Plate K3
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PRINCIPLES and DECEPTIONS Concluding Remarks
The very pleasant task of writing "Principles and Deceptions" is completed, and I await the judgment of my. friends and critics to learn how well this effort will be received. To write and publish a book of this magnitude, containing three hundred and fifty-eight separate illustrations, is no mean task, especially when you are the model for the illustrations and the author as well as the publisher of the book. It has been a very enjoyable task indeed. I have given my best, sparing neither expense or trouble wherever I thought the effort or material would be of benefit to the reader. It is my hope and desire that I shall not only keep the many friends that I have now, but that this book will encourage many more, for I believe in the adage: "The man may be judged by the friends he keeps." Magic is a wonderful art. There is no such thing as a "master of magic", for magic as a subject cannot be mastered. There is always something that eludes you for the present, a different new thought that creeps in on us or strikes suddenly from remote places, and thoughts from many that tangle to give birth to new ideas in magic. Magic may be traced as far back as the Bible, and I believe will live on to eternity. There are very few people who do not relish an illusion when it is skillfully performed, whether it be with a deck of cards, a billiard ball or a coin, or a transformation on the stage of a woman to a cherry tree. The interest centers around the mystification which magic affords us because without this one ingredient it is not magic, no matter how well it is presented or how much the performer succeeds in entertaining us. He must succeed in mystifying us if he be a true magician. I say this to you here because the truth is readily apparent if you will reflect for just a moment. When you are thoroughly aware of this, remember it always, for your strength lies herein.
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Concluding Remarks
Make up your mind to protect the secrets of what you do in magic, and aim to mystify. Always try to present the mystery in a subtle, entertaining manner. Select those things to combine harmoniously with the surroundings, things that are appropriate to the occasion, those things that suit you and your mannerisms and personality, or otherwise be prepared to adapt your personality to suit these mysteries of your selection. Don't be afraid to practice, for nothing was ever attained without the required effort. And above all things, don't lose your temper; if you do, then smile on the incident, no matter how provoking. Then later you shall laugh. If misfortune should befall you while presenting some magical effect, don't speak about it to your audience, apologizing for this and that, but carry on. Then the chances are no one will remember, or if they do, their memory will fail them all the sooner. Billy Robinson (Chung Ling Soo) said he never really knew his act until everything had gone wrong that could possibly go wrong with it. And other great artists have said the real test of a performer is his ability to keep his audience in ignorance of the happening when something unpredicted happens during a performance. It is a great mistake to present ah effect before the public without due and proper rehearsal, and it is often fatal to do so without being completely conversant with each and every detail, including just what to say and how to say it. The only reason that the late John Barrymore could deviate from his part in a play was because he had so thoroughly mastered the part first. That is the real essential—know the part before you try to ad lib. If you try it otherwise, you are heading into dangerous territory.
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Concluding Remarks
I think that herein lies the difference between the amateur and the professional. The former seldom knows his part, or in fact often has no part at all. He is not experienced in the knowledge of just what his part should be, so he blunders on; while the professional knows exactly what he must do and when to do it, and what to say and when to say it, and how to say it. That, I think, is the true dividing line between a performance presented by most amateurs and professional magicians. I do know of several amateurs that present their acts as commendably as many professionals, but these all have had some professional experience. Don't make your performance unduly long. Remember, it is far better to send an audience away hungry for more than completely satiated. Select the things you do with care, and exercise good judgment in the order of their arrangement, for several effects may be each in themselves excellent, but they may not combine into a routine as well as if they were interposed with others. This I think you may well understand, and the routine that you propose to do must necessarily have a climax, for this is exactly what you should have been building up to in your routine. Because you do something better than you do something else in magic, don't persist in continually inflicting this on your friends, even though it may appeal to one or two of them, or you will probably be thought a bore, even though they may refrain from telling you so. Approach your magic intelligently, and keep it on that basis. And remember that a professional magician who makes his livelihood from magic should, and in all probability does, know a great deal more about this subject than those who do it as a part time job and practice it as a hobby. Before I close, let me say there are a great many things in magic that you can apply to your proposed routine. Some of these things you may find herein.
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Concluding Remarks
That is the main purpose of this book, that you shall glean something useful from its pages. I have often been asked: What are the essential qualities for developing a successful magician? I have pondered this question, and here is my answer. First, a love of magic; second, an aptitude for its performance; third, a pleasing personality; fourth, self control; fifth, a sense of humor; and sixth, persistence or an overwhelming desire to succeed as a magician. Besides these six essential qualities, you will require opportunity and salesmanship, besides an agent who has the ability and the desire to sell you, which often entails the right kind of publicity and the "know-how". You must not sit or stand around hoping and wishing for the opportunity, but make it, preparing yourself for the advent when it is here. Many of us do not always recognize opportunity as such when we see it, and so few of us are prepared to pay the price demanded for success. Seldom indeed is this mythical thing, success, a bed of roses, and when it is there are so many thorns and so little room on the top rung of the ladder. But really trying to get there often shows in itself a strength of character and a determination that is so commendable, and you will be a better man and a magician for the effort. I wish to thank once again all my friends who have contributed so much to "Principles and Deceptions, and to offer my thanks and gratitude to Harold Ripley. I have said my piece. Yours sincerely, Arthur Buckley.
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PRACTICE
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Reprinted From The Con/urors Magazine, Feb., 7947 CARD CONTROL BY See Cord Control Poge 83 ARTHUR BUCKLEY The long heralded "post graduate course on practical methods", CARD CONTROL by Arthur Buckley lives up to every bit of its advance publicity. Buckley is well qualified to compile this textbook on card principles which is undoubtedly a contribution to magical literature which will live through the ages. As long as playing cards are made (and magicians use them) just so long will Buckley's book live. We are taking the space which ordinarily would be devoted to a review of this book to let Dr. Harlan E. Tarbell tell you the story of Arthur Buckley. You have the word of Conjurors' staff that the book is the finest tome of this type ever published. The sleights are practical, beautifully described, remarkably well photographed and in general give both professional and amateur a deeper insight into card magic regardless of their experience, ability or background. Some choice gambling principles are revealed, easy-to-do card magic of all descriptions as well as close-up entertainment ideas are all given in this book which is beautifully bound in genuine buckram with gold stamping on backbone and cover. The composition is of large, well chosen legible type and the paper is an 80 lb. Coated which made this reviewer envious because such good stock has not been available in the New York market for some time. The $10.00 asked for the book is far too little. Get a copy today from your favorite dealer or write direct to the author-publisher, Arthur Buckley, 639 No. Homan Ave., Chicago 24, Illinois. Congratulations, Arthur Buckley! —Julien J. Proskauer, President, The Conjurors' Magazine, February, 1947. 223
A REAL CLASSIC GEMS OF MENTAL MAGIC By JOHN BROWN COOK and ARTHUR BUCKLEY
A splendid collection of new and baffling miracles; Close-up routines for press publicity, Complete Acts and Stage routines. How to Answer questions. A reference work en the subject of mental magic that will always be a standard guide for the discriminating amateur and also for professionals. GEMS of Mental Magic consists of thirty carefully tested presentations, any one of which will repay you handsomely. Ask your dealer for a copy. Price Six Dollars.
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