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GEORGE

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S e r ie s

JO HNSON,

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B u c k in g h a m

St reet,

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CONTENTS PAGE

T he Shooting Pellet

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Easy R opes and Rings ........................................... A Different R ing R elease . . .. .. .. T he M ilk G oes D ow n .............................. .. Silks from C o n fe tti......................................................... Oriental Cut and R estored........................................... The T.S. Safety R ice Bow ls

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Think o f a Card .. A G ood Prediction . .

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A N ovel C olour Change A Different Pass ..

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A False C ount ......................................................... M atching the Colours .. .. .. .. Telepathy Simplified .. .............................. G raphology Supreme .. .. .. .. A Different Stretching Rope

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G iant M atch Trick . .

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A n Easily Worked “ Stung” Trick .. !. Sun and M oon ......................................................... Bottle, Glass and D iscs

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Made and Printed in Great Britain by R

ic h a r d

M

a d ley

L t d .,

Newton Works, Fitzroy Court, London, W .l

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2 2 3 4 4 5 5 6

7 7 7 10 10 11 12 13 13 14 15 15

.

ONDENSEII

C

0 N J II H I IV G

By

TOM

SKLLEI i S

Author of "Tricks that W o rk /' etc.

—

W ILL ALMA ____ M.I.M.C. a O N D O N )

G

eo r g e

J

o h n s o n

,

The Magic Wand Office,

24, Buckingham Street,^Strand, W .C .2 19 4 1

T H E S H O O T IN G

PELLET.

Effect. The perform er sh ow s an em pty tin. H e hands ou t several slip s o f paper and requests a spectator to m ark on e o f the slips w ith a cross. T h e slips are n ow squeezed in to pellets and m ixed together. T h e perform er n ow takes on e slip out at a tim e and places it into the tin. O ne pellet jum ps high in the air. T his proves to be the m arked pellet. Requirements. A n em pty tin, and a rubber egg. T he egg should just fit easily into the tin, as sh ow n in F ig. 1. W hen y o u purchase a rubber egg there is a little h ole at the narrow end, this is to let the air in so it will expand w hen released after h avin g been com pressed. Y o u also require five slips o f paper. Preparation. A b o u t h a lf an inch from the top o f the tin, on the inside, place a liberal coatin g o f w ax. V est the rubber egg. M ethod. S h ow the tin em pty, then hand out the slips o f paper, offer a pencil to on e spectator and ask him to m ark his paper slip w ith an “ X .” T hen tell other spectators to squeeze the papers into pellets. N o w collect the pellets but see that y o u give the m arked one an extra squeeze so that y o u will k n ow it again. D rop all pellets o n a tray and have them m ixed. W hile this is proceeding, obtain the egg from the vest and secretly drop it into the tin. N o w take an unm arked pellet and apparently place it in to the tin, but actually press the pellet on to the wax, R epeat this with a second and third pellet, n ow take the marked pellet, and as you place it in to the tin, w ith your forefinger press dow n the top o f the egg, m aking a cavity as show n in Fig. 2, and drop the pellet in to this cavity. In three or four secon ds the egg will expand again, and the pellet w ill sh o o t high in to the air. This pellet is opened o u t and seen to be the m arked on e. It m ay seem queer to put a rubber egg to such purpose, but in any case it m akes the pellet jum p. y

EA SY

ROPES

AND

R IN G S .

O btain tw o lengths o f rope, sim ilar to that used in the w ell know n ropes and rings trick. T ak e on e piece and double it in the centre. G iv e it another twist as sh ow n in F ig. 4. N o w give lo o p B a twist to the left and place it over lo o p A , this w ill give you a figure as sh ow n in diagram 5. Take your other length o f rope and double it in the centre, see Fig. 6 , and place the tip o f this lo o p in to loop 2

of V ictoria C O L L E C T IO N ’

A , Fig. 6 . N o w draw the loop s tight and you w ill have tw o lengths o f rope jo in ed in the centre.

Ti c State Library ‘ALMA CONJURING

'

P ick up the rope, at the jo in , in your right hand, draw the left hand en d s through the left hand, transfer the join ed lo o p s to that hand and draw the right hand en d s through the right hand. Still keeping the jo in co n cealed in the left hand, w ith the right give the d ou b le rope a tw ist as sh ow n in F ig. 7. P lace the en d s through the lo o p in the direction o f the arrow. O f course n oth in g happens here althou gh y o u have apparently tied a k not. Just as you pretend to tie this k n o t y o u bring the join ed ropes in to view , the jo in will lo o k as i f it is the k n ot y o u pretended to tie. F rom the p oin t o f view o f the audience, you have picked up tw o len gths o f rope, draw n them through you r hands and then tied a k n ot in the centre o f the tw o ropes. F rom here onw ard the trick is w orked as usual and is so w ell know n that n o further exp lan ation is required.

A

D IF F E R E N T

R IN G

RELEASE.

EfTect. T h e perform er sh ow s a loop o f string w ith a ring on it. Several exam ined rings are n ow slipped over the string. It is seen that the rings can n ot slip off, ow in g to a single ring o f the sam e size being w ithin the lo o p . T h e end o f the lo o p is lifted up and held between forefinger and thum b ; w hen released all the rings fall to the floor excep t the o n e w hich w as originally on the loop . Requirements. F orm a piece o f string in to a lo o p by splicing or otherw ise, placing a ring within the lo o p before splicing, F ig. 9. N ex t ob tain tw o sh ort pieces o f string and k n o t them together as seen in Fig. 8 . Preparation. T ake the lo o p o f string and place it betw een the tw o sh ort ends as shew n in Fig. 9. M ethod. H old the loop at the knot as sh ow n in Fig. 10, Take five or six exam in ed rings and slip them over the end and loop o f the string, lotting the rings com e to rest on the single ring. H old the lo o p and lo o se ends very tightly and allow som eon e to try and take o ff the rings. W hen it is seen that this cannot be don e, lift the b o tto m end o f the lo o p , Fig. 10, and place betw een the fore­ finger an d thum b, beside the k not, but not between the ends this tim e. N o w release the other end o f the lo o p and the rings will fall to the floor, excepting the o n e on the lo o p , o f course. N o te .— Y o u w ill have to give the string a shake to m ake sure that the lo o p will co m e free from the short piece. 3

T H E M IL K . G O E S D O W N . Effect. T h e perform er show s tw o sm all w ine glasses. O ne is placed in a hat, the other is held in the hand and filled w ith m ilk. T h e m ilk is seen to get less and less, and w hen all has vanished the glass is laid aside. W hen the glass is rem oved from the hat it is seen to be full o f m ilk. Requirem ents. T w o sm all w in e glasses o f such a size that o n e o f them can be concealed in the curled fingers o f o n e hand. O ne o f the glasses has a pin -h ole drilled in the b ottom , see F ig. 11. Y o u also require a sm all pedestal and a hat, F ig. 13. A sm all jug o f m ilk is to hand. M ethod. T h e glasses are on the pedestal, the hat being in front and the jug a t the side. Pick up the unprepared glass in the right hand, the hat in the left, and sh ow both freely. R eplace the hat o n the table, apparently place the glass inside the hat, really c o n ­ cealin g it in the fingers o f right hand. W ithdraw the h an d , and at the sam e tim e take the other glass from the pedestal w ith the left hand, and place it in the right hand ab ove the concealed glass, holding it as sh ow n in F ig. 12. W ith your left hand, pick up the ju g o f m ilk and quickly fill the glass. Put dow n the ju g. M ake passes over the glass, as the m ilk runs through the pin h ole into the glass con cealed in your hand. W hen all the m ilk has run dow n, w ith y o u t left hand rem ove the glass, dip the right h and into the hat and bring to view the glass o f m ilk you have concealed in the hand. Pour the m ilk in to a ju g and exhibit the h at em pty. S IL K S

FROM

C O N F E T T I.

Effect. T w o cardboard cups are sh ow n , o n e is em pty, the other is full o f con fetti. T he confetti is poured in to the em pty cu p , and the cups nested. T he perform er dips h is fingers in to the confetti and rem oves several silks. Requirements. T w o cardboard drinking cups. R em ove the b ottom from on e o f them , and replace the bottom w ith o n e m ade o f tissue paper, see F ig. 14. Inside the other cup fix a cardboard tube, as show n in F ig. 15. F ill this cup w ith confetti. S h ow cup num ber 1 em pty (this is the on e with the tissue paper bottom ). Pour the confetti from cup num ber 2 in to cup num ber 1, and nest cup num ber 1 inside cup num ber 2. T he “ tube” w ill pierce the paper bottom , and g o right up through the confetti. D ip your fingers in to the con fetti, and rem ove the silks from the centre tube. 4

O R IE N T A L

CUT

AND

R EST O R ED .

Effect. T h e perform er runs a piece o f ribbon through tw o slots in a fram e, the ribbon is n ow cu t through the centre. A w ood en slide is placed over the cu t ends. T h e ribbon is w ithdraw n, and is fo u n d to be restored. W hen the slide is lifted from the fram e, this is seen to be blank. Requirements. A w ood en fram e w ith grooved sides as sh ow n in F ig . 16. T w o slots are cu t near the centre to allow the ribbon to pass through. T h e next requirem ent is a strip o f black cloth , this has a piece o f ribbon, o f the kind y o u intend using, fixed to either side o f the black cloth w ith w ax, see F ig. 17. T h is piece o f clo th is fixed to the top o f the fram e (sh ow n in F ig. 16) in such a m anner that the cloth hangs betw een the slots, the ribbon being in line w ith the slots. Y o u n ow require a piece o f tin, h aving a turned up edge, this is covered w ith black cloth and sh ou ld fit easily in to the fram e, see F ig. 18. A fancy slide is n ow m ade o f p ly w o o d as sh ow n in F ig. 19. T h is fits over the tin flap. Preparation. P lace the w ood en flap, F ig. 19, in to the groove in the tin flap, F ig. 18, and lay it asid e on a table. Turn the frame with its back tow ards the spectators, that is, the op p osite w ay to that show n in Fig. 16. Y o u are n o w ready to present the effect. M ethod. T ake a piece o f ribbon and run it through o n e slo t in the fram e, place hand behind fram e, and run the ribbon under the cloth flap, and through the other slot. T h e ribbon m ay n o w be drawn back and forth. N o w turn the fram e right w ay round. The piece o f ribbon on the flap is accepted by the audience to be the lo n g p iece. W ith a pair o f scissors, cu t this through the m iddle, the ends w ill hang d ow n . P ick up the flap and slide togeth er and place in to the frame. W ithdraw the ribbon and sh ow restored. R em o v e the slide o n ly, F ig. 4, and the fram e will be seen to be em pty. THE

T .S . S A F E T Y

R IC E B O W L S .

This idea enables y o u to w ork the rice b ow ls w ith perfect safety. Requirem ents. A b ow l w ith an inner lining as sh ow n in F ig. 2 0. T h is inner lin ing sh ou ld n ot be quite as d eep as the b ow l and should fit easily. T h e ou tsid e o f this lining is covered w ith rice, this being stuck o n w ith glue. A n other bow l is necessary, this h aving a disc o f wire m esh cem ented to w ithin a quarter o f an inch from the top o f the b ow l, see F ig. 21. 5

Preparation. P lace som e lo o se rice w ithin the sp ace between inner and outer b ow ls, stand the bow l right w ay up and fill it, heaped up, w ith rice. F ill bow l num ber tw o w ith w ater, then heap rice o n to p o f the wire m esh. Place a jug beside the tw o b ow ls. Presentation. Pick up you r w and and level the rice from both b ow ls. Pour the rice from the d ou b le b ow l on to the b ow l with the w ire m esh. S h ow the d ou b le bow l em pty, level the rice from the w ire m esh bow l, and invert the dou b le bow l on top . T o sh ow that the rice h as m ultiplied, rem ove the outer b ow l on ly, this w ill leave the “ sh ap e” in view , and the loose rice will fall round about the bow l. R eplace the ou ter bow l again, and invert both b ow ls. (T he water w ill run through the m esh in to the under b ow l.) R em ove the to p bow l and place on the table, then pour the w ater from the d ou b le bow l in to the jug.

T H IN K

OF A

CARD.

M ethods o f finding a card thou gh t o f have alw ays appealed to m e, especially w hen but few qu estion s have to be asked. H ere is such a m ethod. P lace a dab o f w ax on the to p card o f the pack, on top o f this lay a d ou b le backed card but do n ot stick it d ow n . F an the pack in front o f a spectator and ask him to think o f any card ; take care y o u d o n o t exp ose the “ dou b le backer.” W hen the card has been th ou gh t o f, place the pack behind your back, bring round the “ dou b le backer” and place it on the table, bring the pack to the front and ask the spectator o f what card he thought. W hen told, riffle through the pack till y o u com e to card, let it fall on the low er h a lf o f the p a ck , and turn the top h a lf right over, face up, on top o f low er half. The w axed card is n o w face up ab o v e the card thou gh t o f. Y o u con tinu e by saying, “ I thou gh t you would have thou gh t o f the tw o o f d iam on d s” (that is, if the tw o o f diam onds was the w axed card, o f course any card can be used). Spread the pack, and throw the tw o o f diam onds, w hich has the thou gh t o f card at the back o f it, o n to p o f the double-back card, partly overlapping. C on tin u e you r talk by saying, “ but nevertheless I did succeed in finding the card y o u thou gh t o f ” as you say this, pick up the tw o card s and turn them over with a flourish, sh ow in g the other side o f'th e tw o o f d iam onds, the “ dou b le backer” being taken for the back o f the tw o o f diam onds. 6

A

GOOD

P R E D IC T IO N .

Place the card you intend to prc'dict in you r right jacket p ock et. H ave the pack o f cards in your left jack et p ock et. T o w ork the cffect, take a sm all piece o f paper, write the nam e o f the single card on it, fold it up and place in the right hand p ock et but before rem oving the hand palm the card. W ith the left hand rem ove the pack from left hand p ock et, h old this as in F ig. 22, A sk som eon e to insert a k n ife blade anyw here in to the end o f the pack. W ith the right hand, w hich con tains the palm ed card, rem ove all the cards ab ove the knife blade, gripping them at the corners as show n in F ig. 23. Here com es the deceptive m ove. M o v e the right packet over to ab ove the left thum b, so that the palm ed card can be dropped t secretly o n to p o f the packet in the left hand ; im m ediately this has 5 b e e n d on e, turn the right hand palm upw ards, sh ow in g the face -Hof the under card o f the packet, sayin g to the spectator “ you have ■§ ( jc u t at the seven o f clubs, (or w hatever the card is), and the card ■£ UJon top o f the low er h a lf is the ace o f d iam on d s.” H and ou t the j P a Per from you r p ock et, and con tin u e : “ y o u w ill see that is the ^ G c a r d I predicted.” T h e dropping o f the card on to the low er h a lf o f 0 ^ t h e pack, and the turning o f the right hand palm upw ards m ust Q be accom plished in on e sm ooth m ovem ent.

£5

sS 3 D

I

A

NOVEL

COLOUR

CHANGE.

"c3 §

H o ld the pack in the left h an d . W ith you r right sid e to the spectators, grip the pack at the tw o b ottom corners w ith the first o finger and thum b o f you r right hand, F ig. 24. N o w separate the S pack ab ou t the centre, w ith right hand, and raise this, the front J jj h a lf o f the pack , right up to the top o f the rear h a lf w hich is in the left hand ; at this p oin t you r right little finger presses on the ■" low er corner o f the front card o f the rear h a lf o f the pack, and levers it in to the right hand palm , F ig. 25. T h e front h a lf o f the pack is n o w sw ung round in the direction indicated by the arrow in F ig. 26, and placed betw een the fingers o f the left hand as sh ow n in that diagram . T he top h a lf o f pack is n o w stroked with the right hand, the palm ed card being left on the face o f this packet and the co lo u r ch an ge is thus com pleted.

£5

A D IF F E R E N T P A S S . H ave a card selected and w hile the helper is n otin g it, square up the pack in the left hand and h old w ith the right, as sh ow n in the 7

9

illustration (F ig . 27). Y o u w ill n otice that the first finger and thum b o f the right hand h old s the right hand to p and b ottom corners o f the pack. L ift the top h a lf o f the pack, and carry it over till it rests on th e left forearm . N o w have the card replaced on the packet in the left hand. Sw ing the right hand back over the pack in the left h and ; w ith the fingers o f the right hand, palm o ff the to p card o f the left hand packet, and replace the packet in the right hand on top o f the left hand packet. T h e act o f squaring up the pack leaves the selected card on top o f the pack. W ith a little practice you will be able to blend the w h ole in to on e m ovem ent.

' A FALSE

COUNT.

A s an exam ple, su p p ose y o u w ish to cou n t nine cards as tw elve cards. H old the n in e cards as in F ig. 28. T h e cards are held chest high and the thu m b is tow ard s you . Push the to p card to the right w ith y o u r left thum b and take it aw ay with the thum b and fingers, as sh ow n in F ig. 22. R epeat this tw ice m ore, and y o u n ow have three cards in the right hand. Push forw ard the fourth card with left thum b, lay the three cards in your right hand fairly on to the left hand packet and rem ove the fourth card on ly. T h e spectators will think y ou have four cards in your right hand w hereas y o u really have o n e. N o w con tin u e the cou n t till tw elve is reached. O f course y o u m ust n ot hestitate w hen replacing the cards and draw ing the next on e off. Perhaps this m ethod m ay com e in useful for card effects where a false cou n t is required. T h e back o f the cards m ust face the audience w hile the cou n t is being m ade, otherw ise som e sharp sp ectator m ight sp ot the cards repeating them selves.

M A T C H IN G

THE

CO LO URS.

Effect. T h e perform er introduces tw o packets o f sm all cards, each packet con sists o f a red, blue, green, yellow and black card. A spectator is asked to exam ine and shuffle b oth p ack ets, keep on e and give y o u the other. Y o u p u t you r packet b ehind your back and ask the spectator to take a card from h is p ack et and lay it face u p on the table. Y o u then bring a card from behind your b ack and lay it b esid e h is card and the tw o colou rs are seen to 10

m atch. T h is is repeated until all the sp ectator’s cards are exhausted. Requirements. Three packets o f sm all cards, con sistin g o f red, blue, green, yello w and black cards. M ak e a tub e o f black cloth ; inside th is slip a strip o f cardboard and fix a safety pin at each end. A t intervals a lon g the tub e, on the ou tsid e, sew on six paper clips, see F ig. 30. Preparation. M em orise the five colou rs in this order, red, blue, green, yello w and black. P lace o n e card o f each colou r in the a b ove order, into the paper clips, and attach this appliance, by m eans o f the safety pins, to the back o f your trousers, just under you r jacket. M ethod. Introduce the tw o packets o f cards, have them exam ined and m ixed. N o w get a spectator to take aw ay a packet,w hile y o u take the other. A pparently place you r packet behind your back, but actually push :he w h ole packet in to the sixth paper clip on the fake. A sk the spectator to turn any card in his packet face up. W hen h e d o es so , all y o u have to do is to draw the corresponding card o u t o f the fake and lay beside h is card. R ep eat until cards are exhausted. TELEPATHY

S IM P L IF IE D .

E ffect. A lady g o es in to an adjoining room and w hile she is aw ay the perform er writes the nam e o f a tow n , a num ber, and a co lo u r on a piece o f paper. T h is is fold ed up and given to a spectator. The lady n ow returns, and requests the spectator h old in g the slip to burn it. W hile it is burning she gazes at the sm ok e and writes the chosen item s on a piece o f paper. W hen this is show n the telepathic com m u n ication p roves to be correct. Requirements. A scribbling pad and a pencil. O n the top page o f the pad and at the top, place a sm all sp ot o f w ax, see F ig. 31. M ethod. T he lady assistant h aving left the room , the tow n , colou r, etc., is given to you ; write the particulars on top page. W hen d on e, lift the tw o top pages as o n e page, tear right off, turn u pside dow n and lay back on top o f pad again. Press w ith you r thu m b ab o v e the wax (th is will cau se the page to adhere to p ad), and let top page slide gently on to the table. A ll y o u have apparently d on e is to write on the top page, turn it over and let it slide o n to table face d ow n . Lay pad and pencil aside, take the sheet from the table, fo ld it in to an ob lo n g shape, and hand to a spectator. 11

T h e lady returns, and asks for the slip to be set a lig h t ; the perform er d o es this with m atch. T he lad y picks up the pad and pencil, she gazes a t sm ok e but on ly pretends to write. W hen the slip burns o u t, she tears o f f top page, keeping the written sid e from view , and folds it up. She n ow asks w hat w as ch osen , and o n being to ld , hands o u t the paper slip for verification. V

G RAPHOLOGY SUPR EM E.

Effect. T he perform er hands ou t seven or eight blank cards, and a pencil w ith each card. Spectators w ith cards are n o w asked to write the o n e w ord, “ M ystery,” on their cards. O ne spectator is n o w asked to co llect the cards and shuffle them . W hile this is proceeding the perform er states that by look in g at a person ’s face h e can tell the style o f handw riting used. T o p rove this assertion, h e receives back the cards and asks any spectator w h o has received a pencil to h o ld it up. T h e perform er lo o k s through the cards, rem oves on e and hands it to the spectator. W hen this helper lo o k s at the card, he adm its it is in his handwriting. T his procedure can be repeated w ith all the rem aining cards i f desired. Requirements. E ight pencils, eight blank cards. M ark the edge o f the cards as fo llo w s : first card, on e d ot, second card, tw o dots, third card, three d ots, and so on up to eight d ots. T hese cards m ust be kept in their correct order so that the first person w ho gets a card receives the o n e with a single d ot, the second person the on e w ith tw o dots, and so on . M ethod. Start at the audience on the left side and hand o u t the first card, the o n e w ith on e d ot, and keep m oving to your right as y o u hand o u t the rem aining cards. T h e reason for this is that you can tell at a glance the num ber o f each person h old ing a card. F o r exam ple, y o u kn ow that the third person from the left h old s the card w ith three d ots, and the person h old in g card w ith seven d ots is seventh from the end o f the row . N o w m ake the request that each spectator shall write the w ord “ M ystery” on his card. H ave the cards shuffled, receive them back, explain what you are g oin g to d o , and ask som eon e to h old up h is or her pencil. W hen this is d on e, cou n t this person’s p osition in the row , then, as you lo o k through the cards, glance at the edges. If, w e presum e, that spectator num ber four is assisting, you lo o k for the card with four d ots, and hand it to the spectator, w h o w ill adm it it bears his o r her handw riting. T he procedure is repeated with the rem aining cards. 12

A D IF F E R E N T

S T R E T C H IN G

ROPE.

Effect. T h e perform er sh ow s a short piece o f rope, ab ou t eighteen inches in length. T h is is throw n over the shoulders, then pulled back and forth , this action causing the rope to stretch and stretch till finally it is seen to be tw elve feet long. Requirements. A piece o f black wire, fashioned in to the shnpe sh ow n in Fig. 32. T h e ring end o f the w ire should be large en ou gh to a llo w a piece o f rop e to slide freely back and forth , w hile the h o o k end is large en ou gh to slip over the collar o f your jacket. Sew a brass ring to the inside o f your w aistcoat at the to p , see F ig. 33. There is also required tw elve feet o f rop e, and the short, 18inch p iece. Preparation. Slip the short piece o f rope through the ring end o f fake a s sh ow n in F ig. 32. Lay this o n you r table. N e x t, slip the tw o en d s o f the lo n g rope through the ring on you r w aistcoat, lo o p up the rem ainder o f the rope and place it b etw een your w aistcoat and you r b od y. Put on your jack et and y o u are ready to present. M ethod. Pick up the short piece o f rope, keep in g the fake hidden behind the fingers and draw the rope back and forth a few tim es. N o w apparently place the rope over you r shoulders as seen in F ig. 35. W hat y o u really d o is to hang the fake on to coat collar as seen in F ig . 34, and pull a sm all piece o f each end o f the lon g rope into view — ab ou t nine inches o f each en d . N o w take an end o f the rope in each hand and start to draw it back and forth u sin g the neck as a stanchion lever. W hen all the rope is ou t, rem ove it from the neck, fold it up in to tw o feet fold s, and in this con d ition throw it round the neck again and take you r bow , w hen finally rem oving rope, you a lso rem ove h o o k w ith the short p iece, this will be hidden in the fold s o f the rop e as y o u place it aside.

N o te .— O ur artist kin dly suggests that in place o f the wire h o o k , tw o sm all needle h o o k s, on e at each end o f the rope, w ou ld better suit the purpose.— G .J. G IA N T M A T C H

TR IC K .

E ffect. T h e perform er borrow s a m atch. Show ing a han d kerch ief on b oth sid es, h e throw s it over his left hand. T aking the m atch in h is left h an d , h e p laces it under the h an d kerch ief and forces the head o f the m atch right through the handkerchief. A sp ec­ 13

tator is asked to pull the m atch entirely through the fabric. W hen he d oes so , the m atch is seen to have stretched to about six tim es its original length. Requirem ents. A w h ite cam bric handkerchief w ith a hem . M ake up a m atch ab ou t six tim es longer than usual. C ut or prod a little h ole in centre o f the handkerchief. Preparation. Place the m atch in to the hem o f the handkerchief. Put in to you r breast p ock et, w ith the corner o f the h an d kerch ief protruding so that you can grasp the head o f the m atch through the fabric. M ethod. S h o w your hands em pty. W ith the left hand, rem ove the handkerchief with thum b and forefinger, as sh o w n in F ig. 36. S h ow the h andkerchief on both sides, and then let it hang again as in Fig. 36. B orrow a m atch. P lace it betw een y o u r teeth, and stand w ith the right sid e to the spectators. L ift the h an d kerch ief so that the little h o le in the centre falls over th e th u m b and fore­ finger o f the left hand (F ig. 37). T ake the m atch from between your teeth and apparently place it under the han d kerch ief, really put it in to left sleeve, and at sam e tim e, force the h ead o f the long m atch through the h ole in centre o f the h an d k erch ief by pushing upw ards. H ave the m atch rem oved by a spectator. S h ow the hands em pty and replace the h andkerchief in the p ock et.

AN

E A S IL Y

W ORKED

“ STU N G ”

TR IC K .

M ake up a paper bag as show n in F ig. 38. T h is bag has a parti­ tion running from the top to the b otton ; n ote also that the front o f the bag is cu t o u t. O n the back o f bag cut ou t a d iam on d , as sh ow n in F ig. 39. N o w m ake a hinged card to fit the bag or en velop e, F ig . 40. On the front card write S T U N G , on the back write S T U N G A G A IN . Three playing cards are also required, the ace o f spades, ace o f hearts, and ace o f diam onds. T he backs o f all cards should be w hite, with a narrow coloured margin running round the edges, see Fig. 41. Preparation. Place the “ stu n g” card in the bag, behind the partition, the hinged end o f the card goin g to the b ottom o f the bag. W orking. Sh ow the three aces ; place the ace o f hearts in to the b ag, behind, put the ace o f diam onds. A pparently put the ace o f spades behind these tw o cards, actually place the ace o f spades betw een the tw o section s o f the “ stung” card, w hich is behind the 14

partition. W hen y o u have d on e this, remark “ T h e trick is to m ake the ace o f spades vanish.” S ingly, rem ove the tw o red aces, and drop o n to the floor, saying, “ Y ou see the ace o f spades has g o n e.” A s y o u speak, y o u turn the bag round apparently accidentally ex p o sin g the card through the diam on d cu t-ou t. S om eon e is sure to sh ou t “ It is in the bag,” y o u turn bag to the front again, and rem ove the card w ith the side sh ow in g “ S tu n g,” dropping the bag to floor. T h en turn card round and sh ow the w ords “ Stung again .” SU N

AND

MOON.

T his m ethod o f w orking the Sun and M o o n trick perm its the use o f paper o f any size ; furtherm ore, the paper, or papers, need n o t be crushed. A ctu ally, they are rolled and this allow s them to be op en ed and displayed m uch quicker. M ake a fancy C hinese m at as show n in F ig. 42. T h is m at has a flap o n either side, and the size o f the m at is to correspond w ith the size o f the papers y o u intend using. T o set the m at, roll up place betw een the flap at p lace betw een the flap at o f the m at. T h e end “ A ”

the tw o papers w ith op p osite centres and “ A .” R oll up the tw o w h ole sheets and “ B .” Lay tw o unprepared sheets on top o f m at sh ou ld be tow ards the spectators.

T o w ork the trick pick up the tw o unprepared sheets from top o f m at and cut o u t the centres. P lace the centres aside and roll up the cu t (coloured) pieces o f paper, lay them across the m at, lift “ A ” and “ C ” together, and fold the m at in half, bringing “A ” and “ C ” to “ B.” N ex t, burn the tw o cut ou t centres. Lift up the m at w ith the right hand, hold ing all flaps together. Let “ C ” drop on ly and o u t will fall the papers with op p osite centres ; m eanw hile turn the m at right round, bringing “ B” to the front, and lay on floor or table. Pick up the papers, op en ou t and sh ow them to have o p p o site centres. R oll up again and place across centre o f the m at, fold in h a lf again, the b ottom h a lf goin g on top o f “ B ,” N o w to bring the restored papers to view , lift the top h a lf o f the m at and “ B” together then op en o u t flat, op en ou t your papers and sh o w restored. A lw ays rem em ber when rolling up the papers to keep the sam e co lou r tow ards the ou ter sides. BO TTLE, G LASS

AND

D IS C S .

E ffect. Six colou red discs are dropped in to a tube, from w hich a b ottle has ju st been rem oved. W ine is poured in to a glass, the 15

glass is placed under a secon d cover and the bottle placed in to a third cover. C overs are lifted. U nder the first is seen the glass o f w in e, under the secon d, the bottle, under the third, the discs are seen. T hus all have changed places. Requirements, A cylindrical cover, F ig. 44. N o te that the bottom is turned over and up h a lf the tu b es’ length, thus leaving space betw een the sides o f the b ottom h alf. T h is is w ide en ou gh to con tain tw o nested pass-passe bottles. The inner b ottle has a partition h a lf w ay up to accom m odate liquid. T w o sets o f solid w ood en discs, six in each, o f varying colours. T hey m ust be o f a size to easily fit in to the recess in the b ottom o f the tube, F ig. 44. A tin shell to represent o n e set o f six discs. T h is is closed at one end and is o f such a size that it fits easily in to the recess o f the tube, F ig. 44. F ig . 47 show s this w ith glass w ithin. A n oth er two covers as sh ow n in F ig. 44, but unprepared, see F igs. 45, 46. T w o w in e glasses com p lete the outfit. Preparation. F ill o n e glass w ith wine. C over with the shell disc and place over co ver N o . 1 and inside this cover place the tw o nested bottles. N ex t to th is place cover 2, then cover 3 w ith the stack o f six discs inside, see F ig. 46. Presentation. S h ow the rem aining six discs, separate, and knock together. R em o v e the tw o b ottles from cover 1 by placing the finger inside the necks. D rop the discs in cover 1. Lift this d is­ closin g the shell. H old in g the tw o b ottles together, fill a glass w ith w ine. C over the tw o b ottles w ith tub e 2 and im m ediately rem ove the outer b ottle from the top o f the tube and place in to tube 3— bottle g o es over the discs. L ift tube and b ottle 2 and cover the glass. T ake cover 1 and cover the shell. N o w for the change. Lift tube 3 and bottle, sh ow in g the discs. L ift tube 2, sh ow in g the bottle. Lift tub e 1 and shell, and sh ow the glass.

COVER

Recess

16

C O N JU R IN G B O O K LE TS B Y T O M SE L L E R S. A n inventive m agician o f high repute, Mr. T o m Sellers is an acknow ledged m aster o f lucid instruction. Show m anship, patter and persiflage he leaves to the exponent. H e describes, in brief understandable term s, m agical effects that are suitable for all occa sio n s. T h e b o o k lets have w on great repute and are in constant dem and by practical m agicians. T R IC K S T H A T W O R K . S E L L E R ’S SE C R E T S Q U IC K T R IC K S . 21 N E W C A R D T R IC K S . IM M E D IA T E M A G IC . C A R D T R IC K S T H A T W O R K . M O R E SECRETS. M A G IC A L P L E A S A N T R IE S . NOVEL NEC RO M ANCY. M A G IC H ITS. SUBT LE SO RCERY . Cr. 8 v o .

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