Teach Yourself Magic - J. Elsden Tuffs

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LOS GAiOS, CALIFORNIA LOS GATOS PUBLIC LIBRARY ANF 793.8 T91 Tuffs, J. Eldsen. Teach yourself magic.

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TEACH YOURSELF MAGIC

Digitized by the Internet Archive in

2016

https://archive.org/details/teachyourselfmagOOtuff

Luo GATOS, CALIFORNIA

Teach Yourself

MAGIC J.

ELSDEN TUFFS

EMERSON BOOKS, New York

INC.

Copyright

©

1956 Emerson Books,

Inc.

All rights reserved

Library of Congress Catalog Card Number: 56-7860 Standard Book Number: 87523-100-4

Second Printing, 1970

Manufactured

in the

/ /

United States of America

5 1//6

No one becomes a conjurer except by desire, consequently there is an enthusiasm and a bond between magicians of all ages and creeds the world over.

With the

aid of this

the throng of those

book you

who

will

delight in

be able to join

making

‘

‘magic'’.

The Author

DEDICATION to those countless

known and unknown

performers who, by their untiring

efforts,

have kept the torch of conjuring burning

and paved the way

for those

who

followed

in their footsteps.

Above

who

all,

with gratitude to

initiated

instruction

me into

my

Father,

the art and to whose

and advice

I

am

indebted.

LOS GATOS MEMORIAL LIdKAKi

LOS GATOS, CALIFORNIA

PREFACE A wide

and varied

has been covered intentionally in order to provide a useful means by which your own particular interests and skill may be determined, and because a mere succession of tricks graduating from simple to difficult is not, in itself, sufficient to teach yourself conjuring. The newcomer is advised firstly to read through the entire book, and then to try as many varieties of tricks as possible, in order to get the “feel” of conjuring. From then on personal taste can direct the course of practice and study. Besides the chapters containing descriptions of tricks, there are others dealing with the more subtle sides of magic misdirection, reaction of the audience, atmosphere, etc., chapters about which you field

—

will

need to think.

You

will

find

it

useful to

come back

to those

chapters dealing with the more advanced aspects of conjuring, for much more goes to the successful

performance of a trick than is generally realised. An element of psychology is present in most, and experience is an invaluable means to perfection. Later you may find yourself in disagreement with some of the views expressed it would perhaps be surprising if you did not, as there are devotees of this or that method in all walks of life. Remember, however, that some of the foremost experts of conjuring have disagreed on fundamental moves in

—

Vll

PREFACE

Vlll

To begin

pays to be modest listen and read as much as you can, and be sparing of your own views and opinions. The tricks described have all been performed successfully by the author, but do not be discouraged if, despite practice, you still do not obtain the result at which you aim. Each person has his own individual manner, and no two audiences react in the same way. The secret of success is to adapt and modify your routines until you achieve satiscertain tricks.

with,

it

factory results. If

you enjoy conjuring

as

much

as others

who

have already pursued it, then you will find its fascinations are as fresh today as they ever were or will be. You will realise, of course, that becoming a conjurer is fraught with a number of perils you are likely to arouse the intense antagonism of your family, your relatives and friends, besides bringing your wife (if you have one) near to despair. But since you desire to become a conjurer and most conjurers are prepared to suffer for their art, you will not let a few things like that deflect you from your course. At the great moment when you have finished giving your first show and bowed to the audience, the sound of their applause is music in your ears. In addition, they will probably say: “I didn’t know old so-and-so had it in him!” After this your family, etc., will be so proud of you that they will quite cheerfully accede to the request to “Take a card” as you practice for your next show; so do not let them down. Make up your mind to be a really good conjurer.

—

CONTENTS Part One I

The Origin and Entertainment Value of Conjuring

II

Some Simple

I

Miscellaneous Effects

6

III

Easy Card Tricks

14

IV

Paper Conjuring

28

Arranging a Small Show

4i

V

Part VI

Two

More Advanced Card Tricks and Sleights

VII VIII

47

Card Fanning

58

Manipulating Coins, Balls,

etc.

66

Thimble and Cigarette Tricks

76

X

Silk Handkerchief Tricks

84

XI

Vanishing and Producing

92

IX

Part Three XII xiii

Misdirecting the Audience

101

The Spectator’s Idea

106

IX

of

“Magic”

CONTENTS

X XIV

XV XVI XVII

Using an Assistant

no

The Stage Show

1 14

Some

Effective Apparatus

122

Apparatus You Can Make

127

Part Four XVIII

XIX

XX XXI XXII

Pocket and Close-up Tricks

139

Entertaining Children

149

Some

155

The

Children’s Effects

Little

Things that Matter

Joining a Magical Society

171 1 77

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LG3 GATOS. CALIFORNIA

PART ONE CHAPTER

I

THE ORIGIN AND ENTERTAINMENT VALUE OF CONJURING Conjuring, or legerdemain as

it

was

called,

has been

amusement consisting of tricks performed with such art and adroitness that the manner or art escapes observation. The phenomena defined as a popular

such things as sleight of hand, mechanical contrivances, confederacy, or a combination of these. Elaborate phases of this art utilise

of conjuring comprise

optical, chemical,

and other

we go back through the

sciences.

we

has its roots in mystic rites of one kind or another rather than in entertainment. In the days of ancient Egypt, for example, secret mechanical contrivances were used to open temple doors (see Fig. i), make a voice come, apparently, from a stone figure, and so on. Another sort of magic springing from a common source is that known as black magic, which still survives in certain forms. We might call conjuring as we know it today “White Magic” in fact, for the influence over the audience is exercised only during a performance and not afterwards. In medieval days contemporary pictures show one of the oldest sleights of all being performed, namely the “Cups and Balls” three cups beneath which balls appear and disappear in a miraculous fashion. Conjuring was then watched rather cautiously, as If

—

ages,

find that

it

2

TEACH YOURSELF MAGIC

complete dissociation from mystic rites had yet to be made. The oldest book on conjuring in English is Scott’s Discoverie of Witchcraft, published in 1582 during the reign of Elizabeth I. The principles of legerdemain are here expounded for the first time. The breaking away of conjuring as an art divorced its

from the clap-trap of primitive magic received a great impetus from this book.

ORIGIN AND ENTERTAINMENT VALUE

3

During succeeding centuries, notably the eighteenth and nineteenth, remarkable advances were

made

as old prejudices died.

Professor Hoffman, referred to as the “Father of

Modem

Magic” during the later nineteenth century, compiled several books (incidentally still being reprinted) which contained a remarkable collection of tricks in the days when mechanical marvels were in their hey-dey. Those were the days of the “Professors”, and one made an appointment for the purpose of securing their services with no little trepidation. The entertainment value of conjuring was, however, steadily growing.

With such

stalwarts as Maskelyne

and Devant,

the era of mechanical marvels passed, but public interest in

magic generally was higher than

it

had

ever been. ~ When the magical dealer appeared on the scene with his mass-produced apparatus, conjuring came within reach of anyone with the necessary cash, and a decline in entertainment value followed inevitably. On the other hand, it spurred those sincerely interested in conjuring to greater heights, and is one of the reasons why you should strive for originality, either in the tricks themselves or the

way

in

which

you perform them.

You may think

it

surprising that conjuring

is

so

popular a form of entertainment. But perhaps the reason is not far to seek, for right from the earliest times, man has been a believer in mysterious powers which in some way or another controlled his life and brought about seemingly impossible things. A con-

TEACH YOURSELF MAGIC

4

jurer’s tricks

seem to be a sort

existence of these powers.

of tangible proof of the

A

modern audience

will

not necessarily believe that the impossible can happen, but somewhere, deep down inside them, is a little primitive streak that seems to say, “I know it well who knows?” is all trickery but You will see from this how important it is to create an atmosphere of mystery if you are to be successful, and although comic conjuring has entertainment value, it is a doubtful way to popularity. Nothing is so effective or succeeds so well as real mystery magic. Let us consider for a moment the reactions of the audience. We know that a strong appeal will be made to the desire to believe in the impossible happening, but equally strong in an audience will be curiosity and the desire to try to work out how a trick is done. Thank heavens, everyone does not watch a conjurer with only the last-mentioned idea in mind. Nevertheless, it is present in varying degrees in most

—

—

people.

We

form

see, therefore, that this

of entertainment

presents varying facets to different people, and

the combination of

them

all

it is

that gives conjuring

its

high place in the realm of entertainment values. Do not take my word for it, but try the effect in your next social gathering of offering to do a few tricks, if you have not done so before you will have a crowd ;

round you

Where

in

no time.

children are concerned, the entertainment

value rises to phenomenal heights for young imaginations seize upon the colourful boxes and tubes ;

they see on a conjurer’s table, and magic

is

born

ORIGIN AND ENTERTAINMENT VALUE

5

almost before the conjurer has performed a single trick.

CHAPTER

II

SOME SIMPLE MISCELLANEOUS EFFECTS For your

conjuring trick obtain a piece of tape about 24 inches long, and a small tube 1 inch long, for use as a bead, on which a Chinese sign can be written.

first

You now have

the necessary materials to

perform

Woo

Lung’s Bead

Tie the ends of the tape together, and then fold

the centre of the tape in half so that the knot

is

in the

middle. Push one looped end through the bead, and then by means of a piece of cotton tie it to the other (see Fig. 2). Now slide the bead over the loops joined

by the

cotton.

6

SOME SIMPLE MISCELLANEOUS EFFECTS

7

Presenting the trick, you display the bead on its double tape, holding it as shown in Fig. 3. The audience will naturally suppose that the tape makes a continuous double loop, whereas in fact it is doubled back. You explain to

bead

them that the securely on the

is

tape and, laying everything on the table, you cover it vith a handkerchief.

your hands beneath it, you suddenly pull out the double tape in one hand and the Placing

bead,

now

free, in

the other.

How

did you do

you

Well,

completely

broke

it?

the

cotton join to release the bead, and then converted the tapes into a continuous double loop by crossing the loop ends (see

Fig.

placing the

4), first

finally

F\Gr.

4

finger

and thumb of both hands into the crossed loops at X and pulling sideways so that the loops slid past one another.

You

with the tape looped in the same manner in which the audience presumed you started.

finish this trick

TEACH YOURSELF MAGIC

8

Now for er's soft

a rope trick; you can do this with conjur-

rope or string, tape, etc.

The Cut and Restored Rope

To commence

push a small doubled-up length of rope say 3 inches long up your left sleeve, the looped part being towards the wrist. Now display your long rope and ask for it to be measured. with,

—

—

This precludes the idea that you subsequently cut anything off the end of the rope. Taking the rope back, double it, and pass it once or twice from hand to hand, holding the loop part. As you pass it back into the left hand, hold it so that the loop is concealed. Bringing the right hand to the left, you pull from your sleeve at the same time the small length of rope, and pull it up in place of the original loop (see Fig. 5). With a pair of scissors the loop at is cut (Fig. 5, on right shows the audience’s view).

X

,

SOME SIMPLE MISCELLANEOUS EFFECTS There are now apparently two separate lengths rope. until

9 of

The ends are now trimmed off with the scissors you have only two small pieces left you then ;

suddenly catch hold of the long rope with the right hand and whip it away, while the left hand allows the pieces of rope left to fall unheeded. Another mystifying trick requires nothing more alarming than a pencil about 5 to 6 inches long, and a handkerchief .

The Vanishing Pencil Display the pencil by holding

it

upright in the

shown in Fig. 6. Change it from hand hand, and end up with it held in the left hand. fingers, as

to

hand remove a handkerchief from your pocket, and drape it over the left hand holding the pencil. As you do this stretch up the first finger of

With the

right

TEACH YOURSELF MAGIC

10 the

left

little

hand and allow the

way through

the hand.

pencil to drop

The

effect

now

down a is

that

the handkerchief drapes over the pencil end (see Fig- 7)-

Quickly place the right hand under the handkerchief as though to adjust the folds, and slip the pencil

hand up the left sleeve. Remove the hand and casually show it empty.

in the left

right

Now make

a magic pass over the handkerchief and, catching hold of the edge of it, pull it smartly away and throw it in the air. At the same time drop the finger of the left hand. On no account stretch out the fingers. This is an effective trick, as the audience believe they see the pencil shape beneath the handkerchief right up to the last second. Another good handkerchief trick requires the use of two match-sticks, one of which is, beforehand, pushed into the hem so that it is centrally along the edge.

The Broken and Restored Match-stick Casually taking the prepared handkerchief from your pocket, show both sides of it and drop it on

Now, taking a match-box from your pocket, proffer it to a spectator, asking him to select a match and mark it so that he will know it again. Take the match-stick back with the left hand and, whilst holding it horizontally, pick up the handkerchief with the right hand so that the hem containing the 2 -inch match-stick is towards you, and to the table.

drape

it

over the

left

hand.

SOME SIMPLE MISCELLANEOUS EFFECTS

II

Immediately after the right hand has been withdrawn, bring it back towards the left hand and apparently take the match and handkerchief away. In reality you allow the right-hand thumb to drop as the hand approaches the left, and scoop up the hem where the second match is concealed (see Fig. 8). Carry the hem into the centre of the handkerchief and, as you move the right hand away to

the right, the the

left

hand drops

marked match-stick

move

is

easy, as

all

to the side (palming

does so). This last eyes are upon the handkerchief as

it

in the other hand.

Without pause you

proffer the handkerchief with

match-stick to the spectator who selected one, and ask him to break it into two or more pieces. Do not let go of the handkerchief during this process. its

TEACH YOURSELF MAGIC

12

Withdraw the handkerchief and, bringing up the left hand with its palmed match-stick, replace the match-stick in the centre of the handkerchief. Now withdraw the right hand, allowing the hem containing the broken fragments to swing down.

Make hand

a magical pass

into the

and turn over the whole

left

open right so that the match-stick

is

displayed in the centre of the handkerchief, the

edges of which hang

An

which

down around

the

left

hand.

equally good in drawing-room or small stage requires the following two items, viz. effect

is

a large ring and a piece of rope about 4 feet long.

Wandering Ring

Ask assist

for

two spectators to

you and, when they

come forward, give the ring to one and the rope to the other examination. Meanwhile you take off your jacket and lay it spread out on the table. Having received the rope and ring back, you proceed to loop the ring on to the rope by what appears to be a very for

secure slip-knot (see Fig.

9).

Let the ring swing on the rope, holding the two ends as you do so, pointing out that the ring is perfectly tight on the rope (which is true). Now lower the ring on to the centre of your jacket, pass the ends of the rope one through each

SOME

SIJVIPLE

MISCELLANEOUS EFFECTS

13

armhole and give each to one assisting spectator to hold. Then slip the jacket on yourself. A great deal of by-play can be occasioned by asking the spectators assisting you whether they are strong, and whether they think the ring could slide off the rope without their knowing, etc.

So saying, you place your hands around inside your

“A

jacket

and

tighter,

gentlemen”. As the

say,

little

rope tautens, the ring falls with a clang to the floor. Allow the assistants to lift off your jacket to examine the rope. ~ The secret is simple a

Fia.io used to tie the ring on the rope, but by sliding the loop, (see Fig. 10) down over the ring, the knot disappears. Study the moves carefully, and be sure the rope is not too tight. The spectators pull, of course, only after you have released the ring you then drop it as they pull the rope. ;

slip-knot

is

X

;

CHAPTER

III

EASY CARD TRICKS Contrary

to

some views that have been expressed,

not necessary to be able to do difficult sleight-ofhand moves in order to present mystifying and effective card tricks. After you have become used to handling cards, however, you will probably desire to go further and master one or two sleights, and that is where Chapter VI will help. To begin with, here is an important maxim “Never rely on prepared packs of cards" they would certainly enable you to do wonders, but remember that an unprepared pack (or deck as it is called) is always available, and if you use such a pack, borrowed from your host, whatever is subsequently done will be tremendously more effective. Commence by practising a neat overhand shuffle, i.e. holding the cards in the right hand (see Fig. n) let several fall into the left hand just below to the left on these latter drop a few more, and so on until the whole pack is shuffled. As nothing looks worse than a shuffle where two or three cards drop on the floor, practise slowly at first and then increase the tempo. Now for your first effect using cards with a white border on the back design. The reason for this type of card is that a card which may be reversed in the pack will not show should it be a little out of alignment. it is

;

—

14

EASY CARD TRICKS Reversing in the Pack

Two Chosen

*5

Cards

Allow the pack to be shuffled, then fan out with both hands so that the backs are uppermost. Ask two spectators to withdraw a card, examine it and

show

it

later,

and, believe

to those near them. This saves it

argument

or not, people do forget the

card they chose. Now, without waiting for the cards to be returned to the pack, close it up and hold it behind the back, remembering which is the face side. Reverse the face card, and bring out the pack with the reversed card on top. Ask each spectator holding a card to replace it in

TEACH YOURSELF MAGIC

l6

the pack anywhere he wishes, making sure you do

not see the face.

You now announce

that you will not only try to discover their cards but to cause them to show

themselves in a conspicuous way, and ask the two spectators to think of their cards. Whilst you have been pattering (as this is termed) you have transferred the pack from one hand to the other and back, thus enabling you to turn it over to its original position.

With the

finger of the free

hand run down the

front edges of the pack, giving a

riffle

—a well-known

corresponds to making a pass with the hand or uttering a magic word. Now fan out the cards again, face down, and as this is done the two chosen cards are disclosed face up. Remove them and lay them on the table, asking whether they are the chosen ones. Close the pack as you patter and behind your back quietly reverse the card on the face side of the pack so that it is the correct way round again. Notice that you are required to make certain moves whilst you are talking this is misdirection for invariably a person will look at your face whilst

device in card magic;

it

;

you

are talking,

which

is

just

what you want

to

happen. You have now been introduced to one of the two most widely used devices in card tricks finding a selected card or cards. The other is forcing a card, of

—

which more

later.

An

important thing to remember is that it does not matter how many ways you know of finding a r

EASY CARD TRICKS

*7

chosen card if you disclose it the same way the audience see one trick. If you can find a chosen card by one method but can disclose it in twelve ways, you have twelve tricks so far as the audience is concerned. Here is a way of finding and disclosing a chosen ;

card.

Finding a Chosen Card by Thought Reading After the pack has been shuffled, hold

it

in

such a

way that an oblique glance can be made at the bottom card. This is accomplished in a split second and is not noticed. Fan the cards face down and allow one to be selected and examined. Break the pack at the point of withdrawal, and hold each half a few inches from the other. As the chosen card is returned hold out the top half of the pack for it to be placed on, and then immediately place the original lower half on top. By this means the known bottom card will be on the top of the chosen card. Now lay out the pack face upwards along the table, and divide it near the centre, making sure that the original card

is

well within one half.

Now

ask

who

chose a card in which half of the displayed cards it appears. This is misdirection, for you know at once that the card above the original the person

bottom one

chosen card. In the process of gathering up the half pack indicated, you notice how many cards from the end is the chosen one (see Fig. 12), and square up the cards. You now say that you will find the chosen card by touch, and with a nice spot of acting you rub your finger-tips

is

in fact the

on your coat “to make them sensitive”.

TEACH YOURSELF MAGIC

l8

Taking each card face down one at a time, you feel it very carefully and discard it to one side. When you get to the chosen one, you pretend to discard it then

bring

it

back and

feel it again.

Turn

it

over and say,

“Your card?”

Remember

to keep your eyes

tator than the cards

when

more on the spec-

face up, so that he will not

suspect that the lay of the cards

Second Method [without looking

is

important.

at the bottom card )

This is a useful repeat of the above. Bend the corner of the bottom card down slightly then proceed as before. Instead of laying the cards on the table, hold them up face to the audience and slowly fan them, asking the spectator who chose a card to concentrate on it. When you come to the card with the bent corner,

—

you know the chosen one

is

next and, after suitably

EASY CARD TRICKS hesitating,

push

it

up and

say, “I think this

19 is

your

card”.

The bent corner should be

at the lower edge

when

the cards are fanned, as the audience will be looking at the top part of the card.

Gimmick Method The word gimmick is used to describe any small object that is used, unbeknown to the audience, to work a trick. In this case it is a piece of thin cardboard J inch square. It is held beneath the face-down pack by the fingers, and is kept there whilst the cards are fanned. When a card is selected, the gimmick is pushed along by the fingers of the other hand.

The pack broken

is

now

return

for

which then is placed on top and the pack of the card,

squared. It

is

now

possible to cut the

cards exactly where the chosen card is;

done in the hand with the cards at an angle,

if

this

is

PIGr . 13 card slips into the palm, where it is concealed. The top half is then placed beneath the other, leaving the chosen card face down on top (see Fig. 13).

the

piece

of

TEACH YOURSELF MAGIC

20

This position for a chosen card is the first accomplishment in many card tricks, for you may then disclose this card in any way desired. Here are several (i

a)

Rising Card

Hold the pack upright face to the audience with, the thumb on one side and the second, third, and fourth fingers on the other. The first finger is held slightly bent behind the pack by movements of this finger the back card can be made to rise in a most mysterious way (see Fig. 14). Use two fingers to start with. Patter to the effect that you are going to cause it to rise by a mystical influence. The card appears to rise from the centre of

—

pack. (b)

By Dealing

Ask a second spectator to give you a number between five and ten, and deal from the top of the pack that number, each card falling on

top of the preceding one. On completion, square the small pile and turn it over to show the chosen card now face up. The effect is that the chosen card was that number of cards down and that the second spectator divined its position. This piece of misdirection is useful, and should be remembered.

EASY CARD TRICKS By

(c)

21

Selection

Deal out the top four cards and use the conjurer’s choice method, i.e. with the chosen card at position i, ask a spectator to point to one or the other of piles I and 4 whichever he points at, to say, “We will take this one away”, and take up pile 4. Now do the same with Nos. 2 and 3, taking up a card again (say No. 3). At this point use the following little dodge, which nearly always raises a laugh. Say, “I will help the final selection by taking up one of the two cards left” (Nos. 1 and 2); so saying, take up card No. 2 and hold it behind the back, turn to another spectator and say, “I am sure you can find the chosen card from amongst the one left”, and wink conspicuously. About nine times out of ten the person asked will say, “I will choose the one behind your back, if

—

you don’t mind!” You immediately turn up the card on the table, which is of course the chosen one. If the spectator remarks, “Oh well you know best I will have the one on the table”, you say, “How clever of you to choose the right card from the one I left you ” and

—

—

!

turn

A

it

over.

great

card,

i.e.

number

of card tricks rely

whilst allowing

upon forcing a

what appears

choice, in actual fact causing a

to be a free

known card

to be

chosen. Here are several ways. [a)

Forcing the Bottom Card ( behind the back method)

Allow the pack to be shuffled and glimpse the

bottom card; then, holding

it

out, ask a spectator to

TEACH YOURSELF MAGIC

22

As soon as this has been done, hold the lower half of pack behind the back, slip off the bottom card and place it face down on top, and say, “You had a free choice when cutting the pack but do not take the bottom card of your half as we know cut the cards.

—

its

value, take the card below the cut". Whilst saying

you turn with your back to the spectator, and he removes the card in question from your half of this

the pack.

He now knows

(a)

that he had a free choice,

(

b

that you could not possibly have seen the card he

looked at

—which only goes to show how wrong he

is!

The card

returned to the pack and the pack squared still behind your back. A number of ways are possible to disclose the card. You could run through the pack face up, and feel each card until you come to the chdsen one, or ask the spectator to concentrate while you hold the pack and his forehead, and mystically read his thoughts. If you like that kind of thing, you could do a trance act or even a guided pencil act, writing the name of the card whilst blindfolded (this gives a most convincing is

—

—

effect,

(b)

by the way).

Forcing the Bottom Card (by step method)

After glimpsing the bottom card, hold the pack in the right hand face down with the hand under the

thumb curled up over the right-hand edges fingers up over the left-hand edges.

cards, the

and the

Now

hand over the card, and under squaring up the cards with the thumb

bring the

cover of

left

—

EASY CARD TRICKS

23

—

over the edges of the cards towards you slide the pack forward an inch, allowing the bottom card to remain in its former position in the palm (see Fig. 15, but faces down). Still keeping the left thumb at the back, use the fingers of that hand to slide back the top cards in steps one at a time. The moved cards Fig 15 .

completely hide the bottom card

in the right

palm. Request a spectator to say “Stop” at any moment he likes, and, when he does so, slide off with the left hand all those cards moved back, at the same time remove the thumb

and

beneath the card projecting into the palm, so that this card snaps on to the bottom of insert

it

the cards removed (see Fig. 16).

TEACH YOURSELF MAGIC

24

Now show

the face of the card at the break (actually the original bottom card), and ask for it to be remembered. Close the pack and disclose the value of the card in (c)

any way

desired.

Forcing the Top Card

After shuffling the pack, take a quick glance at the top card as follows holding the pack as for the ;

previous trick but turned face up in the palm (see Fig. 15), use the left hand to square up the cards, and slide the pack half an inch off the bottom card

and turn it over. Fan the cards face down, and ask a spectator to choose for you the very card at which you had glanced and which is now the top card. He will probably smile and select one, only to show index. Close pack

and note

its

that

not in fact the card in question. Patter to the effect that although he has not selected the card mentioned he has, on the other hand, chosen the one card in the pack which always goes with the card in

it is

question.

To prove it you hold up the pack in the left hand, the faces to the spectator,

horizontally

with the thumb on the front and the fingers on the

back

(see Fig. 17).

Ask the spectator

to insert his

card half-way into the pack, anywhere he chooses.

EASY CARD TRICKS

25

This done, bring the right hand behind the left hand, and hold those cards behind the inserted card, i.e. towards you, between the thumb at the left end and the second, third, and fourth fingers at the other,

with the index finger curled over the top on to the face of the inserted card.

With the right hand remove together the inserted card and those behind by lifting them up and off, at the same time allow the fingers of the left hand to retain the backmost card. This card then clicks on to the back of the front half of pack left in the left

hand. Swinging the cards in the right hand forward, show the face of the inserted card on the removed half pack, saying, "Here is your card; the pack has been cut exactly where you inserted it and next to the card I mentioned.” To prove it, the half held in the left hand is now proffered to the spectator who, taking the top card, is surprised to find it is the very card he was first asked to choose. It

helps

if

the fingers of the

left

hand are

slightly

moist.

Using Prepared Cards and Packs

Many sell

conjuring and, for that matter, joke shops

small tricks consisting of three or so cards, one

more

which are faked. Several such tricks could be useful as impromptu effects and carried in the pocket, but for serious purposes most of them are not suitable for inclusion in a programme, and should be used with discretion. or

of

26

TEACH YOURSELF MAGIC

Forcing packs consisting of seventeen cards of the same value, with seventeen each of two other cards (called a ‘Three-way Pack”) are useful where it is not necessary to allow the audience to see the faces. This pack can be fanned three times, each time allowing a spectator to select a card from the first part, the centre, and the end. Alternatively, the pack could be cut twice, giving three piles, the top card

each being turned over. Remember, however, that the audience cannot examine the pack, and it is usual to switch it with a genuine one with the same type of back. Other packs consist of short and long cards. The short ones are twenty-six of the same value, each in a pair with one of twenty-six miscellaneous cards. When the pack is squared at the bottom, the top may be thumbed from front to ba&t to show all different cards. By allowing a spectator to insert a finger or knife into the pack whilst it is being thumbed, it is possible to break the pack and find one of the twenty-six duplicate cards every time. Likewise any number called for will force the same of

number is called you know either that the card is at that number or that it falls next to it, so you either show the last counted card or ask card, for

when

the

next one to be turned over. There are many more special packs on the market as well, so that a selection of two or three can be made according to taste; but remember that a special pack has a secret which must be guarded from the audience. There is, however, one exception, and that is a pack of marked cards which, by means for the

EASY CARD TRICKS

27

marks on their backs, can be read by the performer. Such a pack, however cleverly marked, is not safely examined for too long a time by the audience. Keep to an unprepared pack as much as you can. of

CHAPTER

IV

PAPER CONJURING does not hear so much these days about paper magic, and yet it has a charm all of its own. Let us start by taking three strips of paper i inch wide by

One

28

PAPER CONJURING about 36 inches long

29

together to get in the ordinary way

(or join pieces

the same length). Join the first (see Fig. 18). In the case of the second strip, twist one end before joining. The third strip must be

twisted at one end twice before joining. Lay the three bands over your arm and you are ready to show the mystery of the

Afghan Bands

you cut down the centre with a pair of scissors and hold up two separate circles of paper. Asking a spectator to do the same thing, you give him No. 3 ring and the scissors. To his amazement he finds at the end he has two rings, yes, but Taking the

first

one,

they are linked together. To turn the joke on yourself, take the second ring

and cut that down the centre; to everyone’s further surprise it becomes one huge ring double the size. There

a perfectly natural reason for the different effects obtained, and that is why it appears to be so astonishing to the audience. For your next trick you need six tiny paper balls. is

Three are affixed beneath your coat by pins, the three others

That

is all

Perpetual

you make up

there

is

in front of

the audience.

to the preparation of

Pellets

Drawing attention to the three pellets or balls, you take up one in the right hand between the thumb and first two fingers (as shown in Fig. 19). Show' it to the audience (see Fig. 20), place

it

in the right-

TEACH YOURSELF MAGIC

30

hand pocket. In actual

fact bring

it

out again with

the hand.

Now

pick up the second ball the same way, and again show it to the audience. The first ball will

immediately behind the second, but will be completely concealed so there is no fear of its being really be

seen.

Count “one” and place both balls in the left hand. Take up the last one and, counting “two”, place it in the left hand. Tip this hand on to the table to

show

three balls once again.

Repeat

this twice

more

until, the

audience begin-

ning to get suspicious (and probably infuriated too), you take up the first ball and instead of placing it in your pocket flick it at the audience. Under cover of this, take another ball from the place of conceal-

PAPER CONJURING ment and pick up a

31

counting “one/’ and place both in the left hand. Counting “two”, pick up the last ball and place it in the left hand; again show ball,

three balls.

Now

obtain another concealed ball and pick up one from the table, placing both in the left hand. Flick another ball at the audience and obtain the last concealed ball. Take up the remaining ball on the table, and place it and the concealed one in the left

—

hand. Open this hand and remove a ball flicking it to the audience who now think you have one ball left. Empty your left hand and show three balls. If the audience is thirsting for your blood, stop now; if not, take up a ball from the table, place it in your pocket. As you do so pick up a dime there. Now pick up another ball and place it in the left hand really retain it and let the dime fall into the hand. 'Pick up the third ball, and pretend to put it into the left hand but retain it with the other. Let the right hand drop to your side as you open the left hand to show the coin. Under cover of this, drop the two balls into the right-hand pocket.

dime a moment and say, “I seem to be improving, last time I only had eight cents at the end.” Wink at the audience and place the coin in your pocket and that is that. Obtain two front sheets of a newspaper and fold one from bottom up to top, then sideways, and so on until you have a packet about 4 by 3 inches, keeping the top left-hand comer flat on the table so that it becomes the back of the folded packet. The

Look

at the

—

packet

will

unfold completely in a forward direction.

TEACH YOURSELF MAGIC

32

To the back of the second sheet of newspaper lightly

gum

at the top left the folded packet (see Fig. 21). It

FotDED PACKET HERE

1

1

«

;

useful to

lightly

fold

•

1

is

•

this

second sheet, to

•

facilitate the tear-

1

ing;

1

t

•

•

now you

are

ready for the

•

•

•

Torn and Restored Newspaper

• •

1

•

•

Bring the sheet

•

of %

1

newspaper

ward

• •

in

the

forleft

with the folded packet be-

hand, FIG. 21

hind and held down by the thumb. to tear

down

Now commence

fold

first

with the right hand, placing the remainder in front of the strip

left

with the packet

(see

Fig. 22).

Tear

down second

and again place

fold,

tom portion in front. You will now the

need to turn the strips horizontally in order to tear

down

the last two

folds.

Having done

that,

i

FIG.

22

PAPER CONJURING

33

take the packet in the right hand and explain that newspapers aren’t what they used to be. Whilst the audience laughs, place the packet held by the right hand into the left, turning the packet round as you do so, so that the pieces are behind in the palm and the folded sheet faces outwards. You are now in a position to begin unfolding the whole sheet, making sure that you keep the pieces behind. At the finish, crumple up the whole sheet and pieces together and throw them into a hat. Perhaps we may be pardoned for including in this section the following:

The Burnt and Restored Dollar All

that

is

sounding trick

FlGr.

slit

in

is

for

an envelope

23

has been

candle,

required

Bill

this in

rather ominous-

which a horizontal

Performer's vifcV

made

and a pair

in the centre front, a lighted of scissors

placed beforehand

your pocket. After borrowing a dollar

bill

from a

TEACH YOURSELF MAGIC

34

member

of the audience,

it

is

—

casually folded and

placed in the envelope the front side facing to yourself, the back part to the audience so they

can see the bill going into the envelope. In actual fact you push it into the envelope and out through the slit, where it is held concealed (see Fig. 23). You make a great display of sealing the envelope, and then, to prove the bill is still inside, hold the envelope before the lighted candle. The audience will, of course, see the dark outline of the folded

bill.

Taking the envelope

in the other

—

hand, you

now

the pair of scissors and in the process dispose of the folded bill. Snipping off a comer of

feel

for

the envelope you say you will be pleased to show how, with the application of a little heat, the bill

and drip from the cut comer. Here is where the fun begins whilst talking about how remarkable an advance has been made by modern science, etc., you hold the envelope over the candle to “warm” it. However, you hold it so close will liquefy

;

that the envelope catches tators*

amusement

as they

fire

—much to

the spec-

watch you pretending to

be upset. envelope has burnt to practically nothing you quickly feel inside your pocket for the folded bill, using your free hand, and then empty After

the

charred fragments into it from the other. Making a magic pass you now open the hand to show the folded bill nestling amongst the charred fragthe

ments.

You can bank on

at least one person

applauding

—namely,

PAPER CONJURING the person from whom

35 the

bill

was

borrowed he will be so glad to see it again. If you like to draw out the agony a little farther, you could bum the envelope and leave it at that; then later in the programme you suddenly find the folded bill during the performance of another trick. !

,

Mentalism

One branch

concerned largely with predicting cards that will be chosen by a spectator or giving other apparent evidence of the power to read into a person’s mind or into the future, etc. Some performers work up such an act into something really large and astonishing, like predicting a number in a telephone-book, the page and the line of which are selected by a spectator. Sometimes as

many

of the

conjuring art

is

as ten people using ten different books are

used; here, however, are two simple ways of prediction.

Two

to

One Prediction

Take two small slips of paper and write a question upon each, such as, “In what year was the Monroe Doctrine proclaimed ?” or

“What is the answer to Fold them once and lay

346 multiplied by 794 ?” them to one side. Now take a slip of thickish paper (i.e. that cannot be seen through), and write the answer to the first question on one side and the answer to the other on the back. Place this in an envelope and seal it down, remembering on which sides the answers appear.

To perform you draw

attention to the sealed

TEACH YOURSELF MAGIC

36

envelope, and additionally you seal it with wax. Then you ask a spectator to choose one or the other of the questions contained in the folded strips. You

he can change his mind whenever he pleases even at the last moment; make sure that you convince him that no forcing is taking place. Upon the question being selected and read out, you take the envelope and carefully slit it along the top; now, according to the question asked, you draw out the card facing the right way by turning round the envelope as necessary. Ask someone to read the answer but do not release the card hold it for him to see. Point out there is only one card and, screwing it up and pocketing it, hand the now empty envelope for inspection; the audience will seize upon it eagerly, stress that

—

—

—

what you want them to do. This trick will fool some of the most astute

which

is

concealed in the hands at any time, make sure that you hold them closed, in order to misdirect the audience. If challenged, you can open your hands to show them empty. It is the sheer audacity of this trick that makes it succeed, but be sure to go on fairly quickly to another one before the audience puts two and two together. spectators. Since nothing

is

X-ray Eyes

For

this trick

you need an

assistant,

who can be

out of the room to start with. Firstly you display four cards with designs on one side, and ask someone to choose one; this is then stood up against a tumbler or placed in a stand.

PAPER CONJURING Now, taking up a pad with

37

you and

pencil attached,

ask someone to take this out to your assistant, ask him to use his power of seeing through walls

copy on the pad the design displayed. It is a good thing to choose the most suspicious person in the to

audience for this

A moment

little service.

later the assistant

rough drawing of the design

comes back with a

in question.

simple really. Your assistant is informed of the chosen design by a code, and the

The -answer

is

(a

[61

POSIT' OM

X

Position 3L

Position

H

TVi

"Position

FIG. 24

coding

is

communicated by means

of the pad,

w hich T

a piece of card with sheets of paper held at the top by a clip. One of the four designs is indicated according to the position of the paper (see Fig. 24). Your assistant has, of course, a copy of all the designs

is

concealed about his or her person. After a few performances you will find that only the slightest indication is necessary to convey the chosen design and, as it is quite natural to make sure the paper is secure on the pad before you ask someone to take it to your assistant, there is little for

anyone to discover.

TEACH YOURSELF MAGIC

38

Many

of

you must

paper-tearer at

some time have seen the work. Commencing with a sheet of at

newspaper he produces lace-like mats, ladders, and never fails to draw attention.

etc.,

OOTE e ns

FIG.

\mjs

25

The following are a few ideas that can be worked into an amusing story according to taste. The Mat Using a sheet of newspaper, fold

Now

it

in half

about

take a pair of scissors and cut as nearly as possible to the design shown in Fig. 25 above. Spread out the paper and there is your mat. The secret is to keep an eye on the outside edges when the paper is folded, for along them only shallow cuts can be made. Elsewhere, the more varied the better. four or five times.

PAPER CONJURING CUTS

The Tree

39

B

With

together

scissors, cut

&

CUT

paper strips 5 inches wide until you have a length of about 2 feet. Roll this into a fairly tight roll. Join

E.N

PACTS JbOWlV

down

from one end six times (see

Fig. 26).

the cut parts. the

first

Bend out Now, with

finger press in-

to the centre and, using it

as

F1&.26

a ping,

slowly twist and pull out. If the paper is rolled up clockwise, then the act of twisting further loosens the paper, allowing it to slide up.

A few experiments

and you

will

be able

to produce quite tall trees (see Fig. 27). One of the most unusual and popular

paper tricks

is

The Ladder

Make up and cut

a roll of paper as for the tree

half through twice (as

A

and

shown

in

Note

proportion of cuts. Next cut out the part between the first two cuts, as shown by dotted line C. The ends of the cut tube must now be bent down at right angles to the centre Fig.

28,

part as shown.

FIG .7*Y

any

Be

B).

careful not to tear off

of the central strips.

LOS GATOS MEMORIAL LIBRARt

LOS GATOS, CALIFORNIA

TEACH YOURSELF MAGIC

40

A

more

difficult

move

is

now

required. It

is

neces-

XX

sary to insert a finger in each tube at and draw the ends upwards. Ask a friend to hold the lower ends of the tubes. As the

paper stretches upwards, so the ladder gradually takes shape

—amazing

in its life-

appearance. The length of the ladder varies accord-

like

ing to your skill

and

the length of paper used.

Use coloured paper for the ladder to ob-

tain a effect,

that

paper

more striking but remember

a

fairly is

thin

desirable,

otherwise cutting will present difficulties. s

a

finale

you

might try placing a piece of black paper on a piece of white, then,

after

tearing

undo them to show a large white piece on which are the words “Good night’' in strips of black paper. The method is based on the Tom and Restored Newspaper described earlier in this chapter.fi 32,

them

up,

XU"

p^

CHAPTER V

ARRANGING A SMALL SHOW There

enough items in the foregoing chapters to enable you to arrange a small show. Why not start with the family as your audience, and perform at one end of the drawing-room ? A short distance is desirable between yourself and the audience, as it lends a certain atmosphere of aloofness and mystery besides enabling you to prevent people from seeing around the side of you are

—

too easily. Angles are very important in conjuring,

your hand or a piece of apparatus held at the wrong angle may give the secret of the trick away. In addition, if you have a small shelf, etc., behind your table for disposing of articles or for the purpose for

of loading a hat,

it is

more

difficult to

conceal the

you are too near the Spectators (see Fig. 29). Most people are sensible enough to know and

fact

if

appreciate that a conjurer needs to perform at a

away from them and without anyone sides, and will co-operate. The exception

short distance

around the to this arrangement is in the case of close-up tricks, dealt with in Chapter XVIII. You may ask what kind of table to use well, in days gone by there was a single-legged one with a round top to be seen in many homes, and that was used by conjurers. Today there has been a tendency to get away from tables that look like conjurers' ;

41

>

1 ' '

I

I

TA 5

Q«t>

J.

>

^e 1 Sa a<ea

.

v,

Small

angles V/iTH

-

ri 6

TASUfc

THE-

AUDIENCE Too NEAR.

VZ22)

ppx

¥3

723



ygp

"Tim

yfnp

~o— THE SAFE

AREA IS SMALL

0

VZ

Audience

1

\ /A‘h, ,v"

AMGLES

a<*e ol

Audience

4-5 1

PEST

/

SAFE AREA IS larger.

VED

up

\z

vgp

y[[b

H7jD

vjrp

FIG 29 .

42

/i

\

s

\

Ylft

vjE)

i zA*udi ence.

^ ..

\2Z2)

i

Ict^e'T'

/t\

With the

AT THE. RIGHT DISTANCE

E3>

^S>

VO.

'ul$

yjjj

'W

W>

ARRANGING A SMALL SHOW

43

you have a folding cardtable or other ordinary table it will do admirably. Chapter XVII describes a collapsible table you can make from an old music-stand if you have a few tables, but, to start with,

if

tools.

Do

not litter your table with odds and ends; try to keep the apparatus you want on a separate table, and bring it over as you require it. If you have any special items, conceal them beneath a coloured handkerchief or behind a card screen, etc., so that their effect will not be lost when the audience sees them for the first time. As to lighting, it will be best to ensure that you have the light in front of you when performing never behind you. Keep the lights on in the room all the time rather than attempt any “stage”

—

lighting effects. -

Remember, a

great deal of amateur magic

done children’s parties), and is

drawing-rooms (e.g. for in small halls, where conditions are practically identical with those in your own home. Try not to make the items in your programme disjointed; link them together by a few well-chosen words. Here is an example of a join between card, rope, and paper tricks. Card: “Ladies and gentlemen, I am commencing my programme with some card conjuring. Would you care to shuffle the pack, sir? Thank you, sir”, etc., etc. Link to Rope: “Thinking of cards, ladies and gentlemen, makes me wonder how many gamblers have come to an untimely end because of them. While we are in

TEACH YOURSELF MAGIC

44

on the subject of untimely ends,

may

attention to this piece of rope’', etc.,

draw your etc. Link to

I

were any good at making the right type of slip-knot I would probably appear in a newspaper, not as a conjurer but as the public hangman. However, the mention of newspaper brings me to my next trick in which 1 use a piece of ordinary paper” It needs but a few words to link up the most unlikely types of tricks. The above examples are in a humorous vein, because this type of linking patter will be found the most generally successful. Spend a little time on your patter links, learn them by heart, if you so prefer, and you will be well

Paper: “If

I

by audience appreciation. Supposing you start with a fifteen-minute show, this will enable you to do seven or eight tricks comrepaid

Do

not worry about being too slick to start with: the audience will not necessarily expect it of fortably.

you, and you will improve as you go along. After you have given two or three small shows, you will from your experience add to these printed

words other points to watch, whether to work faster or slower, and so on. Since your show must have varie-ty, it will be best not to include too many paper tricks in a short performance. Include one or more card tricks because cards really are a conjurer's “tools”, as it were; in fact it is often usual to commence with a few such tricks. Here are two specimen programmes made up from the tricks already given:

ARRANGING A SMALL SHOW 1.

The Vanishing Pencil

2.

Woo

3.

(a

45

good opener).

Lung’s Bead. Burnt and Restored Dollar

Bill.

5.

Reversing in the Pack two Chosen Cards (plus one more card trick you particularly like). Afghan Bands.

6.

Wandering Ring

1.

Torn and Restored Newspaper, leading to The Ladder and Tree (paper tearing). Finding a chosen Card by Thought Reading (plus one more card trick).

4.

2.

3.

4. 5.

6.

(a

good

finale).

Perpetual Pellets. Broken and Restored Match-stick. X-ray Eyes.

Notice the variety introduced into the above

programmes. Afterthoughts

When you

have given your

first

few shows, you

be in possession of some valuable information about your own likes and dislikes. You will know, for example, how long you take to do certain tricks, and by a judicious inquiry amongst the audience you will ascertain whether certain things need speeding up or slowing down.

will

Nothing

palls so

much

as a

show that

drags,

and

nothing is so uninteresting as a succession of tricks so quickly performed that the audience has not time to appreciate them. Aim at the happy medium.

Another thing you

will find

is

that you like to do

TEACH YOURSELF MAGIC

46

more than

which case you can concentrate on those types. Be careful, however, not to concentrate on them to the exclusion of all others for, although variety can be introduced into a selection of (say) card tricks, it is best to have certain tricks

others, in

several different types of items not using the

props, as

it

same

helps to keep the interest of the audience.

Each future programme will benefit from the last one, and eventually you will have a nice compact show. When you reach this stage, and because it is nice to have (a) a complete change of programme and your own satisfaction, you should (i) build up a second programme with the accent on something quite different, say on comedy tricks, mental magic, etc.; (ii) introduce one new trick at a time into your standing programme so as not to disrupt your routine. (b)

to introduce

new items

for

Programme Card Here is a tip to help you remember the items in your show; bend a piece of cardboard about i| by 4 inches in half, write on one side in abbreviated form the items you are performing, and stand it on one side where you can easily read it. A quick glance as

you place down the props

of a finished trick will

enable you to acquaint yourself with

its

successor.

PART TWO CHAPTER

VI

MORE ADVANCED CARD TRICKS AND SLEIGHTS You

have become accustomed by now to a certain amount of skilled movement of the hands and, in continuing with card manipulation an introduction is made to movements which, although requiring much practice, are worth every minute of time spent on perfecting them. will

with which you

be familiar from Chapter III, is a device frequently used by conjurers in order to give an impression of slickness. If you have ever run your finger down the edges of a pack you will probably agree that it makes an effective sound, and when neatly performed finds a natural home with more advanced card tricks and sleights. It should never be used excessively, however, or its effect will be much reduced. Perhaps one of the most useful of all sleights is the “ Pass”, by which means a chosen card is transferred to the top of the pack where it is ready to be used as necessary. It is performed thus

The

Riffle,

will

The Pass After the cards have been fanned between the

hands and a card selected and removed, a break is made the left hand holding the top half and the

—

47

TEACH YOURSELF MAGIC

48

hand the lower half. The card is now placed on the lower half, which is held in the right-hand palm. The left hand now places the top half on the lower, right

but just before

does so the little finger of the right hand is curled over the top of the cards in that hand (see Fig. 30). Not only does the left hand release its it

cards on to those in the right hand, but the thumb and fingers slide over on to those cards in the right hand a change of grip from its original half-pack.

—

second, and third fingers of the right hand now curl over the top half-pack and, pressing down against the finger, grip those cards and pull them off

The

first,

MORE ADVANCED CARD TRICKS

and thumb of the left hand up those cards on the palm of the right hand,

to the lift

49

left.

The

fingers

thumb as can now be

using the

a fulcrum so that the erstwhile

slid back underneath them into top half the right-hand palm (see Fig. 31). The movement seems rather involved, but can be carried out in the matter of a second whilst moving the body to the side or with a sweep of the hands. Neatness should be aimed at with a soundless movement. ^Tien practising, reverse the selected card (as

in Fig. 30) so that its

whereabouts can be followed.

Another useful device

is

The Injog This explains itself, really; a card is slightly jogged out of place immediately on top of the returned selected one, and thus provides a marker so that the cards may be cut at the selected card. After breaking the fanned pack (as for the pass) and having the selected card returned to the top of

TEACH YOURSELF MAGIC

50

the bottom half, lightly drop the top half-pack on to the bottom so that the cards are out of line (see Fig. 32). it is quite

easy to bring up the

little finger,

find

the in jog, and cut the pack there. The smaller the in jog, the better.

This sleight

is

Witchcraft, 1584, the test of time.

The Double

Lift

mentioned

by

Scott

;

so

it

the

Discoverie of has certainly passed

in

and Turn Over

This sleight enables what appears to be the top card to be shown, and then removed, placed in the centre of the pack, and riffled back to the top again. It is

performed thus:

Hold the cards

down

face

hand and place the right hand over the top. Under in the

left

squaring the cards, turn up the near right-hand corner of the top two cards and hold them by the left little cover

of

Ensure now that the thumb is perfectly aligned along the left-hand side of the pack, and the first, second, and third fingers are all on the righthand side. Bring the right hand over again and, bending up still more the two top cards, using the fingers finger (see Fig. 33).

MORE ADVANCED CARD TRICKS at the top of the

pack as a fulcrum,

slip

the

51

thumb

under the two cards at the rear right corner, and then twist them over face up. Lay them on to the top of the pack, but overhanging towards you. (Note the finger and thumb are now at the left near side.) Remove the fingers and press the two cards back nearly square with the rest of the pack running your thumb along the edges of the two cards (to square them to each other as you do so). The fingers and thumb of the left hand help to keep the two cards squared along their long edges. It is necessary to leave the reversed cards jogged as, when they are reversed again, it is then a simple matter to hold them together as one with the right thumb and fingers, and twist

—

them

over

ex-

actly as for the first

in

time

(only

reverse)

square

off

and with

the thumb.

To Palm the Top Card This is paratively

comeasy,

although it needs a little practice. Holding the pack

down

hand bring over the right hand as if to square them, and at the same time make the following movements: face

in the left

V

TEACH YOURSELF MAGIC

52

thumb

(a)

Press with the

(b)

diagonal direction forward (see Fig. 34). Press with the right finger-tips on to the edge of the top card, which will tilt up into the

(c)

left

the top card in a

palm. Contract the right hand slightly (see Fig. 35) and drop to your side on no account hold it w oodenly before you, act naturally.

—

T

The foregoing sleights are a few of many, but if you learn them thoroughly you will be able to do literally scores of tricks. Try inventing your own tricks using these sleights

—

it

is

fine

fun, besides

giving you a great deal of personal satisfaction. Now for some card tricks to give you the usage of

them.

The Magnetic Cards Trick Prepare your pack by arranging the top three cards as follows:

MORE ADVANCED CARD TRICKS (1)

a spot card

(2)

a

(3)

53

Queen; and a Queen.

Commence by

giving a false shuffle i.e. holding the cards on edge in the right hand, backs to palm, ,

packets from the face side to fall into the left hand, going alternately in front and behind the previous cards. When you get to the last few cards, place them at back of the cards in the left hand (see Fig. 36), turn the pack flat and the three cards are allow

little

1MTO LEFT

HAND

LAST FEW CARDS A« PLACED ALL Together.

AT Back. FIG.

36

TEACH YOURSELF MAGIC

54

on top. Do this shuffle facing half left so as to conceal most of the faces of the cards. Now double lift the top two cards to show the Queen and replace on top “We will put this lady in the centre of the pack". So saying, you take the real top card and, without showing its face, place it still

—

in the centre of the pack.

Now double lift the top two cards again, the second Queen and replace.

Remove

and show

the top card

and again, without showing its face, place at the bottom of the pack, saying, “This lady I place at the bottom thus". You now have a Queen at the top and at the bottom of the pack. Cut the cards once, which brings the Queens together, and say, “Now these two Queens are sisters, and as a result they are drawn towards each other. I am going to show you that they have met each other in the centre of the pack".

Make to

and spread out the cards face up show the audience that the two Queens are tothe

riffle

gether.

Here

is

a trick combining the pass and top palm.

It is called:

The Magical Detective Allow the cards to be shuffled and, after facing them, ask a spectator to select a card, memorise it and return it to the same place. Having done so, you make the pass and bring it to the top. In case you haven’t made the pass very smoothly and you think it has been noticed, you can prepare for the double lift, by which means you can, should you be

MORE ADVANCED CARD TRICKS challenged (or not, for

it

55

adds. to the effect), show

the top card.

Now pattering to

‘

the effect that ‘magicians would

they cared to take up that profession”, you palm off the top card and ask

make

first-class detectives if

someone to shuffle the cards. “Supposing your card”, you say to the spectator who chose one, “is a burglar and the pack represents a maze of back streets imagine how difficult it would be to find the criminal.” Take back the shuffled pack and add your palmed card on top. “Now this is the way a magical detective would get his man.” Hold the cards up in the right hand, face to audience and, as you make a magical pass over them with your left hand, cause the back (top) card to rise slowly as explained in Chapter III.

—

Follow this up with: Find the Jack

Put the Jack of Hearts on top of the pack and, without shuffling, fan and ask someone to find the Jack of Hearts. He selects a card which is certainly not

it.

“I do not wonder,”

you

say, “because that

is

a

very slippery Jack to find.”

Ask the spectator now

to replace the card in the

pack (as a marker) in the top half. This is done, and you begin to deal out the cards from the top, one on top of another on to the table. You know that the Jack, being on top, is the first and is face down on the table. When you get to the place where the spectator’s card is inserted, you turn that card face up

TEACH YOURSELF MAGIC

56

on to the pile on the table. Then turning up the next card in your hand you say, “Well, you still have not found it. Perhaps it is not there”. So saying, you turn over the pile on the table, and there is the Jack of Hearts face up. Give a little laugh and turn the pile back again give the spectator his card back and replace the packet from the table on those still in the hand in jogging as you do so. Now, without pause cut

—

—

the cards above the jog, placing the top cards beneath, leaving the Jack on the top and, holding the cards on edge in the right hand, back to palm,

execute a false shuffle thus: Pick up with the thumb and finger of the left hand the half of the pack nearest the right-

hand

on the face side

hand

fingers

and

shuffle

—but allow the fingers of the right

to retain the top card

still

in position (see

Fig- 37)-

You may do Jack on top.

shown

this several times, still leaving the

Now cut

the pack into two and lay out

—

38 with a space between ask the spectator to place his/her card in the middle. as

in

Fig.

Place the bottom half of the pack on the single card, and then all on to the erstwhile top half.

MORE ADVANCED CARD TRICKS

Top Half OF

57

half PACK.

lowe.*

PACK

of FIG.

33

This brings the spectator's card next to the Jack of Hearts. “I am going to help you find the Jack this time" you say, and, giving a riffle, you then fan out the cards face up to show the spectator’s card and the Jack of Hearts together in the centre. Cutting above the injog (so as to leave the in jogged card behind) is a variation on the method described on pages 49 and 50. After the position shown in Fig. 32 is reached, the left hand can slide the top half of the pack forward so as to square it with the rest the left thumb feeling for and sliding over the lowest of injogged cards, leaving it in position for

—

cutting above or below

it

as required.

CHAPTER

VII

CARD FANNING There

a charm about card fanning that no other form of card manipulation possesses. Special cards are not essential, and an ordinary pack will do except it should be one with an irregular design and without a white border on the back. The purpose of choosing cards with an irregular design is that as the cards are fanned it is the corner is

EXAMPLE. OF A TyPtCAL FARMING CARD with pour different corners

FIG .39

makes the pattern (see Fig. 39). You will probably guess that, as you have four comers so you can

that

make

four designs. 58

59

6o

TEACH YOURSELF MAGIC

Before you start, the cards must be dusted with fanning powder. This is bought at any reputable conjuring shop, and is best applied with a piece of cotton-wool. Riffle the cards afterwards to remove surplus powder.

There are so

many ways

of

making fans that, if you are ingenious, you will be exploring new ground as you progress. There are two basic methods of

LEFT WANfc

Perform ess \AEW

—

END

OtN

C Cbs seen in.

a

mirror)

S

v0 VN

LEFT •HanjO

FIG.

40c PERFORMS. R S

VIEW Ft

fanning: they are the ordinary (or and the reverse (or upward fan).

6

downward

fan)

Let us commence by holding the pack in the left hand with the backs facing the audience, the thumb at the lower near comer and the fingers behind (see

CARD FANNING Figs. 40, A, B, C,

6l

and D). Your position should be

as follows:

Right side to audience, left arm forward and bent with the cards at about eye-level. Now bring over the right hand and with the thumb press on the near (see Fig. 40, A), swing round the edge at point

X

thumb

in

an arc travelling downwards, and your

formed. By using the opposite comer, a different-patterned fan will be obtained. For the reverse fan, hold the cards in the left hand as before but below the hand. Note placing of thumb and fingers (see Fig. 41). By using the right thumb at point and swinging upwards, the reverse fan is accomplished. If you buy a pack with indexes in opposite corners only (see Fig. 42), you can fan them ordinarily and show all the indexes, spots, etc. then, after first

fan

is

X

;

TEACH YOURSELF MAGIC

62

reversing the top card,

—

by

reverse fanning you can

obtain a blank fan a fact which always surprises an audience Try it and see. For displaying a pack to the audience to show that the cards are

all

different,

you

should use the one-hand fan as follows

Face the audience and take the pack in your right hand, faces to yourself with the thumb at the bottom left-hand comer. The right hand should be about 9 inches from your body and in front of your waist. Now you must do two things at once, i.e. pig .4^ twist your hand round so that the thumb and fingers change places and turn the pack around. As these are done, the thumb in its swivelling movement pushes the cards into a fan (Fig. 43, A and B, illustrate a fan designed to show the backs to the audience).

A few practice efforts will soon give you the necesenabling a good fan to be formed. Here is an effective sleight that is useful, as it can be varied according to the performer’s taste. After fanning the cards in the left hand, bring them down and turn them face to the audience, and square them up with the right hand; under cover of this, palm off about a third of the pack. Now turn the cards face in again, and fan from an opposite corner with the right thumb; this gives an ordinary fan movement. Now place the right hand beneath sary

feel,

4*B

FIG.

63

TEACH YOURSELF MAGIC

64

the

left

so (see Fig. 44).

comer. fingers,

up the Note the thumb

armpit, folding

you do the bottom left

lingers as

at

Withdraw the hand and straighten the fanning as you do so (see Fig. 45), and turn

the card backs to the audience.

CARD FANNING

65

There are several ways of holding the cards in order to fan them, besides innumerable types of fans, such as double fans, giant fans, etc., but the examples given will be found sufficient for a modest beginning, and can be an attractive part of your card magic. It is best to keep cards used for fanning specially for that purpose, as if they are used for subsequent card tricks the surface will deteriorate and the edges

become discoloured. A good tip for any card manipulator is to keep the hands scrupulously clean with special attention to finger-nails, as the hands are so much in evidence

will

all

the time.

—

Try to cultivate graceful movements let your hands be a living supplement to the card fans and, above all, achieve an even fan. If gaps appear, polish each offending card individually, and perfection will result.

CHAPTER

VIII

MANIPULATING COINS, BALLS,

ETC.

Coins are useful objects to manipulate as, comparatively speaking, they are so cheap. Just a few ordinary quarters and you can do quite a number of tricks.

One

of the

most use-

vanishing sleights that of: ful

is

The French Drop

To perform

this hold

a quarter in the right

hand between thumb and

the

fingers, the

palm facing upwards. Bring the left hand across,

inserting

the

thumb beneath the coin in the right hand and the fingers above it (see Fig. 46). Close the left

hand

though taking the coin, and at the FIG, 46 same time drop the coin into the right palm. The left hand immediately right

as

moves away followed by the eyes, while the hand drops to the side. You may now blow on 66

MANIPULATING COINS, BALLS, the

left

the air

hand

ETC.

67

—or pretend to throw the coin up into

—vanishing

it,

in fact, a

few seconds after

it

has gone Then bring up the right hand smartly to beneath the armpit and produce the coin again.

you would like to try palming, there are two methods which are worth choosing; namely the: If

Classic Coin

Palm

Hold the coin the the

finger-tips

back

of

at

—

the

hand

to the audi-

ence.

Under cover

of a throwing motion, bend the fingers

and press

CLASSIC CoiM

the coin into the

PALM

©

FIG ^7& palm, contracting the hand slightly and extending the now empty fingers again (see Fig. 47, A and B). .

TEACH YOURSELF MAGIC

68

Here is the finger palm for those who find the

palm

classic

difficult.

The Finger Palm Instead of pressing the coin into the palm, slide it down to the tips of the second and third fingers, bend

MANIPULATING COINS, BALLS, them

palm and extend the Fig. 48, A and B).

into the

fingers (see

This Miser's

last sleight is

first

ETC.

69

and fourth

very useful for the

Dream

In this trick you have several coins hidden beneath a glass tumbler, so that in the act of picking up the glass you are enabled to finger palm the coins. By sliding each one up with the thumb, and holding

it

at the

thumb and

finger-tip for

a second before

dropping it into the tumbler you will get a smooth flow of coins from the

air.

For more ambitious occasions you might invest in a coin dropper (see Fig. 49) which will hold a number of coins, each one of which can be removed very easily. It is held behind the hand. As an alternative, as you p|Q , ' move about you could take advantage of (say) your left side being to the audience to steal coins from the right pocket with the right hand, and vice versa. Make from a piece of thin plastic or celluloid a shape similar in size to that of a quarter, and you are

AA

then ready for:

The Vanishing Coin

in Glass of

Water

Palm the

coin fake in the hand holding a silk handkerchief, and ask someone if he would care to

drop a penny, which you show, into the glass of water. You place the coin in the silk, change it for

TEACH YOURSELF MAGIC

70

the fake and, holding it through the silk, offer it to the spectator (see Fig. 50). At a signal he is asked to drop what is believed to be the coin into the glass of

water and, when the of a coin at all

silk is

removed, there

—the fake being invisible

is

no sign

in the water.

You

could remove the coin from behind his ear, etc., as you wish. If you let the spectator mark his coin beforehand, it makes the trick still more effective.

Ball tricks are a very good follow-up to ones with coins, for there are certain similarities.

The French drop and finger palm (using second, third, and fourth fingers) are used in ball vanishing and palming. Here is another vanish:

MANIPULATING COINS, BALLS,

ETC.

71

The Throw-up Vanish With the right ball it

throw up the flight and catch

side to the audience,

with the right hand. Follow

again, bringing the right

its

hand down

to waist-

level.

Repeat

up the

this twice more,

left

hand

then the third time bring

to waist-level,

and

as the right

hand

descends slip the ball into the left hand, and continue to simulate throwing the ball up again with the right hand. The audience will still fancy they see the ball going up as they automatically follow a repetitive movement but you merely stare up as though you expect it to come down, while the left hand pockets the ball, or it can be palmed and produced from behind the left knee or the elbow, etc. By means of a small loop of nylon thread attached to a tack in a wooden ball (see Fig. 51, A), you will be able to emulate the feats of the masters by performing the trick known as

—

The Vanishing

Billiard Ball

The loop is passed round the second finger and the ball held between thumb and finger with the back to the audience (see Fig. 51, B). Bring the left hand round to the audience side of

the ball as ball

if

to take

it,

close that

hand and

drop behind the right hand where

its

let

the

loop holds

Throw the ball into the air and produce from your elbow. You could swallow it and produce it it

safe.

from your knee,

etc.

TEACH YOURSELF MAGIC

72

The

open appearance of the right hand whilst the ball is hanging behind it is so good that it fools nine people out of ten easily, and the tenth is not flat,

too sure he knows the answer, at that.

An

old favourite

The Multiplying

is

the trick

known

as

Billiard Ball

This effect is achieved by means of a half-ball shell, which enables you to hold what appears to be only one ball between the thumb and first finger, and by a movement of the second finger roll up a second ball in a split second. By all means invest in a set, which consists of three balls and a shell, at the earliest opportunity, as they are not expensive to purchase. Two balls and the shell are first placed in the left-hand pocket, whilst the third ball is shown to be solid by knocking it upon the table. Holding the third ball between the thumb and

MANIPULATING COINS, BALLS, finger of the right

hand

ETC.

73

—to your right side —bring

hand with the shell. Place the shell over the ball, and drop the second finger of the right hand underneath next to the thumb. A quick wave of the right hand and the second finger rolls up the ball, leaving the shell in place between the thumb and first finger. The left hand brings up the next ball and, under cover of settling the lower ball (shell) in position you slip the ball into it from behind. This move is concealed by the left hand. The ball between the first and second fingers is now placed between the second and third, allowing the tip of the second finger once more to slip down behind the shell, where it is in position to roll up the next ball. Each time a ball is produced it is moved one up

up the

left

the fingers so as to leave the second finger in position to produce the next ball.

To vanish the

balls,

the second finger rolls a ball

at a time into the shell, the remaining balls being

shifted one

The

last

down each time. move is to remove

front of the last ball, which

is

the shell from the

then shown on

all

sides.

Here

is

a

method

of:

Catching Balls from the Air

For this effect a tube about 2 inches across and about 6 inches high is required. It should be closed at the bottom, and a round hole cut as shown in Fig. 52. This hole is to allow a ball in the tube to roll

out into the hand.

74

For the

TEACH YOURSELF MAGIC balls

you should buy

tennis ones, or balls of such a size

dozen tablethat two can be held half a

comfortably concealed in the hand. To perform this trick place two balls in the tube and stand it upright against a small box to prevent the balls inside from rolling out, the other balls being in the right-hand pocket. Lift the tube with the left hand, holding the balls in by the thumb, and show the right hand empty. Take the tube in the right hand and show the left empty. You now take the tube again in the left hand, but leave behind the two balls palmed in the right hand. These balls you pick from the air, and drop into the tube, where they are allowed to run into the left hand as the right hand takes the tube again.

Now repeat, the

left

hand catch-

ing the balls and then the right

hand. On completing this, place the tube (in the left hand) on the FIG .S% table against the box, turning as you do so to the right. This enables you to obtain two more balls from your pocket with the right hand. Produce one from beneath the left armpit and hold it up being careful to conceal the second ball. Place the visible ball in the left hand, and with it the second ball, which is concealed, turn to the right and drop the visible ball into the tube.

—

MANIPULATING COINS, BALLS, whilst at the

same time obtaining the

ETC.

last

two

75 balls

with the right hand. The second ball in the left hand is now produced from behind the right knee, and in quick succession the right hand produces a ball from the left knee and the last from your mouth. Drop all three into the tube, which is then picked up with the thumb over the hole at the bottom. Tip the balls into a hat and carefully deposit the tube at the back of the table.

CHAPTER IX

THIMBLE AND CIGARETTE TRICKS Whoever

thought of using thimbles for manipulation purposes certainly introduced a new and unusual series of conjuring tricks. Since that time thimbles have been hopping from finger to finger, disfirst

appearing, multiplying,

with alarming rapidity. Here is a simple

which

is

etc.,

trick,

called

Jumping Thimble

The effect is that a thimble shown on the finger of one hand apparently jumps across a hand. to

finger

on

the

other

necessary to have two thimbles of the same colour. One is placed openly on the It is

second finger of the right hand, the hand being held as

in

Fig.

53

(performer’s

view)

Whilst talking about the liveliness of the thimbles generally, you slip your left hand into your pocket, and pop the second finger into the duplicate thimble, 76

THIMBLE AND CIGARETTE TRICKS

JJ

bringing out the hand with the first finger upright. The thimble is concealed by the bent second finger.

Now, with a swinging motion

of the right hand,

holding the fingers apparently in the same manner pretend to throw the thimble up into the air; as you do this, bend the second finger into the palm

—

Watch the imaginary flight of the thimble, and then make a sudden dart with the left hand, bending down the and straighten the empty

first

finger

first

finger.

and straightening out the second

—

finger

thereby catching the thimble and, for that matter, catching the audience too. As an encore number you could perform

The Disappearing Thimble

Show

a thimble on the second finger of the right hand and display your left hand empty. Now extending the thimble finger horizontally, press it

and behind the left hand held downwards with fingers bent. As soon as the right-hand fingers are concealed, bend the thimble back into the palm, and hold it with the bent thumb and then extend the first finger again. At the same time you must close the left hand and move it to the left and move the right hand to the right, showing the absence of the thimble on the right-hand finger. With a throw of the left hand the thimble vanishes and the left hand is shown empty. “Never mind,” you say; “I have another thimble handy.” So saying, you feel with the right hand under the left armpit, bend the first finger into the into

TEACH YOURSELF MAGIC

78

palm, extend the second finger with and withdraw the hand.

One

of the

most useful

sleights of all

thimble,

its

is

The Thumb Palm Place the thimble on the will do).

first

finger (either

With the hand held partly

bent,

hand

move

the

back into the palm to finger

first

the base of the

thumb; do

as

you

engage the thimble in so,

the fleshy part of

base 54).

thumb

the

(see

Fig

Remove th<

finger,

leaving

the thimble held securely.

This

movement can be made very quickly whilst waving the hand or whilst the finger is concealed behind the hand, and has the advantage that the thumb is visible both before and after the other

palming.

By means of a thimble holder (see Fig. 55) you may bring out four thimbles. in the

palm

(but

They remain concealed on your fingers) until you wish to

astonish your audience

—-then with a sweep of your

THIMBLE AND CIGARETTE TRICKS

79

hand you suddenly show them on outstretched fingers.

Incidentally

you can buy

plastic thimbles at

variety stores for a few cents

many

—make sure they grip

without being too tight. Cigarette Tricks

is

Exactly when cigarette manipulation commenced open to conjecture, but its variety of vanishes.

productions,

a great

etc.,

many

has today

made

it

a favourite with

conjurers.

Once again the thumb palm

a basic sleight, the cigarette being held by its tip at the base of the thumb in the fleshy part of the hand (see Fig. 56). It is possible, with practice, to palm cigarettes this way extremely rapidly. The cigarette may then be vanished, and produced from beneath the arm, etc.

is

TEACH YOURSELF MAGIC

8o

Lighted Cigarette through Handkerchief [and re-producing same)

shows a cigarette tank which will comfortably produce a lighted cigarette from inside the coat where this fake is pinned. For this trick you must buy or make from pierced zinc the cigarettetank and for a small sum purchase a thumb-tip. This last should be of a size to fit comfortably the right-hand thumb. Fig. 57

You commence by

placing a lighted

cigarette in the tank, in

it is

and pinning inside the coat. Next you light another cigarette and place it in your mouth, place the thumb-tip in your right-hand pocket and with

held

FIGc.57

by a

which

piece of spring-metal,

a handkerchief. After taking a puff or two at the cigarette, you feel into the pocket and, in bringing out the handkerchief, slip your thumb into the tip. Display the handkerchief quite openly both sides, for the tip is flesh colour and invisible. Drape the handkerchief over the left fist and press a hollow into it with the right-hand first finger, followed by the thumb in which instance you leave the tip in the handit

—

kerchief.

Now remove

the cigarette from your mouth, place

burning end into the handkerchief and stub it down firmly with the thumb. This puts out the cigar-

its

THIMBLE AND CIGARETTE TRICKS

8l

and allows you to bring out the thumb with the tip on it. Show the handkerchief both sides, and pocket it and the thumb tip. Finally produce the lighted cigarette from your coat. Point about using the thumb tip: always keep the thumb end towards the audience as far as posette

sible, as this gives

the best cover for the

tip.

Cigarette Production

For a very modest sum indeed you can buy a small fake, consisting of a

long pin and half-round

which an astounding cigarette production routine can be achieved (see Fig. 58). The clip goes at the back of the lowest joint of the third finger, the spike pointing away from the finger-tips. grip with

In the act of throwing the cigarette into a hat the fingers are straightened: this has the effect of

“S

TEACH YOURSELF MAGIC bringing the cigarette behind

hand which then appears

the

empty. A quick grab in the air accompanied by a bending

the

of

again

fingers

causes the cigarette to re-

appear

thumb

Fig.

(see

59)

The

.

actually helps to con-

ceal the small part of

fake which

To

visible.

you

complete return the

either

—

may

cigarette

owner less the fake and show the hat empty, or by means of a small compartment made by a black card and housing cigarettes, produce a shower of them from the hat. to the

—

FIG. 60

is

the

Vanishing Cigarette

Here is another of the numerous sleights you can perform with a cigarette. Hold it upright in the lefthand fingers, as shown in Fig.

60

(view

seen

in

a

mirror)

Now

bring the right hand

over the top with the fingers held together and pointing

downwards. Engage the

tip

THIMBLE AND CIGARETTE TRICKS

83

on the cigarette and press it downwards into the left hand. When about i inch of cigarette is still showing, press forward as you continue with the downward of the second finger

movement. This has the effect of swivelling the cigarette upside down, so that the greater part, previously behind the left-hand

fingers, is

hand fingers. At the same time the

now behind

the right-

tip of the left-hand second

touches the end of the cigarette, and it is therefore possible to finger palm the cigarette between this finger and the palm. You do this as you take away the right hand. The cigarette lies parallel to the fingers, and is not seen. You point to the left hand (which has not moved), and open it to show it empty. Then produce the cigarette from the elbow, from behind the ear, etc. finger

still

Final Note

Each manipulation mentioned

in

this

and the

preceding chapter is a sphere in itself, and it takes time to be proficient in any one field. If you like using thimbles (say), then keep a look out for any books dealing exclusively with thimble manipulation. It is better to be really good at manipulating one type of thing than passably good with several of them.

CHAPTER X

SILK HANDKERCHIEF TRICKS Conjurers do not use much kerchiefs proper; they use silk

—

way

handsquares in the form

in the

of

—

handkerchiefs of various sizes and referred to generally as silks. The Japanese silk ones used in the days before the war are beginning to reappear on the market, and are excellent for their purpose, for if crumpled to a tiny ball they will,

of

when

released,

spring out

to

their

normal

size

quite easily.

A

word about buying them. Start with small

say 6 inches or 9 inches, and, as they are expensive, keep them carefully packed in a flat box, or rolled up round a cardboard tube. sizes,

To commence ing a

with, here are two

ways

of vanish-

silk.

Silk Vanishing

by Means of Palming

Tie a tiny knot in a

comer

of the silk and, holding

hand with thumb and finger covering the knot, wave it up and down. Now show the left hand empty, place the silk into it knot first, and commence a circular motion with the palm of the two hands (see Fig. 61). Close the two hands together, and with the right hand palming the rolledup silk, pick up your wand (this makes good cover), point it at the left hand, and slowly open it and show it

in the right

84

SILK HANDKERCHIEF TRICKS

empty. Lay down the wand and drop convenient servante, or just pocket it. it

Silk Vanishing

The

85

silk into

a

by Means of a Pull

a small container to which is affixed a length of elastic. The end is fastened (say) to the inside neck of your jacket on the left, and the conpull

is

tainer hangs

down

inside

with your hip

(see Fig. 62).

Hold the

your

silk in

left

your right hand, place the

your jacket, on a level hand, and then, cupping silk into

it.

Having done

turn to the audience and say, “Oh no, it hasn't gone yet," and as you show the silk in the right hand let the left hand find and secure the pull. Bring the left hand cupped forward to the waist and half turn to the right, looking at the right hand holding the silk all the time. Drape the silk over the left fist and begin to push it into the pull in that so,

TEACH Y OURSELF MAGIC

86

hand as it disappears still hold the left hand cupped and release the pull, walking forward and saying, “Now to make it finally go will someone blow on my hand.” This is done and the left hand is shown ;

empty. Remember, you do not

when

tell

the audience

the silk really has gone, you lead believe it happens afterwards.

You can produce

—

silks

—a

them

to

pull will hold several

small ones by reversing the above process. Show the left hand empty, and pretend to pick a silk from the cupped right hand, smile and show the right

hand empty

(securing the pull with the left

hand hand

meanwhile). Then dive into the cupped left and produce your silks one at a time. Here are some effective tricks that have been popular amongst all types of conjurers.

SILK The Vanishing

HANDKERCHIEF TRICKS

87

and Candle To prepare for this trick you must cut off the top half of a candle and insert it in the top of a tube of Silk

white paper. It is advisable to paint the interior of the paper black, as a candle has a translucent grease and

would

when

disclose the false part

Fig. 63). Into the tube silk

lighted (see

push a red

and place the fake candle

CANDLE TIP

in a

candlestick. Fix your pull in posi-

PAPER,

and drape a duplicate red

TOSE

tion

silk

on your table. Have a sheet of newspaper handy. First light the candle, then vanish the red silk by means of your pull. FlGr .63 Take up the faked candle, blow out the light, tap the end to show it is solid and wrap it up in the sheet of newspaper. Quickly break open the parcel tearing the fake candle open, and red silk concealed MATCH pull ou t WICK head there. Screw up the paper into a

—

and dispose of it in a place where it cannot be examined by ball,

SMALL SPIKE

FIG.6+A

chance afterwards. Should you wish to produce a lighted candle from your pocket, which makes a nice finale fix a small length of wire into a sloping hole in a genuine candle, ajyd pusher into the top half an inch of a redheaded match next to the wick

—

(

see Fig. 64, A).

TEACH YOURSELF MAGIC

88

A

piece of card about 2

by

3 inches is now required this should be pasted over with ;

sandpaper and affixed by a safety-pin to your waistcoat 6 q, B). Now hook the candle into the top of.& safety-pin, and secure inside (see Fig.

your coat. As you remove the candle, strike the match on the sandpaper, and the lighted match will light the wick.

Do

not

use

matchhead

a in-

stead of a wick, as this will not

remain alight for

more than

a second or two. Here is another favourite •

One-handed Knot Hold the silk over the hand as shown in Fig. 65, making sure that end Y is shorter than end X (see illustration) Now bring down the first and second fingers, catch hold of end X bringing the end up, shake off the part hooked over the back of the hand, forming an instantaneous knot. .

SILK HANDKERCHIEF TRICKS

Remember

to twist

the handkerchief as to

first

up

Z

/

*

89

so

make a rope appear-

ance,

as

this

the

helps

fingers to obtain a

good

hold.

One tricks

of the best of all silk

is

that

known as the

Sympathetic Silks

For

this

large silks

you need two each

—

six

of

three colours. Three silks,

one of each colour, are tied together

by

knots, as

FIG.

66

shown in Fig. 66. They are held by the ends X, Y, Z, so that the knotted corners are in the folds and invisible. They are laid, to all appearances as three separate silks, upon the table. Taking the other three silks, you make a reefknot in each case, joining the three together, but as you tie each one, under cover of pulling it tight,

you

parts of

two the same pull

handkerchief at FIG.

67

points

X

and Y,

TEACH YOURSELF MAGIC

90

which has the

converting the reef-knot into a slip-knot (see Fig. 67). By pulling Y and shaking the silk, the ends slip through. Having then shown that the three silks have unknotted themselves, you walk to those on the table and, catching hold of them, you pull quickly and the three silks are disclosed securely knotted. Coloured silks are used in scores of different ways as additions to other types of tricks, so you need never be hesitant in purchasing them; they always effect of

come in useful. Remember to buy them in twos of the same colour, for should you buy them singly you may not be able to match a colour should you wish to do so later for a trick requiring two the

same

Silk to

silks of

colour.

Egg

For a small sum you can buy a celluloid egg with a hole in it (see Fig. 68, A), and this, with a silk, will enable you to perform the trick.

The egg is placed in the left-hand pocket while you show the silk in hand. Allow the left hand to obtain the egg during the FIG. 68A silk-waving action, and bring the hand about waist high. #Throw the silk over the cupped left hand, and with an up-and-down movement slowly press it into the hand and therefore into the egg through its hole. Having completed the operation, blow on the left hand and open it to disclose the egg. The surprise climax should be the

right

SILK

HANDKERCHIEF TRICKS

91

helped by a certain amount of surprise showing on your own face as you show the egg. As an alternative method you could hide the egg behind the handkerchief on your table on picking up the handkerchief with the right hand slip your

—

first

silk

finger into the egg (see Fig. 68, B) so that the

can lay

flat

on the hand.

Now bring

over the left hand and take the egg at the same time as the right hand slips the silk over the left hand.

Remember on

all

occasions

when you

are palming

a ball or egg to keep the fingers tightly against one another to achieve good cover, and don’t forget to watch your angles.

CHAPTER

XI

VANISHING AND PRODUCING Both

processes

mentioned

in

the

title

to

this

chapter are used extensively in conjuring. Let us take the question of vanishing first. One way is by means of a “pull”, a small container affixed to a length of elastic (see Fig. 62, Chapter X) This way is better than the vanish up the sleeve, which is inclined to be awkward, as the elastic tightens the sleeve material, making movement uncomfortable. Experiment with both ways however, and decide for yourself. Incidentally a piece of elastic attached to anything from a coin to a pencil is equally useful for suddenly vanishing them. For other ways you must be introduced to two

very well-known

Q

conjurer’s props, viz.

the

and the

A

servante

well.

The Servante

HSyS' 0 I,

«

V

M

a shelf attached MlIdUMlClldlldUlCU small to the back of your table. It can be of varying sizes, and in its simplest

is

form

need not be anything more than the

FlGr.69 92

VANISHING AND PRODUCING

93

back centre part of the cloth covering your table pinned up (see Fig. 69) a drawer slightly pulled out with a piece of cloth to deaden the sound of objects dropping into it; ;

CtCTTM

or a small velvet-

covered

WHITE

wire

iMOiCATe weuPo5iTiOfW

frame. Let us sup-

pose

your

SHOWH TO

right

hand holds a coin, ball, etc., which you have palmed; you only need to

Section

of Taele

U BAGT

lower that hand, FIG. 7° A and under cover of the action of picking up your wand from the table let the object drop on to the servante. The Well takes the place today of the older trap in the table top. It is simply a hole cut through the table with a black bag hanging from it. Your table top will be covered with pi black, and so the black \ opening will not be seen 1

A

(except for very close-up

work), and a design in braid, etc., can conceal

7\

t

CLOTH SHOWN! WHITE. SHADED AREA SHQW5 POSITION OF WELL.

very well

it

70B

Fig.

70, A).

Larger rectangular wells are used for vanish-

ing

such

rabbit

FIG.

(see

or

things

other

as

a

bulky

articles (see Fig. 70, B).

TEACH YOURSELF MAGIC

94

Here

is

a trick using the

well.

Make

yourself

for

an

ornamental tube and by means of an elastic band, ,

conceal two coloured silks inside

are

it

(see Fig. 71),

now prepared

you

for:

Confetti to Silks transposition

Stand the tube over the well and pour in confetti which naturally goes straight through (see Fig. 71), make a magic pass, lift the tube, and produce the silks. After your silk production do not show the tube empty, for that would disclose the elastic, but push your hand and arm through it. The few pieces of the confetti adhering to the silks will provide realism.

Do

not despise the back of a chair for concealing a small servante, for

it

may

be usefully attached to

the back

of

the

top rail (see Fig. 72). In the process of leaning a hand upon the

F16. 72

VANISHING AND PRODUCING chair back, an object

may

95

be deposited, or for that

matter taken up. If you go to the expense of buying one of the excellent mechanical boxes on the market, you will be able to vanish things whilst standing away from your table.

The Flip-over Box,

for example, usually rectangu-

shape with front and back flaps hinged. A container (a concealed shelf at right angles) is affixed to the back, and when the box is flipped open (back lar in

FIS. 75 first)

73).

this

the load hangs behind the back flap (see Fig.

Whatever the method, and several are employed, box is useful for a quick, snappy disappearance.

Now

You

need production may be adapted in size according to the size of the load and whether they are for stage or drawing-room performances (Chapter

about production. tubes and a box; these

XVII

will

gives details).

Among

the most spectacular things of

all

are

coloured paper coils which, when one end is pulled out from the centre, can be whipped up with the wand into an amazing heap. Conjurers use such initial coverage as is supplied

TEACH YOURSELF MAGIC

g6

by coils to produce a body or from our old anywhere

else in fact

from the friend the servante, or from where it can easily be obtained. One must not forget the larger load, either

ever popular:

Hat Production

At

its

best a special con-

tainer painted black can

be

bought.

This is invisible when placed in the bottom of a top-hat. A small flap opens to enable the load to be obtained. For more modest occasions all you need is a tiny pin, bent into a small hook and affixed to a hat brim. The hat is shown empty and laid on the table brim down; the hook is allowed to engage on a black

Mov£

On e

Movt

TWO

FIG. 74*

cotton loop which rises from the load already placed on your servante. The action of turning the hat over brings the load into the hat. This is by far the simplest method (see Fig. 74, A and B).

VANISHING AND PRODUCING

97

Another method used for producing anything from a fire bowl, wine glass, etc., to spring goods is as follows

The load

tucked inside the left-hand side of the jacket. For production a large handkerchief is first

—

displayed in the right hand and the left arm is held out crooked, at the same time as the left side of the body is turned towards the audience. The is

hand now drapes the handkerchief over the left arm and hand, and takes advantage of this to slip the

right

load from the inside of the jacket into the left hand. Incidentally, since a man's double-breasted coat wraps over to the right then, naturally, it is better to obtain the load with the right hand, which has

no

difficulty in slipping into the coat.

position

UPRIGHT POSITION

(BOX APPEARS fcMPfy) PKx. 75

Another form of production box

is

that

known

as

the:

Chinese Inexhaustible Box

This has two bottoms fixed at right angles to one another (see Fig. 75). When the box is upright the

TEACH YOURSELF MAGIC

98

being inside. When the box is pivoted over to the front so that its flap can be opened, the interior is perfectly empty the real bottom being outside at the back. If you are performing in the drawing-room, watch the side angles as you do this, otherwise the secret will be disclosed to the audience. Turning the box upright again brings the load into the box. This is useful for solid objects, of which

load

is

invisible,

—

surprisingly large sizes can be accommodated.

Why It is

not experiment and make one for yourself? quite simple and costs little.

Production loads usually comprise some of the following

Spring Goods

Most of these have a coiled or other spring inside, which cause the item in question to assume a much larger size when released; in fact, a table can be covered with such goods from quite a small box. You can buy carrots, cauliflowers, sausages (see Fig. 76), etc.,

made

of painted canvas, flowers

made

VANISHING AND PRODUCING

99

of paper (Fig. 77), a rabbit, etc., all of which have a spring of one kind or another incorporated in them.

Remember, when you produce a from a boy’s pocket, to search

string of sausages

first

with the hand

FIG.17 which does not contain them, then suddenly bring forward the other hand and produce them. Rubber Goods These also can take the form of practically anything from a loaf of bread to a milk bottle, fruit, eggs, sausages, etc. Select carefully articles are fairly

and look

them, for expensive to buy. after

all

these

Feather Flowers

These are some of the most delightful of all conjurer’s requisites. The feather goods range from a

TEACH YOURSELF MAGIC

100

—which

has a spike in the bottom, enabling it to be thrown into the air and in dropping to stand upright in the floor to bouquets for use up the sleeve. flower dart

(Fig.

78)

—

Some bouquets

extremely large and cost ten dollars or more not infrequently there are buds which open by a mechanical means. All these feather flowers can be slipped into a tube hence are

;

;

astonishing

their

effect

when produced from such a small space. Occasionally hold your feather flowers over the

steam

from

a boiling kettle to revive them. Solid

Goods

For most purposes it is uneconomical to produce solid goods, but Fig.

78

the Chinese Inexhaustible

Box

one of the best methods for producing them should you so wish. Aim at careful packing, try to nest things into one another, the smaller into the larger. It can be done and achieves an effect all its own because solid things always seem so impossible to conceal, at least to the audience.

is

PART THREE CHAPTER

XII

MISDIRECTING THE AUDIENCE The importance

cannot be over emphasised, for it plays a part in the majority of conjuring tricks. It is made necessary by the fact that a conjurer is human and not blessed with supernatural powers; he has to conceal as far as possible, therefore, those moves which would show only too obviously that he has, alas, only human powers, after

Here

are

of misdirection

all.

some simple examples from

tricks

already described: (a) The vanishing billiard ball (Chapter VIII) where the repetitive movement of throwing up the -ball

and catching

it

causes the audience to follow

instinctively the last throw-up, although

no

ball

is

in fact thrown.

The production of sausages from a boy’s pocket (Chapter XI) where the right hand holds the spring sausages concealed, while the left hand digs into the boy’s pocket, drawing attention from the right hand. (

b)

Here is another form of useful misdirection Never tell the audience beforehand what you are going to perform. If you commence by saying, “ Ladies and gentlemen, I am going to make this egg travel from here to there”, the audience will cease to be curious or have their interest held; they will merely be

watching to see

how you do

it.

IOI

LOS GATOS MEMORIAL LIBRARY

LOS GATOS, CALIFORNIA

TEACH YOURSELF MAGIC

102

Suppose, however, you place the egg in a box and close it and, apparently changing your mind, you say, “ Perhaps I had better leave it out on the table first”, and opening the box you find the egg has vanished you have achieved misdirection because the audience has been led to believe that you expected to be able to remove the egg and place it upon the table. When palming a card the misdirection consists largely in entirely ignoring the hand which holds the card concealed and concentrating on the one supposed to hold it. This is not easy, as the concealed card is probably visible to you most of the time, and it seems almost impossible that the audience do not see it. From the beginning, however, you will have to become used to such a situation. Making two moves simultaneously also achieves a good misdirection, and is in this case a question of timing. Suppose you have a card or cards concealed in your hand, and you wish to place them on one of two piles on the table in the process of placing the palmed cards down on one pile, you can pick up the other with the free hand. Sometimes the misdirection is part of the mechanics of the trick, like the

—

;

Die in the Hat

A

hat

is

shown empty, and you explain how easy

would be (openly) to place a die into it. So saying, you lower it half into the hat and withdraw it again. “But,” you say, “it would be much more difficult to make it pass through a solid wooden tray en route ” it

MISDIRECTING THE AUDIENCE

103

Placing a tray completely over the upturned hat, you put the die upon it, covering it with a little

black bottomless box. Making a magic pass, you tap the box and then turn it over to show that it is

empty. Removing the tray, the die is found in the hat. Not only is the die solid, but it can be examined

by the audience. Where, you may say, does the misdirection come in? The die has a cover which fits over it closely and except for having one open side. To commence with, the cover is placed over the die you may then tap them both together to show the die is solid. When the die is held for a moment in the hat, the solid die is let fall into the hat, the hollow cover then being placed on the tray. The box is then placed upon the fake die. The audience have no reason to suppose at this moment that they are not looking at a solid die. As the cover has no bottom, when the box which is placed over it is turned up with the cover inside, the box appears to be empty. This trick is an old one and is fairly cheap to buy, but for effectiveness it is hard to beat. Why not make the necessary requirements for it yourself? looks exactly like

it

—

The

be about 2 inches square of wood, the rest would be made from cardboard. From the foregoing remarks and examples you will realise how subtle misdirecting the audience can be; in fact, some forms of it reach phenomenal die could

heights of cleverness.

Another point you Die in the Hat trick

is

may have that speed

realised is

from the

not essential

in

TEACH YOURSELF MAGIC

104

misdirection, in fact a quick

movement may be a

handicap. Something performed fairly slowly and deliberately with a casual manner is far more likely to mislead the audience than some quick movement which will arouse their suspicions. To act naturally is something which comes after practice. The moment you pick up an apparently empty tube, which you know very well has a celluloid fake full of water inside it, is hardly the moment to act naturally, let alone casually, but you will have to face the fact that the normal handling of an empty tube would be fairly casual; therefore, you

must follow

Some

suit, as far as safety allows of course.

established performers are so clever at mis-

direction that

when they

are manipulating balls

—despite many—the

before an audience of brother magicians

moves are known to effect is still clever enough to raise a doubt as to the real whereabouts of a ball at any given moment. There is in most tricks a certain crucial moment when the necessary secret move is made it is your job to conceal from the audience when that moment is by a counter-attraction, by continuing smoothly the fact that the

;

—

though nothing unusual has occurred (remembering to look surprised when you find it has occurred), by seeing it occurs so early on in the trick that it catches the audience napping, and so on. as

Naturally it does not come easily to be able to make a vital move without batting an eyelid, especially as it is usually necessary to do it without looking. Confidence in your own skill is important in this connection, because the audience watch your

MISDIRECTING THE AUDIENCE

105

and look where you look. If you suddenly muff a vital move and drop your eyes to see what has happened, most of the audience will be following suit. Practise in front of a mirror so that you can watch yourself performing. You will be surprised at the effectiveness of misdirection, and it will enable you to perfect your movements so that you can calmly look in a different direction at the same time. Try performing the French Drop (Chapter VIII) whilst in front of a mirror, if you have not already done so. Surprisingly effective, isn’t it? The rest of your misdirection can also be effective if you watch your angles and cultivate natural actions. Remember that misdirection must never be strained or overacted, or its purpose will become face

obvious.

s

CHAPTER

XIII

THE SPECTATOR’S IDEA OF “MAGIC ”

No

matter

how you

far

1

you advance on the road

of

worthwhile to refresh your memory from time to time by reading this chapter again, for more mistakes have been made by performers who did not appreciate the points here discussed than for any other reason. Has it ever occurred to you that the spectator’s idea of 'magic” might not be the same as yours? After a while you will appreciate and delight in the more skilful manipulative tricks, and you will find as you go on that the fascination of manipulation and clever mechanical apparatus grows. By all means allow it to do so, but remember that the spectator’s idea of “magic” is frequently far removed from such types of tricks. Where would you say “magic” is born? It is stimulated by seeing, but in actual fact it exists in the mind of the beholder. All your efforts must be directed, therefore, to helping this creation by every means at your disposal. Foster this by concealing the actual movement, secret or otherwise, necessary to perform a trick so fhat the audience is presented with a beginning and conjuring,

will find

it

‘

1

The word “magic” has been used

aspect of conjuring only.

106

in this chapter to denote

an

THE SPECTATOR’S IDEA OF “MAGIC”

IOJ

an end only which, joined by a wave of the hand, etc., will lead to an imaginative creation of “magic” in their minds. You will have to act and act for all you’re worth, for nothing succeeds in creating “magic” like good acting. You may shy at waving your hand over a tube shown previously empty before producing a handkerchief from it, but that wave of the hand is the very essence of “magic” to the audience.

From

the foregoing you will realise that the secret

“presentation” and a foreknowledge of audience reaction. In the case of a trick consisting of clever manipulation, the audience will be impressed; they is

you

marks for your skill, but they will not, as a rule, credit you with performing “magic”. To bring about this subtle side of conjuring, you must give all your attention to and put all you know will give

full

Some simple, cheaper tricks “magic” when performed correctly

into the presentation.

are

more

than

real

many

expensive ones. Once the tremendous

difference

is

conjuring,

you

realised will

between these two aspects

be

all set

of

to give the best enter-

tainment value possible and on the

way

to greater

things.

you are a person with whom patter comes fairly easily, you will be able to help the creation of “magic” immensely, for you will be able to weave a spell with words. The sort of things to mention are “The Mysterious East”, an “Ancient Chinese Writing”, “Found in an Indian Temple”, and “Fourth Dimension”, etc. The audience will find If

their imagination stirred despite themselves, for the

TEACH YOURSELF MAGIC

108

unknown has will pave the way

a remarkable attraction and this for the birth of “magic”. There has been a tendency to decry the more obvious-looking magical apparatus instead of using, for example, three nicely spun metal cups in the “Balls and Cups” trick, it has been done with three

lure of the

—

kitchen cups of china. The trick was robbed of most of its attraction as a result. Despite arguments to the contrary, the audience

a box, tube, or other piece of apparatus that is obviously a magical “thing”. It is probably unlike any normal thing of a similar nature in existence, but it is in that very difference that a magical impression is created. The trick with a faked pack of cards or a production box may not be clever stuff to you, but to the audience you may be performing miracles! The ultimate view-point that matters is what does the audience think of it? If they like it, then try to find out why they like it. If it appeals as “magic”, it is worth half a dozen tricks that are merely thought of as clever and nothing else. If the appeal is for other reasons, say cleverness, dramatic effect, etc., remember to keep it by you for the right like to see

occasion.

may

you to hear clever manipulation being decried, but remember it is “magic” only in a limited way. It will be more appreciated in front of a sophisticated audience, but in most shows do not let it usurp the place that should be taken by tricks It

surprise

that invoke the audience’s conception of “magic”.

You

will entertain better,

and be thought more

of,

THE SPECTATOR'S IDEA OF “MAGIC” if

you perform “magic"

clever stuff in

its

in

rightful place

never

your

mix the two.

—as

—keep the

a couple of

your programme, or for brother conjurers, and never

“prestige spots" only in

entertaining

your conjuring

IO9

CHAPTER XIV USINCx

AN ASSISTANT

Should you be able to persuade a friend, wife, etc., to become your assistant, a whole new field of opened; it enhances your show considerably, and a good assistant will add to the smoothness of working. He or she will be able to remove items with which you have finished, and hand to you others, besides setting the table while you are giving preliminary patter for the next trick. You might do the following puzzler: possibilities

is

Mental Telepathy

Allow the pack to be shuffled, then patter about wonderful modem advances in mental telepathy, and indicate your assistant with the hand holding the cards so that she (say) can glimpse the bottom card. Lay the cards down and blindfold your assistant. Next force the bottom card (see Chapter III) on a spectator, let him shuffle the cards and hold them to his forehead, thinking of his card as he does so.

The assistant may now disclose the card in stages first by pretending to feel the vibrations of the colour, then of the suit, followed by a high or low value vibration, then the actual value. An assistant can help you, for example, in a rabbit production, as follows:

no

USING AN ASSISTANT

III

Rabbit from Hat

You inside

The her

first

and

perfectly

out, tapping

assistant left

show a

it

to

ordinary

show

it

is

top-hat

solid, etc.

comes on from your right holding

hand a

in

large tray with the rabbit in a black

on a hook. You turn right towards the assistant with the hat in your right hand. You now apparently exchange the hat and tray in reality the hat goes behind and below the tray for a second, and the assistant whose

bag hanging behind

it,

—

hand goes behind the tray unhooks the rabbit and drops it

left

whisk the tray away with your 79).

to

You it

assistant,

into the hat. left

hand

naturally twist the tray this

draw attention

placing

to take the hat,

You

(see Fig.

way and

that

and its emptiness. Then on your table you take the hat from your place it on the tray, and out comes the to

it

rabbit.

The for she

assistant has other duties to perform also,

can help spectators on and

off

the stage,

if

TEACH YOURSELF MAGIC

112

need be, besides keeping an eye on the more inquisitive youngsters during a children’s show. It is frequently very desirable to have a watchdog if during a trick you are either out of the room or blindfolded, as the stray practical joker does turn

up.

One must remember, however, that an

assistant

always “suspect” in a trick where she plays an important part. It is best, therefore, not to rely too much on your assistant as an essential performer in a trick until by experience you know how to use such a person in the least suspicious way. It must be admitted that a really good assistant needs to rehearse almost as much as the performer himself, so, should you persuade someone to be your assistant, see that she knows what she has to do

is

and make sure that she does it passably well; no other reason, it is only fair to the assistant,

if

for

after

all.

Perhaps it may seem unnecessary, but the following slight warning is given in connection with choosing an assistant you must ensure that as the con-

—

jurer

you

are

the

focal-point

of

the

audience’s

means that unless the assistant is accept a background position, the

attention. This

prepared to

effectiveness of your tricks

counter-attraction.

may

The point

is

be

lost

because of

well illustrated

by

a singer and her accompanist, where the latter accepts a background position and thereby enhances the performance of the singer. One last word if you are a male performer, you ;

will find a

female assistant

is

the most useful. It

USING AN ASSISTANT

much

seems that this role

is

female sex, as

for that effacing

it calls

assistance which

so well

how

is

filled

so vital

113

by the support and

better

and which women know

to give.

your show ensure that your assistant is brought forward to share in the applause. The audience will like you for it, and your assistant will feel that her rather unglamorous part was worthwhile after all.

At the conclusion

of

CHAPTER XV

THE STAGE SHOW The

great differences between a drawing-room

show

and a stage show are the distance of the audience from the performer and the angles of sight. Ordinary size playing cards, small tubes, and boxes become insignificant except to the audience sitting in the

few rows, and, as a consequence, most props have to be large. Expense comes into the picture at once, but the handy man can score heavily by making such items for himself. The difference in the 'angles” is brought about by first

‘

the fact that the eyes of the audience, instead of being largely horizontal in plane as in a drawingroom, come up from the first rows of the orchestra

and down from the balcony, etc., in addition to the normal view from the side seats. Even if you practise in front of a mirror you may not be covering up correctly for stage purposes, so you must encourage your friends to help you with their criticisms after a performance. If

you are down stage

A (i)

(q.v.),

the angles will be more

means that the audience’s line of sight will come steeply up beneath your table, steeply down, and so on (see Fig. 80, A and acute, see Fig. 80

B),

so

this

that a servante or other

behind the table If

;

may

be partially

item

concealed

visible.

you are up-stage the angles are

less,

see Fig.

PlCx,

8 oa

IILLVST CATIONS

OF

AINffijtUES

TEACH YOURSELF MAGIC

Il6 8o

A

(2 )

;

concealment

is

easier, as the angles of sight

are less acute. This, then,

a better position in which to perform when using apparatus like production tubes where the top and bottom of the tubes are open. On the other hand, there is a consolation; generally is

speaking, any kind of distance lends concealment, and in many ways you will be able to do a number of things that are impossible in the

more intimate

conditions of the drawing-room.

not necessary for you to have full-size cabinets and masses of large apparatus in order to give a stage show. You may come to that by and by, if you have high ambitions, but it takes years to create even a modest-sized stage show, besides being very expensive. The kind of prop you must use is one which is large enough to be clearly visible right at the back of the hall. Large or ‘Jumbo’ cards look very well on a stand (such as is described in Chapter XVII) everyone can see them, for one thing, and they are still a novelty to most people. The ordinary small pack can be used for certain work card fanning, cards from the air, for example. As long as you realise the importance of size, you cannot go far wrong. The production box or tubes used in the drawingroom can be enlarged so that not only do they look more effective but more and larger production goods can be produced. If you like a certain pocket-trick, it may be possible to adapt it for the stage. It is worth thinking It is

‘

*

;

—

about.

THE STAGE SHOW

117

As you stand by a large board and chalk up (say) names of cards, etc., remember that the people at the back of the hall want to read it too so write in

—

large characters.

Since experience helps so much, try out various

your show, and by seeking the audience’s reaction you will soon know whether such and such an effect needs changing, whether it is effective, if it is a trifle on the small size, and so on. The more colourful you can make a stage show, large or small, the better, but do not overdo it. Black draping is frequently employed as a means

effects in

concealment, and because black is a neutral colour the apparatus must bring in the colour. of

Produce some

flags, etc.,

across the black draping

and hang them

in festoons

—nothing succeeds so well

leaving a lasting impression as a colourful show. It is for this reason that illusionists with large shows

in

have their own drapings for the stage and produce masses of flowers, silks, etc. In your own modest way you, too, must be alive to colour. Chapter XVII deals with some useful stage props, such as a utility stand, folding tables, etc. Try to keep the large stuff to a minimum, as unless you own a car the weight of apparatus will be a serious drawback.

up on to the stage invite members of the

Incidentally bringing people

usually lengthens a show, so audience up only if you have the time to allow in a half-hour show.

Now

—say

us turn to the stage itself (see Fig. 81). Imagine you are standing on a stage facing the let

n8

THE STAGE SHOW audience, then on your side,

which explains

119

be the “prompt’ and on your right is the

left will

itself,

opposite-prompt side. There are two main features

—namely the

house

tabs or outer curtains (see Fig. 81, at “A”), and the back cloth or drop, D. At both sides are the wings,

E, which prevent the audience seeing behind the scenes.

In addition to house tabs, large stages have, for instance, first and second tabs (curtains), see B

and C. By this means the stage can be reduced in depth as required. A short scene is sometimes played in front of the first tabs whilst a longer one is being prepared behind. You will probably have to deal with only one pair of curtains, as a general rule.

You should

try to arrange your props in an attrac-

—

manner on the stage if you have a table on which you work and another holding the props, try tive

make

a balancing compensation on the other side (see Fig. 82, “X”) say another table or a tall piece of apparatus like the stand mentioned in Chapter

to

;

XVII. If you require two chairs, place one at either side. If you use an assistant, she also must keep the general balance; do not crowd one side, for instance, as at

Do

“Y”

in Fig. 82.

not worry over much about make-up, for in the majority of small stage shows it doesn’t matter; it is only when you face a really brilliantly lit stage that make-up becomes a necessity. What happens under a spotlight, you may ask?

TEACH YOURSELF MAGIC

120

The natural shadows

many

of the face disappear,

and

other characteristics of the face also disappear

or are obliterated.

You must

therefore accentuate

where before nature was self-sufficient. Commence with a little cold cream rubbed over the face and neck. A touch of powder, preferably suntan shade, with the cheeks slightly pink (rouge or powder) gives colour to the face. The eyebrows, moustache, and beard need darkening, as they will otherwise be insignificant. The eyes need a little shadow on the lids and above towards the bridge of the nose. A brown line round the eye helps also to outline the shape, with a pink spot in the corner by the nose. Eyelashes in the case

need treatment. A tin of make-up either cream or as small pads is the final

of a lady also

remover

—

—

requirement. All the items mentioned can be purchased very reasonably at a variety store, department store or

Remember, however, that the more expensive “stage” make-up cannot be surpassed for its particular purpose, but for more moderate occasions you can make-up passably well with these drugstore.

inexpensive cosmetics.

Some

conjurers like to perform in “character”,

such as a Chinese, Indian, etc. In this case you might try making, with the help of the ladies in the house, your own costume from a “fancy dress” pattern; your make-up will follow suit accordingly. Your tricks can be given the right flavour by suitable adaptation. Besides using the Chinese Rice Bowls and Chinese Linking Rings you can paint

THE STAGE SHOW

121

Chinese characters or a dragon on production boxes, etc. Alternatively you can use Indian-type characters and make your production box look like an Indian

Some

on the market is extremely attractive and ranges from candlesticks to bowls and trays. A stage seems vast after you have been used to performing in a drawing-room, but the extra space gives a wonderful feeling of freedom of movement. Get as much movement as possible into your show, and you will find yourself really enjoying it. When you go on to a stage for your first performance you may feel nervous, but do not worry; those temple.

of the Indian brass-ware

at the top of the profession get that feeling too.

Remember, however, to speak out well to the audience, they all want to hear you. Do not forget the spectators in the circle and gallery (if there should be one), but be sure to speak to

parts of the auditorium.

all

s >

CHAPTER XVI

SOME EFFECTIVE APPARATUS If you purchase or

make

a piece of apparatus which can be used in more than one type of trick, you have saved yourself in the long run much expense. In considering, therefore, the subject of effective

—

apparatus,

—

we can do no

better than

commence with

such an item, namely that old favourite the Mirror Vase (see Chapter XVII). Here is an object which can be used to change more than one item; it can, for instance, change: (a) (b) (c)

(d)

A

knotted rope into a perfectly free rope. Separate links into a chain A red silk to a blue silk. Knotted silks to unknotted silks.

Another item

is

the Changing Bag. Simply a bag

about 6 by 6 inches, with a division down the centre. It can be used, like the Mirror Vase, either by itself or in combination with other apparyou can atus, besides having an added advantage use it to change cards, balls, and so on. You could have several of different sizes in order to meet of black velvet

—

different requirements.

A

Box or Tubes is another “must”, for a production box finds a place in a great number of programmes. The more gaily coloured the better, and remember that the load can be varied considerProduction

122

SOME EFFECTIVE APPARATUS

123

ably, from spring goods that compress into a small

space to paper streamers, rubber goods (fruit, milk bottles, etc.), according to the type of audience before whom you are performing (see Chapter XVII for constructional details). An old derby or top-hat is desirable for children's

show production.

may

be gathered from the expression “Like a Rabbit from a Hat". For its use see Chapters XI and XIV. Should you care to rise to a slightly more ambitious level, you could purchase a Dove Pan, which is usually made of aluminium. It has three parts a base, a lid, and a load chamber. This latter is concealed in the lid, and upon the lid's Its effectiveness

*

—

being deposited on the base and removed it is left behind in the pan. Such a piece of apparatus can be used to produce not only doves, but livestock white mice, etc., besides other things, such as a cake, after comical ingredients have been mixed up in the pan in the

—

first

place.

Two everyday

elements which can be used to good effect are fire and water. The first element may well be represented by a Lighted Candle, which can form part of innumerable tricks, such as that where

you burn an envelope

which has previously been put a dollar bill, or the famous vanishing candle (see Chapter X), where it mysteriously becomes a into

silk handkerchief.

For ambitious occasions, providing you have a few dollars to spare, you might purchase the Multiplying Lighted Candle, which is an extremely

TEACH YOURSELF MAGIC

124

effective stage trick

—especially when the

lights are

lowered beforehand. Needless to say, for spirit-writing effects, a lighted candle with the rest of the room in darkness is tremendously effective and gives a truly spirit -like atmosphere. It is probably the suggestion of danger in a naked flame that appeals to the audience. A really attractive ornamental candlestick is well worth acquiring for use in such tricks. The second element is represented by those tricks where liquids change colour, appear or disappear. The famous Wine to Water trick can be purchased for a few cents (use your own jug and glasses), has a novel appeal, and appears to border on the uncanny when the audience sees water poured into the glasses become port, whisky colour, etc., in turn. Another liquid trick is known as the Disappearing Milk in Jug. The special jug enables you to appear to be pouring out the milk (which in fact you are not) the level of the milk goes down, however, as though you really were pouring it out. By pouring from the jug into a paper funnel and throwing the contents to the audience you can cause quite a surprise. Alternatively you can open out the paper ;

and show

it

empty

It is surprising

or find confetti, etc., in

the

number

of tricks in

its

place.

which the

use of a pistol can be very effective. It takes the place

magic pass much more dramatically. Use a toy cap-gun unless you expect to do stage work, in which case a blank cartridge starter’s gun would be of a

better.

SOME EFFECTIVE APPARATUS For a pretty Flower Basket

125

would be hard to beat the which a wire basket becomes,

effect it

trick, in

in the twinkling of

an eye (covered or uncovered),

As you may imagine, the flowers are of the spring variety, and are packed flat in the bottom of the basket, over which swivel-hinged flaps lay, held in place by a pin. You could construct your own if you purchase a plastic basket from a department store. The hinges are pieces of cloth. Paint the base inside green, and the flaps appear as foliage when they open out and up. Giant Cards have already been mentioned as effective items, and in conjunction with a stand (see Chapter XVII) have a strong audience appeal. There is no need to buy a full pack of these cards, just one or two tricks consisting of say three or more cards complete in themselves are enough with which to commence. .Perhaps you may have thought that the conjurer's wand has been forgotten? It has been left to the last, full of flowers.

•

but

is

certainly not least.

A wand really is a conjurer's

baton of a conductor. It gives him of authority, besides having uses for misdirec-

requisite, like the

an

air

tion

and

in palming.

Supposing you have palmed a silk in the right hand, what could be more natural than to hold your wand with the same hand, thus giving a perfectly good reason for your hand being closed? The Rising Wand is a well-known effect, and is very mysterious. If you purchase one, you can use it for the whole of the show. A last word of advice as magical apparatus can

—

126

TEACH YOURSELF MAGIC

be expensive to buy, sit down and think about any item that takes your fancy before you buy it work out its uses, and be sure you really do want it. When you are sure, then buy it and, above all, look after it carefully and it will last you for years to come. ;

CHAPTER XVI

APPARATUS YOU CAN MAKE One

drawbacks to acquiring magical apparatus is that it is invariably expensive to buy. There are certain items, however, which, with a little effort, can be made by the handy man, and this chapter describes some useful props which will amply repay time spent on their construction, besides being light on the pocket. One of the most useful of all materials is wall-paper, preferably the type with a mass of small designs. You might ask how such paper can be used; it can in fact be used for covering anything from cardboard tubes to production boxes, and looks remarkably of the

well for close-up or stage purposes.

Ghost Tubes

shows wall-paper used as covering for a ghost tube, with two alternative ornamentations of the ends, one by the use of indian ink, the other by Fig. 83

means

of wall-paper border.

To make ghost

tubes, a large outer tube about

5! inches diameter and about 9 inches high is required in the first place. The word about is used

because the dimensions can be altered to suit circumstances e.g. whether you desire to produce a lot or a little from them. This tube is simply made from a strip of cardboard bent to shape and glued

—

127

TEACH YOURSELF MAGIC

128

then covered with wall-paper and ornamented each end as shown. Two holes 2 inches in diameter are then cut through it one above the at the join;

it is

other.

A second

tube

is

also required, of the

same height

but about 5 inches wide in order to fit into the If another kind of wall-paper is used to cover

first.

much

the

so

WALLPAPER

better. The two holes are

&

Border

T&3E33&

this,

not

INDIAN 1HK,
required

in this tube.

The fake is a third tube

wallpaper

made to fit into the last tube. It should

be STICK INSIDE 7R£

BASE OP

PAK&

8

inches

high, about 4J

inches wide, and must have a bottom this ;

FlGr.6 3

can be a circle of cardboard with tabs which can be bent up all round and stuck inside the fake tube (see Fig. 83). The whole should then be painted dull black on the outside and one-third

The tubes

latter

way down

inside.

are nested together, the load being in

the innermost one. First show the outer tube is empty and replace, then repeat with the next innet v

tube. Lastly

make a magic

load from the innermost one.

pass and produce the

APPARATUS YOU CAN MAKE

I2g

Should you wish to buy Ghost Tubes, you will find that there are two useful types; one resembles the kind described but has a square outer tube, and is of metal with a fretted front the other is a single tube with two rings. A piece of tissue paper is placed on either end and a ring used to secure it, making a drumhead. From the interior are then produced ;

streamers, silks, etc. Collapsible Table

Since your

show must be mobile and

cannot be be forthcoming it

guaranteed that a suitable table will where and when you want it, a collapsible table a necessity. Visit your own lumber room or a second-hand shop, and you should be able to procure an old musicdiscard the top stand rod and music holder, and Dowel & Block you now have the lower part of a tripod table. For the top a piece of Discard

9

;

4- to 6-ply

by

wood

11 inches

round

is

off

—

is

size

14

required;

upper Parts of Stanj;d

.

the corners and

edges then centrally on Fig. 84to the underneath side screw a block of wood about 2 by 2 by 3 inches. In this drill a hole to take a piece of dowelling 5 inches long, which should be glued in and sharpened slightly

on

its

end

(see Fig. 84).

LOS GATOS MEMORIAL LIBRARI 10S GATOS, CALIFORNIA

TEACH YOURSELF MAGIC

130

You may now

place the table ‘top on the firmly

extended tripod, the dowel going into the end of the rod. Do not use a size dowel that is too easy a fit, or else a wobble will develop.

w

OPEN^

Closed

A

t

10

(Tl

\

yfS rrrJ

Struts beneath to*

jg)

SIDE VIEW

WHEN

folded

FIG. 85 Four-legged Type

For more ambitious occasions, a four-legged table

may be made very cheaply as follows From wood about \ inch thick construct

a four-

sided framework (see Fig. 85). The front and back are a length of 16 inches, whilst each end consists of

The whole is kept together by hinges mounted in pairs, making six two

pieces each 4 inches long.

APPARATUS YOU CAN MAKE

I3I

pairs altogether; the corner ones are screwed inside at a distance of \ inch from each end, and those at the middle of each end are on the outside this enables ;

the framework

The

box

to fold nearly flat (see Fig. 85). legs are nothing more than four broom-sticks

which are cut to a length of 30 inches. The upper (not rounded) ends are shaped off for 2 inches, thus enabling the legs to spread outwards when mounted.

Each

pair of legs

is

now screwed

to a long side if

inches from the end at the upper part and 1 inch at

the lower part (but be careful not to coincide with the ends of the hinge screws), and at an angle so that the legs spread out sideways to 20 inches at the feet

;

this gives stability to the table.

The top

is

a piece of 3- or 4-ply

but strong material, in position

size

by means

wood

or other thin

23 by 15 inches.

of

two

It is

struts of

ij inches, and in length an easy

fit

secured

wood

1

by

to go inside

(between the front and back) of the framework (see Fig. 85). They will probably be in the region of inches long, but make a good fit by trial and error. Round off the edges and corners. By means of two small panel pins knocked through the top in the approximate positions, the two struts can be adjusted in position so that when the table-top is placed on the framework, they will lie just inside each end. These pieces of wood keep the table apart, and hold the top firmly in position* Having settled the correct position, the top can be securely affixed to its two struts by means of screws (use a small washer for each screw). An edging to the top is desirable, as 3-ply wood will

TEACH YOURSELF MAGIC

132 fray and

split.

Gummed-back brown paper

strips i

inch wide will hold the edge quite firmly. If there is a tendency to warp, affix a length of squared wood along the under edge.

not desirable to move the table by its top except when not loaded; the top can, however, be locked in position by drilling a hole through each end of the framework and continuing into the tabletop spacing struts drill the holes to one side of the centre so as to clear the hinges. A small metal rod, wire, etc., slipped through both holes will then hold the top firmly in position. When the table is folded, the top can rest vertically on the legs hanging by one of its struts from the top. Should you make two tables, then, with a little care, one may be placed on top of the other in the folded position; the second top will rest on the opposite side in that case. It is

;

Utility

Stand

Another piece

of apparatus

useful for several purposes

is

which

will

come

in

a stand with folding

feet (see Fig. 86).

The central pole is 68 inches high by i \ inches thick and is the heaviest part of the whole construction. This pole is important, so do not go beyond this limit in size. The three feet (A), (B), and (C) are of light wood in the region of J by § inch planed and form together a triangular shape which can be constructed away from the central pole and then screwed to it later.

The

vertical length (A)

is

15 inches, the sloping

t

HOOK

a 6.yeu6T

Block,

placed

&6N6ATH 6NO

•Attachment

FIG.8b

133

TEACH YOURSELF MAGIC

134

16 inches, and the horizontal (C) is io inches. Small hinges of the variety shown in Fig. 86 are screwed on the inside at the lowest corners; a small block is screwed to the top end of the verti-

length (B)

is

cal length of

wood

as a stop for the top

end

of the

sloping strut (B), see Fig. 86 (inset i). The block at th'e outer extremity of the hori-

zontal length tion as,

an important part of the construc-

is

by making

this the only part of

each leg to

touch the floor, the whole weight of the pole sits snugly into its legs on account of its weight; see Fig. 86 (inset 2).

When

the three legs have been made, they can be

screwed to the base of the pole by two screws each, as shown. Any adjustment to make the pole stand upright may be made by readjusting the stop block (to which the hook is attached), a trifle higher or lower. In order to be able to lift the stand so that the legs do not fall open, a small hook and eyelet is fixed as shown to the upper ends of the triangle. Particular care should be exercised to get them in a working position (see insets to Fig. 86).

The pole and legs can be painted black as necessary, and two or three holes drilled through at the top as required to hold accessories. Some uses of the stand are (a) For holding a cross-bar on which lanterns or other production goods can be hung. (b) For holding a large target for a “Robin

Hood” (c)

illusion.

For holding a framed picture, a and so on.

spirit slate,

APPARATUS YOU CAN MAKE grow the longer you have

Its uses will fix

a small black-

board to can write

it,

you

a

card

it on away from

prediction (faced

the audience), then force the card in

question on a spectator,

finally turn-

ing the stand round to

show how

right

you were Production Box

By

the use of a

double-sided mirror

and a few pieces of wood, a small production box can be

made

quite

easily

(see Fig. 87).

The

dimensions

(mine was 4 inches square) rely on the size of the mirror, which should not project above the top of the front edge. Such a mirror is purchasable at a variety store, and is

135 it.

If

you

TEACH YOURSELF MAGIC

136

held at an angle of 45 degrees

The top

by means

of a

saw cut

and front door should be hinged with brass hinges with a small knob on the front door. The interior should be painted black. The outside after it has been painted blue, gold, etc., to taste can be improved wonderfully by using several real paint transfers now on the market Ones with a flower design are best. The upper chamber is loaded and the box shown empty by (see Fig. 87).

lid

— —

opening the front door; after passes, the top raised and out come your silks, etc.

lid is

wi DOUBLE-S 10 £0

MIRROR

CUT TO Glass vase.

SHAPE,

Fig,

DEcoratom

88

Mirror Vase

There is a useful tumbler on the market with a metal insert which enables it to look empty from one side

A

when

the other side

is

larger version can be

—preferably

loaded.

made by buying

a flower

with a bell-mouth top and with cut-glass ornamentation.

vase

APPARATUS YOU CAN MAKE

I37

Cut a cardboard form to go down the centre, and then take it to a mirror shop where, from scraps of double-sided mirror, the necessary shape can soon be cut for a few cents. Glue into position, as shown

down

in Fig. 88,

the sides of the vase; where the

edge of the mirror might be visible can be painted a strip design with a corresponding ornamentation down the centre of the front and back. Into this prop you may place single silks, cover the vase, front

reverse

and

back,

to

1<

then

remove the

-^

*»

CARD PROJECTS

silks

knotted together.

Another of many uses is

its for

making a handful of links

change

to a chain,

in-

and so

Grooved VJood

on.

Card Stand

Should you do the three-card trick

using (it

.

THE.

HlU&ED SOPPORTS

Jumbo

large-size

cards

the

SHovOiMG?

Ft&.89

looks

better that way), a stand to hold three cards can

be made

(Fig. 89) as follows:

plywood 16 by 6 inches

needed; then using J-inch-square wood affix a strip along the bottom, and four strips 4\ inches long vertically as shown, rounding off the top edge. Along the bottom First a piece of

is

138

TEACH YOURSELF MAGIC

form a lip affix a strip of plywood about f inch wide. Use panel pins throughout. A folding support can be made from J-inch wood about 5J inches long. It should be hinged to the back centre of the stand. to

The stand will be firm and, when folded to carry, pack flat. For normal-size cards reduce the sizes accordingly.

Recapping the chief methods employed

for orna-

mentation, we have: { a Wall-paper, with use of wall-paper border and black indian ink, and (6) Real paint transfers for a near professional look on painted boxes, etc.

Never pass a second-hand shop without glancing round, for you may come across a vase, bottle, box, which, although costing little, can be turned to good use and look really good with a little effort. Need it be added that a perfectly good Magic Wand can be made from a suitable size dowel rod 14 inches long, painted black with 2|-inch painted white ends. In thickness it should be at least J inch in diameter, so that it can be comfortably seen at a

etc.,

distance.

PART FOUR CHAPTER XVIII

POCKET AND CLOSE-UP TRICKS To be

able to perform close-up magic

is

an accom-

plishment that every conjurer worthy of the name should acquire; in fact, unless he is able to do such conjuring, he will not be an accomplished or effective performer in other fields of the art. Consider the difficulty of close-up performance; no aloofness such as a stage will give, nor, indeed, those few precious feet that a drawing-room performance usually enjoys. The audience's eyes are upon every move; concealment is at its trickiest; no wonder a good close-up worker is as popular and as respected by his magical friends as by his audience.

Many

close-up effects are, in fact, pocket tricks

and, since manufacturers have mass-produced scores of these tricks costing but a few cents, there is no reason

why anybody who

so desires should not

acquire a few.

Like

all things,

there are skilled

tricks; those relying

and

less skilled

on a mechanical device should

not be despised on that account alone, for such tricks may often be as effective as those using unprepared objects and employing sleight of hand. There are innumerable occasions when a trick which can be carried in the pocket is useful you may be in a group of friends anywhere and be called upon ;

139

TEACH YOURSELF MAGIC

140

suddenly to do something, and of course you will find delight in having a trick or two handy to tantalise a brother magician on a club night. As regards close-up pocket effects requiring apparatus, you should go cautiously; choose two or three that appeal to you, and try out their effect. One of the most effective is the Okito Coin Box by means of which a coin, placed in this box, appears to drop through the hand. The Three Card Trick appears in many forms, mostly consisting of three cards, two of which are unprepared and one prepared. This effect relies on a slight movement of the fingers as the displayed cards are turned over and held out for selection. There is also the Magic Bottle made of wood. It will lie on its side when you know how! Try to keep off puzzles pure and simple in your selection, as there are plenty of worthwhile tricks. ,

—

Now why

more skill. Firstly tape with you and do the

for those requiring a little

not carry a piece of

Cut and Restored Rope trick (Chapter

Another favourite

is

II).

the

Penny and Nickel Turnabout

The

and a penny, each held through a handkerchief, change places under the eyes of the most lynx-eyed of spectators. It is

effect is that a nickel

accomplished by secretly placing a second

and the first penny are displayed on the table. After showing a handkerchief and allowing the secret penny to slip into the hand, the nickel is taken up and apparently placed under the handkerchief. In reality it is

penny up one

sleeve.

The

nickel

POCKET AND CLOSE-UP TRICKS

141

changed with the penny, the nickel being slipped into the sleeve (Fig. 90).

The penny

next picked up, and under cover of a second handkerchief is changed with the nickel. is

LEFT

HAND

Right hamt^ Fig.

9o

The reason for the sleeving is that the hands can be shown empty in between the moves of the trick. A portable close-up version of the Cup and Balls can be performed as the: Nut-shells and Peas Trick in which three

half

walnut-shells are used with peas in place of metal

TEACH YOURSELF MAGIC

142

cups and larger

balls. Similar

moves can be made,

besides additional ones. The principle ot the Cups and Balls

is

the conceal-

ment of a ball whilst appearing to place cup, by palming as shown in Fig. 91. In

-the case of

the smaller pea

it

it

under a

can, for instance,

also be

nipped between the upper ends of the two

fingers.

Remember

to keep the

back

of the

hand

uppermost, and in curling it when slipping a pea under a shell, etc., keep the back to the audience as far as possible.

A

couple of dice are easily carried about, and

provide the wherewithal to perform the trick

known

as:

Changing Dice

Hold the two dice together as in Fig. 92, so that they are held between finger and thumb. Keeping the fingers in the same position, twist

POCKET AND CLOSE-UP TRICKS

I43

over the hand so that the opposite side of the dice

can be seen. Bring back the hand and repeat the movement again, but at the same time roll the dice forward across the thumb. The effect will appear to be a change of spots on the backs of the dice as first shown.

This trick relies on the fact that the majority of people do not know that the spots at opposite faces of dice total 7. Needless to say, armed with this

information you should be able to think up some baffling tricks.

A miniature

Paddle

Trick can also be carried about

comfortably, and this small version

is

sometimes

called

The Cricket-bat Trick The bat can be made by you from a piece

of

wood

about z\ inches long. There appear to be three holes running right through with a stump of matchstick in the centre one (both sides). At a wave of the hand the matchstick jumps into the bottom hole.

TEACH YOURSELF MAGIC

144

The

I

I

I

lows

secret

as fol-

:

On one

side the

bottom hole one,

is

made

a fake with a redis

hot wire pressed only half-way through. On 0 the back the bottom hole corresponds to the centre one on the front the top hole being a 0 fake one (Fig. 93). After showing one side, the bat is held vertically as FRomt in Fig. 94, and as the other hand is passed F»G. 95 across in front the finger and thumb twist the bat round. Removing the matchstick and showing both sides slowly discloses no clue as to the secret. Alternatively the move can be the normal paddle twist, i.e., pretending to show

—

• 0

—

3ACK

both

you twist

sides

the bat slightly in the act of so doing, show-

ing in reality the same side twice.

The Disappearing Pencil trick

is

also a

useful one. It has been

described in Chapter II. Perpetual Pellets has

tormented

many small

F1&.94

POCKET AND CLOSE-UP TRICKS why not

gatherings, so

include this trick

if it

I45 appeals

IV gives the details. fake matchbox will enable you to perform the

to you? Chapter

A

Vanishing Matches

The box

is

prepared as

follows

The drawer is removed and a false bottom half the size fixed to one end

On

(see Fig. 95).

are stuck a half

to this

number

of

matches (head ends) in two layers leaving one ;

match out at the side. This space is for a full-length match to be placed. The lower part of the drawer has some four or five matches only in it. To commence, push open end A showing a full box and remove the single proper-length match. As you strike it say, “H’m don’t think much of these matches. Til be glad when I get down to the last

—

few.” Then, pushing open the other end to disclose the four or five matches, you say, “Oh I seem to be

and empty them out. Try not to rattle the matches during the first part of the trick, and remember to open the drawer halfway and no farther. A miniature version of the Four Ace Trick can be

there already”

prepared under the

title of

Catch Those Crooks

For 2

by

this

you

will

need nine pieces of card about

inches; on three of

them you draw a black

TEACH YOURSELF MAGIC

146

mask

to represent the crooks,

and on the

rest a

policeman’s helmet (Fig. 96). In addition, draw a mask on the back of two cards bearing a policeman’s helmet.

FIG .9(o

The cards (Top)

are stacked, face up, as follows: 1.

2. 3.

4. 5.

6. 7. 8.

9.

Crook card. Crook card with helmet on the back. Crook card with helmet on the back. Helmet card. Helmet card. Helmet card. Helmet cardy Crook card. Crook card.

You commence

a little tale about three crooks setting out on a midnight visit to a bank. So to

tell

POCKET AND CLOSE-UP TRICKS

I47

you lay the first three cards on the table; all showing masks. Casually you show the first few of the helmet

saying,

cards, explaining they are the police. (Do not dis-

and

Explaining that the crooks broke an invisible ray and warned the police, thereby bringing six policemen along, you turn over the cards in the hand face down. Lay the first two on top of card 1, then two each on top of cards 2 and 3 on the table. “You see the police have cornered the crooks already. In fact, they are now driving off the first two crooks in a black maria/ So saying, you pick up all the cards on and including card 3, and the same for card 2. You now say, “I expect you are wondering what has happened to the three cards left. Well, strangely enough, they all seem to be crooks: as for the black maria when it arrived just look what was inside!” Here you count out face up the six cards, all showing helmets. If you care to carry a pack of cards about with you, any number of close-up effects may be performed. In the majority of cases a certain skill is necessary, for cards are comparatively tricky things for close-up work. The double-lift and turn-over described in Chapter VI is a useful sleight, for its moves are practically close cards 8

9.)

'

—

indetectable.

Forcing the bottom card

Chapter III) is also a good close-up sleight. With a little thought several ways of announcing such a chosen card can be devised, suitable for close-up and pocket performance.

(see

TEACH YOURSELF MAGIC

148

As palming

even at the best of times, it should not be attempted for close-up tricks unless you are really proficient, when it can be used with striking

is

tricky,

effect.

The use

of prepared packs

but as the spectators around you invariably expect, as a natural course of seeing you perform under their noses, to handle everything, it is best to keep such a pack for more safe use (and, of course, keep the secret of the is

helpful,

pack!).

Well-performed close-up effects are the hall-mark of a good conjurer, and since no one becomes a good conjurer without practising tricks assiduously before showing them, be sure you do so before performing any pocket and close-up trick.

CHAPTER XIX

ENTERTAINING CHILDREN Such a lot of entertaining for children is done by means of conjuring, that this line is, in fact, one of the best sources for those who wish to take it up in a professional or semi-professional capacity. If he likes children, a children's show will give a conjurer as much satisfaction as everything else put together. "Above all, children want to believe in magic, and that is half-way to its consummation. The explanation of a trick will be, to a child, a simple and direct one. If the ball that has just vanished is not in that hand, and not in the other, it is up the conjurer’s sleeve. Perhaps it is, but the conjurer who knows children will deliberately act suspiciously with his arm to draw attention from the real place of concealment. He may, if he has an impish sense of humour, agree that the ball is up his sleeve, and then pull from it not the ball (elsewhere) but a rubber banana, spring sausage, etc. Under cover of the laughter, the ball can finally be disposed of in the desired place. It is true to say that it is more difficult to deceive an intelligent youngster than an adult, and for this reason a high level of performance is necessary. Do not make the mistake of thinking that a performance for children is either easy or needs less practice it is not and it does not.

—

149

TEACH YOURSELF MAGIC

150

As age-groups vary, so must the magic you perform; for very young children tricks simple to a glove puppet performing conjuring tricks is usually immensely successful. Slightly older children these days demand nearly adult tricks, but do not include complicated card tricks or mental thought reading, as there are plenty of other tricks which are more suitable. Suppose you have more than one age-group to entertain. In such a case you must not attempt to entertain both groups at the same time. The best way is to come right out into the open, and tell the older children that you are going to do something for the younger ones; then they will not think that they are being treated too childishly. They will watch you, nevertheless It works in reverse too if you tell the tiny tots that you are doing something special for the older children, they will at least be follow are the best:

!

;

quiet in anticipation of coming treats.

The awkward

child

is

the headache for those

conjuring before children. Here are a few examples with the right way to deal with the awkward child. A. “I know how that one is done, mister/’ B.

“Oh

yes

—and

what

is

your name?

Tommy

Brown. Well, Tommy (in a loud whisper), I know how it is done and you know too, but I do not think the others do, so do not tell them, will you” (and wink hard). This will make a bond between the awkward child and yourself, and he will keep the secret as if his life depended on it. A.

“You

say

it is

empty

—prove

it.”

ENTERTAINING CHILDREN

151

B. This usually follows a faux pas on the part of the performer. He probably started by saying, “Here I have an empty box/’ It is better not to

make

a statement which needs proof. In this case it would have been quite enough to open the box

without saying

empty

it

was empty.

as far as the audience can see

enough. A. “I have seen

it

appear to be which is good

It will

—

done before.”

some children who have not, so be a good sport and close your eyes!” This will cause a laugh and pass over the embarrassing moment. B.

“Remember

there are

A. “I can do that trick, mister.” B. “Well, sonny, would you like to come and do it, or would you rather I showed you my way?”

Needless to say, such a direct challenge is usually not accepted and you proceed smoothly. A. “I do not think much of you as a conjurer.” B.

“Now, now

—you

know you should not say

things like that, sonny. (To the rest of the audience)

What

shall

we do with him,

children, turn

him

into

something? Ah well! not this time.” An appeal to children's better nature is never out of place, for they can be extremely generous if you make a bad slip even on your very first trick. Apologise quickly to them, and carry on straight away; they will forgive you. Whilst on the subject of awkward customers, never have the mischievous child up on the stage; he will be poking about amongst your apparatus, and trying to trip you up as you do a trick.

—

152

Do have

TEACH YOURSELF MAGIC

up though, because they love to help. As you are so tall and they are slightly shy of your powers, make them feel at home, bend your knee to talk to them, and above all do not make them look foolish, for, if you do, the rest of the audience will be against you en bloc One of the finest children’s conjurers was the late David Devant, of the famous “Maskelyne & Devant” Shows. Those who had the good fortune to see him performing never forgot the way he had with young children, and how happy and delighted he made those whom he had up on the stage with him. Here is an episode from a children’s show given by children

.

the author, as an example of handling a child.

A

young boy came up on to the stage and was made thoroughly at home by being asked his name, what he wanted to be when he grew up, etc. The idea was to work in whether or not he would like to be a soldier, and he was subsequently given a fine paper soldier’s hat to see what he looked like in it. He then had a wand penetrated into his ear, and was allowed to handle the

wand

afterwards; during this latter

the author was on one knee so as to talk to the boy, not over him. The final trick was to show him how to push a penny through a handkerchief. When the

boy went back to his seat, he had the “magic” penny and a fine soldier hat as souvenirs. Some of the curious things that delight children are the “bits of business” as they are called; these are short moments of by-play such as nearly tripping

over the corner of the mat on the floor two or three times, then passing it later on without falling, then

ENTERTAINING CHILDREN

153

returning again for the explicit purpose of making good the omission

Another winner is

—balancing an

described in the next chapter.

egg on a

wand

The general

princi-

have a recurring little mannerism. You might, again, keep reaching up into the air for something and, looking disappointed, show your hand empty. Towards the end of the show you could really produce something say an egg. pal

is

to

—

Productions are usually the highlights of children’s shows, and you will always score if you produce a handful or two of sweets for the audience. The effect is greatly in excess of the cost of the sweetmeats concerned. Do not, however, let them rush out for the sweets tell them they must wait until the show ;

is

over. If

you have more boisterous

the sweets to one of your

little

children, give

helpers.

You

will

not

be thanked by the organiser for introducing a species of riot into the entertainment.

Throwing out paper streamers always gives a striking effect, and spring flowers have a pretty look. Most of all, never forget the rabbit. You may think it is rather old-fashioned and hardly necessary these days, but you will never be a conjurer unless you do produce a rabbit. There is no need to have a live animal, as

there

are

several

substitutes

in

the

form of glove puppets, spring ones, etc., which can be bought. Remember, children expect a conjurer to have a rabbit in his show, and for it to come out of a hat,

One

if

possible.

last

word; keep everything as bright as you

can because children adore bright colours. In fact,

154

TEACH YOURSELF MAGIC

when you have

finished painting with red, yellow,

and

you may think everything looks rather loud, but do not worry; it will be tremendously effective and, in any case, you can keep it out of the sight of blue,

adult eyes

CHAPTER XX

SOME CHILDREN’S EFFECTS As mention has been made

of the “bits of business’’

so effective for inclusion in your

programme

for

you could not do better than select one or two. The egg balancing on the wand is a mechanical device, and here is its description and use. children,

The Egg on Wand

The egg

is

wooden

a

or celluloid one, the latter

requiring a piece of dowel glued inside

it,

as shown.

Drill a small hole

at

one end.

wand

is

The

hollow;

it

CELLULOID /A, £<*Gr

^OWEL

/ DRILLED

can be made from a thin

length

WOODENl .PlUCr

of

DRILLED

aluminium tubing, and about threequarters

~

the

of

way down

a veris tical slit cut through to the centre a length of

wire US.*" End

;

wire runs from the

top slit,

down where

Tl»®6

the

to it

is

bent so as to protrude slightly.

FIG. 155

97

TEACH YOURSELF MAGIC

156

To operate you of the

wand two

Last of

all

try balancing the egg on the top

or three times, and

each time. you place the egg on top, and with your

thumb push up

fail

the end of wire, which goes

up

into

the egg (see Fig. 97). Showing a great deal of satisfaction, you now point to the balanced egg and swing the wand at 45 degrees both ways. Wait until the audience have

laughed and accused you of trickery, then, holding the wand upright, ask them to blow. As they do so, move the wire down with your thumb and the egg will topple off.

The

tricks following are arranged in age-appeal

order, starting at the youngest

Changing

first.

Silks

you need two red silks, two of blue, and one each of red and blue paper hats. In addition, you will require two paper bags, which will need to be For

this

prepared as follows: Take two more paper bags and cut the upper half away. Insert a red silk and a blue in each of the complete bags and glue into the necks one each of the half bags (see Fig. 98). Make a mark on the bags so that you know which colour is in each bag. Now make a small hole through each part bag into the lower half. Ask for two children to help you, and when they come up place a blue hat on one child’s head and give him the bag with the red silk concealed in it. You now show a blue silk and press it into the bag with the tip of your wand the hole will enable you to appear to be pressing the silk right down to the ;

SOME CHILDREN’S EFFECTS bottom

of the bag. Tie the

157

neck with a piece of

ribbon and give it to the child to hold. Now place a red hat on the other child’s head and give him the other bag to hold, into which you place a red silk.

F1G.S8 Explain that the red

silk is

held by the red-hatted

and the blue by the blue-hatted child; then make a magic pass. Take each bag in turn and tear off a portion of th'e bottom so that the concealed silk can be pulled out, showing that the silks have apparently changed places. Quietly dispose of the guilty bags in a safe place.

Three Hungry Mice

For this you will need a stand (as described in Chapter XVII) and nine white cards, 7 by 4J inches.

TEACH YOURSELF MAGIC

158

draw a mouse wearing a bow of ribbon colour them differently, say red, brown, and blue (Fig. 99). On the back of the brown and blue mouse draw a black cat. On the four of the cards left draw a black cat whilst on the last two of them draw a duplicate brown- and blue-bowed mouse. You commence by having the three original mice cards on the stand (two of them have cats on the back). Casually show the six cats in your hand;

On

three of these

—

;

actually showing the front two or three (the duplicate

mouse cards are at the back) (see Fig. 100). The story is this The three mice who live in the country get rather hungry and decide to raid the king’s pantry, so they go into the palace one night. They do not know, however, that the king keeps six fierce cats, and so the poor mice are being stealthily followed, each

by

two cats. Turn over the cat cards, face to yourself, and place two at a time in front of the mice. By this means

SOME CHILDREN’S EFFECTS

159

two duplicate brown and blue mice cards are placed on the red mice card. Show the third card in your hand as you place it in position, as it is a cat the

first

card.

Show

also the last one, to give the impression

they are all cat cards. Explain now that the cats comer two of the mice (take up the two sets of cards containing the original

‘Two

Mice.

CARDS (BRown

Four

Blue)

&

CAT

Cards

FIG. 100

brown and blue mice cards) and have waited for daylight to come. But what of- the third mouse? Will he escape! Here lift up the two cards upon the red mouse card and say it looks as though the other two also escaped, and turn the cards round and place in the stand.

you continue “They had to face the angry king.” Then turn round all the cards (six in your hand) and fan to show six cat cards.

As

to the cats

TEACH YOURSELF MAGIC

l60

The story is simple drawn out too long.

to follow,

and should not be

Wolves and Sheep This trick makes use of a principle well-known to conjurers, namely, only three faces of a block can be seen at once, providing a corner is facing in the direction of the audience. All large

you need are (a) two boxes, which should be enough to hold comfortably five of the blocks

PIGJOI concerned

,

made up

removand (b), seven blocks about

to look like barns with a

able roof (see Fig. ioi),

inch square; five of these are painted yellow all over, and the remaining two are painted red on i

and yellow on the other three. To commence you have the blocks in a row on the

three faces

SOME CHILDREN

STAC.C

S

WO Orv

|

EFFECTS

|

4-

toMj,

161

£ 777777?

777777

RED

RED

mu

,

'um

FIG.I02

comers to the children, so that five of them are yellow and the last two show their red sides. The red ones, you say, are wolves and the yellow ones table,

represent sheep.

The following moves are made as the story progresses, and can be followed in Fig. 102, For the sake

teach yourself magic

162

of convenience the left

hand barn

is

called

“A”, and

the right hand one “B”.

“Here, children, is a story of the farmer who had five sheep which he kept in two bams. “These two red blocks are wolves, and one evening they decided to have a nice sheep for supper, so they parted one into each bam.” Place one in bam A and one in barn B. “Later the farmer put his sheep away for the night.” Place a yellow block in A, one in B, etc., so that at the end you have three in A (plus a red block) and two in B (plus a red block). “Well, during the night he had a terrible dream. He dreamt that wolves had eaten some of his sheep. He rushed down and took out the sheep to count

—

them.” Bring out a yellow one from barn B, a yellow one from barn A, a red one (turned to show yellow) from B, and a red (to show yellow) from barn A and another yellow one from bam B. You have apparently counted out five sheep, but really there are

“He counted

two yellow blocks

left in

bam

A.

they were all there, placed them back.” Place a yellow one in A, a yellow (red) one in B, a yellow one in A, a yellow (red) one in B,

and the

five and, seeing

fifth in

A.

There are now two yellow/red

in

B and

five

yellow in A.

“Towards morning the farmer had another dream in which he saw two wolves after his sheep, so he got up as soon as it was light, loaded his gun, and went down to his bams. He opened bam A and counted out good gracious, five sheep! Then he went to

—

SOME CHILDREN’S EFFECTS barn

B and saw two

wolves.

163

They hadn’t got any

of

the farmer’s sheep; instead they did not live to try again.”

The subtlety lies in the moves follow them slowly, and you will see how the switch is effected. Here is a close-up trick that will interest most children, and many adults too. It is called the: ;

Disappearing-knot Tube

A

cardboard tube about 9 inches by 1 inch diameter is required and should be covered with wallpaper; add some Chinese characters in Indian ink.

You

will require also

a length, say 2 feet, of soft white rope. You

may buy

this

at

any

magic shop, and as rope is used quite a lot, a long length is always

handy

to

cut

up

as

necessary.

showing the rope and tube, you tie a knot as seen in Fig. 103. Now take end A and push it through the tube, then push up the knot to the top of the tube, and quickly push it in also. Do this quickly because as the knot comes to the top of the tube, it disintegrates. The audience, however, think that it is in the tube, whereas it is merely loops. After

164

TEACH YOURSELF MAGIC

After a magic pass, pull the rope right through the tube. The next time, you ask someone to do it himself,

and when you have the child up, you give him end B to push through the same end; the knot remains put. While he watches you can tie several knots on the tube then slide them off into it and ask ;

him

to

watch while the

knots go (see Fig. 104). Let the child disappear another single knot, and he will be happy. In addition to the above, you could buy two old favourites, the Egg Bag and the Linking Rings, and neither will cost you very much. Here are some tips regarding these tricks:

The Egg Bag Quite a few children know that the egg is either concealed in the bag to start with, or is placed in and must be there even when the bag is subsequently turned inside out. Fig. 105 shows the size, should you wish to make one yourself. Use black velvet. The illustration shows the inverted pocket, inside, into which the egg goes and which prevents it falling out when the bag is turned inside out, and upside

down.

SOME CHILDREN’S EFFECTS

165

The best method is to pop the egg up your sleeve, and let them feel the bag is empty. Then take it back, pretend to examine it yourself, let the egg drop in and turn the bag inside out your production of the ;

egg will be unexpected. Last of all, pretend to place the egg in the bag, but really place it behind. Hold up the bag, double

FIG.105

round the egg, and

someone feel the egg in it. Then undo the bag, at the same time palming off the egg into the trouser pocket. The bag can then be turned inside out, and it really is empty and can be it

let

felt all over.

The Linking Rings Although some of the rings are already linked beforehand, they can be made to look very much separate by holding them in the left hand and

i66

TEACH YOURSELF MAGIC

letting each one

drop about 2 inches into the right

hand held just below. Remember, you must work with the gap of the split ring comfortably wide, so that you can slip rings on and off easily through the gap. The thumb and finger can easily conceal the gap on no account try to work with a tiny gap (see Fig. 106). ;

A

good routine is to have the rings in this order (reading from front (first) to back) Two linked, two loose, three linked, and the key ring.

Throw up two and apparently they come down linked. Let the children examine them. Then hand out the two single ones for examination. Now throw up the three and link them. Take the key ring and, asking for one single ring back, hold

SOME CHILDREN’S EFFECTS them together and ring

link

l6 J

them now drop the second

and they apparently

;

link in mid-air.

the rings on, remembering to ask the children to blow on the rings as you link them

Further link

all

remember your thumb and finger are good concealment, and the necessary moves can be done under their noses.

Finally

the rings

let all

quickly drop

fall off

on to the others.

it

SIN6L&

SPLIT

Linker

SiN(sL&

Uin/kSO RinOtS

Rings

PIG.!

Another way

the key ring, and

is

Fig. 107. In this

to

07

have them

method the

in the order

first

shown

in

ring can be taken off

and examined. It is then placed back, a magic pass made, and the two linked rings next to this ring are slipped down and off leaving the first single ring held as originally. It appears as though the first single ring

—

has been joined to the next one. Then hand the two single rings to one of the audience

TEACH YOURSELF MAGIC

l68

and ask him to

him

join

them.

It is great

fun watching

try

Now count off your last three rings and throw them into the air

where they

join.

Hand them

out for ex-

amination.

Take back the two key ring still held.

single rings

and

join

them

to the

Combinations are almost unlimited in this trick so why not experiment on your own account ? Paper-tearing Trick f>T>

In Chapter

HO

IV details

of

how to make

a paper mat,

ladder, etc., were given. These novel visual trans-

formations with paper never fail to intrigue

and delight children, and you should include one or two papertearing tricks whenever possible. Use the items

al-

ready given, and merely alter the story

work

f 1G.I0S

in

a giant and

beanstalk angle, i.e. for example, thus: “Here is the magic mat that took Jack to the land of giants. Here is a giant-land

Here is the magic ladder by which Jack escaped from the giant (close up ladder). Now the tree.

SOME CHILDREN'S EFFECTS

169

and he was safe at home. who all wanted to marry

giant could not follow Jack

Here are the

village girls

Jack."

For

this last here are the directions for the:

Ballerinas

Using a strip of paper 5 inches high by 18 inches long, fold it several times so that you have *a packet 5 inches high by about 2 inches wide.

Now

cut the paper as shown in Fig. 108.

If

you

—

have very thin paper you can fold once more see dotted line in which case only one side of the figure

—

is

cut.

TEACH YOURSELF MAGIC

170

When hands

stretched out

—a pretty

you

all

the figures are joining

effect.

two animal shapes (shown on previous page and below) on to a fairly stout If

lightly pencil the

coloured paper, with the fold as shown, you can make a stand-up Giraffe as in Fig. 109, and a Bull,

dog as in Fig. no. The eyes are made afterwards by pressing the point of the scissors through the paper. Why not work out a few animal designs yourself? Children love to take these animals home, so distribute them after the show. ,

CHAPTER XXI

THE LITTLE THINGS THAT MATTER From

time to time, as you continue to practise magic, come back to this chapter and refresh your

memory from

it.

Never perform any trick, no matter how simple is, until you are sure that you have performed

it it

correctly in practice.

One

and most satisfactory ways of practising is before a mirror the largest you can find. Although criticisms from your family are of the best

—

helpful, nothing gives such self-confidence as seeing

yourself perform.

When you buy a trick from

a magic shop, remem-

ber that you are sold the tools for the job, and what you make of it is up to you. Others have also bought the same trick so after you have mastered its moves, ;

introduce your

Remember

own

individual style into

it.

the difference between conjuring for

your magical friends and conjuring for a lay audience. The two types are poles apart, and must never be confused with one another. It is better to do three tricks well and know them inside out than to do ten tricks only fairly well. Do not disclose the method of any trick to nonmagical friends and acquaintances you never know how far the information may be spread, and it will spoil the trick for those who may not have seen it. ;

171

TEACH YOURSELF MAGIC

172

Remember, there are always a certain number of people in any audience who do not know how you do a certain trick, even if you have known about it for half

your

life-time.

The simple means by which an effect is achieved is no excuse for giving it away or disclosing it because you have not practised enough. Some of the greatest tricks have simple secrets.

Six tricks tucked

worth as much as

away on your shelves one trick when that

are not trick

is

actually being used in your show. If

you

find a certain trick

is

well applauded,

audience appeal it may help you to improve your other tricks which are not analyse

it

afterwards for

its

;

so effective.

Try to make up two or three

different styles of

show, so that in the event of doing an encore performance at a later date, or in the same area, you do not repeat too much.

Always ensure that you are neatly dressed, for no organiser or host will ask you to perform again if you do not look smart. Here is a Useful guide to what to wear at more select functions. Up to 12 noon, morning dress; 12 noon to 6 p.m., lounge suit (afternoon dress); 6 p.m. to 9 p.m., evening dress, dinner jacket; 9 p.m. onwards, full tails.

Buy

a good suit, keep it specially for wear during a performance and you will look well at any time. Today there are so many tricks and books on conjuring available that you must be selective in your choice. Never buy a book unless a good proportion of the tricks in it are the kind you will wish to

THE LITTLE THINGS THAT MATTER

I73

Broaden your knowledge by borrowing books from your local library and/or a magical society (see Chapter XXII) and make notes of interesting

do.

tricks.

Think carefully before buying magical apparatus. A few pocket tricks are inexpensive and useful, but when you are considering buying larger apparatus, do not acquire too many of the latest items they will date. Keep more to apparatus that has proved its worth in the past, but by all means purchase the

—

modern version of it. Keep your shows

Don’t throw cards or screwed-up paper on the floor; put them into a box attractively covered with wallpaper. There is no tidy.

excuse for untidiness.

Keep a sturdy box in which to carry your apparatus. If you prefer to, why not buy a suitable case

—

not too large and carefully print on the side your name and the entertainment you are presenting; it will look smart and business-like, besides providing some free advertisement. Be pleasant with your conjuring and insert a joke or two if you wish, but remember that an audience cannot believe in your magical powers if most of their time is spent in laughing at wisecracks. You must never offend good taste; that doubtful joke will keep for another, more appropriate time. No matter what your style be a gentleman.

—

Becoming a Semi-professional

When you locally

feel

that you are becoming well-known

and are asked to give shows by other than

TEACH YOURSELF MAGIC

174

your friends and relations, you might consider the question of a fee. Be modest in the early stages and charge a reasonable sum, and increase it only after you have had more experience and feel you are worth a better one.

Remember,

too, that people take

you

at

your own valuation. When you have received the fee, inform the organiser that you will send a receipt to him. This you do, but take the opportunity of writing a covering letter something like this

Dear Sir/Madam, In enclosing the attached receipt to say

how much

I

would

like

enjoyed performing before the children/guests at the party on the and hope they enjoyed it equally well. I

Yours

no need to elaborate on the details; just a note is all that is required. A book of receipt

There brief

sincerely,

is

vouchers costs very little to buy. Afford a visiting-card if you can, so that inquirers may be given your address and telephone number. An example is given on the next page.

Many

other styles are available at printers' or,

preferred, they

if

may be

ordered at certain stationers'. Carry about half a dozen such cards with you, and ensure that they are always clean. Opinions vary as to the need for a stage name. In the author’s case the name “Mystico” proved of use in place of a surname which

was

difficult to

to hear correctly over the telephone.

remember or

THE LITTLE THINGS THAT MATTER

175

[Telephone No. here)

[or

Surname)

[Address here)

Some surnames may not be conducive

to the idea of

conjuring and in such cases a more appropriate

name name

known performer uses the Masoni, based on his own surname which is Mason.

is

useful.

One

well

An Indian- or Chinese-style act does, of course, need an appropriate name, but in other cases your own personal inclination must be your guide. ~ Should you feel so inclined, you might advertise yourself in the local newspaper. Here are some examples

Magic? Then why not ring (Name) at (Telephone No.). All types of shows fees moderate.

—

here again so why not book (Name) at (address or phone) while there is still time?

Party Time

is

Entertainer and Conjurer. Let (Name) make your Parties, Dinners, Receptions, School Treats, the success they deserve. Ring (Telephone No.).

176

TEACH YOURS EX F MAGIC

example, where the accent is on entertainment first; remember that people want to be entertained and that is what you are going to do with your conjuring. Some shops have small advertisement boards in glass cases; why not put one of your visiting-cards in there for the season? Say six months from October to March. Got the idea? Now it’s up to you.

Note the

last

,

CHAPTER XXII

JOINING A MAGICAL SOCIETY There

are a

number of good reasons why you should

join a magical society. In the first place, there

may

be times when, through lack of interest in your own family circle, etc., you may feel like giving up all ideas of continuing with conjuring; in such circumstances mixing with fellow conjurers in an informal and friendly atmosphere revives and sustains your own enthusiasm. In addition, it is valuable to be able to discuss questions relating to local possibilities in the conjuring

field,

personal

and to have an opportunity

for settling

problems relating to performances and

routine.

Best of all, most societies provide two great benefits: the first is that of a lending library which, by putting conjuring literature into your hands that would be expensive to buy and some of which you may never have known existed, repays the subscription many times over. Secondly, there are very often lectures and demonstrations in the art of conjuring which assist in improving your own shojvsV If the society gives facilities for actual participation in a conjuring show, the added advantage of experience is gained. Subscriptions vary of course according to the size and importance of the society; it is worthwhile 177

LOS GATOS, CALIFORNIA

'

1

>

TEACH YOURSELF MAGIC

178

therefore to join a smaller society feel of

the society membership.

first,

Some

and get the

conjurers join

more than one society, and gain a still wider experience and enlarge their circle bf friends. Most societies publish a monthly magazine, which keeps

its

members

fully

in the conjuring field facilities available.

informed of current trends

and

notifies

The advantage

them

of society

of such a publica-

tion will be apparent at once.

Above all, you will make many new friends, and by so doing add immeasurably to the enjoyment of life. Do not believe what you have read in this respect; join a magical society yourself.

You

will

never regret

it.

and

find out

for

INDEX Advertising, examples of, 175 Afghan Bands Trick, 28 Apparatus to make: card stand, 137 changing bag, 122 collapsible table (tripod), 129 collapsible table (fourlegged), 130 ghost tubes, 127

\ magic wand,

138 mirror vase, 136 ^..production box, 135 utility stand, 132

most of the items mentioned throughout the book) Arranging a small show, 41 (additionally

^

Ball sleight: the throw-up vanish, 71 Ball Tricks catching balls from the air,

73 multiplying billiard

ball,

72

Vanishing

billiard ball, 71 Ballerinas (paper tearing), 169 Box, flip-over, 95

production, 135

Broken and restored match-

Ns

stick, 10

^b urnt and bill,

restored dollar

33

Bulldog (paper tearing), 170 Candle, using a, 123 Candles, multiplying. Trick, 123 Card(s), Disclosing chosen by dealing, 20 by reversing in the pack, 15

by rising from pack, 20 by selection, 21 by thought reading, 17 by thought reading (2nd method), 18

by use of gimmick, 19 Card Fanning choosing a pack, 58 the ordinary fan, 60 the reverse fan, 61 fan from armpit, 62 Card, forcing the bottom behind the back, 21 by ‘step' method, 22 Card, forcing the top, 24

Card Sleights: the double lift and turnover, 50 the injog, 49 palming the top card, 51 the pass, 47 the riffle, 47 Card Stand, 137 Card Tricks: /Mind the jack, 55 'magical detective, 54 magnetic cards, 52 three card trick, 140 (additionally many others by using the sleights, etc., described) Cards, Giant (or Jumbo), 116, 125 Catch those Crooks’ Trick, 145 Catching balls from the air, 73 Children’s Effects:

changing silks, 156 disappearing-knot tube, 163 egg bag, 164 egg on the wand, 155 linking rings, 165

paper tearing, 168

INDEX

i8o

—

Children’s Effects continued three hungry mice, 157 wolves and sheep, 160 Children, Entertaining:

need for colour, 153 the

child, 150 ‘bits of business’, 152

the rabbit, 153 Chinese Inexhaustible Box, 97 Cigarette Sleight: the thumb palm, 79 “Cigarette Tricks:

production from the the vanishing, 82 Coin Sleights:

silk

handkerchief, 90

Egg Bag Trick, 164 Egg on Wand, 155 '“’^Find the

awkward

lighted, through silk kerchief, 80

Egg,

Jack Trick, 55 Finger Palm, The (coins), 68 Flip-over Box, The, 95 Flower Basket, The, 125 French Drop, The, 66

Ghost Tubes, 127 handair,

81

Handkerchief Tricks, see under ‘Silk’

Hat Production,

96,

in

the ‘French drop', 66 the ‘classic palm’, 67 Injog, The, 49 the finger palm, 68 Coin Tricks: Jumping Thimble Trick, 76 '"•'the miser’s dream, 69 the Okito box, 140 the penny and nickel turn"Ladder, The (paper tearing), 39 about, 140 “"•’Lighted Cigarette through silk vanishing, in glass of water, handkerchief, 80 69 Linking Rings Trick, 165 Confetti to Silks Trick, 94 Cricket-bat Trick, 143 " “’Magical Detective Trick, 54 Magnetic Cards Trick, 52 Dice, changing, Trick, 142 Make-up for the stage, 119 Die in the Hat, 102 Mat, The (paper tearing), 38 Disappearing-knot Tube, 163 Match Tricks: Thimble Trick, 77 broken and restored matchMilk in Jug, 124 stick, 10 Double Lift and Turnover, 50 vanishing matches, 145 Dressing in ‘character^ 120 Mental Tricks mental telepathy (cards), Effective apparatus:

candle, lighted, 123

no

two to one prediction, 35 X-ray eyes, 36

disappearing milk in jug, 124 dove pan, 123 Misdirecting the audience, 101 flower basket, the, 125 ^'‘Miser’s Dream, The, Trick, 69 giant cards, 125 Multiplying Billiard Ball Trick, mirror vase 122 72 production box or tubes, 122 rising wand, 125 wine to water trick, 124 *^Nut-shells and Peas Trick, 14

INDEX Rope

Okito Coin Box, The, 140 One-handed Knot, 88

Tricks: cut and restored, 8 disappearing-knot tube, 163

wandering ring, 12 Lung’s bead, 6

Palming the Top Card, 51

Woo

a silk handkerchief, 84

Paper Conjuring Tricks: Afghan bands, 29

Semi-professional, becoming

ballerinas, 169 bulldog, the, 170 burnt and restored dollar

mat, the, 38 perpetual pellets, 29 torn and restored newspaper, 32 tree, the, 39 Pass, The, 47 Pencil, The Vanishing, 9 Penny and Nickel Turnabout Trick, 140 Pocket and Close-up Effects: catch those crooks, 145 changing dice, 142 cricket bat, the, 143 disappearing pencil, 9 nut-shells and peas, 141 Okito coin box, 140

^ -vanishing silk and candle,

s

^ by using a

pull, 85 Spectators’ idea of “Magic”,

106 Stage Show, The: angles, importance of, 114

parts of a stage, 1 1 make-up for, 119 Stand, a Utility, 132

Tables, to make: tripod type, 129 four-legged, 130

140 perpetual pellets, 29 three card trick, 140 vanishing matches, .145 Production Items:

Thimble Sleight: the

m

The, 47 'Rising Card, The, 20 Riffle,

78

disappearing thimble, 77 Three Card Trick, 140

Three Hungry Mice Trick, 157

Throw-up Vanish, The,

71

Thumb

Palm, The, 78 Torn and restored Newspaper, , v

32

v Tree, The (paper tearing), 39 ‘NT wo to

Pull, The, 85

Rabbit from Hat,

thumb palm,

Thimble Tricks: jumping thimble, 76

feather flowers, 99 rubber goods, 99 solid goods, 100 spring goods, 98 Programmes, Two Short, 45 how to link items on, 43

46

87

Silk Vanishing: by means of palming, 84

penny and nickel turnabout,,

for,

Handkerchief Tricks changing silks, 156 silk to egg, 90 one-handed knot, 88 sympathetic silks, 89

Silk

33 ladder, the, 39

Reminder Card

a,

173 Servante, The, 92

bill,

Publicity, examples of, 175

181

One

Prediction, 35

Using an assistant, no Using prepared cards and packs, 25

INDEX

182

The

Vanishing Billiard Trick, 71 Cigarette Trick, 82 coin in glass of Water, 69

Vase,

Matches Trick, 145 "Pencil Trick, 9 >?Silk and Candle Trick, 87

Wand, The Rising, 125 to make a Magic, 138

vw

Vanishing and Producing,

methods

of:

Chinese inexhaustible box, 97 flip-over box, 95 using a hat, 96 the servante, 92, 94 the well, 93

Mirror, 136

'^Wandering Ring Trick,

12

Well, The, 93 Wine to Water Trick, 124 Wolves and Sheep Trick, 160 Woo Lung’s Bead, 6

X-ray Eyes Trick, 36

L/J

teachyourselfmagOOtuff teachyourselfmagOOtuff

—

—

—

CARD TRICKS FOR EVERYONE

STANYON JOHN MULHOLLAND By ELLIS

Introduction by

“A readable manual giving instructions in legerdemain for the novice who wishes to learn how to perform magic tricks as a recreational pastime or an enjoyable hobby. Several new methods of performing some of .

.

.

these tricks have been included for the

more

skilled magician.”

can Library Association Booklist.

CARD TRICKS FOR BEGINNERS "A

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book designed for the amateur enthusiast. Card tricks with a borrowed pack, sleight-of-hand tricks, tricks using apparatus, and a number of miscellaneous tricks are described. Favorite tricks of some professional English magicians are included. Contains a glossary and numerous photographs.” American Library Association Booklist. Illustrated $4.95 clearly written

BRAIN PUZZLER’S DELIGHT

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—

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$5.95

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THE MATH ENTERTAINER

By PHILIP

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Bulletin of the National Association of Secondary-School Principals. Answers and complete explanations are given for all problems.

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