Eric C Lewis More Studies in Mystery PDF

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SILKEN SORCERY
J Ha|rd
Silken Sorcery cover* practically everything on silks, including thirty methods of producing a silk. Eleven methods of producing a number of silks.. Seventeen methods of vanishing a silk. Twelve methods of dyeing the silks. Eleven methods of Twentieth Century Silks. A chapter on Knots and Flourishes. Twenty-three tricks with silks. Useful ^ accessories, sleights, etc. Well Printed and Illustrated, % I M
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One of the i cian. A book Names, Book F most importan ommended .... Certninly ; worker as his Wand". Price 5/-
CLOSE-UP MAGIC
For the Night Club Magician. Jean Hugard
Herein Mr. Hugard has compiled a collection of Close-up effects with all information about this new line of magic. Most every magician of prominence at the present day is be ing featured in the new entertainment field. Night Clubs". Cardini, Leipsig. Zingone, Vernon Jarow. Benson. Brooks. Swan, Martin. Thompson. Orloff. Larry Gray. Dave Allison, Haskell. Devant. Albenice. Carlyle and many others. A book full of ideas for the Close-Up worker. 57 pages well illus................. $1,0# A book that the Modern Magician require?.
trated.
Price 5 /6 .
By
E R I C C. L E W I S
DEMON
S E R IE S
Manufacturing Rights Reserved.
W O R LD COPYRIGHT (The rig ht to reproduce the contents, or any part th e re o f is strictly reserved.)
L. DAVENPORT & CO.

Incorporating
M A SK ELYN ES MYSTERIES - 25, N E W O XFO RD STREET, W .C .I.
FOREW ORD
W h e n I published STUDIES IN M YSTERY, I was ra th e r d o u b tfu l a bo ut its rece ptio n in w a rtim e . B u t th e fir s t e di tio n sold o u t in th e fir s t fo u r w eeks, and a second e d itio n was fo u n d necessary. So th is p resent book, a c o n tin u a tio n o f th e fir s t one, was proceeded w ith c h e e rfu lly , fe e lin g th a t w e had fille d in a sm all corner in h e lp in g to b rig h te n th e gloom y hours o f W a r. A n o th e r tw e lv e ite m s, c a re fu lly explained, are again set o u t fo r yo u r d e lig h t, and w e since re ly hope, as w e feel sure th e y w ill, th a t th e y come up to yo u r e xpectations. I m u st give m y th a n ks to a ll those w h o w ro te to me a fte r th e fir s t book, u rg in g me q u ic k ly to p ub lish a n o th e r A n d I m u st th a n k M r. V ic to r Fare lli, T an H o ck C huan, M r. J. H. Steele, M r. J. B e attie and C apt. J. E. Stone fo r th e item s th a t have been included in th is book. One o th e r th in g I w o u ld m e n tio n befo re sign ing o ff. In STUDIES IN M YSTE R Y I gave c re d it to C y ro fo r th e fine e ffe c t he gave me perm ission to use, T he L ig h te d Bulbs fro m M o u th , b u t I d id n o t k n o w a t th e tim e th a t M r. L. A . Dawson also had a hand in th e d e ve lo p m e n t o f th e tr ic k . So I ta ke th is o p p o rtu n ity o f g iv in g c re d it to M r. Dawson fo r his p a rt. ERIC C. L E W IS .
CONTENTS
THE D IM IN IS H IN G S IL K PRODU CTION W H IC H C O L O U R ?
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Page 5 10 1 1 15 19 22 25
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THE GAME OF H IG H J A C K E R ......................... THE D O N E D IV IN A T IO N THE ACROBATIC BALLS ......................... .......................... .............
A USEFUL C H A N G IN G GADGET
I PASSED T H ROU G H YO U R W IN D O W D E SIG N IN G YOUR OW N PICTURE SILK S THE REPEATER BALL BOX PENELEASE A LL A L IK E ..
29 30 32 35 37
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THE A.N. CHAMELEON K N IFE ROU T IN E
The State Library of Victoria A L M A CONJURING COLLECTION
TH E
D IM IN IS H IN G
SILK
P R O D U C T IO N
T he re are tric k s , w h ic h by th e ir p e cu lia r n a tu re have an am using e ffe c t w ith o u t e ffo r t on th e p a rt o f th e p e rfo rm er. T h e fo llo w in g ro u tin e is such a one. One hears th e ripples o f m e rrim e n t a t each p ro d u c tio n ; and th e a u d ib le gasp a t th e fin a le is g ra tify in g T he tr ic k m akes an ideal opening e ffe c t. T H E T R IC K AS A N O P E N IN G EFFECT
T he p e rfo rm e r produces a large s ilk w h ic h he h olds by one corner. S uddenly he shakes th e s ilk , tra n sfe rs it to th e o pposite hand and a n o th e r s ilk , o f a d iffe r e n t c o lo u r and s lig h tly sm aller, appears k n o tte d on th e b o tto m corner. T he p e rfo rm e r blow s upon th e k n o t and th e s ilks fa ll a p a rt. T he larger s ilk he places d o w n and holds th e sm a lle r s ilk as before. T h is he shakes, w ith th e same re s u lt as be fo re a s lig h tly sm aller, d iffe r e n tly coloured s ilk appears tie d a t th e lo w e r corner. T he process is repeated several tim e s so an e ve r-g ro w in g heap is made on th e ch air, th e s ilk s g e ttin g sm aller a t each fresh p ro d u ctio n . F ina lly, h o ld in g a s ilk a b o u t six inches square, th e p e r fo rm e r gives i t a fin a l shake, w h e re u p o n it suddenly expands in to a s ilk as large as th e fir s t one produced, so m a k in g a d e fin ite and u ne xpe cte d clim a x. T H E EFFECT AS A REPEAT G A G
T he so-called repeat gags are deservedly p opular. T h e re is a s o rt o f sustained m yste ry a b o u t th e m th a t appeals. You can set a b o u t th is k in d o f p re se n ta tio n lik e th is : T e ll th e audience th a t befo re you begin yo u r show , you w o u ld lik e to te ll th e m a b o u t a c o n ju re r w h o to o k a large s ilk , shook it and
MORE STUDIES IN MYSTERY
a sm aller one appeared. A s you say th is, do it. T hen te ll h ow th is c o n ju re r s im p ly b le w th e kn o ts a part, and do it. H eap th e larger s ilk on th e seat o f a ch air and hang the sm aller one over th e back. N o w proceed w ith yo ur f ir s t tric k . A t th e conclusion o f th is, p ic k up th e sm aller s ilk and say th a t yesterday you saw a co n ju re r w h o and rep ea t the opening p a tte r and e ffe c t'a s th ou gh you have never m e n tio ne d it to th e audience, p ro du cing a second sm aller silk , separating th e m and pla cing on th e ch air as before. C o n tin u e th is a t in te rva ls th ro u g h o u t th e show and a t th e conclusion, p ic k up the s ix -in c h s ilk and say: B efore I go, I m u st te ll you a b o u t a co n ju re r I saw. He takes a sm all silk, shakes i t and gets a G IA N T O N E . So you m ake yo ur e x it to applause provoked by th is u ne xpe cte d c lim a x . TH E REQUIREM ENTS A n um be r o f silks o f d iffe r e n t colours, graduated in size. T w o o f th e largest size are needed, b u t th e co lo ur o f one o f th e largest size m u st be th e same as th e c o lo u r o f th e sm allest one. T hus if yo ur s ix -in c h s ilk is green, m ake sure th a t one o f your largest is also green. T he fo llo w in g sizes are recom m ended, b u t it depends upon yo u r fa n cy and th e q u a lity o f th e s ilk s : One each 6inch, 1 0-in ch , 1 2-in ch , 1 5-in ch , 1 8 -in ch , 2 0 -in c h , 2 4 -in c h , 2 6 -in c h , 3 0 -in c h and tw o 3 6 -in c h . Y ou also need a b o u t fo u r fe e t o f strong bla ck thread. P R E PAR ATIO N Place th e largest size s ilk o f th e co lo ur w h ic h m atches y o u r sm allest s ilk aside and th e n prepare a ll yo u r o th e r silks in one in g e n io u sly-fo ld e d b undle. T h is b u n d le is made as fo llo w s : T he w o rk in g o f th e e ffe c t depends w h o lly on the c o rre c t fo ld in g o f th e silks. T ie th e s ix -in c h s ilk to th e co rn er o f th e te n -in c h s ilk , using a s lip -k n o t s im ila r to th a t used in th e s y m p a th e tic silks. Lay silks fla t on ta ble and fo ld th e sm aller s ilk in h a lf as in Fig. 1. N o w roll th is s ilk up sn a k e -lik e as show n in Fig. 2. T h is done, s ta rt a t th e o u tsid e end and ro ll th e sm all s ilk in to a ball as show n in Fig. 3. F in a lly place th e balled up s ilk w e ll on th e co rn er o f th e larger s ilk and roll it in to the s ilk as show n in Fig. 4. T he re s u lt is show n in Fig 5. T h is s ilk m ay be held by th e upper corner (m arked X in diagram ) and i t w ill loo k lik e one s ilk . T h e fo ld s o f th e larger silk

p re v e n t th e sm aller one fro m u n ro llin g . used th ro u g h o u t a ll th e silks as fo llo w s :
T h is is th e p rin c ip le
See th a t th e te n -in c h s ilk w h ic h co nta ins th e six-inchs ilk is rolled tig h tly , and th e n tie th e top co rn er o f th is to a co rn er o !; th e tw e lv e -in c h s ilk (Fig. 6 ). Roll up th e ten inch Silk as before, in a ball, and roll this ball into the tw e lv e inch s ilk (Fig. 7 ). Keep d o in g th is u n til you have a ll th e s ilk s join ed up and ro lle d to g e th e r as described. F ina lly, ro ll th e last s ilk in to as co m p act a ball as possible and secure it w ith a band o f th in paper o f a s im ila r co lo u r to th e s ilk .
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You m u st dispose o f th is balled up s ilk to s u it w h a te v e r m eth od you w ish to use fo r th e p ro d u c tio n . Y ou m ay w is h to use a p ro d u c tio n box or some o th e r m eth od . For th e sake o f com pleteness I append a ve ry su ita b le m eth od a t th e end o f th is a rtic le . T ake n ow th e large s ilk th a t you placed aside, snd tie th e le n g th o f th re ad to th e to p tw o corners as show n in Fig. 8. P leat th is s ilk n e a tly so it fo rm s a band a b o u t th re e inches w id e , th e th re ad being a t th e to p w ith each end o f th e th re ad a t th e o pp osite corner. A glance a t Fig. 9 over th e page w ill m ake th is clear. Pleat th is again le n g th w ise so th a t a co m p act b u n dle (Fig. 10) is fo rm e d . D rape th e th re ad over th e to p as show n and tu c k th e b u n dle up th e
fr o n t o f yo ur vest. Loop th e th re ad over th e vest buttonsand th e p o sitio n w ill be th a t show n in Fig. 11. W O R K IN G F irst produce th e large prepared s ilk w h ic h contains w ith in it th e graded sized silks. H old it by th e to p corner in th e rig h t hand (Fig. 12). You w ill fin d th a t w ith o n ly m oderate care, th e inn er concealed bundle, a lth o u g h ra th e r w e ig h ty , w ill n o t fa ll d ow n. W it h th e le ft hand q u ic k ly grasp th e corner in th e ce n tre o f th e s ilk (Fig. 12) and w ith a q u ic k m ove m e nt sweep silks to w ards th e le ft side. The rig h t hand releases hold and th e le ft gives a sm art w h ip p in g m ove m e n t to th e silk. A s a re s u lt th e b u n d le comes in to v ie w , is ra p id ly u n ro lle d , and hangs on th e low e r co rn er (Fig. 13). B low th e silks a p a rt (p u llin g silks to separate kn o ts). C o n tin u e th is u n til you have th e sm allest s ilk . Y ou are th en ready fo r th e fin a le . W h ile one hand displays th is s ilk , th e o th e r is low ered to th e vest and th e th u m b engages th e th re ad and g e n tly p u lls it fo rw a rd o f f th e b u tto n s . L if t th is hand to th e s ilk and spread th e s ilk o u t so you n o w hold i t by its tw o upper corners, one corner in each hand, and as you do th is, c o n triv e to get th e loop o f th re ad over th e o th e r th u m b also. T he p o sitio n is n ow as show n in Fig. 14. Pause a m om en t, shake th e s ilk , th en q u ic k ly release one corner and ra p id ly separate th e hands. T h is w ill a u to m a tic a lly p u ll th e fo lde d s ilk o u t fro m under th e vest and cause it to spread o u t betw een th e hands. One corner ju s t slides ra p id ly up in to each hand, w h e re it is grasped. U nd er cover o f the waves, th e hand s till grasping corner o f sm all s ilk crum ples i t up (its sm allness m akes th is easy) and it is concealed in th e hand. T ry o u t th e co m p le te ro u tin e and p ra ctise to get th e moves neat, and you w ill agree it is one o f th e best th ing s I have given you. I can see it being used a lot. SUGGESTED P R O D U C TIO N A su ita b le p ro d u ctio n fo r th e o rig in a l bun dle o f silks, considering th e b u lk o f th e bundle, is as fo llo w s , fo r w h ic h I cla im no o rig in a lity : T ie a w ea k th re ad round th e bundle. Place th e bun dle behind th e a rm p it on one side and b rin g th e thread u nd er th e a rm p it and fix it to th e fr o n t o f yo ur coat (Fig. 15). T he e xact p o sitio n , le n g th o f th re ad and m ovem ents to m ake m u st be d e te rm in e d by e x p e rim e n t on y o u r o w n person. Enter h o ld in g a fo lde d new spaper, keeping b u n d le w e ll
concealed. Open o u t th e new spaper and hold it in fr o n t in b o th hands. Show it on b o th sides and w h e n tu rn in g it to face you a fte r sh ow ing th e back, l i f t i t s u ffic ie n tly w ith a lit t le sweep to conceal th e body fo r a m o m e n t and a t th a t m om en t, lean fo rw a rd s lig h tly and release b u n dle by o pe ning arm . T h is w ill cause th e bun dle to sw ing fo rw a rd . C atch it in paper and im m e d ia te ly screw paper up in to a rough b u n dle around th e s ilk , b re akin g th e th re a d a t th e same tim e . M ake passes over th e bundle, te ar it open, and s lo w ly p u ll o u t th e s ilk , h o ld in g it by one co rn er ready fo r th e e ffe c t as described. It is b e tte r to p le a t th e s ilk , ra th e r th a n roll it, fo r th is m eth od o f p ro d u ctio n .
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T h is is a sim ple lit t le s tu n t, b u t one if w e ll p ractised w ill prove a re a lly p u z z lin g ite m . T he fre e choice o f colour is w h a t gets it over. T he e ffe c t is b rie fly th a t a sp ecta to r holds b oth ends o f a w a lk in g s tic k w h ile a borrow ed h an d k e rc h ie f is draped over th e centre. Six coloured cardboard discs w ith holes in th e ce n tre are show n and one is fre e ly chosen. T he disc o f th e chosen co lo u r is passed u nd er th e h a n d k e rch ie f and is fo u n d , w h e n th e h a n d k e rc h ie f is re m oved, to have passed r ig h t on -to th e rod. T he secret is a bo ut th e same as th e old e ffe c t b u t w ith a s u b tle a d d itio n to a llo w free choice o f co lo ur. Y ou need a n um ber o f cardboard discs o f various colours o f such a size th a t you can fin g e rp a lm th e m c o m fo rta b ly . T h e y have holes in th e ce n tre large enough to a llo w th e m to pass on to a w a lk ing s tic k . Place six discs o f d iffe r e n t colours in an o rd er th a t has been m em orised. Then c lip th e m u nd er th e edge o f yo u r coat. A su ita b le c lip is an o rd in a ry w ire p a p e r-c lip fix e d by m eans o f a sa fe ty -p in . P u t six d u p lic a te discs in y o u r p ocket. T o w o rk th e e ffe c t, b o rro w a s tic k and c o n triv e to o b ta in th e set o f discs fro m th e c lip w h ile doing so. These are fin g e rp a lm e d o u t o f sig h t in th e r ig h t hand. T ake th e kn ob end o f th e s tic k in the le ft hand and place th e fe rru le in th e rig h t, pushing th e fe rru le rig h t th ro u g h th e holes in th e p alm ed discs. You n ow grasp b oth ends tig h tly (discs on s tic k concealed by rig h t hand) and s p rin g th e s tic k to d e m o n stra te its s o lid ity . T he n e x t moves are c ritic a l. A sk fo r th e loan o f a h a n d k e rc h ie f and w h ile th is is being produced, casually slide th e le ft hand to th e ce n tre o f th e s tic k , ta k in g th e rings w ith it, and hold the s tic k by m id d le in th is hand. T ake th e h a n d k e rc h ie f w ith th e le ft hand. H aving th e h a n d ke rch ie f, ask a sp e cta to r to grasp b o th ends o f th e s tic k . As soon as he does th is , toss th e h a n d k e rc h ie f over th e ce n tre and a t th e same tim e rem ove th e hand. T he h a n d k e rc h ie f covers th e discs. To conclude th e e ffe c t, show o th e r discs, give a choice and p u t th is under h a n d ke rch ie f. Im m e d ia te ly hands are under, tear o f f all u n w a n te d colours fro m s'tick and tu c k these and chosen genuine disc up yo u r sleeve u nd er yo u r w a tc h -s tra p . Remove hands e m p ty, and ta ke h a n d k e rc h ie f o f f th e s tic k .
1!
H ere is an e xc e lle n t card ro u tin e by th a t a u th o rity o f good card c o n ju rin g , V ic to r F are lli, a u th o r o f such w o rk s as F A R E L L IS C A R D M A G IC , L E N D M E Y O U R PA C K, T H E O D IN RINGS, etc. M r. F arelli needs lit t le in tro d u c tio n to th e m agical w o rld , so I leave h im to e xp la in his ro u tin e in h is o w n in d iv id u a l m anner.
In m y o p in io n th e best tr ic k in M r. L e w is s book, T H E M A G IC OF 1937, is th e one by C hris V an Bern e n title d , T he C onvocational ja c k s , and I tr u s t m y m eth od and ro u tin e a lth o u g h n o t o ffe re d as an im p ro v e m e n t on th e o rig in a l m ay be o f in te re st. T h e fo llo w in g is an e x tra c t fro m a le tte r fro m M r. C harles H arrison, in w h ic h reference is m ade to th is e ffe c t: I le t M r. V an Bern read w h a t you w ro te . . . he th in k s yo u r p re s e n ta tio n is e x c e lle n t . A s readers o f m y books on Card C o n ju rin g m ay re m e m ber, I advise th a t th e m ore co m p lica te d typ e o f e ffe c t be p re sented, w he ne ver possible, in th e guise o f a card game. T his, a t least so it seems to me, provides a p la u sib le excuse fo r th e necessary d ea lin g o r. co u n tin g , and s tim u la te s in te re s t. N evertheless, no tr ic k even if presented as a gam e can be re a lly e n te rta in in g w ith o u t good show m anship. A n d no one can becom e a show m an w ith o u t experience. ROUGH O U T L IN E OF T H E EFFECT M ore or less as described by M r. Van Bern. Four c o u rt ca rd :, placed in d iffe r e n t parts o f th e pack, com e to g e th e r. P O S IT IO N A N D REQ U IR EM ENTS
Four persons, in c lu d in g th e p e rfo rm e r, are seated a t a card table. T he c o n ju re r possesses a pack pro vid e d w ith a lo n g or w id e card (See N O TE A , post.)
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W O R K IN G A N D PR E SEN TATIO N
As th is book m ay fa ll in to th e hands o f co n ju re rs w h o do n o t possess TH E M A G IC OF 1937, I shall describe in fu ll. 1. The Game. H aving asked yo u r com panions a t th e card ta ble if th e y have ever heard o f th e game o f H ig h ja c k e r, c u t the pack in to fo u r p o rtio n s and a llo w each o f th e th re e players to ta ke one. Keep th e re m a in in g p a cke t y o u r self. Request assistant o n yo u r le ft to deal any high card face upw ard on th e table. If, fo r exam ple, a Jack is played, th e tw o rem ain in g players and y o u rse lf fo llo w su it. O bviously, if one player has tw o or m ore jacks he w ill play th em . T h e o b je c t in v ie w is to get any Tour o f th e high cards o u t o f th e pack q u ic k ly and w ith o u t h o ld in g up th e a ction . 2. Dealing. Hand th e fo u r jacks to th e player oppos ite to you, and ta ke back th e rem ainder o f th e cards held by opponents. C u t th e pack (composed o f fo rty -e ig h t cards) b rin g in g th e ke y to th e b o tto m . I. M a rk o ff th re e cards fro m th e to p and th ro w th em , face d ow n, on th e table. T h e assistant lays one o f his jacks thereon, also face dow n. P e rform th e ce ntre s trip c u t , leaving th e k e y a t th e b o tto m o f th e pack. T h ro w th re e in d iffe re n t cards on to p o f th e fo u r on th e table. T he helper adds th e second jack. Face d ow n lik e th e others. Execute a sim ple s tr ip - c u t b rin g in g th e k e y a bo ut fifte e n th fro m th e top. In se rt lit t le fin g e r o f le ft hand b elow th e ke y and square up th e pack. M a rk o ff th e cards above th e lit t le fin g e r, and th ro w th e m on to p o f th e p ile on th e ta ble . T he assistant deals th e th ird jack. (A ll cards face d o w nw a rd s). S trip -c u t th e pack, m a rk o f f th re e cards and th ro w th em (face d ow n) on th e heap. T he h elpe r plays th e fo u rth jack, again face dow n. Im portant N ote. A ll th e above moves should be p e r fo rm e d w ith a pparent carelessness. T he spectators should n o t kn o w how m any cards you th ro w on th e table.
II.
III.
IV .
V.
3. The Principal Move. C u t th e p ile o f cards above th e ke y . C om ple te th e cu t, b rin g in g the ke y above th e s ta c k o f cards. See C a u tio n (N o te B , post.).
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4. M ore Dealing. R em arking 'Y ou have no cards le f t , give th e assistant a b o u t h a lf o f th e rem ain de r o f th e pack. a. M a rk o ff a fe w cards fro m yo u r p o rtio n , and th ro w th e m on to th e heap. b. T he helper fo llo w s su it. c. A g a in m a rk o ff a fe w cards and add th e m to th e p ile. d. T he helpe r does likew ise. A n d so on u n til th e co m p le te pack lies face d ow n on th e table. 5. The Final Cuts. The player on yo u r le ft cuts. T h e n th e one opposite to you. N e x t th e one to yo u r rig h t. C u t th e p acke t a t th e k e y b rin g in g th e s ta c k to th e top. 6. Patter. T he re are fo u r su its in a pack, and o u r frie n d here has played fo u r jacks. If w e m u ltip ly fo u r by fo u r w e get sixte en . T h e re fo re I shall deal sixte en cards on to th e table. B u t 1 shall deal th e m in th e o rd e r chosen by y o u . 7. The Farelli Packet Force . Place fo u r m atch es on th e ta ble as show n b e lo w : e.
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In s tru c t one o f th e assistants to tu rn one o f th e m atch es end fo r end. If th e second m atch fro m th e le ft (B) is tu rn e d , th e p o sitio n w ill be as show n b e lo w : Deal sixte en cards fro m th e to p o f th e pack, faces d ow n, fro m le ft to rig h t s ta rtin g a t B . In th is w a y th e fo u r jacks w ill fa ll in to th e B packet. 8. The Finish. P o in t o u t to th e spectators th a t you have d e a lt th e cards in th e ord er chosen by th em . Remove packets A , C and D . T he n tu rn o ver heap B and d isp lay th e fo u r jacks. T h is is one o f th e ve ry fe w tric k s th a t I kn o w th a t can be repeated, even befo re an audience o f experts, w ith o u t fear o f d e te ctio n .
14

NOTES
A.
Key Cards. O b viously a lm ost any typ e o f k e y card' could be used, b u t a fte r g ivin g th e m a tte r a good deal o f th o u g h t, I am convinced th a t in th is ro u tin e a w id e c a rd , as recom m ended by M r. Van Bern, is best. Caution. T he p acke t m u st be c u t above th e k e y as stated in para. 3, b u t n o t too high above it. Five cards a t th e very least m u st be c u t o ff fro m th e to p o f th e heap. To be on th e safe side, it is as w e ll to c u t as close to the ke y as possible. T h is is th e o n ly m ove in th e ro u tin e w h ic h requires special care. Origin of the Packet Force. T h is m ethod, devised spec ia lly fo r th e tr ic k above explained, is based on one in ve nte d m any years ago by M r. O tta k a r Fischer, th e fa m ous A u s tria n a u th o rity on m agic. See th e second e d itio n o f Lend M e Y o u r Pack . (Last paragraph on Page 4 6.) A nother Version. Since th e above notes w ere w ritte n , I have read M ore C ardj^M anipulations in w h ic h a novel rrjethod o f p re sen ting M r. Van B erns o rig in a l tr ic k is described under th e t it le o f T he T hre e M uske tee rs and d A rta g n a n . U n fo rtu n a te ly M r. Jean H ugard has neg lected to give M r. V an Bern c re d it fo r his in g e n u ity , and has o m itte d to sta te th a t th e p a cke t c o n ta in in g th e jacks m u s t be c u t above th e k e y . (See n o te B , ante.) In M r. H u g a rd s version, a borrow ed pack m ay be used, and it is an e la bo ratio n o f th e idea re fe rre d to by M r. Van Bern on page 5 o f T he M ag ic o f 1 9 3 7 " (Lines 16 to 18). A fte r the fin a l cu ts have been made (para. 5 ante), ta ke th e pack face upwards in th e le ft hand and fa n it to w ards th e rig h t. Secretly locate th e second jack d e a lt (w h ic h acts as th e k e y card) and d iv id e th e pack a t th is p o in t. H old one h a lf fa nn ed o u t in th e rig h t hand, ta k in g care n o t to expose th e jack w hose back is against th e fin ge rs. H old th e o th e r h a lf spread o u t in th e le ft hand. H avin g called a tte n tio n to th e fa c t th a t th e jacks are in d iffe r e n t parts o f th e pack, c a lm ly place th e rig h thand p o rtio n under th e le ft. Square up th e pack, tu rn it face dow n, leaving th e sta ck on top. Finish as usual.
B.
C.
D.
15
T h is can be an e ffe c tiv e ro u tin e , and th e d e s c rip tio n includes a piece o f apparatus and several ideas th a t can be used w ith advantage in m any o th e r e ffe c ts . T h e ro u tin e is d ivid e d in to tw o parts. Four co lo u r cards and fo u r envelopes are exam ined, th e cards sealed in th e envelope and th e sealed envelopes are m ix e d to g e th e r all by a spectator. A lth o u g h a ll these are genuine and u n fa ke d in any w ay, th e p e rfo rm e r is able to d iv in e th e colours co nta ine d in th e envelopes. In th e second p a rt o f th e ro u tin e , a sp ecta to r is asked to h elp in d iv in in g th e cards. T he p e rfo rm e r m ixes all fo u r cards, p u ts th e m in one envelope and asks th e s p e cta to r to nam e th e order o f th e fo u r cards. He fa ils to do so, so th e c o n ju re r tip s th e cards fro m th e envelope, shows h im th e order, replaces th e m and th e n asks th e sp e cta to r if he can nam e th em . N a tu ra lly he can n ow do th is. Im m e d ia te ly th e p e r fo rm e r tu rn s th e envelope around (a p p a re n tly se cre tly, b u t so th a t th e audience ca tch s ig h t o f it) and th e n rem oves th e fo u r cards one by one, triu m p h a n tly sh ow ing th e cards are all w h ite ! T he audience w ill n o t have th is, and dem and th a t th e b la n k cards be tu rn e d round. T he c o n ju re r tears up th e envelope and th e n w o rk s th e su c k e r business on th e a u d i ence. F in a lly he does tu rn th e cards around as dem anded, and th e audience are surprised to fin d th e y re a lly are w h ite cards, b u t th e backs each bear a bold b la ck le tte r, s p e llin g th e w ord, D O N E .
T H E M A IN
SECRET
T h is lies in th e s w ift and s u b tle exchange o f envelopes on tw o occasions. T h e re is no need to fe a r th is, as th e s w it ches are p e rfe c tly covered, and fa c ilita te d by means' o f a special fa ke w h ic h can easily be co n stru cte d .
16
T his fake, illu s tra te d in Fig. 1 (A ), is sim p ly a shaped1 piece o f card, tin or c e llu lo id cem ented to a b e lt. Fixed to th e to p are tw o large pap er-clips o f th e w ire va rie ty . T his b e lt is w o rn as in Fig. I (B). T he lips o f th e fa ke are tu rn e d o u tw a rd s so th a t a p acke t o f envelopes m ay be pushed up under the b e lt w ith o u t tro u b le . To s w itc h envelopes, place a set o f fo u r under one o f th e w ire clips. H old fo u r o th e r envelopes squared up in the' le ft hand. Place b oth hands beh in d th e back and w ith o u t h e s ita tio n push envelopes in le ft hand up under fa ke w h e re th e y rem ain held by b e lt, and a t th e same m o m e n t p u ll o ff th e o th e r envelopes w ith th e rig h t hand. W ith very lit t le p ra ctice, th is is th e fa ste st s w itc h I kn o w . H ow it is covered by m is d ire c tio n w ill be s h o rtly described. T his fa ke is made double size to hold tw o sets o f en velopes side by side and a llo w fo r th e tw o sw itches. OTHER P R E PAR ATIO N Use good q u a lity pay-envelopes fo r th e tr ic k . Seal fo u r co lo ur-cards (about the size o f p la ying cards) in fo u r en velopes and th e n m a rk these envelopes so you k n o w w h ic h is w h ic h . T he best w ay is perhaps to edge-m ark th em . To do th is one draw s a th in lin e o f in k a bo ut h a lf-a n -in c h long on th e ve ry edge o f th e envelopes. A n envelope so m arked can be handled fre e ly w ith lit t le risk o f d e te ctio n , y e t w hen such an envelope is placed am ong others, it m ay in s ta n tly be fo un d by means o f th e line w h ic h can p la in ly be seen by lo o kin g a t th e edge o f the packet. W h e n fo u r envelopes are m arked, th e edge looks som ew hat lik e as show n in Fig. 2. T h is prepared set is placed under th e w ire c lip on one side o f the fake, w h ic h is hidden under th e back o f th e coat. A n o th e r envelope m u st be fa ked as fo llo w s : C u t the
17
fla p side fro m an envelope and run a s trip o f gum across th e c e n tre (Fig. 3 ). In se rt th is in to a n o th e r envelope, s tic k th e tw o fla ps to g e th e r and press fla t. T h is looks lik e one u n p re pared envelope. N o w seal th e fla p and re-open it by s lit tin g th e to p w ith a p a p e r-k n ife . T he re s u lt is a second h a n d envelope. A c tu a lly it has tw o co m p a rtm e n ts, one fu ll d e p th and a n o th e r o n ly h a lf-d e p th . In th e sm all d iv is io n place fo u r h a lf-ca rd s o f th e same colours as those to be used in th e e ffe c t. In th e long d iv is io n place fo u r w h ite cards each bearing th e le tte rs D, O, N and E, th e le tte rs fa cin g same w ay as colours. T h is p a cke t o f b u n k u m is placed u nd er th e fre e c lip o f th e fake. R O U T IN E FOR FIRST PAR T Cards and fo u r envelopes are exam ined, sealed and m ixe d as befo re described. S pectator hands m ixe d p a c k e t to you. Set a ssistan t in fr o n t o f p la tfo rm , and ta ke c e n tra l pos itio n fo r y o u rse lf, h o ld in g envelopes befo re you. T e ll a u d i ence th a t in o rd e r to p re ve n t yo u r seeing th e colours in any w ay, you w ill hold th e m beh in d yo u r back. Place envelopes beh in d you, m ake th e s w itc h and im m e d ia te ly tu rn y o u r back
to th e audience so th e y see envelopes a p p a re n tly s till in y o u r hands. T h e s w itc h takes b u t a second, and if w e ll tim e d th e re s u lt is p e rfe c t. T ake o ff th e to p envelope, hold it to yo u r forehead, and nam e th e card you k n o w it contains.
18
Face audience, hand envelope to sp ecta to r and have h im s lit it open and v e rify co nte nts. Give h im th e re m a in in g th re e to m ix s till fu rth e r. W h e n he re tu rn s th em , glance casually a t the edges as you square th e m up and n ote w h a t c o lo u r the ce n tre envelope contains. Repeat th e fo re g o in g moves o f tu rn in g th e back, b u t th is tim e envelopes need n o t be s w it ched. Fan envelopes, rem ove ce n tre one and name co nte nts. V e r ify this. Have th e o th e r tw o envelopes m ixed w h ile you stand w e ll away. B u t as you gave h im envelopes you noted colour in top envelope, and it is easy to keep tra c k o f th is w h ile spectator m ixes th em . A s k h im to rem ove one and hold i t up. Y ou can n ow name th e card it contains. Have th e last one opened. R O U T IN E FOR TH E F IN A L E Stand in ce ntre o f stage and have assistant on th e r ig h t side near fro n t. H old one o f th e opened envelopes in th e le ft hand and p u t th e fo u r cards in one a t a tim e so the a udience can see th em b u t th e assistant c a n n o t. T he posi tio n fo r th is is show n in Fig. 4. Say you w a n t to see if th e assistant can d iv in e th e ord er o f th e cards w h ile th e y are held behind his back. S till h o ld in g envelope a t le ft side to w ards th e back, w a lk over to assistant and stand a t his le ft side a b o u t tw o fe e t away. T ra n sfe r envelope fro m le ft hand to r ig h t hand, it passing behind your back fo r a m o m e n t in d oing so. T h is covers th e second s w itc h , and it is o n ly th e speed o f th e s w itc h th a t m akes th is m ove co nvincin g. You n o w hold faked envelope. A ssista n t fa ils to name colours in co rre ct order. If by coincidence he does name c o rre c t order, m ake ca pita l o f it by c la im in g m e n ta l transm ission fr o m yo u to h im . B u t he w ill u sua lly fa il. C hallenge h im th a t even if he saw th e ord er o f the cards he could n o t name th em . So saying, tip th e envelope so th e cards slide partly o u t (th e coloured h a lf cards) and spread th e m a lit t le to show th e order. Push th e m in and m ake th e tu rn in g m ove w ith envelope. W h e n he names order o f cards, rem ove le tte r cards and place th e m on a sta n d ; tear envelope in h a lf. (H a lf-c a rd s a llo w th is ). Finish th e e ffe c t as described in th e e ffe c t . Should th e sp ecta to r a c c id e n ta lly h it o n th e c o rre c t order, play up to it as described, and th e n ask if anyone else could do it, tu rn in g th e envelope round. A u d ie n c e u sua lly nam e colours in reversed order to c a tc h you. T he n you p u ll th e b la n k ca rd business.
19
T he fo llo w in g nice show y e ffe c t was sent to me by T an H o ck C huan. I t m akes a good a d d itio n to a ball a ct, and if w o rk e d in c o n ju n c tio n w ith such an e ffe c t as th e w e ll-k n o w n P a trio tic B illia rd Balls it is ve ry e ffe c tiv e indeed. A sm all ca b in e t c o n ta in in g tw e lv e coloured balls a r ranged on th re e shelves is show n, and th e fr o n t and back doors o f th e ca b in e t opened to show clear th ro u g h . T h e re are one ro w o f red balls, one ro w o f w h ite and one ro w o f blue. T he general e ffe c t is show n in th e sketches a t th e side. T he doors o f th e ca b in e t are closed. N e x t a stand is show n, w h ic h consists o f a square o f w ood w ith tw e lv e holes bored in it. T h is has a handle a t th e top and legs a t th e b o tto m . C lips are arranged beh in d th e holes so th a t cards m ay be clipp ed behind th e board and th e cards seen th ro u g h th e holes. T he back faces audience to com m ence w ith . T w e lv e cards, fo u r o f each co lo ur, are s h u ffle d by a sp ecta to r, and th e n d e a lt in haphazard ord er on th e stand, each card going in to a clip . W h e n th e stand is tu rn e d round, th e coloured cards are seen th ro u g h th e holes, fo rm in g a p a tte rn . T he ca b in e t is b ro u g h t fo rw a rd and th e stand set on to p o f it. T he balls are com m anded to re-arrange them selves to c o n fo rm w ith th e p a tte rn . W h e n doors are opened, balls have done so and th e balls are th e n tip p e d o u t.
20

M ETHOD
T he ca bine t is lined w ith black ve lve t. Six h a lf-s h e lls are used and these are also lined inside w ith b la ck ve lve t. Glue the shells, tw o on each sh elf as illu s tra te d in Fig. 4. T w o red go on th e top shelf, tw o w h ite on th e c e n tre s h e lf and tw o blue on the b o tto m . T hen place tw e lv e balls on the shelves as show n in Fig. 5, six o f th e m f it t in g in to th e shelves. You should have sm all holes bored in the shelves in w h ic h the balls m ay rest to p re ven t th e m fro m ro llin g about. T he re s u lt o f th is a rran ge m en t is th a t if th e ca b in e t doors are all open, it looks fro m one side as if th ere are th re e row s o f th re e colours, b u t fro m th e o th e r side it looks lik e tw e lv e balls in m ixed order (w h ic h it a c tu a lly is). T he colour-cards need p re pa ra tion . T he backs o f these should be m arked so you kn o w th e colours on th e face. T h e fo llo w in g is perhaps the best w ay o f d oing th is, and one w h ic h helps th e w o rk in g o f th e e ffe c t. Procure a pack o f readym arked pla ying cards, such as the DeLand D o lla r Deck, and rem ove tw e lv e cards fro m A ce to Queen. Paste red paper on the faces o f th e 2, 3, 7 and 9 ; w h ite paper on the faces o f th e Ace, 6, 8, 10; blue paper on th e faces o f th e 4, 5, Jack and Queen. W O R K IN G Show the ca b in e t w ith the shell-sid e fa cin g th e fr o n t and open all th e doors show ing th e th re e row s o f fo u r colours. A n y o f the balls w h ic h are n o t covered by a shell m ay be cas u a lly rem oved, tossed in th e a ir and replaced on th e shelves.
c #
o c @ > O 0
IH F in a l e

Close the doors o f the cabinet, and th e n ta ke o u t th e tw e lv e co lo ur-cards to be sh u ffle d . W h e n these are retu rn e d to you, deal th em on to th e stand a p p a re n tly in haphazard order, b u t by lo o kin g a t th e backs, rea lly deal th e m in th e o rd er, one to tw e lv e as show n in Fig. 6.
1*0
' 1
i
B a l i P o u t , arts.
0 0 0
r 0 I '0
5"
s h o w in g
~ h oie n a r t e d X a r e a n a l l y c o u e re c / b y S h e l l s ( r o t h e r e shoion/
~D----------^ 7------c r
F/g o
0000 0000
Pick up th e ca b in e t and b rin g it fo rw a rd , n a tu ra lly re versing it in th e process. Place th e stand on top. C om m and th e balls to change round and open th e fr o n t doors o nly, w h e n c o rre c t change o f balls w ill be seen. Remove stand fro m box and tip a ll th e balls o u t o f th e box. T he shells are glued to th e shelves so th e y w ill n o t ta ll o u t, and as th e y are lined w ith v e lv e t lik e th e in te rio r o f th e box, th e b la c k -a rt e ffe c t m akes th e m in visib le .
22

6 EMOM
USEFUL
C H A N G IN G
GADGET
I w o u ld n ow lik e to describe a sm all gadget w h ic h can be easily made th a t can be used in m any ways. For th e sake o f th is d e scrip tio n , le t us im agine a sheet o f new spaper is to rn up and th a t it changes in to a large s ilk h a n d k e rc h ie f. You can m ake up o th e r e ffe c ts ad lib. Black and w h ite tissue can be to rn and a d ra u g h tb o a rd -p a tte rn e d s ilk produced, or blue and w h ite and a s ilk w ith w illo w -p a tte rn produced (I m u s t c re d it Peter W a rlo c k fo r th is la tte r p re tty concept). T he gadget th a t enables these to be p e rfo rm e d is s im p ly a specially-m ade purse. T h is purse is p la in ly show n in Fig. 1 (above). I t is sim p ly tw o w ire fram es loosely hinged to g e th e r, covered w ith th in sheet rubber. A catch and a sm all hook are also fitte d as show n. T h is purse m ay be opened, tu rn e d c o m p le te ly in s id e -o u t and fastened again. M y fa ste ne r was sim p ly a s trip o f s o ft m etal w h ic h I b e n t to hold th e purse closed. You m ay lik e to f i t on a m ore elaborate catch. T he moves to use th is gadget are sim ple and e ffe c tiv e . Place a s ilk , balled up, in th e purse and conceal i t under one corner o f th e new spaper on th e rig h t-h a n d side. Pick u p th e paper, h o ld in g one co rn er in each hand and d isp laying
23
fr o n t o f paper. T he purse is held by th e fin g e rs behind th e .right top corner. (Fig. 2.) N o w tw is t the arm s as show n in Fig. 3 to show th e back o f th e paper. T h is brings th e hand h o ld in g th e purse ju s t behind th e le ft fo re arm . Im m e d ia te ly hook th e purse on to th e coat sleeve and b rin g th e hands back to norm a l. You can n ow show hands q u ite e m p ty and n o th in g in th e paper. Reverse th e above moves and you o b ta in th e purse again. T ear th e paper up, keeping purse b ehind. T he n under cover o f squeezing pieces, open purse, tu rn it in s id e -o u t so releasing s ilk and im p ris o n in g to rn pieces. Fasten purse again and s lo w ly develop s ilk . W h e n fu lly developed, d is play s ilk by h o ld in g in each hand a t th e upper corners, th e purse being concealed by th e upper rig h t-h a n d co rn er o f th e s ilk . N o w m ake th e same moves as p re vio u sly done w ith th e new spaper to show b o th sides and leave th e purse hooked on th e coat sleeve. Toss th e s ilk in to th e a ir and shake i t to show n o th in g is concealed. T he n drape i t over th e le ft fo re a rm in th e style o f a w a ite r w ith n a p kin . Y ou can n o w show b o th hands q u ite e m p ty. T he n you rem ove th e s ilk fro m o f f yo u r fo re a rm , and ta ke th e purse aw ay w ith it in th e fo lds. Yes, a d e cid e d ly u sefu l gadget!
24
H ere is a very good exam ple o f how to dress up an e ffe c t. T he w e ll-k n o w n rod th ro u g h glass fra m e has a bald e ffe c t unless cle ve rly presented, b u t m y good frie n d M r. J. H. Steele has evolved an e n te rta in in g ro u tin e b u ilt around th is tric k , and it is w ith his perm ission th a t I n ow give you a fu ll d e scrip tio n w ith p a tte r.
25
Used in th e e ffe c t is a large-size rod th ro u g h glass fra m e . M r. Steele uses one a bo ut 12 inches by 10 inches and th is seems to be th e ideal size fo r th e tric k . A m odel house w ith a fla t ro o f is show n. T he ro o f is rem oved and placed a t th e b o tto m . T he re are fo u r w in d o w s in fr o n t o f th e house, b u t th e o n ly doorw ay appears to be a h a lf-in c h hole in th e ce ntre. T he glass fra m e slides d o w n th e fr o n t so fo rm in g th e glass to th e w in d o w s. T he w h o le idea is illu s tra te d above. T he fra m e is rem oved and glass exam ined. T h e fra m e is replaced and a s ilk bearing th e p ic tu re o f a young m an is show n. T h is p ic tu re -s ilk is passed th ro u g h th e h a lf-in c h hole, a p p a re n tly th ro u g h th e glass, and in to th e house. T h e s ilk is rem oved. T h is s ilk is th e n w aved and it m u ltip lie s in to tw o silks, th e new s ilk bearing th e p ic tu re o f a g irl. T he g ir l-s ilk is dropped in to th e house via th e open ro o f, and th e m a n -s ilk is pushed th ro u g h th e hole and th e glass again. T h e fr o n t is covered by hanging a cardboard square covered w ith s ilk c u rta in s over it fo r a m o m e n t. T h e b lin d is rem oved and th e silks p ulled th ro u g h th e hole again fro m th e inside to th e o utsid e, b u t n ow th e y have jo in e d to ge th er in one large s ilk w ith b o th th e ir p ictu re s side by side. T he house is tip p e d up to show th e inside, and on th e b o tto m , in large bold le tte rin g , are th e w ords TO LE T . T he g lass-fram e can be rem oved and again exam ined. PATTER T h is is w h a t re a lly m akes th e e ffe c t. V a ry p a tte r to s u it y o u rse lf, b u t th e general o u tlin e is essential fo r th e tr ic k . In these days o f s c ie n tific in v e n tio n and lab ou r-sa vin g devices, it seems strange, d espite th e h in ts th ro w n o u t by George Form by, th a t no successful a tte m p t has been made to solve th e w in d o w -c le a n in g pro ble m . Y ou can do i t y o u rs e lf and ris k b re akin g yo u r neck, or you can engage a cleaner and fc o t th e b ill. A llo w me to d e m o n stra te h ow I have succeeded in th e s o lu tio n o f th e problem . A ll you have to do is to rem ove th e ro o f, l i f t o u t th e w in d o w s in one piece, clean th e m on b o th sides and replace b o th rc o f and w in d o w . Just one piece o f glass to clean and a ll fo u r w in d o w s are done. A n o th e r advantage o f th is system is th e fla t roo f. T h is serves a dou ble purpose. W h e n it rains, th e ro o f keeps th e w e t o u t. W h e n th e rain has ceased, th e ro o f is placed on th e b o tto m , lik e this, and th e w e t is k e p t o u t o f th e fo u n d a tio n s . Just th in k o f th e sp lendid exercise you w o u ld g et in sh ow ery w e a th e r!
26

you now an e ffe c t based on th a t w e llby yo u r w in d o w . These w o rd s w ere (show or produce m a n -s ilk ) w h o was th e lady o f th e house.
I w a n t to show kn o w n song 'I passed sung by a young m an ve ry m uch in love w ith
As he used to sing th is serenade every n ig h t and th e glass in th e w in d o w s w ere loose, th e y used to ra ttle , so the lady had these tw o brass clips fitte d to p re ve n t th is . (This w h ile show ing glass in fra m e and replacing). Had he been a co n ju re r instead o f a hum an being, he w o u ld n o t have passed by b u t through th e w in d o w lik e th is. (S ilk is pushed th ro u g h hole). Then he w o u ld have m e t his lady (s ilk is m u ltip lie d as described). B u t she does n o t look her best a t th e break o f day, so w e w ill replace her in her hom e. N o w along comes th e young m an, and having ta ken a postal course in c o n ju rin g , he passes th ro u g h her w in d o w . I th in k th e best and m ost p o lite th in g to do is to n ow d ra w th e cu rta ins. W h a te v e r to o k place m u st have been q u ite m u tu a l, because here th e y are now join ed to g e th e r fo r life (Large s ilk ) and as th e y have no use fo r a sm all house w ith o u t doors now , th e y decide to live elsew here and th e house is n ow e m p ty . ( T ilt house to show w ords TO L E T ). T hus ends th e p a tte r and th e e ffe c t. A s m en tion ed , th is is b u t an o u tlin e and can be b u ilt up. N o te h ow the clips on th e p e n e tra tin g glass fra m e are n e a tly and h u m o u r o u sly explained away.
TH E A P P A R A TU S You w ill req uire a large p e n e tra tin g glass fram e . T he one used by M r. Steele, and w h ic h proves ideal fo r th e e ffe c t is 1 2-in x 1 0-in . T h is is s e lf-lo c k in g so it can be exam ined. In a d d itio n you need an 1 8-in . s ilk w ith th e p ic tu re o f a m an, one w ith th e p ic tu re o f a g irl and a 2 4 -in . s ilk w ith th e p ic tu re o f b o th m an and g irl. These s ilk s you can m ake y o u rs e lf if you are any good a t th is s o rt o f w o rk (See n o te a t end). O th e rw ise you can get n ice ly coloured silks ready made fro m m ost dealers. T he o n ly o th e r apparatus is th e house, and th is w ill need a d e ta ile d d e scrip tio n . T h e d ra w in gs are made fro m M r. Steeles o w n m odel. T he house breaks up in to th re e p o rtio n s : th e base, th e
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fr o n t and tw o sides in one u n it, and th e back. I shall d e scribe these separately. N o sizes w ill be given as you m u s t b u ild th e house around w h a te v e r g la ss-p e n e tra tio n fra m e you m ay have. F irst th e fr o n t and sides. T h is is show n in Figs. 1 and 2. A sheet o f plyw o od has fo u r w in d o w s c u t in it and a h a lf inch hole in th e ce n tre to coin cide w ith th e hole in th e glass p e n e tra tio n fram e . T w o strip s o f square w ood are grooved to ta ke th e fra m e and fix e d to th e sides. A lo n g th e b o tto m edge is fix e d w h a t appears to be a square s trip fo r s tre n g th e n ing purposes, b u t w h ic h is re a lly a h o llo w p lyw o od box w ith a s lo t along th e to p back edge a b o u t h a lf-a n -in c h w id e . T h is s lo t is covered by a s trip o f broad elastic. T hu s a s ilk m ay be tu c k e d inside th is b o tto m se ction o u t o f s ig h t. T o th e tw o grooved strip s a t th e sides are hinged th e tw o p lyw o o d sides. These have sm all slots c u t and sm all brass hooks screwed on in th e p osition s show n in Fig. 2. T hu s th e fr o n t and tw o sides can be fo ld e d fla t fo r packing. Figs. 3 and 4 show th e c o n s tru c tio n o f th e back. T h is is a p p a re n tly a fla t board, b u t is re a lly double, having a tra p in w h ic h a s ilk m ay be concealed. T he d ra w in g s should m ake th is back clear, b u t some notes m ay be necessary. N o te th a t th e tra p is n o t th e w h o le size o f th e back. A section (X ) is le ft b e lo w th e tra p w h ic h is th e same w id th as th e h o llo w box on th e b o tto m o f th e fr o n t se ction is h ig h . A lso th e to p is c u t aw ay a t th e corners so th a t w h e n th e back is in p o sitio n on th e house and th e fla p is dropped, th e corners w ill n o t fo u l th e strip s o f grooved w ood w h ic h ta k e th e fram e . T h is a rran ge m en t is so th a t w h e n th e tra p is released, it w ill rest level and fo rm a false b o tto m to th e house. T h is fla p has a w ea k sp ring to help it open. T h is is n o t essential, b u t m akes th e w o rk in g m ore ce rta in . T h e w ire catch is also illu s tra te d . T h is is sim p ly a le n g th o f w ire , in serted th ro u g h a hole d rille d in th e to p o f th e back, and b e n t to shape. On th e inside o f th e fla p is p ain te d in bold w h ite le tte rs , th e w ords TO LET. Four screws are fix e d in to th e edges in p o sitio n s to co incid e w ith th e slots in th e p lyw o od sides o f th e fr o n t u n it. T he re su lt is th a t if you open up th e fr o n t, th e back section can be fix e d in to p o sitio n by le ttin g th e screw s e n te r th e slots and fix in g w ith th e hooks. T he w h o le gadget th e n rests in th e b o tto m , w h ic h is s im p ly a sheet o f p ly w ith m o u ld in g around. (Fig. 6.)
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One o th e r accessory is required, and th a t is a square o f cardboard to cover th e fro n t. T h is has fo u r m in ia tu re c u r ta ins glued on, and tw o hooks fix e d to th e to p so it m ay be hung on th e fr o n t o f th e house. T he inside o f th e house and th e fla p s are p ain te d d u ll bla ck and o u tsid e is covered w ith b ric k paper such as used on d o lls houses. T he roof* is covered w ith grey slate pap er . T O PREPARE Set up th e w a lls o f th e house. T ake th e g irl s ilk and n e a tly in se rt i t inside th e h o llo w s trip a t th e b o tto m o f th e fro n t, b u t leave a tin y co rn er p ro tru d in g fro m u nd er th e e la stic covering s trip . Open th e back fla p , inse rt th e large 2 4 -in . s ilk behind it and close again. Place th e ro o f on th e to p o f th e house. Ball up th e m a n -s ilk ready fo r p ro d u c tio n in any m anner th a t pleases you. Have th e c u rta in s aside ready. W O R K IN G F o llo w th e p a tte r and re fe r to th e fo llo w in g notes to u nd ersta nd th e w o rk in g . F irs t show inside o f house fro m th e b o tto m , fin g e rs covering p ro tru d in g p o rtio n o f s ilk . Re m ove top and place on b o tto m . T he n rem ove th e w in d o w and have it exam ined. W h e n replacing it, w o rk th e glass so th e hole in glass comes in to p o sitio n . N o w produce the m a n -s ilk . Pass the m a n -s ilk th ro u g h th e hole in fr o n t o f house and th ro u g h glass. W h e n h a lf-w a y th ro u g h , th e hand inside th e house grasps th e p ro tru d in g corner o f g ir l-s ilk w ith the same fin g e rs th a t hold corner o f m a n -s ilk and b o th are p ulled o u t. Shake th e silks and show th e y have m u ltip lie d . D rop g ir l-s ilk in to house and push m a n -s ilk th ro u g h the holes again. T he n hang cu rta in s on fro n t, and w h ile doing so, release catch a t back o f house. Flap fa lls covering the tw o silks and exposing th e large s ilk . Remove c u rta in s , and th e n produce large s ilk and e x h ib it. Remove glass-fram e, closing up glass to hide hole w h ile so d oing and have it again exam ined. Then tip up th e house and show it e m p ty, e x ce p t th a t th e b o tto m n ow has th e w ords TO L E T upon it. NO TE. If you w ill please tu rn over, you w ill fin d a very u sefu l tip fo r designing yo u r o w n p ic tu re silks.
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T h is is n o t a tr ic k in th e c o n ju rin g sense o f th e w o rd , b u t is one o f those tric k s o f th e tra d e th a t w ill be o f general use. I describe th is m eth od e ssen tially because a tr ic k w ith illu s tra te d silks has been described in th is book, b u t you w ill fin d i t useful in p re pa rin g silks fo r lots o f e ffe c ts . If you can d ra w , all w e ll and good. I f you cannot, w e ll, th e re is s till hope as you can trace th e designs. F irs t s tre tc h yo u r s ilk tig h tly over a board th a t has p re vio u s ly been covered w ith a large sheet o f b lo ttin g paper. N o w prepare a s tiff starch paste. T he c o rre c t w a y o f d o in g th is is as fo llo w s : In a cup, g rin d up a good spoonful or tw o o f good q u a lity starch. T he n add ju s t s u ffic ie n t cold w a te r to m ake th is in to a ve ry s t if f g u m m y mass. T h is m u st be sm ooth and n o t lum py. N o w ta ke a k e ttle o f boiling w a te r and ve ry s lo w ly p our it on to th e starch, stirring all the tim e. W a tc h th e m ix tu re c a re fu lly and w he n a c e rta in a m o u n t o f w a te r has been poured in, th e m ix tu re w ill tu rn a pale blu e co lo ur. Im mediately th a t happens, stop adding w a te r, and keep on s t ir rin g fo r a fe w m in u te s. T h is fo rm s yo u r starch paste. It ca n n o t be k e p t long. W h e n cold, it is a good gen eral-pu rp o se paste. For th e purpose in hand, how ever, you need th e paste in th e h o t c o n d itio n . S im p ly brush i t fre e ly all over th e s ilk you have stre tch e d on th e board and le t it th o ro u g h ly d ry. W h e n it is d ry, lig h tly sketch yo u r design o r p ic tu re in p en cil, or if you ca nn ot draw , trace a s u ita b le p ic tu re on a sheet o f greaseproof paper, scrib b le on th e back o f th e paper w ith a s o ft p en cil, and th en , pla cing th e paper on th e s ilk , tra n s fe r th e d ra w in g to th e s ilk . T h e s o ft p en cil acts lik e carbon paper. W ith yo u r design on th e s ilk , c a re fu lly p a in t yo u r p ic tu re w ith w a te r-p ro o f dyes. If you w o rk in colours, le t each co lo ur d ry before adding a no the r. T h e dyes are o rd in a ry dyes dissolved in a sm all q u a n tity o f h o t w a te r. F ina lly, w h e n yo u r p ic tu re is d ry, sim p ly w ash th e s ilk in w a rm w a te r to rem ove th e starch, and th e re is yo u r designed s ilk . T h e purpose o f th e starch is to p re ve n t th e dyes fro m spreading.
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Here is an e xce lle n t ro u tin e w h ic h has been in m y n o te books fo r m any years and w h ic h I have o fte n p erform ed w ith m arked success. C re d it goes to w h o m I w o t n o t; b u t as I have never seen it in p rin t, here it is. T he p e rfo rm e r shows one o f th e com m on ball boxes w h ic h m ay be obta ine d fro m any m agical depot. M an y a u d i ences w ill recognise th is a n tiq u e p a rtic u la rly th e younger g eneration w h o m ay have had one in a to y box o f c o n ju rin g tric k s . T h e p e rfo rm e r te lls h ow w h e n he fir s t sta rte d co n ju rin g he w a n te d th e tr ic k w h e re you show a box em pty, close th e lid , and w h e n you open it, th e re is a ball inside. The p e rfo rm e r does th is as he te lls it. T he p e rfo rm e r th e n says, th a t he w e n t to a frie n d w h o w as a co n ju re r and asked h im if he kn e w th e tr ic k w h e re you sh ow a box e m p ty (he removes th e ball fro m box and place i t on th e ta b le ), close it, and w he n you re-open it, th e re is a ball inside. A s he says th is he opens th e box to show a n o th e r b all, w h ic h is placed beside th e one on th e table. The co n ju re r takes h im to a c o n ju rin g shop, and th e y ask th e assistant if th e y have a box w h ic h th e ro u tin e and p a tte r is again repeated, and a n o th e r ball join s th e fir s t tw o . T h e s to ry is co n tin u e d on these lines u n til fo u r balls are in a ro w on th e table. Then an e ld e rly c o n ju re r w h o happens to be in th e shop says th a t he p e rfo rm s it in a d iffe r e n t w ay. He closes th e e m p ty box, covers it w ith a h a n d ke rch ie f, names a num ber, doubles it, adds ten, takes aw ay th e n um be r he fir s t th o u g h t o f and th e answ er is a le m o n ! T he h a n d k e rc h ie f is w h ip p e d aw ay and th e b a ll-b o x has changed to a lem on. T o w o rk th is e ffe c t you need a large-size b a ll-b o x and an u m b e r o f balls to f i t it. Y ou m ay cast th e usual fa ke h a lf-b a ll w h ic h is supplied w ith th e box away. A lem on is
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also req uired , and if you ca nn ot g et one in these days, you had b e tte r get an im ita tio n one. In a d d itio n you w ill need a b a ll-d ro p p e r to f i t u nd e rn e a th th e edge o f th e ja c k e t. These are o b ta in a b le a t m ost depots, or you can m ake a s u ita b le one by sew ing a tu b e o f black c lo th and p in n in g it u nd er th e edge o f yo u r coat. Sew a band o f e la stic around th e open b o tto m . T hus you can squeeze o u t one ball a t a tim e . (Fig.
1 .)
Place th e lem on on a table, w h ic h stands a t yo u r r ig h thand side. T he lem on should rest on th e ta ble ju s t in fr o n t o f a b la c k -a rt w e ll, or near th e back w h e re you have a sim p le servante fitte d . T he n cover th e lem on w ith a s ilk . I t is a good idea to have one ball already in th e b a ll-b o x to com m ence w ith , and have th e lid in place on box. To p e rfo rm th e ro u tin e , w o rk as fo llo w s : F irs t c o m m ence to p a tte r, h o ld in g th e b o tto m o f th e b a ll-b o x in th e fin g e rs o f th e le ft hand. T he p a tte r continues, and you l i f t o ff th e lid o f th e b a ll-b o x by h o ld in g th e kn ob on to p w ith th e th u m b and fo re fin g e r (back o f hand to w ards th e a u d i ence) and as soon as th e lid is lifte d s lig h tly , th e fin g e rs o f th e r ig h t hand sim p ly scoop o u t th e ball and fin g e r-p a lm it. H old th e lid in v ie w as show n in Fig. 2 w h ile th e ball is co n cealed in th e fingers. Replace th e lid and reload th e ball. T he best w ay o f e x p la in in g th e loading is to say th a t it is s im ila r to th a t used fo r loading a ball in th e cups and balls e ffe c t. T he ball is ju s t g e n tly tossed in to th e box under cover o f th e fin g e rs as th e lid is replaced. T he n m ake a pass, open th e box and show th e ball. T u rn n o w to th e r ig h t and w ith th e le ft hand w h ic h is h o ld in g th e box, low e r th e box to th e ta b le and tip it up so th e ball rolls on to th e ta ble near th e fr o n t edge. W h ile th is is being done, th e r ig h t hand, w h ic h s till holds th e lid in th e fingers, is low ered to th e rig h t side, and as th is is covered by th e tu rn to th e rig h t, th e fin g e rs o f th a t hand squeeze a ball fro m th e d ro pp er and fin g e r-p a lm s it. T h is m ove is repeated according to th e p a tte r and ac co rd in g to h o w m any balls you are using. F ina lly, w h e n you m e n tio n th e old man in th e shop, you tra n s fe r th e e m p ty b a ll-b o x to th e rig h t hand, tu rn to th e ta b le and l i f t up th e back edge o f th e s ilk . A p p a re n tly th e r ig h t hand pushes th e box up u nd er th e s ilk , b u t re a lly drops it in to th e w e ll and p icks up th e lem on. Y ou w ill fin d th a t th e shape o f th e lem on, and its usual ye llo w is h colour, look ju s t lik e th e b a llbox u nd er th e s ilk . W a lk aw ay fro m th e ta b le and fin is h th e tric k .
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I can forsee th a t th is tr ic k is going to prove popular. I t has already proven its w o rth in professional perform ances as w e ll as in co n ce rt shows. T he tr ic k was given to me by M r. J. B eattie, o f Dundee, w h o has m any clever ideas to his c re d it. One or tw o m in o r changes have been made, b u t th e m a in idea is his. EFFECT On th e stage is a th re e -fo ld screen w ith tw o holes in th e sides near th e top. One s im ila r to th a t used fo r the W a lk in g -th ro u g h -a rib bo n e ffe c t is ju s t th e th in g . (See s k e tc h above). T w o len gths o f rope are draped o ver the screen. O ver th e rope is hung a 3 6 -in . s ilk , and over th e stand its e lf are hung tw o 18 -in . silks. A sp ecta to r is in v ite d fo rw a rd to help, and a fte r help is o b ta in e d , te ll th e assistant you are going to m ake an escapo lo g is t o f h im . You fir s t tie th e large s ilk to rope and tie th e a ssistan t around th e w a is t w ith th e s ilk . N o w you stand th e assistant inside th e screen ( w ith screen opening to the fr o n t) and pass th e ropes th ro u g h th e holes so th e assistant is im prisoned behind th e ropes. N e x t his w ris ts are tie d to th e ropes by means o f th e sm aller silks. F in a lly th e ropes are tie d in a k n o t around h im . T w o o th e r assistants hold th e ends o f th e ropes, and you in s tru c t th e m th a t a t th e w o rd C o th e y m u st p u ll on th e ropes, and th e tie d assistant m u st s im p ly w a lk fo rw a rd . A t th e w o rd C o , th e assistants p u ll, and th e assistant w h o is tie d , n o t o n ly comes fre e o f th e ropes, b u t also w a lk s

rig h t th ro u g h th em , clear aw ay fro m th e stand. is b o th s ta rtlin g and m agical.
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T he e ffe c t
T h e re is n o th in g re a lly new in th e w o rk in g o f th is e ffe c t, b u t it is an e xc e lle n t exam ple o f dressing an o ld ite m and tu rn in g it in to so m e thin g new and s trik in g . T he screen is n o t a bso lu te ly necessary, b u t it p uts th e tr ic k in to th e c a te gory o f a sm all illu s io n and also adds to th e e ffe c t inasm uch as th e tie d person appears to be m uch m ore securely im prisoned B rie fly th e e ffe c t is sim p ly th e Ropes and Rings as o f old, and any o f th e various ingenious im p ro v e m e n ts m ay be used. Personally w e th in k the sim p le s tra ig h tfo rw a rd m eth od is as good as any, and th a t w e describe.
To prepare th e e ffe c t ta ke tw o lengths o f rope (each a b o u t 10 fe e t long) and tie a single loop o f thread around th e c e n tre o f both. T hen separate th e rope a t th e jo in and drape it over the screen so th e join comes in th e ce ntre. T ake th e largest s ilk and hang th is over th e rope so th a t it covers th e jo in . T h is a rran ge m en t is cle a rly o u tlin e d in Fig. 1. Place tw o sm aller silks on th e stand. W h e n you w o rk in v ite th re e spectators to h e lp ; one o f these is to be tie d . Set one each side o f th e p la tfo rm and one in th e centre. Give th e ends o f th e rope to tw o o u ts id e assistants, and grasp th e ce n tre o f th e rope yo u rse lf. Remove s ilk and a t th e same tim e grasp rope over jo in . Show th e m as tw o ropes and ask th e assistants to release th e ends. N o w tie th e large s ilk around th e ropes by a single k n o t in th e ce ntre, th is k n o t covering th e th re ad jo in . A s k th e tw o assistants to regain th e ir ends, and s ta tio n th e th ird as s is ta n t beh in d th e ropes in th e ce ntre. T ake th e ends o f th e s ilk and pass th e m around his w a is t, k n o ttin g th e m a t th e
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back. Back th e assistant in to th e screen, and th e n thread th e ends o f th e ropes th ro u g h th e holes and give th e m back to th e tw o helpers. T h e re s u lt o f a ll th is is show n in Fig. 2. N e x t tie th e sm aller silks by a single k n o t in th e ce ntre on to th e ropes, one on each side o f th e assistant and inside th e screen. Place his w ris ts upon th e kn ots and tie th e silks up round th e w ris ts , so securing his w ris ts to th e ropes. F in a lly each o f th e tw o assistants are asked to give you one o f th e ir ends, and these you p u ll th ro u g h th e holes inside th e screen, tie th e m in a single k n o t behind th e person in th e screen and pass th e ends o u t o f th e holes so th e tw o assis ta n ts can hold th e m again. T h is is illu s tra te d in Fig. 4, and i t w ill be noted th a t th e ends are n ow crossed so th e le fthand assistant n ow holds his o w n end and th e one th e oppos ite assistant had given in, and vice versa. A ll th a t is necessary to co m p le te th e tr ic k is to give a ll th re e assistants th e ir in s tru c tio n s , and w he n th e ropes are p ulled , th e assistant in th e screen fin d s h im s e lf fre e and can w a lk r ig h t aw ay fro m th e ropes and screen. If you w ish , th e fo llo w in g a d d itio n m ay be made. G et a large bangle or a lin k in g -rin g (solid one) and w h e n you have k n o tte d th e ropes beh in d th e v ic tim s back, pass b oth ends o f th e ropes th ro u g h th e rin g befo re in s e rtin g th e m th ro u g h th e holes in th e screen. T h e re s u lt o f th is is th a t w h e n th e ropes are p u lle d , th e assistant w a lk s free, b u t th e rin g is s till threaded upon th e ropes.
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A CARD TRICk W/TVA SuPP&St
N o w w e have a good ite m fo r th e card m an, and it has been sent to me fo r p u b lic a tio n by C apt. J. E. Stone. I th in k you w ill agree it is m ore th a n ju s t a n o th e r card tric k . EFFECT A card is selected by a sp ecta to r w h o looks a t it, shows i t to th e audience and places i t back o u tw a rd s on a sm all stand. T he p e rfo rm e r states th a t th e re are th re e o th e r cards in th e pack w h ic h are s im ila r to th e chosen one, and th a t, a lth o u g h he does n o t kn o w th e selected card, he w ill p u t th e pack behind his back and rem ove th e th re e s im ila r cards one by one. T h is he does, b u t as he produces th e cards, th e a u d i ence see th a t th e y are not s im ila r to th e chosen card. As th e cards w e re produced, th e y w ere placed back o u t in a ro w on th e stand w ith o u t co m m en t. N o w th e p e rfo rm e r states th a t he has been successful in his a tte m p t, b u t if he has acted his p a rt w e ll, th e audience w ill be convinced he has slipped u p . T o conclude, and prove his p o in t, th e p e rfo rm e r tu rn s a ll fo u r cards to face th e audience, and to th e ir surprise, all fo u r cards are indeed s im ila r ones. R EQ UIREM ENTS Pack o f cards w ith to p seven arranged as fo llo w s : Queen o f C lubs, Queen o f H earts, Five o f H earts, Queen o f Spades, Five o f Spades, Queen o f D iam onds, Five o f Diam onds. W O R K IN G Force th e Queen o f Clubs, and leave th e sta ck on to p o f th e pack a fte r th is has been done. S pectator show s th e card to th e audience and places it back o u t o n th e stand. Per fo rm e r th en explains th a t if a fo u r was selected, he w ill fin d th e o th e r th re e fo u rs if a K in g, th e o th e r th re e Kings, etc. So he places th e pack beh in d his back and lifts o f f b oth th e to p tw o cards, h o ld in g th e m to loo k lik e one card. T h is is show n to th e audience (a p p a re n tly a fiv e -s p o t) and placed
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face dow n on th e pack a m o m e n t w h ile a sp ecta to r in itia ls th e back o f it. T he Queen is, o f course, in itia lle d , and it is th is card th a t is rem oved and placed back o u t on th e stand. T he pack is placed beh in d th e back again. T he n the p e rfo rm e r removes th e to p card, pushes it anyw here in th e pack, and removes th e n e x t p air o f cards as one, and repeats th e fo re go ing moves. T he w h o le th in g is again repeated w ith th e th ird pair o f cards. W ith th e fo u r cards on th e stand th e audience are convinced th a t th e re are n ow one Queen and th re e fives. T he p e rfo rm e r then plays up to th e audience w h o believe a m is ta k e has been made, and fin a lly he tu rn s th e m all round to show th e m all fo u r Queens. C apt. Stone says he w o u ld lik e to give c re d it to George D ave np ort fo r th e tip a b o u t in itia lin g th e cards, w h ic h g re a tly adds to th e e ffe c t. A n d I m yself w o u ld lik e to add th a t I have trie d th is o u t fo r p la tfo rm use w ith ju m b o cards, and it is b o th sm ooth in w o rk in g and e ffe c tiv e . Good e ffe c ts w ith |u m b o cards are ve ry lim ite d .
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W H E N M R. A N T O N Y N O R M A N SENT M E T H E FO L L O W IN G TR EATISE O N TH E PO PULAR C O L O U R -C H A N C E K N IF E , I H A D C O M PLETED T H E M A N U S C R IP T OF T H IS BOOK. BU T I CONSIDERED IT SO EX C ELLEN T T H A T I
A T ON C E REVISED M Y M.S. TO IN C LU D E H IS R O U T IN E W IT H O U T D ELAY. TH E K N IF E IS SO OFTEN SEEN, A N D
IN N E A R L Y EVERY CASE, T H E O R IG IN A L B A L D PRE S E N T A T IO N IS G IV E N . M R . N O R M A N DESCRIBES N O T
O N L Y A R O U T IN E W H IC H W I L L M A K E A M ASTERPIECE OF TH E T R IC K , BU T ALSO TELLS OF FOUR D IFFER EN T W A Y S OF H A N D L IN G T H E K N IF E W H IC H D ES C R IP TIO N IN V A L U A B L E . IN G T H IS , I AM M AKE S H IS
I FEEL T H A T IN P U B L IS H FU LL V A L U E FOR T H E
G IV IN G Y O U
M O N E Y Y O U P A ID FOR TH E W H O L E BOOK A N D BESIDES T H A T , D O IN G A SERVICE TO T H E A R T OF C O N JU R IN G BY S H O W IN G H O W A SIM P LE T R IC K M A Y BE B U IL T I N T O REAL M A G IC . M R. N O R M A N S D ES C R IP TIO N W A S
SO GOOD T H A T I H A V E P U B LIS H E D IT V E R B A T IM . T H E D R A W IN G S W ERE M A D E FROM PHO TO G RAPHS OF M R . N O R M A N S H A N D S .
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THE A N T O N Y N O R M A N C H A M E LE O N K N IF E R O U TIN E
T he p e rfo rm e r describes th e p e cu lia r a b ility o f th e cham eleon to change th e co lo ur o f its skin to s u it its s u r roundings, and says th a t he ow ns a rem arkab le p e n k n ife made o f compressed cham eleon skins'. He th e n displays a p e n k n ife w h ic h he shows to be w h ite on b o th sides, opening and closing th e k n ife casually, and conveying th e idea by b o th action s and p a tte r th a t th e k n ife looks q u ite o rd in a ry. Placing it on th e palm o f his le f t hand, he th e n p icks up a red s ilk w ith th e r ig h t and rubs it over th e k n ife w h ic h is seen to have changed colour, being show n red on b o th sides. P e rform er explains th a t it is a great stra in fo r th e cham eleon to tu rn red, as th is is a d if f ic u lt co lo ur, and so it a lw ays trie s to get back to norm al as soon as possible. T he fo re g o in g e ffe c t is repeated w ith a w h ite s ilk and th e k n ife is revealed w h ite on b oth sides. O ffe rin g to prove th a t th e change is q u ite genuine and th a t th e k n ife is n o t tr ic k e d in any w ay, th e p e rfo rm e r re peats business w ith th e red s ilk , tu rn s k n ife red, and th en im m e d ia te ly hands it out for exam ination. T he n he changes i t to a w h ite k n ife and also hands this out for examination. A t th is p o in t spectators w ill o fte n declare th a t tw o kn ive s are being used. P e rform er once m ore tu rn s th e k n ife red, p ro te s tin g as he does th is th a t th is is n o t th e case. To prove it he rolls up b o th sleeves, places red k n ife across le ft p alm (rig h t hand casually show n e m p ty) closes th e fin ge rs and tu rn s hand w ith back to w ards audience. A w h ite h an d k e rc h ie f is ta ken in th e r ig h t hand and w aved a t th e k n ife in th e le ft, w h e n th e la tte r once m ore w h ite is seen to s lo w ly rise o u t o f th e clenched fis t. P e rfo rm e r o ffe rs to go even fu rth e r and d em on strate h o w th e change a c tu a lly takes place. He takes th e k n ife in th e rig h t hand and waves it w ith a c irc u la r m o tio n in th e air. S p e cta to r is asked to hold red s ilk on his extended hand. T he w h ite k n ife is w aved over th e s ilk and v is ib ly changes to red. Spectators are n ow asked to nam e a co lo u r and w h a t ever is called th e p e rfo rm e r p icks up a s ilk o f th a t c o lo ur and rubs it over th e k n ife , w he re u p o n th e k n ife changes to th a t co lo ur. T h is is repeated fo r various colours as requested.
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F ina lly, re m a rk in g th a t it w o u ld be in te re s tin g to see w h a t w o u ld happen i f a cham eleon ever landed on a Scots m an's k ilt, th e p e rfo rm e r takes a sm all piece o f ta rta n c lo th and rubs it over th e k n ife , w h ic h p ro m p tly vanishes. REQUIREM ENTS A. Five sm all w h ite -h a n d le d pen knives w ith s tra ig h t edges. These can n o rm a lly be purchased a t W o o lw o rth s. These are coloured as fo llo w s : 1. 2. 3. 4. 5. N o t coloured (w h ite b o th sides). Red on b o th sides. Red on one side only. Blue one side, y e llo w th e o th e r. Green one side, p u rp le th e o th e r.
C a rm in e nail va rn ish fo r th e red k n ife , and q u ic k -d ry in g ce llu lo se enam els fo r th e o th e r colours w ill be fo u n d s u ita b le and easy to apply. B. Six n in e -in c h silks as fo llo w s : one each red, w h ite , blue, y e llo w , green and p urple . A lso one sm all n in e -in c h square o f S co ttish ta rta n c lo th . T h is should have as sm all a p a tte rn as possible.
1 p 1 1 1
/
( )
f O
*i
3" i I 1 ) I
I V
C '
1 3
I D
C. A k n ife -h o ld e r or pocke t. T h is consists o f a piece o f bla ck c lo th a b o u t 4 in. by 3 in. A n o th e r piece 4 in. by
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2 -2 - in. is laid o ver th is and th e tw o are sewn to g e th e r along

th re e sides, fo rm in g a bag open a t th e top. T he bag is th en sewn to g e th e r a t 1 in. in te rva ls d ow n th e w id th o f th e c lo th , fo rm in g fo u r pockets w ith an o pening a t th e to p o f each. (See Fig. 1.) P R E PAR ATIO N Place th e w h ite -re d k n ife on yo u r ta b le or in some poc k e t n o t o th e rw is e used in th e tric k , so th a t it is ready w he n required. T he re m a in in g fo u r knives should be placed in th e h o l der w h ic h should be pinned or sewn in p o sitio n d ow n th e in -m o s t side o f th e rig h t-h a n d ja c k e t p ocket. T he y should be placed as fo llo w s fro m le ft to r ig h t: red, w h ite , bluey e llo w ( w ith blue side fa cin g o u tw a rd s), g re e n -p u rp le (w ith green side fa cin g o u tw a rd s). Place th e w h ite , red, blue and y e llo w silks on th e table, and th e p u rp le and green in th e r ig h t trousers pocke t. T he ta rta n c lo th is placed in th e le ft trousers pocket. T H E R O U T IN E 1. T ake th e w h ite -re d k n ife and show th a t it is w h ite on b o th sides. T h is is accom plished by th e standard cham e leon k n ife co lo u r a c q u itm e n t . For th e b e n e fit o f those w h o are n o t a cqu ainted w ith th is m ove, it is as fo llo w s : T he k n ife is ta ke n b etw een th e th u m b and f ir s t fin g e r o f th e r ig h t hand, being held by th e m etal tip a t th a t end o f th e k n ife w h e re th e blade pivo ts. T he k n ife should p o in t d ia g o n a lly d o w nw a rd s to th e flo o r, th e th u m b re stin g on th e m eta l tip and th e fir s t fin g e r b e lo w it on th e under surface o f th e k n ife , a b o u t h a lf-a n -in c h o f th e fin g e r- tip p ro tru d in g u nd er th e k n ife to th e le ft. (See Fig. 2.) N o w b rin g th e k n ife u pw ards as if to show th e o th e r side, b u t as you do so, tw is t th e k n ife g e n tly to th e le ft w ith th e th u m b , th u s tu r n ing i t over. I f you have done th is p ro p e rly you should n ow fin d th a t th e fir s t fin g e r is on to p o f th e k n ife , th e th u m b u n d e rn e a th , and th e w h ite side o f th e k n ife s till show ing. (See Fig. 3 .) N o w reverse th e e n tire process so th e k n ife is p o in tin g d o w nw a rd s again and s till sh ow ing w h ite . Practise th is u n til it becomes easy and n a tu ra l and you w ill fin d i t one o f th e m ost d ece ptive sleig hts in th e w h o le fie ld o f c o n ju rin g 2. H avin g show n th e k n ife to be w h ite , p ic k up th e red s ilk fro m th e ta b le and ru b it on th e k n ife , tu rn in g th e la tte r o ve r u nd er th e s ilk as you do so. (See Fig. 4 .) Show
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th a t th e k n ife is n ow red and d em o n stra te b o th sides using standard co lo u r a c q u itm e n t. Replace red s ilk on th e table. 3. Pick up th e w h ite s ilk and repeat th e above, tu rn in g th e k n ife w h ite and show ing b o th sides as before.
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4. P ut th e w h ite s ilk aw ay in th e rig h t-h a n d ja c k e t p o c k e t and steal th e red k n ife fro m th e holder. (To do th is, place th e tip o f th e rig h t second fin g e r under th e red k n ife c o m p a rtm e n t and push g e n tly upw ards u n til the k n ife rises in to th e fin g e r-p a lm p o sitio n .) (For fin g e r-p a lm p o sitio n , see Fig. 5.) Pick up th e red s ilk fro m th e ta ble w ith th e r ig h t hand ke ep in g th e red k n ife concealed. Lay th e w h ite -re d k n ife across th e roots o f th e le ft fin g e rs so th a t it p ro trud es a bo ut i in. over to th e le ft and in line w ith th e to p o f th e th u m b . E xtend th e th u m b s lig h tly so th a t it does n o t to u ch th e k n ife . C o rre c t p o sitio n is show n in Fig. 6. The r ig h t hand bearing th e red s ilk and th e concealed red k n ife approaches, and th e s ilk is placed over th e w h ite red k n ife in th e le ft hand as if to rub it as previously. As th is takes place, th e le ft th u m b is b ro u g h t sharply in fro m its extended p o sitio n s trik in g th e k n ife on th e e xtre m e tip and c a ta p u ltin g it up th e rig h t sleeve. T he red k n ife is s im u lta n e o u sly released by th e r ig h t hand and takes up th e pos itio n ju s t vacated by th e w h ite -re d k n ife across th e le ft palm. T h e e n tire a ctio n takes place in a flash, p e rfe c t cover is p ro vided by the s ilk in the rig h t hand, and c o rre c tly done th is change should look e xa ctly th e same as th e previous tw o . The red k n ife is n ow handed fo r e xam in a tion . 5. T he red s ilk is replaced in th e rig h t-h a n d ja cke t pocket. T he w h ite -re d k n ife is a llo w e d to drop d ow n the sleeve and in to th e pocket. R igh t hand now steals w h ite k n ife fro m th e holder, fin g e r-p a lm s it and brings it o u t under cover o f th e w h ite s ilk . Red k n ife is now changed to w h ite using th e sleeve-change ju s t described. T he w h ite k n ife is handed o u t fo r e xam in a tion . 6. T he w h ite s ilk is replaced on the table. R igh t hand goes to ja c k e t p ocke t, unloads red k n ife , palm s w h ite -re d k n ife and brings th is o u t u nd er cover o f red silk . Sleevechange th e w h ite k n ife fo r th e w h ite -re d . If th e red side o f th e la tte r is n o t face upw ards, it can easily be tu rn e d over u n d e r cover o f the red s ilk w h ic h is rubbed over it. 7. T he red s ilk is replaced on th e table. T he w h ite k n ife is a llo w e d to drop in to th e r ig h t hand w he re it is fin g e rpalm ed or th u m b -p a lm e d . For th u m b -p a lm expose p osition , see Fig. 7. R igh t hand n ow p u lls up th e le ft sleeve, g rip p in g it b e tw e e n th e fir s t fin g e r and th u m b on th e body side o f the
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sleeve ju s t above th e elbow . As th e sleeve is p u lle d up, th e r ig h t hand, concealing th e k n ife , comes d ire c tly over th e le ft o u te r breast p ocket, and th e k n ife is dropped in to th is u nd er cover o f th e hand. A n expose o f th is is given in Fig. 8. T he m is d ire c tio n here is good as th e a tte n tio n is focussed on th e b arin g o f th e le ft arm . 8. R ig h t arm is now bared by the le ft hand, care being ta ke n n o t to show th e w h ite side o f the k n ife held in the le ft hand.
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L e ft hand is n ow opened sh ow ing w h ite -re d k n ife w ith th e red side upp erm o st. Fingers are once m ore closed over th e k n ife and th e e n tire hand is tu rn e d over so th a t th e back o f th e hand faces audience. (P e rfo rm e r should n ow be sta n d in g w ith his r ig h t side to w ards audience and le ft a rm extended.) T he w h ite s ilk is p icke d up fro m th e ta b le in th e r ig h t hand and w aved a t th e le ft. T he k n ife is pushed up th ro u g h closed le ft fis t by th e le f t th u m b . T he appearance to th e audience is th a t th e k n ife n ow w h ite rises m yste rio u sly o u t o f th e hand o f its o w n accord. (See Fig. 9.) 9. W h ite s ilk is n ow replaced on table. S pectator is n o w given th e red s ilk fro m th e ta b le and asked to lay it over his hand. P e rform er takes k n ife in th e rig h t hand be tw e en th u m b and fir s t fin g e r as in th e in itia l m ove o f the standard co lo ur a c q u itm e n t. T he e n tire hand is w aved h o ri z o n ta lly in an a n ti-c lo c k w is e d ire c tio n . A s it comes over th e red s ilk , th e th u m b ra p id ly tw is ts th e k n ife over to th e le ft. T h is m ove m e nt, b o th rapid and s lig h t, is lost in th e larger m ove m e n t o f th e w a vin g hand, and th e appearance is th a t th e k n ife v is ib ly changes co lo ur. (See Fig. 10.) Per fo rm th e co lo ur a c q u itm e n t as before. T he n u n ro ll th e sleeves as if th a t concluded th e perform ance. 10. A s an a fte rth o u g h t, ask th e spectators to call o u t a co lo ur. A s you do so, replace th e red s ilk in th e rig h t-h a n d ja c k e t pocke t, and as soon as th e co lo ur is called, palm o u t th e a p p ro p ria te k n ife fro m th e holde r in th e pocke t. N ote th a t if th e b lu e -y e llo w k n ife is needed th e blue side w ill be nearest yo u r palm , and i f th e g re e n -p u rp le is required, the green side w ill be nearest yo u r palm . I f th e re fo re blu e o r green are called fo r, as experience proves is n ea rly alw ays th e case, you s im p ly p u ll o u t th e c o r re c t k n ife , and execute th e sleeve-change u nd er cover o f th e a p p ro p ria te h a n d k e rc h ie f. Should y e llo w or p u rp le be c alled, th e k n ife m u s t be tu rn e d over u n d e r cover o f th e s ilk b efo re i t is revealed. Replace th e s ilk used in th e rig h t-h a n d ja c k e t p o c k e t and unload th e w h ite -re d k n ife . 11. Show w h a te v e r k n ife is chosen to be th e same c o lo u r on b o th sides. A n o th e r co lo ur a c q u itm e n t, a v a ria tio n o f th e standard one, is used here. T h is is as fo llo w s : A ssu m in g th a t you have th e b lu e -y e llo w k n ife in yo u r hand and you w ish to show i t blue. H old th e k n ife in th e le f t hand by its tip s b etw e en th e th u m b and second fin g e r, b lu e side fa cin g th e audience. (See Fig. 11.) R ig h t hand
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approaches th e le ft and takes th e k n ife b etw een th e fir s t fin g e r and th u m b as in th e standard a c q u itm e n t, e xcep t th a t th e k n ife is ta ke n a t its ce ntre and n o t a t its tip . T he k n ife is th e n tw is te d and tu rn e d over as in th e sta nd ard a c q u itm e n t, b u t is each tim e replaced b etw een th e le ft th u m b and fin g e r befo re a fresh tu rn is made. (See Fig. 12.) 12. A n o th e r co lo ur is n ow called fo r. I f i t is th e o th e r co lo u r o f th e k n ife n o w in th e hand, a ll th a t rem ains to be done is to tu rn it over under cover o f th e a p p ro p ria te s ilk . I f i t is one o f th e colours o f a k n ife n o t y e t used, th is k n ife m u s t be palm ed o u t under cover o f th e s ilk ju s t used and so th e tw o kn ive s are sleeve-changed as before. I t w ill be noted th a t i f a co m p le m e n ta ry co lo ur is called fo r, th e s ilk is ta ke n fro m th e rig h t-h a n d trousers p o c k e t; if an o pp o site co lo u r (a d iffe r e n t k n ife ) is called fo r th e s ilk is p icke d u p fro m th e ta ble . T hu s th e fo u r colours are show n in tu rn , using e ith e r th e sleeve or th e sim ple tu rn -o v e r c o lo u r change as circum stances d ic ta te . One v a ria tio n o f th e c o lo u r a c q u it m e n t has already been given. H ere fo llo w s tw o m ore, th e T h ro w O v e r and th e A .N . A c q u itm e n t ; T H E T H R O W -O V E R A C Q U IT M E N T T he k n ife is lain across th e roots o f th e r ig h t fin g e rs, th e blade side fa cin g th e tip s o f th e fin ge rs. T he m erest d ow nw a rd s t i l t o f th e rig h t hand should n ow s u ffic e to tu rn th e k n ife over. T he hand is tilte d thus, tu rn s th e k n ife over and im m e d ia te ly deposits it on th e le ft hand. T he tu rn -o v e r is in v is ib le to th e spectators and th e e ffe c t is th a t b o th sides o f th e k n ife have been show n. (Figs. 13 and 14.) T H E A .N . A C Q U IT M E N T T h is m eth od is m y o w n , and if p ractised is one o f th e m o st c o n vin cin g in th e ro u tin e . T h e k n ife is held in th e le f t hand as fo llo w s : T h e k n ife is placed h a lfw a y across th e le ft palm . L e ft fin g e rs close on it. T h is leaves h a lf o f th e k n ife covered by th e le ft fin g e rs and th e o th e r h a lf p ro tru d ing b e lo w th e hand. T he end w h ic h p ro tru d e s should be w h e re th e blade opens, as opposed to th e end w h e re it pivo ts. (Fig. 15.) T he r ig h t hand n o w approaches th e k n ife and holds i t a t th e tip b etw e en th e th u m b and th e f ir s t fin g e r in th e f o l lo w in g m a n n e r: E ith e r th e th u m b or th e f ir s t fin g e r (ac co rd in g to th e w a y th e k n ife is held, w h ic h is governed by th e c o lo u r th e n show ing ) a c tu a lly rests o n th e blade its e lf, w h ils t th e o th e r rests on th e opposite side o f th e k n ife , e x a c tly o pposite. T h e k n ife is th e n tw is te d sh arply rou nd
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g ivin g it a h a lf th e same colour and care should th e m ark. (Fig.
as if to show th e o th e r side, b u t instead o f tw is t, it is tw is te d c o m p le te ly round so th a t s till shows. T h is m u st be done ve ry ra p id ly be taken n o t to e ith e r overstep or understep
/ T H E F IN A L E
F inally, p a tte rin g a b o u t th e Scotsm ans ta rta n , th e p e r fo rm e r produces fro m his le ft trousers p o cke t th e ta rta n s ilk and rubs it over th e k n ife last show n. A s he does so, he flic k s it up th e r ig h t sleeve as in th e co lo ur change. NOTE. U nd er no circum stances should th e r ig h t arm w h ic h has the k n ife up th e sleeve be low ered a t th is p o in t. T h is m ig h t a ttr a c t a tte n tio n w h e re it is least desirable and ru in th e e ffe c t by g ivin g suspicion as to h ow th e changes w ere accom plished. T o e ffe c t a tim e -la g and d ra w away a tte n tio n , m uch ado should be made o f sh ow ing s ilk em pty. F inally, th ro w the s ilk in to th e a ir w ith th e le ft hand, fo llo w it w ith th e eyes and le t k n ife slide in to r ig h t hand. C atch s ilk in rig h t hand and p u t b o th s ilk and k n ife in yo u r pocket.
NOW IN PRINTED FORM.

New illustrations by Laurie
A Few of the Effects T H E G R E A T D IC T A T O R A novelty comedy item of the apparatus order. There is a double effect and some fine comedy. If you want to raise laughs you must try this one out. A TA LE O F T W O GASM ASKS. Another topical item involving the transposition of gas masks to suitable patter. You already have most of the apparatus for this trick. BLA C K M A G IC . A card trick, BUT one with a completely new and novel angle The efiect is based upon the authentic prin ciples of Black Magic or that is what you tell them There are several useful ideas in this trick. A L L T H E LATEST. A showy trick involving the production of a poster bear ing chosen news items, and the name of a newspaper. This includes a useful force for a newspaper among other things. A L S O IN CLU DED A R E : a visible CUT A N D RESTORED RU BBER BA N D , A N O V E LT Y P U Z ZL E TRICK, STRAN G E R T H A N FICTION, CUT RIBBON etc etc. A LSO IN CLU DED IN THIS BO O K IS THE FULL DES CRIPTION O F A SEN SATIONAL EFFECT B Y C Y R O . TH E L IG H T E D BULBS FR O M M O UT H . Not a pipe dream; the effect has been in practical use for several years. Now it is generally released so you can make it yourself. Price 5/-. postage 3d.
Reprinted.
MAGICAL MENTALITY. by Eric C. Lewis.

BE O R IG IN A L T E LLS Y O U H O W . M A G IC A L M E N T A L IT Y is the faculty that distinguishes the keen, inventive, original magician from the plodding copyist. M A G IC A L M E N T A L IT Y will give you a vitality that will keep you alive in the bustling confusion and the com petition of this Modern Age. INV EN T A DAPT O R IG IN A T E BE Y O U R S E L F M A G IC A L M E N T A L IT Y will tell you how. It gives a Formula for creating effects. It will tell you: How to think creatively How to concentrate How to use your time effec tively How to evoke Inspiration How to develop observa tion How the ideas come How Y O U can make the ideas come. It is A U N IQ U E BO O K F O R W H IC H T H E M A G IC A L W O R L D H AS B E E N W A IT IN G . A Course on Practical Psychology for Magicians. A Course on Creative Thought. IN S P IR IN G T H OU GH T -PRO V OK IN GO R IG IN A L . Every Magician should have a copy of this Book. It would be better for the Magical W orld in general if that were so. Do your bit to further the cause of Better Magic Magical Mentality will help you. T H O U G H M A N Y M E N T A L COU RSES COST F R O M O N E TO TW ENTY-ONE POUNDS, T H IS COU RSE, E S P E C IA L L Y F O R M A G IC IA N S W IL L O N L Y COST Y O U Price 5/-. postage 3d. This Book printed in 48 full-size pages, and contains in addition to the course a section devoted to several useful and practical tricks. Get it N O W before you forget.
P r in t e d
and
P u b l is h e d
by
L. D
av e n po r t
&
Co. L o n d o n . E n g l a n d .
DEMON MAGICAL PUBLICATIONS.

A ll in Stock. s. d. A. B .C . VENTRILOQUISM ... ... ................ 15 0 Annemann. THE JIN X . No. 1 to No. 40. Each ... 1 0 Annemann. S-h-h-h IT S A SEC RET ............ SO Anneman. 202 M ET H O D S OF FORCING. Cards, Numbers, Colours, Names, Books, etc. ... S 0 Annemann. J IN X E X T R A S U M M E R Number . a 4 0 WINTER JINX 1935 ... ............... 4 0 Baker, A I. A L B A K E R S B O O K No. 1. * ... s ... 5 6 Baker, AL A L B A K E R S B O O K No. 2 ......... . 4 0 Bagshawe. N O V E L M Y S T E R IE S . Numbers one to six. Three shillings each. Set of s ix .............. 15 0 Burrows. P R O G R A M M E S OF M A G IC IA N S past 4 0 suad present. Most useful b o o k ......................... Booth, J. SUPER M A G IC A L M IRAC LES. Reprinted 5 0 D E M O N T E L E G R A P H . No. 73 to 78 ... ................3 9 Douglas. A .B .C . B O O K O F PAT T ER ... ... 2 0 Douglas. M A G IC A L PAT T ER. Very useful. ... 2 6 Deveen. CIGA RET T E M A G IC A N D M A N IP U LA TION. $1.00 ... ... ... ... 5 0 Farelli, V . LEN D M E Y O U R PA C K . 4th Edition. 6 0 Farelli. O D IN S RINGS; A complete routinewith the Chinese Rings.. Well illustrated. $1.50 ..T 6 6 Farelli. C A R D M A G IC. A Magical Classic on Card Conjuring;. Two parts, each .................. 5 6 Farelli. CO N T RO LLE D COINCIDENCE. $1.00 ... 3 0 Grants, MODERN LEVITATIONS .../ ... 8 0 Gardner. A F T E R T H E D E SSE R T . A book of ............. 4 0* Thirty after dinner effects ... Hugards. C A R D M A N IP U L A T IO N No. 4 76 No. 5 1 8 Hugards. M O R E CA RD M A N IP U L A T IO N No. 1 7 6 n it n it , No. 2 7 6 it n w 'No.35 0 ii No. 4 7 6 Hugards. M O R E C A R D M A N IP U L A T IO N . Sets . of 1 to 4 22 6 Hugards. S IL K E N S O R C E R Y . Covers everything in Silk Magic ... .............. ... ... 7 6 Hugard. CLOSE-UP M A G IC . For the night club entertainer. Tricks to perform with the audience all round. $1.00 ... ... ... 5 6 Hurling. V EN T RILO Q U ISM . A short cut, including new and original dialogues. 75 cents ... - 2 6 Harbin, R . D E M O N M A G IC . More new Magic by this famous writer. ... ... 5 0 Lewis & Bellman. M A G IC AS W E D O IT. Now nicely printed and illustrated by Laurie. Makes a new book of it. ... ... ... ... . 5 0
D EM O N
S E R IE S

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I w a n t to show kn o w n song 'I passed sung by a young m an ve ry m uch in love w ith

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A T ON C E REVISED M Y M.S. TO IN C LU D E H IS R O U T IN E W IT H O U T D ELAY. TH E K N IF E IS SO OFTEN SEEN, A N D

IN N E A R L Y EVERY CASE, T H E O R IG IN A L B A L D PRE S E N T A T IO N IS G IV E N . M R . N O R M A N DESCRIBES N O T

O N L Y A R O U T IN E W H IC H W I L L M A K E A M ASTERPIECE OF TH E T R IC K , BU T ALSO TELLS OF FOUR D IFFER EN T W A Y S OF H A N D L IN G T H E K N IF E W H IC H D ES C R IP TIO N IN V A L U A B L E . IN G T H IS , I AM M AKE S H IS

M O N E Y Y O U P A ID FOR TH E W H O L E BOOK A N D BESIDES T H A T , D O IN G A SERVICE TO T H E A R T OF C O N JU R IN G BY S H O W IN G H O W A SIM P LE T R IC K M A Y BE B U IL T I N T O REAL M A G IC . M R. N O R M A N S D ES C R IP TIO N W A S

SO GOOD T H A T I H A V E P U B LIS H E D IT V E R B A T IM . T H E D R A W IN G S W ERE M A D E FROM PHO TO G RAPHS OF M R . N O R M A N S H A N D S .

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