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8 s

WITH PATTER
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Effective Modern Tricks with Patter


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Card and Ball Tricks with Patter


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CONTENTS
THE " E N C O R E " CHANGING CARD ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...

PAGE L 2 3 4 4 5 5 5 6 6 7 7 7 8 8

oduction

T H E PRINTING-OUT THE " A . P . " THE " O . K . " THE

F R A M E AND C A R D PASS ... PASS ...

RISING C A R D BILLIARD BALL BALL ... BILLIARD BALL BALL

REBOUNDING

T H E " FINGER CLUTCH " T H E MULTIPLYING THE " P E R F E C T " THE " P E R F E C T " THE " P E R F E C T " T H E DISSOLVING THE " A L A D D I N "

PASS...

ARD aiul H a l l T r i c k s are popular with all classes of audiences. The fact that they are performed with familiar objects is ill their favour. Everybody can do ordinary things with Cards and Balls; accordingly everybody is interested in extraordinary things done with them. In this department of Magic, as in all others, there are tricks for the beginner, tricks for the more advanced student, and tricks for the expert performer. Some of each sort are included in this booklet. But, speaking generally, all the Contents will, if carefully studied, be of service to the average Magician.

T H E B I L L I A R D B A L L THAT D I M I N I S H E S DIMINISHING CARDS WANDERING C A R D . . . RISING C A R D ... ... ... ...

T H E C A R D S TO B O U Q U E T

B A L L IN W I N E G L A S S C Y L I N D E R AND B A L L S

T H E T W I R L I N G C A R D ON W A N D

The " Encore " Changing Card

Almost without exception tricks with Cards and Bails benefit, by the accompaniment of appropriate patter. The patter in the following pages has been carefully compiled, and has proved to he effectual by actual test. But the reader with an inventive mind and a gift for talk will doubtless make c h a n g e s t o p i c a l o r otherwisehere and there. Indeed written patter should never be regarded as final, but always as a basis for individual work. This is the second volume of a series of " patter b o o k l e t s " on Magic. The first volume, " Effective Modern Tricks with P a t t e r , " can be obtained f r o m any bookseller or magic dealer at the price of 1/-. Other volumes will be published in due course at the same price. Every Magician who wishes to keep up-to-date with his work, should subscribe to one or other of the magical journals. If he is doubtful which of them to choose, he will be well advised to decide on " T h e Magazine of Magic." T h a t magazine, a specimen copy of which is presented with this volume, is easily first as regards explanations of new tricks and in other i m p o r t a n t respects.

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My next is a trick with a playing card, and t o do a card trick properly 011c m u s t have a c a r d . Of c o u r s e , you will u n d e r s t a n d t h a t it is not absolutely n e c e s s a r y to have a card, but if you d o n ' t i t ' s not a card trick and t h e r e t h e m a t t e r e n d s . H e r e is a C o u r t C a r d . L e t m e s h o w you my right h a n d t h i s thing h e r e at t h e end of my a r m s q u i t e e m p t y . By simply stroking t h e f a c e of t h e card in this m a n n e r you see it h a s c h a n g e d into s o m e t h i n g entirely different. I see you a p p r e c i a t e t h e c h a n g e so I will do it again which is a n o t h e r way of saying I r e p e a t it. Now you see it h a s c h a n g e d again, and you are a t perfect liberty t o examine it.

The

Prmiing-Ovt

Frame
SECRET

C a r d Trick
PKI.LEW

I N V E N T E D BY P E R C Y

exchanged later on in t h e trick for a n o t h e r similar b: m a d e up in f r o n t of t h e audience, and which will i explained later. An ordinary t u m b l e r is also on t h e table, ready f use during t h e trick.
To PERFORM

Unknown to t h e audience, t h e r e arc really t h r e e pieces of glass used, and on examination it will be noticed t h a t they differ in size slightly. F o r t h e sake of convenience \vc will n u m b e r t h e glasses 1, 11, and 3. Nos. 1 and 2. These are slightly smaller than No. .3, and when placcd in t h e f r a m e from t h e back, drop right t h r o u g h . No. 3, being made larger, retains its position when placed in t h e f r a m e . In addition to the frame, a paper is used. Personally t h e inventor always uses Home Nates, having found s a m e a convenient size. P r e s u m i n g Home Notes is used, open same exactly in half, and remove t h e wireclips which keep s h e e t s together. Now t e a r t h e top or c e n t r e sheet carefully in halves. These t w o half-sheets arc needed for the "trick, and for convenience wc will call t h e m loose sheet /I and loose sheet B. A duplicate of the card used in the experiment, a f t e r having a small c o r n e r taken off, is fixed facc d o w n w a r d s on glass No. 1. To do this, d r a w the top
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and bottom edges of the card vertically across a piece, of dry soap, which leaves a very minute portion of soap'< on t h e top and bottom edges of t h e card. If card is now pressed face d o w n w a r d s on glass No. 1, it will remain fixed until wanted, when with a slight twitch of t h e finger it will immediately come away, leaving no t r a c e on t h e card or glass. Glass No. 1 in this condition with card on top is placcd on Home Notes u n d e r n e a t h loose s h e e t B, as per sketch. Before covering glass, however, t h e f r a m e is placed over it for a m o m e n t , whilst a pencil mark is made on t h e left hand side of top sheet of Home Notes (o denote later t h e correct position for f r a m e . The f r a m e is now taken away, and loose sheet B placed over glass as instructed above. The paper in this open condition is placcd on your table slightly to t h e f r o n t of s a m e , and unknown to t h e audicnce you have t h e duplicate card and glass underneath t h e top sheet B. The f r a m e is placed on your paper with two pieces of glass and hinged back. < f course glass No. 3 is placed in first to prevent No. 2 from dropping t h r o u g h . The other piecc of paper is rolled into a ball with t h e small corncr which was torn from t h e card, in t h e centre, This is vested ready to be

A card is forced, similar to t h e one you intend pr ducitig in t h e f r a m e . T h e f r a m e having been shown to be ordinary, bai is removed, and also t w o pieces of glass. P e r f o r m now lays f r a m e on t h e table to t h e rear of t h e paper see sketchand explains he is going to replace t h e par of t h e f r a m e . First he places in t h e f r a m e No. 2 glas which being smaller than t h e r e b a t e of t h e f r a m e , goright through on to the table. This is, of cours unknown to t h e audience, the sound being t h e s a m e ; if dropped into t h e f r a m e . No. 3 glass now placed i being larger, r e t a i n s its position whilst back is plac< in and fixed. Now comes an i m p o r t a n t move. Taking hold f r a m e at corners A and B with forc-finger and t h u m b each hand respectively, p e r f o r m e r with a sliding mov mcnt lifts A and B and d r a w s C and D along towari t h e paper. This has t h e effect of shooting t h e piece < glass No. 2 underneath Hon Notes. This is quite a n a t u r and easy move, and absolute indetectable, as a p p a r e n t l y tl f r a m e h a s been merely lifted ar shown to audience. S t r e s s is now laid upon t l fact t h a t with t h e exception of tt t w o pieccs of glass, and t h e b a e t h e f r a m e is otherwise e m p t One half of hinged back may I opened and audicnce invited t look t h r o u g h glass as it is irnpo sible for anyone to detect t h e fa< t h a t t h e r e is only one piece ( glass in t h e f r a m e . Back is OIK again closed. In this condition t h e f r a m e placed face down on Home Note; directly over glass No. 1, which covered with loose sheet B, th guide, of course, being t h e penc mark. from 7um6/*r Approaching t h e spectatc who selected the card, p e r f o r m e r asks him to mar P same. Before he can do so, however, p e r f o r m e r take card from him, and explaining t h e easiest way to do s is to tear a corner, suits t h e action to t h e word, c course, tearing s a m e similar to t h e duplicate card an immediately handing t h e t w o pieces back to him. Rs t u r n i n g to table p e r f o r m e r takes hold of loose sheet 1 by t h e right hand, and giving a s h a r p pull, pulls th paper clean away without disturbing e i t h e r t h e fram or t h e glass, leaving glass No. 1 with card direct! under the frame. The paper is now taken to t h e person with t h e tori card, and he is asked to place s a m e (with t h e corncr) it t h e c e n t r e of t h e paper and to roll t h e lot into a ball W h i l e he is so doing t h e r e is ample time and c o v e r t get t h e duplicate ball of paper from vest into right hand Taking ball of paper f r o m s p e c t a t o r into left hand an making t h e excuse t h a t it is not rolled tightly enougli h a n d s are brought t o g e t h e r presumably to make ji smaller. An exchange is m a d e and t h e ball containin t h e corner only dropped into t h e t u m b l e r . i T h e tumbler containing roll with torn corner is noil replaced on tabic, to side of Home Notes. Now takiij' hold of t h e t o p sheet of paper by t h e right and left han) c e n t r e D and E (without disturbing f r a m e ) t h e wholl

CARD

AND

BALL

TRICKS

II lot is lifted and rested on m o u t h of t h e t u m b l e r which >emust be smaller t h a n t h e f r a m e . This forces t h e glass No. 1 with card a t t a c h e d , well home in t h e front r e b a t e "of the frame. P e r f o r m e r now explains to his audience t h a t a card h a s been sclectcd, marked, rolled up in paper, and placed in a t u m b l e r covered with a sheet of paper. An 3'empty f r a m e containing two pieces of glass has been placed on top of t u m b l e r to isolate it. A f t e r explaining his intentions, t h e f r a m e is lifted "'from t h e t u m b l e r with t h e t h u m b on top and fingers - u n d e r n e a t h , and s a m e t u r n e d over, t o show t h e card t l h a s arrived as predicted. 3 Picking up t h e t u m b l e r with t h e o t h e r hand t h e II person w h o rolled up t h e p a p e r is asked to take s a m e q a n d unroll. H e of coursc finds t h e corner. T h e back Mis then taken from f r a m e , and t h e two pieces of glass n, taken out as one, a slight twist being given to t h e m at -f s a m e time. This has t h e effect of loosening t h e card between t h e t w o pieces of glass, when s p e c t a t o r may be olasked to draw card f r o m between same, and to c o m p a r e olwith c o r n e r in his hand to see t h a t it fits, e
M ol PATTER

n T h e little f r a m e I introduce to you is no novelty, aibcing an ordinary p h o t o g r a p h e r ' s printing-out f r a m e . Ijlt, however, has one peculiarity and t h a t is, it has an leadditional s h e e t of glass, t h u s making t w o in t h e f r a m e id

instead of one. Both t h e s e glasses and t h e hinged back I offer for your close scrutiny. W h i l s t t h e examination is going on, p e r h a p s I can induce you, Sir, t o take one card from my pack and make a mental image of it on t h e t a b l e t s of your grey m a t t e r . Thank you .' Now- w a t c h me carefully, please. H e r e goes No. 1 glass into t h e f r a m e : here goes No. 2. T h e hinged back placed in position, keeps everything s e c u r e , and you will kindly notice t h e glasses have had nothing placcd between t h e m . For f u r t h e r security, p e r h a p s you would mark t h e card you selected. Let me do so. This is t h e best w a y ; to t e a r a piece from it. Kindly place both into this sheet of paper, and roll s a m e into a ball. T h a n k s 1 You've made quite a good job of it. So t h a t it may be before you t h e whole time I p e r f o r m , I'll placc t h e little parcel in this t u m b l e r . To r e t u r n to t h e f r a m e . This I lodge daintily on top of t h e glass, and you will notice t h a t I d o n ' t touch s a m e with my fingers. Now Sir, which would like me to usethe small piece or t h e mutilated card ? T h e large piece ! Very well. P a s s ! H e r e you see, we have t h e card b e t w e e n t h e two s h e e t s of glass, a f a c t which p e r h a p s you will verify, whilst in t h e paper ball we have t h e small piece only. If t h e card and t h e piece are fitted t o g e t h e r , I know you will be convinced t h a t t h e original card is restored.

The " A . P . " Rising Card Trick


The houlette used in t h e trick has no deception in j. connection with it, being merely a b i a s s holder of t h e ^ d e s i g n shown by o u r a r t i s t and nickel plated. T h e ^ c u r v e d a r m s below it enable t h e houlette to be kept up0
c<

T h u s p r e p a r e d , and with houlette and depleted pack on table, t h e experiment is ready to be p e r f o r m e d . T h r e e c a r d s arc freely d r a w n , r e t u r n e d t o pack, and b r o u g h t t o t h e top by m e a n s of one or o t h e r of t h e familiar shifts. Now, whilst t h e houlette is being examined, t h e faked stack of cards is palmed and added to t h e pack.

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Thnrod throuqh f'ngersunder- a rm T h e reason for using only 40 cards will now be appreciated. The pack and t h e fake t o g e t h e r are dropped into houlette, and t h e latter clipped in fingers. T h e t h r e a d by this a r r a n g e m e n t r u n s u n d e r t h e h a n d and a r m , and is quite out of sight of a u d i c n c e . To c a u s e t h e c a r d s to rise, t h e hand h a s only to be pushed slightly forward, this action bringing "the t h r e a d to a

i n g h t by being gripped b e t w e e n second and third fingers. W h e n t h e trick is introduced a b o u t 12 cards m u s t be discarded, so h a t a pack of only 40 c a r d s is used. T h e > 1 hook at end of t h r e a d is fixed to right side at t h e waist, nthe exact place being d e t e r m i n e d by e x p e r i m e n t . T h e nfakc is dropped into right t r o u s e r pocket, or a side Jjpocket if working in a dinner jacket or lounge suit. l

tension and forcing t h e top card of pack upwards. Obviously when t h e spike of fake is in repose, it presses into t h e t o p card and carries it upwards when t h r e a d is pulled. Some p e r f o r m e r s elect to fix t h e t h r e a d to body a f t e r t h e fake is in position in houlette, but this s e e m s to be a far clumsier expedient than t h e method indicated above.
PATTER

My next trick is a card experiment. To do a card trick properly one m u s t h a v e a pack of cards ; of course it's not absolutely necessary t o have cards, but if you don't have t h e m it's not a card trick. P e r h a p s 1 can induce t h r e e of t h e more bold of you each to select a card from t h e pack. Will you Sir, t a k e one ? N o ! d o n ' t take two, t h a t ' s greedy. Madam, will you oblige me by selecting one of t h e s e c a r d s from t h e middle ; t h a t ' s t h e middle in t h e c e n t r e . Thank you ! P e r h a p s I can persuade you also to take a card from t h e pack, Sir, and make quite sure you will know it again when you see it. Kindly replace it in t h e middle of t h e pack. Thank you ! I'll trouble you Madam to lose your card in t h e pack. Many t h a n k s ! Now for t h e last card (not t h e lost chord). Will you kindly replace it in t h e middle of t h e pack, S i r ? T h a n k s ! The t h r e e c a r d s now being returned, I'll ask a lady to shuffle t h e pack. Will you, Madam ? I take it you have shuffled t h e cards to your entire satisfaction ? I shall now place t h e pack fairly into this skeleton houlette, and hold s a m e at a r m ' s length. Now when 1 command, your card Sir will rise from t h e c e n t r e of t h e pack without any h u m a n aid. W a t c h ! The Five of S p a d e s (or whatever the card was). T h a t I believe was t h e one you selected. Will you remove it yourself, and examine it. (Repeat with two remaining cards).

This sleight is a preliminary t o ball moves, t h e production of t h e first ball from e m p t y h a n d s being its motive. Standing with his left side to audience, p e r f o r m e r exhibits both h a n d s at a r m ' s length, t h e left unknown to onlookers concealing a ball in t h e palm. Showing his right hand from both sides, it is placed palm on back of left, as shown in Fig. 1, t h e position being almost immediately reversed to t h a t shown in Fig. 2. In t h e latter position, t h e palm of t h e left hand is placed upon back of right so t h a t the right t h u m b lies partly on back of left t h r o u g h t h e left t h u m b fork. ' I n this position, t h e right hand palms t h e ball from t h e left, t h e whole body simultaneously making a t u r n to t h e right. Left hand may now be shown from both sides, t h e back of right being kept t o w a r d s s p e c t a t o r s . T h e actual production of t h e ball may be left to individual t a s t e .

The Rebounding Billiard Ball Pass

P e r f o r m e r s t a n d s left side to audience w i t h a ball lying openly on left palm, as shown in first photo. Advancing t h e right hand to a point a b o u t 9 in. above t h e left, t h e ball is tossed u p w a r d s and c a u g h t by the right. W i t h a s h a r p downward t h r o w t h e ball is trans' ferred to left, a pronounced " smack " being caused as t h e ball strikes palm. This move is p e r f o r m e d three times, t h e ball at t h e last t h r o w , however, being pro pelled with extra force, so t h a t it r e b o u n d s into righl hand which follows t h e downward course of t h e sphere T h e closed left hand is elevated, whilst t h e right seek! t h e open profonde to dispose of t h e ball. The sleight resembles in m a n y respects t h e familial jerk-back palm with a coin.

CARD

AND

BALL

TRICKS

The " Finger-Clutch " Ball Pass


This pass h a s a particularly dainty effect, and is well worth t h e little time s p e n t in m a s t e r i n g it. T h e ball is held between t h e first and second lingers of right hand, as shown in Fig. 1, t h e palm being turned t o w a r d s t h e audience. T h e t h u m b of left hand now passes between t h e o u t s t r e t c h e d second and third fingers of t h e right h a n d , and behind t h e ball, for t h e p u r p o s e of

allowing fingers to close round it (Fig. 2). A c o m p l e t e turn is next given to body t o bring right side to audience, under cover of which t h e ball is allowed t o fall into right h a n d , in which it is s t r a i g h t w a y palmed. T h e closed left hand is elevated, and audience led to believe by t h e direction of p e r f o r m e r ' s eyes t h a t t h e ball is in t h e closed fist. Of course, t h e s p h e r e may be reproduced in any m a n n e r t h e p e r f o r m e r chooses.

Multiplying Ba.ll Trick

The B i l l i a r d B a l l t h a t

Diminishes

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7ho secret op juecejs J/es fn /he. manipulation of /he Shell and ball as shewn in the idiayranx.. Pracfrce* /he movement shewn and Hie. res!"/seasy /he she// 'S held full fucmy audience.dropping /he. net ftnqer behmcl ll (Fiq.l.) /hesolid hall can be ro//td ouf ric/h/up between /he. t>fand Z"*finyers thus pro clue my fvco balls. In fjerformmij,firs!produce/tie one ball (and shettj by jleiahl cf hand,or secre/ly. Pew roll outsold bat/and show tno(fj</2) White show my Itiese Cfetanother ha//Prcn\f?cd<etfunseen)and in /he. a.ch of removing5''ball from ts-Z"i fc Z-J'^fmyers thf no into the shell How roll th u ou/ as before making 3 ba/ts Secure the last ball dud refieaJ move., first- moi/tny f/revms ball between fthqea leaving /*.f-Z'"* open ac/am.
PATTEU

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PuH face fo audience. W ^ ^ * a t,d A Passm3 /eff His shell the h !r /A J & * * Sh*>"<3 dZ Pf Pl'l I ferPormer drops f,rsf shell ,/o his /nctret.3 7Ae ^o^e now refie/ed to fsnefvee f^ ^^y SoU 6a// ^.ferPorrT raps ZM ball ro prove th , e 'am( J^ b ' patmmj s/e.-yht a,mp/e.te/y vanishes d.
PATTER

as'shoo,*,

Let me introduce to you t h e latest society craze entitled " Aerial Billiards." The idea of t h e g a m e is t o c r e a t e as many balls as possible f r o m t h e empty hands. This is quite a simple m a t t e r . J u s t imagine I have an o p p o n e n t h e r e on my left h a n d . I make t h e first move, and secure one point inasmuch as you see I have created one ball. Of course, you must look p r e t t y sharp, or your opponent may catch you up. W h e n I w a n t t o secure a n o t h e r point, I simply wave my hand like this, and t h e r e is No. 2. To s e c u r e a n o t h e r point, I simply go like this and here we have t h r e e ballsthe sign of my a n c e s t o r s . I see 1 am f o r t u n a t e in possessing five fingers, so I will make one more for luck, and here it is. 1 t r u s t you all will be able t o play this g a m e for yourselves, and find it as interesting as 1 do.

Most C o n j u r o r s a t t h e conclusion of their perf o r m a n c e with Billiard Balls, vanish t h e last ball a l t o g e t h e r , and give their audience no c h a n c e of seeing h o w t h e sphere disappears. I propose taking t h e last one, and actually showing you t h e m e t h o d of dematerialisation. T h e c o m p o n e n t p a r t s of t h e ball a r c merely squeezed until it a s s u m e s proportions quite Liliputian. Let me d e m o n s t r a t e t h e idea. 1 j u s t squeeze t h e ball like this, and now you see we h a v e reduced it to far m o r e m a n a g e a b l e proportions. Ano t h e r squeeze, and you see ball little larger t h a n a marble. To vanish it entirely, 1 squeeze very hard like this, and now you observe it is non est, and t h a t ' s an h o n e s t way of disappearing billiard balls.

The " Perfect " Diminishing Cards

on m y p a r t . S e e ! I j u s t s q u e e z e t h e m a g a i n , a n d n o w t h e y a r e a little l a r g e r t h a n a p o s t a g e s t a m p . Really, Madam, I think you are j u s t a little over-reaching. T h e lady w a n t s t o s e e t h e m still f u r t h e r r e d u c e d . Very well, I'll t r y . I w o u l d d o a n y t h i n g f o r t h e l a d i e s . . H e r e t h e y a r e s o s m a l l t h a t you c a n s c a r c e l y s e e t h e m . I beg p a r d o n ? T h e lady w a n t s t o s e e t h e m still s m a l l e r . V e r y well, I'll t r y . H u l l o ! T h e y ' v e g o n e a l t o g e t h e r , and, believe me, it's t h e very smallest I can s h o w .

The " Perfect " Wandering C a r d Trick


tin,/ //, Car*, fc
Kied

Jn COmm^ncmy performance the fu/f s/je Set of cards are shown usifh the half set tietd be fund as m t7c. 1 Onc/ny to f f t e pecid/ar battem of the backs fire cardj can b^. shown bobfi jidej n-ifhouf the audience defecting ff<e leecnct Jet The nexf mtue. rs fo pass ntftd hand before foe full set close them and pain* fheni o f f fiius repeating f f t e . buff set 7f cccprtfuafe Hxe faof HicJ fhe, cards baire reduced rn S/ge /jtch u-b a curd from, f f t e foose ones faying on fbe fable 70.1} / j fite opporfumti/ fo drop fu/f palmed. se-f arttona tne foose carats and f f t e imq/e card /J hkftd a (fainsf f f t e h u f f Je/ fvyZ jkpuJS fiie special pocket attached fo fiouser feo. tUa,f it is acft//ja.bfe ft> procure, fbr hofdihy f f t e three irha.ll seh 'p*'*i t/h The moves noio are fo procure one of fke srna-ff Sefst Substitute if for 'and patm o f f the Sef fn f f t e f e f f band ,"d drop ffus fatter set m/aifpoobef wfufe obfamma the next Sr>,ft sef The f a j f ?/(>" Jef " ran,sM by hiding ,f behveen A " * f s e e Fly 3PATTER

M a n y p e o p l e a r e p e r p l e x e d by t h e w a y in w h i c h c o n j u r o r s p r o d u c e a n d v a n i s h c a r d s a t t h e t i p s of t h e i r fingers, a n d a r e inclined t o c r e d i t t h e M a g i c i a n w i t h f a r m o r e skill t h a n a h u m a n b e i n g could e v e r h o p e t o a c q u i r e . A l t h o u g h 1 fully r e a l i s e t h a t it is d i s t i n c t l y u n p r o f e s s i o n a l t o give a w a y s u c h a v a l u a b l e s e c r e t , I feel it i n c u m b e n t u p o n m e t o e n l i g h t e n t h e h u m a n r a c e a s t o t h e t r u e s t a t e of a f f a i r s , a n d t h i s e v e n i n g will t a k e you all i n t o m y c o n f i d e n c e a s I k n o w you will t r e a t t h e m a t t e r q u i t e c o n f i d e n t i a l l y , a n d n o t let it go a n y f u r t h e r . A s a m a t t e r of f a c t t h e c a r d s used a r e v e r y good o n e s t h e y c o s t m e s i x p e n c e a p a c k a n d h a v e a lot of indiar u b b e r in t h e i r m a n u f a c t u r e . T h i s q u a l i t y e n a b l e s m e to compress t h e c a r d s and so reduce t h e m to more manageable proportions. E x t r e m e p r e s s u r e on m y p a r t will r e d u c e t h e m s o s m a l l t h a t t h e y will b e invisible t o t h e n a k e d e y e . I p e r c e i v e you t a k e my s t a t e m e n t a s a j e s t . 1 a s s u r e you, h o w e v e r , t h a t I a m in e a r n e s t a n d will p r o c e e d t o d e m o n s t r a t e t h e t r u t h of m y a s s e r tion. S e c ! H e r e a r e a n u m b e r of o r d i n a r y c a r d s . T n e s c I s q u e e z e in t h i s m a n n e r a n d w e n o w find t h e y a r e d i m i n i s h e d t o o n e half t h e i r o r i g i n a l size. O b s e r v e , please, t h e difference between t h e s e and t h e original. I shall, h o w e v e r , m a k e t h e c a r d s still s m a l l e r by a p p l y ing f u r t h e r p r e s s u r e , a n d h e r e you s e c we h a v e t h e m r e d u c e d t o o n e q u a r t e r t h e full size. I b e g p a r d o n , M a d a m ? Y o u w a n t t h e m still s m a l l e r ? V e r y well, 1 will t r y , a l t h o u g h it will r e q u i r e a g r e a t m u s c u l a r e f f o r t

Ttie fnetc Cardst are three /n number , bear/s t c/ubs, And d/anu'/'ds hat/mg the same number at p'ps ftiese cards are fti* /ncA shorter than ordinary Cards f-ay oat Mese. cards as /n t=7a. / ft 0 f C e^itii eyuirafenf Spade cardr third from, your r/yhf /ffter drac-umy attention fo ffte cards be/nty four of a. frmdfurn them face down and carer car^- untt fftreeCards from, the pack com/nenema from year rrpttf. n flow f cytt. /ofi of pack , you. tiaoe. ready I three duplicates of the, exposed fiearts/c/ubsl dia/wids f Ordinary curdsJ ~tfiese cards ffieinpre , fall on fdp of [ the spade card and untencum. to a-ud/encer matfe a1 Comptete fvur of atTmd flow yet a. spectator fH setiecf t f f w Sef by tfie fvtfoujiniy method of e-tmnKation ffstc for 1 Jctectijn of ffte teft or rufkt two / f a r e chosen c pick then*, up t and say ' then J un// tea tie these ftco heaps j on the. fable 're C' and fht sfcade . f f ffie f e f f band ( tluo are chosen Jay of '/!-/&' "ffiese c<re net re out reds' I they can yo bacA tn pa&k. Repeat questions ov/tk I C.' and the spade pac/c. Opcou-rje. finally /eat"Hj the Sp,'-Wr pattr op. fae /aft* as the pinat jefectioK flocu ntttc your pactr /yc-2 /b jhoui ,thaf'three*'are not there uihich aoucaxdt as dieoftort cards will ml riffle. J7,en turn ooer the fable/rack*
PATTER J

F o r t h e p u r p o s e of my n e x t t r i c k , I s h a l l u s e f o u r of i a kind s a y t h e " t h r e e s " ( the cards to be used are t those you have prepared), a n d t h e s e I s h a l l p l a c e face 1 u p w a r d s o n t h e t a b l e . N o w let m e a s s u r e you b e f o r e r w e p r o c e e d t h a t t h e r e a r e no d u p l i c a t e s in t h e pack. ^ " S o f a r s o g o o d , " a s t h e b o y said a s h e f i n i s h e d t h e i t h i r t i e t h s a n d w i c h . O n e a c h of t h e s e I s h a l l place f t h r e e o r d i n a r y c a r d s in t h i s m a n n e r . N o w I t h i n k you'll a g r e e t h a t s o f a r t h e r e h a s b e e n n o c h a n c e of m y de- > c e i v i n g y o u e v e n if I w e r e s o d i s p o s e d . I t is n e c e s s a r y n o w t h a t you s e l e c t o n e of t h e s e h e a p s (patter here must be governed by circumstances). K e e p your h a n d o n t h e h e a p you h a v e c h o s e n . W e ' l l call t h a t h e a p " U r i a h " I s a y t h a t s l o w l y in c a s e you t h i n k I am insulting you. T h e three discarded packets I return t o p a c k , a n d s h u f f l e s a m e in t h i s m a n n e r . N o w you fondly i m a g i n e t h a t I h a v e t h e t h r e e " t h r e e s " in this p a c k . A s a m a t t e r of f a c t i t ' s all a d e l u s i o n ; t h e pack a s y o u s e e ( r i p p l e edges) c o n t a i n s n o t h r e e s f o r t h e s i m p l e r e a s o n t h a t t h e h e a p you h a v e s e l e c t e d c o n t a i n s the complete set.

T k e " P e r f e c t " Rising C a r d Trick

C a r d s to Bouquet Trick

Prepare a fength of thread. mth a foop a/one Cnd. and a ICnot, nth. a. pud of wax, at the Other end The loop pits oi/er the second button of fhe. uaisfcoat and the h/ax is pressed on fd the bottom, buttonThe thread hantfj down- and /S in risible ftaviny forced three cards yet ffiem fo die badr of du- pack, and wfnk f f i e yobfeb is berny examined, yet rVar pad on fo f i f h t fUunttnait tfhen ptuctna flack In oohtet press li/axhad on fo focoer"pcirf of hack card (f7& 2) 76 makt Card rise // IS onfy necessary f i straighten thread by moving arm forward, or body back as tit f / a 3. fee move first Card and scrape a f f IMaX on fo fhwnib naif ayain Hand card ou/~ for inspection and fake back Old of a/ass to Shout no connection tfas is /he chance to press urax on fo second card Repeat mores also with fftird card.
PATTER

Prepare fur ffie frtcU by -threading ffie. Jprmcy bo upuef under -the band on tke pack card, cos sfuiu/n in fbe i ffus fraf on. Sh'UJ Hie face, at- the. cards fannec/ oaf fodtmcy care, that ffie. ffowers are not .seen Pfs you cfooe fart f j u t t au/ay spring ffowers ovtf/ch ujiff open oaf, and enbrefy COnceaf ffie cards.
PATTER

I always do this trick w h e n performing before a h i g h - c l a s s a u d i e n c e . iMost c o n j u r o r s k e e p t h e i r b e s t t r i c k s t o finish t h e i r E n t e r t a i n m e n t . 1 don't all m y t r i c k s a r e good ; of c o u r s e , if o n e j u d g e s by t h e a p p l a u s e h e r e , I m u s t be c l e v e r ! It is a g r e a t mistake to talk when performing. I never d o ! This t r i c k is k n o w n a s t h e o b e d i e n t c a r d s . T o d o a c a r d t r i c k p r o p e r l y o n e m u s t h a v e a p a c k of c a r d s . Of course, it's not absolutely necessary to have cards, but if you d o n ' t h a v e t h e m i t ' s n o t a c a r d t r i c k . P e r h a p s I c a n i n d u c e t h r e e of t h e m o r e bold a m o n g y o u t o e a c h select a card from t h e pack. Will you, Sir, take one. N o ! d o n ' t t a k e t w o , t h a t ' s g r e e d y . M a d a m , will you oblige m e by s e l e c t i n g o n e of t h e s e c a r d s f r o m t h e m i d d l e . T h a t ' s t h e m i d d l e in t h e c e n t r e , t h e r e . T h a n k you ! P e r h a p s I can persuade you also t o take a card f r o m t h e p a c k , Sir, a n d m a k e q u i t e s u r e you will k n o w it a g a i n w h e n you s e e it. Kindly r e p l a c e it in t h e m i d d l e . T h a n k you ! I'll t r o u b l e y o u . M a d a m , t o lose y o u r c a r d in t h e p a c k . M a n y t h a n k s ! N o w f o r t h e l a s t c a r d (not t h e L o s t C h o r d ) . W i l l y o u kindly r e p l a c e it in t h e m i d d l e of t h e p a c k , S i r ? T h a n k s ! T h e t h r e e c a r d s n o w b e i n g r e t u r n e d , I'll a s k a lady t o s h u f f l e t h e p a c k . W i l l you, A l a d a m ? I t a k e it you h a v e s h u f f l e d t h e c a r d s t o y o u r e n t i r e s a t i s f a c t i o n . I shall n o w p l a c e t h e p a c k f a i r l y i n t o t h i s c l e a r g l a s s t u m b l e r , a n d hold s a m e a t a r m ' s l e n g t h . N o w w h e n I c o m m a n d , y o u r c a r d Sir, will rise f r o m t h e p a c k , w i t h o u t a n y h u m a n a i d . W a t c h !

H a v i n g finished m y c a r d e x p e r i m e n t s , I will a s a l a s t e f f o r t i n t r o d u c e a little t r i c k w h i c h I d e d i c a t e w i t h v e r y kind r e g a r d s solely t o t h e l a d i e s . H e r e in m y h a n d s I h a v e a n u m b e r (or e v e n m o r e ) of o r d i n a r y c a r d s . L e t u s c o u n t t h e m t o s e c if t h e y a r c all h e r e . I s h a l l n o w c o v e r t h e m f o r a f e w m o m e n t s w i t h o n e or o t h e r of my h a n d s o r b o t h , a n d i n s t a n t l y w e h a v e a l a r g e b o u q u e t w h i c h I shall be p l e a s e d t o h a n d t o o n e of t h e ladiesnext time I come.

The Dissolving B a l l in W i n e g l a s s
IMPROVED METHOD

The

Editor

thanks

the

following

contributors: PERCY CLIFFORD PELLEW and COLLINS. STANLEY

THOMPSON

The tumbler stands before the. audience, with the ytass bet/ behind f t . unseen. fahe up thebull (proved solid J and drop it fntb the tumbler place a handkerchief over a//, mc/udiny y/ass fatfe . FIG. I Pew bake up handkerchief n/ith the yfass fake and show audience bat/ is sbt/l there fPecovev fumbter. ctvoppma fake rfytif down on to ball fake yrips ffatt and u/hen hand Kerchief is uyam removed brings bat! away with it f f i y 2 ) bio/d handkerchief ever a net Jervatfe. and drop fahe and butt fumb/e*has already been seen emphy ; and haudWcrck^fCan new be shaken ou-fand! shown empty.

PATTER

T h e A l a d d i n Cylinder a n d

Balls

Having shown you how I make Balls multiply, appear and disappear, I want to show you a very extraordinary trick with this last one. Here is an ordinary tumbler made of clear glass. I like tricks with tumblers because one can put so much Spirit into them. May I borrow a handkerchief from a gentleman for a few seconds ! Many thanks, Sir ! Now watch me carefully. If I drop the ball into the tumbler in this manner, I think you will agree if you give the matter a few moment's reflection, that it impossible for it to be submitted to any sleight-of-hand manipulation on my part. I now cover the glass with the handkerchief, and will ask you to notice that the ball is still lying in its glass case. I shall now command the ball to disappear. Presto ! Go ! Here is the glass as empty as a Suffragette's speech, and you are at perfect liberty to examine it so long as you don't try to bend itthat warps the glass. 1 return your handkerchief Sir, with very many thanks for the loan of it.

f=-/a Z

'iinmq

The qtass Cylinder // prepared b f/aa'ny the transparent /*n "f' This to He audience spears to be an ordtru a/ass tube . unbared /tcw'^ sf"""t Cardboard tube .otrof. . I. and ' u . ?'/'/y /./-.. A//hp afeiti. the balls, Hie yfass former into ala. cylinder re mh> the Carl board cb/mney and when rmo*,nj c?rsp Hie tin,** as jhewn ,n Ft<j.Z and take ,fay (S<th the chimney, teat/my fixe tyfasj ern-pfy. tf the hnma and balls are dropped mta Sen/ante Hie chimney can be shown empty ayam
PATTER

FaUe. . Flt/.l

Vow

Cover

with,

th*

Twirling C a r d on W a n d

fyc.3.
the eyrcofe. /n the ti/and. /J nof brouyht to the no/ice of the a* tdterxi <: if the usanct is niCtritfrtA.la.f~ec/_- spHarttu ////'n havma wared the plate attached to /he ball, /fee-ft ha'rued untd reyuirett for use /leu/ ta.yma cfoujn //to wand / Select any card, and shew/r bach and fron/t then wtieei fetching wand fress folate of bat/ Cn h back of caret uttuch U/it/ adhere /o /he wax. />6.2. jhoaiina front of tard on/y. f>/ace Curd Cayamst face at i*/and cd/owmy fra.// to Kesf m the urccre f i t first the card ap/rears /o adhere to the wand , then directly ivand /s fitted Card Chystericujly travels atony, rero/tema, as ft(j3. /n re inct/lit y Card ftatrn o f t bed! show tfacA of Card.
PATTER

This is merely a tube of glass on a small metal foot. I like doing tricks with glass as they are so easily seen through. In conjunction with the cylinder I make use of this empty cardboard tube, which is, as you see, open at both ends. By looking through one end you see the other; by looking through the other you see the one. The only difference between the glass and the cover is that whilst the former contains nothing this latter is empty. W e will bring the two into somewhat closer relations, by dropping the cover over the tube, or putting the tube into the cover, as you prefer. Here are half-a-dozen ordinary round balls, which just at this particular time, are very much more popular than square balls. This I will place visibly into (Performer must arrange his own Patter here, to fit the apparatus used for vanishing). I now propose making the balls pass from here into the empty glass cylinder. Pass ! It is done ! Here you see t h e - is empty, whilst in the glass tube we find the missir balls.
A N Y T R I C K E X P L A I N E D IN T H I S B O O K L E T MAY B E O B T A I N E D AT GOLDSTON'S

This is a giddy age and everything seems infectcd with the giddy spirit. This applies to the inanimate as well as to the animate. There are the Twirling Dervishes the Tango Teas, the Turning Tides, and the Dancing Waves. Let me prove my assertion by exemplifying it with so common an object as a playing card See ! 1 just lay it on the end of my Magic Wand and round after round it goes just like a Prudential Insurance Agent on Monday morning. As it revokes, so you will notice it runs from one end to the other increasing in velocity the while. In conclusion let me prove that this is quite an ordinary card and an equallv ordinary wooden stick.

rON

SALE
[WITH

1/- net, postage 3d.

ELECTIVE MODERN TRICKS


PATTER] GOLDSTON.
from

Compiled and Edited by W I L L

On Sale at all Magical Dealers o r D i r e c t

WILL G O L D S T O N
ALADDIN

Ltd.,
W.C.

H O U S E , 14, G R E E N S T R E E T , L E I C E S T E R S Q U A R E , LONDON,

THE EASY ROAD TO MAGIC


IN

SEVEN 1. 2.

LESSONS

H i n t s and Suggestions. Tricks for t h e Drawingroom without A p p a r a t u s including P a t t e r . 3. Tricks with Apparatus a complete Programme for t h e Concert Platform. 4. Sleight-of-hand Experiments.

5. Studying Magic from books How t o invent new tricks. 6. Simple Illusions. 7. Money from Magic H o w to advertise 1 H o w to a r r a n g e a circular Obtain e n g a g e m e n t s . The question of fees, &c.

The Lessons are clearly Illustrated.

Price 6/- post paid anywhere.

WILL

GOLDSTON'S SCRAPS

V F L L LG D IW T 0 N 5M A & K A L

MAGICAL

This is an illustration of t h e " SCRAP B O O K . " T w o columns to a page. T h e size of t h e Book is 14 x 11 ins. The covers a r e cloth and well made. 96 Scraps of t h e latest Tricks are included. T h e s e are s e n t to subscribers at t h e rate of 8 per m o n t h .

Price 1 0 / 6 post free.


S t r a p s and Padlock 2 / - extra.

MODERN

CARL

HERTZ

xvrites:

CARD TRICKS
WILL

WITHOUT APPARATUS

" I h a v e read the book 4 Modern entitled Card T r i c k s , ' a n d I m u s t s a y it is a v e r y e x c e l l e n t e s s a y on c a r d t r i c k s , and t o m y m i n d it e x p l a i n s t h e d i f ferent tricks so explicitly t h a t a child can a l m o s t perform them after reading t h e e x p l a n a t i o n s o n c e through."

GOLDSTON

Price - 2/6
Postage IN C A R D 4d. BOOKS T H E LAST WORD

112 P a g e s . I l l u s t r a t e d . Over 58 Tricks clearly explained.

ORIGINAL MAGICAL CREATION^


STANLEY
112 P a g e s .

The Card

Wooden Effect. The

Slab Cards

and and

Flying CoinExCri

cidence. periment.

Omega The Le

Ace

Will ! Card

Sianese

Bloodstone. Mutilated Thought cipitated. The I. ' i s

Dernier Memory. and

Experiment. Pre. Game.

A Question of The

Anticipated The

Guessing

Spider. Ultra

"Knee" and and Ink Rings the ExexPatter.

Handkerchiefs. Ginger Filtering " is clearly

COLLINS
Illustrated.
write*:

" F.sscee " Experiment. Apple. periment. Each with plainedwell

Kopei

The Trick

The

Inktubators." Illustrated

Professor HOFFMANN

1 compliment you on your c a p i t a l little book, w h i c h 1 h a v e just been reading w i t h m u c h p l e a s u r e . It is r a r e t o m e e t s o many original ideas, and good ones, within so small a c o m p a s s . "

Original

Price

2/6

S xxnjuev C o l l i n s

Postage 4d.

vj

THIS

is

the

hook the

written by World's

Greatest

Ventriloquist

ARTHUR PRINCE
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Handsomely Bound, Gold Blocked Letteri n g . w i t h t h e p h o t o of t h e A u t h o r in c o l o u r . T h e f i r s t 500 c o p i e s w i l l be A u t o g r a p h e d see that your copy is a m o n g t h e m . This is ARTHUR P R I N C E S o w n book on Ventriloquismit deals with every phase of the s u b j e c t f r o m A t o Z i t is the E n c y clopaedia of V e n t r i l o quismthe Standard W o r k on the subject.

It!
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