Pages from hugard's magic monthly vol 5

Hugard's D E V O T E D

S O L E L Y

MAGIC TO T H E I N T E R E S T S

V O L . V, No. 1

J U N E

OF M A G I C

Monthly A N D M A G I C I A N S 20 C E N T S

1947

BURNED AND RESTORED HANDKERCHIEF

by JEAN HUGARD

SEW ELAST/C BAND '/Q SQUARE 8 OF HANDKERCHIEF

INSIDE OF SLEEVE

;

<t.l

ORIGINAL COIN HELD

BY CLOSED FINGERS

cur ENDS EVEN

FAKE NOW SHOWING

STEAL FROM SLEEVE UNDER COVER OF HANDKERCHIEF The date of the invention of the pocket handkerchief is not known but there is said to be a bishop's handkerchief preserved in St. Ulrick's church, Augaburg, Germany, which iÂŁ over a thousand years old. All through the Middle Ages these arti-

cles were the perquisites of the very rich and the nobility. They were made of the most costly materials and embroidered with the finest lace. Handkerchiefs for the common folk were first manufactured in Paisley, Scotland, in 1743. What

the unfortunate commoner .afflicted with a cold in the head, did before that time we can only guess.

The magical genius who first conceived the plan of burning and restoring a borrowed handkerchief will never be known but we do know 323

Uugard's MAGIC Monthly

that this trick has been a favorite with generations of conjurers and it is still good magic. Various versions have been included in the programs of our greatest magicians.

1 remember seeing Chung Ling Soo rouse an audience of some two thousand to enthusiastic applause with this very trick. After all, what more magical effect can be desired if the feat is done in such a way that the onlookers are convinced thav the fabric has really been burned and then restored.

The following method provides for the performance of the feat at the closest quarters, under any conditions and so elevates it to the rank of an impromptu mystery since it can be done at a moment's notice.

I use the word elevated purposely for to do the trick at any time and anywhere is a very different and far more impressive feat than to do it on the stage in a set program.

Effect: A marked penny is wrapped in the center of a borrowed handkerchief. The fabric is set afire and the penny falls to the table.

The mutilated handkerchief is thrust into a glass which is held by a spectator. The ashes are wrapped in a piece of paper and vanish together with the marked penny. When the handkerchief is shaken out it proves to be fully restored and the marked penny is found in the glass.

There is no exchange of handkerchiefs and the effect could be repeated immediately, though this, of course, the wise performer will never do.

Preparation: In the inner side of your left sleeve have sewn a piece of flat elastic about an inch and a half from the edge of the sleeve in such a way as to make four small pockets. Fig. 3.

Cut an ordinary white handkerchief into five inch squares. Fig. 1.

Take one, place an American penny (one cent piece) in the middle and twist the fabric around it. Fig. 2.

Cut the ends off evenly and push the wrapped penny into one of the elastic loops in your sleeve, Fig. 3.

Do the same with three more squares and fill the remaining loops. By replenishing your little arsenal of fakes from time to time you will always be prepared to perform the miracle four times and it is not likely that you will be called upon to do that more than four times in one day. However, you can just as easily have six loops in position if you wish. The elastic should be sewn at such tension that the fakes will be held securely so that they cannot possibly fall out, yet you can withdraw them with ease.

Procedure: At any time you desire

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to perform the feat have a small piece of newspaper crumpled into a ball in your right coat pocket together with a couple of kitchen matches. See that there is a glass and a newspaper handy. Borrow a handkerchief and a penny, first having the penny marked by its owner.

1. Show the penny at the tips of your left thumb and forefinger and use both hands so openly that all can see that they are otherwise empty. Throw the handkerchief over the coin with its center over the penny.

2. Grasp the penny through the fabric with your right hand, give it a twist or two and then pull the handkerchief through your left fist gathering the folds together. Repeat the action.

3. Leave the wrapped coin in the palm of your left hand and close your fingers on it. Fig. 4. Adjust the folds of the handkerchief below it and with the right thumb and forefinger steal one of the fakes.

Fig. 4.

4. Draw it upwards over the left palm, the left index and middle fingers opening a little to let it pass and carry it forward to the top of the left forefinger. Grip it there by closing the left thumb and fingers on it. Fig. 5. The action should simulate that of seizing the original penny and handkerchief and drawing them forward. An easy operation.

5. Announce that you will demonstrate a curious scientific experiment. You assert that the metal in the handkerchief will absorb the heat from any flame and that the fabric will not burn. To prove this, thrust your right hand into your coat pocket, finger palm the ball of paper and bring out a match.

6. Strike the match and move the flame slowly back and forth under the wrapped penny. Keep the flame moving and the fabric will not catch lire. Then, looking at the audience and making some remark about this curious phenomenon, hold the match directly below the fabric so that it sets the handkerchief on fire. The penny drops to the table and, disconcerted, you try to blow the flame out but you don't do that until the fake has burned almost to your finger and thumb.

7. Apologize to the owner of the handkerchief and the more sincerely sorry you can appear to be for the mishap, the better. Explain that you now recall that the metal should have been much larger and that the next time you try it you will use a half dollar. Tear off a small piece of newspaper. Press its middle against the charred edge of the fake, gathering the ashes and the un-

burned fragment and squeeze the paper into a little ball around them.

In doing this add the palmed ball of paper and squeeze both together tightly. Hold both at the tips of your right thumb and forefinger so that the hand can be seen to contain nothing else.

8. Bundle up the handkerchief, the marked penny being in the middle of the folds and thrust it into the glass. As you do this with your left hand, reverse the position of the two paper balls in your right hand, and take the one containing the ashes into the finger palm position. Place the empty paper ball on the handkerchief in the glass.

9. To get rid of the palmed ball you may have recourse to the "magic powder" gag, putting your hand in your pocket to get a pinch of it.

But after two centuries of use by magicians this has worn rather thin.

A far better plan is to have a rabbit's foot in your pocket and bring that out. Tap the glass with it, mutter your magic words and replace the rabbit's foot.

10. You next notice the "marked" penny. Pick it up, look at it and describe the mark on it â&#x20AC;&#x201D; that is to say the mark on the borrowed coin which you noted carefully before wrapping it up. Vanish the penny by pretending to throw it at the glass. The best way to do this is to use the sleight described at page 303 of this magazine by Frank Garcia entitled Visbo-Coin-Go. 11. Take the paper ball, open it and show that the ashes have vanished, crumple it and put it in your coat pocket at the same time dropping the sleeved coin. Have the owner of the handkerchief take it from the glass by seizing one corner and drawing it upwards shaking it open.

The marked penny will fall into the glass. The handkerchief is found to be restored to its pristine beauty and the penny is identified by its mark.

There is action right through the feat and it should not be overloaded with patter and gags. Concentrate on the magic which will be remembered and talked about whereas so-called "smart gags" are of momentary interest only and soon forgotten.

Maxims for beginners: Concentrate first on doing easy feats well; that is better than to do difficult ones badly.

Dragging and hurrying are equally bad faults.

Seek out and cultivate those who know more of magic than you do.

Hugard's MAGIC

Monthly

MILBOURNE CHRISTOPHER'S COLUMN In answer to the question "What's new?" the clerk in the magic shop waves to several Himber card silks in a wall case.

"These are the first card silks we've been able to get since before the war."

The customer, a chubby little man in a brown suit, eyed them with interest. "Very pretty, but what do you do with them?"

"Oh, a lot of things," the clerk replied vaguely and he switched the customer's attention* to a coin stand, a metal finger chopper and a block penetration trick.

This column is for the little man in the brown suit.

THE SILK IN THE CASE

Effect: The magician takes a pack of cards from a case and has one selected. He shows a white silk, tucks it in the case and tells the spectator to hold the box over his head.

"Concentrate on your card. Your thoughts will affect the silk."

The spectator concentrates. The magician opens the case. The once pure white silk now has a replica of the thought-of card on its surface.

Needed: A card silk, a matching white silk and a pack of cards.

Preparation: Beforehand the card case is opened. Fourteen cards are removed and the card silk, which has been folded into thirty-seconds, is slipped in. The card which matches the card silk is either on the top cr the bottom of the pack in the case so that you can get at it easily for forcing.

â&#x20AC;˘1

FLAP

FOLDED

CARD

|

\

SILK *\ BACH \ OF CARDS |

CARDS AT FRONT OF CASE

SIDE V/EW OF CARD CASE

The white silk is in your side pocket.

Presentation: Open the card case, take out the cards, leaving the folded silk behind, and drop the box on the table.

Force the proper card.

Display your white silk, then fold it into thirty-seconds (five times that is) and push it in the supposedly empty card case. After all, you did take a pack of cards from it, didn't you?

Your left forefinger holds the card silk in place as your right hand pushes the white silk past it and e'eep down inside.

Close the box and give it to the spectator with instructions to hold )l aloft.

He thinks of his card. You open the flap of the card box and remove the card silk. Wonder of wonders! His thoughts have printed the card on the surface of the silk.

THE SENSITIZED SILK For those who prefer apparatus magic. I offer another feat with a card silk.

Effect: The wizard tucks a white silk into a small metal tube. He seals the tube's lower end.

When the spectator, in response to a question, admits the card he chose was red, the wizard picks up a small pitcher of red "dye" and pours some of it into the tube. He explains that the silk is as sensitive as photographic paper and that the dye will bring out the spectator's thoughts. The performer seals the other end of the tube. The onlooker thinks of his card.

The wizard tears off one of the iealed ends. No liquid pours out.

He removes the silk. On the white background is a perfect enlargement of his chosen card.

Needed: A card silk and a matching white silk; a small phantom tube: a pitcher of the "vanishing milk" type filled with red liquid.

Preparation: The card silk is secreted in the load chamber of the phantom tube.

Performance: After the card has been forced, the white silk is pushed into the open end of the phantom lube. The other end is sealed. Liquid is apparently poured from the pitcher into the tube but because of the pitcher's construction not a drop leaves it.

The upper end of the tube is sealed. The spectator is given the tube and instructions to concontrate.

CARD SILK

WHITE SILK SIDE VIEW OF PHANTOM TUBE Whenever the wizard wishes he cpens the lower end of the tube and pulls the card silk free from its secret chamber.

Some performers may prefer to first withdraw the white silk, feign disappointment, then replace it with the warning that absolute concentration is necessary. Shortly afterwards the "developed" card silk is removed.

THE PIPS PASS The performer turns one card face up. "Please tell the audience the name of this card," he tells his volunteer assistant. "Eight of hearts," that worthy responds.

The magician replaces the card face down on the deck and then slides it off onto the spectator's palm.

"Cover it with your other hand.

Hold tight."

The wizard drapes his pocket handkerchief momentarily over the clasped hands, whips it off and tucks it back in his breast pocket.

"Look at the card." The spectator does so. It is blank.

The performer takes one corner of his pocket handkerchief and draws it out. He opens it. Thereon is a giant eight of hearts.

Needed: An eight of hearts card silk; a matching white silk; a pack of cards plus one card with a blank face.

PreparaUon: The eight of hearts silk is deep in your breast pocket, the white silk is above it. The blank card is face down on the top of the deck. The eight of hearts is under it.

(Continued on page 329)

325

Hugard's MAGIC

Monthly

ERLINI'S

AGIC

by CLAYTON RAWSON In the last couple of these columns we emphasized the importance of continuity in building a routine.

There is another and even more important ingredient which is all too often lacking both in single tricks and in routines and programs.

The Great Merlini has, in the murder cases I've recorded for him, commented on more than one occasion that both the criminals who attempt to fool the police and mystery story writers who try to outwit their readers must, of necessity, use exactly the same basic principles of deception that a magician uses when he baffles an audience. Magicians similarly should take a leaf from the writer's notebook and use the same means he employs to keep his readers conttantly interested and sitting out on the edges of their chairsâ&#x20AC;&#x201D;suspense.

Writers create suspense largely by making the reader wonder what the hell is going to happen next. Magicians often fail to do this. There are too many times when their audiences know only too well exactly what is coming because they've seen the Six Card Repeat, or the Linking Rings, or the Cut and Restored Rope before. The magician, instead of being one jump ahead of his audience as he always should be, is lagging several blocks behind.

Suspense is created largely through proper use of the element of surprise. Whenever the reader thinks he has a hunch as to what is about to happen, the writer doublecrosses him and sees to it that something unexpected and quite different occurs. The magician can create suspense through surprise in the same way. He does it, usually, either by concealing the exact nature of the effect until the last moment so that (he audience doesn't know what to expect, or he misstates the effect to be produced so that the audience, expecting one thing, gets another.

When you've just started to do a torn-and-restored paper trick have you ever heard someone say, "Aw, I know. He's going to restore it."

And have you ever wondered uneasily how often politer spectators have thought the same thing without saying it? Here's a short routine I developed in an effort to add suspense to the torn-and-restored paper trick.

326

THE COUNTERFEITER'S DREAM Effect: A borrowed five-dollar bill is burned. The magician tries to change his own one-dollar bill into a five in order to repay the spectator, but it turns into a red silk instead.

This, finally, transforms itself into five one-dollar bills.

Preparation: In the left trouser pocket, a fingertip, and in the upper corner of the pocket, an accordionpleated silk rolled into as small a ball as possible. The right coat pocket contains several kitchen matches, one of which is the match to rose described in this column last month, and a color-changing tube. Five onedollar bills are rolled around the outside of the tube and held in place with a rubber band. Roll them around the tube one at a time so they can later be produced singly.

The small change pocket holds a ihumbtip which contains a small corner of silk that matches the silk used. The right trouser pocket contains a phony bill (flash or stagemoney). A balled-up flash bill is finger-palmed in the right hand.

Working: Borrow a five-spot, crumple it, and place it in the left hand, switching it for the flash bill.

Go to your pocket for a match and leave the borrowed bill there. "A counterfeiter friend of mine," you say, "told me the other day that if you touch a burned-out match to a bill its denomination instantly doubles. Nobody knows just why."

Light match, blow it out, and touch it to flash bill which promptly vanishes in a puff of flame.

Look surprised. "Maybe I should have tried this out before demonstrating it with a borrowed bill;" Put both hands in trouser pockets.

Left hand picks up silk and fingertip. Right hand comes out holding phony bill. "One dollar. This seems to be all I have. I don't suppose you'll settle for this? No? This is embarassing. I guess I'll have to try method No. 2 for inflating currency.

This counterfeiter also said that if a bill is torn into several pieces, placed in the left hand and heated, its value would increase five times.

It hardly sounds possible, but that's what he said."

While saying this you tear the bill, push it down into the fingertip, steal the tip and put right hand in pocket. It leaves tip there, palms color-changing tube and brings out

match. Strike match on your shoe and open left hand letting silk expand at the same time. Scowl at this unexpected development and say, "Maybe I shouldn't believe everything a counterfeiter says."

Take silk in right hand momentarily, then insert tube into left fist in the usual manner and push silk into it. Steal tube which slides out of fist leaving bills behind. Go to pocket for another match, leave tube there and get thumbtip on thumb.

Light the match and hold it under the fist a moment. "Maybe I didn't heat it enough." Then reach into fist, inserting thumbtip and pulling piece of silk it contains up into view.

Look at spectator. "I'm very sorry.

It just doesn't seem to work at all.

And I paid the counterfeiter fifty dollars for this secret, too. Could I induce you to accept thisâ&#x20AC;&#x201D;" (point to projecting end of silk)â&#x20AC;&#x201D; "in payment for the five-spot? No?" Push silk down into thumbtip and steal it. "You're quite sure you won't take it?" Hold fist out toward him hopefully. When he says, "No," reach into fist, forefinger going inside the cylinder of bills and pull out the inner one. Drop it on table and continue, producing five bills one at a time. The rubber band drops unseen at the finish to the floor.

Then pick up and fan the five ones and get the match-to-rose (leaving the thumbtip in the pocket).

"Would you like me to make ten dollar bills out of these ones?" If the spectator has any sense at all he'll object. Agree with him. "I think you're wise. There's no telling what might happen." As you say this the match changes to a rose.

"Here, take the money quick!" Give him the bills and put the rose in your buttonhole.

If you insert this or a similar routine early in your program I doubt if your audience will ever feel safe in predicting what you'll do next. Then, instead of relaxing into a gentle slumber when you start to do the Mutilated Parasol (which I hope you won't because if Fred Braue ever asks what are the five least baffling tricks this one gets my first vote) they'll stay awake and watch interestedly because, for all they know, Betty Grable may step out from behind the parasol wearing a string of beads. Which isn't a bad idea at that, although it may be a bit difficult to get Grable since none of the magic shops slock the item as far as I know.

Note also that the routine above (Continued on page 330)

HuganTs MAGIC

Monthly

ROUNDABOUT WITH FRED BRAUE In tabulating the vote for the Five Best Card Tricks, the tricks have been placed in arbitrary but fairly flexible categories, and in listing them abbreviations have been used to save space. GM thus is Greater Magic; Ency is Encyclopedia of Card Tricks; ECT is Expert Card Technique; Full Deck is Full Deck of Impromptu Card Tricks, and so on.

DI indicates a Dealer Item.

Of all the hundreds of tricks named in the poll, the type of trick most named is that in which a card or cards mysteriously moves from one place to another: CARD TRANSITS Three Cards Across (Anon) 13; Fifteen Card Trick (My Best) 7; Ten Card Trick, Blackstone's Secrets of Magic, 1; Challenge Card Flight (Grant) DI, 1; Flight Three (Weber) DI, 1; Flying Cards (Gibson) Tarbell No. 4, 1.

Simplicity Four Ace (James) GM, 3; Ace Assembly (Vernon) Sphinx, 2; Greatest Ace Trick (Meyer) Hugard Monthly, 2; Four Aces (N. Hall) Unpub, 2; Ace Assembly (Mario) Off Top, 2; Collins' Aces (Collins), Tarbell, 2; Four Aces (Anon), 2.

Each of the following were named once: Slap Aces (Leipzig) ECT, Peripatetic Aces, Sphinx; Four Aces (Mario) Off Top; Passe Passe Aces, F.CT; Lost Aces (Merlin) ECT; Four Aces (Stanyon) Jinx; Four Ace Routine (Collins) Unpub; Mystery of the Penthouse (Horowitz); Four Aces (Alexander); Streamlining Sympathetic Aces (ECT); Conus Aces (Hugard) MCM No. 1; Four Aces, Conjurors'; Four Aces (Kelly) GM; Exclusive Coterie (Erdnase) Ex Cd Tble.

Twelve Cards to Pocket (Bertram) Mod Conj, 5; various other methods, 7. Cards up Sleeve (Anon) 2.

Follow the Leader (Elias) At the Table, 3; Follow Leader (Vernon) GM, 1; Restless Cards (Jackson) Full Deck, 1.

Card Under Collar (Morris) Sphinx, 7; Card in Wallet, (Chapman) My Best, 1; Card to Sealed Envelope (Le Paul) Unpub, 1; Card to Envelope, (Allerton) DI, 1; Card in Cigarette, Anon, 2; Card in Pocketbook, (Scarne) GM, 1; Card in Wallet (Biebigheiser) Unpub, 1, Card in Mouth (Scarne) GM, 1.

Impromptu Passing (Lyons) Jinx, 1; The Triangle, (Devant) Our Magic, ]; Unknown Leaper (Jordan) Ency, 1.

Card in Balloon (Hathaway) DI, 5: Card in Orange (Larsen) Magically an Idea or Two, 3; Television Card Frame (Kattner) You're On, 2; Cards and Glass Plate (Valadon), 1; Radivision Card Frame (Kanter).l.

Ambitious Card (Anon) 6; Rub a dub dub (ECT) 2; Acrobatic Jacks (Erdnase) Exp. Cd Tble, 1.

Will Do, 3; Ultima Thule (Braue) ECT, 2; Brain Wave Deck (Vernon) DI, 5; and one each for: Double Reverse (Gardner) Twelve Tricks with Borrowed Deck; Reversing Pack (Gardner) 12 Tricks; Double Reverse (Leipzig) Tarbell; Slow Motion Reverse (Zingone) Cigam; Spectator Does It, Hugard Monthly.

COINCIDENCES

CHANGES

Out of This World (Curry), DI, 24; Triple Coincidence (Scarne) Stars of Magic, 4; Do as I Do (Anon) 4; Card of the Gods (Vernon) Jinx, 2; Further than That (James) Jinx, 2; and one mention each for the following: Royal Marriages (Vernon) Select Secrets; Draw Coincidence, Genii; Controlled Coincidence (Farelli) Lend Me Your Pack; Follow Me (Hugard) Ency; Two-Six-Four (Vernon) ECT; Numerology (Kaplan) Hugard Monthly; Contrary Do as I Do (Allerton) ECT.

Hocus Pocus Card (Braue) ECT, 4; Partagas Sell (Farelli) Farelli's Card Magic, 2; Super Optical Illusion (Sands) Hugard Monthly, 2; Here, There, Everywhere (Anon) 2; Everywhere and Nowhere (Anon) 2; Comedy of Errors (Collins) A Conjuring Melange, 1; Gambler vs.

Magician (Hugard) Hugard Monthly, 2; Color Change Deck (CurryWeigle) DI, 2; Top Change Byplay (Anon) 2; and one each for: So Sorry, DI; Dunbury Delusion (Miller) ECT; Hallucination (Clever) My Best; Color Change Deck (Annemann); Psychiatric (Anon) DI; Card Changes (Douglas) GM; Color Changes (sleight of hand); Blankety Blank Deck (Rawson) Hugard Monthly; Scrambled Thought Waves (Rawson) Phoenix; Now you See It (Himber) DI. SPELLERS

PREDICTIONS Albaka (Baker) DI, 3; Face-up Prediction (James) Unpub, 2; and one mention each for Think-a-card (Scarne) DI; Three Card Prediction (Engel) Hugard Monthly; Miraskill (James) Ency; Knock-em-dead (Buckley) DI; ace-up Prediction (James) Unpub; Marvellous Three Card Prediction (Hull) DI; Three Billet Card Prediction (Annemann); Twin Souls (Baker) Ency; Double Prediction (Gardner); Telephonic Telepathy (Lamarque) Hugard Monthly; Predic-2 (Edwards) Phoenix; Touch (Curry) DI.

Spectator Spelling (Annemann) Jinx, 1; Spelling Location, GM, 1; Miracle Speller (Dalban) Full Deck, 1; My Name's Magic (Hugard) Miracle Methods No. 4, 1; Ad Lib Spelling (Daley) Jinx, 1.

TRANSPOSITIONS

TELEPATHY OR MIND READING Incomprehensible Divination (Anon) GM, 2; and one each for Mystery of the 7th Card (Scalbert) DI; Card in Pocket (Annemann) Full Deck; Remembering the Future (James) DI; Improved Marvellous Divination (Jordan) DI; Mental Discernment (Hull) GM; Mental Masterpiece (Annemann) DI; Mental Telepathy (Steele); Card U-Reka (Grant) DI; Behind that Door (Rawson); Mental Broadcast (Rawson) My Best; Ponsin on Thought Reading, ECT; Five Card Force (Vernon) GM; In the Bag (Smith) GM; Go Back Card (James) Unpub.

REVERSES Slop Reverse or Drunk Card Trick (Lorraine) Subtle Problems You

Transposition Extraordinary, ECT, 1; Card Transposition (Allerton) unpub, 1; Transmogrification, (Daley) Genii, 1; Relativity and the Cards (Hugard) CM 1-2.

A SHOW OF SKILL Cutting the Aces (Vernon) Stars of Magic, 5; Ace Assembly, ECT, 3; Poker Demonstration, Hugard Monthly, 2; Blindfold Poker Deal (Daley) 2; Supreme Control (Victor) Magic of the Hands, 2; Ladies Looking Glass (Hugard) MCM 1; and one j:ach for: Poker, Blackjack and "Bridge Deal, Jinx 39; Poker Demonstration, (Vernon) Ency; Poker Deal, (James); Poker Routine (Braue) Miracle Methods No. 2; Poker Demonstration (Lyle) Jinx.

(To be continued)

327

Hugard'a MAGIC Monthly

THE UBIQUITOUS MATCHES A

ROUTINE

I take no credit at all for this trick, all of the individual moves can be found in various works on magic. However, I have worked out the following routine and, having used it for impromptu table and close-up work for several years, I can vouch for it as being not only entertaining but inexplicable to most spectators. As the little feat of passing a match head through a table top is repeated over and over the spectators become more and more bewildered because each move is accomplished with a little variation of technique and timing. Also, surprises are placed in the routine at those points where an acute watcher might start to suspect what really happens and serves the purpose of throwing him stilj further off the track.

Effect: The heads of three matches are broken off and the sticks discarded. The match heads are placed in the left hand, the third head is held below the table top and apparently knocked through the table â&#x20AC;˘nto the left hand. This is repeated time after time until finally the three match heads suddenly vanish, concluding a bewildering series of surprises.

Beforehand: Of course, four match heads are used, preferably paper ones, though wooden ones can be used. It is best to have a spectator tear these matches from his own packet, so at an earlier opportunity you procure a match from the book you intend to use. It is easy enough 1o get an extra match while lighting a cigarette. Or, better, carry a few match heads of different colors in your pocket and be ready for almost any occasion. Paper matches do not come in many colors so that three or four should be sufficient.

Also, place a dime in your otherwise empty right coat pocket.

Procedure: Clip the extra match head between the tips of the index and middle fingers of your right hand. Ask the spectator to tear three matches out of his packet and lay them on the table. Take each match and tear the head off about 1/8 inch below the colored head. Drop the heads on the table and discard the rost of the matches.

Hold your left hand out with the open palm upwards and, taking one match head between the tips of the right forefinger and thumb, place it in the center of the left pnlm.

Close the left hand loosely while you pick up the seennd match with the

328

by HAROLD J. KELLY right hand. Put the right thumb, index and middle fingers into the opening made by the left forefinger and thumb and place the second match into the left fist at the same time dropping the concealed head.

Thus three heads are in the left hand and one remains on the table.

Close the left hand tightly and with the right hand pick up the third head between the thumb and forefinger. Move your right hand under the table and tap the ends of its fingers against the under surface of the table three times, at the same time roll the fourth match head into concealment between the index z.r\d middle fingers. Knock the table top with the knuckles of your left hand. Open it and allow the three match heads to roll off onto the table.

Repeat this same series of moves, except that this time you drop the extra match head into the loosely closed left hand with the first head.

Hold the second head four or five inches above the left hand and openly drop it in. Take the third head under the table as before and again three match heads roll out of your left hand.

Bring your right hand with the concealed match head onto the table and slowly turn it palm upwards, the backs of the fingers touching the surface of the table. Move the left hand, palm upwards over the right h;.nd so that the hidden match head is just under the middle of its back.

At this moment release the match head from between the two right fingers onto the table and press the back of the left hand on the head concealing it as the right hand moves away. Perform these moves slowly and naturally so that no attention is attracted to your hands.

Continue, "Some people seem to get the idea that somehow or other I drop an extra match head into my left hand during the trick but that is not true. To prove this I am going to let one of you place the three match heads into my hands ?nd I will work the trick." Point to your left hand and, spreading the fingers wide apart (the back of the hand still being pressed against the concealed match head) invite a spectator to drop two match heads onto its palm. Close the left hand tightly.

"Now place this third match head in my right hand," you say, spreading the fingers of the right hand ,-ind showing it. After the head is placed in it move the right hand

under the table and rap as before, meanwhile getting the head into position between the index and middle fingers. Move the left hand slightly to the left opening the fingers and turning the hand palm downwards, dropping the two match heads in it close to the one already on the table. The move to the left, the turning and opening of the left hand blend into one move and all three 'heads are apparently dropped from it.

Now speed up the tempo of the routine. Perform each move more rnpidly than before and continue this increase in speed to the end of the effect.

Next repeat the very first series of the moves except that you place the third match openly in your right coat pocketâ&#x20AC;&#x201D;"to vary the procedure."

As soon as you have the match in your pocket knock the left hand on the table and drop the three match heads it contains, meanwhile with your right hand clip the dime between the index and middle finger tips, leaving the head in the pocket.

Quickly, but not fast enough to excite suspicion, just in keeping with the increased tempo, pick up a match head and drop it with the dime into the left hand. Openly drop in the second head. Pick up the third match with your right hand and knock >t through the table, really rolling it into concealment again. Open the left hand slowly and allow the two match heads to drop out and finally the dime.

After this surprise offer to repeat the trick. Drop the first head and the concealed one into the left hand.

Then the second head. "I guess this is my dime," you say and you pocket it bringing the left hand out empty this time. Again rap the table with the left hand and drop three heads out of it.

Show both hands openly and say that you will repeat the effect just once more. Forming the left hand into a loose fist, pick up the first match head with the right thumb arid forefinger. As you put the fingers into your left fist roll the head into position between the index and middle finger tips. Retain it there as you reach for the second head.

Roll the second head into position beside the first as you put it apparently into the left hand. Pick up the third head with your right fingers and place it openly in your coat pocket, leaving the two concealed heads there at the same time.

Bring the right hand out empty and rhow it casually. Knock your left hand against the table as before and slowly open it ... empty!

(Continued on page 330)

HugarcTs MAGIC

A TABLE INTERLUDE

by R. L. COOPER Here is an intriguing little table "quickie" showing how to balance a dime on the edge of a dollar bill.

1. Fold the bill in half lengthwise and then in half the other way as shown by the dotted lines in Fig. 1.

Crease both folds heavily.

2. Stand the bill on the table as in Fig. 2.

3. Place a dime in the middle of the bill as shown in Fig. 3.

4. Take hold of the ends of the bill with the thumb and fingers of each hand and stretch it out tightly to assume the position shown in Fig. 4. The dime will remain balanced on the bill which you can then lift off the table, the dime remaining in position.

Fig. 5 shows the top view of the bill and dime.

Monthly

Hu'Gardenias to Jay Marshall for his most amusing and entertaining mixture of comedy and satire in his portrayal of a "serious" magician at the fine show staged by the Knights of Magic at the Barbizon Plaza theater, New York, April 26th. Jay has a flair for comedy which will carry him far.

MILBOURNE CHRISTOPHER (Continued from page 325)

Ji.4.5

$â&#x20AC;˘3

\J)'

TOP VIEW

Performance: Using a double lift show the eight of hearts. Put the "card" on your pack and slide the blank face card onto the spectator's palm.

When you withdraw your silk from the top of your onlooker's hands, force it down in your breast pocket and pull the corners of the card

REVERSING A CARD

by HARRY P. GRAHAM There are many methods in use for reversing a card in the deck but I have never seen one which is as simple and direct as the one which follows. It can be used closeup and no observer will catch the slightest out-of-the-way movement.

1. Have the card to be reversed on the top of the pack which you hold in dealing position.

2. With the right hand cut off about half the pack and with the left thumb turn the remaining cards face up as in Fig. 1. Strike the right hand packet against the left hand packet squaring its lower side.

3. At the same moment press the top phalanges of the left middle and ring fingers against the back of the

\

BRING PACKETS TOCETHER ATA SLIGHT ANCLE.

1 MIDDLE AND RING FINGER OF LEFT HAND STEAL THE HACK CARD OF THE PACKET IN RIGHT HAND.

top card of the right hand packet (.the card to be reversed) and draw it off face upwards against the bottom card of the left hand packet.

Fig. 2. Make this drawing-off movement as both hands move towards the right and turn over inwards, preparing for a riffle shuffle.

4. Execute a riffle shuffle leaving the reversed card at the bottom or riffling it amongst the other cards according to the requirements of the trick in hand.

The cover provided by the squaring of the packet and the natural turning of the hands for the riffle shuffle is so complete that even the well-informed will be surprised to find that a card has been reversed.

BOTH HANDS TURN INWARD, THEN LEFT TURNS OVER SO THAT BACK OF HAND IS UPPERMOST

DRAWING EXAGGERATED TO SHOW STEAI ING OF BACK CA RD. FACE OF CARD COMES AGAINST FACE IN LEFT.

MAClCtAN PULLS CARD SILK FROM BREAST POCKET silk into view. As this is done, the audience's attention is (or should be) on the blank card.

Remove your handkerchief, shake it open. The missing pips appear giant size.

CONCLUSION There! A trio of tricks with card silks. Perhaps you already do a dozen deft deceptions with them. This column, as I told you in the beginning, is for the little man in the brown suit.

329

Hugard's MAGIC

Monthly

MERLINI'S MAGIC (Continued from page 327) carries the surprise element on into the realm of what Charles Waller called Perverse Magic — magic that gets out of control. When not only the audience but the magician as well is constantly surprised (remember Cardini's look of utter astonishment at his own conjurations?) then you not only have suspense of a high order but comedy as well — and comedy of a sort that serves to remove the smart-aleck curse which afflicts too much magic.

And last, but by no means last, you will have been entertaining, which, if you can do it, is- the best trick of them all.

UBIQUITOUS MATCHES (Continued from page 328) Sometimes I finish the trick by •changing the three match heads into

three of the sponge rubber rabbits which are used in the multiplying rabbit trick. In this case three of the sponge rabbits (the poppa and momma size) are carried in the left coat pocket. After the move where the dime is replaced in the pocket and the three match heads are dropped onto the table from the left hand I step back a trifle, just as though the trick was completed, and place both my hands in the coat pockets. Quickly I crush the three rabbits in my left hand and say, "Maybe there is still someone who does not know just how the trick works so I'll try it just one last time." I perform the final series of moves to vanish the three match heads just as described above. I open the left hand slowly and there are the three rabbits. This is the best finish for the routine but the first, the vanish, is entirely impromptu.

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Hugard's MAGIC Monthly

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330

Hugard's D EV 0 T ED

S 0 L E L Y

MAGIC TO

T H E

JULY,

VOL. V. No. 2

ERLINI'S We have a $64 question we'd like to have answered some time. Why it it that so many magicians still insult audiences with patter compounded of moth-eaten puns and gas-light era gags that had long white whiskers in the days when grandma wore a bustle? We've seen many a good trick die a slow death because it was smothered in prehistoric patter that had been excavated out of Joe Miller's Jokebook (First Edition) or maybe translated from the hieroglyphics on an Egyptian tomb. The sight of a magician who can apparently defy most of the laws of physics and yet whose magic (lower fails completely when asked to conjure up a few fresh laughs is, we admit, a ludicrous sight — but the laugh is on the wrong foot.

One reason for this is, of course, that too many magicians try to get their laughs by grafting laughs on the trick instead of building the trick into a comedy situation. If the basic situation is humorous the laughs will spring up almost unaided. You may even surprise yourself by finding that you can ad lib new ones as you perform. Here, for example, is some old wine in a new bottle — a trick that is an old favorite dressed up in a new set of laughs that arise out of the basic situation. And there isn't a gag in a carload.

You begin by asking if someone in the audience would like to learn how to be a telepathist in one easy lesson. When the expectant student arrives on stage you exhibit a deck of cards and show them to be all different. Force one card by your favorite and most convincing method, warning the spectator to make quite sure that not only yourself but no one in the audience sees its face. Have him put the card in his pocket or, if a woman, have her fold it into quarters and hold it concealed in her fist.

"Now," you tell him, "you are going to concentrate on the card and then transmit a mental image of it out across space into the mind of anyone in the audience that you

I N T E RE S T S

OF

M A G I C

194 7

AGIC

by CLAYTON RAWSON

select." Have him select someone and then ask him if he has ever practiced or demonstrated telepathy before an audience before. When he says he hasn't, ask him if he thinks he can do it anyway. He will probably not appear any too confident.

"It's quite easy," you assure him, "provided you use this Rawson System of Simplified Thought Transmission." You brin<* forward a triangular cardboard container built like a three-fold screen and remove

Monthly A N U

M A G 1 C1 A N S 20 CENTS

THE LITTLE WONDER THOUGHT PROJECTOR the rubber band from around it (a).

'You also need a Little Wonder Double-Action Oscillating Thought Projector." As you say this you reach into the open end of the container and bring out — an eggbeater (b).

Fold the container flat and place it under your arm. "This marvelous invention which will shortly make all other forms of communication obsolete is so simple that even a baby — can get its fingers caught in it." Pretend that the spectator has said something. "What? It looks like and eggbeater? Yes, of course, that's intentional. When you don't have any thoughts you can scramble yourself an egg. There are dozens of things you can do with this device — some of them unmentionable."

"I'll explain its operation. Hold this handle in the right hand, aim the oscillating antenna in the direction you wish to project your thoughts, concentrate on your thought, and turn this little crank with your left hand. That's all there is to it. It never fails. By the way, are you left-handed? No? Hmm. This is a left-handed projector. But don't be disappointed. When I discovered how many right-handed persons there are at large I hired the services of a large research organization and after months of intensive effort they worked out a simple, easy-to-learn technique that enables even an exceptionally righthanded person to use this lefthanded model. If you rotate the projector to the right through an arc of precisely 180 degrees in this fashion you will notice that the crank swings over in a clockwise direction and assumes a position adjacent to the right hand. Do you understand that thoroughly? You do? It still baffles me."

Start to hand him the projector, then stop. "Wait. I must warn you about one thing. Always be careful to turn the crank away from you like this. Don't ever turn it backwards, like this. If you do you won't project thoughts, you'll collect (Continued on page 338)

331

Hugard's MAGIC Monthly

MILBOURNE CHRISTOPHER'S COLUMN I've been using a different finish for the sucker egg trick. I change the silk to an egg and explain the process up to the point where most magicians fool their audiences by breaking a real egg.

Then I say, "Half the audience believes my explanation, the other half is sure that I've hocussed-pocussed the hollow egg into a legitimate one."

I smile, close my left hand around the egg and squeeze, the result â&#x20AC;&#x201D; a shower of confetti.

Instead of the expected hen's product I use a blown egg filled with confetti. When I cover the egg with my fingers a strong pressure crushes the hollow shell. The bits and pieces fall unnoticed in the shower of colored paper.

Try this on a club show. You'll be delighted with the results.

FINGER TIP TIP Jimmy Herpeck suggests that you fix a metal thumb tip inside one of those rubber models. From the outside the appearance is excellent. The metal lining makes cleaning easier after the vanishing cigarette trick and other messy feats. Then, too, dealers can make a double profit.

M. C. ITEM If you're a magical master of ceremonies, let another act interrupt your anouncement with the request for a light.

Look at him, then at his cigarette.

Throw a foulard over your shoulder and oblige him with a bowl of fire.

COPENETRO HINT It would be worthwhile for nightclub wizards to entice Bob Kline to build his "Copenetro" into a tray.

Presentation: Your assistant brings out a tray on which rests a shot of Scotch and a glass of water. Drink the Scotch and the water for a chaser.

You now have the necessary items

332

for your coin trick. None of which look "proppy."

FLOWER PRODUCTION In a recent column I quoted a telephone conversation about spring flowers and their uses between "Hen" Fetsch and me. He called again soon after the piece was in print.

"Got another idea! A perfect loading device. Put your packages of spring flowers in every-day seed packages. You know, those with the pretty pictures on the outside.

"Roll your cone, then pick up your seed package. Say that ycu're pouring seeds inside. Actually let the tied-up bundle of flowers drop in. It's a perfect cover-up."

I agree.

BURNING MYSTERY Looking through one of the late Adrian Plate's notebooks the other day I found an interesting item. If you dip a dollar in alcohol and set it afire, his notation said, only the alcohol will go up in flames, the dollar will remain unharmed.

If you try this, fold the bill into a small package before you dip it.

This might be useful in a bill in lemon routine. I'd advise you to' practice with stage money.

PUBLICITY SUGGESTION Why doesn't some magic dealer put out a pocket size Money Machine?

You know, the double roller device.

It would be an excellent close-up stunt in newspaper offices and restaurants. The present machines are needlessly bulky.

WATCH WINDFR COMEDY Why the new watch winders are chrome plated I'll never know. Used as most magicians use them they should be flesh-colored and hidden at all times. Because they are chrome plated, however, I frequently draw one from my pocket and flick it as I would a cigarette lighter. When the loud whirring noise is made I make a grimace and replace it.

The natural follow-up is, of course, the Match to Flower trick or the "reduction of a giant match or lighted candle.

HEAD THROUGH CARD Not magic but an excellent puzzler is this old-timer. You announce that you can put a hole in a playing card large enough to step through.

Instead of using playing cards, I've been borrowing business cards and announcing that I can put my head through holes cut in them.

The diagram shows how the card should be cut. No matter whether you use playing cards or business cards it's better to limit the size of the opened-out card to head-through rather than body-through expansion.

In the old form of the stunt the performer stepped through the card.

Your cuts don't have to be as close together and there's less risk of the expanded card breaking.

MOW I i

CARD CUT

TABLETOP MYSTERY Magicians who use tables should have their tricks built in the table top. For instance, the vase of the Television Card Frame would be in the table and only two little clips to hold the glass plates would be above its surface.

Built in coin stands would have no suspiciously thick bases. Another trick which could use the table concealment to good advantage is the Card and Balloon Stand. In this case, only the metal rod with its wire rings would be visible. It would be detached from the top so that a spectator could put a balloon in the holder, then it could be reinserted in its hole in the table top.

Aim to reach the point where you can visualize the effect of a feat of magic from its printed description; if you choose your effects only from those you actually have seen performed you will miss many gems and run great risk of becoming only a copyist.

Study the classic examples of the art as done by the masters; seek out the reason for every move, word or gesture. Such knowledge will be of inestimable value in working out your own effects.