Pages from hugard's magic monthly vol 7

Hugard's DEVOTED VOL.

SOLELY

MAGIC Monthly T O

VD No. 1

T H E INTERESTS

O F

M A G I C

A N D M A G I C I A N S 30 CENTS

JUNE 1949

LIGHTNING-FLASH CARD CHANGE

by STANLEY COLLINS The title I have chosen to head this article is, I think, an appropriate one, for in a flash of light a card changes into an entirely different one.

Take a sheet of flash paper about five inches by four and having fashioned it carefully around (say) a Seven of Spades, trace with a soft lead pencil the three central pips of the card. This done, turn the sheet of paper over to bring the pencilled pips to the inside of the dish-like receptacle thus formed and reverse fold it, Fig. 1 shows the sheet ready to receive the card.

It will now be readily understood that if a four spot of the same suit is dropped into this fashioned sheet of paper and the edges are folded around the card, a complete seven of spades appears to be enclosed. The perfection of this illusion cannot be fully appreciated by merely reading about it; it must be made the subject of experiment.

In performance, a Seven of Spades is either top or bottom changed for the forced Four of Spades and the presumed Seven of Spades is dropped into the accomodating sheet which is then folded around the card. The audience sees no change.

At this point the reader will voice the objection. — What about the index showing a four instead of a seven? This possible snag is easily overcome by gripping the opposite index corners between the thumb and middle finger only and then slightly buckling the card as shown in Fig. 2.

The buckling of the card serves a two-fold purpose; it takes the figure of the index out of the range of vision and, by stretching the paper on the card, brings the pips in sharper definition. For very close quarters presentation, however, there is no reason why the indexes should not actually tally with the supposed enclosed card. To this end, a Six-spot is made to appear as an 8.

Held in a pair of small tweezers, the wrapped card is passed over the flame of a candle. In a split-second the Seven of Spades is seen to change

INCH MARGIN TO FOLD ON THE BACK OF THE FOUR OF CLUBS

CARD TO CO * FACE DOWN T IN PAPER S

INSIDE OF PAPER SHOWING THREE PENCILLED PIPS. CARD 5H'OWING AS A SEVEN, IS BUCKLED OUTWARD SLIGHTLY. THUMQ AND MIDDLE FlNCCR HIOE INDEX NUMBERS.

into a Four, an effect that is truly magical.

This principle does not limit the trick to a change of values only; with a little care Clubs can be made to appear as Spades, to permit a change of both suit and value. See Fig. 3.

The changes can be rung in many ways. A Four-spot can be made to appear as a Five, a Six, a Seven, an Eight, a Nine or a Ten. An Ace of Clubs can serve as a basis for a Three or a Five and a Six-spot can have either one or two pips added to make it serve for a Seven or an Eight.

I have employed this effect in various ways but usually in conjunction with the familiar Candle and Pips

:3 DOTTED LINE SHOWS HOW TO CHANGE A CLUB INTO A SPADE.

trick. The construction of the candlestick permitting only the pillar to be used; the three pips on the candle itself remain out of sight. My own model, specially made for me in wood, has a spiral pillar, a detail which adds considerably to the illusion. Of course, the three pips which disappear from the card are presumed to appear on the candle whose flame serves to ignite the flash paper.

The trick, really a good one, has one rather unfortunate draw-back. It will be found that the flash of the paper giving a discoloration, spoils the card for further use. But a pack of forcing cards is, after all, a very inexpensive item for 52 performances of a really startling effect.

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HugarcTs MAGIC Monthly

PHANTOM SILK AND MATCHBOX

by JEAN HUGARD (Adapted from the trick by A. Mayette in the April issue of that most artistic French magic journal LE MAGICEEN) Most magicians know the trick called THE INVISIBLE PACK in which the performer gives an imaginary deck to a spectator, has him pretend to choose a card, note it and shuffle it back into the pack. The obliging spectator then tosses the deck towards the magician and he catches a real card from the shower of imaginary pasteboards. It is the chosen card. (Card index and the back palm).

The trick, perhaps, is somewhat on the "gag" side of magic but the presentation can be made very amusing and the climax is effective. So why not adapt the idea to other objects?

Perhaps the trick that follows may inspire other routines.

Requirements: Three silks and three matchboxes. Tuck one silk into each matchbox in this manner: Take the silk by one corner, insert the opposite diagonal corner in the matchbox, then push in the rest of the silk zig-zag fashion and close the box. Place the three matchboxes in your outside left coat pocket in a set order.

Procedure: Begin by saying that you had proposed to show an extraordinary trick but have forgotten to bring the necessary materials. However, you will demonstrate the effect in pantomime and you ask the spectators to imagine that they actually see the various objects.

"Here is a matchbox," you continue, pretending to take one from your pocket. "Will you, sir," —addressing a spectator— "take it, open it and pour the matches into my hand?" Go through the motion of handling the box to the spectator and he, in his turn, pretends to push the drawer out and empty it onto your hand. As he does so several real matches fall to the floor (These were held secretly between your right fingers.)

"You were a little too quick for m e . . . No matter, I'll put the rest in my pocket." Pretend to do so. "Now, sir, close the box, please. You are sure it's empty? Shake it to make certain. All right. Here are two rubber bands. Place one around the box lengthwise and one sidewise." Pretend to take two rubber bands from your pocket and give them to him.

The spectator, entering into the spirit of the thing, simulates the actions. "Fine," you say. "Now I want you to hold that empty matchbox tightly in your right hand. Don't let anyone else touch it, will you?"

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Address a lady, "Here are three very beautiful silk handkerchiefs."

Pretend to take them from your right coat pocket. "One red," take one of the imaginary silks by a corner with your left hand; "one blue,", take another in the same way; "and the third is yellow," pretend to take the third. Stroke the imaginary silks several times with your right hand.

"Beautiful shades, aren't they? Will you be good enough to choose one?

The yellow one? (or as the case may be). Very well. Will you please take it?"

Pretend to take the yellow silk with your right hand, crumple it up and then place it in the lady's hand.

"Please roll it into a little ball and hold it tightly in your right hand."

The lady goes through the motions.

"Perfect! Hold it tightly, please."

"We don't need these other two silks," you continue as you thrust your left hand into your pocket as if depositing the phantom silks there.

Seize the opportunity to finger palm the matchbox containing the yellow silk.

"For a change let's have a real obect. May I borrow your handkerchief for a moment?" Address another spectator and take his handkerchief in your right hand. Holding it by two adjacent corners, spread it and turn it to show both sides, crossing your right hand in front of your left hand which has the matchbox palmed.

Add the left hand corner to the one in your right hand and take the matchbox secretly behind them holding it with your right thumb. Bring up the other two corners with the left hand and take them behind the matchbook with the right thumb.

Thus you have an improvised bag into which you can drop the matchbox at will.

Turn to the first spectator. "When

I call "Three!1 I want you to throw that matchbox you hold at this little empty bag." Squeeze the bottom of the "bagged" handkerchief, "and I'll try to catch it inside. Ready?

One! Two! Three!" The spectator makes a throwing motion, you swing the handkerchief slightly and let the matchbox fall inside.

"Good shot, sir! Here's the matchbox." With your left hand show the shape of the box.

Turn to the lady. "Are you, a good shot? When I say 'Three' please throw that yellow silk at the bag. You must throw hard for it has to pass through the fabric right into the closed box.

Ready? One! Two! Three! Wonderful!," you exclaim as the lady makes her throw, "The yellow silk is now in the matchbox."

Hold your left hand palm upwards.

Let the bottom of the "bag" rest on it and then let the corners fall from the right hand so that the matchbox is revealed lying on the middle of the handkerchief.

Throw the handkerchief over your shoulder for the moment, then very openly, so that all can see you have nothing but the box in your hands, remove the two rubber bands, push the drawer open, take the corner of the yellow silk, draw it slowly from the box and display it. Fig. There's your climax. You'll find it will be well received.

This novel production of a silk may be used as an opener for a production of silks after the style of the Stilwell act by secretly getting a loaded handkerchcief ball when placing the matchbox in your pocket.

Hu-Gardenias to Doctor HARLAN TARBELL and RUSS WALSH the new national president of the S. A. M. and I. B. M. respectively, for their precedent-shattering decision to combine the 1950 conventions into one mammoth magic festival —• a symbol of the growing unity and spirit of cooperation between the two fraternities.

Hugard's MAGIC

MATCH

MONTE

by HAROLD J. KELLY Here is one of those novelties to delight the heart of the close-up performer. While not exactly a feat of magic, it is still a puzzler, and a baffling problem to those who do not know the secret. The magician and a spectator play a game, using matches for tokens. The magician invariably wins every game.

Many methods have been devised for playing so-called games with tokens, cards, dice, etc., in which the performer always wins over his opponent. In most games of this type, the performer usually has to hit certain key numbers to enable him to win. After a few games, however, an astute observer can generally figure out the formula. In some of the more complicated methods, •while the secret is well concealed, the performer must be somewhat of a memory expert and mathematician to win.

In MATCH MONTE every game is played differently, the magician apparently following no set plan. The memory work is practically nil, anyone reading the directions carefully and playing out a couple of the sample games will have it learned. There are no set mathematical keys to remember. In fact, the performer can play three or four games simultaneously, a la the chess expert.

THE GAME: Fifteen matches are arranged on the table in three rows, as follows; three matches are placed in the first row, five in the second row, and seven in the third row. See figure.

Ill I I I II I II II II Two players take turns in drawing matches from the three rows, the object of the game being to force the opposing player to take the last match from the table. The person taking the last match loses the game.

Each player, in his turn, can take any number of matches that he wishes from any ONE row. He can draw just one match, all of the matches in the row, or any intermediate number that may be in the row. However, he can draw out of only ONE ROW on each play. For instance, if there were still five matches in the center row on a player's turn, he could draw one, two, three, four, or all five matches from the row. But he could not take a match from this row and also from one of the other rows.

The opening play of each game al-

ternates between the players; i.e., the player who draws first in one game plays second in the following game, and vice versa.

SECRET: As stated earlier, there is no formula which must be followed, or any set figures to draw to in removing matches from the table. However, the performer, in his turns, must draw so as to finally leave any one of the following three combinations; (a) the I-I-I combination, that is, a single match left in each of the three rows. (b) the 2-2-0 combination, two matches in one row, two matches left in a second row, and nothing at all in the other row. (c) the 1-2-3 combination, one match in one row, two matches in a second row, and three matches in a third row.

Whenever the performer leaves one of these combinations, it is impossible for the opponent to win, as will be explained in detail. It is easy to hit one of these combinations during the game. Often the withdrawal of one or two matches from a row will do it, after a couple of preliminary plays.

The performer can draw haphazardly the first play or two, and then hit a winning combination.

EXPLANATION OF THE WINNING COMBINATIONS; the 1-1-1 combina. tion. Say the play has progressed until two rows each have a single match in them, and the other row has two or more matches. The performer draws all but one match from this row, leaving a single match in each row. The opponent can draw but one match in his turn. Next the performer takes one of the remaining matches, and one match is left on the table for the opponent to draw, thus losing the game.

The 2-2-0 combination; the play has progresed until the performer can, in his turn, leave two rows with two matches in each, the other row being gone. If the opponent takes a single match from either row, the performer draws both matches from the other row, leaving a single match for the opponent to draw, again losing. Should the opponent take both matches from one row on his play, the performer merely takes one match from the remaining row, leaving a single match on the table for the opponent.

In conjunction with this second combination, the performer should know that if at any time he can draw and leave just two rows with the

Monthly

same number of matches in each, he again has the game •won. In this case he merely draws the same number of matches as his opponent draws, until he can win from the 2-2-0 combination just described, or by taking a complete row if the opponent draws all but one match from the other one.

The 2-2-0 and the two even rows are the most usual way of winning, so it is best to try for one of the other combinations whenever possible.

The 1-2-3 combination; the other unbeatable combination is the one where the performer leaves one match in one row, two matches in another row, and three matches in the third row. Nearly any play the opponent makes will allow the performer to make either the 1-1-1, or the 2-2-0 combination on his next play, thereby winning. The only other alternative the opponent has is to take all of the matches out of either the 'two' or the 'three' row. In either case, the performer takes the other 'two' or 'three' row, leaving a single match for the loser.

There is the entire secret, the performer makes any of the combinations described, and wins. Sample games describing each combination will be given. Of course, the performer does not know which combination he is going to play for at the beginning of each game. He just draws haphazardly until he sees an opportunity to hit a winning combination.

It is well to vary the play as much as possible as the games progress, sometimes playing recklessly and removing an entire row at one play, at other times, just taking one or two matches. As mentioned before, try to hit the 1-1-1 or 1-2-3 combinations.

A little hocus-pocus helps, like asking "How many matches did you draw?" and then making an imaginary calculation before drawing. The magician can play rather carelessly at the start of each game and then hit a winning combination when the opportunity presents itself. After quite a few games, especially against an opponent who is trying to figure out the secret, it is best to play carefully and not leave any opportunities for the other player to accidentally form a winning combination.

As mentioned earlier, it is interesting to play three or four games at one time. It is just as easy as playing single games, and it does create quite an impression.

SAMPLE GAMES: In these sample games, the performer, of course, is •to win. Each row will be called by the number of matches originally placed in it, not by the number of matches remaining at the time of the play. That is, the row originally con-

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HugartTs MAGIC Monthly

tabling three matches will be the '3' row; the row originally containing five matches will be the '5' row, etc.

GAME ONE, USING THE 1-1-1 COMBINATION: Opponent removes six matches from the '7' row; the performer takes two from the '3' row; opponent takes one from the '5' row; performer takes three from the '5' row, leaving the 1-1-1 combination, and winning.

GAME TWO, USING THE 1-2-3 COMBINATION: Performer takes one match from the '7' row; opponent removes one from the '5' row; performer takes two from the '3' row; opponent takes two from the '5' row; performer draws three from the '7' row, leaving the 1-2-3 set-up to win.

GAME THREE, USING THE 2-2-0 COMBINATION: Opponent takes one match from the '3' row; performer draws five from the '7' row; opponent removes one from the '5' row; performer takes the four matches left in the '5' row, leaving the 2-2-0 combination, to again win.

GAME FOUR, USING TWO EVEN ROWS: Performer removes all three matches from the '3' row; opponent takes one from the '7' row; performer takes one from the 'V row (leaving two even rows of five matches each); opponent takes two from the '5' row; performer draws two from the '5* row; opponent removes one match from the '5' row; performer takes one from the '7' row, leaving the winning 2-2-0 combination.

GAME FIVE: Here the performer is to play carefully, taking no chances.

Opponent takes one from the '3' row; performer takes one match from the '5' row; opponent draws two from the '7' row; performer removes one from the '3' row; opponent must lose now.

If he takes a single match from the '3' row, the performer takes one from the '7' row, making two even rows.

If the opponent takes one or two matches from the '5' row, the performer takes enough from the '7' row to make the 1-2-3 combination. If the opponent takes three from the '5' row, the performer takes four from the '7' row, making the 1-1-1 combination.

Should the opponent take all four matches from the '5' row, the performer removes the entire '7' row, leaving just one match on the table.

If the opponent should take one match from the '7' row, the performer draws the single match left in the '3' row, leaving two even rows. If he takes two or three matches from the '7' row, the performer draws either one or two matches from the '5' row, to make a 1-2-3 combination. If he draws four matches from the '7' row,

550

A CLUB

SANDWICH

by MILTON G. MILLER (Ed. note. It is a comparatively easy matter to string together several sleights and moves and come up with, a new effect, it is quite another and much more difficult task to devise a plausible plot with amusing patter to fit the effect. Mr. M511er has succeeded in doing this and his trick is worthy of a place in any card man's repertoire.)

Effect: Two cards are freely selected from any deck, noted, returned and the pack shuffled. These cards are regarded as slices of ham. Three indifferent cards are turned face up in different parts of the deck and are regarded a three slices of bread.

The cards are then simply 'sprung" from hand to hand and instantly spread face downwards on the table.

The three slices of bread are seen to have come together with two face down cards sandwiched between them.

These two cards are turned face-up and prove to be the chosen cards—• the slices of ham. The Club Sandwich is complete!

Procedure: Using any pack have a card freely selected, noted and returned. Control the card to the position of second from the top. You may do this thus-Overhand shuffle a third of the deck into your left hand, have the chosen card returned on top of these cards, continue the shuffle by running one card flush with the chosen card, injog the next card and shuffle off; form a break at the injog, shuffle to the break and throw the remaining cards on top — or use your own method.

While shuffling look at the spectator and say, "Have you a vivid imagination. Yes? Do you think you can imagine your card to be a slice of delicious ham? You think you can.

Wonderful! Remember your card and also remember that now it is a slice of ham."

Have a second card freely chosen and noted. For its return undercut about two-thirds of the pack and have it placed on top of the original top portion. Overhand shuffle by jogging the first card and shuffling off; form break at the injog, shuffle to the break and throw on top; finally backthe performer takes three from the '5' row, leaving the 1-1-1 set-up. Finally, should the opponent take all five matches from the '7' row, the performer draws the four matches left in the '5' row, leaving a single match on the table for his opponent to draw, and again lose.

slip the top card, the second chosen card, to the bottom.

While shuffling address the second spectator, "Do you think you will be able to imagine that your card has also become a slice of ham? Good!

So now we have two slices of ham somewhere in the deck. Now we will need some slices of bread—imaginary, of course. This bottom card is not one of the slices of ham, is it? Then we'll call it a slice of bread and leave it face-up so."

While sayisg this hold the pack in position for the New Glide, slide back the bottom card and let it drop as in "The Card Through The Magazine" (EXPERT CARD TECHNIQUE, page 302) Withdraw the second card, turn it face-up showing it, then replace it face upwards in the position from which you took it.

Take the deck in your left hand in dealing position, holding its outer end sloping downwards a little to prevent anyone from getting a glimpse of the bottom card. Turn the top card face up on the pack and ask, "Is this card one of the ham slices? No? Very well we'll call it a slice of bread also."

So you make a double lift, taking the next face down card (the first chosen card) with it, and place it face upwards on the bottom.

"Let's take this top card for another slice of bread." Turn over the indifferent card now on top of the pack.

"Not a slice of ham, is it?" Cut the pack and complete the cut casually.

"Now we have two slices of ham and three slices of bread scattered in different parts of the pack" — really the cut has brought the three face-up cards together with the two chosen cards sandwiched between them but your statement will be taken for granted. "Now, my trick is this — to make those five cards into a Club Sandwich — bread, ham, bread, ham, bread. How? Quite simple, the cards will do it all by themselves. All they need is a little room to move around and sort themselves out. Watch!"

Spring the cards from hand to hand.

"Did you see them? Watch again."

Spring the cards a second time and then immediately spread the pack face down, ribbonwise, on the table. The three face-up cards are seen to be together in the middle of the pack with two face down cards between them. "There they are!" you exclaim.

Push the five cards forward for about three-quarters of their length. Have the two chosen cards named and turn them face upwards proving that the club sandwich has been correctly made.

HugarcTs MAGIC

Monthly

MILBOURNE CHRISTOPHER'S COLUMN For the basis of the idea I am about to explain I am indebted to two wonder-workers — Henry Slade, the spiritist and Harry Houdini, the magician.

Slade, who achieved his greatest fame by producing messages on borrowed slates, was investigated in 1877

by Professor Zoellner, of the University of Leipzig. Zoellner, an astronomer, was especially interested in fourth-dimensional problems.

Slade obligingly caused four knots to appear on a loop despite the fact that the ends of the loop were sealed.

Zoellner was both mystified and delighted. If he wanted to believe that the fourth dimension was used, Slade was not the man to undeceive him. So the noted astronomer was completely hoodwinked.

Houdini, in his MAGICAL ROPE TIES AND ECAPES, gave a method for effecting Slade's trick. It was, he said, "slightly different" as "a modern audience would not stand for some of the raw work of his day."

If you habitually use a cabinet, Houdini's version of Slade's feat is acceptable but if, like the writer, you generally perform without such cumbersome trappings, I'm sure you'll find my method more practical.

SLADE'S KNOTS UP-DATED Effect: The performer passes a four foot length of soft rope for examination. Once the spectators are satisfied that the rope is unprepared, he holds the ends in his right hand, loop hanging downwards, and tells an enlooker to knot the two together.

The magician explains that Slade, the medium, used to perform this feat in darkened rooms, that Houdini recommended that it be presented in a cabinet but, daring fellow that he is, he will attempt it in a fully lighted room.

A spectator holds the knotted ends which extend above the performer's right fist. The performer gathers the loop between his hands and cautions the spectator to hold tight. The magician suddenly pulls both of his hands down and away — the rope has four overhand knots tied in it! The ends, which the spectator still holds, must be untied to remove the knots.

Needed: Two identical lengths of soft rope. Tie four knots along one of the two pieces. Remove your coat.

Thumb palm the two ends of the knotted rope in your right hand. Replace your coat. The rope will now be up your sleeve. Hold your hand so that (he spectators won't see the

SPECTATOR HOLDS KNOTTED ENDS FIRMLY. .

SPECTATOR TIES ENDS OF KNOTTED ROPE WHICH IS UP PERFORMER. 'S SLEEVE.

ENDS OF EXAMINED HIDDEN

ROPE BY

CLOSED FINGERS.

HANDS CLOSE TOGETHER, THE PERFORMER HOLDS GATHERED UF> LOOP IN RIGHT HAND.

SPECTATOR HOLDING ENDS

PERFORMER SLIPS THE EXAMINED ROPE IN POCKET REACHING IT ON THE DOWN SWEEP.

thumb-palmed ends.

Performance: Begin your story about Slade. Pass the second rope for examination.

On receiving it back hold the two ends in your right hand with about six inches of each extending over your closed fist. That's how it looks from the audience. Actually when you pass the rope ends from your left hand to your right hand, close your right fist around them and with your left hand pull the two thumb-palmed ends out so that they extend over the fist. (See illustration one.)

Holding your right hand close enough to your body to mask the ropes extending on your wrist side from your sleeve, instruct a spectator to tie the ends together.

If the performance is important enough to warrant it, you may have the knots sealed with hot wax to a piece of heavy cardboard, a la Mr. Slade. Normally the knotting of the ends is impressive enough.

Take the bottom of the loop which hangs from your right hand in your left hand. Fold the rope back and forth in your left hand. Gather it up until it is between your two hands.

SPECTATOR. HOLDS ROPE WITH FOUR EXTRA KNOTS.

The only visible rope is the knot which the spectator holds and the two strands which run from it into your right fist.

Sum up what has happened. That an examined length of rope has been tied securely at the ends. That an onlooker has a firm grip on the knots.

Pull your closed hand down and away rapidly. The rope which was up your sleeve comes out from your closed hands and it is seen that four knots have been tied mysteriously in the loop.

As the spectators watch the rope streaking out from your two hands, something very vital to the trick is being done. Your closed hands, as I have said, are pulled down and away.

Turn your body slightly as this is done. The two hands at the end of their swing, masked by your body from the front, quickly slip the examined rope in your coat pocket.

This is a natural and, with a bit of practice, a completely deceptive getaway.

If you have had the ends of the rope sealed, let the person who sealed them admit that the seal has not been (Continued on page 556)

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Hugard's MAGIC Monthly

ALL

BACKS

by DAI VERNON THUMB PUSHES DECK HALF WAY OVER.

RCVERSCD CARD .

ON BOTTOM.

(Ed. note. Some ten or twelve years ago I marketed a trick under this titie. Briefly, the effect was that a card, freely selected, was noted, returned to the pack and the pack shuffled. To find the card the performer turned the deck face upwards but there were no faces— only backs showed. No matter where the cards were cut or how they were spread backs only •were seen, the faces had disappeared. Finally, a magic wor.d, the faces reappeared, with one card reversed. On turning this card it proved to be the chosen card. Mr. Vernon liked the effect and did some work on it, devising his own methods but at that time the use of doublebacked cards was a deep, dark secret, known only to a select few. Mr. Vemon feared that the trick might give other magicians ideas and therefore put it aside.

Recently, since that objection no longer holds, double-backed cards being common property, he has revived the trick. The method that follows is Mr. Vernon's, slightly simplified to bring it within the reach of all).

Effect: On being handed a pack of cards with the usual request, "Show us a card trick," the magician spreads the cards showing the backs. They appear to be quite regular but on turning the deck over and spreading the cards again, once more only backs are seen, there are no face cards.

Then, turning single cards or cutting the pack at any point, only backs show even when the whole pack is spread and every card shown back and front. Suddenly the faces are seen to appear and on examination the pack is found to be perfectly regular.

All the moves are standard except for one special sleight by means of which a face-down packet of cards is apparently turned over to show the face but again only the back shows.

The sleight is an easy one and completely illusive.

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HAVO THEN TURNS OVER APPARENTLY TURNINQ THE DECK.

THE FALSE TURN-OVER

Take a packet of cards in your left hand in dealing position but with the thumb lying along the left side instead of on the back. Fig. 1.

Grip the right side of the packet with the fingers and begin to turn the hand over inwards. When the packet reaches the position shown in Fig. 2 press the tip of the thumb against the middle of the face card and continue to turn the hand over until it reaches the position shown in Fig. 3. To all appearance the packet has been turned over, in reality, only the hand has turned, the cards remain face downwards. To return the packet to its original position, simply reverse the moves. A few trials will show how easy and deceptive the sleight is.

To get the greatest effect from the trick that follows you must act as if you are astonished to find that you have been given a pack of cards which has backs only, no faces. There must be no suggestion of doing a trick, you are merely turning the cards over and you must register complete surprise at finding that they are "all backs."

Procedure: We will suppose that someone has handed you a pack of cards with the request that you do some tricks. Take the pack and, while looking at the spectators and making the usual remarks about not being prepared, taken by surprise, and so on, secretly reverse the bottom card and the second card from the top, while apparently merely toying with the deck. You are then ready for the following moves— 1. Holding the pack face downwards in your left hand with its outer end sloping slightly downwards so that no one can get a glimpse of the bottom card at any time (a position which is maintained throughout the trick), spread the cards showing their backs but avoiding the exposure of the face-up card on the bottom and the one second from the top. "Nice cards," you say. "I hope you have treated them properly. Many people

don't know how sensitive cards are."

2. Square the deck and with the left hand make a side cut of about half the cards and complete the cut, holding a break between the packets with the left little finger. Keep the outer end of the pack well squared.

"Let's have a look at the faces." Take the upper packet by the ends between the right thumb at the inner end and the fingers at the outer end. Turn the hand palm upwards— a back appears at the bottom of the packet instead of the expected face of a card.

"Hello!" you exclaim. "What's this?"

Turn your hand down and back again, each time showing a back. Repeat the move and at the same time, execute the false turn-over sleight with the packet in your left hand, showing a back on each side of it. Reverse the left hand movement while again showing both sides of the right hand packet. "What kind of cards are these?

They have no faces."

3. Place the right hand packet under the packet in the left hand thus bringing the pack back to its original position, a reversed card on the bottom and a reversed card second from the top. Make a double lift by sliding the right thumb under the inner end of the second card carrying the two cards off as one. Turn the hand over to show that the card(s) has a second back and no face. Do this several times keeping the hand in motion.

4. "How can I do tricks with a pack like this?" you ask indignantly. With the left thumb riffle off about a dozen cards, hold a break there and insert the card(s) in your right hand in the break, pushing it (them) flush and securing a break below them with the tip of the left little finger. Square the deck, cut at the break with your right hand and turn the packet over showing a back at the bottom. With the left thumb turn the packet in your left hand over, really this time, and again a back shows.

5. "I've never seen cards like these before. I'll take them one by one."

Replace the right hand packet on the left hand packet, again holding a break with the left little finger.

Spread nine or ten cards showing their backs, then square the pack as you say. "All backs. Let's try the other side." Take the top packet by the ends between the right thumb and fingers, push it forward about half an inch, then grip the whole pack by its outer end with the right hand and turn it over inwards, replacing it in the left hand. Square the cards and again take a break between the two packets as before.

HuganTs MAGIC Monthly The larger packet is now on top and you can spread almost the whole pack and again nothing but backs are to be seen. Square the deck and again take a break between the two packets.

6. "You are playing a trick on me.

I defy anyone to do tricks with cards like these." Cut at the break, taking the top packet in the right hand, turn it over and show the bottom card —a back. Really turn the packet in the left hand over and again a back shows. Bring the hands together for a moment, the right hand packet above the other one, and slightly overlapping it. With the left fingers push the bottom reversed card off and take it flush on the bottom of the right hand packet... Then put the left hand packet on top of the right hand packet... The position then will be this — the two cards at the bottom are face upwards all the rest of the cards face downwards.

7. Take the pack between the right thumb and middle finger in position for the Hindu shufle. Strip off several

small packets into the left hand, then raise the right hand and show that the bottom card of its packet is a back. Drop the hand, continue the shuffle for a couple of packets and again raise the right hand to show a back. Repeat the moves but this time with the left thumb slide the bottom card of the right hand packet openly onto the cards in the left hand and still a back shows.

Remember, you started with two cards reversed on the bottom so now the second card shows its back. This move is convincing and routs those who think they now know what is going on. Continue the shuffle to the last few cards, then place them below the cards in the left hand.

8. You now have a single card face up on the bottom of the deck. Square the cards, riffle off the two bottom cards and take a break with the left little finger. "Let's take a last look," you say and you spread the whole pack holding the last two cards as

RADIO-ACTIVE BILLIARD BALLS

by PAUL V. MULLEN A new and puzzling vanish and reproduction of a billiard ball.

Effect: A blue billiard ball is shown freely and placed under a silk in the magicians' left hand, its shape being plainly visible. A second billiard ball of a contrasting color is also placed under the silk and the balls are clicked together.

The second ball is removed, shown freely and placed in the magician's trousers pocket. The silk is tossed into the air and the blue ball vanishes.

It is reproduced from the trousers pocket.

Required: A plastic billiard ball made and sold by Abbott's Magic Novelty Co. ($1.00) for changing a silk into a billiard ball of the same color. This ball has a seam at the middle; separate the halves of the ball at the seam and discard the one with the hole in it. The other half will give you a transparent shell which, when fitted onto a 1% inch billiard ball of any color, will be invisible at the closest range.

Place this shell over a blue billiard ball and place it in your right trousers pocket together with, say, a yellow billiard ball of the same size. Use a silk of still another color.

Procedure: Take the blue ball from your pocket together with the shell and show it freely and on all sides.

Place the ball and shell under the silk

and in so doing finger-palm the ball but hold the silk in your left hand so that the shape of the shell is visible and appears to be that of the ball.

Take the second ball from your pocket leaving the palmed ball there.

Show this ball freely, then place it under the silk clicking it against the shell. The sound will be exactly the same as if two balls clicked together.

Explain that this ball is radio-active and that the rays will act on the blue ball and disintegrate it. Slip the second ball into the shell and remove both and again show the ball freely, the shell being invisible. Put the ball and shell into your pocket then suddenly flick the silk' out and show it on all sides. The blue ball has vanished.

After a moment or two remove the two balls from your trousers pocket leaving the shell behind.

Second effect (by Herman Hanson): A blue billiard ball, freely shown, is placed under a silk. A yellow billiard ball is also shown and placed with the blue ball, the two balls being clicked together and their shapes being plainly visible.

Suddenly one ball melts away and the silk is flicked into the air. Only the yellow ball remains and this can be shown freely on all sides.

The procedure in this case will now be readily followed. The blue ball has the transparent shell over

STOP

PRESS

Max Holden is very seriously ill.

Calls can be made through Norman Jensen, WIsconisn 7-2806. one. "Backs! Backs! Backs! Nothing but backs."

9. Square the deck, take it by its outer end with the right hand and turn it over inwards. Do this rapidly twice more as you exclaim "Backs!

Backs! Backs!" At the completion of the third turn, side slip the bottom card, the face-up card, into your right hand, palming it, and take the pack in that hand holding it by the ends.

"After all," you say, "I'm supposed to be a magician. I'll have to do something." Place the pack in your left hand, slap the right hand down on it, plastering the face-up card on it and immediately spread the cards fanwise showing their faces. If you have acted your part well, this climax will positively be a startling one, really magical.

it and is palmed away when the silk is placed over it. The palmed ball is disposed of in the pocket when getting the yellow ball. The vanish follows. — The yellow ball is slipped into the shell and the silk is flicked away with a flourish. *

*

*

A TABLE ILLUSION To amuse your guests at the dining table, you drop some little white balls into a clear glass jug of water. One by one the balls mount to the surface and then drop to the bottom again.

This ascent and descent of the balls continues indefinitely without any visible cause.

The balls are ordinary moth balls and the water has been prepared by adding a tablespoonful of white vinegar and then slowly stirring in a half teaspoonful of bi-carbonate of soda.

The moth balls do not react chemically to the solution but their rough surface affords a resting place for tiny gas bubbles which form in the water. When a sufficient number of these accumulates on any one ball it is buoyed by them to the surface.

There some of them burst and the ball falls again to the bottom.

This ascent and descent of the balls, which is a mystery to those not in the know, will last for about two hours.

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HugartTs MAGIC Monthly

BOOK PROFILES

by JOHN J. CRIMMINS, JR.

STARS OF MAGIC SERIES # 5 .

THREE FINE DAI VERNON EFFECTS: (1)—IMPROMPTU CUPS & BALLS, $5; (2)—AMBITIOUS CARD ROUTINE, $2; (3)—MENTAL CARD MIRACLE, $3. Edited by George Starke and published in New York City. Available through Hoiden's Magic Shops. These three effects are superb, employing as they do brilliant misdirection plus the application of subtleties that are the last word in magic technique. Each represents years of study as is evident in the beauty of the routines and the masterful handling of the presentations which build surely and definitely to real entertainment. Here is sleight-ofhand in its purest form, unadulturated and perfect. Effect # 1 — THE IMPROMPTU CUPS & BALLS is one of the most baffling and entertaining presentations of this classic I have ever seen. Each move is logical, each sequence of effect •— transposition, penetration and transformation— is truly magical. No time is lost, yet the presentation is so intriguing that it appears entirely unhurried through the three phases given, and the final transformation of the balls into lemons, potatoes or apples, as the case may be, just appears to happen as though real magic was being employed. The routine is most effective when done impromptu with ordinary, borrowed tumblers wrapped in newspaper. As such, it is in the miracle class. The text supplied is complete wth 10 magnificent photo-action, halftone illustrations by George Karger in an 8%" x 11" printed booklet of 8 pages in the now well known Stars of Magic format. Effect # 2 — AMBITIOUS CARD ROUTINE is unquestionably the finest presentation of the well known Ambitious Card effect to date. The trick is the one wherein the top card is inserted lower down in the deck only to arrive mysteriously again at the top. Dai Vemon's handling of this basic theme is something out of this world, and it took several years of coaxing to get him to release it. Not only does a selected card jump thrice to the top of the pack, but it descends as many times to the bottom. Then to make it easier, for the spectator to follow it, the selected card is turned face upwards in the face down deck and still it persists in travelling just as readily to the top. Finally, for a terrific climax, the card performs its gymnastics for the spectator while he holds the deck in his own hands. The fun engendered throughout, with the many

554

mock explanations and the apparently obvious opportunities it offers for catching the performer, marks this particular version a topflight card effect. Four printed pages with 6 Karger illustrations makes this whole working easily understandable. Effect # 3 — MENTAL CARD MIRACLE is an almost unbelievable effect, bordering on the impossible. The whole thing is so apparently effortless that it will nonplus any audience, magicians not excepted. Anyone mentally selects one card in a fan of five.

The fan is closed, placed behind your back and one card withdrawn and placed in your pocket without showing it. When the selected card is announced, you show the remaining four in the fan, one at a time, and the named card is missing only to be produced from your pocket. The effect is immediately repeated twice again, and you never fail to find the thought-of card. If there is anything more direct in the mental line, I have yet to see it! Complete explanation with accompanying illustrations is given in four printed pages of crystal clear text.

OVER THE COFFEE CUPS by Martin Gardner. A 34 page book with 50 illustrations. Published by Montandon Magic, Tulsa, Oklahoma. Soft board covers. Price, 98c. This new book should, because of its excellent material, be as big a seller as the author's earlier one, "After The Dessert." Here are some 81 table stunts, many new and many little known, with sugar cubes, silverware, paper matches, napkins, cigars, coins, etc. that every magician will get a world of pleasure in presenting whenever the opportunity arises. These are the type of stunts, puzzles and bits of offhand magic with which everyone expects a magician to be armed and, as such, I heartily recommend this collection to your immediate attention.

STUTHARD'S TRILBY DECK. A 20 page printed book with 20 halftone illustrations. Available through Wm. Kabnan of Montreal, Canada. Complete with special Trilby deck, $3.75.

This is a complete card act for the non-sleight-of-hand performer, and an excellent one it is, too. The deck itself is an ingenious combination of the Svengali and Stripper decks which, with proper handling, will create a reputation for any magician. It may be fanned, over-hand snuffled, spread across the table face upwards, etc., and the double lift possible with it is, of course, perfection itself. The book gives 10 stunning tricks with the

Trilby deck, a clever switch of the duplicate cards for the missing 26 Stripper cards to complete the Stripper deck, and some 11 first rate tricks with the latter deck. A full ten minute act with the Trilby deck is thrown in for good measure. This is foolproof card magic for the masses you will be proud to present.

PETER WARLOCKS "THE GAP IN THE CURTAIN". A 1 page mimeographed and illustrated manuscript published by the author in Wallington, Surrey, Eng. Price $1.50. Those interested in sound, effective mental effects of the Annemann type will be certain to like this latest # 4 release in the "Modes For Mentalists" series.

The stunt is direct, entertaining, extremely well routined and utilizes considerable audience participation which is, in the final analysis, the real secret of the success of a mental feat. Basically, it is a slate effect wherein the performer successfully predicts a color, name of a card, and a number which will subsequently be decided upon by 3 members of the audience. Space prohibits a longer description, unfortunately, but the effect is good and in the best Warlock style.

Looking Over The Latest Tricks: Two fine effects just released are Bohleno's TOP START, and Kline's CARDMENTO. Both are basically the same in effect in that the performer makes a written prediction of a card to be chosen later in the trick. TOP START, priced at $10, just won first prize at the S.A.M. Denver Convention, and is an extremely flashy piece of aparatus. The cards of a deck are clipped to the rim of a large display wheel mounted on a stand.

Any number is named and you count from the top around the wheel to determine the card. Needless to say it matches your prediction! Bohleno has incorporated an entirely new principle in this you're sure to like, and the whole display folds up into a small, easily carried package. Bob Kline uses an entirely different principle in CARDMENTO ($10), and but 7 cards which are displayed in a nicely constructed card stand. Any one of the 7 cards is called for, and that's your predicted card every time!

Both are highly recommended, the Bohleno one making for the bigger display.

BOOKS FOR REVIEW should be sent to John J. Crimmins, Jr., 265 Park Hill Avenue, Yonkers 5, New York.

HugartTs MAGIC

NOTES ON THE I. B. M. CONVENTION

by MARTIN GARDNER Unfortunately, a business commitment in Milwaukee made it impossible for me to attend more of the Chicago I. B. M. convention than the Night Before Party and the final banquet and show. The evening show, which closed the conference, was one of the finest I've seen. George Jason did a magnificent job as emcee, Paul LePaul's card manipulations were as flawless as ever, and Jack Kodell's beautiful act with birds continues to be, in my opinion, the most novel act in modern magic. Okito closed the show with a colorful, graceful performance, in the manner of the great master that he is.

Okito's two pert and pretty assistants were Fanita Lasswell, not yet out of high school but with unbounded interest in the magic art, and Okito's wife, who had assisted him for twenty years in Europe and England.

It was the first time in ten years they had been together on the stage. As the band played for an encore I could see Mrs. Bamberg standing in the wings, her eyes shining, smiling and waving her hands to the music like a girl in her 'teens. It must have been a great experience for both of them to go through again the routine they knew so well.

As I watched Okito perform I was impressed once more with the fact that something has been lost by modern magicians in their frenzied search for the latest gimmick and the cleverest patter lines. It's hard to explain exactly what I mean. I think it is an atmosphere —a sense of wonder and mystery— created in part by costume and props, but largely by the acting of the performer. Okito's gestures were a kind of ballet. When a silk emerged slowly from his fingertips, or when the breeze from his fan rippled the cloth that covered a bowl, it seemed not at all important that the trick he was performing had not been advertised in the latest magic magazines.

SLYDINTS TABLE WORK I was unable to attend the close-up sessions, about which I heard nothing but praise, and I missed the fine work of Haskell that won him trophies for originality and the best mental effect (not to mention Frances Ireland's award to the most handsome magician). But at some informal gatherings before the conclave opened I had the privilege of seeing for the first time the remarkable table work of Tony Slydini. I can say without hesitation that I've never seen a closeup worker more skilled in misdirection. His broken and restored ciga-

rette impressed me as one of the finest impromptu table tricks I have ever witnessed. Tony makes a practice of boldly repeating it. The second version is exactly the same -— a burning cigarette broken in half, then restored — but so perfect are the two moves that not the slightest motion betrays the method of handling.

If you've seen Tony's night club act you know the skill with which he vanishes napkin balls by tossing them over the head of a spectator. Here's an amusing impromptu card trick, using the same move, that Tony showed me and gave permission to explain.

Stand close to the spectator, either directly in front or on his left. Hold the deck in the left hand. Take off the two top cards as one, but do it crudely so that he knows you have two cards. Raise the cards in front of his eyes, as though you were showing him the face of a single card. Ask him to remember the card. At this point, lift the hand above his eye level and with a quick toss, sail the card he has just seen over his head. The remaining card is placed slowly on top of the deck. Give the cards a riffle with the left thumb, then turn over the top card to show that the card has vanished. Ask him where he thinks the card is. Since he knows you were holding two cards as one, he will be sure that the card is second from top. Turn over the second card. Then turn the third and fourth.

Finally, hand him the deck. The card he saw has completely vanished!

SCHOKE'S ACE TRICK Chic Schoke showed me a clever way of making use of an old card principle. He shuffled a deck several times, then handed it to me for a few more riffle shuffles. Taking back the deck, he predicted the order in which the four aces would fall. The cards were dealt one at a time, and sure enough, the aces appeared in the order predicted.

The secret is to have the aces on the bottom in a known order. False shuffle a few times, keeping the aces in place, then hand the deck to someone. He can make as many as three riffle shuffles without disturbing the order of the aces. They merely get distributed through the pack. If you wish you can let him shuffle twice, then give the deck a cut. It's best, perhaps, to make the cut yourself, so you can break the cards slightly above the center. Too deep a cut may cut one of the aces to the bottom.

Monthly

ALLERTON'S WRIST WATCH Bert Allerton was up to his usual shennanigans. If you asked him what time it was, he said, "My watch has been a little fast," and showed you a wrist watch with hands spinning rapidly around the dial. Or he would show someone the watch with such remarks as, "Are you in a hurry?", "My eyes have been bothering me lately. What time is it?", or "This rapid pace is getting me down." The watch is easy to prepare. All you have to do, says Bert, is remove the balance wheel from an old watch, Give it a few winds each time before you show it, and the hands start spinning.

Another Allerton gag: "Can you take a little ribbin'?" The spectator nods. Whereupon Bert produces a ribbon, cuts off a small piece, hands it to him. This reminded me of a time I saw Bert hand a penny to a waitress with the statement, "Now you have an odd scent."

SENATOR CRANDALL'S CARD "Senator" Clarke Crandall was on hand throughout the convention with his wacky magic and inimitable lectures. He handed me a card that said, "This is the world's smallest insurance policy. It is issued to "Senator Clarke C. Crandall. If the Senator fails to successfully complete any effect in which this card is used, the magician's protective agency will pay him practically nothing each week for the rest of his life."

Another of the Senator's give-away items is a small wooden nail polisher.

On the smooth side is printed, "If you think this is rough, you should see my act. Senator Clarke C. Crandall— music, magic, and mustache."

At the convention banquet, Emcee Dorny presented the Senator with a rare antique wand, made of expensive wood from a witch's house in Salem.

When the Senator asked how one could be sure the wand was actually made of this fine wood, and not just a cheap imitation, Dorny snapped the wand in half, pointed to the broken ends, said, 'You can tell by the beautiful cross-grain."

Crandall generously gave me permission to describe his original and excellent cup and ball routine using only a single cup. It will appear soon in HMM.

CIGARETTE ENIGMA Many thanks to all who phoned, wrote or wired about the missing sixth cigarette. One subscriber only solved the 'enigma' by showing how the sixth cigarette can be placed. Can you do it?

555

HugartTs MAGIC Monthly

MH.BURN CHRISTOPHER (Continued from page 551) tampered with. If the ends were tied have the tyer assure the audience that the knots are in exactly the same condition as they were when he tied them.

NAILING THE KNOTS Slade sometimes had the knot ends nailed to a chair in his cabinet. Using the method I have just described you may have the knots nailed to a chair on the open stage. The top of the back of the chair would be the best place.

I can visualise Dunninger presenting this to the hilt in his television show. It is the type of trick that can be sold strongly.

UNDER THE TABLE Houdini mentions that Slade sometimes performed this feat for a single sitter while seated at a table. The table gave him cover for his manipulations.

BEHIND CLOSED DOORS When I first started experimenting with Slade's knots — some 15 years ago — after the ends of the rope were tied I walked into a doorway. A spectator held the knotted ends and I pushed the door closed or nearly closed, as I stepped behind it. If you •were in the room with the spectator all you could see was the knotted ends extending from the closed door.

Thus I had an improvised cabinet.

I was under the impression, at the time, that Slade had used this variation.

FOURTH DIMENSION Slade never admitted, to my knowledge, that he used conjuring methods for his feat.

Perhaps he really applied some phase of the fourth dimension. If so his method is preferable to mine. Next time you go to a seance you might ask for his shade and try to get the real lowdown.

Let me know if you succeed.

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Hugard's MAGIC Monthly A monthly publication dt~ voted solely to the interests of magic and magicians.

JEAN HUGARD Editor and Publisher 2634 East 19th Street Brooklyn 29, N. Y.

Subscription Rates 1 year, 12 issues, $3.00 (6 issues for $1.50) Copyright 1949, Jean Hugard

Dealers must submit trick or book with copy, to Jean Hugard for approval. All material returned post paid. Minimum, 3 lines, $1.00

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A Hit Of Hits! 3 Superb DAI VERNON Gems of Magic!

Here's what everyone is saying of series # 5 of the Stars of Magic: "Brilliant," Jean Hugard; "It's tops in magic," Sam Horowitz; "Gold medal effects by a master of magic," John Crimminsi "I can highly recommend them," Al Baker; "To me they are a $50 lesson in magic," Dr. Daley. And here they are: # 1 — IMPROMPTU CUPS &. BALLS The finest routine you've ever seen. Sun ply borrow 3 glasses, wrap them round with newspaper and present this great classic impromptu, anywhere, anytime! Its terrific! #5 # 2 — AMBITIOUS CARD ROUTINE Dai's pet routine for this famous trick of causing a selected card, buried in the deck, to return again and again to the top and bottom of the deck. It's brilliant! $2 # 3 — MENTAL CARD MIRACLE An astounding feat of pseudo-mentalism wherein you always locate and place in your pocket one card of 5 mentally selected by anyone.

Do it again and again. Seems impossible! £3 Also available — # 1 , Scarne series, #6; # 2 , Vernon series, $&', # 3 , Jarrow-Horowitz-AIIerton series, £5; and # 5 , Carlyle series, #4.

(Dealers supplied) TOP START . . . Bohleno's sensational Convention Prize winning card effect. You predict card to be selected. Deck displayed around large card wheel on stand . . .very flashy. #10 MAX HOLDEN*S MAGIC SHOPS "Always First With the Beit" 220 West 42nd Street, New York 120 BovUton Street, Boston, Mass.

117 South Broad Street, Philadelphia, Pa.

An Impromptu Hit! POP-UP REPEAT CIGAR TRICK Here's the greatest in cigar tricks. Now you can work the Repeat Cigar Trick in a new easy manner with our new special cigars and advanced method, which is the last word in simplicity and far more ffective than other known routines.

Performer displays a perfecto-size cigar. It is removed from the hand and instantly in its place appears another cigar, popping up in a most magical manner. The first cigar is placed in the pocket and performer is all set to repeat. And the trick can be repeated as many times as desired. At the finish all the cigars are dumped out on a table and passed around.

You Will Like This One! Price, with cigars (We Pay the Postage) 50c

FLEMING BOOK CATALOGUE FREE! You'll want the new 64-page Fleming catalogue, and you'll get it without asking if you are on our "active" list. Otherwise, send us a postal request, and we'll mail you your copy at once. Entirely free, of course I INFLATION-SMASHING BARGAINS Collins's A CONJURING MELANGE. Cloth, 256 pages, 147 illus., was £4.00 now £2.00 Craggs's A.B.C. OF VENTRILOQUISM. Soft boards, 52 huge pages, 30 ill., was £4.50, now £2.00 Craggs's MASTERPIECES OF MAGIC Cloth, 70 pages, 30 ill., was £3.00 now £2.50 Gib.on's PROFESSIONAL MAGIC FOR AMATEURS. Cloth, 225 pages, illus., was S3.50 now £1.00 Koran-Lamonte's MASTERED AMAZEMENT. Soft boards, 66 pages, 70 ill., was £2.25, now £2.00 THE LATEST MAGIC BOOKS Kaplan's THE FINE ART OF MAGIC £ 7.50 Tarbell't VOLUME V 10.00 Hay's CYCLOPEDIA OF MAGIC ....

7.50 Sardina's THE MAGIC OF REZVANI 3.50 Farelli's RAMSAY'S CUPS AND BALLS 5.00 Vernon's SELECT SECRETS 1.50 FLEMING BOOK CO.,

DEVANO'S FAMOUS RISING CARDS Complete sell-out at I.B.M. Convention. Everybody talking aJbout it—now you can have it!

Our own improved make, fully authorized.

Pack shuffled and fanned—three cards selected and returned to pack, again shuffled. Cards successively rise silently and surely from center cf pack held in hand or houlette. #6.00.

LOUIS TANNEN, 120 W. 42nd St. Rm. 1403 New York 18, N. Y. (Phone WI. 7-6137)

Our new Supplementary Catalog No. 10 is out and a copy is yours—Free for the asking.

It will be mailed to you from Colon, or you may obtain one by a personal visit to any of our branch stores — New York, Chicago, Detroit, or Hollywood.

ABBOTT'S MAGIC NOVELTY CO. Colon, Michigan SPECIAL! BARGAINS SPECIAL! Over ?3.00 of Magic for £1.00 this consists of used, shop worn or overstocked Magic.

Send ? 1.00 to GEMAGIC, 1117 So. Brown St., Dayton 9, Ohio.

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STUTHART'S TRILBY DECK AND BOOK Sensational in England as greatest triclc pack to date. Stuthart's Trilby Deck and Book.

Postpaid £3.85 (In England £1.10 — £4.25) Sruthart's Svengali Subtleties—Book only 11.00 Direct only—Write for free brochure, NOW! KALMAN OF MONTREAL, 5337 Queen Mary Road, Montreal, Quebec JOSEPH SILK GUN Postpaid, insured, guaranteed £15.00 CHAMBERS MFG. CO. CLEARWATER, KS.

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