HUGARD'S ANNUAL

OF MAGIC
1937 .

HUGARD'S ANNUAL
. OF MAGIC
1937

5J<ETCHI=O BY

IIAHI( __ _

FOR 1937

MAGIC AND ILLUSIONS

BY

JEAN HUGARD
Author of

CARD MANIPULATIONS Nos. I to V

'

COIN MAGIC
MONEY MAGIC

THIMBLE MAGIC
SILKEN SORCERY

CLOSE-UP MAGIC
Editor of

THE ENCYCLOPEDIA OF CARD TRICKS

Illustrations by Nelson Hahne

-Published by

MAX HOLDEN
New York and Boston

Copyright, 1937, by Max Rolden

Foreword
of the previous books in the "Holden" series has been
EACH
devoted to a special subject or branch of rnagic-coins, cards,
et cetera.
handkerchiefs,

In this volurne we are presenting a number of rniscellaneous

tricks, ideas, cornbinations and illusions which have proven
effective in the programs of various performers.
Sorne of the iterns are new, sorne are old tricks given a novel
twist, while other effects, although known in a general way, are
now published in detail for the first time-among these latter, the
Hugard Fire Eating Act, Hugard's Bullet Catching Feat and rny
own presentation of Srnoke Pictures.

Jean Hugard has given his best, as usual, and I arn especially
indebted to Paniel Dew whose contribution, "Walking Through
a String of Bead.s," is one of the cleverest illusions to be brought
out in many a day.
I want to thank rny good friend John J. Crimmins, Jr. for his
helpful assistance and co-operation in editing this book.

"Annual of Magic" suggests that another year will bring a succeeding volurne-and so we plan, year after year-if this initial
work rneets with your favor.
Fraternally yours,
MAXHOLDEN.

Contents
Frontispiece . . . . . . . . . . . . . . . . . 4

Foreword . . . . . . . . . . . . . . . . . . . . 7

CIGAR AND CIGARETTE MANIPULATIONCigar Manipulation . . . . . . . . . . .

Swallowing a Cigar . . . . . . . . . .
Pouring a Smoke .. . ...... .. . .
Just a Cigarette Paper .. . ... . .
Cigarette Paper, Torn
and Resto red . . . . . . . . . . . . .
A Cigarette Routine . . . . . . . . . . .

11
14
15
17
18
20

Multiplication of Cigarettes ... .

Routine with the Dropper . . . . . .
Vanishing of Cigarettes
from a glass . . . . . . . . . . . . . . .
Cigarette Rising from a Packet .
Magnetized Cigarettes . . . . . . . .

21
23

24
26
27

MISCELLANEOUS
The Bill in the Envelope ....... 29
Ashes ... ..... . . . ............ 30
Ashes - Second Method . . . . . . 31

Thimble and Trumpet .. . ...... 31

lmpromptu Newspaper Tearing 33

COINS
The Flying Coins ... . . . . . ..... 37

Vanish of Coin from Trouser Fold 40

CARDS
Do as 1 do-You Can't . ... . . .. 42 Pack of Cards Change to
Foulard .............. .. ... 50
Magician vs. Gambler . . . . . . . . . 43
Touch .. .......... .. .. .. . .... 44 The Knock-Out Card Trie k .. ... 52
Touch - variation . . . . . . . . . . . . 48 Maguire Card Force . . . . . . . . . . 55
G. W. Hunter's Twelve Card Transposition . . . . . . . . . . . . . . . . 57

SIL KS
Silks and Soup Plates ... .. .. . . 60 G. W. Hunter's Silk Routine . . . . 62
The Knot in the Sil k . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

BILLIARD BALLS
Two Billiard Ball Moves .. ... .. 65
Billiard Ball Change Over . . . . . 66
The Limit Multiplying
Billiard Balls. . . . . . . . . . . . . . . . 67

Passage of .Four Balls from

Hand to Hand ...... .. ...... 171
Production of Four Balls
Without Using a Shell . . . . . . . 74
An Egg Production-Ciimax .. . . . 75

SOME USEFUL GIMMICKS

The Sil k Gimmick . . . . . . .. . .. . .
A Card Holder . . . . . . . . . . . . . . .
Ball Shell with Tongue .. ......
Vanish for a Ball . . . . . . . . . . . . .

78
79
80
81

New Card lndex . . . . . . . . . . . . . . 81

Torn and Restored Paper
Strip Gimmick . . ............ 83

IMPROMPTU TRICKSTER
lmpromptu Linking Rings .......
A Cigarette lnterlude. . . . . . . . .
A Cigar Vanish ...... .. .. . . . ..
A Match Divination. . . . . . . . . . .
The Knee Thread . . . . . . . . . . . . .
Wand through Hat .. . . . .. ... . .
Somersaulting a Pack. . . . . . . . .

85
86
87
88
89
91
92

A Rising Card . . . . . . . . . . . . . . . .
Egg Cups and Pellets. . . . . . . . . .
'Knife and Egg Shell. . . . . . . . . . .
A Surgical Operation . . . . . . . . .
Concussion of the Brain ... . ...
Shot in the Eye . . . . . . . . . . . . . . .
Cutting the Thumb ............

93

94
95
96
97
98
99

STAGE TRICKS AND ILLUSIONS

Hugard's Floating Ball . .. . . . . .. 100
Hugard's Fire Eating . ...... .. . 107
Hindu Fire Eating . ...... .. . . .. 114
The Whole Art of Smoke
Pictures .. . . .. ... . .. . ... .. .. 115
1 s . . ... . . .. . 121
Ropes, Fan an d S.lk

XXth Century Spirit Seance ... . 126

Production of Real Cannon
Balls ...... . ........ . ...... 129
Walking through a String of
Beads ....... . ...... . . . .... 131
Hugard's Bullet Catching . . .... 134

Cords, Fan and Silks . . ... ... .. 123

THE NEW MAGIC CARTOONS

Blurbo and the Rabbit . . .. . . . 44-45
Blurbo the Cut-up ........... 48-49
Blurbo and Princess Astrid . .. 54-55

Blurbo's Levitation .... . ...... 82-83

Blurbo 's Putting on the Dog .. 88-89
Blurbo's lndian Rope Trick .. 104-105

CIGARS and CIGARETTE S

CIGAR MANIPULATION
Cigar manipulation has not been overdone and with good
presentation makes a welcome and effective interlude in a
magic act. It is especially good as an opening feat.
A rather small cigar should be chosen, the proper length
being easily found. It should be just long enough to be held
comfortably in the hand, the point resting against the first joint
of the middle finger and the butt against the base of the thumb
or the palm of the hand, as in illustration.
The moves can be made with an ordinary cigar, but with
.proper preparation they can be made easier to manipulate and
stronger so that they can be used over and over again, not only
for practice but for actual performances. To prepare a cigar,
first cut off the tip, pare a wooden safety match to a tapering
point, dip it in liquid glue and force it into the cigar at the tip
being careful not to split the tobacco. It is best to screw the
match in slowly, leaving its head and a small part of the stem
_ protruding. Cut a piece of thin brown paper of a suitable shade,
cover it with glue and wrap the cigar in it, until the cigar has
severa! thicknesses of paper around it. Shape the paper to the
cigar so that there are no wrinkles and twist it tightly round the
protruding part of the match. Finally cut off any surplus paper
at the butt end fiush with the tobacco. Let the whole dry thoroughly, then replace the band, gumming it on.
It is well to prepare ten or a dozen cigars at a time. It will
be found that, prepared in this way, you will hve a fake that
looks like a cigar and willlast for a very long time.
To hold the cigars in position for obtaining them secretly,
have sorne small velvet loops sewn under the coat, for instance,
severa! can be placed near the lower edges on each side in such
positions that the ends of the cigars will be brought jus1; to the
tips of the fingers when they are bent up.der the edge of the coat.
In the same way loops can be sewn under the vest, and cigars
can be carried quite safely betweeri the buttons of the vest, the
points protruding just far enough to be easily gripped between

the tips pf the first-and -second fingers 0f the left hand. .

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HUGARD'S ANNUAL

Routine
For the routine which follows, place half a dozen cigars in
separate loops under the edge of the coat on the right hand side,
one under the vest and one between the buttons at the top of
the vest.
Begin by rubbing the palm of the left hand with the right
fingers, the palm towards the audience; then show the right palm
and rub it with the left fingers, bringing the left hand just
opposite the cigar in the vest buttons. Make a catch in the air
with the right hand, closing it on ... nothing, at the same moment
nip the point of the vested cigar with the tips of the left first and
second fingers and draw it out, securing it as in illustration.
Swing round to the left and, as the hands pass one another,
change over the cigar into the right hand and make a catch with
the left hand, again catching . . . nothing. Produce the palmed
cigar in the right hand by putting the tip of the thumb under it
and pressing upwards, the cigar appearing at right angles to the
fingers and above them. ( See illustration.)
Make a pass or two with the cigar ( vanishes and recoveries
according to ability) finally put it between your lips and apparently push it into your mouth, really slide the fingers clown and
remove it palmed in your right hand, the butt resting on the
palm of the hand and the tip pinched between the first and
second fingers. Make a pretence of swallowing it, press the tips
of the fingers of both hands to your stomach, lift the edge of the
vest with the right hand and pull out the secreted cigar with
the left.
Drop the right hand to your side and as you show the cigar
in the left hand, nip the point of the first cigar in the row of those
under the edge of the coat and draw it out into the hand, so that
it lies parallel with the one already there, its butt end also resting against the palm. In the meantime the left hand has placed
its cigar in the mouth.
_ Reach out and produce the first of the two cigars in the
right hand as befare. Take the one from the mouth with the left
hand and put that just produced by the right hand in its place.
Reach out and produce the second from the right hand. Thus
you now have a cigar in each hand and one in your mouth.

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HUGARD'S ANNUAL

Look at the one in the right hand, then drop that hand to
your side and look at the cigar in your left ha~d. Drop the latter
on a table to your left and take the cigar from your mouth with
that hand, but in the meantime, under cover of these movements on which you fix your whole attention, your right hand
has nipped another cigar from under your coat. Palming this
fourth one as before, place the visible cigar in the right hand
between your lips, then reach out and produce the one just taken
from under the coat.

NOTE DISPOS!TION
OF CIGARS UNDF:R
t:OGES OF COAT
4ND VEST

t1Atl/'t'ER OF
PRODUCT/0/'1

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HUGARD'S ANNUAL

Again you have three cigars as before. Look at them in

tum as if bewildered, drop the left hand cigar on the table and
repeat the movements. Properly timed the production can be
repeated half a dozen times, with perfect safety. There must be
no hurry, but at the same time no delay, just a pause each time
the three cigars are in evidence to give the audience time to
appreciate what has happened. Smoothly done the routine is
very confusing to the spectators and they will imagine you have
produced at least a couple of dozen cigars; the repeated appearance of the three at a time misleading them completely.

SWALLOWING A CIGAR AND REPRODUCTibN

FROMVEST
Put an unlighted cigar between the lips. Bring the right
hand up as if to push the cigar right into the mouth, placing
the tip of the middle finger against the outer end of the cigar
and nipping the prepared joint between the . first and second
fingers. Throw the head back slightly and push the hand upwards, at the same moment release the end from the mouth so
that the butt strikes against the palm of the hand. Make a pretence of swallowing the cigar and bring the hand down against
the stomach, tips of the fingers near the vest buttons.

Place the left hand against the stomach opposite to the

right hand, the finger tips slightly overlapping those of the right
hand. Insert the tip of the middle right finger between two vest
buttons and by slightly bending the right hand push the point of
the cigar in the opening (note illustration). Raise the left hand,

HUGARD'S ANNUAL

15

keeping the wrist against the stomach, and push the right hand
over the left palm, the heel of the right hand pushing the cigar
right under the vest in the action. Rub the hands together and
show them empty.
Lift the edge of the vest with the left hand and with the
right hand draw the cigar slowly out.

POURING A SMOKE
This experiment makes a fine finish for a manipulative act
with cigars. A glass is filled with smoke from a cigar and then
poured from one glass to another just as if it were a liquid;
finally it is poured into the performer's mouth and to all appearance he thoroughly enjoys the novel refreshment
The essential requirements for this striking effect are three:
-first, a good quality but rather heavy cigar which will yield a
dense smoke; second, two glasses slightly warmed by being held
in the hands just before the experiment is made; third, a place
where the air is, perfectly still while the feat is beirlg done. If
you are performing on a stage you have the glasses warmed by
an assistant just before they a~e brought in, but for a more inrimate performance as, for instance, in a parlor, you simply hand
the glasses out for inspection to show that there is nothing of a
- chemical nature in the feat. By the time you have shown the
cigar and got it well alight, the handling of the glasses by the
spectators will have warmed them sufficiently.
Request one of the glasses and then take a long, deep puff
on the cigar, filling the mouth with as much smoke as you can
manage to retain. Remove the cigar and place the edge of the
glass against your lower lip, tilting it outwards in a downward
slanting direction and allow the smoke to go into the glass. To
do this you must not blow the smoke out, but by opening the
mouth wide and holding it so, with a muscular contraction and
expansion of the throat, force the smoke out quietly so that it
actually rolls over the lower lip into the glass. The necessary _
action is very like that used in making rings of smoke come from
the mouth. A little practice is all that is necessary to get the

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HUGARD'S ANNUAL

right action and it is the only way in which the glass can be
properly filled. If the first puff does not fill the glass with smoke,
take a second.
With the glass full of smoke, pick up the second glass and,
holding them with the edges together, slowly tilt the smokefilled glass upwards and hold the other one beneath it. The
smoke will roll from the upper glass to the lower one in a very
graceful manner, until the lower one is full and the upper one.
empty. This may be repeated.
Then putting aside the empty glass, raise the smoke-filled
one to your lips, hold your breath and let the smoke roll out of
the glss into your mouth until the glass is empty. Finally smack
your lips and affect to have thoroughly enjoyed this very dainty
and airy refreshment.
With proper attention to the three essential points given
above the feat will be found to be an easy one and there is no
question as to its effectiveness with any audience. A cigarette
may also be used for the above experiment.

HUGARD'S ANNUAL

17

JUSTA CIGARETTE PAPER

I can still vividly recall the impression made upon me when
as a small boy I saw the famous juggler Cinquevalli turn the
tables on a reporter who would have it that all Cinquevalli's
feats were faked. He simply took a cigarette paper and a hat,
laid the paper flat on the crown and, With a shake of his wrist,
made the paper stand upright and then balanced it there. This
little impromptu feat impressed the onlookers more deeply than
his most elaborate stage tricks.
However, the feat is not
really very difficult. The paper
must be laid on the crown of the
hat so that a part of it projects
over the side. If you now move
the hat forward a little, the
paper will be lifted up by the
resistance of the air and, once it
is upright, you can balance it
easily by moving the hat very
carefully and gently, back and
forth. With comparatively little
practice the movements of the
hat can be made practically imperceptible, the paper appearing to stand upright of its own
accord. There must of course, be
no draught in the room.
In the same way the cigarette paper can be balanced on
the nose, the small end being
placed along the bridge and the
paper being kept upright by
slight movements of the head to
one side or the other. It will help
if the tip of a finger is moistened
and then rubbed along -the
bridge of the nose and, in any case, the paper should be slightly
creased down the middle to add stability to it.

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HUGARD'S ANNUAL

The same effect can be obtained in a very simple way and

without the necessity for practice. In your left coat sleeve,
about midway between the wrist and the elbow, thrust a black
pin so that its head is towards the wrist. Take the paper and
make severa! attempts to balance it on your left-fore-arm. Seize
the opportunity to grip the head of the pin behind the paper
and thrust its point into the cloth so that it stands upright. Y ou
have then only to let the paper rest against the pin to pretend
doing a very difficult feat of balancing. When you remove the
paper, grip the pin also and a moment or two later simply let
it drop on the carpet.

THE CIGARETTE PAPER, TORN

AND RESTORED
The following method is the most ingenious and effective
that has come under my notice. It was contributed to a French
magazine by the well-known French prestidigitateur, M. Heboldt,
in May 1923.
Effect-A comer is tom off a cigarette paper and handed t~
a spectator who retains possession of it. The paper is then toro
to fragments, rolled up and on being opened out it is found to
be fully restored, the comer fitting perfectly. The two pieces
are held together again toro up and rolled into a hall. Finally
on this being opened and smoothed out, the paper is shown to
be intact.
Preparation- You require a book of cigarette papers and
a pellet of the best quality magician's wax. Open the book of
papers and take hold of the second and third sheets; grip them
tightly and evenly and tear off one comer of the two sheets.
Carefully done, the two tears will be identical and the coroers
interchangeable. Throw one of these away, it will not be required.
Remove the third paper from the book, roll it into a tiny
hall and with a pellet of wax fix it to the middle of the second
sheet on the side next to the fourth sheet. Tear out the fourth
sheet roll i~ into a tiny hall and attach it to the bottom button
of your vest with another pellet of wax. Put another pellet of
wax on the first page of the book, a pellet on the middle of your

HUGARD'S ANNUAL

19

right thumb nail and another pellet on the Pliddle of your left
thumb nail. Finally place in the book the . remaining comer.
Everything is ready.
W orking-In opening the book of papers secretly let the
comer fall into the hollow of your left hand, keeping the book
in that hand, with the cover hanging clown and the left thumb
being on the first sheet. Moisten the middle finger at the lips ( an
allowable gesture when one takes a cigarette paper) and take
a comer of the first sheet between the thumb and first finger of
the right hand and tear it off, making the tear as much like the
comer you have in the left hand as possible. Close the booklet
and throw it onto the table, squeezing it as you do so, thus causing the first sheet to stick to the cover, thanks to the pellet of
wax you put on it, and it will not be in the way later. (This is a
very subtle point, worth noting).
Show the comer just toro off and pretend to put it in your
left hand. Really when the right hand fingers are masked by
those of the partly closed left, pass the scrap of paper over the
tip of your second finger so that it absorbs the moisture and is
practically reduced to nothing. Y ou can then let it fall to the
floor without anyone noticing it. Extend your left hand to a
spectator, giving him the prepared comer. This exchange is a
very subtle one, both hands being shown quite empty after it
has been made.
Pick up the booklet and remove the sheet which has the
third sheet attached to it. Close the book and put it aside. Show
that the comer held by the spectator corresponds exactly with
the tear in the sheet you hold. Then tear this sheet into small
fragments, roll them into a hall and, in the course of this
maneuver, substitute the hall made by the third sheet. Hold this
between the right thumb and first finger, and press the fragments of the second sheet onto the pellet of wax on the back
of the left thumb nail.
Open out the little hall and show that the sheet is fully
restored with the exception of the comer held by the spectator.
Show your right hand empty, then pass the sheet to this hand
and show the left is also empty. Let the comer be fitted to the
sheet and while attention is focussed on this, get rid of the
pellet on the left thumb nail.

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HUGARD'S ANNUAL

While the sheet is being identified you have all the time
you need to secretly obtain the paper from your vest button.
Take the paper and the comer from the spectator and tear it
into small pieces; roll it into a ball and making a substitution
as befare, but this. time stick the ball of fragments anta the nail
of your right thumb. Open out the last ball, smooth the sheet
and show it now fully restored. Show all parts of both hands
apparently, by keeping the right thumb nail behind the paper
as you do so.
Toss the paper into the air with your left hand so that it
falls amongst the spec_tators and quietly get rid of the little ball
on your left. thumb.
This routine is beautifully worked out and the extraordinary
effect obtained by it is well worth the little trouble required
to master it.

A CIGARETTE ROUTINE
l. Cigarette from an empty paper
~flect-Showing

a cigarette paper the magician announces

that he will roll it into a perfect cigarette shape without the aid
of any tobacco. This he does, then he mysteriously fills the paper
tube with tobacco, making it into a perfect cigarette which he
proceeds to smoke.

Working-In the course of showing the balanced cigarette

paper, or after having torn it up and restored it, you obtain a
cigarette secretly with your left hand and hold it as shown in
Fig. l. Take the paper by the ends with both hands and, as you
show it to the spectators, slide the left end under the end of the
cigarette, freeing this from the pressure of the second finger and
holding it momentarily by a .contraction of the base of the thumb.
At once put the tip of the right thumb on the end of the cigarette
and draw it right behind the paper, just at the bottom edge.
Fig. 2. Begin rolling the paper round the cigarette and, as soon
as it is covered by one fold, let it be seen that your hands are
otherwise quite empty. The cigarette should be cut a little
shorter so that the .tobacco will not be seen at the ends of the

HUGARD'S ANNUAL

21

supposed tube when you finish rolling the paper. Press

the paper.in at the ends. Pass
the tube over your lips to fix _
the edge of the paper and
show the result to your audience, still referring to it as an
empty tube.
Pretend to take out a
tobacco bag and fill the tube
from it, then light up and
show that you have a real
smoke. Claim that you can
make any brand of cigarette
by the same method. "Ah,"
you say as you puff it, "A
Chesterfield ( or what you
will). My favorite smoke."

2. Multiplication of cigarettes
Effect-The magician shows a cigarette, holding it by the
ends with the fingers of both hands. He breaks it in the middle
and holds the pieces, one in each hand. These are seen to grow
gradually until each of them attains the size of a complete cigarette.-Tossing one aside, he breaks the remaining one in two
and again these pieces grow to full sized cigarettes. This is continued until sorne half a dozen or more cigarettes have been
"grown" from the one.

W orking-Y ou hold a cigarette secretly in the right hand

by the second finger palm i.e. one end of the cigarette is pressed
against the third joint of the middle finger, the other end resting
against the palm. Show a cigarette and take it by the ends
between the thumbs and fingers of both hands, backs of the
hands to the front. Apply the end held by your right hand fingers
to the end of the hidden cigarette, then slide the fingers along
the two cigarettes, those of the right hand backward and
those of the left hand forward, so that the joining of the two

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HUGARD'S ANNUAL

cigarettes is in the middle of the space between your hands. Be

careful to show just that length of the cigarettes which would be
seen if you held one cigarette only.
Pretend to break the supposed single cigarette at the point
of junction and show apparently half a cigarette in each hand,
holding the hands with the fingers pointing upwards. Push each
cigarette upward with the thumbs until they are in full view
and are seen to be complete cigarettes.
This very pretty effect will bear repetition several times.
There are two courses open, you can begin the feat with four
cigarettes, held between the tips of the four fingers and the
palm. See illustration.
Or you may have recourse to a cigarette dropper and obtain
a fresh cigarette from it .as you toss one of the two cigarettes
just "manufactured" to the audience or into a receptacle. Still
another method may be used. Begin with two cigarettes hidden
in the right hand. After producing the first pair drop one of them
openly into a receptacle and repeat the effect. This time pretend
to throw the one cigarette into the receptacle but really palm it.

HUGARD'S ANNUAL

23

In any case three or four repetitions are enough; the effect

is so pretty that there is a constant temptati9n to overdo it.

MAX HOLDEN'S ROUTINE WITH THE

DIESTEL CIGARETTE DROPPER
Here is a smooth working routine for the production of
lighted cigarettes that is not only easy to present, but will stamp
you as a manipulator of rare accomplishments. The gimmicks
employed [;lre available at any Magic Shop at a nominal cost, and
the effects possible with them will give a professional finish to
even a short cigarette interlude. They are known as the Diestel
Cigarette Dropper, of which this routine calls for two; and
Petrie's latest Double Cigarette Reproducer.
To prepare for this routine, eight or ten cigarettes are lit
just enough to get an ash on the ends, and they are then quickly
dipped into water which holds the ash firm as they dry. When
ready, four or five of the cigarettes are loaded into each Diestel
Dropper and the latter are attached under the sides of your
coat, one on the left the other on the right. The Petrie Reproducer is next loaded with two lighted cigarettes, and this is
hooked under the coat on the right side next to the Diestel Dropper. You are now ready to proceed.
Remove your cigarette case, take out a cigarette, light it
and take a few puffs. The right hand, which has replaced the
match box in your coat pocket, drops to the side and steals one
of the loaded cigarettes by pressing on the release lever through
the side of the coat. Grip the palmed cigarette between the tip
of the 3rd finger and the palm of the hand. Bring this hand to
the mouth and remove the lit cigarette in a natural manner between the first and second fingers. Catch the cigarette rather
clase to the burning end in position for a quick thumb grip.
Apparently throw this cigarette on the floor and step on it with
the foot to extinguish it. What you really do is thumb palm the
lit ~igarette and :tt the same moment drop the unlit palmed one
which you pretend to extinguish with the foot. The misdirection
when properly titned creates a perfect illusion. Reaching into the

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HUGARD'S ANNUAL

air you immediately produce the thumb-palmed cigarette which

is brought to the mouth and puffed a couple of times. Under
cover of this production, the left hand 's teals a cigarette from the
left Dropper, palms it as explained above, and removes the lit
igarette from the mouth as in the first instance. Again apparently throw this cigarette to the floor and step on it by following
the routine already outlined. Catch another cigarette, etc., and
continue the production until the lit cigarette is too small to
thumb palm. When this occurs, throw it to the floor and step on
it, as you steal the first lighted cigarette from the Petrie
Reproducer. Continue with the routine until the Droppers are
empty.
Sorne performers prefer to use imitation lighted cigarettes
in the Droppers, instead of bothering to prepare the load as
ex'p lained in the first paragraph. These are very effective and
can be easily obtained. Bear iJ?- mind, however, that when working a production with imitation cigarettes of any nature, yot,t
should always handle them as though they were really lit. This is
simulated throughout the routine by inhaling sorne smok~ from
the real cigarette and exhaling it through the dummies every
so often.
The accompanying illustrations explain the various palms
necessary for this routine.

V ANISH OF CIGARETTES FROM A GLASS

Eflect- The performer places in a glass a number of cigarettes
as he catches them one by one from the air. He covers the glass
and its contents with a foulard, makes a magical wave of his wand
and lifts off the covering ... the cigarettes have :vanisbed.

HUGARD'S ANNUAL

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W orking-The glass used must be a small one and a little less

in height than the length of a cigarette. Tie one end of a black
thread to the end of your wand, and to the other end a small
rubber band of such size that it must be stretched to encircle the
mouth of the glass. Lay the wand on the table behind the glass
and fix the rubber band round the mouth of the latter near the
rim. A fairly large silk can be produced magically and laid on the
table, or you may have one lying there already.
In the course of your manipulations produce the cigarettes one by one and drop
them into the glass. When it is
filled, lift the silk, show it on
both sides and drape it over
the glass so that the middle lies
over the cigarettes. As you do
this with the right hand in
front, and the left hand behind
the glass, push the rubber band
upwards with the left fingers so
that it is detached from the rim
of the glass and contracts tightly
round the bundle of cigarettes.
Take the wand and tap the glass
with it, then put it in your left
hand. The right hand now seizes a comer of the handk;erchief
behind the glass, gripping the thread at the same time, and lift it
clear of the glass. The bundle will hang behind the silk in its folds,
leaving the glass empty. Lay the wand clown and pickup the glass
with the left hand, focussing attention on it, as you lower the right
hand a little and allow the bundle of cigarettes to fall on to the
servante or into a black art well.
If you are working without either of these accessories, simply put the handkerchief on the table in a crumpled condition, the
cigarettes being safely concealed in its folds. The manner in which
the silk is lifted from the glass i.e., by one comer, between the tips
of the thumb and finger only, precludes any suspicion that the
cigarettes could possibly be taken away at the same time.

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THE CIGARETTE RISING FROM A PACKET

Many methods have been devised for making a cigarette
rise, apparently of its own volition, from a cigarette case. The
mechanical cases, when they work, have a fine effect, since they
can be placed in the hands of a spectator while the cigarettes rise,
but the best of Geneva watchworks sometimes go awry and the
failure of the cigarette to rise at command puts the performer in
a predicament. I shall never forget the embarrassment of a certain
famous magician through the failure of. a mechanical rising catd
apparatus. After a grand stand announcement of his magical powers, he put the pack in a glass on a tray, covered it with a glass
dome and handed the whole to a spectator to hold in the midst
of the audience. He gave the command and ... the card refused
to appear.

HUGARD'S ANNUAL

27

The following method is simple and very effective. Take

severa! cigarettes from a pack to ensure f~eedom of action. In
the end of one cigarette insert a black pin to the head of which
you have tied a fine black thread. Push the head of the pin well
down so that it is hidden by the tobacco, and fasten the other
end of the thread near one of the front comers of your table.
Insert this cigarette amongst the others in the packet the pin end
upwards, and lay the packet on the table. '
When you need a cigarette in the course of your routine,
pick up the pack and mke a motion of taking one out, pause,
and decide to do it magically. Drop the packet into a glass and
take the glass in your left hand. Move forward slightly, ( the
length of the thread must be determined by previous experiment) make passes around the glass with your right hand and
in so doing pass the thumb under the thread. When the thread
is taut, move both hands forward very slowly, the cigarette will
rise from the packet to your fingers. Then, as you move forward
towards the audience, the pin will be pulled out of the cigarette
by the thread and both will fall behind you to the ftoor, unnoticed, as you toss the packet with the remaining cigarettes to
the spectators. They will quickly satisfy themselves that there'
is no mechanism. Meantime you proceed to light and smoke the
cigarette you hold, proving it to be perfectly ordinary.

MAGNETIZED CIGARETTES
This mysterious little feat makes a most effective finish to
a routine of catching cigarettes from the air. Sorne seven or eight
are produced at once, fanned out to show they are separate, and
then laid on a tray or plate. A few passes are made over them
and then, taking one cigarette by an end, the performer slowly
raises it, the others, apparently by magnetic attraction, attach
themselves one by one until all are lifted into the air as in Fig.
l. The performer's free hand is passed round the chain of cigarettes in every direction, then as the chain is slowly moved
downwards, the cigarettes detach themselves and fall one by one
on to the plate, beginning with the lowest. They are immediately
tc:>ssed out to the audience and show no sign whatever of
preparation.

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HUGARD'S ANNUAL

M ethod-Take a long needle, a little longer than a cigarette,

and thread it with a fine black thread; push it through the cigarettes, one by one, and leave an end of the
thread protruding at each end of the chain.
Tie a knot in one end of the thread. Put
the cigarettes side by side as in Fig. 2, then
bundle them together and fasten a band of
tissue paper round them, gumming the ends.
Place the bundle in your vest, or behind
sorne small object on your table, or in any
position from which you can obtain possession of it secretly when desired.
When the time comes and you have
palmed the bundle in your right hand by
the ends between the two middle fingers
and the palm, make a catch in the air, at
the same time pushing the cigarettes up
into view with the thumb, breaking the
tissue band and spreading them fanwise in
the action. Put them down on a plate and
make a pretence of magnetizing them
with passes of your hands. Take the top
end of the cigarette at one end of the chain and lift it slowly,
the rest follow "to the amazement of the spectators."
Pass your free hand around the chain, below and above it,
at the same time seizing the knotted end of the thread between
the fingers. As this hand is lowered the thread is drawn out of
the cigarettes and they fall free one by one on to the plate.
They can be tossetl at once to the audience and the thread
may be dropped to the floor unnoticed, while attention is fi.xed
on the cigarettes. The closest examination will, of course, fail to
give the slightest clue of the phenomenoB.
The trick first appeared, 1 believe, in the French magazine,
L'Illusioniste.

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MISCELLANEOUS
THE BILL IN THE ENVELOPE
BILLY O'CONNOR

Effect-A bill is borrowed after being marked and the

number recorded by the owner. It is wrapped up in a small piece
of paper by the magician and the whole then set fire to and
allowed to burn to ashes. Showing an envelope empty he waves
it about in the air, explaining that the ashes of the bill will
collect in it and become restored to their former state. Holding
the envelope before the flame of a candle the shadow of the bill
is ~een._ The envelope is opened and the original bill taken out
of it, none the worse for its ordeal.
Method-The ubiquitous thumb tip comes into play again.
In wrapping the bill in the paper it goes into the thumb tip and
this is extracted from the paper in the act of crumpling it into
a ball. The envelope is prepared by having a dark patch pasted
on the inside of the back. When showing the envelope is empty
the magician opens it widely by slipping his fingers inside and
coveri1.1g the dark patch. See illustration. After waving it about
in the air, under pretense of collecting the remains of the bill,
it is held in frnt of a lighted candle and the dark patch shows
up as the shadow of the bill inside the envelope.
When the envelope is opened, the magician inserts the tips
of his thumb (with the thumb tip and bill in it) and first finger,

FINGERS
COVER. OARI<.
PATCH

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HUGARD'S ANNUAL

the fingers of the other batid close on the thumb tip through the
envelope, the bill is withdrawn and the tip remains in the envelope, which is immediately crumpled up and tossed aside. The
restored bill is handed to the owner and identified.

ASHES!
A mediumistic effect for two people. The performer's assistant, preferably a lady, is escorted from the room and remains
under supervision to prevent any commt.;nication with the performer. A number of pieces of colored tissue paper are given to
the audience and one is freely selected. This is bumed and its
ashes taken to the medium who divines the color of the bumed
paper.
The secret is highly ingenious and the method is not likely
to be suspected by the victims. The ashes are dropped on to a
page of any magazine that happens to be at hand, and the manner in which they are wrapped, supplies the cue to the color.
Five colors are used: Red, white, blue, yellow and green, and
the cues are as follows:
Red-the page crushed into a rough ball.
White-page twisted at the top, the odd number on the
inside.
Blue-page twisted at the top, the even number on the
inside.
Yellow-page folded with the odd number inside.
Green-page folded with the even number inside.

CRUSI-IED FOf.?
RED

TW!STED FOR
WHITE

BLUE~

f:'OLDED FOR.

YELLOW & GR/if;N

HUGARD'S ANNUAL

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If the page is not numbered, then for the even numbers lay
it with the torn side to the right, for the odd numbers lay the
torn side to the left.

ASHES-SECON D METHOD
This has recently been brought out by Mr. Gerald Kaufman.
A number of strips of white paper, about 15 inches long, are displayed. About an inch and a half of one end is painted so that
each strip bears a different color. The performer turns his bac):t
_ as a spectator selects any one of the strips, sets fire to the colored end and, when this is completely burned away, hands the
still burning strip to the performer who names the color correctly.
The secret lies in writing the name of the color with invisible
ink on the upper white part of the strip. This writing is brought
out by the heat of the flame as the performer holds the burning
strip so that he alone can see the writing develop. The initial
letter of each color being all that is required. He allows the strip
to burn away completely and pretends to divine the color from
the ashes.
COLOREND

/NV/S/81-E WRIT/NG

The writing can be done with onion or lemon juice, or with

a weak solution of sulphuric acid which should be handled very
carefully. Use a perfectly clean new pen point.
By writing the names of the colors with a pointed piece
of wet soap at well separated places on your arms, three on each
arm, the ashes may be rubbed on the arm at the proper spot, to
bring out the writing. This application of a very old trick
makes an effective combination and finish.

THIMBLE AND TRUMPET

An amusng little interlude, to be introduced into a series
of thimble manipulations, is to blow a thimble apparently right
through a child's trumpet. Select a small trumpet of the kind

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HUGARD'S ANNUAL

shown in the illustration. It should be made of cardboard; not

metal, and be of such size that when a thimble is dropped into
it, it will not become wedged but will be forced out when the
trumpet is blown.
Two thimbles are required, one of which must fit nicely
over the other, but not tightly. The duplicate thimble can be
carried in an elastic loop under the edge of the vest, or at the
lower side of the coat, wherever it will be most convenient.
To present the trick-first show the thimble on the tip of
the forefinger of the right hand, then show the little trumpet.
Blow -it to let everyone admire its unique tone, and at the same
time seize the opportunity to get the duplicate thimble on top
of the one just shown. This done, again call attention to the
thimble (the two should fit together so closely-that there is no
noticeable difference in appearance when they are telescoped.)
Announce that you are about to make the thimble pass right
through the trumpet, not by the large end, which would be too
easy, and, as you say this, you illustrate by thrusting the forefiger into the wide end and let the outer thimble drop lightly
into the trompee "Not that way,"_you continue, "but right through
here (poirtting to the mouthpiece ). To do that 1 simp(y make
use of compressed air." Pretend to put the visible thimble into
_your mouth, leaving it in the thumb grip an instant before your
lips close .on the finger and apparently remove the thimble.
Thrust the point of your tongue into your cheek to simulate the
thimble and speak with .difficulty as if it were really in your
mouth.

HUGARD'S ANNUAL

33

Suddenly sound the trumpet at its loudest, the duplicate

thimble will fly out from the other end, while you get rid of the
thumb gripped one.
There is a pretty little fl.ourish with thimbles in which a
thimble tossed into the air is caught on the tip of the forefinger.
Really a duplicate thimble is secretly carried at the thumb grip
and it is this one which makes its appearance on the finger tip
as the other thimble is caught in its fall, in the other fingers. By
using light celluloid thimbles and blowing the one from the trumpet almost straight up into the air, this flourish makes a very
good finish to the trick.

IMPROMPTU NEWSPAPER TEARING

All that is required for this apparently impromptu and very
effective version of the torn and restored newspaper is to have
a copy of a tabloid paper at hand; a full sized newspaper is not
suitable for the trick.
A good method of presentation is to use the tabloid to illustrate a happening in a crowded subway. Y ou relate how a passenger, furious because his neighbor insisted on spreading his
paper to full extent, finally seizes it and t~ars it into tiny fragments, which you proceed to do with the sheet in hand. However,
having thus illustrated the incident, you open up the package of
pieces and show the paper fully restored, with the exception of
one comer which is found on the floor and fits exactly.
Method-Pick up the tabloid and from it remove two sheets
as one. Choose sheets from the news section of the paper so that
they will be as much alike as possible. A void taking one sheet
that is mostly print ad a second that is all pictures. Hold the
two firmly so that the edges coincide and refer to theffi: as one
sheet Show them back and front and call particular attention
to a prominent headline on the rear sheet since that is the one
which will be "restored." Fold the sheet by its middle fold towards yourself, and run your right thumbnail down the crease
pressing it as tightly as possible. Open out the rear single page
only so that you have one sheet fully opened towards the spectators, while hidden behind its left half lies the second sheet

34

'

HUGARD'S ANNUAL

folded in half. (Refer to illustration as moves are explained.)

Tear the opened sheet right down and place the half in the
right hand in front of the piece ( and the duplicate paper) in the
left hand. Fold the whole in half, bending it back towards your
body. Crease the fold tightly and open out to the right two thicknesses of paper only. This will leave the duplicate paper, folded
in quarters, intact behind the left hand half.
Tear the two pieces down the crease and, as before, put the
right hand pieces in front of those in the left hand. Fold the
whole lot over backwards towards yourself and crease the fold
tightly. This time open out four thicknesses, leaving the duplicate paper, folded in eight, behind the left half of the visible
pie ces.
Tear down the crease and put the four pieces in front of
the left hand lot. Once more bend the whole back towards yourself and fold in half, creasing the fold tightly. Open out the eight
pieces leaving the duplicate again folded behind the left half
of the bundle.
Tear these off and place the eight pieces in front of all in
the left hand. Exactly as before fold the whole back in half,
creasing the fold very tightly, and then open out the 16 pieces,
the folded duplicate paper remaining behind the left half as usual.
Tear off a corner from the duplicate, slipping the left thumb
into the folds to get at one of the corners. Let this fall to the floor
apparently unnoticed as you tear down the crease and put the
sixteen pieces in front of the bundle as before. Now fold the package towards the front, crease tightly and open out the duplicate
paper only, so that it is in front, facing the spectators, with the
torn pieces at the back. Keep these folded in half by pressing the
thumb on them.
Open out the duplicate paper, fold by fold, keeping the
bundle of pieces under your right thumb at the rear, sliding them
along at the back as you open the paper. When this is fully expanded, display it, then notice the missing corner. Look down and
call attention to the missing corner on the floor. Stoop to pick it
up and under cover of the expanded sheet slip the pieces into
your vest pocket, or under the vest. Pick up the piece and fit it
on. Call attention to the headline, or picture, originally noted.

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HUGARD'S ANNUAL

{)U P.

1\TEAR

iJ

''
'

DUR

cvP.

Pu{'LICAT!t

..

OUPi.lCJ\Tf
'FOLDEO

SINGLE

FOL")Eb

'

:'\.

: TEAR

l\TeAR

\ ~"
.

;~R6
o

.,. ,.

36

HUGARD'S ANNUAL

A good "sucker'' finish is to have a full sheet of a regular

daily, folded very small, under your vest. When you slip the
pieces under the vest alongside this, pull it down a little so that
it will show. When you put the restored sheet aside, the protruding paper will be noticed and the spectators, thinking they
have caught you, will gleefully bawl you out. Pull it out, taking
the opportunity to push the pieces further up so that they will
be quite secure, and slowly open it to its full size, four times
that of the tabloid sheet. This finish always gets laughter and
applause.

WH!:"N HE CHECKED
IT HE SAID 1T WENT
WITH IHE HAT

HUGARD'S ANNUAL

37

THE FLYING COINS

"Mene - Tekel - Upharsin-," so Robert-Houdin christened his trick of passing three cards magically from a counted
packet in the hands of one spectator, to a second packet held by
another spectator. In the years that have elapsed, the best part
of a century, a great number of magicians .have attempted to
improve upon the method of working the effect-and in most
cases have succeeded only in cluttering up the clean cut plot
with a. lot of unnecessary and confusing details.
Another French magician, Prof. Boscar, has applied the
same effect to coins. In its oldest form the trick is known as the
Multiplication of Money, a perfect misnomer, by the way, and
has been performed by generations of magicians. It consists of
secretly adding three coins to those counted by a spectator, as
they are poured into his cupped hands, usually from a mechanical tray. He retums three coins to the magician who vanishes
them in due course, and on again counting his coins the spectator finds he has the original number once more.
M. Ceillier's effect follows Robert-Houdin's. A spectator
takes a handful of coins and counts them; his count is checked
and he retains the coins in his clenched fist. A second spectator
takes a number of coins, counts them and holds them. The
magician causes three coins to pass from one person to the other.
As in the older effect, a tray is used, but it has no mechanical preparation. It should be oval in shape and about 15 inches
long, with a slightly raised rim. At one end, not at the apex but
a little to one side and quite close to the rim, fix three small
blobs of soft wax, just far enough apart to allow three half doll!:irs
to be pressed on them. By having the tray lacquered black and
the wax darkened accordingly, the pellets on its surface will
never be noticed, and the tray can be handled and shown with
perfect freedom.
With such a tray artd a glass on your table, together with
sorne 25 half eollars, which may well have been collected from

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HUGARD'S ANNUAL

the air just previously, you are ready to present the trick. Pull
back your sleeves, casually showing yo':!r hands are empty and
take up the tray so that your left thumb covers the blobs of
wax, pour the coins from the hat or other receptacle used for
collecting them, on to it and invite a spectator to take a handfull. However many he takes remark banteringly, "Fine, quite a
taking way you have with you, sir," and pour the remaining coins
into the glass. It should be noted here that when using coins in
any trick they should be made to jingle whenever possible, the
sounds they emit when dropped on glass, metal or one another,
tend to give the impression that any manipulation of them would
be impossible without noise, and hence the magical effect of a
silent transportation is enhanced.
Ask the spectator to count the number of coins he has taken.
Suppose he says "Twelve." Tell him to put them on the tray so
that you can check the count to satisfy everybody. As soon as
he does this hold the tray above the leve! of the spectators' eyes,
they are seated while you are standing, and tum it so that the
wax is at the end furthest from you. Count the coins one by one
aloud, placing the tip or your right forefinger on each one and
sliding it away from you to the other end of the tray. Three of
them, however, you press on the three blobs of wax so that they
are held fast.
The count having been thus verified, ask the spectator to
hold his hands cupwise and you pour the coins into them, tumitig
the tray so that its inner side is towards you and away from the
spectators. He therefore receives nine coins only. Make him hold
them in one hand clenched above his head, "in order" you say,
"that no one could possibly think that he is helping you in the
trick." Take the opportunity of passing the tray from one hand
to the other, holding it with the tips of the thumb and fingers and
letting it be seen that your hands are empty.
Take the glass and pour the rest of the coins into the hands
of a second person, asking him to count them. In exactly the
same way as before have the coins dropped on the tray and
check the number, counting them one by one as you push them
forward, but this time you keep the end with the coins stuck on
the wax towards yourself. In the count you detach these, one by

HUGARD'S ANNUAL

39

11/0DE!o/ COINS
INFOLDED
NEWSPAPER

one, and when you ha ve reached thirteen ( or whatever the number may be) leave three of the loose coins uncounted. Pour the
coins openly into the second spectator's cupped hands and have
them held in one clenched fist above his head.
As you recapitulate, and go through the necessary hocus
pocus to effect the magical passage of the coins, solemnly reciting the words "Mene - Tekel - Upharsin-" if you like, there
is ample time to secretly scrape the little pellets of wax off the
tray. You can then hand it to a third person to have the coins
counted on to it, one by one, to verify the fact that three coins
actually have passed from the hand of one spectator to the other.
Returning to the old form of the trick, the "Multiplication
of Money," mentioned above, in the absence of a mechanical
tray, a folded newspaper can be used to good advantage. Fold
the paper in half, again and again. In the open folds, near the
middle of one side, place the three coins to be added, so that they
have at least one thickness of paper between them to prevent
them talking. When a spectator has taken a handful of coins,
you look for something to count them on. Nothing suitable is at
hand, so you pick up the folded paper by the side opposite the
edge near which the three coins lie hidden, and make that serve
as a tray. When you tip the counted coins into the spectator's
hands, naturally the three concealed coins are added to them.
Be careful to keep the outer edge of the folded paper tilted
slightly upwards until the counting is completed. It would be
awkward, to say the least of it, if the hidden coins dropped out
before their cue.

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VANISH OF COIN FROM TROUSERS FOLD

By jESS KELLY AND L. L. lRELAND

This is a popular trick and the following variation will be

found very effective. A half dollar is borrowed and pushed into
a fold made in the cloth of the trouser leg. It vanishes and in its
place a nickel is found. The spectator naturally asks for the rest
of his 50 cent piece. The performer makes a grab in the air and
then pours into the spectator's hand, a stream of pennies, fortyfive all told, the correct change.
To work the trick you require an elastic pull running up the
left sleeve with a half dollar attached to it. This should be so
arranged that the coin hangs inside the sleeve when the arm is
fully extended, but can be brought into the hand by bending the
arm. Secretly palm a nickel in -the left hand.
To present the trick, borrow a half dollar, receive it in the
right hand, and at the same time let the pull half dollat drop
into the left hand. Transfer the borrowed coin to the left hand,
apparently, really palming it in the right and showing your own
coin, the nickel being conceale~ behind it.

HUGARD'S ANNUAL

41

With the right hand take out your handkerchief from the
outside breast pocket and make a pretenc~ of dusting off your
pants in front, about half way up from the knee. Replace the
handkerchief and drop the borrowed coin secretly into the pocket. Make an upward fold in the front of your trouser leg, a little
above the knee and push the half dollar, with the nickel behind
it, into the fold. The moment the half dollar is out of sight, release it, letting it fly up the left sleeve, the position of the left
hand and wrist completely hiding the flight of the coin.
The second gimmick required is a holder for the forty-five
pennies and is made by L. L. Ireland Magic Co., Chicago, Illinois.
This is attached to the back of the trousers under the edge of
the coat. Under cover of the surprise caused by the appearance
of the nickel which you show in the fold, obtain possession of
the pile of pennies and, after leading up to the request for the
spectator's change, apparently grab the coins out of the air and
pour them into his hands.
Forty-five coins make a big display and corresponding sur-_
prise in the minds of the audience as to how you could have
obtained them. The holders for the coins can be obtained at the
magic shops.

HUGARD'S ANNUAL

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CARDS
DO AS 1 DO-YOU CAN'T
Two packs are usecl. Invite a spectator to sit opposite you
ancl to take one pack while you take the other.
Each removes the four aces ancl lays them face up in a row.
(As you take out the a ces quietly run the four kings to the top
of the pack in reacliness for the trick to follow.)
On each ace cleal one inclifferent carcl, also face up. Spectator cloes the same.
4. A, X
3. A, X
2. A, X
l. A, X
Pickup No. 1 ancl put it on No. 2, place No. i ancl 2 on No.
3, ancl No. 1, 2 ancl 3 on No. 4; the spectator cloing exactly
the same.
Tum the packet ice clown ancl cleal three carcls in a row,
face clown; apparently cleal the fourth carcl in the fourth place,
really pull it back ancl cleal the fifth carcl in its place. The spectator, of course, cleals regularly. On each of the four carcls cleal
one of the remaining four, also face clown. The spectator cloes
the same.
Each picks up the packets as before, No. 1 on No. 2, ancl
so on.
Deal again but this time into two heaps. Deal the first
three carcls regularly, but, as before, pull back the fourth ancl
deal the fifth in its place, then complete the deal so that you
- each have two packets of four cards. The spectator's deal, of
course, is regular.
Apparently you have both clealt in exactly the same way,
but when the spectator tums his carcls, he fincls he has two aces
and two indifferent carcls in each packet while you show four
indifferent carcls in the first packet ancl all four aces in the
se cond.
The two false deals are well covered by talking to the
spectator at the time, ancl he is occl,lpiecl dealing his cards.
No matter how often your victim tries afterwards, he must
get the same result, two aces in each packet.
Proc~ed

to ...

HUGARD'S ANNUAL

43

MAGICIAN vs. GAMBLER

Supposing you have just done the trick, "Do as 1 do-You
can't," and therefore have the four kings on the top of the pack
secretly. Take the pack in your left hand and lift off the three
top cards ( three kings), place one a ce on the pack and drop one
king on it; put another ace on this and drop a second king on it;
finally put the remaining two aces on the pack and the last king
on top of all. Do this casually as if merely putting the aces in
different parts of the pack. From the top down the cards now
run-king, ace, ace, king, ace, king, ace, king, followed by the
rest of the pack.
Now introduce the plot which hinges on a supposed argument between a gambler and a magician, the gambler maintaining that magic is a mere pretence and not to be compared to
the skill of a gambler. To prove it he offers to bet that the magician cannot deal four cards of a kind, the pack being shuffied
and cut before each card is dealt. Y ou proceed to show how the
bet was settled by playing both parts, the gambler and the
magician.
As the magician, take the pack, false shuffie and false cut,
then deal the top card, fac~ up. It is a king, therefore, to win the
bet, you must deal three more kings. Turn this first one face
down.
Taking the part of the gambler, remark that it is foolish to
take any chances when you can make a certainty, so you pick
up the king, put it in your pocket and place the top card from
the pack in its place, face down on the table (ace).
As the magician, again false shuffie and cut and make a
double lift and show the second king; then turn the two face
down on the pack as one, and deal the top card (a ce) face down
on the first card. Say, "Well, that gives me two of the four
anyway."
False shuffie, getting rid of the top card (king), then false
cut, make the double lift, showing the third king. Turn the two
cards, as one, and deal the top card ( ace) on the other two, also
face down. "Ah," you say, "how about magic now, that gives
methree kings. Now for the last one."

44

HUGARD'S ANNUAL

False shuffie very thoroughly as you have only two top

cards to keep in view after getting rid of the king on the top
after the double lift. Riffie shuffie severa! times, then false cut.
Make the double lift and show the fourth king; turn the two
cards down, as one, and deal the top card (ace) triumphantly.
"There is the fourth king and 1 win," you say.
As the gambler say, "Not so fast. 1 win. You have dealt only
three kings and 1'11 prove it. Here is one king," taking it out of
your pocket, "so there can only be three kings on the table."
As the magician you are disconcerted for a moment, bti.t you
quickly recover. "The bet was that 1 could not deal four of a
kind, wasn't it? Well now, see the advantage of being a magician.
1 simply say-(any nonsensical formula)-and here are four of a
kind and the highest cards in the deck." Y ou turn over the
four aces.
This surprising climax is most effective.
By changing your position whenever the gambler is supposed to speak, and altering your voice, this little scene can be
made quite realistic.

A card prediction effect by PAUL CURRY

In descriptions of card tricks the words "startling," "dumbfounding," "incomprehensible" and so on, are so often used that
FIRST-LET ME PRESENT IHAT
MASTERPIECE OF MAGIC- THE

PRODUCTION 01= A LIVE, 1(,\CI<.ING

WHITE . BUNNY-

45 .

HUGARD'S ANNUAL

they are read with skepticism; however, here is one trick that
deserves all the adjectives. It is undoubtedly the best trick introduced for many moons.

E Hect- The performer takes a card and on its fa ce he writes

a prediction, then lays the card face downwards on the table to
his left. On the face of a second card he writes another prediction and lays this card face down on his right. The pack is then
spread face up in a long line on the table. He invites a spectator
to touch any one card in the row. He is given a perfectly free
choice anq may change his mind as often as he pleases; finally
the card he points to is taken out and dropped face up on the
first face down card on which the performer wrote his prediction. Exactly the same procedure is gone through with a second
spectator and the card he touches is removed from the spread
and dropped on the back of the card on which the second prediction was written. The cards ar tJ.Imed over and in each case the
name of the card touched is foud written on the lower card.
W orking-The trick depends on the use of two double
backed cards and a pack of double faced cards. The double faced
cards are prepared by writing on one face the name of the card
that appears on the other side. The pack is then assembled as if
the sides written on were the backs; one regular card is placed
on top of them and on top of this the two double backed cards.

TOOK. IT OUT OF A

STOVEPIPE
HAT!

46

HUGARD'S ANNUAL

PERFORMER'S PoSITION

o SPECTATOR

J.s'r SPECTATOR.

If the pack is now tumed over and spread it will appear to be

perfectly regular so long as the double backed cards are not

exposed.
With a pack thus prepared, in its case, invite two spectators
to step forward to your table. Take the cards out of the case
and after gazing fixedly at the spectator on your left, write or
rather pretend to write on the face of the first double backed card
which you take from the pack, saying that you are writing a
prediction. Lay this card face downwards opposite that spectator, being careful not to allow any part of its supposed face to
be seen. This appears to be quite natural under the circumstances
and will arouse no suspicion. Announce that you will also make
a prediction for the second person and take another card from
the pack, the second double backed card, and pretend to write
something on its face, then put it down in front of the second
spectator.
The pack still has a regular card on the top so that when
you turn it over, and spread the cards out face upwards, everything appears to be perfectly regular. Invite the first spectator
to set his mind on any card he pleases, telling him he may change
his mind as often as he pleases but when he has finally settled
on one card to touch it with the tip of his finger so that there
may be no mistake. As soon as he touches a card you slide it out
of the row, pick it up and put it, still face up, on top of the prediction card in front of that person. Y ou are careful, of course,

HUGARD'S ANNUAL

47

to hold the card low down so that there is no possible chance of

the other face being exposed.
Repeat exactly the same procedure with the second spectator. Then gather up the pack and hold it face down in your left
hand. Turn back to the first spectator, pick up the two cards in
front of him with your right hand, thumb on top and fingers
under the cards, turn them over, at the same time sliding them
in opposite directions as in the two card Monte trick, and show
that the face card has written on it the name of the card he
picked out of the whole fifty-two. He sees the back of one card,
the face of an entirely different card, and on it your prediction,
and is convinced that you actually did make a miraculous prediction. Drop the two cards on the pack in your left hand. Follow
xactly the same procedure with the second person, put his two
cards on the pack and replace the pack in its case.
In order to get the utmost possible effect from the trick a
pack with the same patterned backs should be used for sorne
effects in which the cards are freely handled and shuffied by
members of the audience, and finishing with a trick which provides for an imperceptible exchange for the prepared pack. For
instance, on the top of this pack you may have another ordinary
card, supose it to be the six of diamonds. Place this pack in your
side coat pocket lying on its side. From the pack in use force
the duplicate six of diamonds, let the spectator replace it with
the pack in his own hands and then shuffie freely. Take the pack
and put in your pocket with the prepared one, standing it upright. Read the spectator's mind, naming his card, and produce
it from your pocket by bringing out the top card of the prepared
pack, then remove the prepared pack. This simple trick, properly built up, has a very surprising effect and prepares the minds
of the audience for the apparent miracle which follows.
,
The effect of the .successful prediction of two cards is so
great that it is advisable to use it as a climax, put the cards in
their case and finish. If, however, it is absolutely necessary to
continue a switch will have to be made for an unprepared deck
in a similar case. Before proceeding with another trick be careful to first shuffie the cards then find the two cards supposed to
have your predictions on them and pretend to rub off the writing
with an eraser.

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HUGARD'S ANNUAL

TOUCH
Variation by R. M.

]AMISON

In lieu of writing the name of the predicted card on the

necessarily restricted space in the margin of a card, a blank
card is taken from a packet of. blanks for this purpose and
ample space is thus given for the writing. Further, any suspicion
that might arise from the fact that writing in ink on the cards
would spoil the pack for any other use, is thereby avoided.
To prepare for this version, take a packet of blank cards
of playing card size and add to it two cards which are blank on
one side but have the regular back pattern of a playing card. To
set the packet, put a blank card on the table, on it place the two
backed cards with the backs uppermost and on top of these put
all the other blanks. Place a rubber band round the packet and
lay it on the table in this condition.
The packet of supposed regular cards consists of 26 cards
with regular faces on one side and blank faces on the other, with
one regular face-back card on the top, the back pattern of this
card being the same as that of the two backed cards in the other
packet. Thus, viewed from either side,- these cards appear to be
ordinary, a back showing on one side of the packet, a face card
on the other.

WILL BE PLACEO IN THAT

O BLURBO ANO I WILL
HE.R IN HALF / r - - - - . . J

-ANO NOW THE SAW 15. PASSING

THROUGH ASTRID 1S 'BOOY .....-

IHE CULTUREO AUOIENCE JS AMAZED

8Y NEVILLE'S MYSTERIES ANO IS
AMUSED WITH 8LUR80. THEY A- .
WAIT NEV/LLE'S MASTERPIECE 11THE .
VANISHING ELEPHANT" BREATHLESSLY.

49

HUGARD'S ANNUAL

To prepare the cards for the prediction effect, write on the

blank side the name of the card which shows on the other side.
Use a fountain pen and write boldly-"You will touch the ... ..
of . .. . . . .. . " (as the case may be.) Snap a rubber band round
the cards and lay the packet down on the table with the bl~nks.

Tpe trick should be presented standing up behind a table

on which there are two card clips, or a small easel on which to
display the prediction cards. First, pick up the packet of blanks,
and remove the rubber band. Take off several cards, spread them
and show them back and front, replace them on top. Tum the
packet over and spread all the cards, showing them all blank.
You now have the two backed cards second and third from the
top, backs down. On the first write in the same style that you
used for preparing the face cards, that is, "You will touch the
. . . . . . . of ... . . . . " ( fill in the name of any card you please ),
and put it aside in the clip or on the easel but in such a way that
the spectator cannot read what you have written and be careful
not to expose the back of the card. Repeat the process with the
next card. Snap the rubber band around the remaining blank
cards and lay the packet aside so that your victims can take it
afterwards and examine it.
Pick up the other packet of supposed regular cards, take
off the rubber band, lift off the top card and show it casually on

THAT'S THE ANSWER

TO THE RUMBLE-/
SEAT PROBLEM.

-:

50

HUGARD'S ANNUAL

both sides, replace it and spread the cards in a row face up on

the table. Invite a spectator to touch any card: this done, draw
that card out of the line, keeping it low down so that the blank
side cannot be seen, and put it on the first prediction card. Complete the same operation with the second spectator and put his
card on the second prediction card. Gather up the row of cards
and hold them in your right hnd, back outwards. Take the first
two car?s from the clip or easel, in your left hand, turn them
over, making the two card Monte move and show that your
prediction is correct. Lay the back out card on the top of the
packet in your right hand. Repeat the same moves with the
remaining two cards to prove the second prediction to be correct.
It is certain that any who are acquainted with the original
. trick will at once examine the packet of blanks and this affords
an excellent opportunity for you to switch the packet of prepared cards for regular cards, examination of which will make
the effect unfathomable.
Note-It seems tome that the trick would be equally effective if about a dozen cards only were used. These could be at
the face of the deck and be removed, with one regular card,
after the faces have been run over towards the spectator, the
rest of the pack being laid 51side for the time being. At the finish
of the feat these prepared cards could be replaced on the bottom
of the pack and, at a suitable opportunity, palmed off with the
left hand and pocketed. The pack could then be used for any
other experiment and examination of it would reveal no clue.

G. W. HUNTER'S TWELVE CARD

TRANSPOSITION
By

MAX HOLDEN

Effect-Twelve court cards are shown to the audience and

put in a glass on one side of the table. Twelve spot cards are
also shown and placed in another glass on the other side. One
card is taken out of each glass and when placed in front of the
opposite glass, has the effect of changing the other eleven cards
in each glass.
Preparation-Eleven court cards are required with a kirig
of spades on the face of the packet. Twelve spot cards are needed

HUGARD'S ANNUAL

51

in another packet with an extra king of spades face down on the

top. The spot card immediately under this extra king has been
cut a trifte narrower than the rest of the cards.

Presentation and patter-"I have here 24 cards, 12 court

cards and 12 spot cards. I do not use the rest of the pack in
arder that you may see that I do not use any duplicates. I show
them to you one at a time." (With a false count show the 11
court catds as 12.) "I will place these 12 cards on top of the
glass on my left. I will now show you the 12 spot cards." (Hold
this packet in the left hand with the second and third fingers
on one end and the thumb on the other; the first and little fingers
are curled behind the pile. With the thumb of the right hand
draw off the cards from the face as you count them. As each card
is taken off it goes in front of the card previously taken off.
After you have drawn off 11 cards show the 12th and 13th as
one card and place them on the face of the other cards. At this
' point the second card from the face of the packet is the duplicate
king of spades.) "I place these spot cards on the glass at m y
right."
Pick up the court cards with the right hand, fan them,
square them up, and put them in the left hand face up, the left
thumb holding one side of the cards and the fingers the other.
Then pick up the spot cards and put them also in the left hand,
but as you do so, the right forefinger pushes off the top narrow
card onto the face of the other pile. This is the narrow card which
will slide off the packet easily. The 11 court cards now have a
spot card at the face of the packet and the 11 spot cards have
the duplicate king of spades at the face of the packet. What
seems to be the packet of court cards you now place on the top
of the other packet, covering only half of its face so that both

52

HUGARD'S ANNUAL

packets are in view. Then place each packet into its respective
glass.
''While performing this trick the other evening an old
gentleman in my audience said, '1 would like to see the backs of
the cards,' so 1 turned the .glasses round in this manner. He said,
'No. 1 want to see the backs of all the cards.' So 1 had to count
them out for him. (eount them again backs to the front.) Then
1 had to do the same with the other twelve. (eount tlem in
like manner). One card of each packet 1 will place in front of
each glass thus. (Take the one spot card from the court cards
and place it against the glass and the one court card from the
other packet, putting it also against its glass.)
"1 will now cover each glass with a small handkerchief in
order to give them the dim light which is necessary for experiments of this kind, (do this) and with this cannon ( toy pistol)
captured at Mons, 1 will blow the cards across the invisible line
of influence. But first 1 will reverse these cards outside the
glasses and the other cards will also invisibly change places.
( fire the pistol). As the result you see we have here the 12 court
cards instead of the spot cards" ... and so on.

THE KNOCK-OUT CARD TRICK

By

SAM HOROWITZ

Four double faced cards are required. Let us suppose they

represent the 5 S, 7 H, 8 e and 6 S on one side, and all of them
show the 4 S on the reverse side.
Place these four cards with the differing faces outwards at
the bottom of the deck, with one indifferent card on them, and
lay the pack face downwards; or you may hve these five cards
in a pocket, palm them and add them to the bottom of the deck
after !t has been shuffied by a spectator. In either case turn the
pack face up and take off the five bottom cards, as they lie, with
the faces towards the spectators. Hold them in the left hand
fanned out as in Fig. 1, which shows the spectator's view, while
Fig. 2, shows how the cards look to you. Make a mental note of
the positions of the four cards the 5 S, being # 1; 7 H, #2;
8 e, #3; and 6 S, #4.

HUGARD'S ANNUAL

53

Have the spectators choose someone to act for them; this

is better than choosing a subject yourself since it prevents any
suspicion of confederacy afterwards. Request the person so
chosen to mentally select one of the five cards. When he tells
you he has done so, close the fan of cards and put them behind
your back. Build up the presentation by asking the spectatoi: to
think intently of the thought-of card, to imagine he sees a huge
picture of it on the wall, and so on. Assume a position of deep
concentration for a moment or two then bring forward the face
card of the packet, the one ordinary card in this case the 8 H,
and lay it face clown on the table carefully preventing any part
of its face from becoming visible. eongratulate the spectator on
his powers of concentration. "Quite remarkable", you say, "I
believe I have found the very card you are thinking of, and here
it is", pointing to the face clown card. "Will you please name
your card?"
It is possible that he has chosen the 8 H and therefore calls
that card. If so, you simply turn the card over and prove your
telephatic powers beyond doubt. Suppose, however, that he
names one of the other cards, the 8 e, for instance. Y ou know
that card is # 3 of the four cards remaining behind your back,
so you pull it out, turn it round, place it in front of the other
three and bring the four cards forward, with the faces outwards.
Spread them showing that the 8 e is no longer amongst them.
elose the four cards and drop them on the face of the deck which
should be lying face up befare you. Then take the face card,
which' shows as the 4 S, and with it, by using the Mexican Turn
Over sleight, apparently fl.ick over the face clown card, really
turning the doubl~ card to show its 8 e face and carrying away

54

HUGARD'S ANNUAL

the face clown card. Be careful to keep this card face clown as
you take it away after the change, it would be fatal to allow the
spectators to get a glimpse of its -face.
Take advantage of the surprise caused by the appearance
of the mentally chosen card, to pick up the pack with your left
hand, turn it face downwards and push the face clown card in
yo\}r right hand into the pack. Turn the cards face upwards again
and put the 8 e (or whatever card happens to have been selected) on the fa ce. Turn the pack clown and execute an overhand shuffie without disturbing or exposing the four bottom
cards, and seize the first favorable moment to palm, them and get
rid of them. The left hand bottom palm is the best one to use.
Since it is necessary very often to do the Mexican Turn
Over on a table that has no cloth, you must place the tips of
your left fingers on the left side of the table card to prevent it
from sliding away, thus facilitating the change.
Keep the front end of the double card pointing downwards
when inserting it under the table card in order to avoid premature exposure of the other face.

Another Version-Use two of the double face cards, one

ordinary card and three duplicates which are memorized in
order and pocketed. Have one mentally selected as explained
above, and then drop the three cards into a hat. Concentrate

AND NOW, LADIES AND

GENTLEMEN, THE LEVITATION

OFASTRID- SHE FLOATS
IN SPACE LIKE A CLOUD-

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HUGARD'S ANNUAL

a bit, reach into the hat, remove the ordinary card and put it
into the same pocket with the duplicates. Ask for the name of
the mentally selected card and quickly count to it among the
duplicates, pull it partly out of your pocket and leave it sticking
there in full view. Now reach into the hat, reverse the card
named, show the selected one is missing and allow spectator to
withdraw it from your pocket.

LEON MAGUIRE'S CARD FORCE

This method is very useful when, for effect, it is necessary
to have a card chosen in such a manner that the audience will
be convinced that the selection is perfectly free and haphazard.
In appearance nothing could be fairer. A shuffied pack is dropped
into a glass and a spectator lifts off any number of cards from
the face, the front card of those remaining in the glass becoming
the card to be used in the experiment. It would seem impossible
to force a card under such conditions, yet the method is infallible.
The card to be forced is prepared in this manner: Split the
card at one end with a razor blade and insert a tiny strip of metal
bent at a right angle as in illustration, then glue the split card
together,. so that the arm of the metal strip protrudes at the
back of the card at right angles to it. 'l'rim the sides of the card
at the opposite end in the same way as in preparing a stripper
deck. It will at once be seen that if this prepared card is near
the face of the deck when it is placed in the glass. and a packet
-BUT YOU SA\ D YOURSELF IHAT W COULDN'T
AFFORD TO LOSE !.lER f .

56

HUGARD'S ANNUAL

of cards is lifted out, as illustrated, the bent arm of the metal

strip will hold the card back by the weight of_ the pack which
rests on it, while the tapered sides will cause the cards taken
' hold of to slip away from it freely.
If a borrowed pack is used, obtain the prepared card secretly
and add it to the face of the deck while you are shuffling, which
should be done with the faces of the cards towards the audience.
Stop the shuffle with the card at about the middle of the deck
and drop the cards into a glass. Explain that a card is to be
selected by having someqne remove any number of cards from
the face of the deck, the front card of those remaining in the
glass to be the card selected. Illustrate this by removing a few
cards and call attention to the face card of those that remain.

~--}~

A
"'fff/

ToPEDGES
TRIMMEO
SL!GHTL Y

<'aENT METAL
STRIP GLUED
IN CARO

PAPER CLIP

HUGARD'S ANNUAL

57

Drop the cards removed into the glass behind the deck and
repeat the operation, exposing a different . card each time, until
the prepared card is about the third card from the face of the
deck.
By illustrating the action in this way you not only show
that the cut may be mad~ at any card at all, but you show exactly what the spectator is to do and you work the prepared
card into position in the most innocent manner.
Ask a spectator to come forward and remove a few cards
from the face of the deck. He will follow your example and grip
the cards in the same way. Regardless of how many he removes
the metal clip on the prepared card will hold it back, while its
tapering sides will allow the other cards to slip away from it
freely, so that it must remain in the glass as the face card of
the remainder of the deck. The whole operation being so apparently open and aboveboard, and under the direct scrutiny of the
whole audience, the resulting force is quite convincing.
The same procedure can be used for forcing a picture for the
"Spirit Painting'' illusion, also for colored cards, numbered cards
and even for giant cards.
For impromptu work an ordinary trombone card clip may
be used. Simply bend it at right angles and insert one end oLthe
card in it, the bent part protruding at the back. In this case,
however, you must hold the pack in your hand as illustrated.
When the spectator removes his cards, the clip will be hidden
by your hand and when you lift the forced card away with your
other hand, the cl_ip remains behind, to be secretly disposed of
as you wish.

PACK OF CAROS CHANGED

TO A SILK FOULARD
This is a very useful liaison trick for use in passing from
experiments with a pack of cards to others with silk. In effect
the card are sprung from hand to hand with the well known
flourish, then suddenly the cards vanish and a large silk foulard
is seen stretched between the hands.
A faked deck is required. This consists of a box of thin tin
or aluminwn, exactly the same size and thickness as half a deck.

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HUGARD'S ANNUAL

of cards, one end being left open with the exception of about a
quarter of an inch at each side. On one side of the box glue a
card, face outwards, and on the other side a second card with its
back outwards. To this last card attach from twelve to fourteen
cards by gluing them at altemate ends as in illustration. Whenever it is necessary to glue two enamelled cards together, you
must first rub off the polished surface with sandpaper, otherwise
the glue will not hold. On the sides and end of the box glue a strip
of white paper and, when it is dry, with a fine pen rule a series
of lines lengthways to give it the appearance of the sides and
end of a pack of cards.
On each of two adjacent comers of a large silk of the finest
quality sew a loop of catgut, or horsehair; fold the silk in accordion pleats a little less in width than the width of the box and
g9:_ther the resulting band in zig-zag lengths the same length as
the box. Push the folded silk into the box carefully in such a way
that the loops protrude at the top, and fix these, one at each
comer of the opening of the box.
On the back of the cards glued to the box lay some ten or
twelve loose cards, thus completing the imitation of a pack. Put
this face down on your table behind a crumpled handkerchief.
At that point in the routine whn the silk is required, the pack in
use must be secretly exchanged for the fake deck. Many performers will have their own pet method for doing this, but the
following will be found easy and practica!.
Draw near the table, having it on your l~ft. Execute the
"Spring" fiourish once, look at your hands, then at the handkerchief on the table; apparently put the cards in your left hand
and with that hand pretend to place them on the table just behind the crumpled handkerchief, really palm the cards in your
right hand and at the very moment that the left hand touches
the table, take the handkerchie'f in. the right hand. Thus the
spectators see the left hand resting on the fake pack as if it had
been just put down.
With the handkerchief, wipe your hands and replace it on
the table with the palmed pack safely hidden in its folds. Pick
up the faked pack. Scale out the few loose cards on the top to
the audience, then with the cards glued on the case imitate the
"Spring" fiourish several times by simply gripping the top card

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HUGARD'S ANNUAL

with the right hand, drawing out the cards about fifteen inches
and then slapping the left hand up agains~ the left. Finally slip
your thumbs into the loops and draw the silk out when the
hands are drawn apart as if to repeat the card flourish. A slight
turn to the right sho~ld be made as this is done, so that the
fake is left palmed in the left hand which has its back to the
spectators.
If made up with bridge cards this accessory will be found
easy to handle and the effect is all that could be desired, the
change being instantaneous.

FEKE

BOX

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HUGARD'S ANNUAL

ILK
SILKS AND SOUP PLATES
Buatier de Kolta's trick of passing two silks from the hands
between two soup plates, previously shown empty, remains a
favorite with magicians and audiences. Many methods have
been devised for loading the duplicate silks between the plates.
The following is an easy and subtle one.
Preparation-Four silks are required as usual. Pleat and fold
two into as small a packet as possible, and fasten them with a
narrow band of tissue paper of the same color as one of the silks.
Pass the end of a strong black silk thread under this tissue band,
then tie the thread making a loop through which the band passes:
thus if the thread is pulled away, it will tear the tissue. and the
silks will expand instantly. Sew the free end of the thread to a
corner of one of the other silks at such length that when the silk
is held by this corner, the prepared packet will fall behind it at
about its middle. Lay this silk on the table, or on the back of a
chair, the prepared packet hanging behind out of sight. Secrete
th~ second silk .to be used, ready for production, under the vest,
in a fold of the sleeve, etc., as you may prefer to have it. The
two soup plates are unprepared and may be set on the table, or
the seat of a chair.
Method-To present the trj.ck, first show the soup plates
back and front and set them down mouth to mouth. Lift the
prepared silk by the corner, the load hanging down at the back,
and announce your intention of passing the silk between the
two plates. Ask the spectators which they prefer, a visible or
an invisible passage. "Visible? Of course. Everyone likes to see
how the trick is done. Nothing can be easier."
Lift the top plate with the left hand and lower the silk
slowly on to the other one with the right hand, letting the opposite diagonal corner of the silk drop over the side of the plate
about an inch. Covei: it with the other plate mouth downwards
and hold the two plates together in your hands. As the spectators laugh, you continue, "That is very easy. 1 prefer to do it
magically." Hold the two plat~s tightly together in the left hand,
the edge from which the corner of the silk protrudes being up-

HUGARD'S ANNUAL

61

wards. Taking this comer with your right hand, draw the silk
out _without separating the plates; the thread will break the tissue
band and the silks will expand between the plates. Put them
down on the seat of a chair and at once call attention to the silk.
Continue, "Perhaps you think I can't do it with more than
one silk? You would like two? That's easy. See, here is another."
Produce the second silk, which you have had ample opportunity
to get from your vest, and introduce into the folds of the v;;ible
silk, by simply taking the protruding end and pulling it out.
(Refer to Premier Gimmick, p. 78, for easy method of rolling
the second silk into a compact ball.)
Proceed to vanish the silks, singly or both at once, as you
prefer. Finally remove the upper plate and reveal the silks, or
rather the duplicates, the manner of their transport to the spot
remaining a mystery.
The subject of vanishes for silks has been treated so exhaustively in "Silken Sorcery," published by Max Holden, 1936,
that it is not necessary for me to detail any particular vanish
here.

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THE KNOT IN THE SILK

REX SLOCOMBE

A thread is tied to one comer of a silk handkercpief. The

thread is three times longer than the silk and the other end of
the thread is tied to the lower vest button. The silk handkerchief
is drawn through the hand so that the thread lies as in Fig. 2.
Thread should lay nearer the fingertips than in the drawing. The
end of silk is then removed from between the fingers and twisted
around the thread running to the vest and replaced in positioil
as in Fig. 3. Y ou apparently wave your hand and the silk comes
up and ties itself into a knot. By engaging the left hand in the
thread and pulling same the end of the handkerchief is brought
right over the top of the h,and and down into a knot.
The action is so quick that it surprises even the operator.

G. W. HUNTER'S SILK ROUTINE

By

MAX HOLDEN

E Hect- The sleeves are pulled back and the hands shown
empty. Bringing the hands togther a silk is gradually produced.
This is held by one comer and a silk of a different color suddenly appears hanging with ' the first. They are taken one in eaeh
hand and the audience is asked to select one, the other is dropped
on the stage. The chosen silk is gradually worked in the hands
and disappears. It is reproduced from the collar. "Of course,"
said Mr. Hunter, "if you had chosen this silk (he stooped and
picked up the one from the stage) it would also disappear and
re-appear on the other side of my collar."
W orking-The ~st silk is produced by means of a catgut
loop, four inches in length, knotted in the middle to look like a
figure 8. The silk is folded, tucked into one loop and put in the
lower vest pocket with the free loop protruding. In showing the
hands empty, the thumb of the left hand engages the loop and
thus secures the silk. The hands are brought together and the
silk is slid to the back of the left hand so that the palms of both
hands may be shown. empty. The hands are again brought together, the silk passed between them and slowly permitted to

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THREAD
TO -n;st

Pre~a1ng

clown

on tlread at
this po1nt w1ll
draw handker- ,

chier .into a kn9t,

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HUGARD'S ANNUAL

expand. The second, differently colored silk, has one comer dyed
black and a small knot is tied at the tip of this comer. In preparing for the trick, this last is placed flat on the table with the
black comer furthest away. Each side is then rolled to the middle
and the resulting band is put under the vest and around the left
side of the body, with the black knotted comer protruding
through the third vest buttonhole which is left unfastened.

Under cover of showing the first silk, the knot of the second
one is seized and the silk pulled out. It falls behind the first one
and, upon a slight shake, it unrolls, opens out and becomes visible. The vanish is worked by means of Mr. Hunter's original
double silk vanisher. This is made of one piece of elastic with a
handkerchief pull at each end. The elastic runs through a small
pulley at the back of the vest and through rings fastened on
each side of the vest, just above the hips.
The handkerchiefs reproduced from the collar are, of course,
duplicates.

HUGARD'S ANNUAL

65

BILLIARD BALLS
TWO BILLIARD BALL MOVES
By

]EAN HUGARD

N o. l .-Stand facing the audience, holding the hall between

the first and second fingers of the left hand, the back of the hand
to the front, the arm bent and the hand about a foot away from
the body. Fig. l.

Show the right hand with its palm to the front, bring it over
to the left hand, fingers in front of the hall, thumb behind it and
its back to the audience. Take the hall in the right hand, the
fingers closing over it and the ha!!d tuming palm upwards as
you move it away to the right. This is a feint.
Open the right hand, show the hall and replace it betWeen
the left first and second fingers. Rub the tips of the right fingers
on your coat. This really means nothing but gives an excuse for
putting the hall back. Bring the right hand over to the left as
before and apparently take the hall, really you strike it lightly
with the right palm the moment before the fingers close on the
spot, rolling it into the left palm which contracts slightly and
holds it. Fig. II.
Move the right hand away, the fingers partly closed, exactly
as they were when the hall was really held in it. A moment or
two later let the left hand drop naturally to the side.
With the right hand pretend to crumble the hall to nothing,
opening the fingers one by one to show the hand empty.
N o. 11.-Stand fcing the audience with the left hand in the

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same position as in the preceding sleight but hold the ball between the third and fourth fingers. Fig. III.
Bring the right hand over to the left, fingers together in
front of the ball, the thumb behind, and take the ball away.
Open the right hand and show the ball, toss it and catch it with
the right hand, then replace it in the left hand in the same position. Repeat the action of taking the ball in the right hand but
this time, as soon as the right hand fingers cover the ball, quickly
bend the third and fourth fingers of the left hand into the palm,
leave the ball there and immediately straighten out the two
fingers.
Complete the action of apparently taking the ball with the
right hand, closing the fingers on the imaginary ball in just the
same way as when the ball was there.
Hold the left hand stationary for a moment or two after
the ball has been palmed, with all the fingers stretched out as
in their original position, then drop the hand to the side, closing the fingers together and holding it half closed in a natural
position.
The right hand pretends to vanish the ball as usual.

BILLIARD BALL CHANGE OVER

With a billiard ball palmed in the right hand, stand with
your right side to the audience, the right forefinger outstretched
and almost touching the empty left palm. Bend the right little
finger inward to its utmost extent, bringing it against the lower
side of the palmed ball and place the third finger on top of the
ball so that it is gripped firmly l;>y the two fingers. By extending
them straight out the ball will be brought to the finger tips. This

HUGARD'S ANNUAL

67

is the move you must make as you turn rather sharply to the
right to show the right hand empty. Fig. I'V.
At the moment that the hands cross in front of the body
the ball is literally shot into the left palm by the rapid extension
of the right third and fourth fingers.
The sleight can be done with equal facility with either hand
and it is much cleaner and more deceptive than the palm to
palm change over. It can also be used to good advantage when
taking a visible ball from the other hand. The third and fourth
fingers secretly transfer the palmed ball while the thumb and
first finger seize the visible one.

Fig. IV

THE "LIMIT" MULTIPLYING BILLIARD BALLS 1. Disposition of the balls.

Place two balls in wire clips under the edge of the coat on
the left side, one under the edge of the vest in another ball clip,
and a fourth ball with the shell in the upper right vest pocket.
The multiplication is begun after a few moves with a single
ball. Let us suppose that these finish with Move No. 11 already
described, the ball being palmed in the left hand and the right
hand being held puffed out as if holding the ball. Make a pretence of squeezing it smaller, then snap the fingers as if sending
the ball up the sleeve.
With the left hand, forefipger outstretched, point to the
right sleeve at the wrist and draw the hand up to the shoulder as

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if indicating the way the ball has passed and then point to the
upper right vest pocket. With the right hand squeeze the pall
and shell slowly out of the pocket, the shell peing to the front,
and take them, as one, between the right forefinger and thumb
in the usual position for rolling the ball up between the first and
second fingers. For sorne reason or other this squeezing of the
ball from the pocket generally gets a laugh.
2. Production of the second ba11.
Tum your left side to the front, hold the right arm stretched
to the right, the back of the hand to the front, the shell held
between the thumb and forefinger, the second finger with the
pulp of its last phalange resting on the top of the solid ball.
Wave the hand a little downwards, then upwards, releasing the
solid ball which flies into the air. Extend the second finger widely
apart from the first finger and catch the ball between these two
fingers as it falls. Fi~. V.
This move is the basis of the whole production and must
be mastered first. While at the fu:st attempt it may appear difficult, 1 have proved, by teaching it, that it requires but little practice, and the effect of the ball apparently visibly splitting into
two is well worth the effect required. Use 's mall balls at first until
the fingers become accustomed to the moves.
It is somewhat more difficult to toss the shell and catch it
between the first finger and thumb. In doing this the shell must
be giv,e n a slight twist by bringing the hand inward rather
sharply as the shell is released. This causes it to spin with its
convex side to the front so that it lands back in its position between thumb and finger without the concave side showing. The
move is so bold that no one can possibly suspect the use of a
shell.
In catching the balls, the finger must alway be held pointing upwards and spread as far apart as possible so that the ball
falls easily into the proper place.
As soon as the shell lands between the thumb and . first
finger, bring the left hand up to the right and slip the palmed
ball into the shell, taking both away as one ball, and knock the
two balls together. 3. Production of the third ba11.
Replace the ball and shell (as one ball) between the right

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thumb and first finger and the solid ball between the first and
second fingers. Repeat the up and down movement of the right
hand, letting the solid ball fly up from the first and second fingers
into the air and immediately drop the second finger on to the
ball in the shell and raise it into position between the first and
second fingers, separate the second and third fingers and catch
the falling ball between them. Fig. V l.
There will be a little difficulty here at first in making the
second finger work quickly enough, but if the third finger is
kept stretched as widely as possible from the second finger, with
all the fingers pointing upwards, the move will soon be mastered.
As soon as the ball is in the air, needless to say you foll<;>w
it with your eyes and keep all attention concentrated on it, with
your left hand steal a solid ball from one of the holders under
the coat.

~)

Fi~.

VII

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HUGARD'S ANNUAL

Pause for a moment or two, showing the three balls between the right fingers ( two balls and shell) then bring the left
hand up to the right as before, slip the palmed ball 'i nto the shell
and carry away the two solid balls. Knock the shell ball against
the other two.
4. Production of the fourth ball.

A slightly different procedure is required for the fourth

ball. Hold the ball and shell between the right thumb and finger
in the usual position, place one solid between the third and
fourth fingers and drop the second finger against the lower edge
of the ball in the shell in exactly the position necessary to lift it
out into view. With the right hand in this position toss the remaining solid from the left hand and let it fall on the back of
the right hand between the two balls and a little behind them.
With the same up and clown movement of the right hand,
ball into the air, immediately extending all the fingers,
this
toss
pulling the ball out of the shell into position between the first
and second fingers and catching the falling ball between the
second and third. The left hand, as before, secures the remaining
ball from under the coat. This catch is exactly the same as in
the preceding move. Fi~. VII.
Pause while you display the four balls in the right hand
(three solids and shell) then bring up the left hand, slip the
palmed ball into the shell, and immediately take off the shell in
the left palm, thus leaving the four solid balls between the fingers
of the right hand. Turn this hand round, show it on all sides and
knock the balls against the table top, or seat of a chair, proving
them to be solid.
5. Production of the fifth ball.

Again turn your left side to the front, show the four balls
between the fingers of the right hand and point to them with the
left forefinger. Turn the right hand palm outwards, put the left
hand behind it and produce the shell from the back, pulling it
clown and showing itas in illustration. Fi~. VIII.
Turn the hand back outward again and place the shell in
the fork of the thumb and forefinger behind the solid ball already
there. Fi~. IX.
Display the five balls ( four balls and shell) and swing the
right arm round to the left and back to the right, keeping the

HUGARD'S ANNUAL

71

FiA. VIII

back of the hand outwards in the whole actlon. Do this rather

quickly giving the effect of showing both sides of the balls.
6. V anish and reproduction of the fifth ball.
Keeping the left side to the front, take the shell between the
left forefinger and thumb and remove it, but in sliding the hand
over the solid ball, leave the shell on it and move the hand away
puffed out as if it held the ball. Raise the hand over your head
and slap it down sharply, opening the hand out flat. Drop the
hand to the edge of the vest, squeeze out the solid ball from the
holder and let it fall to the floor. Or you may, apparently, place
the ball in your mouth, making the cheek protrude with the
tongue; then pretend to swallow it and produce it from the vest.

PASSAGE OF FOUR BALLS

FROM HAND TO HAND
This series of moves makes a strong finish to the preceding
.production.
1. First ball.

Openly transfer the balls from the right hand to the same
positions between the left fingers, and display them on all sides.
Toss the ball from the third and fourth fingers and catch it in
the same position in the right hand. Do the same with the next
two balls. With your left side to the audience display the three
solid, b"lls in the. right hand, ball and shell in the left hand,
enci~cle4. by the ~umb and. forefinger. Show this on. both sides,

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Fig.X
Fig. XI and XII

then tum the hand with its back to the front letting the ball slip
from the shell into the left palm. Bring the left hand smartly up
to the right hand and put the shell between the right thumb and
forefinger. Drop the ball from the third- and f~urth fingers into
the shell; to do this bend the right thumb inward carrying the
shell to a horizontal instead of a vertical position and bring the
ball close to the shell by bending the little finger downwards
towards it. Hold the ball in the shell by gripping it with the
thumb against the side of the forefinger. Fig. X.
This drop and catch of the uppermost ball in the shell must
be accompanied by a slight clown and up movement of the hand.
Then point to the empty space between the third and fourth
fingers, follow the supposed flight of the ball in the air, take a
step to the right, reach out sharply with the left hand, back of
the hand to the front, and let the palmed ball roll to the tips of
the finger and thumb, apparently catching it as it falls.
2. Second ba11.

With your left side to the front, show the first ball in the
left hand, betweem the thumb and first finger, bring the right
hand over the left and strike the three balls against the single,

'.

_HVGARD'S ANNUAL

73

one by one, letting the solid hall fall from the shell into the left
palm. Fig. XI.
.
Se'parate the hands and hold the right hand, with two solids
and the shell, extended to the right. Toss the hall from the second
and third fingers into the air, instantly drop the hall between the
first and second fingers into the shell and catch the falling hall
in its place. This is exactly the reverse of the production of this
hall in the multiplication effect and is much easier.
Pause for a moment displaying the two solid balls ( and
shell) in the right hand, then reach sharply forward towards the
right "'With the left hand, release the palmed hall, letting it click
against the first hall and roll between the first and second fingers.
Face the audience! extend the arms on each side and display
two balls in each hand turning the hands back and front.
3. Third bail.
Turn your left side to the front and knock the balls together as before and let the hall roll from the shell in the right
hand into the left palm. Make a down and up movement of the
right hand hut this time, as the hand goes down press the hall
into the shell with the_ second finger and bring the finger up
again quickly. To the eyes of the audience the hall goes into the
air and vanishes. Follow its supposed flight with your eyes, reach
out sharply with the left hand, release the palmed hall and jerk
it to the tips of the second and third fingers. Fig. XII.

Facing the front, the arms extended on each side, show

three in the left hand and one only in the right.
4. Fourth ba11.
To transfer the last hall to the left hand a different procedure is necessary. Encircle the hall and shell with the right .
thumb and forefinger and bring the hand over t the left hand
on the left side of the body, putting the thumhs together and
show the four balls in line. Let the hall slip from the shell, grip
it between the tips of the third and fourth fingers ( see Change
Over Sleight, p. 66) and shoot it into th left palm; at once swing
round to the right, ~eparating the hands. Toss the shell, giving
it a twist, as in the production of the second hall. Catch it and
repeat the toss of the hand hut, as the upward movement begins,
msh .the shell betweei). .i:Jle first and. -~cond fingers to th~ baclc,

74 .

1
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gripping it by its edge between the second joints of these fingers

which are bent inwards.
Watch the supposed flight of the hall, then thrust the left
hand sharply out and jerk the palmed hall to the tips of the third
and fourth fingers. Tum the left hand palm outwards and display
the balls just in front of the right hand, then t11m the left hand
back outwards and, under its cover, bend the right fingers inward,
bringing the shell into the left palm and taking the salid from
between the right thumb and forefinger. ~ock this hall against
the other three sharply, then drop the three onto a plate on the
table, followed by the one in the right hand, at the same time
let the left hand fall to the side and pocket the shell.
1 do not consider it good policy to vanish the balls, for two
reasons, the necessary moves would prolong the effect too much,
while their repetition would tend to give a clue to the methods
used. The production and passage of the balls from hand to hand
are strong enough in themselves.

PRODUCTION OF FOUR SOLID BILLIARD

BALLS WITHOUT USING A SHELL
This production is a very rapid and effective one. Four balls
of different colors are used, of which three are placed in a hall
holder .under the edge of the coat on the right side, or in three
separate wire holders, according to individual preference.
After several passes with the first hall, it is vanished from
the right hand and reproduced by the left hand from the back
of. the left knee, .thus creating a favorable moment for secretly

HUGARD'S ANNUAL

75

obtaining a hall in the right hand from the holder. Tum to the
left, show the hall between the thumb and forefinger and bring
the right hand over, pointing to it. Swing round to the right,
taking the visible hall between the right thumb and forefinger
and shooting the palmed hall into the left palm with the second
and third fingers (change over move, p. 66).
Show the hall in the right hand back and front and replace
it between the left thumb and forefinger, keeping your left side
to the front and extending the left hand out to the right with its
back to the front. Jerk the hand outwards and let the palmed
hall 'r oll down. between the first and second fingers making it
appear at their tips. At -the moment that the hall appears, steal
another hall from the holder with the right hand.
Tum to the left to display the two solid balls, then repeat
the. change over move in tuming back to the right and taking
one of the visible balls in the right hand, knocking the two together. Jerk the third hall from the palm, letting it roll between
the second and third fingers.
Exactly the same procedure is followed for the production
of the fourth hall which appears between the left third and
'fourth fingers.
This production can be done quite well with pool balls and
the dropping of the heavy balls to the floor makes a fine clmax
to a series of manipulations.

AN EGG PRODUCTION CLIMAX

On a firm table with a polished surface spread a large white
napkin; allowing it to overlap the frcmt edge 6ome four or five:

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HUGARD'S ANNUAL

inches. On this set a tray and on the tray place four large, heavy
clear glass tumblers at the corners of an imaginary square with
about eight inch sides. On top of ~ese put a tray without a
turned up rim. The articles sold in the W oolworth Stores for placing undr hot dishes will serve the purpose well. Place four bakelite tumblers, obtainable at the same stores, on this second tray,
each one exactly above the mouth of the glass tumbler below.
The:sr must be about half an inch in diameter, tapered and half
full of water. Above these again put another rimless tray and on
this four long corks, each cork being exactly above the tumbler
below it. The corks must be slightly hollowed out at the tops.
After the production of four eggs ( or four billiards balls)
place an egg on each cork, pointed end upwards. Look the arrangement over, pretending the utmost care in getting the glasses,
eggs and corks exactly right. Make severa} practice swings, then
stop and make a slight alteration in the position of one of the
corks. Finally hit the top tray a sharp sideways blow, sending
it clear away horizontally, the corks falling clear but the eggs
dropping into the tumblers. Send the second tray flying out
sideways in the same way, the upper four tumblers dropping
into the glasses below. At once grip the napkin by its front edge
and with a quick sharp jerk pull it clear off the table, nonchalantly wipe your hands and toss it away.
The trick is really very easy, requiring confidence and quick
action only. It should, therefore, be sold to the spectators as being
the very aeme of difficulty. A rather anxious and worried expression should be assumed, when prepa,ring to do the fea,t and an
attitude-of triumphant pleasure on its successful accomplis~ent.

HUGARD'S ANNUAL

Magic may be an art from out frontBut de tings , dat happen back stage ain't lit to print!

77

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HUGARD'S ANNUAL

SOME USEFU L GIMMI CKS

l. The Premier Silk Gimmick
By ]OSEPH MAYNARD

This little gimmick recently placed on the mark'-t is the

, best yet devised for rolling one or two silks into a small ball that
is perfectly safe for manipulating and yet will unroll instantly
when required. First pass the string loop through the gimmick
as in Fig. 1; then pass one comer of the silk through the end of
the loop as in Fig. 2 and pull the silk through the tube Fig 3.
Free the string and leaving the end of the silk protruding draw
it through the slit letting it hang down as in Fig. 4. Wind the _
silk tightly round the tube and tuck the last end into one of the
folds with the point of a penknife. Finally slide the silk off the
other end of the gimmick and you will find the silk in a small
compact ball which can be safely handled and yet will expand
instantly to full size by pulling on the protruding comer.
For the well known elbow production, for secreting a silk

HUGARD'S ANNUAL

79

under the vest, in the top of the trouser pocket, in fact in any
position, this will be found the best and q'l!ickest method of
"balling'' a silk.

II. A Card Holder

The gimmick shown in the illustration is extremely usefui for secretly changing palmed cards or simply obtaining a card
or cards. It is fitted against the outside of the vest by means of
the clip C which fits into the upper pocket. The cards to be
secretly palmed, are slipped into clip B, their long sides parallel
with the top of the pocket. To obtain them it is only necessary
to pass the hand down the vest as if smoothing it, the cards being
in the exact position to fit into the hand. As soon as they are
secured, if a little tug is made with the same hand at the front
edge of the coat, as if to straighten it, the movement will be
covered naturally.
To exchange cards for others, those to be palmed are placed
in clip B. Having palmed the cards to be changed, the same
movement, as described above, is made, but the palmed cards
are slipped into the clip A, and those in clip B are carried away
in their place. For example you may have the four aces in clip
B. Suppose a poker hand has been dealt to you: look the five
cards over, square them, palm four in your right hand and then
quietly execute the movement as already described, slipping the
four cards into clip A, and palming the four aces. Add these to

!1101 ~IEW

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HUGARD'S ANNUAL

the single card in your left hand and after a moment or two
spread them and show them. Y ou have four aces on your opponent's deal.
Many uses will be found for this ingenious accessory.

111. Billiard Ball Shell with Tongue

In the description of "The 'Limit' Billiard Ball Production,"
p. 6.7, a method has been given for the vanish of the shell in the
final moves. This requires sorne practice with a wooden shell
and is difficult to do with a metal one. By the addition of a small
tongue on the side of the shell, as shown in the figure, the move
becomes simple. In the action of apparently throwing the shell
into the air, it is slipped between the first and second fingers
and the tongue is clipped at the back of the fingers between the
second knuckles.
With a small shell it is possible to use the Back and Front
moves, as with cards or coins, but unless one has a very large
hand these moves are not practicable with the shell of an inch
and three-quarter hall. With the tongued shell the . vanish be'
comes easy with any size of shell.
The use of small balls for so-called billiard hall manipulation is to be deprecated; the_ moves, certainly, are easier, but
much of the effect is lost. This applies particularly to many of
the moves so much affected by some manipulatrs, the repeated
passing of the hands, one over the other, ad nauseam, has been designated by a caustic critic as ''washing the hands." If a sleight
has been done perfectly, and the hall has apparently vanished
from the hand in which the audience are sure it was placed, why

HUGARD'S A:NNUAL

81

destroy the illusion by insisting on showing both hands empty

by a series of unnatural and strained moves? Just to show how
clever you are? Well, that is not magic.

IV. The "Lozenge" Vanish for a Billiard Ball

From the side of a polished hall cut a section about the
size of a quarter, or a little larger. If this is held in the fist in
the position shown in the figure it will appear to the audience
that the whole hall is still in the hand, particulary if the hall has
been shown in the same position in the other hand just before.

The method of using the gimmick is obvious enough. For

example you may pretend to place the hall in the left hand,
which already holds the lozenge secretly. Close the fingers over
the supposed hall and show the hand to the spectators as illustrated. Attention being focussed on this -hand, get rid of the
palmed hall from the right hand into a pocket or elsewhere. Then
with the right hand apparently again take the hall, the lozenge
being left in the finger hold, that is, at the roots of the left second
and third fingers: _which position allows you to show the palm
of the left hand freely by bending the fingers in towards the
palril. When finally the fingers of the right hand rub the supposed
.hall to nothing, and the hand is shown empty, a perfect illusion
of the vanish of a solid hall will have been obtained.
There will be no difficulty in gettitig rid of the gimmick, one
side being flat it can be manipulated in the same way as a coin.

V. New Card lndex

To a piece of black tape, half an inch wide, sew a series of
paper clips as shown in the figure. In the clips place the cards
which it is desired to obtain secretly and attach the tape to the

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HUGARD'S ANNUAL

lining of the coat, either by sewing it on or with snap fasteners,

in such a way that the ends of the inserted cards are about half
an inch from the lower edge of the coat. The fingers of the hand,
held at the side of the body in a natural position, have only to
be bent to touch the cards and draw clown the one required with
an imperceptible movement.

!!";

~11 f!:,

'~"'

'P'

fl.

.),

f.\::

::,

P"

,.

...
f!:,

P'

The ingenious inventor of this gimmick, M. Ceillier, uses

it in place of a pocket index to secrete a whole pack, by having
two suits of the cards on each side of the coat. The cards are
arranged in sequence with a wider interval between each four
cards and a slightly wider gap between the suits. French packs
consist of 32 cards only, the values from two to six being omitted.
To use the full pack of 52 cards in this manner would necessitate
having 26 cards on each side and a considerable amount of
practice would be required to locate any desired card instantly.

I CAN MAKE MY-

SELF FLOAT IN THE

AIR-TOO-JUST

LIKE YOU DIO

WITH AS"TRID.

HUGARD'S ANNUAL

83

However, even apart from its use for a full deck, this ingenious device will be found valuable for i~stantly obtaining
extra cards at any moment they may be required.

VI. Torn -and Restored Paper Strip Gimmick

By

FRED ROTHENBERG

For a simple and fast method of folding paper strips to

insert in the thumb tip take two 36-inch strips of heavy bond
paper approximately 1'14 inches wide, pasting them together
making one long strip of 72 inches. Fold in half, then crease in
accordion pleats, each fold % of an inch completing the entire
strip. (See Fig. 1 ). When it is entirely pleated place it under
pressure to make the creases sharp and permanent.
When ready to fold the tissue strip, open up the creased
heavy paper, insert the tissue in the center of the bond paper,
holding it in position and letting end of tissue drop. (Fig. 2).
Gradually work the creases of pleats together in accordion fashion, with the tissue paper between. (Fig. 3).

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When completed press the edges firmly together along the

creased sides. (Fig. 4). Open up, remove the tissue and this will
give you a creased guide, facilitating the rapid and easy folding
of your paper. When folded together line up the sides. Fold down,
close, and insert in the thumb tip.

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The Short and Simple Annals of

the Poor-lmpromtu Tricksters~
IMPROMPTU LINKING RING
Take two cigarettes and hold them between the tips of the
thumbs and first fingers of each hand as shown in illustration.
The cigarette in the right hand is vertical, the thumb downwards,
while that in the left hand is horizontal, the thumb towards your
body; the fingers of both hands are spread far apart, but the
middle of the right hand is held only about half an inch away
from the side of the first finger. Bring the hands together and,
apparetly, the cigarettes pass through one another, and the
impromptu rings, formed by the fingers, thumbs and cigarettes,

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are linked after the manner of the Chinese Rings. Pull the hands
apart and the rings separate as before, there being no visible
change in the position of each cigarette between the thumbs and
fingers.
To effect this pretty move, as you strike the cigarettes
together bring the tip of the right second finger against the side
of the right first finger, pinching the end of the cigarette in the
right hand and holding it firmly so that the right thumb can be
separated momentarily from its end of the cigarette. The right
hand thus becomes the key ring and you utilize the opening thus
made by passing the left hand cigarette through it, instantly replacing the tip of the right thumb on the end of its cigarette,
which is now inside the ring made by the left hand; and separating the right middle finger from the side of the first finger.
Again show the hands with all the fingers apart and the
impromptu rings linked. Repeat the secret gripping of the end of
the right hand cigarette by the middle finger against the first
and draw the hands apart, immediately resuming the grip between the thumb and first finger and separating the middle finger.
The sleight should begin with your right side to the front,
the linking being effected as you tum to the right. F~ce front to
show the linking, then make the reverse movement under cover
of a quick tum to the right. This right tum covers the movements
of the right second finger and thumb.

A CIGARETTE INTERLUDE
While smoking a cigarette you complain that it doesn't draw
well and, breaking off the lighted half, you throw it to the floor
and stamp on it disgustedly. Then you continue to smoke the
other half, much to the surprise of the onlookers.
The swindle lies in the fact that you had secretly lighted
both ends. It is an easy matter to keep the lighted end in your
mouth from contact with the tongue. After breaking the cigarette
tum the remaining half as you replace it between your lips.
Be sure to draw attention to the cigarette before you break
it and throw the half away, lest you do the trick and find that no
one has noticed what you have done. This little feat is particularly useful to performers who do the lighted cigarette catching

HUGARD'S ANNUAL

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OTHER END
THROWN
roF/...OOR' .

trick as it can be done at any time and always gives the impression that you can do what you like with lighted cigarettes.

A CIGAR VANISH
Into the end of a half smoked cigar push a pin so that the
point protrudes from the side. Having done this unobserved,

PIN

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make sorne remark about the quality of _the cigar and take it
between your right thumb and first finger. Tum your left side
to the onlookers, make two up and down movements of your
right arm as preliminaries to a vigorous throw, then let the hand
drop behind the right leg, hook the cigar butt to your trousers
and bring the hand up with a vigorous jerk, opening the fingers
at the end of the throw. The cigar has vanished A few trials will
show the right position in which to hook the butt so that the buming end does not come in contact with the cloth of the trousers.
It is a simple matter to recover it secretly later on and catch
it from the air, that is, produce it from the thumb grip in the
usual way.

A MATCH DIVINATION
Hand your victim a book of paper matches, tell him to tear
off a few, one, two or three and put them in his pocket, then to
count the remainder. Whatever the number of this remainder
may be, he is to add its two digits together, tear off matches to
correspond with the total so obtained and put these also in his
pocket; finally from the remainder he is to tear off any number
of matches he pleases and hold them in his closed left hand,
place that hand to his forehead and concentrate his thoughts on

NOW GET INIO

ANN~BELLE, , - - - - - - - - J

LIKE A GOOD
GIRL .

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the number. You divine the number of matches in his hand

.
correctly.
The trick depends u pon the fact that for any number under 20
if you subtract the total obtained by adding the two figures making up th number, the remainder will always be 9. For example
take 13, 1 plus 3=4, 13 minus 4=9; again take 17, 1 plus 7=8,
17 minus 8=9 and so on. The rest is simply misdirection and is
most effective if done with your back tumed. When the helper
has done his part he lays the match book on a convenient table.
Y ou now impress on him the necessity of concentrating on the
number selected, as you casually light a cigarette with a match
from the book. At the same time, note the number of matches
left intact, tha{ number, including, of course, the match you
have used, subtracted from 9 will give the number of matches
in his hand.

THE KNEE THREAD

A very, very old trick is that of making a w~lking stick
stand upright between your knees when you are seated. A thread
sewn to the inner seam of the trousers at the knees, and stretched
taut by moVing the knees apart, gives the necessary support.
Quite recently this ancient deception has. been revived by one
Pipitilla, a Spaniard on the y/est Coast, with frills on it, and

(ls THERE A DOCTOR HERE?)

~

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presented as a genuine exhibition of Telekinesis and thereby

aroused the ire of the local magicians who promptly exposed
his pretensions. The ethics of this course I leave to the reader.
Pipitilla presented his tricks while squatting on the floor.
For example, he showed a little wooden skeleton, painted white,
and holding it upright between his knees with its feet touching
the floor, it remained standing; when released it went into
a dance as he hummed a tune and snapped his fingers. He
would repeat the same effect with any small article such as
a fountain pen or pencil with pocket clip, in fact .anythin~ that
had a suitable projecting part on which to catch the thread between his knees; but he rejected ping pong balls, golf balls and
such smooth surfaced articles.
All that is necessary to dupli<;ate his performance is about
24 inches of Hair Silk, sewn to the inner seam of the trousers
between the knees. This allows for perfect freedom in walking
and gives the necessary support to any article which has suitable
projections on which to catch the thread. This is invisible in
ordinary lighting at a very shprt distance, especially against a
dark suit, and affords a ready means of presenting the "Dancing
Handkerchief' effect asan impromptu trick. Just hang the knot
of the handkerchief on the thread.

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If you take the precaution of having a tiny pellet of magician's wax handy, you can confound any sceptic who offers an
object with a smooth surface, such as a ping pong hall, etc. The
dancing, wrestling dolls of the street salesmen can be worked
in the same way.

WAND THROUGH HAT

Here is a trick that is popular with ballyhoo artists, but it
is no less good on that account, in fact their use of it proves it
is good.
Briefiy a wand or stick is thrust through the crown of a
borrowed hat without damage to the hat. To do it, you borrow
a soft fe~t hat. Take it in your left hand, holding it crown upwards, fingers inside, thumb on the brim. With the right hand
thrust the wand inside the hat from below against the inside of
the crown. Do this two or three times, then push it upward on
the outside of the hat nearest your body, pressing the side of the
hat towards your left hand, and let the end protrude, apparently
through the crown, really on the side of the hat nearest you.

Now grasp the wand with the last three fingers of the left
hand under the hat, release the lower end with your right hand,
grasp the protruding end and pull it upwards slowly. Properly
done the illusion is perfect.
This may well be followed by a good old warrior that seems
'to be quite forgotten~the finger through the hat. You have a half

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HUGARD'S ANNUAL

finger mounted on a pin in a handy pocket. Get this in your

right hand, while the left hand picks up the hat and holds it
with the opening towards the audience. Tum slightly to the right,
and bring the right hand against the crown pushing the pin
through it. Now hold the hat in the right hand by the brim while
you extend your left first finger, closing the others on the
palm, and push the left hand into the hat. Tum the hat crown
upwards, grip the pin with the left fingers and remove the right
hand leaving the half finger apparently protruding from the hole.
Move the pin from side to side making the finger waggle.
Again tum the crown of the hat t<>wards your body, withdraw your left hand with a jerk, first finger extended, give the
crown a rub with your right hand and palm off the finger. -Y ou
can easily drop it behind the hat onto the brim and a moment
later secure it with the left hand as the right hand rubs the
crown to repair the damage.

SOMERSAULTING A PACK OF CARDS

Place a pack of cards on the edge of a table so that about
an inch of its length projects over the side. Stand facing the
table and put your right hand. just below the projecting ends
of the cards, the fingers slightly bent. Raise the hand sharply,

WHEN U.SING

!IANlJ MOVES
uPWARD IN
0/RECTIO/'{
OF ARROW.

WANo_ HAND
/11/0V.E:S OOWN-

WARD IN

DIRECTtON
OFARRoW.

HUGARD'S ANNUAL

93

striking the nails against the bottom of the pack which is sent
upwards into the air, making a half tum. Extend the fingers and
catch the opposite end of the pack, as it tums, between the
fingers and thumb.
Practice first with the pack in its case. This will save you
a whole lot of exertion in the picking up of scattered cards.
The same thing can be done with the wand, but in this
case the projecting end is struck downwards, the hand being
raised rapidly to catch the opposite end as the wand tums over.
Such little flourishes as these should be cultivated to the utmost
as they provide a series of impromptu surprises that enliven the
performance of the regular trick.

A RISING CARD
A single card pushed down into a glass rises from it
spontaneously.
Use a glass which tapers rather sharply. On each side of
the inside of the glass draw a line of soap as in the illustration.
First thrust the card into the glass in such a way that it does not
come into contact with the soap lines. Naturally it stays put.
Take it out and magnetize it with your fingers, then replace it
in the glass, but this time so that its sides go down the soap
lines. Hold it in position with the tip of your first finger, then
raise this and the card rises, apparently drawn up by the magnetic influence. Y ou will find that the card will rise quicker if
its sides are secretly moistened with saliva.
This little effect is useful after sorne trick with a chosen
$0APLINES

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HUGARD'S ANNUAL

card, the conclusion of which requires a little warming up. Explain the trick just done with sorne semi-scientific jargon about
animal magnetism, the lines of the magnetic influence acting
upon the prism of reflection and so on, then work this effect with
the chosen card.

EGG CUPS AND PELLETS

The egg cups shown in the accompanying . illustration are
perfect for an impromptu exhibition of the cups and balls trick.
If cherries are available they make good substitutes for the usual
balls. Failing anything else, knead sorne morsels of bread into
balls of appropriate size. With the large end inverted on the
table the small end of the cup is perfect for the various passes
in which a ball is placed between two cups. For the finish, three
hardboiled eggs can be appropriately produced.
The following passes make a good opening for a series
when seated at table. Take your seat at one end of the table and
spread a napkin, or a handkerchief over your lap, making a depression in the middle of it to form a receptacle for balls dropped
in the course of the passes. Openly make three bread balls, an,d
one secretly which you drop on your lap. Show the egg cups and
the three balls. Remarking that other magicians use a four'th
ball, take one of the balls in the right hand, "which they hold
like this," hold it against the palm by bending the thumb on it.
"Then," you continue, "they lift a cu'p to show it empty, really
to slip the ball under it like this," do it clumsily and unmistakably, "and pretend to pass a ball through the table, so." Put your
hand underneath the table and pick up the fourth ball from your
lap, finger palming it.
"But, of course, the ball was there all the time." Lift the cup
and take the ball. "Now watch how I do it." Put the ball on the
pahn of the left hand held flat. Lift the cup to show it empty and introduce the palmed ball. Tilt the left hand a little so that
the ball rolls off on to the table. Pick it up with the right hand
and replace it (really palming it in the right hand), and close the
left hand. Point to the cup which has the ball under it and say
"Go." Open the left hand, empty, at the same time let the palmed
ball cirop from the right to your lap. Show both hands empty and
lift the cup showing the ball. Place the cup beside the ball.

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Take one of the halls on the tahle, pretend to place it in

the left hand, really palming it in the right, . and in the act of
covering the first hall with the cup, secretly introduce this
palmed hall. "Go," you say and open the left hand. Pick up the
cup and show the two halls.

Now really place the third hall in the left hand. Make a
motion of covering the two halls with a cup, hut stop. "No, it has
not gone yet. Here it is!" Lay it down. "Now if I were to put my
hand under the tahle so, :f.OU might have reason to suspect me."
Put your hand under the tahle and palm the hall from your lap.
Cover the two halls, secretly introducing the one just

palmed. Pretend to place the third hall in the left hand, really
palming it and dropping it on to your lap as you pretend to pass
it from the left hand under the cup. Show hoth hands empty,
lift the cup and show all three halls under it.
Continue with other passes, hut heware of making the usual
mistake of unduly prolonging the effect. After all it is only the
passing of a hall or halls from cup to cup and too much repetition soon renders it tedious.

KNIFE AND EGG SHELL

At the hreakfast tahle you invert the empty shell of the
egg you have jusi demolished, over the point of a tahle knife.
You rap the handle of the knife sharply on the tahle and the
point of the knife promptly penetrates the shell.
Place another shell on the knife and challenge your neighhour to do the same thing. No matter how hard others strike
their knives on the tahle they will not penetrate the fragile
shells and they remain intact.

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The secret is that you merely pretend to strike the knife

down hard: you make a gesture of doing so, but just before your
hand reaches the table, let the handle of the knife slip free so
that it hits the table with the momentum of its own fall only;
Open the fingers just enough to let the handle slip, without the
action of the fingers being noticed.

When the blow is struck with the knife held finnly in the
hand, the shell merely bounces in the air and falls back into
position on the point undamaged.

A SURGICAL OPERATION
Take a black horse hair, about 12 to 15 inches in length,
and insert one end in a tiny tunnel you have made with a fine
needle in the thick skin at the base of the middle finger of your
left hand. Push the hair in from left to right so that the end is
flush with the opening at the right, the rest of the hair going
back between the first and second fingers below the back of the
hand and into the left sleeve. Press the tip of your left thumb
on the base of the middle finger, allowing just the end of the
hair to be visible. It will look like the end of a splinter.
Hand a victim a needle and a pair of tweezers a~d ask him
to extract it. When the end of the hair is gripped, gradually relax
the pressure of the left thumb arid watch the expression of your
aide's face as it lengthens. _
_The trick is supposed to have been originated by one of the
Rocky Mountain coach drivers in the old days. He had a lot of

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97

fun with it till one day a victim turned out to be a doctor who
got evea by charging him $10 for a surgical operation. So watch
your step.

CONCUSSION OF THE BRAIN

Affecting forgetfulness, you say you have a sure method for
collecting your scattered wits. Walk over to an open door and
bang your forehead against it with a resounding thud, two or
three times; at least, that is what you appear to do. Really you
stand at the edge of the door so that you can pass your right arm
to the other side unnoticed, then, as you apparently strike your
forehead violently against the wood, you stop it just before it
reaches the surface of the wood and, at the same moment, thump
your fist h~rd against the opposite side. Properly timed the
illusion is perfect.
Do .this a couple of times quickly, then tum back, rubbing
your forehead With your right hand and remarking that your
. brain is quite clear again. The trick is after the style of the very old one of striking
your knuckles violently against the edge of a table without
hurting them. You raP., the edge two or three times with the
knuckles of your closed fist, palm downwards. Then you strike
a violent blow wthout suffering any discomfort whatever. What
you do is to open the fingers quickly just as the hand reaches
the edge of the table and strike it with the tips of your fingers,
instantly closing them again.

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Suppose you have dropped something, proceed to punish

your hand in this manner, causing sorne amusement, not to say
wonderment, and distracting attention from the accident.

SHOT IN THE EYE

Small pellets of shot can be introduced into the eye so that
they rest between the eyeball and the lower lid, and can be kept
there for any length of time without causing the least inconvenience. They should be rubbed into the comer of the eye next
the nose, one by one.
Push half a dozen pellets into each eye in this manner
befare sitting clown at table, and have another lot of shot in your
pocket. After doing sorne of the usual table stunts, bring out the
pellets of shot, remarking t hat lead pills have a remarkably settling effect after meals. Put sorne in your mouth and pretend to
swallow them, really letting them go to the side of your mouth
between the lower teeth and the cheek.

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99

After a moment or two, affect discomfort and remark that

the shot must have been of the wrong brand, lean over a plate,
pull down the lower lid of one eye and let the shot drop o'Ut on
to the plate. Look them over and then repeat the operation.
Reproduce them from the other eye and finally decide they are
not heavy enough~

CUTTING THE THUMB

To all appearance you infl.ict a deep gash in your thumb,
from which the blood pours out, but when this is wiped away
there is no trace of the slightest cut, not even a scratch.
Beforehand you secretly prick the back of your thumb with
a clean sharp needle in a couple of places between the base of
the nail and the first joint. If you introduce the trick at the table
have a fingerbowl or glass of water ready. Lead the conversation
to the feats of the Indian fakirs and the Dervishes. The latter
are reported to infl.ict terrible cuts on their bodies from which
the blood is seen to stream out, yet when they end their frantic
whirlings no traces of the wounds are to be seen. Y ou maintain
that such things are really done and to prove it give a demonstration. Modesty forbidding an exact reproduction of the bodily
gashes you say you will operate on your thumb.
Twist up your handkerchief and wind it tightly round the
base of your left thumb. Take a knife, be sure that it is a blunt
one, apply its edge to the pricked places, bend the thumb inwards
as tightly as possible and draw the blade across. Blood will issue
freely from the pricks and, being drawn across the thumb by
the knife, the illusion of a deep cut is produced.
The secret of the Dervishes, you explain, lies in a mysterious powder of which you have been fortunate enough to get a
supply, sorne of which you always carry. Take a pinch of this
. imaginary powder, drop it in the water and stir it. Then take off
the toumiquet, dip the thumb in the water, washing off the blood,
dry it and show that there is no trace of any cut on it whatever.

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This beautiful effect is not often seen, prohably because it

is thought to be difficult in operation and intricate to set up, as
well as requiring an assistant to work it This is not the case. I
know of no trick giving as fine an effect that is as easy to work.
This illusion, like all others wh~ch offer a continuous challenge
to the onlookers, such as the Levitation of-a Girl and illusions of
a similar kind, is-always received with much favor by the puhlic.
In great part this is because as soon as the spectators have
thought of a possible solution, sorne action takes place which
completely disproves their theories, until fi.nally they have to
confess their utter bewilderment and acknowledge their defeat
with hearty applause. -

The Eflect-A large hall is either hrought on by the performer, or it may make its appearance spontaneously from a
box. It floats in the air, being attracted to the performer's fingers,
or repelled at will, as he moves freely about the stage, while a
solid metal hoop is passed over the floating ball in all directions.
It is thrown to the opposite side of the stage and, amazingly, it
floats back, passing right through the hoop to the performer's
fi.ngers. Finally it returns to the box which closes on it
1. The Ball. As supplied by the magic dealers the hall is usually made of aluminum or papier mach, and has a small looped

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staple projecting at the top through which runs the thread necessary for the levitation. However, this single staple arrangement
never gave me the perfect control of the ball's movements that
I desired, so after sorne experimenting I corrected this drawback
, by using two staples as shown in the illustration. Y ou will find
that two ''wavy sided'' hairpins answer this purpose very well,
and can easily be forced through the shell of the papier mach
hall. Set them about 4 inches apart leaving the bend of the hairpin projecting a half inch. Any dealer will gladly prepare such
a metal hall for you at a slight additional cost.
For stage purposes, the hall should be brilliantly decorated.
It may be silvered, gilded, painted in blue and studded with
stars; and so on to suit the individual performer's taste. A very
pretty effect can be obtained by having the surface coated with
the metallic particles used by sign painters for p0ster work.
These are of many different colors and they catch and reflect
the light, scintillating with beautiful effect as the hall floats in
the air. As this material is heavy it is well to cover only one side
of the hall. This side only being in view of the audience -throughout.
2. The Box. This is perfectly plain, made of light wood and
just large enough to take the hall easily. It should be of a dark
color with the inside of the lid painted biack to contrast with
the hall as it appears. The lid should be made to open very ~asily
and remain upright without falling to the back.

3. The Thread. For a hall such as described above, the best

thread is black silk, quality B. If a lighter hall is used then quality
A will be strong enough. Against any fairly dark and broken
background, the B silk will be invisible from the other side of
the footlights, but if the audience is very _close the lights should
be lowered, or red and blue globes used. Black velvet must never
be used as a back cloth, it shows up a thread like a rope.
4. The Ear-piece. An oval ring of flexible wire is shaped to
fit tightly o ver -the ear against the side of the head, the tear half
of the wire is wrapped around with a small strip of electric tape,
while the forward half is painted flesh color. See illustration.
S. The Hoop. This 111ay be of wood or metal, without prepa-

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ration and from 18 to 24 inches in diameter. A ring from a set of

very large Chinese Rings will do very well.

Preparation for the Trick

Having these accessodes ready, first drive a nail at about
shoulder height in the rear inner edge of the second wing, or in
the stage wall on the left side of the stage ( i.e., your left as you
face the audience) and push the spool of thread on to it by its
center hole. Fix a small screw-eye about 18 feet above the level
of the stage and directly above the spool; carry the thread up to
it, pass it through and bring it down ~o the stage. Next pass the
thread through the hairpin loops on the top. of the hall and put
the hall in the box, closing the lid. Keep hold of the end of the
thread ( it will reel off freely from the spool on the nail) and set
the box down in the middle of the stage in line with the wing.
Take the thread to a point about 9 feet from the wing on the
opposite side and then tie the ear-piece to it at the middle of the
flesh painted side.
Fasten the thread at the spool end by twistirg it round
the nail, don't tie it, simply twist it round a sufficient number of
times to be sure that it will hold fast. Now put the ear-piece on
your left ear, stand with your right side to the front and stretch
the thread taut across the stage. If, when the hall is pulled up
to full height in the middle of the stage, you are brought too near
to the dght wing, simply_shorten the thread by winding it up on
the spool. Having adjusted the thread to the correct length, take
off the ear-piece, put the hall in the box and carry the box off
stage, passing in front of the left wing, around it and set the box
down on the stage close to and behind the wing; hang the earpiece on a nail driven in the inner edge of the wing at such height
that the thread is just taut all the way round. Be careful that
there are no nails, splinters or projections of any kind that the
thread could possibly catch against. Hang the metal ring with
the ear-piece.
Presentation-When ready to perform the trick, take the
metal ring and place it over your head, slip the ear-piece over
your left ear, lift the box, remove the ring from your neck, the
thread now running through it, lay it on top of the box and walk
on the stage from the front of the wing. Show the hoop and put

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/IAIRPIN

::;:

1\:WAV'(

-o

!=LESH

COLO!{

TAPE

BALL

EARPIECE

REAR VIEW OF W!NG

BOX

103

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HUGARD'S ANNUAL

it over your head. Set the box down on the stage a little past the
center towards the right wing. Turn left and from now on keep
the right side of your body towards the audience. Make mesmeric
passes with your hands toward the box and draw the thread taut
gradually so that it lifts the lid and the hall rises. When this is
at full height, hold your left hand palm upwards, with the fingers closed; place the right hand above the left, palm downwards,
thumb resting on the thread and the fingers "wiggling" as if to
draw the hall towards them. Press down with the right thumb
and the hall will run down along the thread as you ~ide it
smoothly to rest on the tip of the left forefinger. Hold the position
for a moment or two.
Place the tip of the. extended right forefinger on the top of
the hall and remove the left hand: the hall remains apparently
hanging from the tip of the right forefinger. Move severa! steps
towards the back cloth, keeping the hall in this position, thtm
back again down stage. Place the left hand, forefinger extended
upwards, about a foot below the hall, then by swaying the body
and the head forward a little, the hall will be made to descend
on to the tip of the left forefinger; by bringing the body to its
former position the hall will rise to the tip of the right finger.
Repeat this up and down moverent, one of the prettiest possible

11 WELL, AS YOU KNOW, I AM. A

GREAT SPORTSMAN- I AM GOING HUNTIN.G FOR WILD GEESE.

I SHALL GO TO THE LAKE AND-

HUGARD'S ANNUAL

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with the hall, several times, keeping time to the music (which
should accgmpany the illusion throughout).
On the fourth ascent of the hall, just when it is midway
between the hands, suddenly stretch these out flat, left palm upwards, right palm downwards, and keep the hall stationary bet ween them. Lift the hoop over your head and pass it over the
hall. After a few trials you will find that it can be made to appear
to pass over the hall in every possible direction without fouling
the thread which runs through it. This done replace the hoop
over your head.
By engaging the thumbs in the thread on either side, the
hall can be made to float from one hand to the other horizontally, that is, almost horizontally, because one hand must be held
a little lower than the other to cause it to slide on the thread;
then by bringing the left thumb up under the thread and taking
a couple of steps forward as the thumb raises the thread sharply,
the hall can be made to slide rapidly forward, as if thrown to
the other side of the stage. By reversing the action, that is by
stepping slowly backward and pressing the thread down with
the right thumb, the hall will rise from the floor and begin to
float back towards you. As it does so take the ring from your
shoulders and hold it out in front of you as far as possible, the
thread, of course, passing through it. Gesture with the fingers of

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the right hand as if drawing the ball towards you and by regulating the pressure of the right hand on the thread and, if necessary, stepping slightly backward, the ball is made to float through
the hoop up to your right fingers. The movement of the ball must
be kept slow and smooth throughout, without swaying. This
passage of the ball through the hoop looks very mysterious.
To get the hoop back over the head, bring the tip of the
left forefinger down on top of the ball on the outside of the ring,
take this in the right hand and again drop it over your head on
to your shoulders. Finally get the left thumb under the thread
and by raising it in due proportion make the ball slide away
towards the box, over it, and then slowly descend into it. Maneuver the thread round the back of the lid and with it cause the
lid to fall shut. As it falls bring both hands up to the head and
down again with a quick jerk as if that gesture caused the lid
to fall, at the same time with your left thumb hook the ear-piece
off and let it fall to the stage under cover of this action.
Remove the ring, bounce it once on the stage and take your
bows. Pick up the box and walk off the stage in front of the le'ft
wing. Set the box down at the rear of the wing, pick up the earpiece, which has trailed along after you, hang it up again with
the hoop and you are all set fot a repetition.
The moves detailed above by no means exhaust the possibilities of the singlehanded manipulation of the Floating Ball;
they are given as the basis on which to erect an original routine.
One thing is absolutely necessary, even more so than in other
tricks, the routine must be rehearsed until very move is perfectly smooth and continuous, without stops or jerks or even
hesitation otherwise the illusion of the ball being controlled by
the fingers is destroyed. The movement of the ball being controlled by gravity, it rests entirely with the performer to make
the action smooth.
By using a girl assistant an effective opening can be made
by having her kneeling on the stage, box in hand, while the performer, striking an attitude, makes passes towards the box.
Again at the finish the assistant comes on carrying the box and
kneels as the performer makes the ball float down into it. She
carries off the box and resets the earpiece, thread and hoop,
leaving the performer free to continue with his next item.

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FIRE?EATING
This is a trick of very ancient origin, indeed it is probably
the oldest trick in the magician's repertoire. There is good reason
to believe that it antedates such tricks as the cups and balls, etc.,
since it was used by the priestcraft of old as a supernatural marvel long before such tricks carne into the hands of the jugglers.
There are historie records of false prophets who blew smoke and
flame from their mouths to prove that they had supernatural
powers. For instance, Mokanna the Arab, who gave Mahomet
great trouble gained a large following through this fl.aming
miracle. It would be a fascinating study to trace the gradual
decay of the miracle-working priesthood and the passage of their
knowledge of tricks into the hands of the wandering jugglers
and mountebanks who were the direct forerunners of the mod. ern magician. It must suffice here, however, to say that the selfsame marvels which once clinched the claims of imposters to be
the inspired mouth-pieces of divine utterance, now serve to amuse
mixed audience!;l at so much per head. Surely a great stride forward in human intelligence, yet it is sad that even today there
are communities where an exhibition of fi.re eating would be
regarded as a manifestation of satanic power.
The modern method of fi.re eating and the blowing of flame
from the mouth is suitable for stage work only and a proper
presentation calls for the use of at least one assistant, preferably
a girl. It is most effective when presented in Chinese, Japanese
or possibly Hindu make-up. In the routine which follows only
one assistant is necessary and it will be found very effective with
any audience.
Effect-The magician comes forward, followed by his assistant, who cardes a tray on which there is a candle. He lights the
candle, turns. toward the audience, drops the lighted match into
his mouth and swallows it. The assistant slyly blows out the
candle. The magician turns to pick up the lighted candle and
fi.nds it extinguished. He looks suspiciously at his assistant who
assumes an air of innocence. He blows on the wick which instantly relights. He turns his head to the audience and she makes
as if to blow it out again, but he turns and catches her in the act.

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He takes the candle from the tray and with it a number of pieces
of colored tissue paper twisted up into tapers. Lighting one of
- these he thrusts it flaming into his mouth. After repeating this
with several more papers, he finally hites off the lighted end of
the candle, chewing it with gusto. The assistant hands him
bowl, heaped up with cotton, and this he stuffs into his mouth,
apparently swallowing a huge quantity. Taking a fan and fanning his ears, he proceeds to blow out smoke in clouds, then sparks and flames. Then from his mouth he draws out a long
pole, followed by yards of ribbons. After another repast of cotton, he blows out more smoke and sparks, then suddenly throws
out a number of vari-colored ribbons from which clouds of confetti shower clown on the stage. There is an explosion and the
magician is seen to have a huge umbrella, with ribbons dangling
from it, over his shoulder.
Preparation-The essential thing is the means of producing
_ the smoke and flame. I have rarely performed the feat without
being asked what secret preparation I used. Naturally I made
a mystery of it but the fact is that the oldest and the simplest
method is still the best. The answer is ... saltpetre. Take sorne
cotton wickihg and twist the strands to about the thickness of
the little finger, then put it into a saturated solution of water and
saltpetre. To prepare the solution have the chemical ground to
a very fine powder and add it little by little to sorne water until
the water will dissolve no more of it. Let the wicking soak for
at least 24 hours, then dry it thoroughly. Cut off a small pieee
and light it: it should smoulder slowly, but if it burns too quickly,
simply dip it in water, squeeze the water out and let it dry again.
This will remove sorne of the saltpetre and bring it to the right
condition. It is advisable to prepare sorne 18 to 24 inches at a
time, as this amount will provide sufficient material for a number of performances.
To use. the fuse, cut off about an inch and a half, light one
end, and put it on a little pad of the best quality medicated cotton. On top of the lighted fuse put another pad of cotton and
place the whole in your mouth. Close your lips 1:ightly and draw
a deep breath through the nose. Blow out steadily and strongly.
The fuse will ignite the cotton and you will find your breath will
qrrry out first smoke and then sparks. When the first supply of

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air has been expelled fro~ your lungs, close your mouth tightly
and draw another _deep breath. The fuse will be reduced to a
smouldering condition immediately. Again blow out your breath as before, again producing smoke and sparks, and so on. The
one thing that must be strictly observed, is never to draw the
breath in through the mouth: with that proviso, there is no danger whatever in the feat. From time to time a fresh supply of
cotton is thrust into the mouth, alternately above and below
the fuse. That is all there is to it. Another piece of lighted fuse
can be obtained from the bowl carrying the cotton when the first
piece has been burned up.
Practice will soon enable one to handle the fuse in the
mouth with perfect safety. It is well to start with a fuse that will
smoulder very slowly and gradually work up to one that burns
faster.
The following properties will be required to work the act:
on stage on the center table-a tray with a candle in candlestick,
a fan, half a dozen pieces of 15-inch tissue paper twisted taper
fashion, and a box of matches. Protruding from one end of the
closed matchbox is a paper match, which has been lighted and
blown out, and is so fixed that its uncharred end sticks out ready
to be seized secretly with the fingers. On the table also, but
behind sorne other object, is a large roll of throw-out ribbons;
and resting on two hooks behind the top of the table, is a large
fancy umbrella with bright ribbons sewn to the ends of the ribs.
Off stage and near the wings on your left is set a small table.
On it is a metal tray with a small candle, matches, two small
pieces of fuse and four pads of cotton to receive the fuses; two
~olls of throw-out ribbons, one medium and one narrow, also a
bowl of light metal composition, about 10 inches in diameter and
4 inches in depth, in which a quantity of the best quality of
medicated cotton, well teased out, has been piled up towards the
front of the bowl, leaving a space at the back for the mouth roll
and the fuse pad.
W orking-The assistant brings the tray from the center table
to the magician who is standing in the center of the stage. He
takes the matchbox, secretly pinching the paper match between
his left middle fingers near their roots, as he opens it to take out
a match. Striking this, he lights the candle while shielding the

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PLAN OF TOP OF CENTER

TABLE:: ON STAGE

BOWLOFCOTTON

TRAY
MATCHE8
FOIJR PAOS OF COTTON

flame with bis left hand, and at the same time lights the paper
match clipped between bis left fingers. Tuming directly to face
the audience, he throws bis head back and drops the lighted, visible rn,atch into bis mouth and apparently swallows it. There is
nothing to this but just doing it. The match goes out instantly
when it touches the saliva on the tongue.
In the meantime the assistant, with a sly look at the audience, leans forward and blows out the candle. The magician
tums and makes a motion t o pick up the candle, then notices it
is out. He looks at the girl who assumes an air of complete innocence. He again shields the wick with bis left hand and pretends
to blow on it, at the same moment bringing the lighted match in
bis left hand into contact with the wick, which lights at once.
With a touch of bis thumb he extinguishes the palmed match and
pushes the remnant through bis fingers to the back of bis hand

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so that he can show the left hand empty with a careless wave. He
looks toward the audience for a moment, the girl again leans
forward, her lips pursed ready to blow the candle out again, but
he turns and catches her in the act, and quickly takes the lighted
candle with his left hand.
With his right hand he takes the tissue tapers and shows
them, then arranges them in his left hand so that he can take
them one by one with his right. He lights one at the candle,
holds the lighted end downwards for a moment or two so that
a good flame is produced, then thrusts it blazing into his mouth.
Here again a great to do is made over nothing. Tissue paper
burns quickly, leaving practically no ash and the moment the
mouth is closed the flame is extinguished without any possibility
of a burn resulting, always supposing there is no hesitation in
closing the mouth and apparently swallowing the flame.
The magician repeats this operation with five or six papers,
not forgetting to pretend to let the flame of one piece burn his
fingers. Well acted this leads the audience to marvel even more
at the burning papers being put in the performer's mouth without burning him. A nice illustration of psychological misdirection. The performer must create the impression that he is actually
having a dainty meal and thoroughly enjoying it. Nothing tends
more to put an audience in a good humour than to see the magician himself happy in his work, therefore always give a happy
show. On reaching the last two papers, the magician drops one
on the stage. This is a signa! to the assistant who is waiting in
the wing.
When the magician lights the first taper, the assistant carries the tray off stage, quickly lights the first piece of fuse, places
it one one of cotton pads, puts another pad on top of it, and puts
the whole in the bowl beP,ind the heaped up cotton already there.
Beside the fuse, but apart from it, she places the mouth roll and
then takes up her position at the wing. When the performer drops
the last paper to ~he floor, she enters, bowl in hand, and stands
at the magicians left. When he makes a motion of carrying the
lighted candle to his mouth, she seizes his arm in pretended
alarm. He looks at her, then at the candle and shakes his head,
as if agreeing not to do it, then turns away and quickly bites the

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lighted end off. He extends his left hand with the candle towards
her, but still looking away from her, as he pretends to chew and
swallow the candle end. She grabs the candlestick, thrusts the
bowl into his hand and goes off with the candle.
The magician tums his head, sees the bowl, looks round as
if wondering whre it carne from, then begins thrusting handfuls
into his mouth. Here again there is sorne camouflage. The cotton,
having been well teased out, a handful, when chewed, becomes
a wad. Every now and then as a fresh handful is thrust in, the
chewed wad is secretly remoyed from the mouth. and dropped
into the bowl as another lot is taken. Finally the pad containing
the fuse is thrust into the mouth and the blowing of smoke and
sparks is begun. The assistant has retumed and when the magician hands her the bowl just before he starts the smoke, she
hands him the fan. Throwing this open with a flourish, he fans
first one ear, then the other, and throwing his head back he begins the smoke and spark production. The assistant stands nearby with the bowl, ready to hand it over and take the fan when
a fresh supply of cotton is required to replace that bumed away.
When the fuse is nearly exhausted, the magician takes the
bowl and, as he thrusts more cotton into his mouth, he grabs the
mouth roll and inserts this also. With bis mouth .apparently
stuffed to the limit he makes a pretence of blowing vigorously,
but neither smoke nor sparks appear. He tries again with the
same result. He takes the fan and again vigorously fans his ears,
but still without success. He hands the fan back and taps first
his chest, then his throat and gestures that something has stuck
t-here. Then taking hold of the center of the roll, he draws it out
gradually like a stick. The assistant gazes, wide-eyed then
runs off.
While the magician is drawing out the rest of the roll, which
falls in a pile at his feet, the assistant, who has taken the bowl
with her, quickly lights the second piece of fuse, places it between
the two pads, puts them in the bowl besides the two throw-out
rolls and piles up a fresh supply of cotton in front to hide them.
She then retums to the stage. Meanwhile the production of the
. mouth roll must be timed by the magician to allow for thi~ work.
Again taking the bowl, the Fire Eater proceeds with the
same stuffing of the mouth with cotton followed by production

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of smoke and sparks. A very deep breath should be taken to

make the final clouds of smoke and fl.ame as spectacular as possible. Then the two rolls are grabbed from the bowl with the
right hand and as the assistant seizes the bowl, both hands are
brought rapidly. to the mouth and a pretence is made of taking
something from it. The left hand takes the smaller roll and jerks
out the ribbons. The hands go to the mouth again, the left hand
takes the second roll and throws this out. The action should have
taken the magician close to the left side of the center table, for
in throwing the second roll he tums his left side to the audience
and with the right hand, under cover of his body, he seizes the
large roll from the table, and carries it to his mouth as the left
hand comes back as before. This roll is then thrown out by the
left hand; in it there is a large handful of confetti, which scatters
in a cloud from the ends of the ribbons. Instantly his right hand
grabs the handle of the umbrella from behind the table ( the
handle, blackened, should project just as far enough to be
seized), throws it open with a quick jerk as the assistant fires
several revolver shots behind the scenes. He moves down towards
the footlights to t_:eceive the reward of spontaneous applause that
is due if the act has been carried through with dash . and fire.
The act should be worked in silence with a bright and
lively musical accompaniment starting rather deliberately and
the tempo speeding up gradually to the clmax. The mouth roll
must be as large as can be comfortably placed in the mouth so
as to give the assistant time for her work. It is a fact that nobody
seems to notice the repeated trips of the assistant off stage,
another illustration of the fact that the most obvious things can
be done openly at one place if the attention of the audience is
held fixed on another part of the stage. The throw-out ribbons
should be one inch, two inches and about four inches wide respectively, of varying bright colors and sorne 15 feet in length.
They are sewn at one nd to a piece of strong black cloth, large
enough to encircle the roll which is begun from the opposite
end. A piece of pencil let in a hem at the free end of the black
material will give the grip necessary when the rolls are thrown
out. The candlestick should be of the kind shown in the illustration.

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Finally it is advisable for the neophyte to thoroughly rinse

his mouth with a saturated solution of alum before trying the
trick. Long practice has made this unnecessary for me but it
will be a safeguard for the beginner.

HINDU FIRE EATING

We have it on the authority of Levante, the well known
Australian magician, that the best of the Indian performers of
the fire trick are the Madrassi magicians. In place -of cotton they
use well dried cocoanut fibre and the part prepared for insertion
in the mouth is made by pressing a pad of the fibre, about half
an inch in thickness, over the end of a round stick somewhat
thicker than a pencil. The fibre is pressed down round the end
of the stick and a piece of cheese cloth stretched over it and the
whole tied with a piece of string about an inch down. Trim off
the fibres and the cloth below the string and you have a sort of
drumstick, the hall of fibre at the end should be about the size
of a small egg.
Pull out the stick and you have a compact ovoid with a
cavity at one side. In this cavity sorne ignited fibre is placed and
this is blown upon until there is a general smoulder all round the
inside of the hole. Thus prepared the fake is loaded into the
mouth secretly and by blowing out the breath through the mouth,
smoke and sparks are expelled from it. As displayed by the
Indian magicians there is always an accompaniment of tomtoms, snake charming etc., to bewilder the onlooker and add to
the general excitement.

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THE WHOLE ART OF SMOKE PICTURES

.By

MAX HOLDEN

Mrs. Holden and I presented this unique form of entertainment as a feature of our act for many years in the largest vaudeville theatres throughout the world. To date no explanation of
our act has ever been published, but due to many requests we
are including it here with the hopes that the rising new magicians will find in smoke pictures a new angle that will help dress
their program. Today Smoke Pictures are seldom seen, and this
is a pity because their many interestng possibilities offer the
performer an artistic interlude well-worth incorporating in
any act.
For those who may never ha ve seen a Smoke Picture, let
me
explain
that such a picture is made by holding an enamelled
.
plate over a kerosene or paraffin torch until its surface is completely blackened. Using this asan artists' canvas, you wipe out
portions of the black surface and quickly develop a silhouette
of a moonlight scene, etc., which presents an unusually and
completely artistic effect.
~

To get the knack of the procedure, try it out at first by

holding a small enamelled plate over a cahdle until it is well
blackened, remembering to keep the plate continually in motion
but not so near the flame that the surface becomes greasy. If
this is done properly you will soon have a good sample of the
required canvas. Now with a toothpick make an outline of your
picture as shown in Fig. 1 and 2. Use a small camel hair brush to
draw in the shadows. Now clear off all the black surface outside
of the outine with a small piece of cambric and you will have a
clear cut black and white picture. For professional use, the
cambric can be tied around the end of the brush handle.
After you master the technique, you are ready to go ahead
with a real stage presentation. For this purpose the following
props will be necessary:
l. A pair of cotton gloves.
2. A large enamelled plate (about 32"x22"). These will
have to be ordered from a local agency, or from one of the
enamei sign factories in Beaver Falls, Pa., Baltimore, Md.;

'

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London, England; or Sydney, Australia. The plate should be

plain and as B.at as possible.
3. An Easel is also necessary for proper display of the
finished picture. These can be obtained from any art store, but
for stage use we advise an easel of strong malee preferably metal
such as are illustrated in this text. It is an excellent idea to have
the easels mounted on castors so that they can be swung around
with the least effort.
4. A torch for smoking the plate. This can be obtained from
any magic shop. These are ftlled with kerosene soaked cotton
woal, and when lit will blacken the plate in short order.
5. Y ou will note a chain in the illustration that is attached
to the top of the easel and which ends in a small hook. When this
hook is slipped over the top edge of the plate as it is placed
on the easel, it will allow the plate to be swung out and down
at an angle for blackening.
In smoking the plate keep the torch moving about 8 inches
away until you have blackened the entire surface of the plate.
Be sure and replace the cover of the torch to extinguish the
fiame; then push the plate back onto the easel to its original
position, and you are ready to begin.
The performer now dons a pair of white cotton gloves and
marks the plate on both sides with a thumb mark, and then
connects these two marks with a line drawn across the surface
of the plate from left to right with the second finger. This is
the main line and from this point you start to build and form
your picture. With the same finger start from the left side of the
picture as shown in Fig. 1. Continue by jumping to the top of
the tower (No. 2 ), Fig. 2, and come down the left side, then fill
in the foliage to the left. Now come down the right side of the
tower (No. 3). Next the house (No. 4). With a small paper
napkin hall wipe out a circle under the bridge for the arch
(No. 5). Wipe very lightly to make the shadows. The bridge
openings, windows, the moon, shadows of tlie windows in the
water are next (No. 7 and No. 8). Wipe off the smoke outside of
silhouette as in Fig. 3. Take a quick glance at the picture to see
that it is perfect. Swing the easel around, have the spotlight
thrown on the picture and take your bow.
Fig. 4. is another picture on the same order representing

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: THE ORAWING

F/G: O:; SHOWS

HOW/JICTtiRE /S
STARTeD.

<NfJMERiCALLV.

. FIG- THREE SHOWS

THE FINISHEt>
.PICTtJRE.

FIG.'T.WO _SIIOWS

THE.

PI?OCESS OF

a Church. Notice the main line droops down to the right.

Fig. S. Shows other pictures easily made.

An Original Double Picture Effect

rn

this presentation, Mrs. Holden worked at the easel to

1

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FIVE

the right, while 1 worked the one to the left. After the pictures
were finished, the two easels were run together in the center of
the stage, the plates joined, and one huge complete picture was
the result of our individual efforts. For those who would care to
include this do'!lble picture effect, 1'11 explain our routine with
sorne patter suggestions.
W e always opened our act with Smoke pictures by making
our appearance each with a torch in hand. A short opening announcement was made as we entered, and then proceeding
directly to the easels, we pulled down the plates and lighted
our torches. "First of all we will smoke these white enamelled
plates with soot until they are suitably blackened, and then
will try to draw a picture the like of which you will not find in
any of the art galleries of Europe, Asi~ or (mention a small
joke town.) Last week when we played Pittsburgh, we didn't
have to do this we just waved the plates in t~e air a few times
and collected enough soot from the atmosphere". At this point

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THE TWO EASELS

ARE PUSHED TOGETHER TO FORM
Tf.IE COMPLETE
-PICTUR SHOWN

BELOW.

the plates were ready. W e both started with the water line ( see
Fig. 1 ), then at right and left sides respectively (Fig. 2 ). Then
the gondola, the balcony in the foreground. Next the shadows
in the water. Then we softened in the foliage, the shadows in
the water and around the moon.
We then wiped out the unnecessary black inside the silhouette yith the fingers of our gloves, and completed the picture by
erasing all unused soot bordering the picture with a balled-up
paper napkin. Rolling qpth easels together, it was just a matter
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of a second to line up both pictures as we turned to take welleamed applause for this surprise finish.
It will be found a valuable asset to stick small pieces of
adhesive tape on the back of each plate as a guide mark for
the water line. These can easily be felt through the gloves, and
assures the pictures matching perfectly at the finish.

~NIICKLE

SMOI<E TORCH .

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121

RO PES, FANS and SILKS

This very pretty and mystifying effect is, I believe, the
invention of Ottokar Fischer, of Vienna. It lends itself to effective presentation in a silent act, partiGularly in a Chinese or
Japanese setting, but it can also be presented at the closest
quarters and even when surrounded by spectators.
The eHect-Two separate pieces of strong cord, or rope,
are shown and a fan is securely tied to them at the middle. Two
spectators are invited to hold the e~ds of. the ~opes, stretching
them out straight, the fan hanging in the middle. On each side
of the fan severa! silk handkerchiefs are tied with double knots.
They are then pushed close up to the fan and a large ring, or
bracelet, is tied on the cord above the fan and the silks. Suddenly the magician pulls the fan clear away, then the silks, the
knots remaining tied, while the bracelet remains on the ropes
which are stretched out between the assistants, perfectly free
from knots.
Requirements-Two pieces of soft white rope, each 12 to
18 feet long, according to the stage, or space on which you
operate.
A fan about 12 to _15 inches long. '
Six silk handkerchiefs, at least 15 inches square, the larger
the better, and of bright assorted colors.
A large glass bracelet, obtainable at Woolworth Stores.
Method-Have two assistants, one on either side; or if
working singlehanded, invite two spectators to come forward
and stand, one on your left, the other on your right.
Show the fan, throw it open with a flourish, close it, and
hand it to the assistant on your right.
Display the two ropes, one in each hand, put them together
and lay them over the fan in the assistant's hands. See illustration
Stand behind- the fan and taking one rope in each hand,
tie a single knot, drawing it tightly against the fan. See illustration. Be careful not to get the two ropes mixed up or twisted
across.
The assistant releases his hold of the fan and you hand
him .the two ends of one rope, and give the two ends of the

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other rope to the assistant on the left. The ropes are thus
stretched across the stage with the fan tied to them in the middle,
but owing to the manner in which the knot was tied on the fan,
each rope is simply doubled on itself, and if the fan were pulled
out now, each assistant would have both ends of one rope. Th~
principie is that of the old, old trick, "My Grandmother's Necklace," but it is completely disguisE;ld by the use of the fan.

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Standing behind the fan, take the silk handkerchiefs, and

tie three at' intervals on the rope on one side of the fan with
double knots, allowing about two-thirds of the silk to hat)g
clown. :I'ie the other three silks on the other side in exactly the
same way.
Push the silks on each side close up to the fan; show the .
bracelet, take one rope from one assistant and slip it through
the bracelet, which you run along the rope up to the fan. Take
one rope from the other assistant and tie one knot with the
single ends, thus tying the bracelet over the fan and the silks,
and reversing the ends of the rope, so that A gets the end B
held, while B gets the end that A held originally.
Make each assistant hold one end in each hand and twist
the ends round his wrists to get a secure hold.
With a flourish suddenly pull the fan free, instantly throwing it open to full spread and with the left hand pull the silks
- away; the ropes will again be stretched out between the assistants, quite free from knots, but the bracelet remains on the
ropes, both of which now run through it.

CORDS, FAN AND SILKS

VARIATION
This is especially suitable for a silent act, performed in
Chinese costume and with at least two assistants. In addition to
the two cords and the fan and silks, the following articles are
necessary: four pieces of two inch ribbon, of different bright
colors, each about half as long as the cords and to each end of
which is sewn a bracelet, (those obtainable at the Woolworth
. Stores are suitable ), four giant playing cards, with inch holes
cut near one end, a small Chinese jacket, and finally a goldfish
bowl and cover. This last is placed in a loading pocket.
Begin the trick as above by showing the cords separate,
have them tested by the assistants pulling them and tie the fan
in the middle with the trick knot. Have the assistants hold the
cords so that they stretch, across the stage with the fan in the
mi~dle. Take one of the ribbons and thread the two ends of the
cords .on_. one side tl;lrough one of its bracelets, pass it along the

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HUGARD'S ANNUAL

cords and up to the fan. Do the same with a second ribbon and
bracelet on the same side. Thread the remaining two ribbons
to hang down on each side of the fan for the moment.
Show the giant cards and thread two on each side of the
fan by passing the cords . through the holes. Next tie the silks
. on the cords, three on each side of the fan, the whole arrangement being as shown in illustration.
Standing behind the fan, show the Chinese jacket and have
the assistant at the right hand you his two ends, thrust th~m
through one sleeve and hand them back, at the same time swe~p

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125

the suspended silks and cards on that side close up to the fan.
Do exactly the same with other side of the cords. Take one cord
from each assistant and tie a single knot over the top of the
jacket so that the ends go to opposite sides. Pass the bracelets,
at the ends of the hanging ribbons, to the assistants to hold,
one in each hand. The arrangement now appears as shown.
First pull out the fan, but don't show it, thrust it in your
coat for the time being. Let the bracelets fall free on each side,
pull off the three silks and the two cards from one side and toss
them over the jacket, do the same with the silks and cards on
the other side, follow these with the fan, finally holding the coat
with your left hand get the fishbowl out of the pocket and hold
it vertically behind the jacket. !Jave the assistants pull the
cords and they come away free. Then they hold the cords high
and you take a step forward showing the jacket in your hands
and then produce the bowl from it.
If Chinese costume is used a very large bowl can be produced. It should be carried in a waterproof bag over the chest
which is suspended by strong tape from the neck. The opening
of the bag must be down the righthand side. A bowl of from 12
to 14 inches in diameter and 2112 inches deep can be carried in
this manner quite safely.

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HUGARD'S ANNUAL

XXth CENTURY SPIRIT SEANCE

This very clever adaptation of the well-known "Walking
away from One's Shadow" illusion, transforms it into " really
spectacular anc;l sensational feat. Effects hitherto confided to
cabinet tricks can be produced on the open stage with bewildering results. It is, of course, suitable for stage performance only.
On the stage is set the usual frame, with a roller blind,
prepared for the fixing of the shadow and, behind it the necessary lighting apparatus. The performer invites a coqmittee of
three persons to come forward and to superintend and inspect
everything. One of the three is selected to be the "subject'' of
the experiments to follow. Two long coils of rope are introduced
and one end of each is tied tightly around his wrists. The blind
in the frame is let up and he is stood behind it. The free ends of
the ropes are then pushed through holes in the sides of the
framework and his wrists are drawn up tightly against the post,
so that his arms are drawn out to their full length and well
above his head. All this is done by the other two members of
the committee when they retire to each side of the stage
and there ho'ld the ropes taut. lt is shown that they have com-
plete control of the subject's rms; by letting the ropes slacken
they allow him to drop his arms to his sides, but when they pull
them taut his arms are forced upwards and his wrists are pulled
tightly against the posts, rendering him quite helpless.
The two men are instructed that they must keep the ropes
taut at all times and, seeing that the frame is set in the middle
of the stage and not covered in any way, they are satisfied that
they have complete control of the situation. The blind is now
lowered in front of the subject as far as his waist, his legs remaining in full view. lt is shown that his least movement is
registered by his shadow on the blind. The lights are lowered
to a dim, but not particularly religious glow. His shadow remains
visible and does not move, yet a moment later, an object is
. seen to fly over the frame towards one of the committee-men.
The lights are put up and the blind is raised and it is seen that
the two ropes are stretched out taut the subject's wrists are still
pulled tightly against the side posts, but-his coat is off and
is found lying on the stage.

HUGARD'S ANNUAL

127

Again the lights are lowered leaving, however, the shadow

of his head, body and outstretched arms in full view and these
are seen to remain immoveable. When the lights are again put
on and the blind let up, the subject has lost his vest, collar and
tie and these are found to be scattered about on the stage. The
bewildered committee-men certify that they have not relaxed
the strain on the ropes for a moment.
Once more the usual procedure with the lights and the
shadow, and finally, the unfortunate man is found with his
clothing reduced to his singlet and pants, his shirt having joined
his coat and vest on the stage. N ot the least part of the hilarity
, of the audience is caused by the bewildered and embarrassed
expression of the unfortunate victim, particularly when the performer suggests that the experiment be carried a step further!
However, he is spared this last indignity. The ropes are cut and
his bound wrists inspected and pronounced tied exactly as at
first. T.he knots are untied and he gathers his clothing and retires
to his seat as quickly as he can.
Method-The fixing of the shadow is managed in the regular
way. The blind is prepared and when the brilliant light is projected on it the rays are absorl;>ed, except by that' part covered
by the subject's shadow. When this light is turned off and the
green light put on, all the uncovered parts of the blind give off
a green glow so that the dark parts show up still and are taken
to be the shadow of the man behind, who is free to move about
without any fear of detection.
But, it will naturally be asked, how can he move freely
when his arms are secured by the ropes and these are held by
the committee-men? The subject is, of course, one of the troupe,
but even to those who may suspect this, the manner in which
he frees himself of his clothing remains a mystery.
At about 18 inches from the end of the rope which is tied
around the subject's wrists a single knot is tied beforehand, and
this is made to come just outside the knots tied on the wrists, in
other words, his wrists are tied with the last 18 inches of the
rope only. It follows, therefore, that when the free ends of the
ropes are drawn taut, it is really these knots which are pulled
up against the inside of the holes in the posts and if the ropes
are cut between the knots and the wrists, the subject's arms will

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HUGARD'S ANNUAL

be freed but the ropes will remain taut, the knots preventing
them from being pulled t hrough. That i~ the whole secret. The
performer, in adjusting the subject's right wrist and showing that
the man's arms can only move as the ropes slacken, cuts the rope
holding the subject's right wrist between the knots with a razor
blade, mounted on a convenient handle, easily concealed in his
hand. The man, of course, keeps his wrist tightly against the post.
The moment the green light is put on, the subject cuts his
left wrist free in the same way, whips off his coat, flings it over
the frame and raises his hands against the post to their original
positions before the lights are put up and the blind raised. So
far as the committee and the audience are concemed he is still
securely bound and helpless.
The rest follows in the same way. All the subject has to
do is to avoid any movement of his arms -until the green light is
put on, then remove the articles of clothing as quickly as -possible and act the part of angry bewilderment as best he can. At
the finish it appears to be perfectly natural fOJ; the performer
to cut the ropes with a pair of shears on the outside of the posts,
the subject at the same moment pulling his wrist away from
the inside. The knots on his wrists are then examined and found
intact and the two genuine committee-men retire to their seats
just as bewildered- as the rest of the audience.
The usual objection to the use of a confederate does not

HUGARD'S ANNUAL

129

apply in this case. It must be admitted that the application of

the shadow principie by the unknown inventor of this illusion
is highly ingenious.

PRODUCTION OF REAL CANNON-BALLS

AND METAL BAR-BELL
OWEN CLARK

E!Iect-On the stage is seen a small music stand with a

cross piece from which hangs a banner, Fig. l. The stand is
isolated from any apparatus or tables of any kind. W alking
behind it the performer lifts it, tums it round and shows all parts
of it to be perfectly free from preparation of any kind. Replacing it in front of him on the stage he immediately produces from
behind it a large solid cannon-ball which he drops to the stage
with a crash. This is followed by a second cannon-ball of the
same caliber. Once more he lts the stand and shows all parts
of it, then replaces it on the stage. Immediately he lifts from
behind it a huge solid bar-bell such as used by heavy weight
lifters, also made of solid metal.
Explanation-Thin piano wires are used to suspend the barbell and the cannon-balls from the flies in such a way that the
bannet: on the music stand conceals them. The wires pass over
pulley.s directly over the stand, along the beam in the flies
through other pulleys and clown to an assistant off stage. When
the performer goes behind the stand he gets between the suspended bar-bell and balls and causes them to swing under his
left arm behind his back. He is thus free to show the banner
and stand on all sides. Setting it clown in front of him he tums
his left side to the audience, allowing the weights to swing in
front of him and again behind the banner. He quickly detaches
the first cannon-ball which hangs by a wire passed through it
from the bar-bell, shows this and lets it fall to the stage, the
resulting crash certiying to its solidity. The second hall follows
in the- same way. Once more he gets between the bar-bell and
the stand, letting the weight swing behind him, and again shows
the stand on all sides. 'l'he final production of the bar-bell is

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HUGARD'S ANNUAL

worked in exactly the same way by allowing it to swing behind

the banner and detaching it from the wires.
The back cloth used for the illusion should have a series
of vertical lit:J.es in its pattem thus rendering the piano wires
completely invisible. The same idea has been used for suspending heavy loads behind an assistant, but the use of the
stand and banner is cleaner and makes the effect more
mysterious.

HUGARD'S ANNUAL

131

WALKING THROUGH A STRING OF BEADS

This novel and effective illusion is the invention of the
well known magician, Daniel Dew.
On the stage there are two metal uprights, about 31!2 feet
in height, on firm bases, and about ten feet apart. Between the
two uprights and stretching from the top of one to the top of
the other is a string of large balls, each 11!2 inches in diameter,
and pearly white in color. A few feet behind this string of "beads",
stands a girl assistant. At the magician's command she slowly
advances and walks right through the necklace which is seen
to remain perfectly intact. A perfect illusion is created of the
string of beads passing right through the girl's body.
The necessary arrangements are beautifully simple and
inexpensive. The two uprights are hollow metal rods and their
bases mu!!_t either be very heavy or else fastened to the stage
with screws. The balls are perforated and then threaded on two
wires, which are fastened to the tops of the uprights and meet
in the middle of the space between them. The sides of the two
balls which come together in the middle on the ends of the wires,
are fixed with a snap fastener strong enough to hold the weight
of the string of balls but separable with a slight pull. A very
strong black thread also runs through the balls and each end of
it is attached to a weight which runs freely inside each hollow
upright. The length of this thread and the pull of weights must
be so adjusted that when they hang almost touching the bottom
of the uprights, the string of balls is drawn tightly across from
top to top and held in that position even when the snap fastener
is released.
The thread between the two middle balls is pulled out
towards the rear, drawing the weights upwards and making a
loop inside which the girl stands, the thread passing around her
back. Such is the position when the curtain rises on the illusion.
After pointing out the details of the arrangement, tapping
the balls to show them solid and so on, the magician orders the
girl to walk forward. She has her arrps folded in front of her
body and as she reaches the string of beads, she allows the
string of balls to meet her body just below her arms which she
drops very slightly for a moment as the balls part and slide

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HUGARD'S ANNUAL

HUGARD'S ANNUAL

133

round her as she moves forward. These are at once drawn together behind her as the weights in the uprights fall and draw
the thread taut. The appearance of the string of balls is exactly
the same as before and there is nothing to show how this miraculous passage of living through inariimate matter has been effected.
This illusion is now being performed by the inventor, Mr.
Dew, with the greatest success.

"IT IS EASILY SEEN WHAT BECAME OF OUR

WITCH DOCTOR'S LINKING RINGS"

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HUGARD'S ANNUAL

UGARDs

Bl!LLiil,..CATCH:m

THE GREAT RIFLE FEAT

Catching bullets fi.red from modern rifles
The feat of catching bullets has been one of the favorite
"sensational" tricks of magicians for generations past. Its invention has been credited to many, a favorite story being that
Astley, of circus fame, devised a method , for exchanging re~l
bullets for fake ones in order to render harmless a duel between
two .of his friends. lt is much more likely that he had seen the
trick done by a magician and adapted it to his purpose. In all
probability the trick has been developed from crude beginnings
by a succession of performers, and, in many cases with tragic
results, for a number of lives have been lost in its execution.
The method which 1 now explain in all its details for the
first time, is the only one in which the modern high powered
rifle can be safely used in a legitimate illusion, that is to say
without the use of confederates. The effect is that three persons
bring their own rifles and cartridges and these remain in their
own possession until they themselves bring them onto the stage.
A committee, seiected by the audience, inspect the weapons,
mark the bullets and the cartridge cases and remain on the stage

HUGARD'S ANNUAL

135

throughout. Under their close inspection the rifles are loaded in

full view of everybody, the bullets being first dipped in powdered chak. Without the rifles leaving their hands for a moment,
the men march from the stage to the body of the theater, remaining in full sight of the audience the whole time.
The magician, who does not leave the stage for an instant,
takes up a little black velvet target with a red heart in the center,
and holds it up in front of his chest.
At his command the men fire, three white spots instantly
appear on the target and three bullets drop to the stage. They
are at once picked up by the committee men and are found to
be hot, rifle grooved and with the private marks on them. They
are the same bullets. The riflemen march back to the stage,
unload the rifles and the empty shells are found to have the
private marks on them also.
Such is an exact description of the effect obtained, though
it seems to be hardly possible without the use of confederates,
but if the procedure is followed, step by step, it will be seen
that there is no difficulty and, moreover, it is carried through
with perfect safety. It is, however, not a feat for a nervous performer, a certain amount of audacity is required and it is not
given to everyone to stand coolly before a firing squad, even
though he believes himself to be quite safe.
First, it is necessary to have two assistants off stage who
have been trained to do their part with the utmost speed. A
fourth rifle and the various instruments required, are set in the
room nearest the stage; if such a room is not available, a suitable
recess can be made by hanging severa! blankets across a corner
at the back of the stage.
I will take in turn the various accessories that are used
unknown to the audience. The cartridges actually loaded into
the rifles are, of course, prepared, the real bullets being extracted
and dummies glued in the shells in their place. These dummy
bullets ~re easily shaped from thick paper and then painted in
imitation of the nickel bullets.
To make the substitution two trays are used, one unprepared, the other having a well and a sliding partition. The three
d~my cartridges are placed in the slide which is then drawn
back and held by a cq.tch, leaving the well empty. When the
1

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HUGARD'S ANNUAL

three marked cartridges are placed on the tray and the catch is
released, the slide carries them away and leaves the three dummies exposed. That is easy enough, but sorne audacity is required
to make this substitution under the very noses of the committee
without arousing any suspicion.
This is how 1 managed it. The firing party was lined up on
the extreme left of the stage, the first man just at the edge of
the first wing, the others in line down towards the footlights.
The committee men were seated at the end of this line. After
the marks on the bullets and the shells had been finally inspected
by the committee men, they placed them on the tray. This 1
held in m y left hand ( the one loaded with the dummies, of
course), and in m y right 1 held a little glass jar filled with
powdered chalk. Placing this over the real cartridges for a
moment, 1 pushed the tray with the jar towards a committee man,
asking him to take it and examine it. At that very moment 1
released the catch and the dummies slid noiselessly into place.
When he took the glass jar the cartridges were apparently
exactly as before and, while the chalk was being examined 1
stood them on end on a little table in the center of the stage. t
used a glass topped table so that from then on there could be
no possibility of fraud.
Still holding the tray carelessly in my left hand, letting it
hang by my side, 1 gave the squad the command to open the
breeches of tl::ieir rifles. Taking the first cartridge in my right
hand and holding it very openly, 1 went to the committee man
who held the chalk and boldly asking him to note the marks,
immediately dipped it into the chalk which covered the bullet
with the white powder. Then stepping alongside of the first rifleman, that is the. one at the side of the wing, 1 slowly and unmistakably inserted the cartridge into the breach, showed my hand
empty, ordered him to close the breach, and put on the safety
catch. Under cover of his body and mine 1 handed the trick tray
to one of the assistants who was waiting behind the wings and
received from him the unprepared tray. This exchange took a
second or two only, and as soon as 1 had the second tray, 1
moved forward and away from the rifleman.
The same procedure. was followed with the remaining two
riflemen without the necessity of going so close to them and,

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HUGARD'S ANNUAL

1
WOOD BLOCK

RIFLE

CARTRIDGE

1 SECTION OF RIFLE BARREL.

2 STEEL ROD TO FOP.CE BULLET THRU BARREL .

3 1-/ANDLE WITI-I WORM FITTING IN 4.
5 SCREW FOR ATTACHMENT TO TABLE.
BACKCLOTH

AR.R.ANGEMENT
OF STAGE

COMNTITTEE3

00

::QOTLIGHTS

in order to give time for the necessary work off stage, these
rifles were loaded with the utmost deliberation and with various
little artfices to gain time, such as having my wrist held while
the cartridges were inserted and my hand examined afterwards.
Finally, after the loading and the lining up of the squad near
the footlights, I recapitulated briefly what had been done and
pointed out that the only piece of apparatus used was the tray,
and this solely for the purpose of avoiding unwarranted suspicion, by handling the cartridges as little as possible. Then I
handed the tray to the committee asking them to examine it
and retain it.
By this time the assistants off stage had done their work
which must now be described.

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HUGARD'S ANNUAL

In the room off stage the following apparatus was set ready:
a block of wood with three holes bored in it to take the cartridge
cases, leaving the bullets protruding above. ( See illustration); a
section of a rifle barre!, mounted on a stand, into which the
bullets could be inserted and forced through so that they would
be given the grooves which appear on any bullet fired from a
rifle; a small electric heater with a little pan ready to receive
the bullets1 and finally a pair of powerful pincers.
Let us follow the actions of the two assistants from the
moment the first man received the trick tray . containing the
marked cartridges. Instantly he rushed to the room, the second
man waiting for him there, with the heater already turned on.
He removed the cartridges from the tray, dropped them into the
holes in the block of wood and rapidly extracted the bullets in
the action. As he dropped the bullets the second man took them,
one by one, forcing them through the section of the rifle barre!
and then dropping them into the pan. Meantime the first man
pulled the empty shells from the block, inserted them one by
one into the extra rifle and exploded them. If this operating room
was very near the stage it was necessary to muffie the rifle with
a blanket to deaden the sound of the explosion.
The last article required was the target. This was simply
an adaptation of the magic banner. It had a flap which could be
folded over to cover three white marks on the duplicate face.
The heated bullets were inserted in little pockets at the back o~
the flap, the mouths of which would be downwards when the flap
dropped. The three marked shells, now empty and the caps
exploded, were put in three lastic loops at the back of the target
itself. Thus loaded the target was placed on a little table, the flap
turned up, and at the right moment, when the men began their
march from the stage to the middle of the theater, it was quietly
placed on the stage.
Takin~ the target and holding it over my heart, with all
possible dramatic effect I gave the commands "Ready! Aim!
Fire!" and at the explosions I had simply to let the flap fall and
the marked, heated and grooved bullets fell to the stage while
the three chalk marks instantly appeared on the black velvet.
The bullets were picked up by the committee men themselves, a
big point being that I did not touch them. While they were

HUGARD'S ANNUAL

139

occupied identifying the marks, I ordered the men back to the

stage, meantime getting the marked shells into my hands. They
then unloaded the shells which I picked up and exchanged for
the marked ones, handing these to the committee for identification. So much attention was given to the fact that the bullets were
really the same that this audacious move went entirely unnoticed.
Smoothly carried through the effect can be called, in all
honesty, "sensational". Doing the trick over a long period of
years nightly, my assistants had their work down so fine that the
time required after the loading of the third cartridge was incredibly short. The work off stage is the crucial part, there must
be no bungling and no delay.
Many serious incidents happened in the course of my experiences with this trick. At times either through nervousness, or
by design, one of the squad would not tire his rifle. In such a case
the appearance of three white spots and the fall of three bullets
would have been embarrassing. By dividing the flap into two
parts I was enabled to make one, two or three spots appear to
correspond with the number of bullets. The effect of two spots
only appearing and two bullets dropping, followed by the third
man firing separately, was so good that very often I would
arrange to have one man forget to take off his safety catch and
then after the other two men had fired I would see that he got a
bulls-eye. By watching the flashes from the rifles I was always
able to tell how many had fired.
I have had people bring cartridges and certify that they
were not tampered with, only to find afterwards that they had
soldered the bullets to the shells and even, in sorne cases, riveted
them together. While this gave a little extra trouble behind the
scenes it did not otherwise interfere with the trick. Indeed in
sorne cases where the guilty parties had boasted beforehand and
brought all their friends to see the magician "fooled", it was a
twofold score for me, increase in the box office receipts and
triumph in the smart man's discomfiture.
On one occasion in N ew Zealand as I was handing the tray
to the committee, there was an explosion and I turned to find
that one of the squad had fired his' rifle aiming at the ceiling.
Affecting great indignation at his clumsiness I ordered him off
the stage, berating him for endangering people's lifes by not

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HUGARD'S ANNUAL

knowing how to handle a rifle. As soon as the show was over and
the hall cleared 1 had one of my men muffie his rifle with a
blanket and fire a real bullet through the ceiling just at the
point where the other man's bullet would have hit had there
been one in his rifle. Next day 1 learned that no sooner had the
show been packed up and m y people left the hall than this
"smart guy'' had returned with a party of his friends, got a ladder
and inspected the ceiling. There they found a bullet hole ... The
legend of the invulnerable magician still lingers in that town.
A word of warning by way of condusion. In the early.stages
of my experimentmg with the trick 1 would have all the lights
out when the men were on the firing stand, and have a spot
light only thrown on myself. The effect was tremendous, the
momentary wait in the dark keyed up the audience, then the
flashes of flame, the explosions .of the rifles and the fall of the
bullets ... it really was fine .. : but at the Theater Royal in W ellington, New Zealand, when the rifles were fired 1 felt 1 was hit
and looking down saw a spot of blood on my shirt front. Luckily
the trick was the last item in the show and when 1 got to my
dressing room 1 found three small pellets of shot had hit me in
the chest. They were small and had done no grea~ damage, but
1 was then forcibly struck by the fact that in the darkness the
men might have done anything with their rifles and that something much more formidable than a few pellets_of shot could
just as easily have been dropped down the barreis. Thence for- _
ward all the lights were kept full on and if the firing party didn't
seem to be absolutely reliable, one of my men would go to the
platform with them and watch every action.

FINI

HUGARD'S ANNUAL

rLL BE BACK IN 1938

141

THE EDCYCLOPEDIA OF CARO TRICHS - $5.0 O

lEAN HUGARD
The Greatest Book ever produced on cards. Practically
every known card trick is herein explained. Card Miracles
that have intrigued, baffled
and fascinated you. Secreta
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Every Trick is classified and
assembled in such form that
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Program after program may
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Read what they have to say.
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In presenting this revisad work to the magical fratemity, Mr. Jean Hugard
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I can, and do, thoroughly recommend "The Encyclopedia of Card . Tricks" to
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PRACTICAL RYPNOTISM (by Ed Wolff) clolh . . . . . . . . .
MENTAL BARGAIN EFFECTS (by Annemann) . . . . . . . . .
COMPLETE ONE MAN MENTAL AND
PSYCRIC ROUTINE (by Annemann) . : . . . . . . . . . . . .
200 METRODS OF FORCING (by Annemann) . . . . . . . . .
"WHY YOU CAN'T WIN" (Scame) All there is to know
about Three Card Monte and its sucker effects . . . . .
"50 SEALED MESSAGE READING METRODS" (B. Rull) . .
The Book without a Name (Annemann) Mental Creations
and Card Subtleties . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

$1.00
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, ..

Li.!PEZ VALENCIA

MADRIDMEXI"CU

HUGARD~s

DfNNUAL

OF MA.Gie
1938 AND 1939

1- boc- \htt~
'THB

MA~Ie

ANNUA L

FOR 1938 AND 1939

MA-Ie AND ILLUSIO NJ

BY

cJBAN HU-ARD
Author of

THIMBLE MAGIC
MONEY MAGIC SILKEN SORCERY
CLOSE-UP MAGI<;::
Editor of

THE ENCYCLOPEDIA OF CARD TRICKS

Co-Editor

"GREATER MAGIC"

11/ustrations by Nelson

Ha~ne

Published by

MAX HOLDEN
New York

Boston

Philadelphia

COPYRIGHT, 1!139. by MAX HOLDEN.

ANNUAL OF MA(g.Ie
1938
"Ah, my friend," said Dervish Sefer, "little do you
know of Dervishes, and still less of humankind. 1t is
not great learning that is required to make a dervish;
assurance is the first ingredient. With one-fiftieth part
of the accomplishment~ lfO.U have mentioned, and. with
only a common share of effrontery, 1 promise you that
you may cornmand not only the purses, but even the lives
of your heare1s. By impudence 1 have been a prophet,
by impudence 1 have wro~tght miracles, by impudence
1 have restored the dying to health-by impudence, in
short, 1 lead a life of great ease, and am feared and respected by those who, like you, do not know what dervishes are. 1f 1 chose to give myself the trouble and
incur the risks which Mahomet himself did, 1 might even
now become as great a prophet as he. 1t would be as
easy for me to cut the moon in two parts with my finge1,
as it was for him, provided 1 once made my hearts have
confidence in me: 1mpudence will do that, and more, if
exerted in the proper manner.''
Hadji Baba of 1spahan.

Badji Baba quotation ___ _______________ 7

Extempore Magic ---------------------11

CARDS
Perambulating Pasteboards......19
The Rising Cards and
Glass Bottle ---------------------------- --22
Finding the Pairs......-----~---- ---- ---26
The Barmony of Numbers........2S

Double Prediction ----------------------30

The Story of O~ Card Pete ......34
A Spectator Stabs the Cards ....38
The Redbill Four Aces..............41

FLOURISHES
Cards from Silk............'.- -----45
One Band Fancy Deal... .... ~ .......46

Turning the Top Card ................47

A Color Change Story ................48

COINS
A New Coin Production............50
Steeplechase with Two Coins..52
New Impromptu Vanish ............53
Vanish for Coins of any size....54
Tb,e Coin Penetration.......:........55

Coin Detection ------------57

Meth.od of Obtaining First
Coin -----------58
The Shell Coin..............................59
A Passing C.oin Interlude..........60

SILKS
Silk from a Lighted Candle. ..62
Transmigration of a Silk
and Candle -~------64
A Silk Interlnde ............................66

New Knot Flourishes... ~-------66

Three Instantaneons Knots
and- ------------6 7
Nov)elty Production of a Silk.... 68

Bll..LIARD BALLS
The Drop Vanish ........... _.....- ...70
A Color Change............................71

Sleights for Cups and Balls...... 73

A Sponge Ball Specialty...........73

CIGARETTES
J umbo Cigarette Production .... 76
Production of Three
Cigarettes , .................................79

Real Smoke from P hantom

Cigarette - 80
Rolling a Cigarette with
One Hand .................................. 81

SOME USEFUL GIMMICKS

Hook for Ring..............................82
F.ilked Cards for Flourish..........82
New Silk Production . Ball. .. +-84
Thumb Nail Card Marker ..........84
Card Case for Pocket
Switch ........................................85
Color Change of Silk
in Hand ....................................86
Gimmick for Rope, Coat
and Rings ..............................86

Smoke Ball for Ball Vanish ......87

Wand Levitation ........................ 87
Ball Holders ................................88
Prepared Unbreakable Egg ......89
Prepared <;:igar for Card in
Cigar +90
Shoe Lac.e That Stretches.......... 91
For the Cane to Silk ..................92
Prepared Knob for the
Cane ............................................92

CHINESE RINGS
Chinese Rings --94 Set of Three, Two and Key ......99
With the Key and
The Drop Move .....................- .....99
One Single ................................97 . The Moves .................................100
With the Key, Set of Two
A Subtle Move ............................101
and Three ................................98

MISCELLANEOUS
P op-Did-Dee-Pop-.Pop .............102
The Key to the Mystery ..........106
Thimbles ....................................109
Color Changes ..........................110

The Egg Bag...............................112

Tear-It ----113
A Telepathic Experiment........116
The "Grimes" Paper Chain ....119

STAGE TRICKS AND ILLUSIONS

A Magical Sketch ......................122
Cutting a W oman in Half.........126

The Fairy Fountains................129

INGJ'RODUeGJ'ION
EXTEMPORE MAGIC
The most conci.s e essay, covering its subject completely, is the famous one on "Snakes in Iceland." It
comprised six words only, "There are no snakes in Iceland." The subject of extempore magic can be dismissed
as curtly for there is no such thing, but apparent extempore magic (little tricks which appear to be 'done offhand
on the spur of the moment but which in reality have been
carefully rehearsed beforehand) has a m9st important part
to play in the presentation of magic. For the most part
nowadays a magician's program consists of a number of
totally unrelated effects. A certain set of articles is shown,
a trick is done with them, they are laid aside, another set is
shown and another t.rick is done, and so on. A big trick
will be followed by a small one and the program proceeds
in a series of jerks, there is a complete lack of continuity
and only too often the tricks simply ' peter out, the only
intimation that the spectators have that the act is ended
being the departure of the magician from the stage. For
tbis he is generally applauded.
In a-rranging a program of magic there is one elementary rule which must be adhered to if success is desired,
the magician must go from lesser marvels to greater and
his last trick must be one that will leave no doubt in the
minds of the spectators that his feats have reached their
climax. Every effort must be made to create an atmosphere of mystery throughout. Any small article that is
needed should be produced magically, not just brought forward prosaically, and when the trick is finished such
articles should be vanished magically. The most artistic
program of magic 1 have ever seen was that of Chung Ling
Soo (Wm. E. Robinson). Beginning with his own versions
of the Flying Silk,.lnk to Water and Water to lnk, Sun and
Moon, he went on with the Kellar Rose Trick, the Li.nking
Rings, Fire Eating and Fire Blowing, at the conclusion of

12

HUGARD'S ANNUAL

which the stage was literally a mass of banners, flags and

lanterns. Then, with no change of setting, no dropping of
the front cloth to cover the preparation of an illusion
during the performance of sorne minor trick, he presented
five big illusions in rapid succession, the last making a
smashing climax that invariably brought the spectators
to their feet, cheering.
Soo was a master of the art of extempore magic. He
neglected no opportunty of making every little thing happen by magic. In tossing his linking rings over the footlights to be examined one would vanish in mid-ar; after
distributing the roses grown by magic there would always
be demands for more and he would pluck another handful
from his shoe and toss them out; the last orange from the
tree into which he had changed his assistant, would also
vanish in the act of tossing it out and he would find it at
the back of his knee-then, with unerring skill, throw it
directly into the han<~$ of sorne iusistant clamorer in the
gallery.
1 have often been strucK by the fact that in talking
with people, not magicians; who had seen the performances
of Alexander Herrmann, it is the little impromptu feats
that have remained in their memory: the plucking of an
orange from a spectator's nose, the casual vansh of the
paper bag from which rice had been poured; the scaling of
playing cards to the audience, and so on, while they were
quite hazy as to the details of his big tricks. 1 have been
assured solemnly that Herrmann would stand on one side
of the stage and sCale a full .deck, one card at a time, into
the auditorium, then going to the other side he would catch .
the eards as they returned, boomerang fashion, after their
flight around the body of the theatre!
Any successful magician will agree that most people
really believe that he has sorne mysterious power or force
at his command whereby he performs his wonders and
he wisely does his best to foster this belief. No one likes
to think that he is being fooled by sorne simple trick or
puzzle but if he can be persuaded that certain mysterious

HUGARD'S ANNUAL

13

things really do happen in the hands of ~ magician, he lets

himself go and thoroughly en~oys the mystery.
Many modern tricks are done with apparatus that is
made to produce a certain effeCt only and if baldly introduced, simply for that effect, they degenerate into mere
puzzles; there is no aura of mystery. Take for example
the glass frame through which a glass rod is thrust. H the
rod and frame are brought forward and the trick done at
once, very little mystery is created. One might as well
bring out one of the old ring puzzles! The spectators will
not know just how the penetration was accomplished,
but they can see that the frame was made to produce that .
effect and they are merely puzzled, knowing that if they
took the trouble to huy the frame they could work the puzzle just as well themselves. In fact it is a puzzle and nothing more. Now suppose you had just done a card triCk
and have used the glass frame as a means of exhibiting a
card for which it serves perfectly and as if that were the
only reason for having the frame. Later you lead up to
the penetration trick and you use the glass frame simply
because it happens to be at hand, then the trick becomes a
little miracle because the spectators have no suspicion that
the frame has been made specially to produce that effect..
However, do not use the glass rod, use a borrowed pencil
and a borrowed handkerchief.
In just the same way the smaller pocket glass frame
for the same effect can be used first to hold the halves of a
chosen card after finding them in the two parts of a torn
deck. By giving the matter sorne thought almost any special piece of apparatus can be introduced in similar fashion
and the fact that it is made for one certain effect is covered
u p.
Again a set trick can be made to appear as if it were
an impromptu one and this enhances its effect tenfold. Dr.
Harlan Tarbell is a master in this respect and he has kindly
permitted me to give severa! examples of his methods. For
instance, just as he is about to introduce a trick, sorne action, su,ch as taking the cover from a piece of apparatus,
or the like, app~ntly reminds him of something. He re-

14

HUGARD'S ANNUAL

marks, ''That reminds me. Did 1 ever tell you of the time 1
gave a show in a nudist camp? Now if 1 onl~ had a pack
of cards around here," he searches vainly on bis table for
one, then produces a pack from a spectator's pocket. "Well,
you know 1 had to follow suit," he continues as he turns up
bis sleeves. "There were four suits in the deck so everything was all right." Then he works Hull's Nudist cards
with astonishing effect, returning to bis other trick as if
tbis was merely an unpremeditated interlude.
Instead of burning and restoring a borrowed handkerchief as a set trick, he just happens to notice, as he is passing
from the audience to the platform, a lady's handkercbief ..
He stops and says, "Would yo u mind letting me see your .
handkercbief for a moment. It looks like sorne fireproof
material 1 saw in Paris sorne time ago. Over there the
ladies have protected their handkerchiefs against accidental
burning by cigarettes and so on, by having theni fireproofed. Thank you. Yes, 1 am sure this is the same kind. 1
didn't know they had been in.troduced here. You see 1 can
hold it in the flame of tbis candle and it won't burn." Of
com-se the material does buni and the magician is quite
upset, not because of the damage to the handkercbief but
because of bis mistaking the nature of the material. As to
the damage, that is a trivial matter for a magician and he
proceeds to restore it, thus making the feat one of real
magic.
When. performing at banquets Dr. Tarbell makes a
point of doing app~nently impromptu tricks with articles
borrowed from the guests or taken frm the table, such
as a plate, a knife, a napkin, etc. In places where he has
been asked not to use cards because of the deacon objectfug
to them, he says in the course of bis show, "Has nyone here
a deck of cards? Pardon.me, deacon, have you a deck with
yo u?" Of course the deacon looks a bit sheepish and says,
"Oh, no, no. 1 don't play cards." After a little talk with
him Dr. Tarbell asks bim to reach down into bis coat pocket
and see if he didn't really slip a deck in bis pocket before he
carne to the banquet because he thought that he and the
preacher might have a little game on the side. So when he

HUGARD'S ANNUAL

15

feels in bis pocket he finds a pack of cards. The magician

had slyly planted them there.
A good way to plant any small object in a person's
packet on such occasio'ns is to take an opportunity of .Ieaning over bis shoulder to pick up a glass, t:>r sorne other oh-

ject in front of bim, under pretence of needing it for sorne

trick and at the same time with the other hand place the
article in bis coat pocket.
An intriguing little trick to introduce in an offhand
manner is the production of a half filled whiskey jigger
from a deck of cards. You have the jigger a little less than
half filled, in the lower ieft vest pocket. In the middle of a
card trick steal the glass with the right hand. Take the
pack in that hand and make a two handed fan, the glass is
perfectly concealed in the operation. Place the fanned
cards down on the table holding them vertically and, as
you do so, move the right little finger towards the body let:ting the bottom of the g1ass slide down between the little
and . third fingers. Allow the glass to rest on the table
quietly, flutter the fanned cards alid remove them showing.
the glass. Without a pause hand it to someone to drink and
keep right on with the trick as if it were the most natural
thing in the wotld for such glasses to materialize. The trick
is a specialty of Mr. Fred. Braue and 1 can vouch for its
effectiveness.

16

HUGARD'S ANNUAL

Card tricks very often fail to rouse the applause of an

audience mainly because they appeal to the mind more than .
the sight. Generally speaking, the better the trick the more
likely it is that the spectators will be left puzzling over how
such an effect could be possible and too bewildered to think
of applauding. It is a good plan to proceed at once to an
apparently impromptu eff~ct that appeals to the eye. For
instance, you may have a folding card on the back of which
fuereis an artificial red rose, the stem fastened to the card
by an elastic loop. In the petals of the rose, which is a
large one, you have a coil of red cellophane ribbon. Concea! the card behind sorne object on the table.
At the end of the card trick get the faked card at the
back of the pack which you hold with the bottom card facing the spectators. Throw down all but the top card, the
faked one, which should be a duplicate of the card used in
your previous trick. Show it, then change it to the rose by
folding it and clipping it at the base of the middle fingers.
Pin the rose to your left lappel and then draw out the cello-

phane ribbon in coils from the middle. Th\s will give

ample cover for the steal of a load of silks which you develop from the bundle of celophane, one by one. From these
bring out larger silks and a good finish is the production of
a throw-out staff and flag or a bowl of goldfish. Smartly
worked this climax will compel the audience to give all the
applau!)e that can be desired.

HUGARD'S ANNUAL

17

Here is an idea 1 have seen worked to advantage. Suppose you are about to have severa! cards selected and with
the deck in hand you advance to a spectator. Accidentally
you drop the cards, you appear to be embarrassed, you are
afraid you will not be able to do the trick. However, you
have the cards you are going to force in your pocket, you
palm them and add them to the pack in picking up the deck.
The spectators are thrown off their guard, you have no
difficulty in making the force and the effect of the trick is
enhanced.
SOrne magicians make a bad break in the continuity
and effect of their performances by announcing that the
trick they are about to do is not really theirs but was inven.ted by So-and-so. If the audience is co~posed of magicians that is all right, but if it is a lay audience they are not
interested and such an announcement only lowets the performer's prestige with the spectators. Unless told otherwise they naturally credit him with doing his own t;dcks.
The disclaimer is quite unnecessary. If the trick in question has become a standard one, you have a perfect right
to use it, if it is another man's trick which you have improved and made your own, such presentatiori is legitima te.
If, however, yuu have simply taken another man's invention
bodily and presented it exactly as he does it, that is a plain
theft and no announcement will condone the offence
An even worse habit is that which many performers
have of explaining a method of doing a trick and then performing it in a different way with a view to enhancing their
own prestige. The effect on the minds of the audience is
quite the reverse. Once they are shown how easily they can
be deceived by a simple trick, naturally they will discount
all the performer's feats by concluding that they are done
by equally simple methods. It is a safe rule never to expose
even the simplest trick.
This leads up to the subject of exposures in general
which, like the poor, we have always with us. That there is
much to be said in defence of those who have explained
magic in the popular magazines and the newspapers is
proved by the fact that practically all the greatest names

18

HUGARD'S ANNUAL

in magic--Hoffmann, Devant, Houdini, et al., have done it.

But the man who deliberately exposes the methods and
tricks of other performers for the sake of a little temporary
publicity is beyond the pale. The queer part is that these
men do not realize that they are advertising the fact that
they are second-raters. They are confessing to the public
that they are incapable of producing anything good enough
for legitimate publicity.
Finally too many performers have the habit of playing
safe in this matter of exposing by falling back on the tricks
of the Hindu jugglers. They labor at great length to prove
to the public that all Indian magic is mere trickery. The
details of the mango trick, the basket trick and the rest,
have been given away hundreds of times by magicians who
fail to realize that by so doing they are really trying to destroy the glamor of all magic, their own included. Lckily
mankind has such a love for and ingrained belief in the possibility of mysterious and inexplicable happenings that they
still believe the fairy tale of the Indian Rope Trick and the
other marvels and for my part 1 hope they will continue to
believe them. Instead of decrying the tricks of the ~ndian
jugglers it would be better for many magicians if they
studied the modes of presentation by which these performers succeed in making the onlookers believe they have witnessed miracles.

"THE HINDOO BASKET TRICK"

HUGARD'S ANNUAL

19

PERAMBULATING P ASTEBOARDS
HAL.HABER

EFFECT: A card freely chosen by a spectator is

returned to the pack which is thoroughly shuffied. The
top card is then shown to be an indltferent one, and is placed face down under the spectatQr's foot. The bottom card
is shown in the sa:rile way and is then placed on the spect:ltor's left hand, also face down. The chosen card now
passes under the spectator's foot; the card originally in that
position appears on the spectator's hand; and the card that
was on his hand is taken from the performer's pocket by
the spectator himself. A triple transmigration.
REQUIREMENTS: Any pack anda knowledge of the
glide and false shufile.
WORKING AND PRESENTATION: Borrow a pack
of cards, allow a spectator to shuftle it and select any card.
Mter he has noted it, have it replaced in the pack and bring
it to the top in whatever manner you are accustomed.
A vigorous false shuftle may now be made retaining
the card at the top or bringing it back to that position. Remark that you will use the top and bottom cards, whatever
they may he, but that as there is a remote chance that the
shuffie may have brought the chosen card to one of those
positions, you will :first show the cards. While saying this
you have prepared for the doq.ble lift .and you now turn the
two top cards, as one, showing, we will suppose the Ten of
Diamonds. Name the card and call particular attention
to it, asking the spectators to remember it. Turn the two
cards face down on the pack, slide off the top (chosen)
card, the Seven of Spades for example, and calling it the
Ten of Diamonds, lay it face down on the floor and invite
the spectator to put his foot on it.
Note here that by holding a card face down between
the tips of the thumb on the back and the middle finger on

20

HUGARD'S ANNUAL

the face, and releasing the thumb and finger simultaneously the card will fall flat and face down without any

chance of turning over. It is much more convincing to

do this than to actually put the card on the floor. The
impression on the audience is that you don't care whether
the card turns fiace up or not, therefore it must be the card
you have named.
The Ten of Diamonds is thus left on the top of the
deck and has to be brought to the position of second from
the bottom. Shuflle overhand again, first pulling out all
the cards but the top and bottom ones, retaining these by
pressure of the left thumb and fingers, the top card, Ten
of Diamonds, falling on the ba:ck of the bottom card. Shuffle off freely on top of ihese hvo cards. Holding the pack
in position flor the glide, that is, .fae down in the left hand
with the th~mb on one side and the fingers on the other,
turn it face up and show the bottom Card wbich, we will
suppose, is the Queen of Hearts. Again you call attention
to the card, naming it aloud and asking everyone to re.:
member it. So saying turn the pack face down, execute
the glide and draw out the Ten of Diamonds which you
place face down on the spectator's left hand. It is well to
have him place his other hand on top of the card to prevent
any surreptitious glance he may be tempted to take at i.t.
Turn the pack face up, transferring the Queen of
Hearts to the top of the deck. At once spread the cards
fanwise, being careful not to expose the top card, the Queen
of Hearts, and remark, "Seeing that the Ten of Diamonds
under your foot and the Queen of Hearts on your hand are,
neither . of them, your card, it follows that the card you
chose must be here in the deck. Very well, would it sur-

HUGARD'S ANNUAL

21

prise you if 1 m;:lke your card pass into m y pocket here ?"
and you tap your outside left coat pocket with the deck.
"It would? Well, see how simple that would be," and
you place your left hand with the pack into the pocket, immediately thumbing off the top card, the Queen of Hearts,
and letting it fall in the pocket. "Your card, being in the
pack, must be in my pocket. But that would be too simple
for a magician." Bring the pack out again. "1 shall try
to show you a really magical effect. 1 know the genera]
opinion is that these things are done by sleight of hand, but
it would be impossible for the most dextrous performer
living to manipulate three cards in three different positions. Now, we have your card, whatever it was, here in the
deck; under your foot is the Ten of Diamonds and on your
hand the Queen of Hearts. 1 am going to send your card
from the pack to the tloor under your foot, the Ten of Diamonds will rise to your hand and the Queen of Hearts will
pass from your hand into my coat pocket. All ready?
Pass !" Riffi.e the deck.

"Don't ;move your hands for a moment, please; jsl

name the card you chose. The ...... of ...... ? Kindly
move your foot." Bend down and slowly turn the card
face up, leaving it on the tloor. "Now, let us see if the Ten
of Diamonds has arrived." The spectator turns the card
on his hand, it is the Ten of Diamonds. "You see the
Queen of Hearts has obeyed orders also, will you kindly
take that card from my pocket yourself?"
The spectator does this, proving that the triple transmigration has really been effected.
The trick will be found to have an effect out of all
proportion to the simplicity of the means employed. Care
must be taken to imp:ress the names of the two cards on
the audience so that there will be no confusion in their
minds at the climax of the trick.

22

H U GARD ' S ANNUAL

THE RISING CARDS AND GLASS BOTTLE

As a hoy 1 was fortunate to have as my first books on
magic, Robert-Houdin's "Secrets of Conjuring and Magic",
and Sachs' "Sleight of Hand". Of all the tricks in these
two classics the ones that fascinated me most were those
relating to the Rising Cards and of all these I thought the
best was Alexander Herrmann's Obliging Bouquet as
described by Sachs. Determined to have a rising card effect
of my ow!l 1 worked out the following method. That it
is practica! and effective may be considered proven by the
fact that 1 have used it both on the stage and in private performances for many years.
EFFECT: Severa! cards are chosen by spectators, replaced in the pack and shuffied. A glass bottle which has
been cut in half is shown and the pack is placed in the
lower half. The upper half is fitted on, a cork is pushed in
and a large rubber band is placed around the bottle, holding the two parts firmly together. Thus isolated from all
outside contact, the chosen cards rise at the magkian's
command while the bottle is held by a spectator. Fig. l.

u.

PACK

REQUIREMENTS: A pack of cards Wi.th the three

cards to be fqrced on the top; a packet with three duplicate
cards prepared in the usual way with thread or hair to
make them rise; a clear glass bottle without a shoulder,
which has beeil cut in half, Fig. 2; a cork anda large rubber band.

23

HUGARD'S ANNUAL

PREPARATION: To prepare the three duplicate cards

that are to rise, first tie a knot at _thc end of a length of fine
black silk or a hair, make a tiny notch in the end of
last
card that is to rise, and engage the knot in it so that the
knot is on the face of the card, then bring the thread upwards over the back of the card. Lay three indifferent
cards face down on the thread and bring it back over the
_ top of the packet, Fig. 3. Insert the two rernaining cards
that are to rise between the indifferent catds so that they
take the thread down vvith thern, Fig. 4. N ext carry the
thread down the back of the packet, then upward over the
face of the first card, hold the thread and packet at the top
and insert it in your left upper vest pocket, face outwards.
Let the thread fall to the bottom of the vest and tie a srnall
black pin to it, adjusting its length so that when the pin is
fastened under the edge of the vest the thread will be taut.
The clear glass bottle rnust be cut in half as shown in
Fig. 2, two projections being left in the top half and corresponding cuts in the bottorn half. Any glass-cutter will
do this for a nominal surn. With a fine three-cornered file,
file the ends of the two points quite srnooth, as well as the
bottorns of the two cuts they fit into, to allow for the passage of the thread without danger of its -being cut. The
bottle rnust be one of the tapering kind, without a shoulder,
and lM"ge enough for the cards to rise freely frorn the pack
vvithout becorning wedged in the neck. Place the bottle,
cork and rubber band on your table with the pack of cards,
and, with the prepared packet in your vest pocket, you are
ready to do the trick.
PRESENTATION: Begin by showing the bottle and
hand the two parts to different spectators for exa~ination,
then replace the parts on the table. The three cards have .
now. to be forced. If you are sufficiently adept, use the
classical force, if not, you rnay try the following method.
Give the cards a false shuflle, square thern and palm the
three top cards. Hand the deck to a spectator to shuflle
and when he has done so,. hold out your left hand and have
him place the deck face down on it. Invite him to make a
free cut and after he has done so give him the choice of

the

24

HUGARD'S ANNUAL

taking more cards or fewer. When he is satisfied, pick up

the lower part of the pack with your right hand, adding the
three palmed cards. take the cut from the spectator with
your left hand and 'place it below the other packet. 'Vith
perfectly natural moves you have the three force cards on
the top of the deck. Hand the top card to the spectator
and the next two to two other persons.
Hand the deck to the first person and request that,
when you turn away, all three cards are to be held up so
that everyone can see what they are and that they ~re then
to be pushed into the deck and the deck shuflled. Turn to
your table, keep your elbows pressed to your sides as you
take the prepared packet from your vest pocket and palm
it in your right hand, and then pick up the cork and the rubber.band, holding them in the same hand as the packet.
The three cards having been collected and the pack
shuflled, turn to the spectator and take it from him with
your left hand, at once dropping the cork and rubber band
into his hand, asking him to examine them. Take the deck
in your right hand, adding the palmed packet to the top,
retrieve the cork and rubber band with your left hand and go
to your table, holding the pack in full view the while.
Very openly drop the pack into the lower part of the
bottle, taking care that one of the cuts is directly to the
rear and that the thread lies in it. Adjust the top half of
the bottle, place the cork in and finally stretch the band
around from top to bottom as in Fig. 1. Carry the bottle
to a spectatoc and place it with its bottom on his right
hand and let him grasp the neck with his left.
Have the first card named, order it to rise and, with tl:ie
least possible backward motion of your body, pull on the
thread an,d the ca:rd rises inside the bottle. . In exactly the
same way cause the other two cards to rise. By keeping
your arms outstretched, one on each side of the thread,
as you make mesmeric motions with your hands, the
thread will be shielded from the spetators on either side,
the bottle itself preveRts the spectator who holds it from
seeing the thread.

HUGARD'S ANNUAL

25

When the third card has risen take the bottle back to
your table. Remove the rubber band and the top of the
bottle, then take the last card of the three in your right
hand and drop the other two on the table. Show the card,
moving your hand about freely and being careful not. to
dislodge the knot of the thread. Push this card down in
the middle of the deck which is still in the bottom half of
the bottle. Step back, getting the thread taut and order
the card to jump at the word "Three". Count "One, Two,
Three," waving your wand or hand, and at the third stroke
hit the thread sending the card high into the air and pulling
the thread clear away. After the excitement has died down and you have acknowledged the applause, pick up the three cards, add them
to the pack, immediately palming them, shuftle the pack
and place it aside. lf any curious spectator then examines
it he will find the three cards originally drawn still in it
and there is nothing to account for their curious behavior.
It should be noted, when you first place the pack in the
!bottoni of the bottle, that none of the chosen cards is on
the face of the deck. lf by chance one is there, cut it to
the middle.

"THE MODERN MAGICIAN"

26

HUGARD'S ANNUAL

FINDING THE PAIRS

O. W. MEYER

In presenting my version of this old classic, I make

no apology. Neither do I claim originality. In spite of its
simplicity it is one of those effects which appeal to the
watchers, one they will remember and puzzle over afterwards. Then, too, it is one of those truly rare and' welcome effects where the spectators have nothing to do
but watch.
'
Twelve paired cards are shown, placed in a heap and
this heap cut severa! times. The twenty-four cards then
are dealt, apparently at random, in four rows of six cards
each. Now someone turns a card face up and the performer instantly is able to locate and turn up it mate, until all
twenty-four cards are face up. The effect is comparable
to the old MUTUS, DEDIT, NOMEN, COCIS idea but is far
cleaner and more rapid.
You use twelve pairs of cards, such as two black Aces,
two red Queens, two red Tens, etc. As soon as you have
sorted out twelve pairs, take each pair, a card in each hand,
and form two piles of cards. Each pile will consist of
twelve cards, one of each of the pairs. In other words, if
pile No. 1 ruhs Ace of Spades, Queen of Dianionds, Ten of
Hearts, Six of Clubs, etc., pile No. 2 will run Ace of Clubs,
Queen of Hearts, Ten of Diamonds, Six of Spades, etc.
Now place pile No. 1 on pile No. 2 and have this single heap
cut svral times, with complete cuts. You will readily
see, however, that no matter how many times the pile is
cut, the second twelve cards always will be mates, in order,
of the first twelve.

Take the pile. of twenty-four cards face down in the

left ];land, ready for dealing. Deal the first twelve cards
in the following order:

7
8

X
X
X

X
X
X

X
X
X

X
X
X

10
11

12

27

HUGARD'S ANNUAL

The x's denote vacant spaces left for the second twelve
cards. Without any hesitation continue dealing the second
twelve cards in the x spaces as follows:

11

10

12

Your set up is now as follows:

2
1

10

11

10

11
12

12

You consider each of these groups separately. Now

invite someone to turn over any card. Suppose he turns
the third card in the second row of the entire twenty-four
cards. You will readily see that this card is No. 2 of your
second or inside group, and its mate will be card No. 2 of
the first twelve, that is, the second card in the first row.
One more example: suppose someone turns up the fifth
card in the third row. This is card No. 7 of the second
group and its mate, No. 7 in the first group, is the first card
in the second row.
In this day of subtle, insolvable card pr-oblems, the
solution of which are often more intricate than the trick
itself, this old-timer pleases like an old hallad after a din
of jazz.

28

HUGARD'S ANNUAL

THE HARMONY OF NUMBERS

An Original Card Divertissement
By DR. H. WALTER GROTE

EXECUTION AND PATTER

"Ladies and Gent!emen:
Numbers frequently offer startling evidence of
harmony, so that a great many people take the pseudoscience of numerology quite seriously. Without prejudice
I should like to indulge in a little experiment which may
or may not give you something to ponder upon regarding
the merits of the harmony theory."
(1) ".For instance, (turning to a lady) will you com. pletely relax for a moment, cut off from this pack a numbeJ," of cards and place them, face down on the table in
front of you? Thank you."
(2) "Now 1 shall riftle the cards in this manner and
(addressing a gentleman) you will oblige me by telling
me where to stop, so that 1, too, may cut off a number of .
cards and put them face down on the table in front of you.
Thank you." (Cut and place beside lady's pile).
(3) "The remainder of the cards 1 shuffle thoroughly" (d so and place the packet in line with the other two
and allow a free cut to be made.)
( 4) "These few remaining cards I shuffle again, so,
and place them in line with the three othet piles." (Do so.)
(5) "Now we have severa! piles of cards, chosen indiscriminately. At this point it will be interesting to ascertain how many cards you cut off the pack at the beginning.
Will you, please, count the cards in your first pile, face
down onto the table? (The lady does so.) How many
did you say? Ten cards? Hm! A significant number!
Ten figures, ten toes ! and your name is? . . . Greta Gro te!
1 . . 2 . . 3 . . . . ten letters ! Well, well ! Ten seems to
be your sympathetic number.'
(6) "Let us continue. Will you count the next pile
also? (She does so.) Ten cards again! Remarkable!"
"Now let us see how sympathetic this gentleman felt

HUGARD'S ANNUAL

29

towards your number. Will you turrn over the top card
of his pile? (She .d oes so.) A ten spot. Think of it!
Again the ten is predominant."
"You will recall that the cards were thoroughly shuffled. It would therefore be a remarkable coincidence if
the last pile should also, in sorne way, give expression to
the number ten. Suppose you again try the top card.
(She turns over the top card.) Again a ten spot! Very
interesting and most extraordinary !"
"The tenis so obviously your sympathetic number that
we may well feel encouraged to approach the climax. In
order to obtain complete harmony it merely remains to
turn over the top cards of the remaining two piles simultaneously. (The lady does so.) And there again you find
the governing influence of the tens. Maybe there is something in numerology after all !"
PREPARATION AND EXPLANATION
(1) A full deck is used. Have the four tens distributed through the pack as follows:
Ten of Spades--tenth card from the top.
Ten of Clubs
twentieth card from the top.
Ten of Hearts
twenty-first card from the top.
Ten of Diamonds--on the bottom of the deck.
Crimp the inner ends of the first ten cards and lay the
pack across your hand so that the cut must be made by the
ends. The first cut of ten cards is thereby forced.
(2) The Ten of Hea-rts may be a short card or have
a crimped corner _lo facilitate location. Personally, 1
thumb count ten ca.Tds, hold the break with the flesh grip
at the base of the thumb and cut off at the break, regardless
of where 1 am stopped on the riflle. This has the advantage
of being perfectly natural and eliminates the necessity of
preparing the deck with a short card.
(3) The shuflle is genuine except for the top . and
botto~ cards which are retained in theiT respe~tive positipns. This is most easily done with a riffie shuflle but if
an overhand shuflle is preferred, simply pull out all but the
top and bottom cards in the first movement, and shuffie

30

HUGARD'S ANNUAL

off on top of the two tens. Repeat the same move and
shuftle off to the last card, in the right hand, a ten, dropping it on top of the deck. Allow a free cut to be made.
(4) The remaining cards are shufiled overhand to
bring the remaining ten, the bottom card, to the top. Yo u
,now have four piles on the table as follows:
Pile
Pile
Pile
Pile

l-Ten cards wit:Q the Ten of Spades on the bottom.

2-Ten cards with the Ten of Clubs on the bottom.
3-Any number of cards with the Ten of Hearts on top.
4--Any number of cards with the Ten of Diamonds
on the top.

The counting of the two first piles brings the tens to

the top.
(5) If the name .of the person does not happen to
total ten letters, try other combinations producing the figure
ten. Telephone numbers, auto licenses, house or apartment
numbers, year or month boro, ten o'clock, ten inches, ten
feet, ten yards, ten people, etc.
Remember showmanship and faultless presentation is
the essence of any good performance. Properly sold this
routine creates a sensaton.
Note.-If t is desired to set up the four tens by a shuffle, proceed as follows: Have the four tens on the bottom,
shufile overhand, first pulling off the top and bottom cards,
run eight cards onto these again pull off the top and bottom
cards onto the ten cards in the left hand, rtm eight cards,
pull off the bottom card with the left fingers under . the
twenty cards in the left hand and throw the remainder
under them. Continue wth any sliufile keeping the whole
pack in arder.

DOUBLE PREDICTION
P. W. MILLER

Of a11 the feats of pretended magic perhaps those that

come the nearest to the 'l'eal thing are successful predictons of events over which the operator apparently has no
control. The following trick invented by Ml-. P. W. Miller
of Susanvlle, California, will be found to fill these conditions exactly.

HUGARD'S ANNUAL

31

The effect is that the performer writes two predictions:

one with a blue pencil relating to a blue backed card, tbe
other with a red pencil referring toa red backed card. The
messages are placed in a glass in full view and are not
touched by him again. Two packs of cards, one with blue
backs and the other with red backs, are handed to two
spectators who examine and thoroughly shuftle them.
Each pack is then spread face down on the table and each
spectator freely selects a card, one from the re...d, the other
from the blue deck. These two selected cards are left face
down on the table and are not touched by the performer.
The predictions are read aloud by the two spectators themselves, they turn the cards they selected face up and they
prove to be the very cards foretold by the magician.
Such a striking effect is worth a little trouble to prepare, particularly as the working is both clean and convincing. Two pencils must be faked, one a blue pencil to
write red and the other a red pencil to write blue. This can
be done in either of two ways. You may simply paint the
pencils opposite colors, that is, paint the body of the blue
pencil red and the body of the red pencil blue, or you may
bore out part of the red lead at the point and glue in a
piece of blue lead and vice versa. In either case when you
are writing a prediction apparently with one color, you are
really writing it with the other color.
Besides the pencils you require a blue backed forcing
deck, we will suppose that this is made up of Sevens of
Spades; a regular deck with blue backs, from which the
Seven of Spades has been removed; anda red backed pack
of "readers", that is, cards which are marked so that they
can be read by their backs. The only other requirements
are, a small pad of paper slips, about two anda half inches
by three, and a glass on your table.
To prepare for the trick, place the little pad and the
two faked pencils in your vest pockets, the two blue backed
decks in your left outside coat pocket, with a piece of cQJdboard or a handkerchief between them, and the red backed
deck in your right hand coat pocket.

32

HUGARD'S ANNUAL

Thus prepared, begin by invitin~ two spectators to come

forward to assist you. Stand one of them on the left of
your table, the other on the right and take your position
behind it. Take out the regular blue deck, spread the faces
of the cards towards the audience, then hand the deck to
the assistant on youT left to examine and shufile thoroughly.
Bring out the red deck, fan it towards the spectators
and then hand it to the assistant on the right to shufile.
Take back the blue deck with the remark, "We will use the
red deck first," and casually replace it in your left coat
pocket in its original position.
Announce that you will write a prediction. In all
seriousness make a close examination of the lines of the
Tight hand of the assistant on your left, then having made
your deductions, say that since he has the red backed cards
you will write the prediction for him with a red pencil.
Take out the little writing pad and the red pencil (that
writes blue) and on the top slip write the name of the card
of which the forcing pack is made up, in this case the Seven
of Spades. Be very careful that no one gets a glimpse of
the writing, giving asan excuse for your car.e in that regard
that you wish to leave no loophole for doubt as to the genuineness of the prediction. Tear off the slip, fold it in half
and in half again and drop it in the glass.
Now spread the red backed deck face down on the table
and invite your assistant on the right to draw out one card
from the rest and leave it face dowri. Remind him that
you have written the name of one card in red pencil and
ass&t that he will infallibly pick out that card. Tell him
that he can decide on any card he pleases and change his
mind as often as he likes but that, having once touched a
card, he must draw that card and no other from the line of
cards. This, of course, is merely to build up the effect, it
makes no difference what card he chooses. When he has
drawn out a card, gather up the rest of the deck and, as
you do so, read the back of the chosen card. Drop the red
deck back in your right hand coat pocket or lay it aside
on the table.

HUGARD'S ANNUAL

33

Turn to the assistant on your left, bring out the blue

backed forcing pack and spread it face down on the table.
Go through the same pretended reading of the lines of bis
right hand, then take the pad and the blue pencil (that
writes red) and write the name of the red backed card
selected by the first person. Again carefully avoid having
anyone ~et a glimpse of the writiilg. Tear off the slip and
fold it exactly the same way as the first prediction. Drop it
also into the glass.
Invite the assistant on your left to draw out one card
from the blue deck and lea ve it face . down. Repeat that
he can choose any card he pleases but that he must not
change after actually toucbing a card. When he has made
bis choice, pick up the remainder of the cards and hold
them in your left hand. Take the glass and empty the two
slips onto the table thus effectually mixing them and making it impossible for anyone to keep track of either writing.
Invite. the two assistants to open up the slips, the man on
the left to take the blue message and the one on the right
the red message. Stress the point that you do not touch the
slips. The predictions are read aloud and the cards turned
face up one after the other and it is proved that you have
foretold the very cards wbich were freely chosen.
In the meantime when the assistant on your left turns
bis card face up, you contrive to have your left side a little
behind him and you seize that favorable moment to drop
the forcing .deck from your left hand into your coat pocket
and bring out the regular deck. Pick up the blue backed
card, add it to the deck and put the pack on the table. Any
person examining it will then find just an ordinary deck
of fifty-two cards.
Mr. Miller devised the trick in 1931 and has used it
since with great success. Tbis is the first time that the
secret has been revealed.
Note: Instead of using "readers" the red pack can be
prearranged, in wbich case you false shuflle it yourself.
After a card has been taken by the spectator you find out
what card it is by glimpsing the card above it, while gathering the cards.

34

HUGARD'S ANNUAL

THE STORY OF ONE CARD PETE

By ELMER APPLEGIT

One Card Pete was a gambling roan ...

They knew him well in Reno.
He'd cheat in every kind of game
From Tiddlywinks to h.eno.
He sat once in a poker game
In a low smoky dive,
And when the dealer gave him cards,
He thought he gave him uve.
When One Card Pete looked at bis cards
A glad sight met his gaze.
A goodly hand! A noble hand!
A hand well worth a mise.
He looked again and with chagrin
Thought he, "l'm in a iix.
The dealer gave too many cards,
One, two, three, four five, six."

(1)

(2)

. (3)

(4)

You'd call "Misdeal" in a case like this,

But not this gambling chap.
He just took out the poorest card
And hid it in his lap.

(5)

And then he checked the cards again ...

He still was in a mix.
Again he found instead of five,
One, two, three, four, five, six.

(6)

How this could be perplexed poor Pete ...

He did not think it right.
That's why he stole another card
And hid it out of sight.

(7)

Once more he checked the plaguey hand ....

Lest 1 become prolix
Just let me speed this sorry tale,
One, two, three, four, five, six.
(8)
So once again he conned the hand
And this is how he did it:
Once more he took the lowest card
And in bis sleeve he hid it.

(9)

35

HUGARD'S ANNUAL

"And now," thought he, "that pesky card

Will trouble me no more."
But then he found instead of five
Just one, two, three and four.

(10)

A remedy had to be found .

The one he used seemed grand.
He took lhe card from out his sleeve ...
Returned it to his hand.

(11)

Alas, the plans of mice and men

Sometimes don't even score.
He checked the playing cards again:
Just one, two, three and four.

(12)

He stole another playing card

To give him one card more.
Again .he found the cards he . held
Were one, two, three and four.

(13)

He took the last remaining card ...

Ah, sorry was his fix
Because he found not four, not five,
One, two, three, four, five, six.

(14)

He left that fateful game forthwith ...

No more was seen in Reno.
He settled do.w n to honest til
And played not even Screeno.
The sad part of this little tale,
As sure as you're alive,
In spite of a!l perplexing counts,
One, two, three, four . .. and five.

(15)

The trick is adapted .from the "Six Cards Repeat Trick"

by Tommy Tuckcr which appeared in Eastman's book,
"Expert Manipulative Magic." That trick is a good one
and has become popular, however, Mr. Applegit felt that
the magician ought to be able to offer a reasonable excuse
for what he does and that a trick ought to have sorne sort
of a plot. Out of this search for a plot carne "One Man
Pete." At first he was an unnamed gambler in prose patter,
later Mr. Applegit put the patter into rhyme.

36

HUGARD'S ANNUAL

The manipu~ative part of the trick depends on the false

count in which the sleight known as the Glide is used. A
complete explanation of this sleight will be found in "More
Card Manipulatons, No. 1," page 37. Briefly the cards are
held face down in the left hand, Fig. 1, and they are counted
by -pulling them off from the top with the right thumb,
Fig. 2. The tip of the left third finger draws the bottom
card back, gliding it inwards towards the body, so that
after several cards have been drawn off singly, all the remaining cards, except the bottom one, can be pulled off and

FIG. 1

FIG. 2

counted as one card. The bottom card is . then snapped

with the left thumb and fingers plainly showing that it is a
single card, thus completing the illusion of an honest count.
The cards should be held in the left hand with as much of
the back of the packet showing as is possible and the count
made rather deliberately, a too rapid count must be avoided.
The set-up for the trick is2 D, 2 H, 4 D, 3 H, 4 H, AH, 3D, 5 H,
the Five of Hearts being the eighth card. Bridge the packct
of eight cards and place it on the top of the deck. By this
means the cards can be taken from the top clean!y when
required. An alternative plan would be to have the ninth
card a short card.
By following the moves as numbered it will be found
that at the finish a straight flush of Hearts, A, 2, 3, 4, 5,
will be shown.

HUGARD'S ANNUAL

37

1. Lift off the packet of eight cards from the top of

the deck and hold it up showing the 5 H as if to illustrate
the word "five". Lay the pack down with the left hand
and take the packet in that hand face down.
2. Turn the face of the packet towards yourself and
spread the cards very slightly, square them and turn the
packet face down.
3. Turn the packet towards yourself again slightly
spreading the cards, then square the packet and hold it in
readiness for the false count.
4. Draw the bottom card back, pull off four cards
singly with the right thumb, at the word "five" draw off
all the remaining cards except the bottom one, then count
"Six" and snap the 5 H with the left fi.ngers and thumb.
Place this card on top of the others.
5. Take off the top card, 5 H, and place it face down
on the table.
6. Replace the packet in the left hand and in similar
fashion make the count of "Six". Place the last card on
top of the others. This card will be the 2 D.
7. Take off the top card, 2 D, and place it on top of
the 5 H on the table.
8. Count again and as there really are just six cards
make the count very deliberately.
9.
10.

Take the top card, 4 H, and push it into your sleeve.

False count as four,

11. Take the 4 H from the sleeve and place it on top

of the packet.
12.

Again false count as four.

13. Pick up the 2 D from the table, add it to the top

of the packet and again count as four only.
14. Add the 5 H, the first card that was discarded, to
the top and make the false count of six.

38

HUGARD'S ANNUAL

15. As you recite the next to last stanza, square the

cards and hold them with both h;mds as if that were the
end of the trick. Deftly palm the top three cards, the 2, 3,
and 4 D in the nght hand as you place the other five in the
left hand. Raise them so that the faces can be seen by the
spectators. Take them one by one with the thumb and fingers of the right hand as you count them and the spectators will see that you have five cards only, a straight flush
of Hearts.

This presentation makes the trick a complete novelty

and it is a sure fire applause winner.

A SPECTATOR STABS THE CARDS

FREDERICK BRAUE

EFFECT: Any two cards are chosen by two spectators from any well shuffied deck. After being noted the
cards are replaced and the deck again shuffied. It is then
wrapped in a piece of newspaper and a paper knife is handed to a spectator who thrusts it into the package and
through the deck. Whert the cards are unwrapped the
blade of the knife is found to have passed between the
two chosen cards, one being above it and the other below.
In unwrapping the cards there is no movement of the cards
or the knife which does actually pass between the two
cards, although the spectator is allowed perfect freedom
in making the sta.b.
REQUIREMENTS: Any deck of cards, the gimmick
depicted in Fig. 1, and a paper knife. The latter is simply
a flat piece of steel sharpened at one end; the Haynes Stellite brand is ideal for the purpose.
METHOD: The first part of the trick is simple enough.
After having the deck shuffied, allow a free choice of two
cards. These are returned to the pack and eventually
brought to the top and bottom of the pack respectively.
As you explain that you'll . need the assistance of a spectator and that you wish to have a paper knife and a piece

HUGARD'S ANNUAL

39

of newsprint examined, you make a series of false cuts

while holding the pack in your hands. This is primarily
to camouflage a cut which you make a few moments later.

1l

/'~'"'""'"

-1-

While the two articles are being looked over and a

spectator comes forward to assist you, secure the guide
and hold it in your right hand between the first and last
joints of your right second finger, with the wide triangular
leaves next to the finger. The guide is easily held in this
position; but for safety sake it should be painted flesh color.
With the guide thus held in the right hand, hold the
deck, with its back to the audience, between the first phalanges of the right thumb and forefinger at the right end,
and the first phalange of the left thumb, second phalange
of the left third finger, at the left end of the deck. If the
cards are now cut, by drawing off the upper half of the
pack with the left fingers, and replacing this half under
the half remaining in the right hand, it becomes an easy
matter to slip the flat end of the guide between the ends
of the two packets.
Next turn the pack, face out to the spectators, and
hold it at the tips of the right fingers, the sides of the
pack parallel with the fingers which are on the face of the
deck, the thumb being on the back. Hdd in this manner
the gimmick is concealed.
The moves for wrapping the cards in the news paper are hard to describe but easy to do, and if y~u take
a deck and a piece of paper in hand a method can very
easily be worked out. Personally, 1 lay the pack against

H U G A R D ' S A NN U AL

the middle of the newsprint and fold it upwards in a

U towards the right fingers, concealing the gimmick, and
then grasp the pack at the bottom of the U through the
paper which now conceals the pack. Next 1 !old the top
of the U over the upper end of the deck so that two thicknesses cover the guide at that end. Finally the paper at
the sides of the pack is folded.
Take the paper knife, hand it to the spectator and ask
him to plunge it into the middle. of the end of the deck.
When he does so the gimmick guides the knife into the
pack, through it and out at the other end. Now comes
the move which gets rid of the gimmick and also strengthen"s the "no trickery'' angle. The wrapped pack, with the
knife protruding from each end, is held by the right hand
at the right end. The left hand carefully tears away the
newsprint at the left end, tearing it completely off the left
half of the pack.
Ostensibly this is done to show that the position of
the knife is not altered. When the left half of the deck is
exposed, grasp the pack with the left fingers. Slide the
right half of the newsprint away to the right and, with it,
the gimmick. Because the paper knife is flat, without protuberances and not more than one eighth of an inch thick
there is no "talk" other than the rustle of the paper. As
soon as the gimmick and the paper are clear of the end
of the paper knife, crumple the paper in the right hand
with the g~ide inside. Do not discard this immediately
but hold it in the right hand as it grasps the knife and
show the two chosen cards as cleanly as it is possible to
handle cards, thus preventing anyone from suspecting
any manipulation of the cards at this stage of the trick.
Occasionally a spectator may attempt to thrust the
knife into the pack iiear the top or bottom. Even so the
guide will run the knife into place if you help by moving
your hands. By remarking that you don't want him to
stab your hand and di:recting him to aim somewhere near
the middle of the deck, even this little difficulty will be
avoided. The audience will be amused and yo'llr end
gained.

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41

THE REDIDLL FOUR ACES

The trick of the four Aces was an old one even in
Ponsin's day in the earlier part of the last century yet rnagicians are still cudgelling their brains to devise new
rnethods of bringing ab.out the effect. With ordinary playing cards there are rnany ways of rnaking the necessary
addition of three cards to the Aces but, even with all the
resources of rnodern sleights, this remains a weak point
and it cannot be said that any indetectible rnethod has been
evolved. It has remained for Redhill the Magician, (Mr.
Fred N. Rothenberg), to devise the perfect rnethod with
Giant cards thus raising this good old trick to the dignity of
a stage illusion. Every move in the feat is clean, straightforward and natural and the subtle addition of the three
cards will puzzle even an expert.
EFFECT: The four Aces are openly taken frorn a
deck of giant cards and placed on an easel, the fa ce_, of ea eh
Ace being again shown. Three cards are then put on each
of thern, one pile of four cards is chosen and the Aces assernbled in that pile, all the cards of the otbPr niles being
shown to b indifferent cards.
REQUIREMENTS : A pack of giant .cards, four cards
prepared as under, a card stand with open back anda prepared die in which the one spot and the f~ur spot have
been altered to three and five respectively.
PREPARATION: The stand is the usual one for
displaying four cards with the addition that the rack carrying the cards can be revolved to show the back, and the
center of each compartrnent is cut out so that the Ace pips
show when the rack is turned.
Four cards, the Ace of Spades, the Three of Clubs, the
Three of Diamonds and the Five of Hearts are prepared.
These last three cards are used because when they are
placed backs out on the stand and this is turned round, the
center pips will show and so represent the Aces of Clubs,
Diamonds and Hearts. To prepare them for Qle trick, take

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HUGARD'S ANNUAL

a small hand punch, such as is used for punching score

cards at card games, and .punch a hole in each of the three
indifferent cards in the index pip in the upper left hand
corner, Fig. 1. These boles must register exactly and to
effect this, punch one card, then lay it o ver the next one,
squaring them carefully, and punch the second card, using
the hole in the first one as a guide. Do the same with the
third card. The Ace of Spades must be punched in the
same spot but not right through, simply press hard enough
to make an impression on back of pip. Keep the discs
which have been punched from the other cards.
Next take the Joker, or advertising card of the same
deck, and split it. From the back cut out small pieces to be
glued on the backs of the three indifferent cards to cover
the boles, Fig. 2. Make the pieces coincide with the pattern
of the back and if necessary touch them up witli blue or
red ink.
The next step is to glue one of the little punched discs
on the back of the Ace of Spades where you made an impression. When it is dry take one of the spot cards and
lay it on the back of the Ace of Spades so that the disc on
that card fits into the hole in the spvt card. Take a second
disc and put a spot of glue on the face side. Place this in
the hole of the second spot card, glue side up, and place
this card squarely on top of the card now lying on the Ace
of Spades. Press the spot where the hole was punched and
lift the card, leaving the disc stuck on the back of the first
card. When this has dri a, do the same thing with the second spot card using the first spot cardas a guide.
You now have a disc glued on the back of the Ace of
Spades and on two of the spot cards, and the three spot
cards have boles or depressions in their top left corners.
Paint the paper in these boles to match the color of the pips.
When these cards are squared together on top of the Ace
of Spades they will fit together and the four can be handled
as one card.
To prepare for the trick, place the Aces of Hearts, Clubs
and Diamonds in different parts of the deck and the Ace of

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HUGARD'S ANNUAL

Spades, with its three indifferent cards attached, nearest to

the top of the deck. Put the deck on your table with the
stand and the die and its cup.
WORKING: Pick up the deck and fan it from left to
right. Remove the Aces one by one, taking them by the
upper left corners, beginning with the unprepared ones and
taking out the Ace of Spades last. Put them face down on
the table, being careful to handle each Ace in exactly the
same way. Run through the pack to show that there are
no other Aces, and lay the pack face down on the table. Pick
up the Ace packet, holding the cards by the bottom left corners, and spread them with the right thumb, starting at the
top left corner. The indifferent cards will not be pulled
apart and the cards will appear to be just. the four Aces,
Fig. 3. Close the fan and lay the packet on the top of the
deck.
Call attention to the stand and show that it can be
turned around. Lift off the top four cards, taking them
by the sides, and place them one by one in the compartments of the stand, backs out. Turn the rack round and
it will appear that the Aces have really been placed on it,
the center pips of the three indifferent cards being visible
through the cutouts. Fig. 4.

BACKOFRACK
ACE PIPS
SHOWING.

Pickup the deck and count off three cards in this manner, lift right top corner and push off a single card with

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HUGARD'S ANNUAL

the left thumb into the right hand and count "One", push
off two cards and count "Two", then one card and count
"Three". Let this last card, an indifferent one, be seen,
then square the cards against the left thurb, letting the
indifferent card remain on the pack and place the other
three cards, the Aces, on the back of the Ace of Spades
which is on the right hand end of the rack. Tak off three
cards one by one in the same way, giving a flash of the bottom one and place on the indifferent card in the next compartment. Repeat the same actions with the last two carqs
on the rack:
/ Call attention to what has been done-four packets
of four cards, an Ace at the bottom of each, have been
roa de ( turn the rack to show the supposed Aces, then turn
it back again) with three indifferent cards on each Ace.
It is now necessary to change the packet of Aces from the
end position on the rack to the compartment next to it.
To do this lift the Ace of Spades packet' openly and slide
the next packet to the end position as you call attention
to the way the Aces show up through the cut outs, then
put the Ace of Spades pcket in the vacant compartment,
so that it will be the second or third packet according to
which end of the rack you start a count from.
Show the die and the cup and have someone throw it.
Since neither one nor four can show up you are enabled
to count to the Ace of Spades packet whatever number
is thrown. When this packet has thus been chosen by pure
chance, gather the three other packets together and impressively order the three Aces to fly to the chosen spot
and the three indifferent cards to come into your hands.
Run over the faces of the twelve cards showing them to
the audience and counting them, first however mixing them.
Finally turn the f.our cards in the rack face outwards, one
by one, putting them in the empty compartments.
This trick has been an outstanding feature of Mr. Redhill's programs and this is the first time the secret has been .
disclosed. All attempted solutions have been wide of the
mark.

HUGARD'S ANNUAL

45

FLOURISHBJ
l. CARDS FROM SILK
NEWTON HALL

This is a pretty variation of the Front Hand Production No. 2, "Card Manipulations, No. 2", page 32. Briefly, about a dozen cards are palmed in the right hand, faces
inwards. The right thumb pulls the end of the outer card
inward, bending it, ~en suddenly releases it. As the card
flies out it is caught between the tips of the thumb and
.
:first and second :fingers.
In this new version the cards are apparently caught in
the left hand in a silk handkerchief from which they are
pulled by the right hand. The moves are as follows:
1. Secretly palm a packet of cards in the right hand,
faces inward. Show a colored silk handkerchief, red for
preference, holding it up a corner in each hand; cross the
hands to show the other side then spread the silk over the
left hand, holding the hand palm upwards against the
middle of the fabric. Fig. 1.

2.
middle
pocket,
inward

Half close the left hand, making a pocket in the

of the silk, bring the right hand up close to this
shoot out the :first card by bending its outer end
and suddenly releasing it, causing its mi.ter end to

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HUGARD'S ANNUAL

enter the pocket in the silk. Immediately grip this end

through the silk with the left fingers, slide the right thumb
and fingers back to the extreme end of the card, .grip it
there a:r.d slowly draw the card away in tlie right hand.
3. Throw the card down, open the left hand, showing
the middle of the silk, half close the left fingers as before
and repeat the catch.
'
The effect to be aimed at is that the right hand simply
pulls the cards out of the silk one by one.

ONE HAND FANCY DEAL JERRY NADEL

Hold the deck in the left hand as for dealing but a little lower down in the hand, the first finger free at the outer end, the second, third and fourth fingers against the
right side of the pack and the thumb resting on the back
of the top card.
l. Push the top card off the pack diagonally so that
its top left corner protrudes over the end of the deck about
half an inch.
_
2. Put the tip of the left forefinger on top of this protruding corner, press tlown on it, Fig. 1, and turn the card
over lengthways bringing it face upwards as it falls on the .
table.
3. lf you wish to turn over one card only to show it,
then instead of letting the card fall after it is turned lengthways, clip its corner against the face of the bottom card,

HUGARD'S ANNUAL

47

thus holding it extending from the deck for almost its

whole length. Fig. 2.
As a general rule when doing tricks with cards any
exhibition of digital dexterity should be avoided but this
little flourish does not come under the han since it is used
to show that no trickery is possible, one hand only being
u sed.

TURNING THE TOP CARD

Hold the deck as for dealing, then 1. Push off the top card with the left thumb and take
it between the tips of the right second and third finger

tips, face down.

Fig. 1.

2. Place the tip of the right thqmb on the face of the

card and turn it face up towards yourself, holding it vertically between the tips of the thumb and second finger;
Fig. 2.
3. Place the top joint of forefinger on the face of the
card release the thumb, Fig. 3, and put it on the back of
the card, turning it face outwards and leaving it gripped
between the tips of the thumb and forefinger, facing the
spectator. Fig. 4.
The action ~n he done gracefully and it makes a little intriguing delay in showing the face of tlie card.

HUGARD'S ANNUAL

48

A COLOR CHANGE STORY

EFFECT: In speaking the following lines the performer holds the deck in bis left hand in the orthodox
position for the color change. At the end of each couplet, when a card is named, the face card of the deck is
seen to change accordingly. When the straight, hand and
suit are mentioned, the corresponding cards are produced
from the air in the right hand.
"I fell in love with MadeJene,
Of my fond heart she was the Queen.

(Q. of H.)

So I resolved to brave my fate

put the question to her straight.

(A. 2. 3. 4. 5.)

~d

I called upon her the next day

And sent my card upon a trey.

(3. D.)

With fine assurance at the start

I boldly offered her :r:ny hert. (A. H.)
With all the grace at my command
I meekly ofl"ered her my hand. (10. J. Q. K. A.)
And though I felt a perfect brute
Persistently I pressed my suit. (4. 5. S.)
She said, "l'm sorry it's no use"
And still I pleaded like the deuce.

(2. C.)

"Diamonds", I said, "You shall not lack," (10. D.)

And then she smiled, and said, "It's Jack." (J. S.)
METHOD: The _trick makes an effective opener for a
series of feats with cards. In this case the necessary prearrangement is made and the deck put in its case. lf, however, it is desired to use the effect in the middle of a routine, then the deck must be.A>witched. In either case a
false shuflle should be made and severa! blind cuts.

HUGARD'S ANNUAL

49

The single cards named in the couplets are prodl.J,ced

on the face of the deck by any of the standard color change
methods preferred, and it is advisable to change the methods as often as possible, so that the .same sleight is not
used twice in sliccession. With regard to the straight, hand
and suit, an easy way is to plaee the cards for each of
mese in a pocket and when they are named simply riflle
the deck and bring the cards out with your right hand,
square theni. and place them on the face of the deck, seizing the opportunity to palm off the rear card in readiness
for the next color change.
By crimping a corner of tl;le lowest card in each of
the sets of five, five and two cards, each set can be pushed
into the right hand by the left forefinger after the same
manner as the original color change and then produced
from the air, from behind the right knee or elsewhere.
The cleanest and most skilful method, however, is to use
the Hugard method of palming cards from the rear of the
deck while the bottom card faces the audience. lt takes
but a moment to thumb count five cards and they are then
pushed down into the right hand under cover of the pack
and the .back of the hand, which takes the pack for the
moment while the left hand is shown empty. The deck
is then replaced in the left hand, riffled ~nd the palmed
cards produced in a fan.
. Introduced with the light touch necessary, this little
interlude will be. found both amusing and effective.

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HUGARD'S ANNUAL

eoiNJ
A NEW COIN PRODUCTION
This is a new and pretty production of a number of
coins, one at a time, which can be used as an impromptu
feat or an effective interlude in the Miser's Dream.
For impromptu performance prepare by placing eight
or ten half dollars in your left trousers pocket, and one
half dollar in the right trousers pocket.
Begin by remarking that you propose to show a peculiar effect with a half dollar and thrust both hands into the trousers pockets. With t)le left hand secure the little pile of coins noiselessly in the finger. .grip and bring the
hand out, apparently empty, but holding the coins by bending the two middle fingers slightly inward. Fig. 1. This
is a natural position and the hand can be held up palm
outwards wJen it will appear to be quite empty.
In the meantiJne bring out the single half dollar with
the right hand and show it. Place the coin between the
left thumb and forefinger and show it on that side, letting
the. palm of the hand be seen. Take it once more in the
right hand and turn the hand to show all parts of it.

Pretend to put the coin in the left hand, pall!ling it

in the right and close the left fingers. Turn the left fist
over bringing the knuckles upwards, then bend the left
thumb and push it into the fist so that its nail strikes the
side of the outermost coin of the pile. Push this first coin
upwards with the thumb between the first joints of the
third and fourth fingers, the little finger being bent in
tightly to allow it to pass. Make' tlie coin protrude as far
as possible. Fig. 2.
To the audience this appears to be the coin you just
put in the left hand. Remove it with the right. Keep the
left fist in the same position, push up the next coin with
the left thumb in the same way and take it away with the
right hand.

HUGARD'S ANNUAL

51

Continue the same procedure until three coins only

remain. Push the first of these between the third and
fourth fingers and keep it there, the second between the
first and second fingers and the last between the second
and third fingers. Fig. 3. Exhibit the coins thus, then let
them drop one by one into the right hand.
A trial will show that the nail of the thumb comes exactly in the right position to push the coins off the pile one
by one. They should be made to appear rather slowly and
not with a jerk. The effect is very pretty and mysterious.
For the Miser's Dream this sleight can be made into
an effective interlude. Load both hands, each with a dozen coins, and place the hat, or whatever receptacle is used,
on the floor in front of you. Show the hands, backs upwards, palms to the front, the two middle fingers of each
hand, slightly bent, hiding the coins.
Close the hands and make the productions from each
fiand alternately, letting the coins dx:op from the backs
of the hands into the receptacle. Retain the last three in
the spaces between the fingers, as already described above,
then bring the hands together, turn them over and let all
six coins drop at once.

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HUGARD'S ANNUAL

A NEW CIN FLOURISH

The Steeplechase With Two Coins Rolling Separately

The sleight just explained, the new coin production,

is an easy one, here is something difficult. The f1ourish
known as the Steeplechase is well known but new luster
is cast upon it when two coins are used at the same time,
each coin rolling separately.
Begin with a coin A at the little finger end, between
the first joints of the third and fourth fingers, and a second
coin B resting on the tip of the thumb against the side of
the forefinger. Fig. 1.
Roll A in the usual way over the fingers towards the
thumb. As it reaches the space between the first and second fingers, balance B on the hall of the thumb, carry it
under the fingers and push it up between the third and
fourth fingers. Figs. 2, 3.
A is then rolled over the first finger to the tip of the
thumb and B is started rolling over .the fingers towards
the thumb in the same manner as was done with A, while A
is then carred under the fingers on the thumb back to its
original position. The double movement is continued for
as long as may be desired.
Although the flourish is really juggling, not conjuring,
there are many who love such moves and those who master it will be able to give the impression of extraordinary
dexterity.

HUGARD'S ANNUAL

53

A NEW IMPROMPTU COIN V ANISH

SAM MARGULES

Before beginning this move push in the lapel of the

left outside coat pocket and spread open the top of the
pocket itself somewhat. Stand with your right side to the
front.
Show a coin, a half dollar for preference, in your right
hand, holding it by the extreme edge between the tips of
the humb and forefinger, as much of the coin in view as
possible. With the left hand take out your handkerchief
and open it out.
Bring the right hand ov~r to the left hand and place
against the middle of the handkerchief, then diape
coin
the
the fabric over the coin and the right hand so that the
shape of the coin shows plainly underneath.
Still keeping your right side to the front, with the Jeft
thumb and fingers seize the center of the handkerchief
and, apparently the coin under it and move the hand away.
Let the right hand drop and, as it passes downward
throw the coin which you have .retained between the
thumb and forefinger, into the open left Ol1tside coat pocket. This throw must be made without any hesitation,
the hand simply dropping naturally to your side as you
keep your whole attention fixed n your left hand.
Turn to face the spectators, bring up the right hand,
casually letting it be seen to be empty, seize a comer of
the handkerchief, and suddenly flick it in the air. The coin
has vanished and the left hand is seen to be empty also.
If you desire to use the same coin again, it is an easy

matter to regain possession of it as you place the handkerchief in your left coat pocket.

54

H .u G A R D ' S A N N U AL

VANISH FOR COIN ()F ANY SIZE

Stand with your left side to the front. Show the coin
lying on the top joint of the right third finger, the palm
of the hand towards the audience. Fig. 1.
Move the hand upwards as if to toss the coin into
the air and at the same time execute the following finger nwvements: Place the top joint of the second finger
on the coin then clip its right hand edge with the top joint
of the first finger bringing the coi1,1 to the back of the
fin.gers. Fig. 2.
Keep the fingers together and the palm of the hand to
the front. Be careful not to separate the third and little
fingers which would attract attention to the fact that the
first and second fingers are pressed together. Fig. 3.
Hold the position, the right hand about shoulder high,
for a moment or two- to allow the disappearance of the
coin to register, and gaze upward as if watching its flight,
then bring the hand down in a sweeping movement to
the left to show the back of the hand. In so doing place
the tip of the third finger on top of the coin, clipping it
against the side of the second finger and bend the two
fingers rapidly into the palm, securing the coin in the
oblique palm position.
The regular change-over sleight can now be used and
the right hand shown freely.

HUGARD'S ANNUAL

55

THE COIN PENETRATION

TOM OSBORNE

EFFECT: A coin is dropped into a glass which is

then covered with a handkerchief. This covering is then
twisted fairly around the foot of the glass, yet at command the coin rises, passes through the fabric covering
the mouth of the glass and falls to the floor. Glass, handkerchief and coin are unprepared.
PRESENTATION AND METHOD: Begin by borrowing a handkerchief, spread it out to show it and then drape
it over your right hand. Show a half dollar with your left
hand, then grip the coin through the handkerchief with
the right thumb and fore:finger. Pick up the glass with
the left hadd, holding it as in Fig. 1, and tap the coin
against the bottom proving it to be solid.
Move the glass in the left hand so that the . bottom
rests on the palm, then hring the right hand over the
glass so that the coin is partly mside it, as if you were
about to drop the coin into the glass, Fig. 2. With an up-

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HUGARD'S ANNUAL

ward tu.rn of the wrist let the handkerchief fall downwards covering the glass as in Fig. 3.
Tilt the glass towards yorself with the left fingers
and let the coin drop so that it strikes the side of the glass
and then drops into and is caught by the left fingers.
Fig. 4. The resulting "chink" will convince the spectators that the coin has actually dropped into the glass. H~
tain hold of the fabric until the coin has fallen and you
have straightened up the glass, then let it fall over the .
mouth of the glass.
Ask a spectator to push the middle of the handkerchief down in the glass with his forefinger and in order
that he shall understand what you want him to do, hold
your forefinger as in Fig. 5. As the spectatQr does this
palm a duplicate half dollar. The little depression or well
having been made, announce that you "will make the
coin which is in the bottom of the glass pass up
through the handkerchief and drop visibly to the floor."
Bring the right hand over the mouth of the gl~ss and as
you say "bottom" drop the coin, and as you say "up" raise
the right hand. Fig. 6. There will be no sound as the coin
drops, since it falls into the well which should not reach
to the bottom of the glass.
Grasp the handkerchief by the side and let the coin
which is in the left fingers fall secretly into the right hand
as in Fig. 7. Drape the handkerchief around the glass and
twist the fabric underneath the bottom, gradually drawing the middle of the handkerchief taut over the mouth of
the glass thus raising the coin until finally it falls to the
floor. Fig. 8.
Remove the handkerchief, show the glass empty and
palm the duplicate coin as you pick up the one on the floor.

HUGARD'S ANNUAL

57

COIN DETECTION
An Old Trick in a New Way
An old favorite is the trick in which the magician
finds, with his finger tips, a coin which has been marked
and then shaken up in a hat with a number of others.
Briefly the old method is this. A number of coins,
say eight or ten half dollars or quarters are borrowed.
One is chosen and marked by several spectators. As it is
passed from hand to hand this coin become.s warm while
the others lying on the table remain cold. The operator
has merely to find the warm coin.
The new method is even simpler. Cut tiny scrap of
Scotch tape, the new adhesive paper that is always ready
for use without being moistened, and lay it on your table,
adhesive side up. Borrow the necessary coins, half dollars
or quarters, and put them on the table. Take any one and
hand it out to be marked. This done, take it back and lay
it on the scrap of Scotch tape, which adheres to it.
Borrow a hat and sweep the coins into it; Hand the
hat to a spectator and let him shake it thoroughly, mixing
the coins, then he holds the hat up high. It only remains
for you to put your hand in, find the coin with the scrap
of tape on it, scrape that off with your nail, and hand the
coin to a spectator for identification.
Such are the bare bones of the trick and, baldly presented, it is just another trick, but properly worked up it
is quite effective. For instance, you may have the spectator who marked the coin hold your left hand and, when
you have found it, pretend to have received a slight electric shock. Nine times out of ten the spectator will aver
that he felt it too, particularly at that moment you give
his hand a little prick with the point of a pin which you
hold between your fingers.

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METHOD FOR OBTAINING FIRST COIN FOR

MISER'S DREAM
Place a half dollar or a palming coin under the cover of a book of matches and press its edge under the edge
of the striking portion so that the coin is clipped securely. ,Lay this on your table near a candle.
When the time comes pick up the book of matches
with the right hand and place it in the left hand so that
its lower open side rests on the. top joint of the left forefinger, the back of the left hand being towards the spectators. Fig. 1.
Pull the cover open with the right thumb, draw the
coin down onto the second, third and fourth fingers and
slide the book down over it. Fig. 2.
With the right hand pull off a match and strike it,
letting all pads of both hands be seen in doing so. Light
the candle, close the book and at the same time slide the
coin from the back of the book into the right fingers.
Drop the matches on the table and produce the coin from
the flame of the candle.

MISER'S DREAM. NEW FINALE

Prepare a cocoanut by cutting a hole of about one
and a half inches in diameter in the shell and scooping out
all the contents. This is to be loaded into the hat or coin
receptacle at the conclusion of the coin catchip.g and the
best way of doing it is to have the cocoanut on the servante at the back of_y9ur table or a chair. After pouring out the coins onto a plate load the cocoanut into the
hat after the . manner of the cannon-ball load, that is by

HUGARD'S ANNUAL

59

slipping the middle fhiger of the hand holding the hat into the hole in the nut and carrying it away.
Place the hat crown downwards on the table or chair,
the hole in the nut being uppermost. Pour the coins into
the hat and, incidentially, into the nut. On top of them
stuff sorne silks that you have lying on your table from
sorne previous trick to prevent the coins talking when

you produce the nut.

Carry the hat forward as you offer to make the owner of the hat a present o.f the money. Turn the hat over
and produce the nut. This may form the climax of the
trick or an introduction to a series of amusing hat productions. These are almost wholly neglected at the present time yet whenever a cartoonist uses magic in his pictures nine tiines out of ten he depicts the production
of something, generally a rabbit, from a hat.

THE SHELL COIN

A useful dodge to apply to a shell coin is to tie a human hair around the coin and the shell. You can then use
it safely for severa! passes and when you desire to put the
shell into use you have only to break the hair.
Having a coin and shell fixed in this manner, make
severa! vanishes and recoveries with it taking the opportunity to show very plainly that your hands are otherwise empty. Break the hair, palm the shell and hand the
coin for examination. Take 1t back and secretly add the
shell in such manner that the coin will now show either
a head or tail on each side. We will suppose that he
shell shows a head, add it to the coin so that the genuine
head is on the opposite side. Lay the coin on the table
with the shell side downwards and cover it with a handker chief.
Invite a spectator to put his hand under the handkerchief and turn the coin over. He will invariably turn
the coin by picking it up with the thumb underneath, holding the shell on and thus the reversa! of the coin is made
without exposure of the shell.
Removal of the handkerchief will show the coin still
head up, much to the spectator's surprise.

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A "PASSING" COIN INTERLUDE

L. T. TANNEN .

The magician lays eight coins on the table in two sets

of four, one set to the right, the other to the left. He
openly takes four coins in each hand, makes a gesture of
throwing a coin and shows three in bis right hand and fi.ve
in bis left. He continues in the same way until all the
coins have vanished from bis right hand and there are
eight coins in bis left hand.
The trick depends, as with other methods of producing the same effect, on the secret addidtion of one coin and
deft palming. Begin by showing eight coins, quarters are
the best, and lay down four on the table to your right and
the other four to your left, at the same time letting it be
seen that your hands are then empty but without saying
anytbing about that. Take a handkercbief from your right
coat pocket and seize the opportunity to palm an extra
quarter placed there in readiness beforehand. Finally
decide to do the trick openly and lay the handkercbief
aside.
Open your left hand and show it empty, with the
right hand pick up one of the coins on the left of the table
and from a distance of two or three inches tm>s the coin into the left hand and close the fi.ngers on it. Pick up a
second coin and toss it into the left hand, the finge~ opening to receive it and then closing on it. Take the tbird
coin and as it goes into the left hand release the palmed
coin so that the two drop into the left hand together.
Pick up the fourth coin and with a careless gesture let the
inside of the right hand be seen, then drop the coin into
the left hand. Stretch the . left hand out and keep it
clenched.
With the right hand pick up one of the four remaining
coins by sliding it off the table with the tips of the fi.ngers
and seize the opportunity of pressing it into the regular
palm. Pick up the other three, one by one, and hold them
in the closed hand. Make a throwing gesture with the
right hand, open it, keeping it with the back of the hand

HUGARD'S ANNUAL

61

uppennost, and let the-three coins drop, retaining the palmed coin. Immediately afterwards open the left hand and
count out five coins onto the table. Continue, without
,baste but without a wait, by counting the five coins into
the left hand with the right, letting the palmed coin drop
with the third or fourth. Clench the left hand and pick
up the three coins with the right, palming one as before.
Another coin passes and you repeat the same moves until one coin only remains in the right hand.
This coin must be vanished completely and to do that
hold your left fist stretched straight out to the left, show
the coin in your right hand and, as you make a throwing
motion towards the left fist, let the hand cross the body
just above the handkerchief pocket into which you let the
coin drop. There must be no stoppage at this point. Continue the motion of the hand to the left sleeve and give it
a little tug, then show the hand empty. Finally let the
eight coins drop from the left hand, counting them as they
fall.

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~ILK

FROM A LIGHTED CANDLE

EFFECT: After showing both hands perfectly empty

the performer draws a silk handkerchief from the flame
of an ordinary candle.
METHOD: A little fake is required as shown in F~g. 1.
It is made about one and a half inches long and its diameter is such that it will fit closely, but not tightly, on the
end of a candle. It can be made of white celluloid or of
metal enamelled white. One end of the fake is closed and
into it you push a red silk which has been folded in the
following manner: First fold two corners, diagonally opposite to one another, to the middle, then each part in half

and continue thus until you have a band a little over an

inch in width. Fold this band in accordion pieats about
one and a half inches long. Load the silk into the fake so
that one end of the band is at the bottom, .the other at the
top, and push the bottom of the candle into the fake so
that it will hold but can be removed easily. Thus prepared put the candle in a candlestick, the cavity of which
should be deep enough to hide the joining of the fake and
the candle.
To perform the trick, casually show both hands letting it be seen that they are empty without actually telling the spectators that they are. Light the candle and
take it by the end in the right hand, tbe fingers hiding the

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63

Fig. 2. Caii attention to the flame of the candle,

gesturing with the left hand making it plain that you have
nothing concealed in it. Transfer the candle to the left
~d and in like manner show all parts of the right hand.
Onre more take the candle in the right hand, grasping it
about an inch below the flame, but retain the fake in the
left hand.
JOID.

The upper corner of the silk will protrude slightly

from the fake and, as you bring the left hand over to the
candle, place this corner behind the candle and press the
tip of the right thumb on it. 'Fig. 3. At once raise the
left hand cmartly above the flame of the candle causing
the silk to be d.rawn out of the fake and creating a perfect
illu~ion of a production from the flame itself. Fig.
4.
As soon as the silk is completely out of the fake grip the
q.pper corner between the left thumb and forefinger, release the hold of the right thutnb on the opposite corn.e r
and draw the silk away. Let it fall across the left" palm
over the fake and once more you can show your hands
apparently holding nothing but the silk. and the candle.
Finally place the silk on your table and dispose of the
fake by dropping it into a well as you do so.

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TRANSMIGRATION OF A SILK ANDA CANDLE

EFFECT: An ordinary candle is placed in a plain
metal case, both ends of the case are capped and the whole
is given to a spectator to hold. A silk is vanished and is
found in the case by the spectator himself, the candle having vanished. The latter is found by the magician in his
breast pocket and it is produced lighted.
METHOD: There are several kinds of tubes for the
vanishil\g of a candle but they call for the use of a fake
candle which is really a hollow hibe, enamelled white,
with a small piece of candle at one end. The procedure
which follows, the invention of a brilliant French magician, Mons. Georges Poulleau, is entirely different, a real
handkerchief and a plain tube being used. The tube, which
is made of copper and nickelled, is without any preparalan. It is of slightly larger diameter than a candle and
is about eight inches long. Two plain caps fit over the
ends. Fig. 1.

H the trick follows the prec~ding one, which it may

do very well, a red silk, duplica te of the one produced
from the candle flame and folded in the manner described
above, is pushed into the tube and a small piece of candle.
about half an inch long with a loop of horsehair or very
fine wire attached to it, is placed on top of the silk. These
are pushed to the top of the tube so tha t the candle end
is just hidden from sight. Fig. 2. The little piece of candie must, of course, be cut from a candle which ha5 been
lighted so that it duplicates in appearance the top of the
candle which is placed in the tube.

At tbe end of the preceding experiment, after putting

the silk on the table, blow out the candle, then remarking

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that you will use both articles again, pick up the silk and
place it in your right trousers pocket, leaving about half
of it hanging down. Take the tube and put it over the candie. Fig. 3. Push it up with the right forefinger until the
little piece of candle appears at the top, then hold the tube
as in Fig. 4, supporting the candle with the left little
:finger.

Turn to your table to pick up one of the covers and

candle slide out into a well. No suspicion will be
the
let
aroused by this move since the spectators see, as they imagine, the end of the candle at the top of the tube. Place
one cap on the bott.om end of the tube. Take the second
cap between the :first and second fingers and, in bringing
the right hand to the top of the tube, insert the.rigp.t thumb
into the little loop, draw out the candle end, Fig. 5, letting
it hang against the right palm, and put the cap on the
tube. The back of the right hand being towards the audience this maneuever is concealed. Hold the tube up by
the middle in tbe left hand and with tbe rigbt band take
the red silk from the trousers pocket letting the loop and
the candle. end slide off the thumb into the pocket.
Hand the tube to a spectator to hold in full view. It
remains for you merely tp vanish the silk by whatever
method you prefer ordering it to pass into . the tube. The
spectator removes the caps and finds the silk in the tube,
the candle having vanished. The caps a~d the tube give
him no clue to its disappearance. You then produce the
candle, lighted, from your pocket in the usual way.
The trick is subtle and clean in execution and will
give the performer much more satisfaction than the method in which the faked metal candle is used.

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A SILK INTERLUDE
On the servante, or behind sorne object on your table
you have a piece of colored flash paper of the same shade
as sorne of the silks you have produced magically. Crumple the flash paper so that it resembles a silk .
. In the course of your routine in laying the silks you
produce on the table, secretly add the crumpled flash paper to them. At any time you wish during the manipuJations, or at the finish, you may remark, "These are magic
silks and one has to be very careful with them. Watch."
Pick up the flash paper, hold it to a lighted candle, or
touch it with the glowing end of a cigarette, and it vanishes.
NEW KNOT FLOURISHES
It is always effective to work a few magical knots in
the course of a routine with silks. Many of these have
been explained in "Silken Sorcery," p. 62 ff. Here is a
new instantaneous knot.
Twist the silk, a fairly long one, rope fashion and hold
one end between the thumb and fingers of the right hand,
the other end between the second and third fingers of the
left hand.
Throw a loop with the right hand in just the same
way as in tying a knot on the wrist but let it fall over the
second and third fingers of the left hand and the end they
hold.

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67

Grip this left hand end with the left forefinger and
thumb, at the same time releasing it from the second and
third fingrs, and draw the hands apart. A knot is made
instantly in the middle of the silk without the hands
coming together.
The best way to learn the sleight is to practice it first
with a piece of pliable rope about two feet in length.
THREE INSTANT ANEOUS KNOTS AND

The performer not only ties three knots on the instant

but he also places his arm in a sling. This most unusual
and spectacular feat is the invention of Mr. Robertson
Keene. It is based on the throwing of a loop as in the
preceding . sleight but a large scarf handkerchief of good
quality silk is required.
Mter having twisted the silk ropewise, throw a loop
round the left wrist tying a knot on it and drawing it tight.
Retain your hold on the ends and instantly carry them,
one in each hand, behind your head, tuck the ends into
the collar, leaning the head well back to hold them there,
Fig. 1, drop the right arm to the side and hold the left arm
bent against t.he chest as if it were in aregular sling. Fig. 2.

F!G. 1

FIG. 2

You claim to have tied two knots at the back of your

neck and one on your left wrist, three instantaneous knots,

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and yo u pro ve your assertion tbus: Place your bands be- .

hind your bead as you still face the audience, take an end
in eacb band and make tbe motions of untying a knot, in
reality you tie a single knot quickly and count "One."
From tbe front tbe action appears exactly tbe same as if
a knot were untied. Turn your back to tbe audince to
sbow this second knot plainly. Untie it very openly and
count "Two.~ Face tbe audience again and extend tbe
left arm sbowing tbe knot actually tied on tbe wrist and
count "Three."
It must be admitted tbat the trick is a bold one but tbe
wortbwbile magician is notbing "if not audacious.

NOVEL PRODUCTION OF A SILK HANDKERCHIEF

Fold .a silk bandkercbief into ~ narrow band witb ac
cordion pleats. Fold tbis in pleats of two incbes to witbin a
couple of incbes of tbe end and tben roll it up tigbtly making
a little bundle wbicb will expand rapidly wben released.
Fix a pin in tbe lining of your coat near tbe lower edge on
tbe rigbt band side and impale tbe silk on it.
We will suppose tbat you bave invited aman to come
forward and you have placed bim on your le~t s~de as yqu
face tbe audiance. You greet biin, asking bis name. "Mr.
-----------------? Sbake bands." Hold out your rigbt band
and sbake bis rigbt band. "Let's repeat tbat," you say, and
extend your left band. He holds out bis left hand and you
sbake bands again. At tbe same moment your rigbt band,
wbicb you bave dropped to your side, steals tbe silk from
the pin under tbe edge of your coat. Tben as your left
hand releases bis, bring your right band up to your left
band and clasp tbem tigbtly togetber, tbe silk being thus
brougbt secretly between tbem.
Ask tbe spectator to place bis empty bands one on eacb
side of your empty . bands and bold tbem togetber tightly.
"If would be impossible," you say, "f.or me to make
use of any trickery under these conditions, wouldn't it?

HUGARD'S ANNUAL

69

So this must be real magic. Watch." Have him release

bis hoJd, t:Qen suddenly open your hands cupwise, allowing
the silk to expand to its full size.
This production will be found to be an easy but very
surprising one.

"ANOTHER PEEP ABOUT THAT RAISE IN

WAGES AND l'LL CUT YOU OFF FROM CIVILIZATION."

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THE DROP VANISH

EFFECT: A hall is taken in the left hand which is
held closed with its back to the spectators. The back of this
hand is stroked severa! times by the right hand, and when
the left hand is turned around and opened the hall has
vanished.
METHOD: 1. Stand with your right side to the front.
Show the hall in the right hand and place it on the palm of
the left. Slowly .close the left fingers on the hall and turn
the hand over, bringing its back to the spectators.
2. Under cover of the back of the hand relax the hold
of the left fingers on the hall so that it is retained only by
resting on the base of the left thumb and can be caused to
fall by the least movement of the left hand.

3. Place the palm of the right hand against the back of

the left hand and stroke downwards for about eighteen
inches keeping the fingers of the hand pointing upwards
and the left hand stationary.
4. Repeat the stroking movement and at the third
stroke dislodge the hall from the left hand letting it fall
just as the right hand begins its downward movement. .T he
hall falls behind the right hand and is caught by it and palmed at. the end of the stroking movement.
5. Palm the hall in tlie right hand and bring the hand
up, its back to the front, and point to the left hand with the

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fore:finger. Turn the left hand to the front and simulate the
gradual squeezing of the hall to nothing, :finally opening the
:fingers one by one to show the hand empty.

This, the original drop vanish for a billiard hall, was

devised by Mr. Sam Margules, of the S. A. M. Heckscher
Theater Annual Hospital Bene:fit Shows fame, a number
of years ago.
A similar move in which the right hand is swept around
in circular fashion, passing under the left hand towards the
left arm pit, has come into use more recently. Not only is
this very much more difficult since the timing of the drop
must be perfect or the hall will be exposed, but there is no
reason whatever for the somewhat wild sweep of the right
hand under the left.

A COLOR CHANGE
REQUIREMENTS: A sheet of stiff paper, about 10
by 8 inches which has been rolled into a tube and then unrolled so that it will take shape easily, a small rubber band,
two billiard balls, one red and the other white, and a red
shell:
PREPARATIN: Place the sheet of paper and the
rubber band on your table, the white hall with the red shell
on it under the vest on the right hand side.
WORKING: After various moves with the red hall,
apparently take it in the right hand, really palming it
in the left. and pretend to put it in your mouth. Push
. out one check with your t<?ngue to simulate the presence
of the hall, then push out the other cheek as if you rolled
the hall across in your mouth and :finally pretend to swallow it.
Place both hands flat on your chest and slide them
down to the bottom of the vest, lift the vest with both
hands, take the white hall and red shell with the right hand,
keeping the red shell squarely to the front, and in turning

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down the vest slip the red hall under it with the left fingers.
Hold the hall and shell encircled by the right thumb and
forefinger so that t he red shell only is visible.

Pick up the sheet of paper with the left hand, show

both sides of it and roll it into a tube large enough for the
hall to pass through easily. Place the rubber band around
it.
Stand the tube upright on the palm of your left hand,
bring your right hand to the top and apparently drop the
red hall into it, in reality finger palm the red shell and let
the white hall drop. Immediately grasp the Iillddle of the
tube with the right hand and press the shell against it.
Lift the tube and show the white hall lying on the left
p~. Toss it in the air and catch it in the same hand.
U~roll the paper, hold it in the right hand, the thumb
in front, fingers behind concealing the shell, and show it
on both sides. Drop the paper and take the white hall in
the right hand, inserting it in the red shell and turning to
the right as you do so. Hold the hall and shell between the
right thumb and forefinger with the red shell squarely to
the rear and therefore invisible.
Lift the shell upwards with the right second finger,
apparently bringing a red hall into view between the first
and second fingers, at the same moment steal the red hall
from the vest with the left hand. Take the red shell from
the right hand inserting the red hall in the action. Knock
the two balls together and continue with your routine.

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SLEIGHT FOR THE CUPS AND BALLS

The following moves can be included in a routine at
.any time wi th good effect.
Hold a hall secretly against the inner edge of a cup
with the tip of the right little finger, Fig. Invite a spectator
to hold one hand palm upwards and with your left hand
put a hall on it. Cover this hall with the cup and release
the hall held by the tip of the little finger. There will then
be two balls under the cup on the spectator's hand but of
this he will have no suspicion.
Pick up another hall, pretend to put it in your left hand
and pass it through the cup. Lt the cup with the right
hand exposing the two balls and transfer the palmed hall
to the inner edge of the cup as before.
Repeat the moves and finally show three balls on the
spectator's hand. Continue with your usual routine.

A SPONGE BALL SPECIALITY

The following moves can be worked with good effect
in any sponge hall routine.
l. The position is that three bal!s are openly on the
tahle and one hall is palmed in the nght hand.
l. With the right hand pick up one hall from the
table, adding the palmed hall to it and pressing the two
tightly together, put them in the spectators hand as one
hall, counting "One." Close bis fingers over the halls.

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2. Pick up a second hall and push it .into the spectator's fist by having him relax the thumb and forefinger
just enough to receive the hall and theil close them again
tightly. Count "Two."

3. Pick up the third hall, place it on your left palm and

close the fingers on it, counting "Three." Turn the left hand
over, bringing its back to the front, and work the hall out,
the fingers still holding it against the palm with the tip
of the third finger. Fig. l.
4. Tap the back of the left hand with the right forefinger, extend the other fingers under the left hand and nip
the hall between the backs of the second and third fingers,
Fig. 2, at once closing them on the paltn of the hand. Fig. 3.

FIG. 1

FIG 2

FIG. 3

FIG. 4

5. Turn to the left, move the left hand away, the right
forefinger pointing to it, and proceed to apparently rub
the hall in the left hand away. The hall remains on the
back of the right fingers and is hidden by the back of the
hand.
6. Show the left hand empty, the spectator opens his
hand and three balls roll out.
Proceed now with. . . . .
11. Three balls again on the table, one hall cipp~d on
the back of the right second and third fingers, the hand
being fisted with its back to the front.
l. At the moment that the balls appear in the spectators hand rest the right hand on the table, pressing down
on the hall at the back of the :fingers, open the hand, twist-

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75

ing it around inwards and bringing it palm upwards, flat,

with the fingers extending straight out from you, the hall
remaining hidden underneath, pressed flat against the table.
Fig. 4.
2. Pick up one hall with the lE:-.ft hand and place it on
the right palm, then do the same with a second hall.
3. Glose the right fingers on the two balls, at the same
time quickly turn the hand over so that the hall below is'taken into the hand with the other two. Clench the fist
tightly on the three balls, supposed to be two only.
4. Pick up the third hall with your left hand, turn to
the right a little and make a motion of throwing the hall
at the right hand, palming it and opening the fingers widely.
5. Open the right hand slowly and let the three balls
drop one by one.
This will give you an opportunity for pocketing the
palmed hall if desired, or it may be retained for further
moves according to the routine being used.

"HUMPI HIM KETCHIN' MONEY OUTA THE AIR

AN' OWIN' ME TWO MONTHS' BACK ROOM
RENT."

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HUG.ARD'S ANNUAL

In the last few years, since the manipulation of cigarettes became so popular with magicians, there has been a
plelhora of cigarette sleights and moves but a great dearth .
of really wrthwhile and entertaining tricks with cigarettes. As a glaring example of this it will be remembered
that a book on cigarette tricks recently published contained
explanations of sorne one hundred and fifty sleights and not
a single trick, that is, taking the word trick to mean the
use of sleights combined with cigarettes or other articles
to make a complete magical effect. . The continued multiplication of sleights, mostly mere vari:itions of the few
standard sleights which are all that the practical magician
needs, is mere embroidery. Such moves may serve to amuse
the deviser himself but as a means for entertaining 8n
audience they are worthless, and should not be inflicted on
the long suffering seekers for worthwhile magical knowledge. There is lit real need at the present time for tricks
in which cigarettes play the leading role. The expriment
that follows gives an excellent example of what can be
done along this line.

BIG- CIG JUMBO CIGARETTE PRODUCTION

HARRY C. BJORKLUND

THE EFFECT: The performer ls smoking a cigarette.

When it is about half consunied he pushes it into his left
fist. Rubbing the fingers together as if crumbling the cigarette to nothing, he suddenly produces a huge cigarette,
seven inches long, one inch in diameter and lighted, apparently. This enormous cigarette suddenly multiplies to
two which he display~.one in each, hand.
PREPARATION: A fairly.large flesh colored tip to fit
over the right second finger and two large imitation cigarettes with faked lighted ends, will be requi,ed. . Place the

HUGARD'S ANNUAL

77

finger tip in a pocket or elsewhere whence it can be stolen,

imperceptibly, one big cigarette under the vest on the
r ight hand side, the open end qownwards, and the second
bg cigarette in the right upper vest pocket, the open end
upwards. Fig. 1.
WORKING: Call attention to the cigarette you are
smoking, which should be about half consumed, and as you
display it in the left hand, steal the finger tip with the second
finger of the right hand. Stand with your right side to the
front, place the cigarette between your lips and hold up the
left hand, tightly clenched. Remark that you ha ve to
make a hole in the han.d and point to it with the right index
finger, keeping the other three fingers closed into the palm,
thus concealing the false tip on the second finger. Insert the
right forefinger into the left :fist at the thumb 9pening,
which is held downwards, and ream it around. Remove the
forefinger and show the opening. To make it larger insert
the second- finger and carry the false tip into the left :fist
which retains it.

FIG. 1

(To load the false tip im perceptibly, keep the back

of the right hand towards the spectators and bring it
up aganst the left fist so that the first knuckle of the
second fing er is at the opening of the first as in Fig. 2.
Extend the finger, the left thurnb and finge rs opening
slightly to let it pass and instantly closing on it. In the
figure the hand is turned to show the way in which the
second finger is bent, in act~tal practice the back of the

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hand is to the front and the false tip :is completely hidden.
Twist the finger around several times, then withdraw it,
leaving the false tip in the fist.)
. Keeping the left fist in the same position, take the
cigaretk from the mouth with the right hand and insert
it in the fist via the thumb opening so that it goes into the
false tip. Push it in with the second finger, forcing it well
home and, at the same time, keep the right index finger on
the back of the left fist. Fig. 3. Withdraw the tip im.:.
perceptibly by simply reversing the action with which you
inserted it. Bend the second finger inward at the second
joint and at once rub the back of the fist with the right
forefinger.
Raise the left hand keeping it closed, wave it slightly
with an up and downmovement and, at the same time, work
the tips of the fingers on the palm as if crumbling the
cigarette to nothing. . Kee'p your eyes fixed on the left hand.
Let the right hand drop to the edge of the vest and insert the
second finger, with the false tip still on it, into the open
end of the big cigarette. Quietly draw this ou~ by moving
the hand partly forward and partly downward so that the
big cigarette willlie back along the hand towards the wrist,
the forefinger still outstretched and pointing to the left
fist. Fig. 4. With a proper regard for angles the big cigarette will be concealed from the spectators completely.

FIG. 4

F1G. 2

FIG. 3

Bring the right hand up to the left fist, extend the second finger carrying the big cigarette into it, the thumb
and the fingers opening slightly to let it pass back in li:lie
with the hand towards the left wrist and then closing on it.

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Immediately seize the end of the fake cigarette with the

right thumh and fingers and draw it slowly out of the fist,
the false tip remaining inside the big cigarette.
Show the jumbo cigarette in the right hand, then take
it with the left hand and bring the right hand back to the

right lapel. Insert the tip of the right second finge~# b;l_to
the open end of the second big cigarette and draw it out
so that it lies back along the hand towards the wrist, the
second, third and fourth fingers being closed into the palm
and the forefinger pointing to the-Ieft hand. Bring the right
hand up to the left as before, extend the second finger carrying the second cigarette into the hand and then pull it out.
Display a big cigarette in each hand.
Mr. Bjorklund concludes the trick by producing an
enormous cigarette a foot long in bis right hand. This he
steals from under his coat on the right side, holding it with
the bent second nnger so that it lies along the inside of the
arm towards the elbow. With a quick turn to the right the
second finger is extended smartly and the huge cigarette
appears as if caught from the air.
By having a lighted cigarette prepared with saltpeter
so that it will keep smouldering the performer can make
a most effective exit, a jumbo cigarette in each hand and
puffing on the Gargantuan one. A novel and appropriate
clmax to the lighted cigarette routine.

PRODUCTION OF THREE CIGARETTES

FROM BARE HANDS
Cut a small piece of light brown wrapping paper, as
clase to flesh color as possible, making the piece a trifle
longer than a cigarette. Wrap three cigarettes in the paper
and gum the overlapping edge. Do not wra'p them too
tightly, the cigrettes shmdd have a little play so that they
can be drawn out freely. Cut the paper flush with the
cigarettes at one end and close the other by' pushing the
paper in. Now by using this little package as a false finger
three cigarettes can be effectively produced.

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For example, you can ha:ve the packet, closed en.d

downwards in your right coat pocket. In going to the
pocket for matches get the fake between your second and
third fingers. Put the matches in your left hand, and raise
the right hand, palm towards the spectators and the fingers
pressed close together, the tips pointing straight outwards:
Make a grab in the air, put the third finger on the back of
the packet, bringing it into the palm of the hand as you
close it with a sweep to the left.
The open end of the packet will now lie against the
tips of the thumb and forefinger and the cigarettes can be
pushed up into view one by one with ease. Take the first
two in the left hand and as you push up the last one, crumple the slip of paper into a hall and hold it concealed by
bending the third and little fingers on it.

REAL SMOKE FROM A PHAJ.VfOM CIGARE'ITE

The performer goes through the actions of making a
cigarette after the customary manner of performing the
Phantom Cigarette trick, pretends to light the imaginary
cigarette and then puffs out a considerable volume of real
smoke.
Tirls very surprising impromptu trick must be tried out
to be believed. When you strike the match hold it directly
below your nostrils, the natural position in which you
would hold it if really lighting a cigarette and, at the same
moment, inhale deeply through the nostrils only. The gas,
thus inhaled, must be taken into the lungs and, after a
few moments, exhaled from the mouth in small puffs. Sorne
sort of chemical reaction takes place which results in a
volume of smoke that is quite surprising.

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ROLLING A CIGARETTE WITH ONE HAND

For this simple method you require a thumb tip and a

cigarette. Pull a little of the tobacco out of the ends of
the cigarette and squeeze the paper in a little so that it
will not look like the regular machine made article. Place
the thumb tip on your left thumb and drop the cigaree
into your left sleeve. Have sorne cigarette tobacco and a
cigarette paper handy and you are ready.
Show your hands empty, keeping the point of th~
left thumb towards the spectators. Take a small quantity
of the tobacco with your right thumb and forefinger, fixing attention on it, and at the same time drop your left
hand to the side letting the cigarette fal1 into it. Close the
fingers on it, nipping the thumb tip off and bring the hand
up fisted. Place the tobacco in the fist at the thumb-forefinger opening and press it into the thumb tip with the
pght thumb. Take the cigarette paper, crumple it between
the right thumb and forefinger and push it into the fist
also. l>ress it well into the thumb tip with the right thumb
and steal the tip.
It only remains for you to. make the pretended rolling
of the cigarette as realistic as possible and then show the
finished article. Take a match from your coat pocket and

leave the thumb tip behind.

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SOME USEFUL GIMMICKS

l. HOOK FOR RING, Etc.

This usefullittle appliance is made of fine but stiff wire,

bent into the shape shown in Fig.l. The points A and B

FIG. 1

are sharpened so that they can be pushed into the clothing

at any place desired. A typical use for the gj.mmick is in
the trick of passing a ring from hand to hand. ("Close Up
Magic," second edition, p. 12.) When the ring pas been
caught in the right hand, that hand is dropped to the side,
the ring is placed on the' little hook and the hand is brought
up and casually shown to be empty. Later the ring is again
taken secretly in the right hand which is then covered with
a second handkerchief and the triQk finished in the usual
way. In this form the trick is one of the best impromptu
tricks extant.
A folded silk, or a pile of coins, tied with thread, can be
put on the hook and stolen imperceptibly when required.
Other uses will readily suggest themselves.

2. FAKED CARDS FOR FLOURISH

Four cards are glued together at the ends with a small
rubber band between them. Fig. 2. To make the fake, place
a small rubber band around the middle of two cards, lay
a third card on top anda fourth card below these two, then
glue the ends of the upper and lower pairs for about an

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inch and a quarter. By inserting the pack between them

the cards will be held intact and various effective flourishes
such as putting the pack on the toe of the shoe, kicking it

FIG. 2

upwards and catching it on the back of the right ha,nd,

tossing the pack up behind the back and over the left shoulder catching it on the back of the left hand, etc., can be
done with ease. When the pack is not in motion hold it
by the sides between the second finger and thumb, hiding
the exposed part of the ehistic.
The faked cards are added to the pack after being
palmed from a pocket or by simply laying the pack down
on them as they lie hidden behind sorne object on the table
while you wipe your hands or pull up your sleves. To get
the fake into position shuftle ov~rhand bringing it to the
bottom. Insert the left little finger between the two double
cards and pull off about half the pack, back towards your
body, as if making a cut, and insert them in the break. Repeat with the remainder of the loose cards and square the
deck. Riftle the outer end of the pack strongly and the~
proceed with the various throws.
To remove the faked cards is a simple matter. Hold
the pack as for the Hindu shuftle, grip the two double cards
between the left thumb and second finger, pull out ,the
pack and do the Hindu Shuftle leaving the faked cards at
the bottom. They can then be palmed in the left hand and
disposed of.

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3. NEW SILK PRODUCTION BALL

As will be seen from Fig. 3, this is a hollow metal hall

FIG. 3

of the usual size but the interior is divided off by partitions

which provide for the silks being loaded in separately.
Each different color is thus instantly available for production at will. This is a distinct advantage in many tricks
with silks.

4. THUMB NAIL CARD MARKER

This tiny carved strip of metal, made to fit under the
thumb nail and provid with a point, Fig. 4 is a very use-

FIG. -i

fui gimmick for marking cards. It is usually carried under

the nail of the right thumb and any desired cards can be
mrked with it as they are dealt by pressing it on the outer
right hand corner. A slight protuberance is thus made on
the face of the card which can be felt by the second finger
in dealing.

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Ora tiny scratch can be made ata certain point on the

back of a card which will be imperceptible to anyone else
but perfectly plain to the operator. If you wish to mark a
card for use as a key card, the gimmick should be put under
the nail of the left thumb and the mark made near the outer
left corner of the card. When the cards are fanned in the
left hand or spread on the table from left to right the mark
will show up instantly.
Sorne fun may be had with this card marker at the
expense of an expert three card man. After the first throw
pick up a card at random, if it is not the card you are to
follow, take another. When you get the card mark it lightly
as you throw it down. From then on the operator can
exert all his wiles but you pick the card every time.
5. CARD .CASE FOR POCKET SWITCH

The usual plan in switching decks in the coat pocket is

to lay the duplicate deck on its side while the pack which is
to be changed is inserted upright. A better plan is to cut
a flap card case in half and attach a safetypin to the bottomed half, Fig. 5. Fasten it in the coat pocket to the side

FIG. 5

next the body and insert the pack to be substituted into

. it. At any favorable moment the deck in use can be dropped
into the pocket, the duplicate pack seized and brought out
instantly.

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6. CODOR CHANGE OF SILK IN HAND

The working of this ingenious little gimmick can be
followed from the figures. A small silk is wound on the
spindle on one side of the middle wire loop, on the other
side the spindle has a little sharp bent hook to which a
corner of the silk to be dyed is secretly attached. When
this is laid over the hand as shown in Fig. 7, the corner of

FIG. 6

FIG. 7

the other silk is seized and drawn downwards. The spindle

revolves and winds up the first silk as the second silk is
brought into view below the hand. The gimmick is painted
flesh color and is held along the inside of the second finger
by the two bent wires which are clipped by the first and
third fingers. Mter the silk has apparently been dyed a
different color, it is t))rown over the hand concealing the
gimmick which can be disposed of in placing the silk on
the table. It will be found very useful for changing the
color of a length of silk ribbon.

7. GIMMICK FOR THE ROPE, COAT

AND RINGS TRICK
This good old-time trick has had a new spurt of popularity and i~ takes on a new complexion when the ropes or
cords are shown and tested separately. To make the necessary join at their middles, place a sliver of lead wire, paint-

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ed flesh color, around the back of the first joint of the left
second finger jst below the nail. When the separate cords
have been examined take them by two ends with the right
hand and draw them through the left hand up to the middle so that the halves hang down. lt is then an easy matter
to slide the lead wire off the h~ft middle finger and pinch
its ends together so that it grips both cords. The separation of the two cords leaving the join in the middle then
follows in the orthodox manner.

8. SMOKE BALL FOR BILLIARD BALL VANISH

Procure a rubber hall the same size as the billiard balls
in use and paint it the same color with the special paint now
obtainable which will not crack when the hall is sqU.eezed.
Cut a half inch hale in the hall and squeeze it flat, then
blow a good mouthful of cigarette smoke into the hall
as it expands. Paste a patch of enameled paper over
the opening to retain the smoke. The hall may be used
in the course of the routine or preferably kept as a final
surP.rise. To vanish it break the paper with the nail of
the thumb, squeeze the hall flat, forcing out the smoke,
and back palm the rupber which will now be in the shape
of a fla t disc.

9. WAND LEVITATION
This is a ' tiny metal trough, about % in. long and Ys
in. broad to which is soldered a small, sharp hook. Fig. 8
shows the gimmkk. By placing sorne good, adhesive wax
in the trough the little appliance can be attached to the nail
of the right thumb and the hands shown empty.
At the outset the gimmick can be lying on your table
and can be picked up by pressing the thumb nail on the
wax in taking the wand. It is then an easy matter to grip
the gimmick with the tips of the first and second fingers
and press it on t.be side of the wand while making pretended
mesmeric passes over it. You can then, by means of the tiny
hook, cause the wand to remain suspended from the back

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or front of the hand, the fingers or your clothing. A few

minutes trial will show that you can get practically the
same effects obtainable by other methods for suspending
a wand, and by again transferring the gimmick to the thumb
nail, the hands can be shown empty and the wand handed
out for examination.
The gimmick has this further advantage, it can be used
to bring about the same effect with any small borrowed
article, a key, a coin, a match box, a business card and so
on. The final example of magnetic attraction can be made
by attaching the borrowed article to the inner part of the
sleeve of your outstretched left arm and then detaching the
object leaving the tiny gimmick hooked into the cloth. Being black it will be unnoticeable and can remain in that
position awaiting a favorable moment for its removal.

FIG. 8

10. BILLIARD BALL HOLDERS

Several whiskey jiggers set on the table make very
handy holders for billard balls, either for display at the
:finish of the one to four production or in the course of the
manipulations.
Another idea is to use the. chalk billiard markers.
The balls rest securely in the depressions and by enlrging
the hole and putting a dab of soft adhesive wax on one side

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of it, the shell can be pressed against the wax, broadside to

the front. It will then appear to be a solid hall, Fig. 9.

FIG. 9

11. PREPARED UNBREAKABLE EGG

Take a real egg, chip a hole at each end large enough
for the contents to be blown out easily. This done, wash
the inside thoroughly with water and let dry. Then rinse
the inside with corrosive sublimate (poison) dissolved in
spirits of wine.
Take sorne strips of a white tamborine coil and with
a good white library paste cover the outside of the egg with
the paper, pressing it on firmiy with the fingers. Cover the
egg with three even layers and put it a<;ide to dry.
When the paper has dried thoroughly rub the surface
with very fine emery paper until it is perfectly smooth. You
will then have an egg that looks like an egg and willlast for
years. It will not break if dropped accidentally and if
t becomes soiled a gentle rub with emery paper will makc
it new again.
lf a hale is .required in the side or end of the egg, for
the insertion of a silk for example, put the egg aside to
dry after the second coat of paper has been applied. 'Vhen
dry, outline the hale required with pencil and then prick
the outline with a needle, finally cut the piece out with a

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sharp knife. Cover the surface with another layer of paper

strips, tuck the ends into the hole and paste them to the
inside srface of the shell, thus giving a smooth finish to
the edges of the hole. Finish by rubbing the surface with
emery paper.
By this simple method eggs can be prepared for any
special .purpose, of any required size, with or without holes
and they willlast an indefinite time. They have the great
additional advantage of being easy to handle.

12. PREPARED CIGAR. FOR THE CARD

IN CIGAR TRICK
The card in the cigarette is a popular trick with magi
cians but the car.d in the cigar is very rarely seen although
it was the original form of the trick. This is probably because the proper method of preparing thc cigar is not gen
erally known.

Take two cigars of the same brand and with a razor

blade cut a hole along the side of one, large enough to
take a rolled card, Fig. 10. Tear a corner from a duplicate
of the card you propose to use for the trick and lay it aside.
Roll the card tightly, insert it in the hole in the cigar and tie
a black thread around both to keep the card in place.
Soak the second cigar in water for from fifteen to
twenty minutes, then place it on a table and carefully unwrap the leaf which covers it. Lay this outside leaf out
flat and dry it with blotting paper. When dry coat it with
white library paste, take the cigar with the card in it and
roll it over the leaf so that it is covered from one end to the
other and finish ofl' the tip carefully. Roll the cigar on the
table with the side of a pencil to ensure the sticking of the
leaf uniformaly. Let it dry for a day or tw:o before using.
It is a good plan to prepare half a dozen cigars at the
same time. In order to avoid confusion, take six cards of
the same suit and value and the same back pattern, square
them together and tear a corner from all six at once. Any

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one of the torn corners will then fit any one of the cards and
after they have been prepared any one of the six cigars can
be used for the trick.

FIG. 10

13. SHOE LACE THAT STRETCHES

TO TWICE ITS LENGTH
The shoe lace is doubled into itself, Fig. 11, so that it
appears to be a short lace with a regular tip at each end
and there is nothing to indicate its true condition. To
stretch it all that is necessary is to hold the lace in one hand
by the part that extends down the middle and slide the
fingers of the other hand down it as you pull the hidden part
out.
The trick is the invention of Mr. Rex Slocombe who
uses it as an interlude for the ring on the string. It can be
used to advantage in many other tricks.

FIG. 11

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FOR THE CANE TO SILK

This trick is generally. done immediately after entering on stage. Mr Henry E. Ebel has devised an ingenious
gimmick whereby the apparent magnetic suspension of the
wand can be performed before executing the vanish and
change to silk. A small slot is cut in the side of the cane
and a tiny hook to fit into the slot is sewed to the inside of
the second finger of the left hand glove. After showing
the cane and twirling it freely, stand with your right siqe
to the front and hold the left hand vertically. . Place the
cane against the left fingers and stroke them up and down
severa! times, finally catch the hook in the slot and slowly
remove the right hand, leaving tht> cane apparently held
by the left hand by magnetic attraction. Swing the hand
~d the cane forward show the back of the hand then bring
it back to its original position. Remove the left hand by
first sliding it down the cane.
Mr. Ebel has also arranged - -

15. A PREPARED KNOB FOR THE CANE

A small reel with a strong spring is fitted inside the
detachable knob and the end of the thread is passed through
a hole in its side. A ring of very fine wire is attached to the
thread, the ring b~ing large enough to take the forefinger
of the performer's right hand. Mter magnetizing the cane,
as described above, the performer, standing with his left
side to the audience and holding the cane in .bis left hand
with the knob upperll}.ost, passes his right hand from the
top to the bottom severa! times; then he inserts his first
finger in the wire ring, carries this down to the ferrule
end and grips this between his thumb and fingers. He
turns the cane over, bringing the knob nearest thefloor and
removes his left hand. By gently relaxing the pressure of
the right thumb and fingers the cane rises its full length
bringing the knob into the right hand.

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These two effects will be found to enhance thE> subseque_n t metamorphosis of the cane to a silk.
This reel is perfect for the Rising Cards. To work:
Grip the calle under the arm, as illustrated, which brings
the reel into correct position for the rising card trick.
Wax the wire ring, attach this to the selected card and
follow the usual routine.

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GTHB eHINBSE RING8

Contrary to the usual fanciful nomenclature of magic
tricks the Chinese Rings really were invented by the Chinese
magicians. The name of the genius who first devised the
combinatimi of a split ring with others solidly linked and
solid single rings to simulate the actual linking and unlinking of the rings will never be known. lndeed it appears
to have been a very old trick when it was introduced into
Europe by a troupe of Chinese magicians early in the XIX
Century. It was quickly adopted by the local magicians,
Phillippe especially made a great reputation with this rick
as well as the production of the huge bowl of water .and
ducks from a shawl, also borrowed from the Chinese.

In its original form eight rings were used,-the key, two

singles the set of two and the set of three. In all the real
Chinese sets of rings that I have seen, the cut in the key
ring is a straight cut. The slanting cut and the locking arrangement shown in Fig.l, were probably devised by West-

PIG.l

ern magc1ans. A later development made use of two keys

and three additional single rings which enabled the operator
to apparently link the whole set of twelve in a chain. The

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two end rings are simply held against the adjoining rings.
Fig. 2.

FIG. 2

Many attempts have been made to devise a practica!

key ring which could be examined and yet be opened and
closed by the performer at will, but no satisfactory solution
has yet been found. The search is really unnecessary for in
good hands the trick is performed in such a way that the
audience is fully persuaded that each and every ring has
been examined and found to be solid.
The following brief survey gives the principal practical additions to the feat. No attempt has been made to
give them in chronological order.
1. The false count and the addition of the key ring
after the other rings have been examined. This was the
method adopted by Chung Ling Soo who gave the finest
performance with the rings 1 have ever seen. He used
eleven rings, ten only being shown to the audience. Counting these as eleven he proceeded to apparently link the sel
of two and the set of three and then tossed all of the ten
rihgs for examination. When the rings were thrown back
to the stage they were picked up by his assistant Suee Seen
(Mrs. Soo) who added the key from her capacious sle.eve
as she handed the rings to Soo. He used large and thick
rings, the bell-like sound given out when they were clashed
together added greatly to the effect.

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H U G A R D ' S A N N U A-L

2. The Large Ring. Devised by the late John Northern

Hilliard, tbis idea of having one solid ring of such size that
the other rings can be passed through it, makes possible
sorne very effective and puzzling rnoves. For instance, the
large ring can be rnade to apparently pass through a chain
rnade by the others, in reality it passes over thern.
3. The Srnall Ring. Tbis is just the reverse of the
large ring. One single is of such diameter that it will slip
through the others. Tirls idea has undoubtedly been used
by a nurnber of performers but it was first published by
Mr. Fitzkee in bis rnanuscript "Linking Ring Manipulation." Mr. Fitzkee's routine rnakes effective use of both the
large and the srnall ring.
4. Counting the rings as separate. Tirls very fine addition to the trick was first published by M. Odin, a French
rnag1c1an. His book has been translated by Mr. Vctor
Farelli under the title of ''The Odin Rings." Mr. Farelli
gives sorne effective additions to the original routine and
bis book should be studied by all ring workers.
5. Exchange of full set of single rings for the trick
set. Sorne performers have used this idea, the exchange
being rnade at the back of a chair or table. 1 have yet to
see a satisfactory rnethod of making the exchange imperceptib~y.

6. Routine without a key ring. Tbis method was first

put forth by Messrs Larsen and Wright in one of their publications. Their routine is practical and effective but the
rnost brilliant exposition of tbis idea was that given by
Mr. Herman Weber at the Heckscher Theateron the occas-ion of the 1938 S. A. M Hospital Benefit performance. Mr.
Weber's handling of the rings without a key ring was such
as to completely bewilder an audience r.omposed mainly
of rnagicians.

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The three following moves were demonstrated to me

by Cardini, the world famous manipulator. It is not generally known, even amongst magicians, that Cardini handles
the linking rings as brilliantly as he does cards, billiard
balls, cigarettes, et c~tera.
Large rings anda key with a slanting cut are necessary
in all three of the moves. Fig. 1.
l. WITH THE KEY AND ONE SINGLE
1. Link the two rings and then let the key ring hang
free on the solid, then spin the key ring rapidly on the solid,
the slanting cut does not interfere with the spin in any way.
2. Change the rings from hand to hand, concentrating
your gaze on the solid and ostentatiously covering the same
spot with the finger and thumb of each hand as you take
the solid ring.
3. As the spin of the key ring slows down watch for
the split and seize it with the free hand. Separate the rings,
keeping the thumb and finger still at the same spot and
apparently take the rings apart there.
4. Immediately o:ffer the key for examination and
rather markedly draw back the solid ring. But the one you
hold back is the ring they want to see and the more you
demur at giving it up the more they insist on having it.
Finally hand out the solld and watch the expressions as it
is examined. At once take up ~he other rings and proceed
with your routine.
This is a good thing to work on that objectionable person who knows about the key ring and insists on airing bis
knowledge.

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11. WITH THE KEY, SET OF TWO AND

SET OF THREE RINGS
1. Link the k.ey into the set of two and show two sets
of three rings, one set in each hand, the key ring being in the
right hand. Swing the two chains from side to side, bringing the hands gradually closer together, finally slipping the
top ring of the set of three into the key ring forming a chain
of six.
2. Seize the end rings of the set of three and the set of
two with the left and right ,hands respectively and sbow
the chain of six. The split of the key ring should be inidway between the two rings to which it is linked and the
nearest point of the ring to the fioor. Stretch the hands
wide apart so that the chain is almost horizontal but keep
the rings in motion by turning from side to side as to
show the chain to everyone.
3. Bring the hands closer together a little and twist
the rings in opposite directions, still keeping up the swinging motion. The lowest ring of the set of three is thus made
to slide down the side of the key ring until it reaches the
slit when it is forced out and the two chains of three fall
apart.

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99

SET OF THREE, SET OF TWO AND

KEY RING

The preceding move having been successfully accomplished, you again hold two chains of three rings, one
in each hand but, this time, the key ring is at the bottom of
the set of two ~ngs, one of which is held in the left hand.
The slit in the key ring should be the lowest point of the
ring, that is, nearest the floor.
.

. Swing the chains making the lowest rings strike .fue

against the other in such a way that the lowest ring of the
set of three bits the key ring just at the slit, through which
it passes and thus becomes automatically linked to it.
Admittedly this is a difficult move but having seen it
done by Cardini 1 can vouch for its practicability and startling effect. The split in the key ring, being broadside on to the
spectators i.s invisible at a little distance but, looking down
from above, the operator can see it plainly. It is only a
matter of practice to m,ake the rings strike each other at the
right spot to make the solid ring slip through the slit.

THE DROP MOVE

The move in which the top ring of a chain of four, the
set of three and the key ring, held vertically, apparently
falls to the bottom of the chain and then frees itself from
the other rings, has become a favorite with most ring

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workers. The same effect can be produced with the chain

of four rings held horizontally as in Fig. l. One ring can
be made to appear to travel through the others from one
side to the other.

THE MOVES ARE AS ~OLLOW

1. Hold the key ring in the right hand, the thunw
covering the opening, and the outer ring of the set of three
in the left hand. Twist the rings over tightly causing this
first ring of the set of three to double over on the next one
so that you show two rings in the left hand, a sirigle ring
in the middle and the key ring in the right hand. Fig. l.

Hold the rings horizontally.

2. Relax the twist slightly and allow one ring from
the left hand to double itself over on to the middle ring as
in Fig. n.
3. Again relax and tighten the rings as before and
one of the two middle rings will double itself over on to the
key ring, Fig. m.
4. Release the key ring and draw it free.
An effective way of working is to apparently pa::ss one
ring over the chain held horizontally, as above, but leave
the key attached and again show the chain of four. Then
repea~ the trick twist and work the dropping _of one ring
with the chain held vertically and this time detach the key
froil the bottom of the chain, thus creating the illusion of
the ring falling through the others finally freeing itself.
In this case the repetition nhances the effect.
The discovery of the vertical drop is claimed by many
but 1 beli~ve credit should go to Mr. J. T. Ferguson who
first described the b0rizontal method in "The Magic Wand"
of November, 1916.

FIG.lJLD
FIG.2c=ID

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101

A SUBTLE MOVE
Invite a spectator to join you on the platform or stage
and seat him facing the audience. Hand him two single
rings and take the key and a single ring yourself, the key in
the left hand and the single ring in the right.
Take your position behind the spectator and invite him
to link his two rings just as you will do. Ben<l over and
do the solo linking tp front of him. He tries and fails.
Again working with the rings in front of him unlink thern,
keeping the key in your left hand.
Exchalige the ring in your right hand for the ring in
the spectator's right hand. Again link your two in front
of his eyes and let him try with the two rings he now holds.
Again he fails.
Unlink your two but this time keep the key in you~
right hand. Hand the spectator tbe ring in your left hand,
taking the one from his left hand. Remark, "Well now, you
have had all four rings surely you'll be able to do it this
time. See how simple it is. Just rub the rings together
so and they melt one into the other." Repeat the linking
as before, and have the spectator try again.
Finally unlink your two rings and take the other two
from your victim who retires to his seat, willing to swear
that he handled all four rings and that t:hey are all perfectly
solid.

.~

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MI~eBLLANBOU~
POP ... DID .. DEE ... POP ... POP ! ! ! !
AUDLEY WALSH

EFFECT: The performer has two boys come forward.

In the hat of one of them he finds a couple of white calico
caps, such as cooks wear, which he puts on their heads; and
a couple of white aprons which they tie on each other.
In the second boy's hat he discovers an egg anda glass of
water . .The egg is broken into a pan, the water poured in,
together with a quantity of flour, sugar, etc., found in one
of the hats, and the boys vigorously stir up the ingredients.
Sorne spirits are poured in and one of the boys throws a
lighted match into the pan. There is a burst of flame and
the lid is clapped on to extinguish it.
One of the boys is told to take off the lid of the pan
and as he does so a loud crackling sound comes from it,
followed by an explosion, quickly followed by another loud
Bang ! A mound of popcorn is seen to swell up in the pan.
rising higher and higher until it appears that the supply is
inexhaustible. The boys fill their hats and pockets and retire to their seats to enjoy their feast.
REQUIREMENTS: Dove pan, with lining prepared
as under, two calico cook's caps and aprons, folded compactly and tied with thread, a parcel mad~ up of little paper
packets containing flour, currants, sugar, etc., an egg, a
glass of water with rubber cover fixed on it, a small vial of
spirits, two large forks and a box of matches. The lining
of the dove pan has a cardboard insert on the lower side
of which are fastened three spiral springs. These are so
adjusted that when the cardboard insert is pressed down
into the pan and it is filled with popcorn, they will foree the
cardboard slowly up to the top of the pan making it appear
that the popcorn is spontaneously growing and increasing
in qua:o.tity. There are two holes at the bottom of the lining, opposite each other, one on each side, and two strings

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which can be threaded through the boles, each with a knot

on one end. A noisemaker, and two Bingos are also required.PREPARATION: Thread the two strings through the
boles in the lining. Pull that part of one string that is inside the lining up over the side so that it is tempororily out
of the way, then pull the other string taut. Under this
string place the let'ter noise-maker and the two Bingos, one
of which has been cut shorter for quicker action. Hold
these down with the string and put the cardboard insert in
the pan on top of them, press it to the bottom and then draw
the second string taut over it, keeping it in position. Fill

the lining with popcorn, pressing in as much as it will hold,

put the cover on it and fasten it. Pull out the two strings
and the load is ready. Place the pan and the lid separately
on your table, with the vial of spirits and the box of matches
close to the pan.
The two little packages, the caps and aprons and the
packets of flour, sugar, currants, etc., are to be produced
from the boys' hat~. They may be loaded in from a servan te
or from a headless nail at the back of a chair or, again, they
can be loaded into the hat direct from your person which
is, probably the most effective m ethod. To do the latter
requires having a silk handkerchief, rolled into a compact
hall, vested on the right hand side, with the two packages

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under your coat on the left side. If you do not have the
customary loading pocket in the coat, the packages are easily held in position by pressure of the upper left arm against
the side. The egg is placed in a holder on the right hand
side under the coat and the covered glass f water is in the
outside left coat pocket.
WORKING: Induce two boys to come up fo assist you
and bring their hats. Stand them one on each side of you,
hat in hand. Work the usual business of getting their
names, introducing yourself and shaking hands, then introduce th boys to one another and have them shake hands.
Do this with rather exaggerated politeness, it always gets
a laugh. In the meantime, secure the silk handkerchief
from your vest and palm it in the right hand. Take the
hat from the boy on your left and let the silk fall into it.
Look into it and tell the hoy he has left something inside.
Shake the hat to make the silk expand, turn it over towards
yourself and let the silk fall to the floor. As it does so
bring the hat with its mouth against your chest and look
at the silk over it, at the same moment pull the load from
under the left side of your coat into the hat with the right
han d.
Pick up the silk with your right hand, then notice that
there is something else in the hat. Push the silk into your
trousers pocket, break the thread of the package and bring
out one of the white caps. Place thjs on one boy's head,
then the other cap on the second boy. Shake out the aprons
and let the boys put them on, each tying the other's at the
. back. Put the hat, still containing the other packets, on
the table near the dove pan and palm the egg J.n your right
hand. Take the second boy's ha.t and load the egg into it.
Hold it out to the boy on your left asking him to take- the
article out, hold the hat in your right hand and turn a little
to the left. As the hoy brings out the egg, take the covered
glass from your left coat pocket with your left hand and
transfer the hat to that hand, loading the glass into it.
After sorne by play with the egg~ you ask if it's fresh, just
laid ... in the hat, and so on, then bring out the glass of

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water,leaving the cover in the hat for the time being. Place
the glass on the table and lay the hat aside.
Remarking that the boys have evidently come prepared
to do sorne cooking, have one of them break the egg into
the pan and prompt him to throw the shells in, too. Have
the other hoy pour the water in, give them each a fork and
set them mixing up the egg and water. "We want more
than an egg and water,'' you say and you pretend that one
hoy says "look in my hat." "In ym;tr hat, that's a funny
place to carry ingredients for cooking,'' you say. Take out
the packet of flour, open it and pour the flour into the pan.
Give another packet to each of the boys and have them
empty the contents into the pan, then continue the stirring.
When they have mixed the contents to your satisfaction, you remark that a little flavoring would be advisable
and you pour the spirits in.to the pan. Prompt one hoy to
light a match and throw it into the pan. The spirit fiares
up and in the ensuing excitement take the lid and clap it
on the pan, extinguishing the flame.
Expostulate with the hoy and tell him he is responsible
for whatever has happened to the contents. Have him
lift the lid and as he does so, the noisemaker gets in its work
and imme<iately afterwards Bingo No. 1. explodes, followed
by the second. The popcorn is forced up by the cardboard
insert, which rises on its springs, and continues to overflow onto the table in an apparently enormous quantity.
You have two toy hats handy and you fill these with the
popcorn, giving one to each hoy and let them stuff their
pockets with the remainder, also their own hats, not forgetting to secretly remove the rubber cover of the glass.

Dismiss them with a compliment on their cookery.

For children's parties and mixed audiences here is a
routine made to arder for the performer who can enter
into the fun of the thing wholeheartedly and get all the
laughs possible out of it. There may not be much high art
in it but there is real entertainment and that is what is
wanted these dolorous days.

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HUGARD'S ANN-UAL

THE KEY TO THE MYSTER Y

MAGICAL DISPORTMENT OF AN ORDINARY KEY
By DR. H. WALTER GROTE

EFFECT: An apartment key is borrowed from a

spectator, marked for identification and wrapped in a
piece of paper. The key, which is unmistakably in the
paper, is placed in full view of the audience under an inverted glass.. A moment or two later, the performer
produces from his pocket a key container with a number of
keys thereon. Fastened amongst these keys is found the
spectator's key which has mysteriously vanished from the
paper wrapper under the glass.
UTENSILS: A fairly heavy piece of paper about five
inches by four. A key container with hooks for four individual keys. Three keys are attached in the key-case
and one hook is left vacant.
PATTER AND EXECUTION: "\Vhen a gentleman
asks a lady for the key to ber apartment such a request is
apt to engender serious complications. In this instance,
however, 1 would merely like to borrow such a key for a
few minutes in order to test your power of observation.
{Somebody produces a key). Thank you. This is the key
to your own apartment? Y~s? All right. Now I know how
embarrassing it can be when one loses such a key, so in
order to avoid any such possibility we will wrap it up for the
time being in this piece of paper. (you wrap up the key).
By the way does your key have a serial number on it?
No? Well in that case 1 would prefer to have you scratch
it a little or mark it in sorne way for identification. (Unwrap the key.) Now that is better. Please notice that the
key is securely wrapped. (Wrap it up and let the spectator
feel the key through .the paper, also rap the table surface
with it). Now in order that nothing will disturb the security of this key we will place it here on the table under
this inverted glass where you may keep an eye on it all the

HUGARD'S ANNUAL

107

time. (In the act of placing the package under the glass let
the key drop into your palm and place the empty paper only
under the glass) .
Now let me ask you a question. How often do you
use this key? Two or three times a day? (During the sub. se<uent patter place your hand nonchalantly into your
pocket, fix the key on the empty hook of the container,
close this and remo ve your hand from the pocket) . And
you carry it loosely or together with a number of other
keys? Have you ever lost a key or forgotten to take it with
you? You have? What do you do in a case like that?'
(By this time you should be well set with the key in your
container. lf not, keep on talking).
Suppose someone carne along with a bunch of keys
to help you out, then and there, would you know your key
well enough to pick out theone likely to fit your lock? You
don't think so? So if it wasn't for the mark you wouldn't
even recognize your own k~y in a bunch of others? W cll,
don't worry about it, 1 find it quite a common occurance.
You see, 1, myself, carry my keys in a container provided with four individual places and, of course, 1 know
exactly which key helongs in which place. Suppose, for
instance, you name one of the four places. Eh? No. 3?
(Three is almost certain to be named, but if two is asked
for then simply count from the other end). Well, 1'11 tell
you. You see No. 1, is the key to my apartment, No. 2, is
the key to my garage, No. 4, the key to my office. Now No.
3 stall is empty and reserved for special keys which 1 carry
only temporarily. (Remove key container from pocket and
hold it up).
Now in order to see how well you are acquainted with
the key under the glass we will do a little magic and ask
it to jump invisibly from the glass into the empty space
in my key container. (Make an appropriate gestur~ :md
incantation}.
lf you will kindly open it and see for yourself, you
will find the "key to the mystery" securely fastened at No.

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3 space, while the paper, of course, is entirely empty."

(Take the paper and tear it up, letting the pieces fall.)
Perhaps the best method of wrapping the key in the
paperis to fold one-third of the paper at the bottom towards
yourself, drop the key into it and fold the top of the paper
down .over it. Finally fold the open ends inwards towards
your body, thus the key is genuinely wrapped in the paper.
Open the package very deliberately when you take the key
out to be marked. In wrapping it up the second time, make
the first fold as before and apparently place the .key in it,
really put it at the back holding it in place with the left
thumb. Complete the folds as before and press the paper
firmly around it so that the shape of the key can be plainly
seen. After letting it slip out into your hand place the paper
under the glass with this dented side of the paper towards
the spectators. They will see the shape of the key and will
be convinced that it is still there.
The easiest and quickest way to attach the key without fumbling is to fold the container and have only the
empty hook, No. 3, protrude on the outside. Attach the
key, open the container, insert the key amongst the others,
then close and fasten the container. The whole operation,
with a little practise, should not take over ten seconds.

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109

THIMBLES
Sleeving

Thimble magic can be improved to a considerable extent by an -occasional and judicious use of sleeving. For
example, suppose you have apparently placed a thimble in
the left hand, really retaining it in the thumb grip in the
right hand. In making a rather quick half turn to the left
and bringing the right arm forward parallel to the floor with
the forefinger pointing to the left fist, release the thimble
and sleeve it by the inertia method in just the same way as
with a coin.
Casually display the right hand with an appropriate
gesture, then let it drop naturally to the side and so regain
control of the thimble while your whole attention is directed
to the left hand which apparently crumbles the thimble
away to nothing.
Again with a thimble thumb gripped in the right hand,
this may be secretly dropped into the left sleve in bringing
the right hand up to remove a thimble from the left forefinger.
It is always effective when showing the hand empty
after the vanish of a thimble to open the fingers one by
one, begining with the little finger. An amusing bit of byplay is to open the fourth and third fingers, tben close them
quickly and extend the second and first. With a little upward jerk of the hand close these two and open the third
and fourth. The idea is to persuade the audience that you
are hiding the thimble under the pairs of fingers alternately
and if the action is carried through with a certain self conscious manner they will fall for it. Finiilly .you simply extend all the fingers. Beware, however, of pointedly giving
the impression that you have deliberately fooled the spectators. In other words, don't rub it in, just carry on with
your next moves.

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COLOR CHANGES
FREDERICK BRAUE

EFFECT: A thimble openly shown on the right forefinger changes color four times:
METHOD: Show a red thimble on the tip of the right
forefinger, but secretly you have a green thimble on the
secnd finger anda white thimble n the third finger of the
same hand. These two are bent into the palm. The moves
necessary to execute the color changes are as follow:
l. Show the red thimble against the palm of the left
hand, the second third and fourth fingers being extended
behind it.
2. Turn the left hand over inwards, apparently taking
the red thimble, but in reality thumb gripping it in the right
hand and taking the green thimble from the second finger,
closing the left hand on it.
3. With the right forefinger point to the left fist and
at the same time transfer the white thimble from the third
finger to the second. To do this grasp it between the thumb
and little finger, remove the third finger and slip the second
fiilger into it.
4. Push the right forefinger into the left fist and bring
out the green thimble on it. Open the left hand and show it
empty as you display the green thimble with a slight movement of the hand, at the same time get the red thimble from
the thumb grip on to the third finger of the right hand. You
have your right side to the front so that this move is covered
by the back of the hand.
5. The po~ition now is this ... on the right forefinger
you have the green thimble, on the second finger th white
thimble, and on the third finger the red one, the two last
being bent into the palm. Drop the thumb on these and
hold them against the palm while you extend the fingers,
showing them for a moment or two, then bend them into
the palm again and into the white and red thimbles.

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111

6. Show the green thimble against the left palm as

in move 1., then r epeat the moves for each color change, as
above, until the red thiiilhle is back on the right forefinger,
thus proving, if you like to present it that way, that the
whole thing is simply a series of optical illusions.
The moves may seem a little difficult at first but with a
moderate amount of practice they become quite easy.

"NOW, I'M TELLIN' YA FOR THE LAST TIME!

MY SKATING ACT FOLLOWS YOU-AN' WHEN
YOU BAKE THAT OMLET IN THAT HAT, REMEMBER THAT I WEAR SKATES-N OT SNOW.
SHOESI"

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THE EGG BAG

Here is a novel and very effective addition to this popuJa trick. Prepare by fastening one end of a thread to an
egg, the other end to the lowest button of the vest. Adjust
the length of the thread so that when the egg is in the baga
slight forward extension of the arms will bring the ~gg into
the hand at the top of the bag. Place the bag and the egg
in the right hand trousers pocket. To show the trick take
out the bag at the same time palming the egg. Show that the
bag is empty, turning it inside out and outside in, and
leave the egg inside.
Show a second egg and openly put it in your right
trousers pocket leaving it at the top inner corner. Hold
the bag open with both hands and stretch your arms outward a little, drawin:g the egg up into the right hand
which holds it concealed. Invite a spectator to feel inside
the bag and certify that it is empty.
Order the egg to pass from your pocket into the bag.
Let the threaded egg fall from your fingers to the bottom
of the bag, pull out the trousers pockt showing it empty
and produce the egg from the bag.
Very openly drop the threaded egg into the bag, push
the pocket in and arder the egg to pass from the bag back
to the pocket. Ask another spectator to put bis hand in the
bag as you reach out towards him and so draw the egg up
"into your hand. He in l;l.is turn reports that the bag is
empty. Produce the egg from the pocket.
Repeat the same procedure apparently passing the
egg back into the bag. In placing this egg back in the bag
break the thread and palm the egg. Show the bag empty,
. carry the palmed egg to the pocket, leave it in the top corner
and bring out the unprepared egg. Continue with the
usual routine using the double side of the bag.

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113

TARE- IT
DON WHITE

Ever since Ching Ling Foo made a hit with the torn and
restored strips of tissue paper, magicians have busied themselves in duplicating the effect, mainly by the use of gimmicks. It ~as in conneetkm with this trick that the thumb
tip first carne into popular use. The following method
devised by Mr. Don White, the clever Minnea,polis magician,
has the following exceHent features. First, the strip of
tissue is much larger than usual, making the trick more
effective for the platform or stage; second, no gimmick is
lised, and third ther.e is nothing to get rid of at the finish.
EFFEC': This is the same as usual. A strip of tissue
is torn into pieces and restored.. The magician then explains the trick by showing how a duplicate strip is substituted for the torn pieces, however, in the end both pieces
are found. to be whole again.
REQUIREM;ENTS: Four strips of red tissue paper
about one inch wide and three feet in length are Becessary.
Place three pieces on your table and pleat the fourth strip,
accordion fashion, in lengths of four and a half inches, then
hall it up and conceal it in the crotch of the right thumb.
WORKING: Pick up one strip between the thumb
and fingers of the right hand and show it, turning the hand
to show all parts of it. The natural position of the thumb
completely disguises the fact that you have another strip
concealed in the han& Fig. l.
Transfer the strip to the left hand taking it by one
end between the thumb and fingers, the rest of the tissue
paper hanging down. Move the hidden hall of tissue from
th thumb crotch to the palm of the right hand and close
the second, third and fourth fingets Oll it, leaving the index finger extended and pointing to the strip in the left
hand. Stroke this strip downward with the right thumb
and forefinger as you say; "One piece." Seize the lowr end
and bring it .up to the left hand which takes it between the

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thumb and f<>refing~r, making a loop. Flg. 2. Place the

right forefinger in the loop, tear it and then hold the right
hand up with its hack to the spectators and extend two
fingers, the first nd second, as you say, "Two pieces."

FIG. 1

FIG. 2

FIG. 3

Stroke these two pieces "\v.ith the right thumb and

forefinger as hefore and carry the ends up to the left hand,
looping the two pieces. Tear these with the right forefinger at the hottom of the loops and $ay, "Four pieces,"
as you hold up four fingers and close the .thumh on the
tissue hall in the palm. This is tbe natural position of the
thumb when four fingers are held up to signify "four."
Close the second, third and fourth fingers on the hall
in the palm and tear the four piecs in half making eight.
Fan these out in the left hand, Fig. 3., as you say '.' Eight."
Ball the pieces up tightly and in doing so switch t hem for
the hall in the right hand. Hold this in the left hand at
the tips of the thumh and fingers. Straighten out the folds
and then spread them fanwise so that they appear just as
did th pieces in Fig. 3. Blow on the pap~r and pull out
the strip showing it restored.
At once offer to show how the trick was done. Ball
up the strip and apparently throw it away, really retain
it and toss the hall of pieces aside. Explaining that, of
course, two pieces were used, pick up the two strips from
the table and throw one over your left arm. Roll the other
into a hall and, in doing so, add the palmed hall to it, press

HUGARD'S ANNUAL

115

the two together tightly, holding them hetween the right

thumh and finger tips, and show them as one piece. In doing
this casually show all parts of hoth hands. Roll one piece
down to the right palm, close the second, third and fourth
fingers on it and with the thumh and first finger place the
-second piece on the left palm, holding the palm towards
the audience, and close the left little finger on it. Keep
this piece visible from now on.
Take the strip off the left arm, place it between the
left thumb and forefinger and proceed to tear it into eight
pieces in exactly the same manner as you tore the first
strip. Roll the pieces into a hall and switch them fo~ the
hall palmed in the right hand. Show this between the
tips of the right thumb and forefinger and openly exchange
.it for the balled piece in the left hand as you remark
that was just how the trick was done the first time. "Of
course," you say, "this piece never was torn at all," and
you draw it out to fulllength. The spectators laugh, thinking they know all ahout it, and you gather up this strip
using the right hand only, hall it up, adding the palmed
hall of pieces to it and screwing the lot tightly together.
Toss the two pieces away as one, but as you do all this keep
your attention fixed on the supposcd hall of pieces in the
left hand.
"Of course," you continue, "if you had kept your attention ~n the pieces as you are doing now I could not have
done the trick. In that case I would have been compelled
to resort to real magic, thus." Blow on the tissue and
slowly draw out the whole strip.
The routine has been arranged very subtly and there
is no difficult sleight in it. Smoothly presented it will be
found to give a most gratifying result.

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HUGARD'S ANNUAL

A TELEPATillC EXPERIMENT
FRANK KELLY

EFFECT: The apparent transmission of a number

and a geometric. design from a spectator to the performer.

REQUIREMENTS: Ten drug store envelopes of the

type that open at one end? a slip of paper about the same
size as the envelopes, a small hard pencil, two slates and
two pieces of chalk..
Prepare one envelope by cutting away the back, leaving a margin of about a quarter of an inch all around. In
this envelope insert a piece of pencil Ca.rbon paper with
the carbon side towards the op{ming. Stack the remaining
nine envelopes with the address side uppermost and place
the prepared envelope on top, also with the address side
up. Yoli are ready for the trick.

WORKING: It is the handling of the envelopes that

throws the spectators off the track and the explanation
should be followed with the stack in hand. Call the attention of the spectators to the envelopes and the slip of paper.
Lift off the top envelope, keeping its front end tilted down:wards so that the prepared side annot be seen. Lay this
one on the next and lift the two, this time casuallyrshowing
the lower side. Continue with sorne of the others in the
same way, showing them to be quite ordinary.
Request a spectator to think Qf any simple geometrical design, such as a circle, a square, a triangle and so on,
and also any number consisting of. three digits. When he

HUGARD'S A.NNUAL

117

is ready hand the slip of paper and the pencil to him and
then, as he hesitates for lack of a support to write on, casually place the stack of envelopes under the slip, the prepred envelope uppermost, of course. Ask him to draw
the design he_has in mind and to make it large enough for
the insertion in it of the number he has thought of.
As he does this, expl~in that you have found that when a
subject actually draws bis mentally chosen design, together
with the number, bis power of concentration upon them
is greaHy increased, and that it is this concentration of the
transmitter which makes the feat possible.
When he has finished instruct him to fold the P.aper.
Take the stack of eilvelopes, turn it over and spread o'ut
all except the two at the bottom, requesting the spectator
to take one, place th~ paper inside and seal it.
Step back a little but still face the audience and, as
you do so, turn the stack of envelopes over in your left hand
bringing the prepared envelope to the top, the one with the
carbon impression of the design and number will be under
it. Instruct the spectator to concentrate deeply on his desigo and-number and to place his sealed envelope to bis forehead. No inatter how he. goes about doing this, you take
the top envelope of .the stack to show him just what he
is to do. Place the envelope over your eyes, the prepared
side towards you so that it covers the downward glance
whereby you glimpse the impression of the design and the
number on the top envelope of the stack in your left hand.
Be careful to hold the stack so that no one else can see the
writing.
As soon as you have obtained the information,
it takes but a moment, replace the prepared envelope on
the. stack and drop the lot into your coat pocket. You
may, if you wish, at once thumb off the two top ones, bring
out the remainder and put them on your table with the remark that they may be required hiter. All ine incriminating evidence1 is thus disposed of and you can continue the .
experiment without fear of accident.

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HUGARD'S ANN.UAL

Now tell the transmitter that you will count slowly

from one to nine and the moment he hears you pronounce
the first digit of the number he wrote he is to think "Stop."
Count aloud slowly and, knowing the number, you have no
difficulty in receiving the telepathic command to step. Do
the same with the two remaining digits.
Having succeeded with the number you announce that
try to gt the impression of the design by synchrowill
you
nized drawing. Invite the spectator to stand beside you and
hand him a slate taking the other one yourself, also give
him a piece of chalk and keep one yourself. Now stand
him back to back with you and instruct him to draw slowly
an enlarged picture of the design he has thought of, _concentrating on it the while as deeply as he can . . Affecting
great mental exertion, slowly draw the design on your slate
as he does the same on bis. When the drawings are
completed, turn, take his slate and exhibit both slates to the
audience.
In such experiments as this it is always well to prepare

the audience with a few words about the experiments now

being carried on by scientists to afford absolute proof of
the truth of te'Iepathy. Assert that you have had sorne success yourself but that you have progressed only to the stage
of receiving mental impressions of numbers and well defined geometrical figures. Yo u may say that success depends entirely on the concentrative powe:rs of the transmitter and the sympathetic attitude of the audience. Introduced thus, and sandwiched between tricks of a livelier
nature, this feat will be found a very effective one.

HUGARD 'S ANNUAL

THE "GRIMES" P APER CHAIN

By GRIMES, The Paper Wizard

"The wood carver did it-He took a knife anda broom

handle and carved a chain from that one piece of wood. He
challenged me to make a chain from one strip of paper. 1
accepted and this is how 1 did it. 1 used a strip of paper
like this printed with stripes so that the links could be cut
apart more easily. You note 1 first form the paper into a
loop or ring by cementing the ends together. 1 fold and
pleat the ring in this peculiar fashion so that the scissors
will clip a separate link at each cut but the mysterious part
of this cutis that alf the rings are linked forming a perfect
chain. And you will note that every one of the links is perfectly flat, without a single twist in them, proving that the cut
a perfectly fair and straightfor ward fashion.
was made
A chain of solid links and all made from a single sheet
of paper."

Of course the paper must be tricked to produce thr

effect and this is how it is done.
Take a strip of paper, the best kind for the purpose
is paper about as heavy as news print, 36 inches long and
5 inches wide. Have it printed or painted on one side with
colored bands so that the first and iifth bands are red and
the third or middle band is blue, the second and fourth
bands being left white. The bands are one inch in width.
At one end of the s:t rip make four cuts 8% inches long
separating the colors and at the other end make four, similar cuts of % an inch only. The strip will now appear as
shown in Fig. A. With a pencil draw lines across the end
with the 8% in. cuts as shown in Fig. l.
Fold the 8% in. strips as shown in the diagrams repeating with each strip until you finally arrive at Fig. 11.
Trim the ends along line BB then bring the other end of
the strip with the half inch slits over and join this to the
folded ends with good rubber cement, letting the ends over-

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HUGARD'S ANNUAL

lap half an inch. Finally cut the band a little above the
join. Apply a half inch line of rubber cement on one side
of each end and Jet dry.
The paper will now be in a long strip with cement at
each end so that it can easily be made into a ring. The
tricked section is near one end. Pleat the entire band into
folds 2Y2 in. wide. You are noy.r ready to show the trick.
Hold the band by the part nearest the tricked portion
and let the other folds drop so that the paper appears to be
just an ordinary paper band. Gather the folds up quickly.
Bring the ends together and press them tightly. they will
adhere securely at once. Fold the paper by the pleats. now
double. and keep the tricked portion nearest your body.
This tricked part should form a sort of flap at tlie back and
by inserting the forefinger of the left hand between it and
the other folds you can pass the point of the scissors through
S6"'

ri
~1&.

RED

WHITE
BUJE

.....___

- --

WtiiTE

RED
---

LIT

1 2.1 i
__

:1___ --_ - :- --=1

-No..-sur--- . - ----

~r:

~-

~-

=r~NCIL HI\Rt(: - - : .

8 "1!'

--------------- -- ---- _____ --

:::~ ~:~:: . -.
- ...

ll

- - -- -----tfWi--... ..
-- ---------...
--~mr-----,--------~-rF---------- - ____
- -::~,
... - -.- - ---- ... ___

___

-~8

----

.....

-- -

...

---~9
__ _ __

-----

.........

..

......

---r
_ _---------~_____
---- --

------

--

----

.....

~LD 115 SHOWHREPfi\TIN6 WITtl

l!ACH STRIPUHTIL
IT LOOK6 LIKE
1\IIOVE DAA~I~G.

HUGAR D'S ANNUA L

121

the slit leaving the tricked fold intact. When the cut
is complete d the first ring drops but it is still attached
by the tricked strip which is part of the second ring so that
when you make the second cut, the second ring falls with
the :first one linked to it. Make two more cuts and hold
ap the chain of :five links. Point out that the bands are
perfectly flat, as they should be, having been cut quite fairly
from a straight piece of paper.
The chain can be handed out quite safely, the closest
examinat ion will not reveal that there has been any preparation. Mr. Grimes has puzzled both laymen and magicians with this very ingenious trick and the secret is now
revealed for the first time.
NOTE: Use scissors with long thin blades for the
cutting.

122

HUGARD'S ANNUAL

8G.fAG-E GJ'RI~S . DfND

ILLUSIONJ
A MAGICAL SKETCH
PROFESSOR WOGFLEDUST AND THE NEOPHYTE
Devised by Jerry Lukins and written by Mrs. Jerry Lukins
First Produced by thern 1938.

STAGE DIRECTIONS:
The Professor stands with his back to the audience.
Upon his back is a sign, the lettering of which is not immediately exposed to the audience. For example it may
be cut in half, hinged by punching a few boles in the cardboard and running strings thrQugh thes, then folded in
half and held together, lettering inside, by a clip. Thus
arranged the sign is hung from the Professor's collar by
means of a hook. When it is allowed to fall open the sign
is seen to resemble a door which bears the following
lettering-

PROFESSOR WOOFLEDUST
Master Mind of Magic
King of Conjurers
KNOCK
Before You Enter
NOT
When You Leave
The Neophyte speaks first and, in the meantime, with
his back still to the audience, the Professor takes froin his
pocket a pince-nez with long black ribbon and adjusts it
to his nose and also decorates himself with black mustachios and black goatee.

HUGARD'S ANNUAL

123

REQUIREMENTS : L A set of tissues to make up a

Cecil Lyle hat. Two similarly colored tissues, one of which
is prepared with a small pair of ladies' silk undies instead
of a hat.
2. Two sets of silks for the Twentieth Century Trick.
The silks that are to be tied together should be the same
in color while those that are t vanish must not only contrast with the silks that are tied together but also with one
another. For example two sets of green silks may be used
to be tied together. One party Will vanish a red silk which
will appear between the other's green silks, while the other
party vanishes a yellow silk which in turn appears between
the other pair of green silks.
3. One Hugard paper, prepared with the words "Ain't
he terrible?" The other paper, similarly folded, and containing withfu it many bits of torn paper, clipped together
so that they can be released when desired but will not fall
prematurely.

Neophite .......(Addressing audience):

I'll like to have a hobby,
.But 1 can't dance or sing;
And so 1 guess that Magic,
Would be the next best thing.
(Points to sign. Removes clip permitting sign to fall
open, exposing the door with the lettering upon it. Knocks
on door, whereupon the Professor turns around, facing the
audience.)
Good evenillg, kind sir, consult you 1 must.
Are yo u Professor Woofledust?
Professor..... Sure, I'm that guy, and say . . . . I'm slick.
w hy, I'm the inventor of E-V-E-R-Y trick.
My audiences always become hysterical,
While 1 perform each marvelous miracle.
\

Neophite ..... Jf all that you tell me, Sir, is true,

Won't you please teach me a trick or two?

124

HUGARD'S ANNUAL

Professor ..... (Scratching his head in doubt)

Well . . . . you know you have to be awfully
smart,
To learn what we call the magical Art.
It's Prestidigitation, or Necromancy,
Or Legerdemain .... If you want to be fancy.
Neophite ...... But, Sir, I'll practice days and nights,
lf you'll please teach me a couple of sleights.
Professor..... But to be a magician you must be a man,
Like Heller, Kellar and Robert-Houdjn.
Houdini, Cardini, M_alini, the Swami,
And throw in a chunk of kosher pastrami.
(Aside)
Show me your hands .... they're too tiny, alas!
With :fingers so short . . . . you'll never learn
the pass.
Now you need hands like mine, with powerful

:fists,
And long nimble :fingers . . . . and soft graceful wris.ts.
But .... between you and me .... when all is
said,
Ali you need is thumb tip and thread.
(This last couplet aside to the audience as he shows
both articles.)
However, since 1 can't escape her ....
1'11 try her out with tearing this paper.
Now :first we'll tal{e two tissues,
Then tear this way and that.
And if yo do as 1 do ....
We'll ~ach make a beautiful hat.
(P. picks up the faked tissues. While N. takes tbe
regular ones.)
(Botb start the tearing and do it in pantomime. N.
Observing with awe P's suavity and con:fidence, wbile P.
supervises tbe tearing.)
Neophite ...... (Bubbling over with excitement)
Professor! Professor! 1 made a swell hat!
1 hope it's as pretty as yours.
Professor! Professor! Let's see what you've got.

HUGARD'S ANNUAL

125

(P. opens bis folded section and sheepishly displays

the underware.)
Good Heavens! You've stolen my:___ __
(She draws skirts around knees .... as if the undicR
viere missing.)
Professor _____ You seem to be learning :very quick.
1 think I'll show you a cute silk trick.
The Twentieth Century really is swell,
And everyone tells me 1 do it so well.
First take two silks and place them here,
Then take another wbich you make disapJ5ear.
(Points to eacl silk.)
Of course, the mcky thing to do .... ls to make
Tiris one appear between these two.
Neopbite ______.Qh, dear! Oh, dear! I'm cold with fright~
I'm sure rn never get it right!
(Both pick up their silks ,a nd proceed to do the trick
in pantomime. Mix-up consists in that the two differently
colored silks vanished by eaeh, cross over and appear between the silks of the other. Business of looks, etc.)
Professor _____ Here's the paper trick 1 like the most ....
It's a clever way of thanking your host.
If you follo:w me closely and tear very well ....
Your message will ~ead "The____________ are swell."
(Use name appropriate to the occasion.)
(Both tear t~e papers. Severa! times N. drops a piece of
paper on the floor, which P. picks up and puts on the table,
indicating his anger at her untidyness. Finiilly P., with
a flourish~ throws bis paper open covering the floor with the
loose pieces that were clipped in the newspap,er. N. unfolds her paper bearing the words
AIN'T HE TERRIDLE ! 1
around a pretty pattern.
P. turns away in disgust. N. removes sign from bis back,
gives him a light kick and struts off bearing the sign proudly
upon her chest.)

126

HUGARD'S ANNUAL

CUTTING A WOMAN IN HALF

An ambitious title for an impromptu trick, yet that
is what you do, apparently. The trick can be done under
any conditions and even when surrounded by spectators.
Neither boxes, tables nor crosscut saw are required, simply
a large knife and a rope.

EFFECT: A girl holds a large knife with the point

presse{l against her waist. A rope is passed over the knife,
then twice around the girl's waist and crossed in front of
her. The ends of the rope are held by two spectators. At
command they pull on the rope nd it passes clear ~ough
the girl's body.
METHOD: A rope about eight feet long and a table
knife are required and, of course, a girl. Have the girl
standing and let her hold the knife with the point pressed
against her waist. Lay the rope over the knife, the ends
hanging down on either side. Stand in front of the girl and
grasp one end of the rope in each hand.
Pass the ends around the girl's waist and cross the end
in the right hand over that in the left, then bring the ends
to the front. Cross the rope ends under the knife, the end
in the left hand passihg over that iri the right hand. Bring
both ends up over the knife and cross the end in the right
hand over that in the left.
Once more pass the ends around the girl's waist, pas"sing the end now in the left hand over that in the right.
Bring the ends to the front and _cross them once more.
Place a spectator on either side of the girl and give eacb ' of
them one end of the rope to hold.
The manner in which the rope has been passed around
the girl disguises the fact that its midddle is really doubled
in front of her, the two loops being held by the point of
the knife. When you order the two v:olunteers to pull; all

HUGARD'S ANNUAL

127

the girl has todo is to move the knife point an inch or so

away f:rom her waist, letting the loops slide off it and immediately press the -p oint to her waist again. The rope
.comes out straight having presumably passed through her
body. As the magical advertisers say, "Everything can
then be handed out for minute examinatioiJ.."
Properly worked up the feat will be found to be quitP.
startling. A fle~le rope should be used, s~ch, for example,
as that used for the rope cutting trick. It should be passed
around the girl sm~rtly and without hesitation. The knife
and the girl's hand and arm completely hide the trick loops.
Before the rope is pulled free it should be shown that it'
really passes around her back fairly and without trickecy.

HUGARD'S ANNUAL

129

This illusion, wbich is one of the rnost

fascinating and truly rnagical in effect
that has ever been produced, was invented by Ten Ichi, the farnous Japanese rnagician. It is true that Will Goldston in
bis book "Great Secrets Revealed" credits
the invention of the Ulusion to Chinese rnagicians but this
is undoubtedly an error. The Ten Ichi troupe introduced
the Water Fountains and the almost equally farnous Ten
Icbi Thurnb Tie to Arnerica in the early years of the present century.- The illustration has since been perforrned by a
nurn:ber of magicians, notably Thurston, but the original
presentation by the Japanese troupe has no.t been equalled.
EFFECT: Briefly the effect is that the rnagician pours
water into a bowl on bis table and frorn it causes a jet of
water to _spring up, fountain like, to a height of three feet.
He plays with tbis, rnaking it rise and fall at will, then
lifts it off on bis fan frorn wbich it continues to spout.
Thence he transfers it to the edge of a sword wbich lies
on a horizontal support and he causes the jet to pass back
and fourth along the whole length of the blade. He picks
it off on bis finger tip and tosses it to an assistant frorn
whose head the jet imrnediately spouts. He takes it again
and throws it to the floor, rnaking it pass to different spots
at conirnaiid. Finally he causes jets to play frorn bis fan,
frorn , the bowl on the table, frorn the floor and frorn the
heads of his assistants, the curtain falling as a veritable
maze of fountains practically fill the whole stage.
WORKING: In Ten lcbi's original invention the jets
were produced by rneans of rubber pipes running frorn a
tank suspended bigh in the flies of the theater. Tbis method
produces the best results since the jets so produced are all

130

HUGARD'S ANNUAL

of the same height, that is to say, the jets from the table,
the sword and the floor. Those that come from the magican's fan and from the assistants, however, are produced
by air pressure in water bottles concealed under their clothing, the jets being released by pressure on air. valves. This
air pressure is regulat~d so that the jets thus produced are
the same height as those from the tank. The tank method
is suitable for a thcatr only where it can be elevated sufficently to send the jets to the height required. The system,
which 1 devised and used for severa! seasons at Luna Park
and also in vaudeville, can be used under almost any conditions.
Instead o using an elevated tank. all the jets are produced by air pressure. Figure 1 shows the metal reservoir
mounted on a piece of wood about an inch thick. At the
top it has a screw cap B on a short pipe by which the water

FIG.t

can be poured in. At A is an air valve through which air

is pumped by means of a bicycle pump. The outlet at the
bottom of the reservoir is an inch mental r pipe with a
screw collar by which it can be detached for ease in packing. This pipe continues down to another one inch metal
pipe G which is mounted on the board by three supports.
This horizontal pipe is closed at both ends but has six (or
more if necessary) taps C with tapering ends to fit into the
rubher pipes which carry the water to the various spots from

131

HUGARD'S ANNUAL

which the jets are to be produced. The pressure of the ait

pumped into the reservoir can be regulated to produce jets
of any desired height.
Fig. 2 shows the floor cloth which has six rubber tubes
attached to the under side, running from the comer H to
the spots at which the jets appear. A is the center table for
the production of the first jet from the bowl of water, E
and F ate small stands on which are set brass bowls arranged to produce. a number of jets at once and B, C and D

FIG. 2

are floor plates each producing a single jet. The ends of

the rubber tubes projecting at H are carried to a strip of
wood, G, 36x3x% in., and are passed through boles bored
in it. Each tube end has a screw collar by means of which
it can be attached easily and quickly to its own tap. Each
tap is labelled so that the operator off stage can make no
mistake in tuming on the jet required at any particular
moment. This arrangement assures a speedy setting and
th~re is no possibility of the tubes getting tangled or screwed onto the wrong taps. When 1 produced the Fountains
in vaudeville the whole was set comfortably while 1 presented the Chinese Rings before the front cloth. If the corner
of the floor cloth at H does not reach to the edge of the
wing behind which the tank is set, a mat should be set over
the tubes and a duplicate mat laid at the opposite comer
to match.

132

HUGARD'S ANNUAL

The center table and the two stands have rubber tubing running up the back of one leg and the center support
to the bowl and the same arrangement is made with the
two small stands. The attachments to the tubes under the
floor cloth are made by screw collars through slits in the
floor cloth and can be fixed in a moment. Fig. 3.

FIG. 3

Fig. 4 shows the floor plates. They are simply flat

metal plates with a metal tube soldered on top. The tube
projects from the end of the plate and is tapered to en ter the
rubber tubing and make a tight fit. The small hole, for the
water to escape in a jet, is adjusted to a hole in the fl.oor
cloth. The best way to do this with ease and certainly is
to have a small bag sewn under the cloth so that the plate
can be slipped into its proper position instantly. All the
rubber tubing used should be the kind which has a woven
cotton covering. This will not burst and will last indefinitely.

FIG. 4.

HUGARD'S ANNUAL

133

It will now be understood that all the assistant has to

do to instantly produce any required jet is to turn the
proper tap. The air pressure being lessened by the escape
of the .water as the jets are played, it is advisable to keep
the air pump attached to the valve in the reservoir so that
more air can be pumped in when necessary to keep the jets
at the same height. The assistant has time todo this while
the magician is operating the individual jets from his own
person and the assistants with him on the stage. We will
next consider how these jets are worked.

FIG. _5

To exploit the illusion to best advantage the magician

should have at least two assistants with hm on the stage.
The individual jets are produced by means of rubber water
bottles, Fig. 5. The screw tops, Fig. 6, of these are fitted
with a metal tube e which has an air valve D soldered to it.
Rubber tubing is attached to e and is carried down the

FIG. 6 and 7

134

HUGARD'S ANNUAL

sleeve to the end of the wand or fan. To opera te, the

bottle is filled about one-third with water which should al.ways be filtered into it through a piece of cheesecloth. Air
is then pumped in until it is found that the jet from the
wand or fan is the right height. To carry the bottle it is inserted in a canvas cover, Fig. 7, and then hung from the
shoulders by means of straps attached to the two rings. The
most appropriate costume for the act is either Japanese or
Chinese and the bottle can then be suspended at the .back
of the hips with perfect safety. Naturally the bottles must
be placed in the canvas covers before they are pumped up.
Care should be taken that there are no rough seams insid<>
the bags which might wear holes in or cut the rubber when
the pressure is applied.

lf it is desired to produce the act in evening dress, a

copper tank about 12x8x1% in., curved to fit the body, with
a tube to connect with the rubber, an air valve anda screw
top ope;ning for th_e water, can be fitted to the body under
the coat in such a way as to be imperceptible. Fig. 8.

FIG. 8

Both the main reservoir and the individual receptacles

can be fitted with air gauges. By expeiiment the exact
quantity of water and air pressure to produce the correct
jets of water can be ascertained and these quantities adhered to always.

HUGARD'S ANNUAL

135

The last accessory required is the wand. Fig. 9 show.-.

this in detall. 'A, the wand itself, is a mental tube about

FIG. 9

thr.ee quarters of an inch in diameter, it may be black or,

preferably, painted in imitation of a bamboo stick; B is
an air valve operating by pressure of the button against the
palm of the hand; e is an inner tube which fits tightly by its
tapering end G on the rubber tubing running fro!fi the water
hottle; D is a paint spray tip which just protrudes through
a hole in the wand itself; E is a screw closing the inner tube
and F a screw cap on the end of a wand. These two last
are easily removed in case the inner tube becomes clogged
and requires cleaning. There is always a possihility of this
happening hut if all the water used is carefully filtered it
will occur hut rarely. A fan can be fitted in a similar fashion, indeed, using the principies set forth above, arrangements can be made to produce the jets in almost any way
imaginable. At the same time the display should not he prolonged since after all it is simply a repetition of the same
effect.
The following can he used as the basis of an 'effective
routine. The magician hegins by pouring water into the
howl on the center tahle. As he dabhles bis finger tips in it
a jet of water is seen to mount upwards following bis
hand as he lifts it. When the jet has reached full height he
motions it downwards and it sinks, then at an upward motion of his hand it rises again. He applies the end of bis
wap.d' to the hase of the jet and carries it away still spouting
up. He displays it thus and then replaces it in the Bowl. He
motions to one of the assistants to do the same with her
fan. She tries hut fails, the jet remains in the bowl. Again
he takes it on his wand and then tosses it from there to
the girl's fan 'from which it instantly spouts. He removes
it and throws it to the second girl who catches it on her

136

HUGARD ' S ANNUAL

fan. Taking it on his wand once more the magician throws

it to the floor and motions to one of the girls to pick it up
on her fan. As she leans down to do so the jet vanishes and
springs up at a point in the floor near the second girl. In
her turn she tries to take it on her fan but it eludes her and

springs up from another spot. After a vain chase the girls

give up, the magician picks up the jet on bis wand, touches
a fan with it and a second jet springs from it. He makes a
third jet appear from the second fan, then jets from th~
heads, from the bowl, from various spots on the floor, all
the jets continuing to play and finally cause two large
fountains with nurnerous jets to spring up from the bowls
on the side stands, making a very effective final to the act.
There is no limit to the places from wch jets can be
made to appear. They can be caused to spout from ones
finger tip, from a finger ring, from a jewel on a girl's forehead, from the toe of an assistant's shoe, from the end of
his pigtail and So on it is merely a matter of exercising individual ingenuity. The draw back is that water is always
wet and there is always an objection to . wetting the stage.

HUGARD'S ANNUAL

137

This can be avoided toa great extent by placing light battens under the edges of the flo9r cloth and thus preventing
the water from running onto the stage.
The necessary appliances are not expensive considering
the effect that is obtained and once the out:fit has been
completed, and a routine perfected by adequate rehearsal,
the operator will have one of the most enchanting effects
il the whole range of illusionary magic.

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of CARD TRICKS
JEAN HUGARD
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A book every magician
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