tom sellers - condensed conjuring

20
T he M agic W and S eries 3/- NET GEORGE JOHNSON, 24, B uckingham S treet , S trand , W.C.2

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Card and other apparatus tricks.

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  • T h e M a g i c W a n d S e r ie s 3/- NET

    G E O R G E J O H N S O N , 24, B u c k i n g h a m S t r e e t , S t r a n d , W .C .2

  • CO NTENTSPAGE

    The Shooting Pellet ........................................... 2Easy Ropes and Rings ........................................... 2A Different Ring Release . . . . . . . . 3The Milk G oes D ow n .............................. . . 4Silks from C o n fe tt i......................................................... 4Oriental Cut and R estored........................................... 5The T.S. Safety Rice Bowls . . . . . . 5Think o f a Card . . . . . . . . . . 6A G ood Prediction . . . . . . . . . . 7A N ovel Colour Change . . . . . . . . 7A Different Pass . . . . .............................. 7 .A False Count ......................................................... 10Matching the Colours . . . . . . . . 10Telepathy Simplified . . .............................. 11Graphology Supreme . . . . . . . . 12A Different Stretching Rope .............................. 13Giant Match Trick . . . . . . . . . . 13An Easily Worked Stung Trick . . ! . 14Sun and M oon ......................................................... 15Bottle, Glass and Discs . . . . . . . . 15

    Made and Printed in Great Britain by R ic h a r d M a d l e y L t d .,

    Newton Works, Fitzroy Court, London, W .l

  • CO N D E N S E I I

    0 N J II HI IV G

    By

    T OM S KL L E I i S

    Author of "Tricks that W ork /' etc.

    W ILL ALMA ____M.I.M.C. a O N D O N )

    G e o r g e J o h n s o n , T h e M a g i c W a n d O f f i c e , 24, Buckingham Street,^Strand, W .C.2

    1 9 4 1

  • T H E SH O O T IN G PELLET.

    Effect. The performer show s an em pty tin. H e hands out several slips o f paper and requests a spectator to mark one o f the slips with a cross. The slips are now squeezed into pellets and mixed together. The performer now takes one slip out at a time and places it into the tin. One pellet jum ps high in the air. This proves to be the marked pellet.

    Requirements. A n em pty tin, and a rubber egg. The egg should just fit easily into the tin, as shown in Fig. 1. W hen you purchase a rubber egg there is a little hole at the narrow end, this is to let the air in so it will expand when released after having been com pressed. Y ou also require five slips o f paper.

    Preparation. A bout half an inch from the top o f the tin, on the inside, place a liberal coating o f wax. Vest the rubber egg.

    Method. Show the tin em pty, then hand out the slips o f paper, offer a pencil to one spectator and ask him to mark his paper slip with an X . Then tell other spectators to squeeze the papers into pellets. N o w collect the pellets but see that you give the marked one an extra squeeze so that you will know it again. D rop all pellets on a tray and have them mixed.

    W hile this is proceeding, obtain the egg from the vest and secretly drop it into the tin. N o w take an unmarked pellet and apparently place it into the tin, but actually press the pellet on to the wax, Repeat this with a second and third pellet, now take the marked pellet, and as you place it into the tin, w ith your forefinger press down the top o f the egg, m aking a cavity as shown in Fig. 2, and drop the pellet into this cavity. In three or four seconds the egg will expand again, and the pellet will shoot high into the air. This pellet is opened out and seen to be the marked one. It may seem queer to put a rubber egg to such purpose, but in any case it m akes the pellet jum p.

    y E A SY R O P E S A N D R IN G S.

    Obtain tw o lengths o f rope, similar to that used in the well known ropes and rings trick. Take one piece and double it in the centre. G ive it another twist as show n in Fig. 4. N o w give loop B a twist to the left and place it over loop A , this w ill give you a figure as shown in diagram 5. Take your other length o f rope and double it in the centre, see Fig. 6 , and place the tip o f this loop into loop

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    A , Fig. 6 . N ow draw the loops tight and you w ill have tw o lengths o f rope joined in the centre.

    Pick up the rope, at the jo in , in your right hand, draw the left hand ends through the left hand, transfer the joined loops to that hand and draw the right hand ends through the right hand. Still keeping the jo in concealed in the left hand, w ith the right give the double rope a twist as show n in Fig. 7. Place the ends through the loop in the direction o f the arrow. O f course nothing happens here although you have apparently tied a knot. Just as you pretend to tie this knot you bring the joined ropes into view, the jo in will lo o k as i f it is the knot you pretended to tie. From the point o f

    ' view o f the audience, you have picked up tw o lengths o f rope, drawn them through your hands and then tied a knot in the centre o f the tw o ropes. From here onward the trick is worked as usual and is so well known that no further explanation is required.

    A D IFFER EN T RING R EL EA SE.

    EfTect. The performer show s a loop o f string with a ring on it. Several examined rings are now slipped over the string. It is seen that the rings cannot slip off, ow ing to a single ring o f the same size being within the loop . T he end o f the loop is lifted up and held between forefinger and thum b ; when released all the rings fall to the floor except the one which w as originally on the loop.

    Requirements. Form a piece o f string into a loop by splicing or otherwise, placing a ring within the loop before splicing, Fig. 9. N ext obtain tw o short pieces o f string and knot them together as seen in Fig. 8 .

    Preparation. Take the loop o f string and place it between the tw o short ends as shewn in Fig. 9.

    M ethod. H old the loop at the knot as show n in Fig. 10, Take five or six exam ined rings and slip them over the end and loop o f the string, lotting the rings com e to rest on the single ring. H old the loop and loose ends very tightly and allow som eone to try and take o ff the rings. When it is seen that this cannot be done, lift the bottom end o f the loop , Fig. 10, and place between the forefinger and thum b, beside the knot, but not between the ends this time. N o w release the other end o f the loop and the rings will fall to the floor, excepting the one on the loop , o f course.

    N ote . Y ou w ill have to give the string a shake to make sure that the loop will com e free from the short piece.

    3

  • T H E M IL K . G O E S D O W N .

    Effect. The performer shows tw o small w ine glasses. One is placed in a hat, the other is held in the hand and filled w ith milk. T he milk is seen to get less and less, and when all has vanished the glass is laid aside. W hen the glass is rem oved from the hat it is seen to be full o f milk.

    Requirements. T w o small w ine glasses o f such a size that one o f them can be concealed in the curled fingers o f one hand. One o f the glasses has a pin-hole drilled in the bottom , see F ig. 11. Y ou also require a sm all pedestal and a hat, F ig. 13. A sm all jug o f m ilk is to hand.

    M ethod. T he glasses are on the pedestal, the hat being in front and the jug a t the side. Pick up the unprepared glass in the right hand, the hat in the left, and show both freely. Replace the hat on the table, apparently place the glass inside the hat, really con cealing it in the fingers o f right hand. W ithdraw the hand, and at the sam e tim e take the other glass from the pedestal w ith the left hand, and place it in the right hand above the concealed glass, holding it as show n in Fig. 12. W ith your left hand, pick up the jug o f milk and quickly fill the glass. Put dow n the jug. Make passes over the glass, as the milk runs through the pin hole into the glass concealed in your hand. W hen all the m ilk has run down, with yout left hand rem ove the glass, dip the right hand into the hat and bring to view the glass o f milk you have concealed in the hand. Pour the milk into a jug and exhibit the hat empty.

    SIL K S FR O M C O N FETT I.

    Effect. T w o cardboard cups are show n, one is em pty, the other is full o f confetti. The confetti is poured in to the em pty cup, and the cups nested. The performer dips his fingers into the confetti and rem oves several silks.

    Requirements. T w o cardboard drinking cups. R em ove the bottom from one o f them , and replace the bottom with one m ade o f tissue paper, see Fig. 14. Inside the other cup fix a cardboard tube, as shown in F ig. 15. Fill this cup with confetti.

    Show cup number 1 em pty (this is the one with the tissue paper bottom ). Pour the confetti from cup number 2 into cup number 1, and nest cup number 1 inside cup number 2. The tube will pierce the paper bottom , and go right up through the confetti. D ip your fingers into the confetti, and remove the silks from the centre tube.

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  • O R IE N TA L C U T A N D R E ST O R ED .

    Effect. T he performer runs a piece o f ribbon through tw o slots in a frame, the ribbon is now cut through the centre. A w ooden slide is placed over the cut ends. T he ribbon is withdrawn, and is found to be restored. W hen the slide is lifted from the frame, this is seen to be blank.

    Requirements. A w ooden frame with grooved sides as show n in F ig . 16. T w o slots are cut near the centre to allow the ribbon to pass through. The next requirement is a strip o f black cloth , this has a piece o f ribbon, o f the kind you intend using, fixed to either side o f the black cloth with wax, see Fig. 17. This piece o f cloth is fixed to the top o f the frame (show n in Fig. 16) in such a manner that the cloth hangs between the slots, the ribbon being in line with the slots. Y ou now require a piece o f tin, having a turned up edge, this is covered with black cloth and should fit easily into the frame, see F ig. 18. A fancy slide is now m ade o f plyw ood as shown in F ig. 19. This fits over the tin flap.

    Preparation. Place the w ooden flap, F ig. 19, into the groove in the tin flap, Fig. 18, and lay it aside on a table. Turn the frame with its back towards the spectators, that is, the opposite way to that shown in Fig. 16. Y ou are now ready to present the effect.

    M ethod. Take a piece o f ribbon and run it through one slot in the frame, place hand behind frame, and run the ribbon under the cloth flap, and through the other slot. The ribbon may now be drawn back and forth. N o w turn the frame right way round. The piece o f ribbon on the flap is accepted by the audience to be the long piece. W ith a pair o f scissors, cut this through the middle, the ends w ill hang dow n. Pick up the flap and slide together and place in to the frame. W ithdraw the ribbon and show restored. R em ove the slide on ly, F ig. 4, and the frame will be seen to be em pty.

    T H E T .S . SA FE TY RICE BO W L S.

    This idea enables you to work the rice bow ls with perfect safety.

    Requirements. A bow l with an inner lining as show n in F ig. 20. This inner lining should not be quite as deep as the bow l and should fit easily. The outside o f this lining is covered with rice, this being stuck on w ith glue. A nother bowl is necessary, this having a disc o f wire m esh cem ented to within a quarter o f an inch from the top o f the bow l, see Fig. 21.

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  • Preparation. Place som e loose rice within the space between inner and outer bow ls, stand the bowl right way up and fill it, heaped up, with rice. Fill bowl number tw o with water, then heap rice on top o f the wire m esh. Place a jug beside the tw o bowls.

    Presentation. Pick up your wand and level the rice from both bow ls. Pour the rice from the double bow l on to the bow l with the wire m esh. Show the double bowl em pty, level the rice from the wire m esh bow l, and invert the double bowl on top. T o show that the rice has m ultiplied, rem ove the outer bow l only, this will leave the shape in view, and the loose rice will fall round about the bow l. Replace the outer bowl again, and invert both bowls. (The water will run through the m esh into the under bow l.) R em ove the top bowl and place on the table, then pour the water from the double bowl in to the jug.

    TH IN K O F A C ARD.

    M ethods o f finding a card thought o f have always appealed to m e, especially when but few questions have to be asked. H ere is such a m ethod.

    Place a dab o f w ax on the top card o f the pack, on top o f this lay a double backed card but do not stick it dow n. Fan the pack in front o f a spectator and ask him to think o f any card ; take care you do not expose the double backer. W hen the card has been thought o f, place the pack behind your back, bring round the double backer and place it on the table, bring the pack to the front and ask the spectator o f what card he thought. W hen told, riffle through the pack till you com e to card, let it fall on the lower half o f the pack , and turn the top half right over, face up, on top o f lower half. The waxed card is now face up above the card thought of.

    Y ou continue by saying, I thought you would have thought o f the tw o o f diam onds (that is, i f the two o f diam onds was the waxed card, o f course any card can be used). Spread the pack, and throw the tw o o f diam onds, which has the thought o f card at the back o f it, on top o f the double-back card, partly overlapping. Continue your talk by saying, but nevertheless I did succeed in finding the card you thought o f as you say this, pick up the tw o cards and turn them over with a flourish, show ing the other side o f'th e tw o o f diam onds, the double backer being taken for the back o f the tw o o f diam onds.

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  • A G O O D P R E D IC T IO N .

    Place the card you intend to prc'dict in your right jacket pocket. Have the pack o f cards in your left jacket pocket. T o work the cffect, take a sm all piece o f paper, write the name o f the single card on it, fold it up and place in the right hand pocket but before rem oving the hand palm the card. W ith the left hand rem ove the pack from left hand pocket, hold this as in F ig. 22, A sk som eone to insert a knife blade anywhere in to the end o f the pack. W ith the right hand, which contains the palmed card, rem ove all the cards above the knife blade, gripping them at the corners as shown in Fig. 23. Here com es the deceptive m ove. M ove the right packet over to above the left thum b, so that the palmed card can be dropped

    t secretly on top o f the packet in the left hand ; im m ediately this has 5 b e e n done, turn the right hand palm upwards, show ing the face -Hof the under card o f the packet, saying to the spectator you have

    (jc u t at the seven o f clubs, (or whatever the card is), and the card UJon top o f the lower h a lf is the ace o f diam onds. Hand out the

    j P aPer from your pocket, and continue : you w ill see that is the ^ G card I predicted. The dropping o f the card on to the low er half o f 0 ^ t h e pack, and the turning o f the right hand palm upwards must

    Q be accom plished in one sm ooth m ovem ent.

    5 sS 3

    D I A N O V E L C O L O U R C H A N G E .

    "c3 H old the pack in the left hand. W ith your right side to the 5 spectators, grip the pack at the tw o bottom corners with the first o finger and thum b o f your right hand, Fig. 24. N o w separate the

    S pack about the centre, w ith right hand, and raise this, the front Jjj h a lf o f the pack, right up to the top o f the rear h a lf which is in

    the left hand ; at this point your right little finger presses on the " low er corner o f the front card o f the rear h a lf o f the pack, and

    levers it into the right hand palm , Fig. 25. T he front h a lf o f the pack is now sw ung round in the direction indicated by the arrow in F ig. 26, and placed between the fingers o f the left hand as shown in that diagram. The top h a lf o f pack is now stroked with the right hand, the palmed card being left on the face o f this packet and the colour change is thus com pleted.

    A D IFFE R E N T P A SS .

    H ave a card selected and while the helper is noting it, square up the pack in the left hand and hold with the right, as show n in the

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  • illustration (F ig. 27). Y ou w ill notice that the first finger and thum b o f the right hand holds the right hand top and bottom corners o f the pack. Lift the top half o f the pack, and carry it over till it rests on the left forearm. N o w have the card replaced on the packet in the left hand.

    Swing the right hand back over the pack in the left hand ; w ith the fingers o f the right hand, palm off the top card o f the left hand packet, and replace the packet in the right hand on top o f the left hand packet. T he act o f squaring up the pack leaves the selected card on top o f the pack. W ith a little practice you will be able to blend the w hole into one m ovem ent.

    ' A FA L SE C O U N T .

    A s an exam ple, suppose you w ish to count nine cards as twelve cards. H old the nine cards as in F ig. 28. T he cards are held chest high and the thum b is tow ards you. Push the top card to the right with your left thum b and take it away with the thumb and fingers, as shown in Fig. 22. Repeat this twice m ore, and you now have three cards in the right hand. Push forward the fourth card with left thumb, lay the three cards in your right hand fairly on to the left hand packet and remove the fourth card only. T he spectators will think you have four cards in your right hand whereas you really have one. N o w continue the count till tw elve is reached. O f course you m ust not hestitate when replacing the cards and drawing the next one off.

    Perhaps this m ethod may com e in useful for card effects where a false count is required. The back o f the cards m ust face the audience while the count is being m ade, otherwise som e sharp spectator m ight spot the cards repeating themselves.

    M A T C H IN G T H E C O L O U R S.

    Effect. The performer introduces tw o packets o f sm all cards, each packet consists o f a red, blue, green, yellow and black card. A spectator is asked to exam ine and shuffle both packets, keep one and give you the other. Y o u put your packet behind your back and ask the spectator to take a card from his packet and lay it face upon the table. Y o u then bring a card from behind your back and lay it beside his card and the tw o colours are seen to

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  • m atch. T his is repeated until all the spectators cards are exhausted.

    Requirements. Three packets o f small cards, consisting o f red, blue, green, yellow and black cards. M ake a tube o f black cloth ; inside this slip a strip o f cardboard and fix a safety pin at each end. A t intervals along the tube, on the outside, sew on six paper clips, see Fig. 30.

    Preparation. M em orise the five colours in this order, red, blue, green, yellow and black. Place one card o f each colour in the above order, into the paper clips, and attach this appliance, by m eans o f the safety pins, to the back o f your trousers, just under your jacket.

    M ethod. Introduce the tw o packets o f cards, have them exam ined and m ixed. N o w get a spectator to take away a packet,while you take the other. Apparently place your packet behind your back, but actually push :he w hole packet in to the sixth paper clip on the fake. A sk the spectator to turn any card in his packet face up. W hen he does so , all you have to do is to draw the corresponding card out o f the fake and lay beside his card. R epeat until cards are exhausted.

    T E LE PA T H Y SIM P L IFIE D .

    Effect. A lady goes into an adjoining room and while she is aw ay the performer writes the name o f a tow n, a number, and a colour on a piece o f paper. This is folded up and given to a spectator. The lady now returns, and requests the spectator hold ing the slip to burn it. W hile it is burning she gazes at the sm oke and writes the chosen items on a piece o f paper. W hen this is shown the telepathic com m unication proves to be correct.

    Requirements. A scribbling pad and a pencil. On the top page o f the pad and at the top, place a small spot o f wax, see Fig. 31.

    M ethod. The lady assistant having left the room , the tow n, colour, etc., is given to you ; write the particulars on top page. W hen done, lift the tw o top pages as one page, tear right off, turn upside dow n and lay back on top o f pad again. Press with your thum b above the wax (this will cause the page to adhere to pad), and let top page slide gently on to the table. A ll you have apparently done is to write on the top page, turn it over and let it slide on to table face dow n. Lay pad and pencil aside, take the sheet from the table, fo ld it in to an oblong shape, and hand to a spectator.

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  • The lady returns, and asks for the slip to be set a lig h t; the performer does this with m atch. The lady picks up the pad and pencil, she gazes at sm oke but only pretends to write. W hen the slip burns out, she tears o f f top page, keeping the written side from view, and folds it up. She now asks what was chosen, and on being told, hands out the paper slip for verification.

    V G R A PH O L O G Y SU PR E M E .

    Effect. The performer hands out seven or eight blank cards, and a pencil with each card. Spectators w ith cards are now asked to write the on e word, M ystery, on their cards. One spectator is now asked to collect the cards and shuffle them . W hile this is proceeding the performer states that by looking at a persons face he can tell the style o f handwriting used. T o prove this assertion, he receives back the cards and asks any spectator w ho has received a pencil to hold it up. The performer looks through the cards, rem oves one and hands it to the spectator. W hen this helper looks at the card, he admits it is in his handwriting. This procedure can be repeated with all the rem aining cards i f desired.

    Requirements. Eight pencils, eight blank cards. M ark the edge o f the cards as follow s : first card, one dot, second card, tw o dots, third card, three dots, and so on up to eight dots. These cards m ust be kept in their correct order so that the first person who gets a card receives the one with a single dot, the second person the one with tw o dots, and so on.

    M ethod. Start at the audience on the left side and hand out the first card, the one with one dot, and keep m oving to your right as you hand out the rem aining cards. T he reason for this is that you can tell at a glance the number o f each person holding a card. F or exam ple, you know that the third person from the left holds the card with three dots, and the person holding card with seven dots is seventh from the end o f the row. N o w m ake the request that each spectator shall write the word M ystery on his card. H ave the cards shuffled, receive them back, explain what you are going to do, and ask som eone to hold up his or her pencil. W hen this is done, count this persons position in the row, then, as you look through the cards, glance at the edges. If, w e presume, that spectator number four is assisting, you look for the card with four dots, and hand it to the spectator, w ho w ill adm it it bears his or her handwriting. The procedure is repeated with the remaining cards.

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  • A D IFFE R E N T STR E TC H IN G R O PE .

    Effect. The performer show s a short piece o f rope, about eighteen inches in length. This is thrown over the shoulders, then pulled back and forth, this action causing the rope to stretch and stretch till finally it is seen to be twelve feet long.

    Requirements. A piece o f black wire, fashioned in to the shnpe show n in Fig. 32. T he ring end o f the wire should be large enough to allow a piece o f rope to slide freely back and forth, while the h ook end is large enough to slip over the collar o f your jacket. Sew a brass ring to the inside o f your waistcoat at the top , see Fig. 33. There is also required twelve feet o f rope, and the short, 18- inch piece.

    Preparation. Slip the short piece o f rope through the ring end o f fake as show n in F ig. 32. Lay this on your table. N ext, slip the tw o ends o f the long rope through the ring on your w aistcoat, loop up the remainder o f the rope and place it between your w aistcoat and your body. Put on your jacket and you are ready to present.

    M ethod. Pick up the short piece o f rope, keeping the fake hidden behind the fingers and draw the rope back and forth a few times. N o w apparently place the rope over your shoulders as seen in Fig. 35. W hat you really do is to hang the fake on to coat collar as seen in F ig . 34, and pull a sm all piece o f each end o f the long rope into view about nine inches o f each end. N o w take an end o f the rope in each hand and start to draw it back and forth using the neck as a stanchion lever. W hen all the rope is out, rem ove it from the neck, fold it up in to tw o feet folds, and in this condition throw it round the neck again and take your bow, when finally rem oving rope, you also rem ove hook with the short piece, this will be hidden in the folds o f the rope as you place it aside.

    N ote . Our artist kindly suggests that in place o f the wire hook , tw o small needle hooks, one at each end o f the rope, w ould better suit the purpose. G.J.

    G IAN T M A T C H TRICK.

    Effect. The performer borrows a m atch. Showing a handkerchief on both sides, he throws it over his left hand. Taking the match in h is left hand, he places it under the handkerchief and forces the head o f the m atch right through the handkerchief. A spec

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  • tator is asked to pull the m atch entirely through the fabric. W hen he does so , the match is seen to have stretched to about six tim es its original length.

    Requirements. A w hite cambric handkerchief with a hem . Make up a m atch about six tim es longer than usual. Cut or prod a little hole in centre o f the handkerchief.

    Preparation. Place the m atch into the hem o f the handkerchief. Put into your breast pocket, w ith the corner o f the handkerchief protruding so that you can grasp the head o f the m atch through the fabric.

    M ethod. Show your hands em pty. W ith the left hand, remove the handkerchief with thumb and forefinger, as show n in Fig. 36. Show the handkerchief on both sides, and then let it hang again as in Fig. 36. Borrow a match. Place it between y o u r teeth, and stand with the right side to the spectators. L ift the handkerchief so that the little hole in the centre falls over the thum b and forefinger o f the left hand (F ig. 37). Take the m atch from between your teeth and apparently place it under the handkerchief, really put it into left sleeve, and at sam e tim e, force the head o f the long m atch through the hole in centre o f the handkerchief by pushing upwards. Have the match rem oved by a spectator. Show the hands em pty and replace the handkerchief in the pocket.

    A N EA SILY W O R K ED S T U N G TRICK.

    M ake up a paper bag as shown in F ig. 38. This bag has a partition running from the top to the botton ; note also that the front o f the bag is cut out. On the back o f bag cut out a diam ond, as shown in Fig. 39.

    N o w m ake a hinged card to fit the bag or envelope, F ig . 40. On the front card write S T U N G , on the back write ST U N G A G A IN . Three playing cards are also required, the ace o f spades, ace o f hearts, and ace o f diam onds. The backs o f all cards should be white, with a narrow coloured margin running round the edges, see Fig. 41.

    Preparation. Place the stung card in the bag, behind the partition, the hinged end o f the card going to the bottom o f the bag.

    W orking. Show the three aces ; place the ace o f hearts in to the bag, behind, put the ace o f diam onds. Apparently put the ace o f spades behind these tw o cards, actually place the ace o f spades between the two sections o f the stung card, which is behind the

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  • partition. W hen you have done this, remark The trick is to make the ace o f spades vanish. Singly, rem ove the tw o red aces, and drop on to the floor, saying, Y ou see the ace o f spades has gone. A s you speak, you turn the bag round apparently accidentally exposing the card through the diam ond cut-out. Som eone is sure to shout It is in the bag, you turn bag to the front again, and rem ove the card with the side show ing Stung, dropping the bag to floor. Then turn card round and show the w ords Stung again .

    S U N A N D M O O N .

    This m ethod o f working the Sun and M oon trick permits the use o f paper o f any size ; furthermore, the paper, or papers, need not be crushed. A ctually, they are rolled and this allow s them to be opened and displayed m uch quicker.

    M ake a fancy Chinese m at as shown in Fig. 42. This m at has a flap on either side, and the size o f the m at is to correspond with the size o f the papers you intend using.

    T o set the mat, roll up the tw o papers with opposite centres and place between the flap at A . R oll up the tw o w hole sheets and place between the flap at B. Lay tw o unprepared sheets on top o f the m at. T he end A o f m at should be towards the spectators.

    T o work the trick pick up the tw o unprepared sheets from top o f m at and cut out the centres. P lace the centres aside and roll up the cut (coloured) pieces o f paper, lay them across the mat, lift A and C together, and fold the mat in half, bringing A and C to B. N ext, burn the tw o cut out centres. Lift up the mat with the right hand, holding all flaps together. Let C drop only and out will fall the papers with opposite centres ; meanwhile turn the m at right round, bringing B to the front, and lay on floor or table. Pick up the papers, open out and show them to have opposite centres. R oll up again and place across centre o f the m at, fold in half again, the bottom h alf going on top o f B , N o w to bring the restored papers to view, lift the top h a lf o f the m at and B together then open out flat, open out your papers and show restored. A lw ays remember when rolling up the papers to keep the sam e colour towards the outer sides.

    B O T TL E , G L A SS A N D D ISC S.

    Effect. Six coloured discs are dropped into a tube, from which a bottle has just been rem oved. W ine is poured into a glass, the

    15

  • glass is placed under a second cover and the bottle placed into a third cover. Covers are lifted. Under the first is seen the glass o f w ine, under the second, the bottle, under the third, the discs are seen. Thus all have changed places.

    Requirements, A cylindrical cover, F ig. 44. N o te that the bottom is turned over and up half the tubes length, thus leaving space between the sides o f the bottom half. This is w ide enough to contain tw o nested pass-passe bottles. The inner bottle has a partition h a lf way up to accom m odate liquid. T w o sets o f solid w ooden discs, six in each, o f varying colours. They m ust be o f a size to easily fit into the recess in the bottom o f the tube, Fig. 44. A tin shell to represent one set o f six discs. This is closed at one end and is o f such a size that it fits easily into the recess o f the tube, F ig. 44. F ig. 47 shows this w ith glass within. A nother two covers as shown in F ig. 44, but unprepared, see Figs. 45, 46. Tw o w ine glasses com plete the outfit.

    Preparation. F ill one glass w ith wine. C over with the shell disc and place over cover N o . 1 and inside this cover place the tw o nested bottles. N ext to this place cover 2, then cover 3 with the stack o f six discs inside, see F ig. 46.

    Presentation. Show the remaining six discs, separate, and knock together. R em ove the tw o bottles from cover 1 by placing the finger inside the necks. D rop the discs in cover 1. Lift this disclosing the shell. H olding the tw o bottles together, fill a glass with wine. Cover the tw o bottles w ith tube 2 and im mediately remove the outer bottle from the top o f the tube and place into tube 3 bottle goes over the discs. Lift tube and bottle 2 and cover the glass. Take cover 1 and cover the shell. N o w for the change. Lift tube 3 and bottle, show ing the discs. Lift tube 2, show ing the bottle. Lift tube 1 and shell, and show the glass.

    C O V E R

    Recess

    16

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