EFFECTIVE 
 TER DINNER 
 X RiCKS 
 
 HOW TO PERFORM THEM 
 
 All Easy To Do 'No Skill Required 
 
 *rice One Dollar 
 
 Published 
 
 SMAN
 
 EX LIBRIS 
 
 WILLYS A. MYERS 
 
 American Vice-Consul
 
 -1- 
 
 A NOVELTY WITH PAPER BALLS 
 
 This is essentially a table, or impromptu trick but my magical 
 friends who will take the trouble to master it will find it a welcome 
 addition to their repertoire of parlor effects. By the way there is 
 a scarcity of good novelty effects, and the minds of inventors seem 
 to run more or less to card effects. The following experiment is not 
 new but has a finish that is a knockout when presented properly, 
 combining sleight of hand with practically no preparation. 
 
 REQUIRED ; Four small wadded paper balls, two hats, one large wadded 
 paper ball which must be wadded large enough to exactly fit in one of 
 these hats, a large handkerchief and an assistant. 
 
 EFFECT ; A handkerchief (unprepared) is spread on the table. Four 
 wadded paper balls are laid on the handkerchief so as to form the 
 corners of the square. The four balls eventually come together under 
 one of the hats. No duplicate paper balls are used and the four balls 
 may be marked if desired. Then the finale with the large paper ball 
 which is explained later. 
 
 EXPLANATION! A, B, C and D are the four paper balls. Now exhibit the 
 two hats and prove them to be absolutely without previous preparation 
 and perfectly empty. Holding a hat in each hand and showing his hand 
 to be otherwise empty the magician covers the balls marked A and B. 
 Observing that by covering these two balls, the other two balls are 
 visible, he quickly shifts the hats so as to cover C and D, observing 
 at the same time that the two front balls are visible. The performer 
 shifts hats again and covers A and B, and while talking to the audience 
 and also looking straight at them, the fingers of the right hand (under 
 cover of the hat) pick up ball B. This movement, it must be understood, 
 is made without moving the hat, nor should there be the slightest 
 visible movement of the right hand. 
 
 Now comes the crucial move of the trick. It is not a 
 difficult move, and if made properly, the whole 
 operation is covered. While the right hand holds ball 
 B under the hat, the left hand removes the hat from 
 coin A, and holds it squarely in- front of the right 
 hand. Under cover of the hat the right hand carries 
 the hat and ball away and as the right hand moves away, the hat in the 
 left hand Is allowed to fall on the table, where ball B is supposed to 
 be. The right hand then moves over to the left side of the table, and 
 in the act of covering ball A with the hat, the ball held in the fingers 
 under the hat is laid on the table near A. At this stage of the experi- 
 ment, you have two balls under the hat at A, although your audience 
 believe that there is one ball under each hat. 
 
 Now for the second part of the trick. Important: Request your audience 
 to get as close to the table as possible so you can command strict 
 attention. Your assistant who comes in on the finale manages to place 
 himself right next to you on your right I Now take ball C In the fingers 
 of the right hand, hold it up high, so that all may see that you hold a 
 paper ball in your right hand. Go through the movement of placing the 
 paper ball In the left hand, really palming same between the first and 
 
 2088046
 
 second fingers of the right hand. There must be no hesitation in the 
 execution of this movement. You can now proceed to pass the ball 
 apparently in the left hand through the crown of the hat. Lift up 
 the hat. with the left hand showing that there are now really two paper 
 balls under the hat and immediately transferring the hat to the right 
 hand. The ball is now concealed under the hat in the right hand. Right 
 hand now replaces the hat over the two balls at A, adding the third ball. 
 There are now three balls under the hat at A. The process is now 
 repeated with ball D and as a variation you can pass ball D through the 
 ?? under the table into the hat. 
 
 When the hat in the right hand is placed over the balls at A for the 
 last time there are four balls under the hat, although the audience are 
 convinced that there are only three as they are of the opinion that there 
 is still one coin under the right hat at B. In order to pass the ball B 
 (apparently) under the hat at A you must vary the procedure. Simply 
 bend over and blow briskly under the hat at B. The effect is as if you 
 blew B under the hat at A. Lift up the hat at A and show the four marked 
 balls together and then lift up hat at B showing hat to be empty, keeping 
 this hat in the right hand and drop hand to your side with opening of the 
 hat to the rear in position for your assistant to load large paper ball 
 into same. 
 
 Now act as if you have finished your experiment having caused all four 
 paper balls to pass under the one hat, but if desired you will repeat 
 the trick with only one ball. Your' assistant by this time has loaded the 
 large paper ball into the hat, which completely fills the hat. This ball 
 he can easily have concealed under his coat until needed. 
 
 Now again place the hat which now contains large ball, on the table, care 
 being taken that it does not show and does not drop out. Pick up one of 
 the small paper balls, proceed through movements as before and upon 
 lifting the hat you will seem to be as surprised as your audience on the 
 result you have obtained. 
 
 The first part of this trick (before the introduction of the large ball) 
 unlike most sleight of hand tricks, admits of repetition before the same 
 audience. The second method differs slightly from the first, and after 
 you have performed it the second time the audience will be more 
 mystified than ever. 
 
 In the second method you use five paper balls instead of four, but of 
 course your audience Is unaware of the existence of the extra ball. 
 Conceal the fifth ball in your left hand, and arrange the four balls as 
 before. In laying the hats over A and B you do not take away ball at 
 B as In the first method, but allow the extra ball in the left hand to 
 Join ball at A. The trick now proceeds as before, except for the last 
 ball at B. This you must get rid of in some manner; it is easy enough 
 to slip this ball in your pocket while lifting the hat at A, because 
 all eyes are attracted to the four balls there, or if you wish it can 
 even be dropped on the floor when the finale of the large ball is 
 introduced. 
 
 I have taken some pains to describe this trick, giving every detail, 
 because it is really worth the attention of the fastidious sleight of 
 hand artist. It is simple in theory, but the amateur will discover that 
 it must be worked with a delicacy of touch, and with breezy patter, in 
 which case the illusion produced is perfect and if the two methods are 
 used, the effect is really incomprehensible:
 
 -3- 
 
 IMPROMPTU MAGIC WITH A PACK OF CAMELS 
 
 The writer has found the following effect to be an entertaining one. 
 It is excellent for impromptu use, as it contains a real element of 
 mystery and leaves your spectators gussingl 
 
 EFFECT; An ordinary pack of Camel Cigarettes are borrowed. Performer 
 now turns the side of the pack towards the Spectator, displaying the 
 words: "Choice Quality," which are to be found printed upon every 
 pack. A small hand or pocket mirror is now introduced. Attention is 
 called to the fact that the words, "Choice Quality" are printed upon 
 the pack vertical and upright as they should be. Performer now places 
 the pack in front of the mirror, calling attention to the reflection 
 contained therein of the words: "Choice Quality." They will appear to 
 the Spectators' eyes as being upright and vertical though reversed. 
 The pack is again removed from in front of the mirror, and again the 
 words "Choice Quality" are shown to be upright. Performer now "blows" 
 upon the words and as he places pack in front of mirror again he asks 
 his Spectator to note the reflection. This time the Spectator will 
 find the word "Choice" is still vertical and upright, but that the 
 word "Quality" has apparently turned upside-downl Package is again 
 removed from the mirror, and the words are again displayed, this time 
 both of them being upright and vertical as first shown. 
 
 EXPLANATION; The entire trick lies in the letter construction of the 
 word, "Choice." The first time the pack is held in front of the mirror 
 the reflection will be both vertical and upright though reversed. The 
 second effect is obtained by turning the pack over in your hand, and 
 when it is plf.ced to the mirror this time: the word "Quality" will 
 appear upside-down, and the word "Choice" while actually upside-down, 
 due to its peculiar construction appears to be upright. 
 
 TffF. MYSTERIOUS SUGAR TRICK 
 
 For the presentation of this trick you require several pieces of lump 
 sugar and a glass of water. The sugar you smooth down by rubbing it 
 over a piece of sandpaper. 
 
 Request someone in your audience to place a mark on one of the lumps of 
 sugar and to make this mark as heavy as possible with an ordinary lead 
 pencil. Then have him place this sugar on the table with the marked 
 side down so that it will not be visible to anyone. You then take the 
 sugar and drop it in the glass of water. Have your voluntary assistant 
 place both hands over the glass. Inform your audience that you are 
 going to cause the mark to leave the sugar and appear on the palm of 
 the hand of the person whose hands cover the glass. After a few moments 
 remove the hands from the top of the glass, look at the palm and to the 
 surprise of your audience the mark is not there. You then look further 
 and find that the mark passes through the hand and is found in the top 
 of the hand. 
 
 EXPLANATION; Slightly moisten the ball of your thumb and in the act of 
 picking up the piece of sugar from the table and dropping it into the 
 glass of water you get an impression of the mark on the sugar by 
 placing the ball of the thumb on the marked side. You then reproduce 
 this impression on the top of the right hand of your assistant when yeu 
 help him in the act of placing his hands over the glass. Do not remove
 
 your thumb from his right hand until you have placed his left hand 
 over it so as to cover up the impression left there. Just a little 
 rehearsal and this trick will be one of the best on your program. 
 
 THE STRING AND STRAW TRICK 
 By Joseph J. Kolar 
 
 \ 
 
 This is one of those baffling mysteries that is based on an entirely 
 new principle. It has completely mystified the foremost magicians of 
 the country and one of the greatest magicians was so Impressed when 
 he himself was allowed to cut the string and do the restoring while 
 the straw and string was held in his hands, that he announced that he 
 was completely puzzled and offered to put in writing the fact that 
 this was the most baffling as well as the neatest effect he had ever 
 seen. 
 
 EFFECT NO. j; A box of lemonade or soda straws are offered to spectators 
 from which he chooses one. He is now given a length of string and 
 asked to thread it through the straw as in Fig. 1. You now take the 
 straw from spectator and pull string back and forth as if to center it, 
 but really to enable you to locate the slot. Next grip straw and string 
 in middle of slot and bend as in Fig. 2. Straw is then held so top of 
 bend is flush with the first finger as in Fig. 3. Fingers must be held 
 close together to conceal next move. You now pull on either one or 
 both ends of string as if trying to get both ends even and in doing this 
 you pull string down through slot as in Fig. 4.
 
 -5- 
 
 Before pulling string, be sure thumb conceals space where string will 
 stop as in Fig. 5. Straw can then be pushed up above tops of fingers 
 spread apart a bit and shown freely from both sides. Now you wrap a 
 small rubber band about the straw as if to keep it from spreading, but 
 really to conceal the string in other words the rubber band now takes 
 the place of your thumb and fingers in covering string. 
 
 In this fashion you are perfectly safe in deliberately handing the straw 
 to the spectator and asking him to cut the straw close to rubber band. 
 If you lack confidence, the rubber band can be dispensed with and you 
 can hold straw yourself. The straw is snipped by spectator as in Fig. 
 6. Everyone is thoroughly convinced that the string as well as straw is 
 fairly cut in two. 
 
 You now hold two pieces of straw as "A" and "B n Fig. 6. You now bring 
 straws "A" and "B" together as in Fig. 7. If spectator holds straws, 
 you of course move straws together while he holds them as if to show 
 him what to do. Now pull string back and forth as at beginning of trick 
 and finally remove straw "A" and then "B" Fig. 8, and show string 
 completely restored, Fig. 9. 
 
 EFFECT NO. 2; Using a large darning needle you can thread a red, a 
 white and a blue piece of silk thread through straw. Ask spectator to 
 choose one color. Chosen color is pulled down using same tactics as 
 above, and when straw is cut, it is discovered that the two other 
 colors were cut along with the straw while the chosen strand is restored. 
 How two can be cut without cutting the chosen strand is short of 
 marvelous . 
 
 EFFECT NO. 2: Use a light chain and a pair of light tinners' snips for 
 effect and you can cut and restore a chain. A light, flexible wire will 
 work equally well. 
 
 NOTE; This effect appears in this manuscript by special permission of 
 Mr. J. J. Kolar. The Kolar Straw Trick has been sold for a number of 
 years for fl.50. 
 
 ANOTHER STRAW AND STRING TRICK 
 
 This additional method and presentation heightens the mystery of the 
 Straw and String trick inasmuch as a second cutting and restoring of the 
 string takes place. 
 
 THE EFFECT; A string is placed through an ordinary lemonade straw as 
 in the original Kolar method and cut and restored as described elsewhere 
 in this issue. Performer now takes this same restored string and 
 rethreads another straw, requesting another spectator to cut the straw 
 and string again in the center, but this time the cut parts ARE HELD 
 WIDE APARTA PORTION IS HELD IN EACH HAND and the straw and string 
 are ACTUALLY shown to be cut in two pieces. Performer now brings the 
 two ends together and slowly draws the string through the straws completel 
 restored 1 
 
 THE METHOD; Like all good effects the method is very simple. The string 
 (which may also be used for the original method) is prepared as follows: 
 The ends of the strings are dipped Into Rubber Cement (this may be 
 purchased at any art supply store) . Let the cement cover about one-half
 
 6- 
 
 an inch of each end of the thread. This must be allowed to dry 
 thoroughly which will take about one hour. It will be wise to prepare 
 about a dozen strings at a time as their preparation does not 
 deteriorate. When the cement is thoroughly dry it will have penetrated 
 into the fibers of the string and be invisible to the eye. Care must 
 be exercised, however, not to touch the ends of the strings with the 
 fingers as the cement-impregnated ends pick up dirt from the pores of 
 your fingers. Handle the string from the center or near center. You 
 will also find th^t the prepared ends of string will be slightly stiff 
 which will facilitate its entry into the straw. Insert the string as 
 in the original effect, and have a spectator cut straw and string in the 
 center as you hold it with both of your hands. 
 
 Hold one portion of each in your hands drawing hands wide apart showing 
 the straw and string to be actually cut in two pieces 1 Now, as you 
 return the two cut parts to one hand reverse the ends thus bringing the 
 prepared ends together (ala rope trick) squeeze the two prepared ends 
 tightly together with your thumb and forefinger, allowing the smallest 
 possible over-lapping of the ends. (Not more than one-eighth of an 
 inch.) 
 
 You will find that the string will cement itself readily, and that this 
 aperture will be invisable to the eye. Now slowly pull this restored 
 and cemented string through the two pieces of straw and to the spectator' 
 eye, it will appear again as the whole stringl You may give this string 
 a good stiff tug and it will not pull apart. It will be found that if 
 you wrap the prepared ends of your string in waxed paper you can carry 
 them in your pocket with safety against the afore-mentioned trouble of 
 having your string ends pick up this dirt, which makes your cemented 
 spot obvious. 
 
 A SIMPLE EXPERIMENT WITH STATIC ELECTRICITY 
 
 An ordinary piece of newspaper will enable you to perform this 
 experiment. Take this newspaper and tear it into strips about four 
 Inches wide and twelve inches long, heat it lightly so as to expel every 
 trace of humidity. This done rub it with a flannel or cloth, although 
 flannel is preferable, or you can also use the palm of your hand if it 
 isdry. Now hold the flannel near the paper and you will see that the 
 former is attracted, a proof that the two bodies are charged with con- 
 trary poles of electricity, because they both attracted a light body not 
 electrified. 
 
 Another method of presentation is to rub the newspaper on the trouser 
 and then hold it near the face or body of some person in the audience 
 and the result will be the same.
 
 -7- 
 
 You can verify these facts very simply. When the paper has been 
 rubbed, tear it into two pieces and then try to place their edges to- 
 gether. However, since both are charged with electricity of the same 
 pole, they will repel each other. Hold a pen near one and all its 
 electricity will escape into the pen, making the paper quiver slightly 
 in doing so, and then, being no longer charged with electricity, it 
 will be attracted by the other piece of paper. In a dark room an 
 electric spark will be visible. 
 
 Here is another way of showing that the paper has been electrified by 
 friction. Balance a pencil on the edge of a table. If you will 
 approach it with the paper that has been rubbed you will see the pencil 
 inclining toward it, perhaps losing its balance and falling. 
 
 MYSTERIOUS ASHES 
 
 The following trick is one of the most effective tricks possible for the 
 parlor audience. 
 
 The performer procures from ten to twenty slips of paper. These he 
 places on the table in front of him. He then requests that the names 
 of ten to twenty persons present shall be given him, and as these names 
 are called he proceeds to write them down, one on each slip of paper. 
 When sufficient number of names are received these slips are folded and 
 placed in an empty hat. Some member of your audience is then requested 
 to select one slip from the hat anyone he or she prefers. 
 
 The individual who has taken the name from the hat is now requested to 
 open the slip, note the name that Is written also show It to others in 
 the audience, and then to kindly take a match and burn the piece of 
 paper on which the name is written, taking care to save the ashes. 
 
 The ashes are then brought back to the performer, who in the meantime, 
 has rolled up his left sleeve, leaving his arm bare to the elbow. He 
 then takes the ashes In his right hand, rubs them up "d down a few 
 times on his left arm and in a short time the name that was on the 
 burned slip Is seen to appear, in black letters on his bared left awn. 
 
 EXPLANATION First of all the performer must know the name of some 
 person in the audience. He now sits down at the table, and as certain 
 names are called out he apparently writes them down as called on the 
 slips of paper that he has provided, but really he writes down the name 
 of someone that is popular in the audience, so that this name is almost 
 certain to be mentioned. However if it is not the performer says to 
 certain persons, "Now, sir, may I have your name?" or "I am sure that 
 you will allow me to use your name." After repeating this several 
 times he says the same thing to the person whose name he has been 
 writing on the slips of paper. He folds up each slip of paper as It is 
 written upon, all are then placed in the hat and one selected by some- 
 one in the audience. It is burned as directed and the ashes rubbed on 
 the arm, the name then appears. This is done by the performer 
 preparing before the commencement of the trick by taking a yellow piece 
 of soap and using it as a pencil to write the name of the person (which 
 he is to write) on his left arm. A name thus written is Invisible to 
 the audience, but when the ashes are rubfeed upon it the letters 
 gradually appear in a truly startling manner.
 
 8- 
 
 THE CHINESE COIN TRICK 
 
 Two Chinese coins or two iron washers with a hole in the center are 
 used, or if desired you may use small metal rings, one of these 
 washers being concealed between the second and lower Joints of the 
 second and third fingers of the right hand. After the other washer 
 has been placed on the *ring and the latter been given to a spectator 
 to hold, the performer places both hands on the middle of the string, 
 thus hiding the washer thereon entirely from view, and while talking, 
 with the right hand substitutes his washer for the other. He then 
 takes a portion of the string and pushes it upwards through the center 
 of the washer, as illustrated in the diagrams. 
 
 This portion of the string is then looped over the back of the washer 
 and the string tightened by the performer, who now allows this washer 
 to come into view, while the left hand is still held over the original 
 washer. Drawing both hands outwards towards the ends of the string, 
 the performer requests the person to release the string for an Instant, 
 immediately replacing the ends of the string in the person's hands. 
 This slight interlude seems to be entirely incidental, but is necessary, 
 because it enables the performer to secretly withdraw the original washer 
 from the string. With the same hand in which this is concealed, the 
 performer reaches into his pocket and pulls out a handkerchief, at the 
 same time leaving the palmed washer in the pocket. The handkerchief is 
 then placed over the center of the string with the left hand, the right 
 hand reaching under the handkerchief and disengaging the loop from the 
 washer, freeing same. The freed washer Is then exhibited and examination 
 of everything invited. 
 
 THE PHANTOM RING 
 
 TEE EFFECT; A new and puzzling trick easy to perform. A solid ring of 
 metal is handed for thorough inspection. After this, the performer's 
 wrists ?.re securely tied with any cord or ribbon, the knots being sealed 
 or sewed if desired. Having seized the ring, the performer turns his 
 back to the audience. On facing the company again a second later, the 
 ring is found on the cord or ribbon, while the wrists are securely tied 
 and sealed. Everything may aln be thoroughly examined. 
 
 THE SECRET; Procure from a convienent ten cents store two large size 
 ladys 1 bracelets, the type that are made of celluloid or bakelite. The 
 secret of this trick is simplicity itself. Two rings are required, 
 through one of which the hand is slipped previous to the trick, after 
 which the ring is pushed along the forearm and hidden under the coat 
 sleeve. The second ring is shown and examined by the audience after 
 which the performer's hands are tied, a space of a foot or more of rope
 
 -9- 
 
 left between both hands. He then seizes the examined ring in one 
 hand and turning around for an instant, drops this ring into a con- 
 venient pocket or pushes it under the vest and next draws the second 
 ring from its hiding place and slides it on the rope, where it is 
 discovered by the company when he turns around again an instant later. 
 The effect created is, that the examined ring has by some mysterious 
 means been conjured on the rope. 
 
 A SMASHED WATCH SURPRISE 
 
 This is a little novelty particularly suited to the parlor performer 
 in a friendly gathering or a party. Its effect is exceedingly good and 
 startling, especially if it is introduced at a moment when everybody is 
 more or less merry. The idea is to offer amusement to the bulk of the 
 guests at the expense of one of their number. 
 
 Having selected your victim, one you know to be in possession of a 
 valuable watch, you go up to him and ask him to be kind enough to allow 
 you to inspect the valuable chronometer of which you have been given to 
 understand that he is the fortunate owner. He will acquiesce quite 
 readily and you will probably also be able to Induce him to remove the 
 watch from its chain for closer examination. Anyway, this must be done 
 if the surprise is to be carried out. 
 
 If successful so far, you tke the watch in your right hand, having in 
 the meantime secured and palmed a bunch of keys in your left hand. You 
 are looking intently at the watch as it lays in the palm of your right 
 hand, then suddenly (but do not let there be any suggestion of hurry) 
 seem to place it in your left hand; the watch is, of course, palmed or 
 rather held securely by a contraction of the fingers in the right hand 
 and at the precise moment that the left hand closes over the bunch of 
 keys. 
 
 The left hand then and forthwith throws its contents, presumably the 
 watch, violently to the floor, the crash created by their fall so much 
 resembling that of a watch smashed to atoms that your victim is, for 
 the moment, well and nigh ready to collapse in a dead faint. But and 
 almost before he can realize that a joke has been played upon him, by 
 discovering the keys on the floor, you quietly insert your right hand 
 in your pocket and produce his watch, handing it back to him with a 
 polite "Ibeg your pardon." 
 
 FUNKY FIGURES 
 
 Put down the number of your living brothers. Multiply by two. Add 
 three. Multiply the result by five. Add the number of living sisters. 
 Multiply the result by ten. Add the number of dead brothers and sisters, 
 Subtract one hundred and fifty from the .result. The right-hand figure 
 will be the number of deaths. The middle figure will be the number of 
 living sisters. The left-hand figure will be the number of living 
 brothers. Some arithmetical puzzle in the form of riddle are rather 
 clever. It would seem impossible by any process of subtraction to take 
 forty-five from forty-five and still have forty-five left; but it can 
 be done thus: 987,664,321 equals 45 
 
 125,456,769 equals 45 
 
 864,197,532 equals 45
 
 - 10 - A DICTIONARY TRICK 
 
 Bring forward a dictionary and a number of small pieces of paper; 
 the performer invite-s the audience to satisfy themselves that the 
 dictionary is without preparation, and that the papers are quite 
 blank. These latter are distributed among the audience with the 
 request that they write upon them any word they may choose, upon 
 condition that such word shall be contained In the dictionary. 
 This is done and the papers are folded and collected in a borrowed 
 hat. The performer takes a handful of papers and one is selected 
 by a spectator; this is opened and the word thereon is called out. 
 After a moment's thought the performer proclaims by word of mouth, 
 or in writing upon a blackboard, the page, column and position down 
 that column, occupied by the chosen word. The dictionary is opened 
 at the page indicated, and upon counting the words down the specified 
 column his assertions are found absolutely correct. 
 
 The experienced reader has, no doubt, already guessed the solution. 
 While collecting the papers in the hat, the performer secretly palms 
 some half a dozen folded papers of his own, upon each of which he 
 has previously written any word his fancy may suggest. When he dips 
 his hand into the hat and apparently withdraws a handful of papers 
 therefrom, he really substitutes those contained in his palm, and 
 accordingly no matter which paper is selected that it can bear only 
 one word, viz.: the one he has himself written. Knowing this and 
 having previously ascertained its position in the dictionary, it re- 
 quires no great effort on his part to bring the trick to a successful 
 termination. 
 
 SOLID THROUGH SOLID. POCKET EDITION 
 
 This novel trick consists of two items: a small safety pin and a 
 toothpick. The toothpick is placed on the small bar of the safety 
 pin and should remain about half way between the two ends of the 
 pin. 
 
 Now snap the loose end of the pin into place and hold the pin tightly 
 at one end between the thumb and uppermost side of the first finger 
 near the center Joint in the left hand, the thumb being on top. 
 
 The pin is held in a flat, horizontal position with its free end 
 pointing almost directly to the right. With the pin held in this 
 position, the toothpick threaded on the bar should be on the side that 
 is farthest from you, and the end of the toothpick that is uppermost 
 should be turned toward you until it rests directly down on the top of 
 the pin bar that is nearest to you. 
 
 Now with your right hand held uppermost, and with the fingers slightly 
 curled inward, bring the hand down rather sharply and with a slight 
 force so that the underside of the right first finger comes in contact 
 with the toothpick and at the same time drawing back the hand with a 
 sort of sliding off movement toward yourself. 
 
 If you will follow these movements several times you will find that the 
 toothpick will appear to actually pass entirely through the solid bar 
 of the safety pin. 
 
 What really happens however is that by reason of the sudden downward 
 flip of the right hand against the toothpick, combined with the 
 peculiar spring resistance of the safety pin, the toothpick is caused
 
 to undergo an instantaneous half turn in the opposite direction; 
 the effect being exactly as if the toothpick actually penetrated 
 the metal bar of the safety pin. 
 
 This idea is rather difficult to describe, but a few trials will be 
 sure to result in a speedy accomplishment of the neat and clever 
 deception, and you will soon be able to apparently flip the tooth- 
 pick back and forth through the pin in rapid succession. 
 
 -11- 
 
 THE UP-TO-DATE PAPER TEARING TRICK 
 
 The advantages that this paper tearing trick has over the ordinary 
 paper tearing tricks will at once become apparent. The method is so 
 simple that anyone can perform it a moment after reading the instruc- 
 tions, and the effect is nothing short of marvelous, as the paper 
 never leaves one's sight. Special attention should be called to this 
 latter point when performing. 
 
 To prepare, cut a number of strips of tissue paper of a size such as 
 you wish to use or as suits your own individual needs best. Lay one 
 strip of tissue on the table, and near one end, as shown in the 
 illustration, place a small dab of glue. On this place a duplicate 
 sheet of tissue, and press firmly at the point where it is glued to 
 insure proper adhesion. When the glue is dry, roll the tissue into a 
 small ball, starting at the bottom. The result will be a strip of 
 tissue paper with a ball of tissue fastened to it as shown in Figure 
 2. It is not necessary for us to call attention to the fact that 
 the audience is not supposed to know of the existence of the concealed 
 ball, as it is upon this concealed ball that the successful termination 
 of the trick depends. Pick up the strip of paper with the ball to the 
 rear, and with both of the palms held outward and the fingers wide 
 apart. While showing the hands, pass the paper back and forth from one 
 hand to the other. Now take the paper in the left hand and covering 
 the ball with the thumb, show both sides of the paper, as shown in 
 Figure 3. Tear the paper into about four pieces, as in Figure 4, and 
 place all these together and tear again, as in Figure 5. Now place all 
 the torn pieces in front of the piece with the ball attached, as shown 
 in Figure 6. Wrap the torn pieces in this rear piece. The result will 
 be that you now have two balls of paper, one consisting of the torn 
 pieces and the other of the whole strip of paper, and held together by 
 the glue as shown in Figure 7. Press these together and show as. one
 
 2- 
 
 ball, and secretly turn the whole paper towards the audience, and 
 calling their attention to the fact that the paper does not leave 
 their sight for an Instant. All that now remains Is to unfold the 
 ball of whole paper so that the torn pieces will be concealed behind 
 it as was the other ball in Figure 2. To all appearances the paper 
 is now restored as at first. Again show both hands, covering the 
 ball of torn pieces with the thumb and again show both sides of the 
 paper . 
 
 In arranging patter for this trick, we would suggest that you mention 
 the wonderful qualities of a certain Chinese paper and what magicians 
 have discovered about it. Sleeves may be rolled up while performing, 
 and with care, a spectator may be allowed to hold the performers 
 wrists. At the conclusion of the trick, roll the paper Into a ball 
 and pocket it in an apparently careless manner. Paper should be of a 
 dark color and no light should shine from behind. A good plan is to 
 mark the paper with Chinese characters in black ink, as these serve to 
 cover the shadow of the ball. It also adds to the effect. It is 
 advisable to use the best grade of paper obtainable, as it is more 
 opaque . 
 
 AN ADDITION TO THE UP-TO-DATE PAPER TEARING TRICK 
 THE FAKE EXPOSURE 
 
 This feature Is really what makes this trick one of the classics in 
 Magic, and a feature which is always enjoyed by an audience. 
 Violating one of the cardinal principles in Magic, never to repeat a 
 trick and then to explain the method of performing the trick, the 
 beauty and effectiveness of this trick is enhanced when the expose 
 method is presented. This method is very simple, but like all good 
 tricks the very simplicity is what makes it great. To present the 
 trick In this form it is necessary to employ the one additional fake 
 or prepared paper and one single unprepared sheet of the same size 
 and color of the prepared sheets. Have two of the fakes prepared, one 
 is placed on the table with the fake on the under side and the single 
 sheet laid across same. Over this place your other prepared piece of 
 paper ready to use. First present the trick in the usual form and 
 then offer to explain how it is done. Pick up the single sheet , 
 showing it on all sides and explain that the trick is performed by 
 rolling this paper Into a small wad and then held palmed in the left 
 hand. Show the wad, and that there Is absolutely nothing else In 
 either hand. State that of course this should not be shown to the 
 audience, but held in this manner. Now pick up the other sheet and 
 proceed to tear in the usual way, having torn and rolled it into a 
 small ball, you explain that the secret of the trick is in the exchange 
 or switch of the papers. While explaining this, make the exchange 
 very openly and in such a manner that the spectators can plainly see 
 that there is no deception in this part, having placed the torn pieces 
 in the left hand and substituted the palmed ball. Of course nothing 
 is simpler than to unroll the duplicate ball and show that it is 
 restored. Up to this point the audience has followed you very closely 
 and apparently caught on to the extreme simplicity of the trick. Now 
 comes the knockout. Explain further that as has been said before, you 
 must never let them know of the duplicate palmed ball, in the left hand 
 which is switched for the torn pieces, and least of all never, never 
 forget yourself so far as to unroll the duplicate ball (which you in 
 the meantime actually do) and as it is opened and shown to be restored 
 and which is done in the original presentation, you state that in case 
 you should do this you would of course give the trick away or (as the 
 paper is now shown completely restored) you would find that you don't 
 know as much about the trick now as you did before I explained it to you.
 
 THE UNCANNY CIGARETTE PAPERS -13- 
 
 NO. 1; Performer rolls two cigarette papers Into as many 
 
 sails and places them on the table; taking up one of the paper balls 
 between the Index finger and thumb of the right hand, drops it into 
 the empty left hand, which is then immediately closed. The remaining 
 paper ball is now taken from the table with the right hand in the 
 same manner as the first, only, this time it is cast away (?) . A 
 cigarette which the performer has been smoking is removed from the 
 mouth, by the right hand, a cloud of smoke is blown on the left hand, 
 which, on being opened, is seen to contain tooth paper balls. This 
 effect is better for being repeated four or five times before per- 
 forming Effect No. 2. 
 
 EFFECT NO. 2t One of the two paper balls laying on the table at the 
 termination of the previous effect is taken up by the performer and 
 straightened out; it is thus held in the right hand between the thumb 
 and index finger where it is exhibited, more for the purpose of allowing 
 both hands and to be seen than that of displaying the paper. It is now 
 taken between the index finger and thumb of both hands and torn in two, 
 one piece being placed on the other, it is again torn, making in all 
 four pieces; these are crushed, or rather rolled into a ball by the 
 finger and thumb, where it is again exhibited and the hands seen other- 
 wise empty, the paper ball is straightened out and exhibited restored. 
 
 EXPLANATION NO. 1; The secret lies in the manipulation of a third ball 
 which the performer holds secreted between the first joints of the 
 index and second finger of the right hand. The cigarette when removed 
 from the mouth and held between the thumb and fingers conceals the 
 secreted ball from inquisitive eyes, and allows the hand to be held in 
 a more exposed position than would otherwise be permitted. 
 
 With cigarette in mouth and the secreted ball in position the performer 
 commences by taking two cigarette papers and rolling them into balls. 
 How in the act of placing one ball in the left hand the secreted ball 
 is also deposited, the hand being immediately closed, though without 
 undue haste; the second ball is now taken from the table, the per- 
 former removing his cigarette, for the apparent reason of blowing some 
 smoke on the left hand, but, really for the purpose of concealing the 
 ball, which, instead of being thrown away, was retained in position by 
 the first and second finger, ready to be completely hidden by the 
 cigarette, thus allowing the performer after revealing the two papers 
 in the left hand to repeat the effect. 
 
 EXPLANATION NO. 2; With a ball of paper concealed by the cigarette as 
 at termination of effect number one, the performer disposes of his 
 cigarette entirely, and taking up one of the two balls from the table, 
 straightens it out, and exhibits it, at the same tine using it to 
 conceal the secreted ball; he now tears the exhibited paper into four 
 pieces and rolls it into a ball again, pressing the two balls 
 together between the finger and thumb of the right hand he exhibits 
 them together as one only, then, rolling the ball comprised of the 
 pieces into the place of temporary secretion from whence the good ball 
 came, the latter he proceeds to unroll, encountering a little difficulty 
 in unravelling the ball he resorts to moistening first the index finger 
 of the left hand and a little while after the same finger of the right 
 hand, the act allowing the secret disposal of the ball of pieces by 
 depositing them in the mouth, from where they can be removed some time 
 afterwards. 
 
 THE SPIRIT OF THE DEAD 
 A sheet of borrowed paper is taken and then torn into a number of
 
 14- 
 
 strips. These strips are distributed among your audience with the 
 request that all but one person write the names of some living 
 person on the slips, and on the remaining slip the name of some dead 
 person is to be written. The spectators then are requested to fold 
 their slips several times to conceal the writing within, and place 
 them all on the table, or in a borrowed hat, all to be well mixed. 
 
 The performer now advances to the table or hat and turning his back 
 picks out the strip bearing the name of the dead person and the name 
 is dramatically called out with amazing correctness. The strip is 
 then opened and the name verified. 
 
 No preparation is necessary whatever to perform this remarkable 
 effect, and it is independent of time or place, two facts which can 
 be said of very few feats. One person is selected from the company 
 to take active part in the experiment. He is requested to obtain a 
 full sheet of his own letter paper. The performer with a pencil 
 draws lines dividing the sheet into six divisions, nearly equal. He 
 then informs the person that after the writing is done, the paper is 
 to be torn off on the lines into separate slips, and each slip folded 
 three times. To illustrate the method, the performer folds the sheet 
 over on the first line, creasing it, the better to tear it off, which 
 he then folds in half three successive times. 
 
 The performer now announces that he will step away and turn his back 
 to avoid the possibility of his seeing what is written. (He has 
 casually retained the sample slip which he folded, either placing it 
 in his trousers pocket or retaining "it concealed between the fork of 
 the thumb. The existence of this slip will soon be forgotten by the 
 audience, who are taken up by the instructions which the performer 
 gives to the person writing.) 
 
 The person is now Instructed to wite the names of four living persons, 
 any friends or anyone he may happen to think of. This leaves but one 
 remaining space, the one at the bottom of the sheet, in which he is 
 instructed to write the name of a dead person. He is then directed 
 to tear off the slips and fold them as previously instructed. All of 
 the folded slips containing the names of living persons will have two 
 rough edges, from the fact that the edges were all made by tearing. 
 The last slip, the one containing the names of the dead person, will 
 have but one rough edge, and the original smooth bottom edge of the 
 paper will distinguish it from the others. It will be remembered that 
 the performer used the first slip in demonstrating the method of 
 folding, thus disposing of the other smooth edge. 
 
 When the folding has been completed, the person leaves all the slips 
 upon the table, and of course, it is an easy matter for the performer 
 to locate the slip containing the name of the dead person, which he 
 will find no difficulty in picking out even though his back be turned. 
 
 Instead of picking out this slip first, it is advisable to pick up 
 one of the others. You stand with your back to the table, with the 
 company also behind you and you must be deliberate in your movements. 
 Picking up a slip containing a living name, the performer slowly brings 
 it around in front of him, and then he raises it to a point a few 
 inches above his head. Then, as though talking to the spirits, asks 
 "Is this person living or dead living? Yes." The hand is lowered 
 slowly and the slip returned to the table, without, however, confirming 
 the statement as to whether or not it is a living person.
 
 tore off to demonstrate the folding. While slowly bringing around 
 the dead slip, it is quickly exchanged for the blank slip, which is 
 raised above the head as before. This exchange is very simple. It 
 may sound crude, but it is never suspected. While addressing the 
 spirits, etc., you quickly unfold the dead slip, ascertain the name 
 and fold it up again. The name is then apparently "read" one letter 
 at a time, and finally the full name announced. It is, of course, an 
 easy matter to exchange the slips, when the one actually containing 
 the name of the dead person is handed, still folded, to the person 
 who wrote it, who may then verify your statement. 
 
 THE CUT AND RESTORED RIBBON TRICK 
 
 Procure a piece of ribbon, thirty-six Inches long and one inch wide. 
 This should be a silk ribbon. Cut the eighteen- inch length into 
 pieces two and one half inches long. Sew the ends of these pieces 
 together forming a loop. The only preparation needed for this trick is 
 to run the ribbon through one of the loops and place it on the table, 
 somewhere where the loop will not be seen by your audience. 
 
 PRESENTATION; Pick up the ribbon holding the loop between the thumb and 
 second finger of the left hand, the palm of the hand toward you, the 
 front of the hand toward your audience. Place one end of the ribbon 
 between the first and second fingers. Pull one end and then the other 
 through the fingers several times as if you are trying to find the 
 center of the ribbon. When you think this effect is had, stop about 
 the center and grasp the fake loop at the top with the fingers of the 
 right hand pulling it up a trifle, Just enough so that you an grasp 
 the part of the loop where it Joins the ribbon between the thumb and 
 first finger, dropping the two ends of the ribbon away from the hand. 
 You can now show the hand and ribbon from all sides as the fake part is 
 hidden between the thumb and first finger of the left hand giving the 
 appearance of only one piece of ribbon folded in the center. If these 
 movements are thoroughly blended together they will create the impres- 
 sion that all that you have done is to gther up the ribbon by its 
 center to form a loop and this loop you cut with a pair of scissors and 
 while cutting hold firmly to the loop so that it will not pull out from 
 between your fingers. Cut away as much as possible of the fake loop 
 and then again place one end of the ribbon between the first and second 
 fingers as before bunching up the ribbon between the first and second 
 fingers where it has apparently been cut away. A few magic passes and 
 you again draw the ribbon through the fingers and finally pass it out 
 for examination. 
 
 MENS RB7ELO 
 
 The secret of this effect lies in the envelope which is given out with 
 a slip of paper. This envelope is prepared to receive a carbon 
 impression within it. Prepare envelopes in the following manner: 
 Cut away the entire back of the envelope. This leaves you one piece 
 which is the front of the envelope and the flap. Trim the three edges 
 of the front of the envelope slightly. Insert this into another 
 envelope. Now between the envelope and the fake piece, place a piece 
 of the thinnest carbon paper. You now seal the two flaps together. 
 The prepared envelope is apparently empty with the exception of a slip 
 of paper upon which the spectator is to write the question. 
 
 Prepare three envelopes as described above and in one put an extra slip 
 of paper. Place these three prepared envelopes on top of four unprepared 
 envelopes and fact these envelopes in the opposite direction to the 
 three on top. The envelope containing the two papers is second from 
 top.
 
 1 6 
 
 Open one of the envelopes and draw out a slip of paper in such a 
 manner that the inside can be seen, and placing the paper on back of 
 envelope, place it in party's left hand and a hard pencil in his 
 right hand, with instructions for writing. Then remove one of the 
 papers from that envelope, which contains two papers, and place paper 
 and envelope in the hands of a party just one seat removed. Then 
 leave these parties and instruct a third party in preparing a writing, 
 watching the first two so that the moment they turn their papers over 
 as instructed, you will know they are finished. Return and explain 
 that care must be taken in folding papers Just as I instruct. Taking 
 the first party's envelope, remark, "I had an extra paper in one of 
 these envelopes to show the method of folding" (looking in envelope 
 quickly, then taking second party's envelope, you of course find the 
 paper) and remark, "Ah, hereit is, I will show you with this," You 
 place pile of envelopes (which has the two prepared ones on top, 
 remember) under arm in a natural manner to give the hands more free- 
 dom in folding paper. After folding paper take envelopes from under 
 arm, but with the pile reversed; that is, with the unprepared en- 
 velopes on top, and opening the uppermost envelope, slip the blank 
 paper inside Just to illustrate your instructions for placing papers 
 in envelopes. Then hurriedly hand the two upper envelopes to the 
 parties and hurry off to the third party. Thus you have exchanged the 
 envelopes in a manner that even the initiated cannot detect; absolu- 
 tely no sleights or "moves" only the most natural actions followed. 
 
 The method with the third party is generally shorter, merely taking 
 the envelope for a moment to illustrate the method of folding and to 
 relieve the party of the envelope. Rest your hand holding the 
 envelope on top of the pile and no matter which way paper is folded, 
 pretend it is wrong and have it refolded, and while gesticulating with 
 right hand, drop the other hand to side and quietly turn packet over, 
 so when you hand party envelope from top of packet, he receives an 
 unprepared one. At the first opportunity ascertain the question in 
 the prepared envelope. 
 
 This method is many times superior to any known test for downright 
 practical results. The practical performer desires quick, absolutely 
 certain results with all the sleights and elaborations cut out and 
 the practical, certain method well planned out, described above will 
 be appreciated by the professional, and, we hope, by the amateur as 
 well. 
 
 THE CIGARETTE FROM NOWHEPF 
 
 EFFECT; The performer shows his hands empty and pretends to remove 
 a package of cigarette papers from the pocket and making believe to 
 take one of the tissues from the imaginary package. In pantomine form 
 he then pretends to replace the package of papers in his pocket, reach 
 for his bag of "Bull Durham" he pantomines the shaking of the "making 
 onto the paper in accordance with the proper technique of "rolling 
 your own." After the make believe cigarette has been properly con- 
 structed, same is placed in the mouth, match is removed from a box of 
 safety matches, hands are again shown empty, match is struck and 
 applied to the phantom cigarette, and, lo and behold, a cigarette is 
 seen between the lips which is being smoked by the performer. 
 
 EXPLANATION; First of all, you must prepare a match box, the type box 
 most suitable is a penny box of matches that contains wooden matches. 
 Cut a hole the size should be a trifle larger than the circumference 
 of the cigarette. This hole is cut on the right-hand side in one end 
 of the drawer of the match box. Into this hole, place a cigarette.
 
 Replace as many matches as the box will hold without crowding, with 
 the exception of three or four matches which remain on the top, the 
 balance of the matches are glued together. This is done so that when 
 the cigarette is removed from the box, there will be no loose matches 
 to accidently drop out. 
 
 The box of matches containing the cigarette is then placed in the 
 left coat pocket, the cigarette end up. Go through the motions as 
 described in the effect of the experiment and upon reaching the 
 point where the match is required, remove the box from the pocket, 
 being careful to hold the cigarette so that it points towards you and 
 out of sight of the spectators. Push the drawer open from the back 
 one third of the way with the right thumb so that the protruding end 
 of the cigarette goes into the box. Show the hands empty, transferr- 
 ing the box to the right hand. Remove the match, strike same, and 
 holding the box cupped in the right hand, bring the burning match up 
 under the box, your hands shielding your mouth. As you do this, take 
 the cigarette between the lips and making a quarter turn of the face 
 to the right, under cover of this motion the cigarette is slipped out 
 of the box and the match is brought in contact with same and the 
 cigarette is ignited. The hands are then quickly taken away exposing 
 the performer smoking the cigarette. Toss the match aside and put 
 the box back into your pocket. 
 
 A SPONGE BALL ROUTINE 
 
 Procure a large brown-colored sponge from a convenient dine store. 
 From this sponge cut four round balls about one inch in diameter and 
 four more about one-half inch in diameter. Place all these in your 
 right hand coat pocket. Begin the trick by removing from your pocket 
 three of the large sponge balls and placing same on the table. To 
 the spectators, three balls are used. In reality you have four 
 balls, one being concealed at the base of the fingers on the right 
 hand, between the first and second fingers. In the act of picking up 
 one of the balls from the table, you place the concealed ball on the 
 top of the ball you are picking up, showing same to your audience 
 Just as if only one ball is between your fingers. If this is done 
 properly, the deception will be perfect. This ball (really two 
 balls) is now placed in your left hand which immediately closes, 
 thereby keeping the ball from view. A second ball is now picked up 
 and placed into the left hand which Immediately closes as before. 
 Three balls are now in the left hand, which the audience thinks 
 contains but two. 
 
 Pick up the third and last ball from the table with the right hand. 
 You apparently place this in your right-hand coat pocket, but in 
 reality it is held between the first and second fingers near their 
 tips, the thumb aiding in getting it into position. The balls in the 
 left hand are now thrown on the table, showing three therein, and 
 making it appear that the discarded ball has joined the first two in 
 the left hand. 
 
 You are now ready to repeat the operation, using the same procedure as 
 described above. Then if you desire to'repeat again, place the balls 
 into a spectator's hand instead of using your own hand. Care must 
 be taken that the spectator does not open his hand prematurely. 
 
 You can now repeat the trick again and Instead of placing- one large 
 ball between the first and second finger, procure the four smaller 
 balls holding these in the same manner as the one large ball was held 
 in the previous operation. When this routine is completed your 
 spectator will have six balls in his hand instead of the usual three.
 
 -18- A GLASS OF WATER AND A COIN 
 
 THE EFFECT; A quarter is placed on the table; a playing card is 
 placed over it. The two are now covered with a soft felt hat. You 
 inform your audience that you will attempt to cause the coin to 
 appear heads or tails, as desired. Regardless of their choice, the 
 hat and card are lifted and the trick is tried again. If you fail 
 you remark that you will cause the coin to pjaas through the top of 
 the table. Again the hat is lifted, but this tine your audience sees 
 on the table, instead of the coin a glass partly filled with water. 
 
 EXPLANATION; The trick is performed while you are standing at a 
 small table with your audience standing all around you and this is 
 where the value of misdirection will be appreciated. First of all, 
 you must secretly procure an ordinary glass and fill it half way with 
 water. You now place this glass under the vest in a convenient 
 manner. The glass will easily stay in position and it will not be 
 noticable. 
 
 Procure a soft hat and lay it on the table. Borrow a coin which you 
 place on the table and cover it with a card. Over these, place the 
 hat and request someone to call heads or tails. Lift the hat with the 
 right hand, bringing it to a natural position against the body at the 
 waist-line, where the glass has been placed. Ask the spectator to 
 lift the card. If you are ritfht regarding the coin, say that you will 
 repeat the trick. If you are wrong, make excuses and say that you 
 will try again. You now repeat the procedure previously described and 
 once more bring the hat to the waist-line. When your spectator again 
 starts to lift the card, all eyes are naturally centered on what is 
 taking place on the table, this gives you ample opportunity to secure 
 the glass with your left hand, place it underneath the hat, and grasp 
 it with the right hand to the top of the hat, all unnoticed. 
 
 This time you take out the coin with the left hand and lay hat and 
 glass on the table. Care must be taken so as not to make a noise. 
 The coin is now apparently placed in the right hand which makes a 
 throwing motion under the table. Lift the hat with your left hand and 
 to the surprise of all, a glass of water magically appears on the 
 table. 
 
 JUMPING RUBBER BAND 
 
 To make a rubber band jump from the first two fingers to the last two 
 may be done as follows: Stretch the band inward with the other hand 
 and bend all four fingers into the band. Show the back of the hand 
 with the band still on the first two fingers, and then extend all four 
 fingers. The elastic will Jump to the last two fingers. 
 
 The process may be reversed to bring the band back to its original 
 position. 
 
 BURNING A LUMP OF SUGAR 
 
 Now, that sugar has come down in price, the following trick will 
 prove a most perplexing problem. A match is set to a lump of sugar, 
 which Ignites and burns with a slow, blue flame. When the spectators 
 attempt to duplicate the feat, their efforts are unsuccessful the 
 sugar will not light. 
 
 To present this little mystery, one corner of the lump is secretly 
 dipped into the ashes of a cigar or cigarette. It will then ignite 
 when set to the lighted match; but those unacquainted with the secret 
 will find the trick impossible.
 
 THE VANISHING COIN -19- 
 
 For impromptu work with borrowed articles, the effect about to be 
 described is one of the most perfect illusions of which the present 
 writer knows. Too, it is a very nice little stunt to have on tap 
 for the man who has a smattering of conjuring. Should he desire to 
 examine the goblet after the experiment is over, the performer may 
 with relish lead him on, by means of apparent reluctanct to acquiesce 
 with his request, then pass the glass to him. No circular crystal 
 disk will reward the inquisitive "sucker's" search. 
 
 Briefly, a borrowed coin, covered with a borrowed handkerchief, is 
 audibly heard to drop into a borrowed goblet, half full of water. The 
 handkerchief is secured about the goblet with an elastic band, and all 
 is handed to someone to hold. Upon examination, the coin is found to 
 have vanished completely, being reproduced at the performer's 
 sidcretion. 
 
 In your left vest pocket have an elastic band. Borrow a stemmed 
 goblet with a fairly large base, and half fill it with water. Openly 
 place a borrowed half dollar in the center of the borrowed handkerchif 
 which lies across the right hand. Seize the coin from beneath with 
 the right hand thumb and fingers, through the fabric of the handker- 
 chief, and pick up the goblet by its base in the left hand, the thumb 
 and first or second fingers encircling the stem to steady the goblet, 
 the other fingers lying around the circumference of the base, to form 
 a sort of cup. 
 
 The right hand drapes the handker hief, coin still beneath, over the 
 goblet. Say that, at the count of "Three," you will drop the coin 
 into the goblet. Count very slowly. 
 
 Just as the right hand is about to drop the coin, the left hin^ tilts 
 the top of the goblet toward the company, far enough so the coin 
 cannot fall into it, but not far enough to spill water. The coin 
 drops onto the tilted base of the goblet, ringing with striking 
 naturalness, and slides into the cupped left fingers. 
 
 Immediately the right hand draws the handkerchief tightly over the 
 goblet's mouth, and seizes the stem through it. The left hand, going 
 to the vest pocket, drops the coin therein. The handkerchief is 
 secured by slipping the rubber band over the goblet's stem. Then all 
 is handed to a skeptical party for the denouement. 
 
 THE TRAVELLING PENNIES 
 
 Four pennies are placed seven or eight inches apart in the form of a 
 square on a cloth-covered table. Two playing cards are placed over 
 two of the coins. Coin No. 5 is taken in the right hand and 
 apparently passed through the table. On lifting the card that was 
 placed over coin No. 1, two coins are found there. The fourth coin 
 is then taken and also passed through the table, the card again 
 lifted and three coins are found. The last coin is now passed from 
 underneath the other card and all four are found under the first 
 card. 
 
 EXPLANATION; Use the same routine as previously described in A 
 NOVELTY WITH PAPER BALLS. Instead of balls, coins are used and instead 
 of two hats, playing cards are used.
 
 A NOVEL COIN TRICK 
 
 EFFECT ; Six pennies are counted and made into a heap on the table. 
 Pennies are now covered with a small handkerchief. A small die is 
 shown, and placed in the trousers pocket. The left hand is now 
 placed under table, and right whips off the handkerchief. The die 
 is found on the table instead of the coins, which the left hand 
 brings up and throws onto the table. 
 
 PREPARATION; Place six pennies in your left trousers pocket, and 
 six pennies in your right trousers pocket, together with two dice. 
 The pennies in your right trousers pocket should have a little bit 
 of magician's wax on one face of each. 
 
 EXPLANATION; Seat yourself at the table and take out the six 
 prepared pennies and the two dice (concealing one in the hand.) 
 Lay the pennies singly on the table, and place the die nearby. Get 
 a small handkerchief from your pocket. 
 
 Piling the pennies in a stack, waxed surfaces one way, cover them 
 with the handkerchief, pressing on them so they will stick together, 
 at the same time introducing the concealed die under it. 
 
 You now state that you will place the visible die into your left 
 trousers pocket from whence it will vanish and appear under the 
 handkerchief, while the pennies will pass through the table top. As 
 your left hand cooes from the pocket, it brings the other six pennies 
 stacked, and, as you point under the table, explaining what you will 
 do, you leave the coins on your knee. (If you have a knee like mine, 
 you will have to have a saddle put on it, such as bare-back riders 
 use in a circus.) 
 
 You now bring up the left hand and explain again what you intend to 
 do, showing the hand empty. Now reach under the table with it, 
 snatching the coins from your knee as you do so. With the right 
 hand whip off the handkerchief, secretly bringing away the colng in 
 a block beneath it. Bring forth the left hand with the loose coins, 
 which you throw on the table with a bang as you pocket the handker- 
 chief and the pennies concealed in it. 
 
 I would suggest, in order to eliminate the danger of the coins' 
 slipping off your knee, that you have a cushion on your chair and, 
 as you sit down, secretly pull it forward between your legs far 
 enough to make a shelf on which you can easily lay the coins and 
 later scoop them away. As you rise you can readjust the cushion. 
 
 THE ROPE AND RING TRICK 
 
 A single piece of soft thin clothesline is examined, and anyone runs 
 it through an ordinary curtain ring, securing the latter at the 
 lines T s center with a single knot. The performer removes his coat 
 and runs an end of the cord down either sleeve the tied ring 
 remaining in full sight. Two spectators hold the cord ends, and 
 under cover of the coat the performer removes the ring, which may be 
 secretly marked to obmiate exchange, Then all is examined. 
 
 This is the height of perfection in misdirection, the method 
 employed being absurdly simple, yet practically Indetectlble. The 
 only requisites are a soft cord and two wooden curtain rings, one 
 being placed beforehand in the inner breast pocket of the coat. 
 
 The tying is absolutely fair, and the cord ends are run through the 
 sleeves with no deception whatever. As the two parties seize the
 
 cord ends, the performer's only move is to secretly hunch the coat ** 
 shoulders toward one another, so that not many Inches of cord can be 
 seen when the Inside of the coat is shown. The coat is suspended by 
 the cord its back to the company. 
 
 To show the ring, the wizard gives the coat a half turn to his right, 
 which of course slackens the cord somewhat. When he turns the coat 
 back again, and as his assistants are drawing the cord taut, he 
 indetectibly slides the coat slightly to his right along the cord, 
 causing the ring to enter the coat's right arm unsuspected by anyone. 
 A couple of trials will teach the moves better than a page of print 
 can. 
 
 The performer steps aside a moment, then goes to the coat again. 
 Reaching inside it he secretly takes the second ring from its breast 
 pocket, and with the other hand again swings the coat around. Holding 
 the ring against the cord, it naturally appears to be the one tied 
 thereon, as it is the only ring in sight. Holding the coat by its 
 collar with one hand, he apparently yanks the ring free with the 
 other . 
 
 Requesting his assistants to release their hold of the 1 cord ends, he 
 carries the coat to the table, laying it there on its back. The ring 
 still in view in his right hand, he seizes with the same hand the end 
 of cord protruding from the left coat sleeve, and with the left hand 
 he secretly seized the ring inside the right coat sleeve, through the 
 fabric. 
 
 The need of a soft cord becomes apparent. If the ring is smootn, and 
 the knot not too tight, the act of pulling one end of the cord 
 automatically unties It. The cord pulled free, the right hand, holding 
 the duplicate ring, enters the right coat sleeve for the purpose of 
 putting the coat on. But on the way it drops that ring Into the 
 pocket whence it came, and emerges from the lower end of the sleeve 
 with the original -one, picked up on the way. The coat on, the ring 
 and cord are passed for examination. 
 
 A CUT AND RESTORED ROPE ROUTINE 
 
 Procure a hank of soft clothesline. Do not use the heavily starched 
 sashcord that is sometimes sold as clothesline. From this hank, cut a 
 piece about twelve Inches long. The longer piece is prepared In the 
 following manner: The two ends are cemented together with a good 
 grade of liquid rubber cement. Be sure and procure a colorless cement. 
 When prepared this will form an endless loop. Before a proper joining 
 can be made you must cut each end of the rope in a diagonal manner. 
 These ends are dipped into the rubber cement. Let the cement cover 
 about one-half an inch of each end of the rope. This must be allowed 
 to dry thoroughly and then the rope is given a second coat of rubber 
 cement. This also must dry thoroughly. When the cement is completely 
 dry it will have penetrated into the fibers of the rope and will be 
 practically invisible to the eye. Care must be exercised, however, 
 that your hands are clean as the cement-impregnated ends pick up dirt 
 from the pores of your fingers. Bring the two prepared ends together, 
 squeeze them tightly with your thumb and forefinger and make as perfect 
 a Joining as possible. 
 
 The short piece of rope is now tied into this endless loop at a point 
 exactly opposite the spliced ends, and it is this short piece of rope 
 that passes for the real ends of the rope. Now what appears to be the 
 real ends of the rope is merely an extra piece of rope tied around the 
 middle of the long rope.
 
 -22- 
 
 PRESENTATION; To begin the experiment, take the rope thus prepared 
 from your pocket. Start to untie the rope, but apparently change 
 your mind and re-tie it. Hold the rope with the fingers of one hand 
 over the joining that you have made with the cement. Hand a 
 spectator a pair of sharp scissors and have him cut the rope a few 
 inches above the cemented portion. Have him examine his end of the 
 rope to see that it really has been cut. While he is doing this, 
 have another spectator cut the rope a few inches below the cemented 
 portion and examine the rope to be sure he has cut the rope. Replace 
 the scissors together with the cut away portion of the rope in your 
 pocket. Hold the cut ends far apart and then tie them together. 
 
 You now have what appears to be a real knot on both ends of the rope. 
 Bring both of the ends up together and have one selected. You lead 
 your audience to think that they have free selection, but you really 
 force the fake knot for the final restoration. Suppose the spectator 
 chooses the real knot; you then ask him to hold it in his own hands 
 while you untie the other. If he chooses the fake knot, say that you 
 will proceed to use the one chosen. The part now is to t rid of the 
 fake knot. Untie it keeping the fake connection with the long rope 
 concealed by the left hand. With the scissors cut this away into 
 several pieces which you throw out as souveniers. Cut untilthere is no 
 more knot left. In the meantime, you can have the real knot untied and 
 give an end to each of two spectators. After the fake knot has been 
 cut away, show the rope has been restored. If desired you may pass for 
 examination. 
 
 THE PHANTOM PAPERS 
 
 With this trick you require a packet of white cigarette papers, four 
 pencils, red, blue, black and green, four pieces of tissue paper 
 corresponding to the color of the pencils; one piece of apparatus which 
 consists of a square of cardboard just a trifle larger than a 
 cigarette paper; two rubber bands to fit across the narrow end of this 
 cardboard. 
 
 PREPARATION; Put only one cigarette paper in the frame fastening the 
 same at each end with a small rubber band. Place this in the right-hand 
 trouser pocket with the four colored pencils. These pencils are 
 prepared as follows: the black pencil is an ordinary round pencil 
 sharpened on one end only and only about one inch long. The red pencil 
 one inch long, sharpened on both ends. The blue pencil one inch long, 
 sharpened on one end and notched somewhere near the top. The green 
 pencil, a square or hexagon pencil cut one inch long and sharpened on 
 one end. Place these pencils in the trouser pocket with the apparatus. 
 By the sense of touch you will be able to readily distinguish the color 
 of the pencils. Be sure to have nothing else in the pocket to interfere 
 with the handling of the apparatus and the four pencils. 
 
 EFFECT ; Place the four pieces of tissue paper on the table and request 
 some one to select the name of one of the colors. Immediately put your 
 hand in your trousers pocket and find the pencil of the same color as 
 the one named. Take out the packet of white tissue and hold same in 
 plain view in the left hand. Request another spectator to name any 
 number between 1 and 1,000. 
 
 Ask someone else to select one of the white tissues and roll it into a 
 small ball. While this is being done, write the selected number on the 
 framed piece of paper in the pocket, remove the paper fron the center of 
 the frame by pinching it with the thumb and first finger and roll it 
 into a ball. Be sure to observe the size of the ball being rolled by the 
 spectator so that yours will appear as nearly like his as possible.
 
 Bring the ball out of the pocket holding same between first and 
 second fingers. The hand should be held in as natural a position 
 as possible. Request the spectator to place the ball on the table. 
 As he does so pick it up with the right hand, saying, "You must 
 place it on the color selected." This gives you. the opportunity to 
 change the ball for the one you hold. This is a natural move and 
 can be accomplished with very little practice. If he happens to 
 place the ball on the color selected, make som other excuse for 
 picking up the ball and moving it. 
 
 You may now state that if the spirits have been kind, they will have 
 written the selected number in the chosen color. Ask anyone present 
 to unroll the ball and to the surprise of every one the marvelous 
 feat has been accomplished. 
 
 PROJECTION OF THOUGHT 
 
 The performer states that he will demonstrate the theory of projection 
 of thought and requests some spectator to assist him in this demon- 
 stration. 
 
 You now ask your assistant to write any number of three different 
 figures, then he is to reverse them and write the smaller below the 
 larger. Example : 571 reversed 173. 
 
 When this has been done, the performer tells him to draw a line under 
 the numbers and to subtract the smaller from the larger after he has 
 made the subtraction, the magician writes a number on another piece 
 of paper laying it face down on the table before him. Someone is now 
 asked to remove the paper from the table and what has been written 
 proves to be identical with the answer. 
 
 Now to procure the result of the subtraction. First of all you will 
 note the peculiarity that will be evident in the subtraction of this 
 type. The number will always be one of these numbers: 99, 198, 297, 
 396, 495, 594, 693, 792, 891. Of these numbers 198 and 891 are very 
 uncommon. The performer pays little attention to his assistant 
 until he is making his subtraction. Then the magician watches him 
 from a distance and notes the movement of the hand or the tip of the 
 pencil. 
 
 This is an extremely easy matter which you will be able to get at the 
 first trial. After some experience, you will be able to catch one of 
 the numbers by a mere glance at the proper moment. This proper 
 moment can be had by informing your assistant not to begin his sub- 
 traction until instructed to do so. Yet you are too far away to see 
 the writing on the paper on account of the elevation of the pad, so 
 no one will suspect anything. Remember that the subtraction is from 
 right to left, the center number is always nine and the other two 
 numbers will always add nine, so one figure caught by the movement of 
 the pencil will give you the clue to the whole number. 
 
 If you desire this trick can be worked in connection with the 
 Phantom Papers, previously described. 
 
 THE FOUR PENNIES 
 
 AFFECT: A penny is placed in the palm of the right hand, another in 
 the left hand. The hands are then closed, and the palms turned 
 upward. A spectator lays another penny on the ends of the closed 
 fingers of each hand. With a throwing motion and turning the hands
 
 84 
 
 downward, one penny Is caused to transfer, Invisibly, to the other 
 hand, so that the left hand when open is found to contain three coins, 
 but only one remains in the right. 
 
 PRESENTATION; Four pennies are placed as described above. When the 
 hands are turned over, the left hand opens and grasps the outside 
 penny with the finger tips so that the two are held in that closed 
 hand. But when the right hand turns, it opens and drops on the table 
 the penny in the palm as well as the one on the finger tips. 
 
 To the audience it now appears that the pennies which rested on the 
 finger tips of both hands fell on the table. Remark that the trick 
 did not work, and again request one of the audience to place the 
 pennies on the finger tips as before. Hold the hands far apart and 
 quickly turn them over, opening the fingers sufficiently to grasp the 
 coins with the finger tips and pull then Inside the fists. When the 
 hands are now opened the left hand holds three coins and the right 
 hand one, yet the audience has not seen how the coin was passed from 
 one hand to the other. 
 
 THE VANISHING GLASS 
 
 This trick is performed while you are seated at a table. Place a coin 
 on the table close to the edge. Over this coin, place an ordinary 
 drinking glass and around the glass twist a piece of newspaper turning 
 it tightly at the top so that it forms a shell over the glass. As 
 explained in a previous trick, you inquire as to what the coin shall 
 be, heads or tails, and then pick up the glass and paper to see 
 whether you are correct. While your audience is giving their attention 
 to the coin, slowly draw the glass toward the edge of the table and 
 allow same to drop in your lap. Hold the paper so that it will keep 
 the shape of the glass and place it down over the coin as before, just 
 as if the glass were still under the paper. Again inquire from your 
 spectators as to what they desire on the coin, heads or tails. 
 Regardless of the result you suddenly slap your hand down on the paper 
 crushing it to the table to the great surprise of all present. If 
 desired, the glass can be reproduced from under your coat. 
 
 PROJECTION OF THOUGHT TRICK NO. 8 
 
 If it were possible to carry an effect of mystery to the utmost limit, 
 In order to derive something of an almost unbelievable effect, then 
 here In this trick the result has been obtained. 
 
 This will seem positive proof of thought transmission and in the 
 presenting of this masterpiece, the skeptics in your audience will be 
 convinced. 
 
 The performer requests that someone in the audience, who is well known 
 and who positively cannot be a confederate, to assist him in this 
 experiment. The performer now states that he will demonstrate the 
 theory of projection of thought and his development of the so-called 
 mental Influence that when you desire you can so strongly concentrate 
 upon a certain person that when you wlsn them to do or say a certain 
 thing, ninety nine times out of a hundred they will follow out their 
 exact wishes. 
 
 EFFECT; The performer exhibits a small envelope and a card. On this 
 card he writes several items which he does not show. He then seals the 
 card In the envelope. The spectator who Is to assist the per farmer 
 is requested to concentrate his thought when he is told to do so.
 
 -25- 
 
 He Is then asked to select various numbers, words, names, etc., which 
 the performer states will be found already written on the card. At the 
 finish of the experiment this card is removed from the envelope and the 
 performer's statements are verified. 
 
 PRESENTATION; Use a small size drug envelope. Inside of this envelope 
 you secretly paste a piece of good grade red typewriter carbon paper 
 with the carbon side facing the bottom of the envelope. Be careful as 
 to the size of the carbon paper so it will not be exposed when card is 
 removed from the envelope. A blank card is now passed for examination. 
 You now take a red pencil and pretend to write on the card holding it 
 in such a position so that your audience cannot see as you write. In 
 reality you do not write on the card at all. Just pretend to do so. 
 Place the card, which is still blank, in the envelope. It is now 
 sealed and held in the left hand. You now request your assistant to 
 name a number between one and one thousand, to name a day in the week, 
 a month in the 'year, or the name of some prominent person, etc. When 
 he mentions his selections, you make a note of each by writing them 
 down on a loose slip of paper as they are called out. For convenience 
 in writing, use a heavy piece of cardboard or a pad slightly larger 
 than the envelope, as a support. You lay the envelope with the card 
 side undermost on the pad. Over the envelope lay a loose slip of 
 paper for taking notes, so that the envelope rests under the 
 memorandum slip, apparently by accident. In making a note on the 
 pad, use a No. 5 black lead pencil. As you write on the paper with 
 this hard pencil, a carbon copy in red is transferred to the card 
 enclosed in the envelope. See that you keep within the space of the 
 envelope. At the conclusion of the test, open the envelope and hand 
 the card to someone in the audience, the slip of paper given to 
 another spectator, opened and read for verification. Keep the envelope 
 and drop same carelessly into your pocket. 
 
 If this trick is properly presented, it is really a masterpiece. 
 
 DOLLAR BlfrL AND LEMON TRICK 
 
 The effect of this marvelous experiment is as follows: The performer 
 passes an ordinary lemon for Inspection. This is passed back to him 
 after the spectators have satisfied themselves that it is entirely 
 without preparation of any kind, and the performer places the lemon in 
 full view. Next a number of bank notes are borrowed from the audience, 
 and the owners are requested to mark them or note the serial numbers 
 to Identify them later on. The borrowed bank notes are now wrapped in 
 a borrowed handkerchief from which they vanish, and upon cutting the 
 lemon in half are found rolled up on the inside of the lemon. 
 
 In this method the performer has a duplicate lemon with a hole cut in 
 one end and extending almost through to the other end. This hole is 
 about one half inch in diameter. This lemon is placed in the right 
 hand coat pocket. The handkerchief to be used for vanishing the bank 
 notes is of the ordinary linen kind. Prepare it by rolling up a small 
 parcel of paper about one inch long by one half inch in diameter. Sew 
 this bundle in one corner of the handkerchief. In performing, pass 
 the real lemon for inspection and on its being returned to you, place 
 it in the left coat pocket, but at the same time, place the right 
 hand in the right coat pocket. By doing this, the audience will not 
 know whether the lemon was put in the right or left hand coat pocket. 
 This, as will be seen later will have an important bearing on the 
 trick. The next step is to borrow the notes. Be sure to impress 
 upon the parties loaning you the notes the necessity of noting the 
 serial numbers for future identification. As it is quite impossible
 
 86- 
 
 for the average person to memorize on a moments notice the entire 
 serial number, it is a good plan to ask them to remember the three 
 last numbers. This is quite sufficient for identification 
 purposes. After receiving the required amount of bank notes (three 
 being sufficient) they are rolled up into a parcel closely resembling 
 the parcel of paper sewed in the corner of the handkerchief. Take 
 the handkerchief from the pocket, getting the corner with the paper 
 in the palm of the left hand. Under cover of the handkerchief, and 
 while in the act of wrapping the borrowed notes in the handkerchief, 
 secretly bring the parcel of paper into the center of the handker- 
 chief so that, to all appearances the bank notes are wrapped therein. 
 At the same time thumb-palm the notes. 
 
 Now with the left hand gather up the handkerchief, letting the center 
 with what looks like the notes hand down. While you are passing among 
 the spectators letting them feel that the money really remains in the 
 handkerchief the right hand, with the bills thumb-palmed, nonchalantly 
 drops into the right hand coat pocket, which is the pocket containing 
 the prepared lemon. The rolled up bills are then introduced into the 
 lemon, and the lemon at once brought out of the pocket. By this time 
 you are on the way back to the stage, where you shake out the handker- 
 chief, showing that the bank notes have disappeared and all that remains 
 is to cut open the lemon, revealing the roll of bank notes therein. 
 In cutting open the lemon, care should be taken to keep the part with 
 the hole facing away from the spectators. It is also a good plan to 
 have a linen handkerchief placed loosely in the right coat pocket to 
 absorb any juice that may be forced out of the lemon by Inserting the 
 notes . 
 
 In this method the performer prepares a lemon by slitting one end and 
 inserting a dollar bill, the last three numbers of which have been 
 memorized, or are written very small on the performer 's thumb-nail. 
 This lemon is then placed among others on a plate, and forced on the 
 audience by equivoque or some other method, or it Is placed behind a 
 handkerchief and switched. In borrowing the dollar bill for this 
 experiment, care must be taken to get it away from the spectator be- 
 fore he has a chance to note any identifying numbers. After you get 
 back to the stage you remark "Oh, pardon me, will you kindly remember 
 these numbers to identify your bill when it is returned to you." At 
 this point you read the numbers you have on the thumbnail, or which you 
 have memorized, the numbers being, of course, the numbers on the dollar 
 bill which is already inside the lemon. The borrowed dollar bill may 
 now be disposed of by way of the card box or some other piece of 
 apparatus, and subsequently found inside the lemon. This method just 
 given Is by far the simplest, and although it requires nerve more than 
 anything els* to present, It Is just as effective, particularly if 
 presented with a running fire of patter.
 
 -27- 
 
 MENTALISM DE LUXE. 
 
 Introduction; 
 
 This act, lending Itself as it does to an effective and 
 varied presentation, can not be too highly recommended for the 
 attention of the magical fraternity. Sure fire in action, requiring 
 but two, performers, using no irksome codes, and but commonplace 
 articles, it may be performed anywhere without previous preparation, 
 or but a modicum of it, and will be found admirably suited for an 
 entire act, an impromptu display of talent, or as a serious test for 
 the mental worker. 
 
 Description of effect, with remarks relative to same: 
 
 While we propose to give here a brief description of the 
 act as seen from the vantage point of the audience, the routine as 
 shown is not necessarily binding upon the performers, who may vary 
 it at will, adding or subtracting additional and original effects 
 of their own, based on the same principle or not as they see fit and 
 depending on their respective abilities. 
 
 Imagine the curtain rising on a stage set with utmost 
 simplicity, the main property being in fact but a small, undraped 
 table which might very well be an ordinary card table. A pack of 
 cards, a purse, cigarettes, a few books, possibly some few other small 
 articles rest upon it. The stern but pleasant gentleman who has Just 
 introduced himself to the audience is saying something about the 
 possibilities of what he terms "silent thought transmission or pro- 
 jection" or the transmission of thought waves without physical con- 
 tact. We listen, possibly we smile. But wait. We prick up our ears. 
 He offers to prove his point, and then brings forward his assistant, 
 or had we better term him "medium" who in this case happens to be a 
 remarkably cool and self-possessed man A committee is quickly chosen, 
 who take him away, and in a distant room to guard him carefully that 
 he may have no inkling of what is to occur in his absence. 
 
 The medium gone, a series of tests is proposed and ar- 
 ranged A card is chosen from a pack, a small amount of money is 
 placed in a purse, a card is initialed and sealed in an envelope, a 
 watch is set at any desired hour, a book is chosen from the several 
 present and a page and selection freely chosen, possibly some colored 
 crayons are taken from their case. 
 
 The lecturer sums up: "Surely his assistant can have no 
 prior knowledge of what has been done, even the committee on guard is 
 entirely ignorant of what has taken place. He himself will now leave 
 the room, and the absent committee may now produce the object of their 
 care." Himself retiring at once, the committee file in with the medium. 
 They testify as to their extreme vigilance. Possibly they have even 
 taken the precaution to blindfold the medium. They step back, allowing 
 the medium, who seems remarkably cool and collected for a man about to 
 undertake a most serious feat in mentology, to stand alone. 
 
 Some of the audience are smiling We smile with them. There 
 is a subdued murmur of "it can't be done" BUT HE DOES DO IT. Wonder of 
 wonders, the card is named, the correct amount in the purse is stated, 
 to climax all the medium turns to the correct page and reads the de- 
 sired selection. We stand amazed, and go home wondering. Have we really 
 witnessed an exhibition of thought transmission? V/hat magic is this? 
 Truly wonderful.
 
 Explanation: 
 
 So much for the effect of this really fine feat of mental 
 magic. The explanation of the various tests will, as most likely the 
 acute reader will have surmised, lies in a clever system of coding. In 
 short, the way in which the various articles are placed upon the table 
 by the lecturer furnish the clues to the medium. That in a word, is 
 the underlying principle of the experiment. While this principle is 
 more or less a fundamental one, it must be remembered that it is 
 axiomatic that the simpler the working the more baffling the feat of 
 magic, for there v/ill be less to discover. With due regard to the 
 artistic presentation, the principle is twisted and turned through many 
 applications to the more mystify and baffle the senses of the spectators. 
 
 But not to weary the reader, let us proceed with the ex- 
 planation. The secret as we have observed is quite simple and 'funda- 
 mental. Imagine the table top to be laid out in (imaginary) squares or 
 oblongs as shovm in Figure I, and numbered as indicated there, from 1 
 to 12 or from 13 to 24 etc. as the case may be called for by other sig- 
 nals. It will now be obvious that it becomes a simple matter to indicate 
 a figure, say 5 by laying some pre-arranged object on the imaginary 
 square #5. 
 
 This is the principle adhered to throughout, that of signal- 
 ing by means of laying the object about which something is to be indi- 
 cated upon the proper square or in the proper position. Other principles, 
 familiar to all exponents of the art, are added to the fundamental one 
 to add to the effect of the act and to act as misdirection to the senses 
 of the audience. 
 
 Applications: 
 
 To go on with the various applications: 
 Test number one. (Card Test) 
 
 A card is selected from a shuffled pack, cards put in case, 
 case put on table. 
 
 Explanation: Pack is put on the square indicating the 
 value, as square #1 for Ace, Square #11 for Jack, 12 for queen. There 
 being no 13, the King is signalled by placing the pack in any extreme 
 corner of the table. Joker is signalled by leaving the pack in the 
 audience, which, in the event the Joker is selected will add materially 
 to the effect, as the cards do not leave the possession of the audience. 
 
 The suit of the card selected is indicated by the angle of 
 the case in the square indicating the value. This is clearly shown in 
 Figure II, and requires no further explanation As a memory aid, remem- 
 ber that the black suits are diagonal. 
 FIG. #1 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 % 
 
 9 
 
 10 
 
 11 
 
 72 
 
 PERFORMER 
 
 Clubs - Diamonds - Spades - Hearts
 
 -29- 
 
 Test number two (Cigarette test) 
 
 Here we have the choice of alternative procedures as a 
 pack of cigarettes is opened and several taken out, the case closed 
 and placed on the table. The medium may either tell how many 
 cigarettes have been abstracted, or else how many remain in the case 
 as he prefers. 
 
 Explanation: The number remaining in the case is signalled in the 
 familiar manner by placing the case in the proper square, as shown 
 in Figure III. We may remark here however, that it is advisable to 
 use cigarettes having a pasteboard case, as this can be closed more 
 readily. The cigarettes should of course be brought forward sealed 
 in their original wrapper. Note: If no cigarettes are removed the 
 package is left with the audience. Note: The cigarette box is placed 
 in position number one if there are from one to twelve cigarettes 
 removed and in position number two if from 13 to 24 cigarettes are 
 removed and then in this case square #1 is 13, square #2 is 14 and 
 so on to #12 which is #24. 
 
 FIGURE III 
 
 POSITION #1 
 
 POSITION #2 
 
 Test number three. (Crayon Test) 
 
 One of the familiar packets of colored crayons is brought 
 forward, opened, and one of the colored crayons is removed from the 
 packet, the case being then closed and placed on the table. 
 
 Explanation: Square #1 Black, #2 Blue, #3 Brown, #4 Green, 
 #5 Orange, #6 Red, #7 Violet, #8 Yellow. Note: The colors are 
 arranged in their alphabetical sequence as an aid to memory. As to 
 the crayons, the ones we have before us as we write are #8, Crayons, 
 manufactured by Binney and Smith Co. of New York, this particular 
 size containing eight colors, 'which is a convenient number for the 
 purpose of this experiment. 
 
 Test number four (Purse Test) 
 
 A small sum of money is put into an ordinary clasp purse, 
 which is then placed on the table. As the amount which can be success- 
 fully signaled must not exceed fifty cents (50j^), it is advisable to 
 bring the purse with the fifty cents in small change already in it, 
 thus forcing the audience to use this money or whatever portion of 
 it they choose. For signals see figure IV. 
 
 FIGURE IV. 
 
 Position #1 Position #2. 
 
 Position #3 Position #4
 
 -30- 
 
 (Purse Test continued) 
 
 Purse in position number one, indicate from lj^ t'o 12^. 
 
 Purse in position number two, indicate from 13^ to 24^. 
 
 Purse in position number three, indicate from 25^ to 56^. 
 
 Purse in position number four, indicate from 37^ to 48^. 
 
 Purse placed in any position in any corner of the table 
 indicates 49^. 
 
 Purse placed on a chair indicates 50j^. 
 
 Test number five (Initial Test) 
 
 A card is initialed with two letters, sealed in an envelope 
 which is placed on the table. 
 
 Explanation: Figure V is self explanatory: 
 
 Figure V 
 
 For the first initial: The envelope placed flap up in position #1 
 signals A (1) to L (12) and the envelope in position #2 signals 
 M (13) to X (24). To aignal Y, place the envelope in any square 
 with the flap down as shown in position //3. To signal the letter 
 Z place the envelope in any square flap down as shown in position 
 #4. 
 
 Position #1 Position #2 
 
 Position #3 
 
 Position #4. 
 
 The second initial is signalled by placing the pencil as follows: 
 Placed in position #1 indicates A (1) to L (12). Placed in position 
 #2 indicates M (13) to X (24) . To signal Y place the pencil in any 
 corner of the table. To signal Z place the pencil off the table. 
 
 Pencil In position #1. 
 
 Pencil in position
 
 -31- 
 
 Test number five (Watch Test) 
 
 The watch to be used, if possible, should be a closed 
 face watch in the pocket of the lecturer and not running. Have 
 a spectator set this watch at any hour and minute that he desires. 
 Allow others in the room to see it, then close the watch and place 
 same on the table. 
 
 Explanation: Place the watch in the proper square to indicate the 
 hour. To indicate the minute as follows: If the minute is exactly 
 divisible by five (5) the task is simplified and the signal is 
 given with the stem of the watch. Use the watch as an imaginary 
 clock dial and point the stem of the watch so that it lays pointing 
 toward the minute selected. For example: If the watch has been set 
 at 3.25 o'clock place the watch in the square corresponding with 
 #3. Then turn the stem of the watch around so as to correspond with 
 the figure five on the clock which would indicate 3.25. See figure 
 VI. below: 
 
 Figure VI. 
 Audience 
 
 5" to ,-,: 
 
 10 t 
 K to. 3: 
 
 *0to* 
 
 OTtfe <, .. 
 
 Performer. 
 
 h4ff-t>4.*t 
 
 If there are odd minutes to indicate, this is done by 
 signaling with the guard or ring to which the chain is attached. 
 
 Plat, against the watch, add one minute 
 Add two minutes 
 Add three minutes 
 Add four minutes. 
 
 Ring straight out and flat on the table indicates 
 that there are no extra minutes to add and that the 
 minute is exactly divisible by five, as Illustrated 
 above.
 
 -32- 
 
 Test number six (Book Teat) 
 
 The performer gives a spectator his free selection 
 from a number of books. Another spectator is asked to select a 
 certain page in this book, still another one to select a certain par- 
 agraph that he desires the medium to read. This book is then placed 
 on the table. The balance of the books discarded. 
 
 Explanation! The book placed in position #1 indicate pages 1-9. 
 The book placed in position #2 Indicates pages 10 to 120. In Position 
 f/2 the cover of the book must be placed facing upwards. 
 
 The book placed in position #3, indicates pages 130 
 to 240. In position #3 the cover of the book must be placed dovmard. 
 
 If there are any odd pages to indicate use a small book 
 mark which you have in the book and -place this in the proper position 
 on the table to indicate the number of pages to be addled to what the 
 book signals. For example: Suppose that page 127 has been selected. 
 Place the book in the square that will signal 120 (12) and the book 
 mark in the square to signal 7. 
 
 The exact selection of the paragraph to be read is sig- 
 naled by placing a finger nail mark on the margin of the page opposite 
 that particular paragraph 
 
 FIGURE VII. 
 
 Position #1 
 
 Position #2 
 
 Position #3. 
 
 (COVER)