UC-NRLF G-V 1547 H8^4 *^ "^ ^^^ THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA The John J. and Hanna M. McManus Morris N. and Chesley V. Young Collection "SLEIGHTS" BY BURLING HULL AMERICAN MAGIC CORPORATION The White Wizard At the Studio- SLEIGHTS BEING A Number of Incidental Effects Tricks, Sleights, Moves and Passes FOR PURPOSES RANGING FROM Impromptu to Platform Performances by Author of "Expert Billiard Ball Manipulation" "Master Sleights with Billinrd Balls" "Bulletin of Latest Sleights and Tricks" 'Thirty-one Rope Ties and Chain Releases" "Stage- Craft for Magicians" "Sealed Mysteries" "Sleight Sheets" "Deviltry" etc. Illustrated by Fifty Photo-engravings AMERICAN MAGIC CORPORATION IN PREPARATION: SLEIGHTS WITH SILKS The Modern Handkerchief Act. 100 Tricks. 200 Illustrations. THE CHALLENGE HANDCUFF ACT Complete Secrets. Instructions and directions for the entire act. THIMBLE TRICKS A series of 40 Sleights and Tricks with Thimbles. Over 70 Illus- trations. "THE BUSINESS END OF MAGIC, OR MAKING MAGIC PAY." Methods of Securing Engagements, Advertising. Booking and Pub- licity, for Lyceum, Stage, or Local Club "Work. Contracts, Terms and Costs. 31 ROPE TIES AND CHAIN RELEASES The first and a most complete work on a subject of which very little is known and on which information has heretofore been difficult to obtain. 48 Drawings. To Authors : — The American Magic Corporation, incorporated under the Laws of the State of New York, capital $10,000, is in the market for manuscripts on Magical Subjects. Manuscripts of between 12,000 and 40,000 words preferred, but subjects must be original (re- hashes not wanted), and handled in a thoroughly practical manner. Bear in mind that the works are of a technical nature and that "Fine Writing" and literary fiourishes are abominated. Condensed descrip- tions with elaborate illustration by photos or drawings, in demand. AMERICAN MAGIC CORPORATION LONG BEACH ESTATES BUILDING 405 LEXINGTON AVENUE NEW YORK CITY Copyright, 1914 American Magic Corporation INTRODUCTION. This volume is the outcome of a letter to the publishers from a prominent magical dealer, who said : "If the Magical Public as a whole could once actually see your publications and thus be brought to an instant realization of their novelty of contents, their elaborate illustration and the fact that their sale is restricted to magieians only, I feel certain that you would at once receive an order from almost every person interested in the subject of Jklagic." In order to test the foregoing assertion, the publishers have pre- pared the present booklet as a means of placing in the hands of magical readers within the shortest space of time, full descriptions of the fea- tures and contents of these publications, in order that the reader may draw his own conclusions of the value of these publications, or of their interest to him. To make it unnecessary for the reader to rely upon their advertised descriptions, the publishers have also placed before him in this volume a few extracts of these volumes in order that the books may stand upon their own merit, and the reader be the judge beforehand as to which will be of interest to him. Regardless of the fact that this booklet is distributed under condi- tions and at a price which is considerably less than the cost of produc- tion, every effort has been made to give the reader full value in the matter of quantity — in fact, we know of no book sold at five or ten times the price which has five or ten times the amount of contents. We feel that this book should not be regarded strictly as an adver- tisement, for the contents of the book is complete in itself. And what- ever descriptive matter is included is entirely additional and included at the expense of the publishers. However, if it is preferred to regard the booklet in the light of advertising, surely no fairer advertising could be devised than one of which the object is to assist the recipient to make a wise selection. "We trust that the reader will find herein full value in the way of magical material and at the same time gain some acquaintance with the nature and contents of our regular publications and the manner of their production; and their distribution through magical depots exclusively. THE PUBLISHERS. 968 BURLING HULL'S LATEST CARD (Registered 1910. All rights reserved.) A novelty in professional cards which is causing quite a little stir in magical circles is illustrated above. It is in two colors, the fine type being printed in faint grey, while the name and business is in bold black. The fine print, which is a list of copyright books, acts and inventions, thus forms a background for the card proper, which is the name and business. By turning over one of the corners the owner makes clear the object of his call, i. e., after witnessing a magical act and wishing to chat with the performer, the corner showing "Interview" is brought forward and the card sent up by the usher, and the recipient knows immediately what is desired. When desiring tickets for a magical show, "Professional Courtesy" is shown. If the magician calls on a fellow artiste and finds him out a corner is turned over, showing whether the call was merely "Social" or had for its object some important business making it advisable for the recipient to communicate with the caller. "While the idea is protected from copyists, permission to use it may be obtained by a limited number by communicating with the inventor. AUTO-MAGNETISM SUPREME OR THE CARD LEVITATION. This method, which I invented and Copyrighted in 1907, has since practically displaced what was then considered an excellent method of a very good trick. But in spite of the wholesale manner in which the big dealers of America and Europe (several of whom did not buy the sets wholesale of me as the more conscientious did) highly com- mended and advertised the trick, hardly any were kind enough to credit me with its production. Therefore, only those who purchased it directly from my own firm are aware of this fact. FEATURES. Performed without the finger rings required in the former methods, without needles, threads, hairs, etc. ; in fact without anything but the cards which anyone can see are bonafide playing cards. The trick may be performed at a few inches distance. In the former method, a ring worn on the finger engaged a metal clip on the back of a clumsy faked card composed of two cards glued together, with a metal plate between, to which the clip was soldered. This metal clip was not only awkward, but would be plainly visible if used at the close range permissible with the method described below. EFFECT. The performer standing two or three feet from his spectators (or even among them) plainly exhibits each card on both sides and has his hands thoroughly examined, there being no rings on his fingers. The cards are then placed on his right palm and arranged in the form of a star, as in illustration No. 1. Turning the hand over, the cards cling to the hand as if magnetized, as in illustration No. 2. The perform'er walks down through the spectators, freely per- mitting persons to examine the cards and hand while the cards are clinging to the hand, and allows them to pass their hands over the cards to prove that hairs, threads, etc., are not present. The performer then removes the cards and again exhibits his hands and the cards, showing each card separately on both sides. No. 2. No. 1. SECRET. Nothing but the cards are used, but the cards should be of a design with a circle on the back somewhat similar to the one shown in figure A. .On the back of one of the cards (preferably the Nine of Diamonds) is glued a flap made by cutting out a disc containing the circle design (see figure A) from the back of another card). This should be folded or creased through the centre, as in figure B, and glued on the back of the Nine of Diamonds so that it matches the design perfectly — leaving half the flap free so it will hinge backward. When pressed down, it lies flush with the card and because of the design it is invisible at a few inches distance from the eyes. WORKING. Place the prepared card on the top of the pack with the cards face down and proceed to show the backs of the cards by transferring them from hand to hand as when counting. This reverses their order, bring- ing the trick card to the front of pack. Turn pack over and show the faces of the cards, which brings the "key" card to the back again. Show the hands and both sides of the pack. Then with the left side toward audience, take the pack in left hand with the backs away from audience, and with the fingers squeeze the sides of the pack so that it M'ill bend outwardly, which causes the flap to raise up from the surface of the pack. Separating the second and third fingers of the right hand, catch the flap between the lower joints of these fingers, pressing tliem tightly together. Arrange the cards with the edges under the "key" card, as in the illustration. Turn the hand over and the cards will cling to the hand as if magnetized. You may walk among the spectators showing the apparent phenomenon from all sides and per- mitting any one to pass their fingers over the cards and back of hand to prove the absence of threads: and may even hold the hand directly in front of anyone's eyes for close examination, as the flap is just the length of the joints and therefore invisible. This trick has been pronounced a perfect subtlety by scores of magicians who have written me that they are using it with much suc- cess. I therefore recommend the reader to make up a set and try the effect, with confidence that he will secure just as much benefit as if he had purchased the trick from a magical depot. Tips: Use the Nine of Diamonds for the key card, as it is the most inconspicuous card in the deck. Have a duplicate of this card among the cards (about twelve cards is the best to use), but in ar- ranging on the palm conceal the duplicate under another card. After removing cards and when showing them again manage to accidentally (?) drop the duplicate Nine — continuing running the cards from hand to hand and remark, ' ' Pardon me, but will you pick that card up for me?" Someone is always too willing to do so, and incidentally take occasion to examine the Nine — ^without result ! You may glue a piece of thin sheet rubber to the under side of the flap before mounting it on the card, with the advantage that you may then conclude the trick by "de-magnetizing" the hand (secretly separating the fingers) causing the cards to fall from the hand in a shower to the floor — ^the elastic drawing the flap flat and leaving nothing to be discovered. Personally, I only prefer this method when I perform the trick with a spectator brought upon the stage, who I permit to pick up the cards for me. I have never known one to discover the flap, as I take the cards from him immediately he has picked them up; but if one should some time, he will not know what it is for. A CARD LOCATOR. A trick which is a sort of "third cousin" to the foregoing, em- ploying as it does a similar idea but with a widely different effect and purpose, is the following : A card, or several cards, selected and returned to the pack in the usual manner, are quickly located without the use of sleights and with- out the necessity of maintaining any separation with the fingers. The foregoing is accomplished by cutting out the center portion of a bordered card, as shown in illustration "D" and glueing it on the back of another. This naturally gives this card an extra thickness. By having this card in the center of the pack and running the thumb along the back end as when "ruffling," the thumb will stop when it strikes the separation, enabling you to cut the pack at this point. You may now permit the cards to be returned on top of this card, and placing the pack together you have apparently lost location of the cards selected. However, you can at any time locate them by passing your thumb over the back and cutting them at the separation, thus bringing the cards to the bottom. You may now execute the dove-tail shuffle, permitting the selected cards to fall first so that they will not become separated. By having the card on the bottom of the upper portion when having the cards returned, it will fall on top of the selected cards; in which case cutting the pack will bring the selected cards to the top with the faked card on top — the dove-tail shuffle being employed in the usual manner. I understand that this trick was explained as one of the features of "EXCLUSIVE MAGICAL SECRETS," but while I have no doubt that it was included therein with good intentions and is probably little known in England, I think we can claim it in America, as it is quite well known, having been advertised and sold here since 1907 as a brother trick to the Card Levitation produced at that time — U. S. Copyright No. 217996. No. 42. No. 44. 10 INTERLOCKED FINGER ACQUITMENT. In this sleight, the fingers are clasped or interlocked (as in No. 42), showing the backs of the hands, and are then turned (as in No. 43), showing the palms. In spite of the fact that the hands have been shown back and front and with the fingers interlocked in such a way as to preclude the idea that they could take part in any sleight, the per- former nevertheless brings his hands back to the first position and, blowing on the palms, then turns his palms toward the audience (as in No. 44), showing that a ball has appeared between the palms. Operation: The baU which at first is in the left palm is gripped between the right thumb and index finger (as in No. 45), whereupon the left hand is immediately twisted so that the ball may be placed against its back (as in No. 46), where it is retained by pressure of the right index finger. The left hand is turned first; the ball brought against it back — then, and not before then — is the right hand turned. A reversal of the process brings the ball back into the palm for production (as in No. 44). I must here make an apology for including this sleight in a volume of otherwise original manipulations, as I do not claim to be the origin- ator. I worked out the manipulation myself in the above form, but so have various others in slightly different forms, all of whom are equally certain of having been the first. So I am unable to credit it to any particular person, though I consider the sleight too good to be over- looked. R.Hl/JWfs No. 46. 11 THE MYSTIC DIVINATION. (Without Exchange.) In this trick the performer first places, either a pair oi examined slates, or a sealed envelope in some conspicuous place or hands the same to one of the company with instruc- tions to retain it until called for. He then passes a card or piece of paper from person to person throughout the audience, having each one write a figure on it, having one number place.d below the other. Finally the paper is handed to another spectator who is requested to add up the column of figures and to read the total aloud. When this is done, the performer, with a smile, announces that the spirits had already informed him that the figures would add to just that total. To prove his state- ment he requests the person holding the envelope or the slates to open the same. On doing so, it is found to contain a number which corresponds with the total formerly read by the spectator. The card is not exchanged, con- federacy is not employed and the figures totaled axe the figfures written by the audience. now ITlS liONE l'y\\\-\i\. The Secret : The performer first decides upon a number which he wishes the figures to total to ; which in this case we will say is 42 ; and this number is written on the slate or the card, and placed within the envelope. A card or piece of paper is carried from one person to another with the request that each write a single figure. In carrying the card from person to person, the per- 12 former keeps track of the numbers, adding each to the former as it is put down; this being done under cover of showing how to place the numbers one below the other. Tho moment the total reaches 33 or over, the performer stops and calls for a volunteer to add up the numbers, and announces that in order to prove the paper is not exchanged, he will place the initials of one of the spectators on the paper. Someone's initials are suggested and the performer writes them in one corner and at the same time he secretly adds a figure sufficient to bring the total up to 42. If the genuine total is 33 he therefore adds 9 under the last nmnber — or if it is 34, he writes 8, etc. — immediately drawing a line under the column, and handing it over to be added up. The spectators of course have no idea that he has done anything more than to place the initials in the corner for the purpose of identification. The trick is concluded as described, and if carried through with a little audacity, proves very effective. It has even been known to puzzle magicians. For Double Figures : To make the trick more effective, it should be performed with double figures, but I explained the trick with single figures in order to make the method of operation clear to the reader, who can then easily adopt it in the following form. In this case the performer should fix upon a number somewhere in the four hundreds for his total. We will say for instance 462. He should then keep track of the numbers and the minute they total as mucb as 363 or over he must stop and proceed as described above, adding a sufiicient number to bring the total to 462. 13 Extract from "EXPERT BILLIARD BALL MANIPULATION," Copyright, 1910, by BURLING HULL STUDIO, 167 Senator St., Brooklyn, New York City. BURLING HULL HKF. A.ND BALL PRODUCTION. Effect: Performer shows both sides of a large linen Hkf. and in such a way that the audience is at all times able to see the performer's hands (see Nos. 62 to 65). On placing one hand in the folds of the Hkf. a solid ball is produced and everything may be examined. This is one of the neatest and most effective tricks made possible by the use of a novel sleight. Operation: See Nos. 66 and 67, which illustrates the manner of retaining the ball, yet leaving the fingers apart, while showing Hkj' As the other side of Hkf. is turned the fingers twist around so that ball is concealed behind Hkf. again. The vital point in this operation is to cover the change by raising left corner of Hkf. so as to conceal the shift, as illustrated in No. 64. i:o. c" No. 64 14 No. 67 N. B. — The two following effects are extracts from "Deviltry" (copjrright, 1909, by Burling Hull), by permission. The wording and the illustrations being exactly the same as in the original, the enum- eration of the illustrations has also been retained. BURLING HULL CONE FLIGHT. New effects with ball are extremely scarce. Though there exists a fair number of ball slights, they are lamentably alike in appearance. The many "new" sleights are new in principle only, but old in effect. The result is that though the performer may employ very clever new sleights, the audience is bored with the same old stereotyped multi- plication, vanish from hand and production from mouth, elbow, etc. It was with the object of injecting a little originality into the effect as well as method of ball work that the writer designed the following. Shortly after its introduction it was rumored that the originality was claimed by another performer, by whom it was for sale. Investigation, however, proved that the trick was entirely dissimilar, requiring two balls and the use of rubber balls in place of the solid ball used in the correct method. Effect: The performer shows a solid ball, a paper cone which is entirely empty, and both hands also empty. The cone is placed upon table. The ball vanishes from hands and upon lifting cone is found to have passed under. This is repeated several times, yet performer shows he has but one ball and cone empty, each time. Working : After the multiplying ball trick, is a good time to intro- duce this effect. A ball with the half shell on it is exhibited in the right hand in such a manner that spectators can see you hold nothing Photo 12 Photo 14 M O » CtH O u ^ • ^ < 1— 1 02 Ms Exhaust Branch ILLIA ULAT riginal, Most . Work on Any CQCU O -e HZ Qi< The ly Illu X. V KN -•-> LiJ 5H 1 1^ o c Q CO OT 'tJ - 2 "^ -^ O Q " '^ CO > CO co(^. 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