Secrets of the
Third (Revised) Edition.
Street Conjurer WILFRED
MUGGINS & FREDERIC
CULPITT
A world-wide collection of Conjuring Secrets for Magicians who entertain when surrounded by spectators.
London : GEORGE JOHNSON. M A G I C A L PUBLICATIONS, 24, Buckingham Street, Strand, W.C.2.
M.I.M.C.
(LONDON)
V.V^1N 1 tlN 15. .... PREPARATION A
TABLE
THE
FOR T H E "HANDS
TIP
...
GUINEA-PIG
CARD
CHANGE
...
FLAP
DISPOSAL—SINGLE
CAP AND
PENCE
"WATER
ON T H E
THE A
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...
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4
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4
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•••
5
...
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6
... ...
... ...
6 7
• ...
...
7
... ...
BRAIN" ...
...
...
...
8
USEFUL T I P
...
...
...
...
8
CARDS
...
...
•••
9
BALLS
...
...
...
9
...
...
...
10
...
...
...
11
...
11
BILLIARD THE
FOLDED
SILENT
THE A
4
REPEAT'
MARKED
A
...
SLATE
I. The Load II. The Getaway
Page
...
COIN
MAGNETIC
USEFUL
WALKING-STICK ...
...
...
12
RINGS
...
...
...
12
CENTURY
SILKS
...
...
13
F.VER-CHANGING
CARD
...
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13
...
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13
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14
AND
TWENTIETH
ANOTHER FOUR
VANISH
SECRET
ROPES
THE
PAPERS
CHANGING
PENCE
CARD
AND A GLASS T U M B L E R
UNUSUAL
FINALE TO THE
A
ACES"
"FOUR
TRICK
" C U P S AND ...
BALLS" ...
Made and Printed in Great Britain hy Percy Nnldrett, Buc^s Green, Horsham, Sussex.
16 18
The State Library of Victoria "ALMA CONJURING COLLECTION"
PREFACE. T h e c o m p i l a t i o n of
"A
Street
Conjurer's
Secrets"
is
t h e o u t c o m e of m a n y y e a r s of o b s e r v a t i o n in t h i s c o u n t r y , Australia, America, France and Germany.
T h a t the effects
a r e w e l l - k n o w n is not to be d e n i e d , but it is e x t r e m e l y d o u b t ful if m a n y c o n j u r e r s a r e a w a r e of t h e a c t u a l m e t h o d s u s e d by the street entertainer. It is t h e r e f o r e h o p e d t h a t e v e r y o n e w h o r e a d s t h e s e will a p p r e c i a t e
the
always
in
bearing
ingenuity mind
the
of
the
methods
conditions under
pages
employed, which
the
various effects are performed. T h e n , when next they witness s o m e such show, t h e y will g e n e r o u s l y p a t r o n i s e t h e
artist
not for " s w e e t c h a r i t y ' s " s a k e , b u t to p a y t r i b u t e t o t h e of which t h e S t r e e t C o n j u r e r is a w o r t h y e x p o n e n t . WILFRED
HUGGINS.
PUBLISHER'S NOTE. T h e a d d i t i o n a l m a t t e r in this b r o c h u r e w a s c o n t r i b u t e d b y the late Frederic Culpitt. T h e P u b l i s h e r is i n d e b t e d to t h e w r i t e r s w h o s e i n t i m a t e k n o w l e d g e of t h e wiles of t h e S t r e e t C o n j u r e r is, in this t h i r d e d i t i o n , s u b m i t t e d to the fraternity.
art
Cold hands, or hands which a r e moist with p e r s p i r a t i o n a r e a b u g - h e a r to most c o n j u r e r s . This very simple method of p r e p a r i n g the h a n d s and thus e n s u r i n g a safe g r i p for coins or billiard balls, especially in the case of t h e ."Multiplying Billiard Balls," should prove a boon. W i p e the h a n d s dry with a cloth, then t a k e a small l u m p of c o n j u r e r ' s wax and r u b it b e t w e e n t h e palms. D r y - w a s h the h a n d s and the result will be that the fingers a n d p a l m s will be covered with a very thin film of wax. Manipulation is t h u s m a d e almost foolproof.
A TABLE TIP. W o r k i n g in the middle of a crowd, a p a r t from t h e m a n i p u l a t i v e side of the g a m e , o f t e n places t h e s t r e e t conj u r e r in a spot from an a p p a r a t u s s t a n d p o i n t . For instance, the ordinary music-stand table is often in d a n g e r of g e t t i n g knocked over and this can just as easily happen in a crowded drawing-room as in a b a r p a r l o u r ; this latter venue often provides a source of income to b u s k i n g c o n j u r e r s when it is raining. T h e s e facts m a d e clear to me the reason why one such e n t e r t a i n e r ' s table-top spun round when it was touched. T h e flanged central spigot was not fastened to the leg with t h e usual thumb-screw. This omission allowed the table-top to revolve and t h u s obviated the whole lot going over when a passer-by accidentally passed too n e a r to the s t r u c t u r e .
THE GUINEA-PIG. O n e of the most i n t r i g u i n g of t h e effects peculiar to the street c o n j u r e r when by his audience is the almost miraculous a p p e a r a n c e of a guinea-pig under a h a t . It usually occurs a f t e r a p o t a t o has been only a p p a r e n t l y placed under the p e r f o r m e r ' s soft hat, both of which rest 011 the usual small table. S o m e o n e then r e m a r k s , or the c o n j u r e r p r e t e n d s to o v e r h e a r it said, that t h e p o t a t o is not under t h e hat. T u r n i n g swiftly to a s p e c t a t o r on his left t h e p e r f o r m e r invites him to step n e a r e r . T h e n , p o i n t i n g to the hat with his right hand, t h e c o n j u r e r e n q u i r e s of his h e l p e r : " D i d you see me t a k e t h e p o t a t o a w a y ? " " N o , " replies the s p e c t a t o r .
surrounded
" N o ! " repeats the conjurer with emphasis, because it's still there ! " and snatches the hat off the table, disclosing the potato. Simultaneously with this movement lie covers his right hand, which during the foregoing altercation lie slyly dipped into either his outside pocket, or the usual "poacher's" pocket and gripped and withdrew the guinea-pig. This is done with a backward swing of the body and the spectator on the performer's left affords good cover on that side. Scarcely pausing in his movements the performer quite casually transfers his hat to the table, guinea-pig and all. fie now picks up the potato with his left hand and holds it aloft for all to see. The spectators have by now lost all interest in the hat. The hat, by the way, is an old one with a soft crown. The potato is now vanished by a very.simple sleight, during which move it usually finds its way into a pocket. Finally, when the hat is lifted, instead of the potato, the guinea-pig presents itself to the astonished gaze of the onlookers. In the whole category of conjuring leats there are few which compare with this piece-de-resistance of all street conjurers. The misdirection is perfect. CARD CHANGE.
For simplicity of manipulation and decepliveness the following card change ranks with the best. In effect the card is apparently thrown on the table. Actually this is what happens. The pack is held in the same position in the left hand as in the standard top and bottom change. The card to be changed is also held in the approved manner. Having shown it, the performer moves to his table and without pause swings the card down to the top ot the pack. As the card in his light hand reaches the pack the left thumb simultaneously Hips the top card on the table. The change must be made as the performer walks round his little table. In the effect "Everybody's Card" where the performer moves from one part of his audience to another, this change is indetectible. This is important. As soon as the card in right hand is safely on the pack, the arm swings up again and the hand gesticulates towards either the audience as a whole, or to a single person whose help is about to be solicited.
T h e slate, b e a r i n g the m e s s a g e , or sum total, hidden by t h e flap, is shown on both sides, then placed flap side down on t h e table. . A full sized s h e e t of n e w s p a p e r , that is, four p a g e , is unfolded and torn in half. T h e t w o half-shee.ts a r e held in t h e right hand s e p a r a t e d by t h e fore-finger. T h e s h e e t s a r e simultaneously spread over the table as the slate is lifted m i n u s t h e flap. T h e l a t t e r , which is, in a sense, slid from u n d e r t h e paper, must be kept r a t h e r low, a n d is s t r a i g h t w a y dropped on t o p of the s p r e a d n e w s sheets. T h e slate is then w r a p p e d in the t o p sheet only, the o t h e r sheet b e i n g left on the table covering the flap. W h e n t h e effect is concluded t h e slate is thrown on t h e n e w s p a p e r table-cloth which is then w r a p p e d a r o u n d t h e slate and flap and placed aside.
CAP AND PENCE. I. The Load. T h e " C a p and P e n c e " is a n o t h e r f a v o u r i t e effect with the s t r e e t - p e r f o r m e r , and he uses many ingenious s u b t e r f u g e s to deceive his audiences. T h e d r a w e r portion of a match-box, instead of the leather cap, is generally used to cover t h e coins. T h e move to secretly introduce the six faked pennies is very subtle. T h e " p i l e " as t h e six hollow coins a r e called, is deposited in t h e outside right coat or t r o u s e r s pocket. A small die, or button, with the d r a w e r of the match-box mouth d o w n w a r d s beside it, a r e seen on the table. T h e d r a w e r is daintily lifted, held b e t w e e n t h e right t h u m b and forefinger across one end, and the die is covered and uncovered several times. Then comes the feint. T h e mouth of the d r a w e r is t u r n e d t o w a r d s t h e onlookers, t h e b a c k s of the t h r e e remaining, unoccupied fingers r e s t i n g on the t a b l e with the die b e t w e e n the little a n d third fingers. T h e d r a w e r is s w u n g over t h e die and the t w o fingers b e t w e e n which it lies. W i t h o u t pausing, t h e s e fingers a r e w i t h d r a w n from u n d e r the d r a w e r and curled into the palm. The d r a w e r is released and lelt, opening d o w n w a r d s , on the table a n d n e a r l y e v e r y o n e will s w e a r that the die was removed b e t w e e n t h e fingers and is in the c o n j u r e r ' s hand. T r u e , it would have been q u i t e an e a s y m a t t e r for him to have retained the die b e t w e e n iiis fingets, but he doesn't, T h e n , t r a d i n g on the audience's a s s u m p t i o n t h a t he
drawer.
he leaves it under the
holds the die in his hand, he dives it into his pocket and finger-palms, opening t o w a r d s t h e fingers, t h e hollow pile of pence. A f t e r sufficient by-plav he lifts the d r a w e r , again b e t w e e n his right t h u m b and fore-finger, and while the onlooker's attention is m o m e n t a r i l y rivetted on t h e die, he t w i s t s the d r a w e r over the finger-palmed "pile." A slight g r i p r e t a i n s t h e d u m m y h e a p of p e n n i e s in t h e now mouth-down d r a w e r . W h e n the p e r f o r m e r again covers the die he does it in such a m a n n e r t h a t t h e r e a r e no d o u b t s this t i m e and n e i t h e r have the s p e c t a t o r s any idea that the pile of hollow coins cover the die.
II. The Get-away.
W i t h t h e fake h e a p of p e n c e u n d e r t h e d r a w e r , six o r d i n a r y p e n n i e s a r e now shown and vanished. T h i s is n e a r l y a l w a y s done by m e a n s of t h e tourniquet, the coins b e i n g r e t a i n e d in t h e left hand for s u b s e q u e n t reproduction. A s soon as t h e right hand is shown e m p t y it lifts the d r a w e r a n d discloses t h e "pile." V e r y little t i m e is now w a s t e d . T h e h e a p e d p e n n y f a k e is again covered and t h e loose coins a r e p r o d u c e d , usually f r o m a b o y ' s pocket. T h e d r a w e r , with the d u m m y pile inside it, is lifted b e t w e e n the right t h u m b and fore-finger, and t h e mouth of the d r a w e r is held over the t h r e e unoccupied right fingers which a r e c u p p e d as soon a s the hand is clear of t h e table. On t h e l a t t e r now rests t h e die which, aided by t h e c o n j u r e r ' s p o i n t i n g left finger, holds the onlookers' a t t e n t i o n for a m o m e n t . D u r i n g t h a t brief spell t h e pile is allowed to d r o p into the w a i t i n g fingers which g r i p the fake. The hand is t u r n e d palm down as soon as the coins a r e held and at t h e same instant the t h u m b j e r k s u p w a r d s r e l e a s i n g t h e e m p t y d r a w e r which tumbles to t h e s p e c t a t o r s ' feet. T h i s diversion covers the swing-back of the right hand which, with a clean throw, disposes of t h e " p i l e " in the w a i t i n g inside coat pocket mentioned in a previous effect.
"WATER ON THE BRAIN."
The production of a glass of w a t e r from the t o p of a b o y ' s head is a most effective trick of t h e out-door e n t e r t a i n e r . It also s e r v e s as an introduction to t h e " M a g i c F u n n e l " which is well-known to e v e r y c o n j u r e r . T h e glass of w a t e r covered with t h e usual r u b b e r - c a p r e s t s in the inside coat pocket. T h e double h a n d k e r c h i e f , in t h e
c e n t r e of which is sewn a light ring, is shown 011 both sides and then d r a p e d over t h e boy's head. T h e ring is positioned well hack on the crown so that the m a j o r portion of t h e handkerchief h a n g s over the back of his neck. A f t e r t h e usual palaver the c o n j u r e r g r i p s the ring and lifts it, e x p r e s s i n g s u r p r i s e as the s h a p e of t h e glass a p p e a r s . H e lifts a little more, then leans over and asks the boy if he is feeling all right. W h i l e the c o n j u r e r is in this position he deftly removes the glass from his inside coat pocket and slips it u n d e r the h a n g i n g folds of the handkerchief. P e r f e c t cover is provided for this move. T h e b e n t a r m on one side a n d the p e r f o r m e r ' s body 011 the left. He n a t u r a l l y leans to the left side of the boy to question him and the coat s w i n g s open, t h u s allowing easy access to the glass. As the right hand lifts the ring still higher, t h e left follows until t h e covered mouth of the glass m e e t s the ring. T h e latter is allowed to rest for a second 011 t o p of t h e glass, then the handkerchief and the rubber cover a r e snatched a w a y revealing the b r i m m i n g glass of water.
underneath
handkerchief
the
THE REPEAT. A friend once saw the foregoing effect p e r f o r m e d 011 a racecourse. The conjurer, he said, gave several p e r f o r m a n c e s and r e p e a t e d the production on each occasion, but n e v e r once did he a p p e a r to load himself in readiness. F u r t h e r m o r e he k e p t to the same pitch all the afternoon. As the biggest p a r t of t h e w a t e r was spilled 011 the g r a s s and the rest d r u n k by t h e boy at e v e r y show, the repeated production was lor a time very puzzling. T h e n close observation revealed this fact when t h e c o n j u r e r linished u s i n g the glass and f u n n e l : when he was replacing these " p r o p s . " in his b a g before p r o c e e d i n g with the next trick in his p r o g r a m m e , he slipped a n o t h e r filled and c a p p e d glass in his inside pocket all r e a d y for the following show.
A USEFUL TIP. A pack of c a r d s is placed face-up b e t w e e n t h u m b and forefinger and a s p e c t a t o r is told to hold the c a r d s tightly. The c o n j u r e r with a s h a r p d o w n w a r d blow knocks all the c a r d s out of his helper's hand with the exception of a previously selected card.
.1 lie effect is well-known, but this tip will always ensure the chosen card being left in the assistant's hand, lie is told to hold his fore-linger out straight and parallel to the floor; the hand is, oi course, palm upwards. I'lace the pack, after the usual preliminaries, diagonally on the out-stretched linger, then tell the assistant to bring his thumb down on the pack and grip it tightly. A sharp downward blow with the side of the hand does the rest. MARKED CARDS. Long before the various inks, daubs, and so forth became a commercial proposition in magic, the street conjurer had his own method of card marking—one that proved useful in many an emergency. A free choice was given in the matter ot card selection and, while haranguing the crowd, the wizard of the pavement casually scratched his ear. Now, not to put too fine a point on it, washing facilities are not always a source of anxiety to the street performer, and when that card was returned our worthy's now unclean finger left a mark on the back, which to his keen eye, was readily spotted. An unsavoury item it is true, yet undoubtedly the origin of the grease-paint on waistcoat button dodge. BILLIARD BALLS. • A series of vanishes and recoveries are performed with a single, examined ball. Finally it is apparently placed in the left hand, from which it vanishes. The right hand, in which the ball is palmed, is placed in the pocket and it is loaded in this way. A second ball is finger-palmed and a third one, with the usual half-shell, is taken between the thumb and lore-finger. Thus, when the hand, back to the audience, is withdrawn they only see the latter ball. This one is .transferred to the left thumb and fore-linger and displayed as the ball which, a moment before vanished from the same hand. The right fore-finger points at the hall and successfully disguises the load. The right hand now approaches the left, and in passing, the finger-palmed ball is transferred to the left palm and the palmed ball is claimed by the left fingers. By this time the right thumb and fore-finger have reached the ball (and half shell) held between the left thumb and fore-finger, from which it is removed. Simultaneously the performer swings
to the right and t h e right hand, now e m p t y save for t h e ball and shell b e t w e e n the t h u m b and finger, is lifted high and left r e m a i n i n g motionless. As t h e right hand moves down to the usual position for the production of No. 2 ball at the finger-tips, the 'left is withd r a w n and the p e r f o r m e r is all set to p r o d u c e No. 3 and No. 4 ball without once h a v i n g to go to a pocket.
THE FOLDED PAPERS. Airily w a v i n g four s q u a r e s of coloured p a p e r of v a r y i n g sizes and colours, the s t r e e t c o n j u r e r then places t h e m flat on t h e table. H e p l a c e s a half-penny in t h e smallest p a p e r , folds it over at t o p and sides, and so proceeds with the o t h e r p a p e r s until he h a s encased all p a c k e t s , W h e n re-opened t h e half-penny has multiplied into two. T h e four s q u a r e s of coloured p a p e r r a n g e in size from a b o u t 3in. s q u a r e to 9in. s q u a r e . T h e p a p e r s a r e first exhibited held n e a r one corner. It should be noted that when t h e p a p e r s a r e waved a b o u t n o t h i n g is a p p a r e n t b u t flat s h e e t s — d e s p i t e the fact that t h e r e is a concealed p a c k e t b e t w e e n t w o of the sheets. It is the same old double p a c k e t a r r a n g e m e n t and the turn-over, but notice the little i m p r o v e m e n t t h a t m a k e s all the difference. "In this little packet 1 put a ha'-penny,'' s a y s the c o n j u r e r . "I fold over the sides, then the o t h e r sides, turn t h e p a c k e t over and down il goes on the next p a p e r — t h e blue. Now, the blue p a p e r in the same way. T u r n over the p a c k e t and into t h e pink p a p e r . O v e r once more and we w r a p it up in the green. Now for the magic, word 'Millionairitis.' O p e n t h e green and we come to t h e pink ; and we come to the blue, turn it over and we come to the purple, turn t h a t over, open it, and what do we f i n d ? Two h a ' - p e n n i e s — t h e money has doubled i t s e l f ! ' '
open the pink
H e r e is the secret. T h e double p a c k e t (set) is t h e second l a r g e s t — t h e pink p a c k e t . P a s t e d to the back of this is t h e duplicate set and in t h e smallest p a c k e t t h e r e a r e t w o halfpennies. T u r n i n g over each p a c k e t puts the w a t c h e r s off (he scent. W h e n re-opening, however, it will be noticed that t h e c o n j u r e r does not turn over t h e packet opening. In e x h i b i t i n g to s h o w the two half-pennies the p a p e r s a r e opened out one on t h e o t h e r on the table. In m a k i n g up, construct the faked (pink) p a c k e t s first. T h e
pink
before
p a p e r s a r e folded carefully into t h e n e c e s s a r y the two p a c k e t s a r e p a s t e d hack to back. At the end of the trick t h e c o n j u r e r is in e i t h e r turn the two half-pennies hack to one, or a six-pence back to the original half-penny. most puzzling.
s q u a r e s and a position to c h a n g e , say, T h e effect is
A SILENT COIN VANISH.
T h e effect in which the w r i t e r saw this vanish used is very well known. T w e l v e pennies a r e laid on the t a b l e in t w o equal rows. Six of the coins a r e counted on to a t r a y and then tipped into a b o y ' s cap. T h e r e m a i n i n g six p e n n i e s a r e vanished and when the boy re-counts the coins in his c a p he finds he has twelve. T h e " t o u r n i q u e t " or d r o p sleight is used to vanish t h e coins, a f t e r which they a r e deltly thrown into the usual " T o p i t " or p o a c h e r ' s pocket. T h e puzzling p a r t of this vanish to a n y o n e who w i t n e s s e s t h e sleight is t h e fact that t h e coins do not " t a l k . " H e r e is the reason : T h e six coins c o u n t e d on t o the t r a y (a m o n e y - t r a y ) a r e q u i t e u n p r e p a r e d The u n d e r side of each of five of t h e o t h e r s is s m e a r e d with wax. Thus when the coins a r e stacked, a slight p r e s s u r e t r a n s f o r m s t h e m into a solid pile. T h e d r o p and t h r o w can t h u s b e c a r r i e d out without the least fear of a chink b e t r a y i n g the w h e r e a b o u t s ot the coins.
THE MAGNETIC WALKING-STICK.
A walking-stick is held erect, with t h e left hand a t the top, the lower end of the stick r e s t i n g on the floor. T h e outside of the right t h u m b , just below the first knuckle-joint, is pressed a g a i n s t the slick about halfway u p it, T h e right hand is lifted with an a l t e r n a t e horizontal s w i n g i n g movement, first to t h e left then back to the l ight. As long as t h e hand is kept in motion the stick a d h e r e s to t h e side of t h e t h u m b , but as soon as t h e m o v e m e n t stops t h e slick falls to t h e floor. The stick a d h e r e s to t h e side of the t h u m b p a r t l y b e c a u s e t h e l a t t e r h a s been m o i s t e n e d with b e e r which h a s b e c o m e tackily dry, and p a r t l y by the i n w a r d s w i n g i n g m o v e m e n t . T h e effect was first seen in a c o u n t r y t a v e r n w h e r e the r e q u i r e d adhesive w a s easily and secretly applied. A s m e a r of c o n j u r e r ' s wax would, no doubt, serve t h e s a m e p u r p o s e . D e s p i t e the use of wax or b e e r , a c e r t a i n a m o u n t of p r a c t i c e is necessary b e f o r e the correct balance can be o b t a i n e d a n d the k n a c k is a c q u i r e d .
A coin is b o r r o w e d and dropped into a glass of b e e r , or milk. H o l d i n g t h e glass in his left hand the p e r f o r m e r beckons with his right, and the coin rises out of^the liquid to his waiting fingers. The piece of money is immediately r e t u r n e d to the lender. T h e r e a d e r will doubtless recognise this effect and immediately m u r m u r " H a i r ! " Indeed a hair is used, but our wily friend t h e s t r e e t c o n j u r e r does not fasten one end to his waistcoat button (so t h a t when the f r e e end with its tiny pellet of wax is fixed to the coin he can cause it to rise by m o v e m e n t of the hand or the b o d y ) . True it is f a s t e n e d to his clothing, but to the b u t t o n situated at the fork of t h e front of his trousers. T h u s t h e hair is out of t h e line of vision of the audience a f t e r it passes over the rim of the glass. W h e n the c o n j u r e r removes from t h e coin the wax pellet and the a t t e n d a n t hair, the latter s w i n g s down b e t w e e n t h e legs where it is a l w a y s available. T h e pellet of wax a t the end of the hair is usually p r e s s e d a g a i n s t the inside leg of t h e trouser until r e q u i r e d .
ROPES AND RINGS. T h e p r e m a t u r e s n a p p i n g of the t h r e a d with which the two ropes a r e stitched for the " R o p e s and R i n g s ' ' led to a certain street p e r f o r m e r in Australia using the following m e t h o d . 'I'lie ropes are displayed singly, then laid side by side. Around the c e n t r e of the t w o ropes a small silk is tied with t h e r a t h e r weak b u t plausible excuse t h a t the audience would now be certain that the ropes a r e not c h a n g e d . At an o p p o r t u n e m o m e n t they a r e s e p a r a t e d in the usual way and the t w o e n d s (of one rope) of t h e ropes a r e t h r e a d e d through the handle of a pint pot. A knot is tied round t h e handle and a few b u n c h e s of keys, etc., a r e tied in what a p p e a r s to be t h e c e n t r e of the ropes. T h e y a r e then t h r e a d e d t h r o u g h the sleeves of the b o y ' s coat and tied in the a p p r o v e d m a n n e r . T o release the articles and the boy the p e r f o r m e r first unties the silk and then removes the pot and all the o t h e r articles. Finally he pulls the ropes, or s e e m s to, through t h e b o y ' s body. T h e use of a silk m a y not a p p e a r very artistic to the fastidious but as a " g e t - o u t " it leaves little to be desired.
The usual double silk is k n o t t e d to an ordinal') - one. T h e knotted ends of t h e silks a r e placed b e t w e e n a boy's lips and he holds the f r e e e n d s of the h a n d k e r c h i e f s one in each hand. T h e c o n j u r e r now rolls a third silk b e t w e e n his hands, p a l m s the silk in his left hand and holds the clencMied b u t e m p t y right hand aloft. He walks behind the boy, pocketing t h e p a l m e d silk as he t a k e s up his position. T h e right hand is now lightly slapped down on top of the b o y ' s head, t h e hand o p e n i n g as it s t r i k e s the crown. T h e c o n j u r e r then t a k e s hold of the boy's hands and s t r e t c h e s t h e m a p a r t . The vanished silk, h a v i n g a p p a r e n t l y passed through the b o y ' s head, m a k e s its a p p e a r a n c e (via the double handkerchief as usual) b e t w e e n t h e other two.
THE EYER-CHANGING CARD. This old trick is v e r y effective in the h a n d s of t h e s t r e e t conjurer, l i e generally offers it for sale at two-pence. The card is double faced. On one .side is p r i n t e d t w o d i a m o n d s but the top s p a c e is blank. T h u s t h e t h u m b c o v e r i n g t h e lower pip c o n v e r t s the c a r d into an ace, a n d c o v e r i n g the blank s p a c e c o n v e y s the impression that the card is the t h r e e of d i a m o n d s The other side of the card depicts e i t h e r the six of clubs or t h e four, one side spot of the six b e i n g blank. By covering the sides of the card a l t e r n a t e l y with t h e t h u m b the card may be exhibited as the six of clubs or t h e four. T h e p e r f o r m e r s t a n d s with his side to the s p e c t a t o r s a n d continually works his a r m up and down. H e shows the card as an ace, then as a t h r e e ( d i a m o n d s ) , then as a six of clubs, then as a four, f i n a l l y he pulls off his hat, d r a w s t h e c a r d across his head and shows the ace spot with which he s t a r t e d . The moves a r e s o m e t i m e s varied by t h e p e r f o r m e r d r a w i n g the card b e t w e e n t h e sleeve ol the coal and the coat p r o p e r , the c h a n g e b e i n g m a d e u n d e r t h e a r m . Briskly p r e s e n t e d the trick is most illusive.
ANOTHER CHANGING CARD. T h i s trick has long been a f a v o u r i t e with the s t r e e t conj u r e r ; he also offers it for sale. A court card, held in t h e hand c h a n g e s first to a spot card, then to a " h a n d " of toy cards, t h e latter d i s a p p e a r i n g a l t o g e t h e r .
T h e construction is simple, though tedious. A court card is doubled in half, face inwards. T h u s folded it is p a s t e d , on one half, to a n y odd card, so that a loose flap of the court card results. A n o t h e r card, usually a ten-spot, is soaked in w a t e r and t h e face peeled off. T h i s is p a s t e d fairly on t h e odd card and on t h e folded part of the court card. As a result t h e card can be shown as a court card or spot c a r d by b e n d i n g t h e flap to and fro. P r e s u m i n g the card to now indicate the " s p o t " card, s t r i p s of toy c a r d s a r e pasted in a row. T h e conjurer holds the m a d e u p card in his left hand, using all fingers and the t h u m b . W i t h the court card t h u s exposed he d r a w s his right hand down the card, b e n d s t h e flap and exhibits as t h e spot card. R e p e a t i n g t h e m o v e m e n t , he b e n d s the spot card a n d so discloses t h e row or " h a n d " of toy cards, for as such the s p e c t a t o r s a c c e p t t h e little c a r d s now on view. A p r e t e n c e is m a d e of a f u r t h e r b r u s h i n g and smoothing movement, d u r i n g which the now folded card is t h r u s t into t h e right palm while t h e left turns, n e a r l y closed, back to t h e s p e c t a t o r s . T h e right hand of t h e p e r f o r m e r dives into a b a g on his table, d r o p s the faked card a n d i n s t a n t l y w i t h d r a w s an envelope, simultaneously t u r n i n g and exposing t h e e m p t y left hand. " H e r e you a r e , all complete with instructions, a child can do i t ! " The card within t h e envelope is often badly c o n s t r u c t e d .
at the top and at the back of this,
S o m e t i m e s a complete toy card is loosely pivoted by t h r e a d , at one corner of the row of cards. T h e n the p e r f o r m e r is enabled to tilt this loose card a w a y from t h e others. It m a k e s t h e hand of little c a r d s look more convincing. Sold for twopence it will be conceded that t h e vendor e a r n s his money.
Additional Effects by Frederic Culpitt. FOUR PENCE AND A GLASS TUMBLER. T h i s is a favourite trick with s t r e e t m a g i c i a n s and saloon b a r p e r f o r m e r s . T h e o p e r a t o r c o m m e n c e s by f u m b l i n g in his various p o c k e t s for pence, eventually p r o d u c i n g two pennies. He explains t h a t four coins a r e n e c e s s a r y , " S o will some kindly disposed person please r e m e d y t h e deficiency ? " N e e d l e s s to add, t h e t w o p e n n i e s so cadged rarely find their way back to those who loaned t h e m , for t h e w a y s of t h e itinerant c o n j u r e r a r e d a r k , devious and full of guile.
the four coins a r e now laid on the table (or bar c o u n t e r ) the e d g e s overlapping, and a f t e r p u s h i n g them into a s t a c k with t h e rim of an inverted tumbler, they a r e covered with this glass. G r a s p i n g t h e t u m b l e r by its b a s e t h e c o n j u r e r moves it a r o u n d in a series of circles, s w i n g i n g the s t a c k e d coins about at t h e s a m e time. A f t e r a few seconds at this sort of thing, t h e f r e e hand reaches b e n e a t h the table, or edge of the counter, a n d a coin is produced and t h r o w n down. T h e t u m b l e r is slightly raised a n d by its rim t h e coins a r e s e p a r a t e d by sliding one off the other. T h r e e coins remain. These a r e a r r a n g e d as before, the e d g e s overlapping, and a r e again covered with the t u m b l e r , and the s w i n g i n g m o v e m e n t r e p e a t e d . A coin is produced from b e n e a t h the t a b l e . . . t h e pile b e n e a t h the t u m b l e r is shown to consist of two coins o n l y . . . a n d these a r e covered as before. A third coin is taken from b e n e a t h t h e t a b l e . . . t h e glass is raised to show b u t one penny, which is now thrown out for e x a m i n a t i o n . G r e a t s t r e s s is laid on the fact that, a f t e r t h e coins have been covered, they a r e not touched by the h a n d s at a n y time. The guilty secret is a "shell p e n n y " of t h e o r d i n a r y t y p e . At the c o m m e n c e m e n t of affairs this is in the top p o c k e t of the p e r f o r m e r ' s waistcoat, t o g e t h e r with an u n p r e p a r e d coin, and a f t e r a suitable a m o u n t of f u m b l i n g in his o t h e r p o c k e t s , these two p e n n i e s a r e p r o d u c e d . W i t h the b o r r o w e d coins, these two a r e stacked on the table, t h e shell p e n n y b e i n g u n d e r m o s t . As this coin is d r o p p e d t h e fingers retain t h e shell and the " n e s t i n g " coin is released ; t h e shell is laid 011 (and o v e r l a p p i n g ) the n e s t i n g coin. O11 the shell is laid an u n p r e p a r e d penny, and on this a n o t h e r , which leaves a coin held by the fingers. 'This coin is palmed. 'To the s p e c t a t o r s t h e r e a p p e a r to be four p e n n i e s o v e r l a p p i n g each o t h e r on the table. A glass is next inverted over the coins, t h e e d g e of t h e t u m b l e r b e i n g used to slide each p e n n y into a stack. T h i s move causes t h e shell (second from bottom of the pile) t o fall over the smaller coin b e n e a t h it, t h e t w o u n p r e p a r e d p e n n i e s r e m a i n i n g on t o p of the shell c o n t r a p t i o n . 'The hand containing the palmed penny now g r a s p s t h e glass and c o m m e n c e s to " c i r c u l a t e " t h e coins. A f t e r a few s e c o n d s of this manoeuvre t h e p a l m e d p e n n y is produced f r o m b e n e a t h t h e table, the rim of t h e glass g e n t l y slides the coins a p a r t ,
showing there are hut three. These are picked up, the nesting coin is dropped, overlapped by the shell, on top of which one of the unprepared pennies is placed, the remaining coin being palmed, as before. Again the glass is brought into play to stack the coins, the swishing movement is repeated, a penny produced from beneath the fable, and the edge of the glass separates the coins on the table, showing that but two remain. Pick these up, show them on each side, drop the nesting coin on the table and overlap it with the shell, palming the remaining coin. Repeat the glass swinging movement, produce the palmed penny from beneath the table, raise the glass and show that there is but one coin there. Pick this up, palm off the shell and, if you think it necessary, hand this last coin for examination. This is not advised, as the dilference; in the circumference is apt to cause comment. UNUSUAL FINALE TO THE "CUPS AND BALLS." Rightly, or wrongly, this version is claimed by Tom Reid, a wandering wizard who presented his escamotage in the Pimlico market places fifty years ago. Having completed the proverbial routine and brought the little black balls beneath their respective goblets the magician removes these spheres of cork and transfers them one at a time to the right hand outside pocket of his coat. Again the cups are lifted, to disclose three large balls (about one-and-a-half inches in diameter) on the table top. The magician stated that it was an easy thing to smuggle these larger balls under each cup, as the onlookers were not expecting such craftiness ; but it would be a much more difficult matter sneaking them out again. As he said this, Reid would raise cup No. f (at the right hand end of the row) and pretend to take the large ball away and convey it to his right hand pocket. Paying no heed to the remarks of the audience, Tommy went on with the trick, making a feint of removing balls 2 and 3. The crowd would keep up a chorus of protest at such swindling. "Show us the balls," they would bawl out. Reid looked pained, stroked his De Kolta-like beard, and lifted each goblet to reveal the balls on the table, placing the cups at the side of each ball as he lifted them. "Oh, no," the artful old codger would say, "if I wanted to put the balls in my pocket, f would
do it quite openly, like this," and s u i t i n g the action to the word he would pick up each ball s e p a r a t e l y and dispose of them in turn in his pocket, b e i n g careful to show t h a t his hand was e m p t y each time he w i t h d r e w it. " S o f a r , " our magician would say, " e v e r y t h i n g has been fair, s q u a r e , and above b o a r d " ; a r e m a r k which never failed to register. " M y job is to get those balls out of my pocket and back b e n e a t h t h e goblets without b e i n g detected. In any case they haven't arrived y e t . " At this point the c u p s were again lifted to show t h a t the balls were not b e n e a t h them. " T h i s is g o i n g to be a difficult task because you a r e all w a t c h i n g me so closely. If I succeed it ought to worth a few more c o p p e r s . " T h i s was the signal for the t a k i n g up of a collection. . T h i s having been done to T o m ' s satisfaction the c u p s were lifted to reveal t h r e e large balls, red, blue and yellow ! A p a r t from the sleight-of-hand, m a s t e r l y in e v e r y way, the p r e p a r a t i o n s were simple enough. T h e right hand p o c k e t was in reality two pockets, in one of which reposed t h r e e large black balls, in the other, t h r e e coloured balls. In the c e n t r e of each g o b l e t ' s roof was soldered a s t r o n g needle-
but coloured
point about t h r e e - q u a r t e r s of an inch in length ( F i g . 1). Without d e s i r i n g to d e t r a c t from t h e cleverness of R e i d ' s m e t h o d a n d working, 1 m a y be p e r m i t t e d to remind r e a d e r s t h a t Bosco m a d e use of some such artifice, e m p l o y ing several needle-points in one of his cups. H a v i n g reached t h a t part of the routine w h e r e the small balls a r e shown to b e back in their original positions b e n e a t h their respective cups, the p e r f o r m e r secretly gained p o s s e s s ion of one of t h e large black balls Iron) his pocket, p a l m i n g it in the right hand. This hand would raise c u p No. 1, the left hand picked up t h e small ball from the table, the large b a l l was loaded into t h e goblet (which would be r e t u r n e d to t h e table top) and the small ball t r a n s f e r r e d to t h e right hand, which would then deposit it in the pocket. T h i s m o v e m e n t was r e p e a t e d with the o t h e r c u p s a n d balls, a f t e r this t h e cups were again raised to disclose t h e large balls. T h i s d e n o u e m e n t was sufficiently s t a r t l i n g to b r i n g a b o u t a
37
m o m e n t a r y distraction on the p a r t of t h e onlookers, and R e i d seized t h e o p p o r t u n i t y to gain possession of, and palm, one of t h e coloured balls. G r a s p i n g t h e rim of c u p No. 1 with his right hand, he tilted it top t o w a r d s his audience, allowing the p a l m e d coloured ball to roll into it, and h a v i n g d r a w n a t t e n tion to the large black ball on the table, covered it with the goblet. T h i s action forced the coloured ball to the top of t h e cup, where it b e c a m e impaled on t h e needle-point. (Fig. 2). H e r e our friend m a d e p r e t e n c e of t a k i n g t h e ball a w a y and c o n v e y i n g it s u r r e p t i t i o u s l y to his pocket. Actually it was an e m p t y hand which stole into t h e pocket, but the hand c a m e a w a y with a n o t h e r coloured ball p a l m e d . T h e right hand lifted c u p No. 2, loaded in t h e coloured ball, d r o p p e d t h e goblet over t h e l a r g e black ball, and the p a n t o m i m e of s n e a k i n g a w a y the black ball w a s indulged in. T h i s manoeuvre followed with coloured ball No. 3. Lifting c u p No. 1 by i t s top with t h e right hand t h e l a r g e black ball was removed and t h e c u p d r o p p e d to t h e table t o p with a decisive thump, t h e resulting concussion dislodging t h e coloured ball from the needle-point. T h e black ball w a s openly d r o p p e d into the left-hand pocket. T h e s e m o v e m e n t s were repeated in t h e case of cups 2 a n d 3. At t h e p r o p e r moment (which was t h e collection had been taken up) t h e t h r e e c u p s were lifted to disclose the t h r e e coloured balls. T h e interior of each c u p can b e safely shown, the needle points being practically invisible.
after
A FOUR "ACES TRICK."
T h i s was a favourite item with Solly Marks, who had a luncheon hour pitch in t h e F e t t e r Lane district some f o r t y five y e a r s ago. He possessed an a r r e s t i n g personality and had a s t r o n g facial resemblance to Charles M o r r i t t . His good looks were s o m e w h a t m a r r e d as he had only one eye, which possibly explained why it was that Solly did not switch his undeniable talents to wider and more productive fields. From t h e ranks of the g a p i n g crowd he would d r a g some t i m e - w a s t i n g e r r a n d boy and from his pockets, nose a n d chin e x t r a c t b u n c h e s of cards, g e t t i n g laughs from the varied collection of small objects b r o u g h t forth in addition to t h e p a s t e b o a r d s . T h e n , r u n n i n g t h r o u g h t h e pack faces u p p e r most, he would remove the four aces and deposit them (faces up) on t h e table top. T h e p r e s s - g a n g e d helper would then be r e q u e s t e d to lay t h r e e " i n d i f f e r e n t " c a r d s on each
18
down).
ace (faces M u m b o J u m b o of a more or less R a b e l aisian flavour followed ; the c a r d s on the t a b l e were t u r n e d over to disclose t h e fact that each p a c k e t now consisted of four indifferent cards, the aces h a v i n g vanished. The assistant was invited to search t h r o u g h his pockets and would eventually produce from his inside jacket pocket t h e missing aces. An excellent finale to a s t r e e t act, full of d i v e r t i n g m a t e r i a l a n d never failing to elicit a c h o r u s of a p p r o v a l and a s h o w e r of coins. T h e card p a l m i n g p r e l i m i n a r y was actually an excuse for s u r r e p t i t i o u s l y i n t r o d u c i n g t h e four g e n u i n e aces into t h e b o y ' s p o c k e t ; t h e s e were left b e h i n d as some half-a-dozen o t h e r c a r d s were b r o u g h t to light. The " a c e s " t a k e n openly f r o m the p a c k and placed on t h e t a b l e - t o p were double-faced cards, p r e p a r e d by s k i n n i n g four aces to single t h i c k n e s s by first i m m e r s i n g t h e m in hot w a t e r and p a s t i n g on the reverse side four indifferent c a r d s similarly t r e a t e d , t h e process b e i n g completed by i r o n i n g out t h e c a r d s or p r e s s i n g them with a p h o t o g r a p h i c p r i n t roller. W h e n ready for p r e s e n t a tion t h e f a k e aces would b e p l a n t e d at i n t e r v a l s in the pack — t h e ace side in line with the rest of the cards. W h e n removing these faked aces from t h e pack the c o n j u r e r held the cards in t h e left hand, faces u p p e r m o s t , and ran them t h r o u g h from left to right, picking out each ace as it w a s a r r i v e d at and placing it on the table—being T h e pack was then h a n d e d to the boy, who was told to count off t h r e e c a r d s faces down on to each ace, leaving about an inch of the ace visible. This having been done and a suitable a m o u n t of indulged in, t h e magician s q u a r e d up the four p a c k e t s on t h e table by t a p p i n g the sides with a single card. T h i s card was next used as a lever with which to turn over t h e four packets, when the side of t h e aces would be disclosed. T h e boy would then be invited to search t h r o u g h his pockets, t h e p e r f o r m e r s u g g e s t i n g t h e order in which the e x a m i n a t i o n was to be carried out. " Try your jacket p o c k e t 011 the outside of that horse-cloth which they sold you for a coat in P e t t i c o a t Lane. N o t h i n g t h e r e ? F u n n y : what a b o u t y o u r h a n d ? T r y the o t h e r side... O n l y a hole there. Mind y o u r dinner d o e s n ' t slip t h r o u g h it. W h a t about y o u r handkerchief p o c k e t . . . You don't use a h a n d k e r c h i e f . N o need to tell me t h a t . ' E a v e n help t h e fly t h a t tries to nestle 011 y o u r cuff. ' H a v e a t r y a t your inside pocket. W h a t have you f o u n d ? T h e four aces I And 1 never p u t my hand near y o u . . . Remember that."
not to show the backs of the aces.
careful
hocus pocus
reverse
tyr 1° V
"BUT NOT TO PLAY" by Wilfrid Jonson.
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SLOW SLEIGHTS 8y
E BRIAN MCCARTHY
CCDAce Johnson
Masterly misdirection. Slow manipulation covering a v a i l e d field in Magic.
New edition. 3 1 |d. MODERN SLEIGHTS by the same Author. 3/1 dJ, post paid.
(DODEFRN
SLEICK75
BY € BRIAN aWcCAHTMy
A N e w Book by Brian M a c C a r t h y is in preparation.
GEORGE JOHNSON, Magical Publications, 24, Buckingham Street, Strand, London, W.C.2.
