8

s I

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 CONTENTS
PAGE
THE " E N C O R E " CHANGING CARD ... ... L
T H E PRINTING-OUT F R A M E AND C A R D ... 2
C oduction
THE " A . P . " RISING C A R D 3
THE " O . K . " BILLIARD BALL PASS ... ... 4
THE REBOUNDING BILLIARD BALL PASS ... 4
T H E " FINGER CLUTCH " BALL PASS... ... 5

C ARD aiul H a l l T r i c k s are popular with

all classes of audiences.
that they are performed with fa-
The fact
T H E MULTIPLYING

THE " P E R F E C T "

BALL
T H E B I L L I A R D B A L L THAT D I M I N I S H E S
DIMINISHING CARDS
... ... ...
...
...
5
5
6
THE " P E R F E C T " WANDERING C A R D . . . ... 6
miliar objects is ill their favour. Every-
THE " P E R F E C T " RISING C A R D ... ... 7
body can do ordinary things with Cards T H E C A R D S TO B O U Q U E T ... ... ... 7
and Balls; accordingly everybody is in- T H E DISSOLVING B A L L IN W I N E G L A S S ... 7
terested in extraordinary things done T H E T W I R L I N G C A R D ON W A N D ... ... 8
with them. THE " A L A D D I N " C Y L I N D E R AND B A L L S ... 8

In this department of Magic, as in

all others, there are tricks for the
beginner, tricks for the more advanced The " Encore " Changing Card
student, and tricks for the expert per-
former. Some of each sort are included
in this booklet. But, speaking generally,
all the Contents will, if carefully studied,
be of service to the average Magician.
Almost without exception tricks with
Cards and Bails benefit, by the accom-
paniment of appropriate patter. The
patter in the following pages has been
carefully compiled, and has proved to he
effectual by actual test. But the reader
with an inventive mind and a gift for talk f i n examination of f&e. caret wilf sftouo fAaf
will doubtless make c h a n g e s — t o p i c a l o r tf consrsfs of a f i f a / n card s/ffitted info a fiaff
otherwise—here and there. Indeed written fjockef ulhtcU ftoc/ref has fun.T rfafs f / d d i n a
patter should never be regarded as final, fhe edtjej, firsf show f&e. Card iv/ffi p/a./t
but always as a basis for individual work. uf> 7fi/s P/afr and Sfie ftvnf of f f t fyocfref firm
This is the second volume of a series of ! & f a t d af ore deromina/ion fVoui / bass r/yAf
" patter b o o k l e t s " on Magic. The first ' ficwd. down across ffm fa.ce at--*, rofd c/ou/n-
volume, " Effective Modern Tricks with 1
F^a/) f f r cwct f f a curd fas cA^na-ed A f f a f
P a t t e r , " can be obtained f r o m any book- }
CTH. ffaf; E>, and facfr of ffaf f f
seller or magic dealer at the price of 1/-. * ivtri. rtcfAffand f h f d down, 0 Ctitf ffe oAartpe.
Other volumes will be published in due * / / made /£ Hu. rard shown en &ae/f~ a/" 3 and
course at the same price. 1
Ok aflfer f i a / f of f f a i r . card 7ften. £flrttrc f a t d

Every Magician who wishes to keep
up-to-date with his work, should subscribe
to one or other of the magical journals.
If he is doubtful which of them to choose,
he will be well advised to decide on " T h e
Magazine of Magic." T h a t magazine, a
specimen copy of which is presented with
this volume, is easily first as regards ex-
planations of new tricks and in other
i m p o r t a n t respects.
The Contents of this Booklet are Copyright.
> /S unfa/red S/t'f o f f fedre /info fa/m. of rtpUf
. fland unci fand ocd~ Genuine. Card- u>dii f e f f
, havd far />x<am/nafon •
, PATTER
My next is a trick with a playing card, and t o do a
card trick properly 011c m u s t have a c a r d . Of c o u r s e ,
you will u n d e r s t a n d t h a t it is not absolutely n e c e s s a r y
to have a card, but if you d o n ' t i t ' s not a card trick and
' t h e r e t h e m a t t e r e n d s . H e r e is a C o u r t C a r d . L e t m e
* s h o w you my right h a n d — t h i s thing h e r e at t h e end of
my a r m s — q u i t e e m p t y . By simply stroking t h e f a c e of
> t h e card in this m a n n e r you see it h a s c h a n g e d into
s o m e t h i n g entirely different. I see you a p p r e c i a t e t h e
c h a n g e so I will do it again which is a n o t h e r way of
saying I r e p e a t it. Now you see it h a s c h a n g e d again,
and you are a t perfect liberty t o examine it.
 The Prmiing-Ovt Frame ® C a r d Trick
I N V E N T E D BY P E R C Y PKI.LEW
SECRET
Unknown to t h e audience, t h e r e arc really t h r e e
pieces of glass used, and on examination it will be
noticed t h a t they differ in size slightly. F o r t h e sake
of convenience \vc will n u m b e r t h e glasses 1, 11, and 3.
Nos. 1 and 2. These are slightly smaller than No.
.3, and when placcd in t h e f r a m e from t h e back, drop
right t h r o u g h .
No. 3, being made larger, retains its position when
placed in t h e f r a m e .
In addition to the frame, a paper is used. Person-
ally t h e inventor always uses Home Nates, having
found s a m e a convenient size. P r e s u m i n g Home Notes
is used, open same exactly in half, and remove t h e wire-
clips which keep s h e e t s together. Now t e a r t h e top or
c e n t r e sheet carefully in halves. These t w o half-sheets
arc needed for the "trick, and for convenience wc will
call t h e m loose sheet /I and loose sheet B.
A duplicate of the card used in the experiment,
a f t e r having a small c o r n e r taken off, is fixed facc
d o w n w a r d s on glass No. 1. To do this, d r a w the top
5 HOME NOTES. HOME Norn 6 and easy move, and absolute
- F"
/Yarjr.
\ m l
O
V
->Pull
J I ; J IQ^S ShttTB
TumbUr ! te| here
(f/aiAif J r
fr&me /ace down
PlflM or Tst&le Top
and bottom edges of the card vertically across a piece,
of dry soap, which leaves a very minute portion of soap'<
on t h e top and bottom edges of t h e card. If card is
now pressed face d o w n w a r d s on glass No. 1, it will
remain fixed until wanted, when with a slight twitch of
t h e finger it will immediately come away, leaving no
t r a c e on t h e card or glass.
Glass No. 1 in this condition with card on top is
placcd on Home Notes u n d e r n e a t h loose s h e e t B, as
per sketch.
Before covering glass, however, t h e f r a m e is placed
over it for a m o m e n t , whilst a pencil mark is made on
t h e left hand side of top sheet of Home Notes (o denote
later t h e correct position for f r a m e . The f r a m e is now
taken away, and loose sheet B placed over glass as
instructed above.
The paper in this open condition is placcd on your
table slightly to t h e f r o n t of s a m e , and unknown to t h e
audicnce you have t h e duplicate card and glass under-
neath t h e top sheet B. The f r a m e is placed on your
paper with two pieces of glass and hinged back. < f
course glass No. 3 is placed in first to prevent No. 2
from dropping t h r o u g h . The other piecc of paper is
rolled into a ball with t h e small corncr which was torn
from t h e card, in t h e centre, This is vested ready to be
exchanged later on in t h e trick for a n o t h e r similar b:
m a d e up in f r o n t of t h e audience, and which will i
explained later.
An ordinary t u m b l e r is also on t h e table, ready f
use during t h e trick.
To PERFORM
A card is forced, similar to t h e one you intend pr
ducitig in t h e f r a m e .
T h e f r a m e having been shown to be ordinary, bai
is removed, and also t w o pieces of glass. P e r f o r m
now lays f r a m e on t h e table to t h e rear of t h e paper
see sketch—and explains he is going to replace t h e par
of t h e f r a m e . First he places in t h e f r a m e No. 2 glas
which being smaller than t h e r e b a t e of t h e f r a m e , go-
right through on to the table. This is, of cours
unknown to t h e audience, the sound being t h e s a m e ;
if dropped into t h e f r a m e . No. 3 glass now placed i
being larger, r e t a i n s its position whilst back is plac<
in and fixed.
Now comes an i m p o r t a n t move. Taking hold
f r a m e at corners A and B with forc-finger and t h u m b
each hand respectively, p e r f o r m e r with a sliding mov
mcnt lifts A and B and d r a w s C and D along towari
t h e paper. This has t h e effect of shooting t h e piece <
glass No. 2 underneath Hon
Notes. This is quite a n a t u r
indetectable, as a p p a r e n t l y tl
f r a m e h a s been merely lifted ar
shown to audience.
S t r e s s is now laid upon t l
fact t h a t with t h e exception of tt
t w o pieccs of glass, and t h e b a e
t h e f r a m e is otherwise e m p t
One half of hinged back may I
opened and audicnce invited t
look t h r o u g h glass as it is irnpo
sible for anyone to detect t h e fa<
t h a t t h e r e is only one piece (
glass in t h e f r a m e . Back is OIK
again closed.
In this condition t h e f r a m e
placed face down on Home Note;
directly over glass No. 1, which
covered with loose sheet B, th
guide, of course, being t h e penc
from 7um6/*r mark.
Approaching t h e spectatc
who selected the card, p e r f o r m e r asks him to mar
P same. Before he can do so, however, p e r f o r m e r take
card from him, and explaining t h e easiest way to do s
is to tear a corner, suits t h e action to t h e word, c
course, tearing s a m e similar to t h e duplicate card an
immediately handing t h e t w o pieces back to him. Rs
t u r n i n g to table p e r f o r m e r takes hold of loose sheet 1
by t h e right hand, and giving a s h a r p pull, pulls th
paper clean away without disturbing e i t h e r t h e fram
or t h e glass, leaving glass No. 1 with card direct!
under the frame.
The paper is now taken to t h e person with t h e tori
card, and he is asked to place s a m e (with t h e corncr) it
t h e c e n t r e of t h e paper and to roll t h e lot into a ball
W h i l e he is so doing t h e r e is ample time and c o v e r t
get t h e duplicate ball of paper from vest into right hand
Taking ball of paper f r o m s p e c t a t o r into left hand an
making t h e excuse t h a t it is not rolled tightly enougli
h a n d s are brought t o g e t h e r presumably to make ji
smaller. An exchange is m a d e and t h e ball containin
t h e corner only dropped into t h e t u m b l e r . i
T h e tumbler containing roll with torn corner is noil
replaced on tabic, to side of Home Notes. Now takiij'
hold of t h e t o p sheet of paper by t h e right and left han)
c e n t r e D and E (without disturbing f r a m e ) t h e wholl
 CARD AND
•II lot is lifted and rested on m o u t h of t h e t u m b l e r which
>emust be smaller t h a n t h e f r a m e . This forces t h e glass
No. 1 with card a t t a c h e d , well home in t h e front r e b a t e
"of the frame.
P e r f o r m e r now explains to his audience t h a t a card
h a s been sclectcd, marked, rolled up in paper, and
placed in a t u m b l e r covered with a sheet of paper. An
3'empty f r a m e containing two pieces of glass has been
placed on top of t u m b l e r to isolate it.
A f t e r explaining his intentions, t h e f r a m e is lifted
"'from t h e t u m b l e r with t h e t h u m b on top and fingers
- u n d e r n e a t h , and s a m e t u r n e d over, t o show t h e card
t l h a s arrived as predicted.
3 Picking up t h e t u m b l e r with t h e o t h e r hand t h e
II person w h o rolled up t h e p a p e r is asked to take s a m e
q a n d unroll. H e of coursc finds t h e corner. T h e back
Mis then taken from f r a m e , and t h e two pieces of glass
n, taken out as one, a slight twist being given to t h e m at
-f s a m e time. This has t h e effect of loosening t h e card
between t h e t w o pieces of glass, when s p e c t a t o r may be
olasked to draw card f r o m between same, and to c o m p a r e
olwith c o r n e r in his hand to see t h a t it fits,
e piece or t h e mutilated card ? T h e large piece ! Very
•M PATTER
ol
n T h e little f r a m e I introduce to you is no novelty,
aibcing an ordinary p h o t o g r a p h e r ' s printing-out f r a m e .
Ijlt, however, has one peculiarity and t h a t is, it has an
leadditional s h e e t of glass, t h u s making t w o in t h e f r a m e
id
The " A . P . " Rising Card Trick
The houlette used in t h e trick has no deception in
j. connection with it, being merely a b i a s s holder of t h e
^ d e s i g n shown by o u r a r t i s t and nickel plated. T h e
^ c u r v e d a r m s below it enable t h e houlette to be kept up-
0
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1 %5e/ecfcit Cards
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II Cards m Houlette
ti
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d
i n g h t by being gripped b e t w e e n second and third fingers.
• W h e n t h e trick is introduced a b o u t 12 cards m u s t be
discarded, so h a t a pack of only 40 c a r d s is used. T h e
>1 hook at end of t h r e a d is fixed to right side at t h e waist,
nthe exact place being d e t e r m i n e d by e x p e r i m e n t . T h e
nfakc is dropped into right t r o u s e r pocket, or a side
Jjpocket if working in a dinner jacket or lounge suit.
l
BALL TRICKS 3
instead of one. Both t h e s e glasses and t h e hinged back
I offer for your close scrutiny.
W h i l s t t h e examination is going on, p e r h a p s I can
induce you, Sir, t o take one card from my pack and
make a mental image of it on t h e t a b l e t s of your grey
m a t t e r . Thank you .'
Now- w a t c h me carefully, please. H e r e goes No. 1
glass into t h e f r a m e : here goes No. 2. T h e hinged
back placed in position, keeps everything s e c u r e , and
you will kindly notice t h e glasses have had nothing
placcd between t h e m .
For f u r t h e r security, p e r h a p s you would mark t h e
card you selected. Let me do so. This is t h e best w a y ;
to t e a r a piece from it. Kindly place both into this
sheet of paper, and roll s a m e into a ball. T h a n k s 1
You've made quite a good job of it. So t h a t it may be
before you t h e whole time I p e r f o r m , I'll placc t h e little
parcel in this t u m b l e r .
To r e t u r n to t h e f r a m e . This I lodge daintily on
top of t h e glass, and you will notice t h a t I d o n ' t touch
s a m e with my fingers.
Now Sir, which would like me to use—the small
well. P a s s ! H e r e you see, we have t h e card b e t w e e n
t h e two s h e e t s of glass, a f a c t which p e r h a p s you will
verify, whilst in t h e paper ball we have t h e small piece
only. If t h e card and t h e piece are fitted t o g e t h e r , I
know you will be convinced t h a t t h e original card is
restored.
T h u s p r e p a r e d , and with houlette and depleted pack on
table, t h e experiment is ready to be p e r f o r m e d . T h r e e
c a r d s arc freely d r a w n , r e t u r n e d t o pack, and b r o u g h t
t o t h e top by m e a n s of one or o t h e r of t h e familiar
shifts. Now, whilst t h e houlette is being examined, t h e
faked stack of cards is palmed and added to t h e pack.
o
•sB
13
"S O
t-O
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2
J D
5 O
m
JS <
H 5
Thnrod throuqh
f'ngersunder- a rm
T h e reason for using only 40 cards will now be appre-
ciated. The pack and t h e fake t o g e t h e r are dropped
into houlette, and t h e latter clipped in fingers. T h e
t h r e a d by this a r r a n g e m e n t r u n s u n d e r t h e h a n d and
a r m , and is quite out of sight of a u d i c n c e . To c a u s e
t h e c a r d s to rise, t h e hand h a s only to be pushed
slightly forward, this action bringing "the t h r e a d to a
tension and forcing t h e top card of pack upwards. This sleight is a preliminary t o ball moves, t h e
Obviously when t h e spike of fake is in repose, it presses production of t h e first ball from e m p t y h a n d s being its
into t h e t o p card and carries it upwards when t h r e a d is motive.
pulled. Some p e r f o r m e r s elect to fix t h e t h r e a d to Standing with his left side to audience, p e r f o r m e r
body a f t e r t h e fake is in position in houlette, but this exhibits both h a n d s at a r m ' s length, t h e left unknown
s e e m s to be a far clumsier expedient than t h e method to onlookers concealing a ball in t h e palm. Showing
indicated above. his right hand from both sides, it is placed palm on back
of left, as shown in Fig. 1, t h e position being almost
PATTER
immediately reversed to t h a t shown in Fig. 2. In t h e
latter position, t h e palm of t h e left hand is placed upon
My next trick is a card experiment. To do a card back of right so t h a t the right t h u m b lies partly on back
trick properly one m u s t h a v e a pack of cards ; of course of left t h r o u g h t h e left t h u m b fork. ' I n this position,
it's not absolutely necessary t o have cards, but if you t h e right hand palms t h e ball from t h e left, t h e whole
don't have t h e m it's not a card trick. P e r h a p s 1 can body simultaneously making a t u r n to t h e right. Left
induce t h r e e of t h e more bold of you each to select a hand may now be shown from both sides, t h e back of
card from t h e pack. Will you Sir, t a k e one ? N o ! right being kept t o w a r d s s p e c t a t o r s .
d o n ' t take two, t h a t ' s greedy. Madam, will you oblige T h e actual production of t h e ball may be left to
me by selecting one of t h e s e c a r d s from t h e middle ; individual t a s t e .
t h a t ' s t h e middle in t h e c e n t r e . Thank you ! P e r h a p s
I can persuade you also to take a card from t h e pack,
Sir, and make quite sure you will know it again when
you see it. Kindly replace it in t h e middle of t h e pack.
Thank you ! I'll trouble you Madam to lose your card
in t h e pack. Many t h a n k s ! Now for t h e last card (not The Rebounding Billiard Ball Pass
t h e lost chord). Will you kindly replace it in t h e middle
of t h e pack, S i r ? T h a n k s ! The t h r e e c a r d s now being
returned, I'll ask a lady to shuffle t h e pack. Will you,
Madam ? I take it you have shuffled t h e cards to your
entire satisfaction ? I shall now place t h e pack fairly
into this skeleton houlette, and hold s a m e at a r m ' s
length. Now when 1 command, your card Sir will rise
from t h e c e n t r e of t h e pack without any h u m a n aid.
W a t c h ! The Five of S p a d e s (or whatever the card
was). T h a t I believe was t h e one you selected. Will
you remove it yourself, and examine it. (Repeat with
two remaining cards).

P e r f o r m e r s t a n d s left side to audience w i t h a ball

lying openly on left palm, as shown in first photo.
Advancing t h e right hand to a point a b o u t 9 in. above
t h e left, t h e ball is tossed u p w a r d s and c a u g h t by the
right. W i t h a s h a r p downward t h r o w t h e ball is trans'
ferred to left, a pronounced " smack " being caused as
t h e ball strikes palm. This move is p e r f o r m e d three
times, t h e ball at t h e last t h r o w , however, being pro
pelled with extra force, so t h a t it r e b o u n d s into righl
hand which follows t h e downward course of t h e sphere
T h e closed left hand is elevated, whilst t h e right seek!
t h e open profonde to dispose of t h e ball.
The sleight resembles in m a n y respects t h e familial
jerk-back palm with a coin.
%

CARD AND BALL TRICKS o

The " Finger-Clutch " Ball Pass
This pass h a s a particularly dainty effect, and is
well worth t h e little time s p e n t in m a s t e r i n g it. T h e
ball is held between t h e first and second lingers of right
hand, as shown in Fig. 1, t h e palm being turned t o w a r d s
t h e audience. T h e t h u m b of left hand now passes
between t h e o u t s t r e t c h e d second and third fingers of
t h e right h a n d , and behind t h e ball, for t h e p u r p o s e of
allowing fingers to close round it (Fig. 2). A c o m p l e t e
turn is next given to body t o bring right side to audience,
under cover of which t h e ball is allowed t o fall into
right h a n d , in which it is s t r a i g h t w a y palmed. T h e
closed left hand is elevated, and audience led to believe
by t h e direction of p e r f o r m e r ' s eyes t h a t t h e ball is in
t h e closed fist.
Of course, t h e s p h e r e may be reproduced in any
m a n n e r t h e p e r f o r m e r chooses.

Multiplying Ba.ll Trick The B i l l i a r d B a l l t h a t Diminishes

Fig •/ F/6-2,
7ho secret op juecejs J/es fn /he. manipulation of
/he Shell and ball as shewn in the idiayranx.. Pracfrce* F/fi Z-
/he movement shewn and Hie. res!"/seasy /he she// 'S
held full fucmy audience.dropping /he. £net ftnqer ri / - are he/d nested
as'•shoo,*, m Ky /. The ,s shown.
behmcl ll (Fiq.l.) /hesolid hall can be ro//td ouf ric/h/up PuH face fo audience. W ^ ^
/ a r c f e j t J h e / /
A * a „t,d
between /he. t>fand Z"*finyers thus pro clue my fvco balls. h !r
Passm3 /eff His shell the
In fjerformmij,firs!produce/tie one ball (and shettj by jleiahl /A J & • * *
cf hand,or secre/ly. Pew roll outsold bat/and show tno(fj</2) d£Z Pf Pl'l I Sh°*>"<3 ferPormer
White show my Itiese Cfetanother ha//Prcn\f?cd<etfunseen)and drops f,rsf shell ,„/o his /nctret.3 7Ae ^o^e
now refie«/ed to fsnefvee f^ ^^y SoU 6a//
in /he. a.ch of removing5''ball from ts-Z"i fc Z-J'^fmyers
^.ferPorrT raps ZM
thf no £ into the shell How roll th u ou/ as before making 3 ba/ts
Secure the last ball dud refieaJ move., first- moi/tny f/revms ball ball ro prove th « , „ e 'am( b ' J^
patmmj s/e.-yht a,mp/e.te/y vanishes d.
between fthqea leaving /*.f-Z'"* open ac/am.

PATTEU
Let me introduce to you t h e latest society craze
entitled " Aerial Billiards." The idea of t h e g a m e is t o
c r e a t e as many balls as possible f r o m t h e empty hands.
This is quite a simple m a t t e r . J u s t imagine I have an
o p p o n e n t h e r e on my left h a n d . I make t h e first move,
and secure one point inasmuch as you see I have
created one ball. Of course, you must look p r e t t y
sharp, or your opponent may catch you up. W h e n I
w a n t t o secure a n o t h e r point, I simply wave my hand
like this, and t h e r e is No. 2. To s e c u r e a n o t h e r point,
I simply go like this and here we have t h r e e balls—the
sign of my a n c e s t o r s . I see 1 am f o r t u n a t e in possess-
ing five fingers, so I will make one more for luck, and
here it is. 1 t r u s t you all will be able t o play this g a m e
for yourselves, and find it as interesting as 1 do.
PATTER
Most C o n j u r o r s a t t h e conclusion of their per-
f o r m a n c e with Billiard Balls, vanish t h e last ball
a l t o g e t h e r , and give their audience no c h a n c e of seeing
h o w t h e sphere disappears. I propose taking t h e last
one, and actually showing you t h e m e t h o d of dema-
terialisation. T h e c o m p o n e n t p a r t s of t h e ball a r c
merely squeezed until it a s s u m e s proportions quite
Liliputian. Let me d e m o n s t r a t e t h e idea. 1 j u s t
squeeze t h e ball like this, and now you see we h a v e
reduced it to far m o r e m a n a g e a b l e proportions. An-
o t h e r squeeze, and you see ball little larger t h a n a
marble. To vanish it entirely, 1 squeeze very hard like
this, and now you observe it is non est, and t h a t ' s an
h o n e s t way of disappearing billiard balls.
 The " Perfect " Diminishing Cards on m y p a r t . S e e ! I j u s t s q u e e z e t h e m a g a i n , a n d n o w
t h e y a r e a little l a r g e r t h a n a p o s t a g e s t a m p . Really,
Madam, I think you are j u s t a little over-reaching.
T h e lady w a n t s t o s e e t h e m still f u r t h e r r e d u c e d . Very
well, I'll t r y . I w o u l d d o a n y t h i n g f o r t h e l a d i e s . . H e r e
t h e y a r e s o s m a l l t h a t you c a n s c a r c e l y s e e t h e m . I
beg p a r d o n ? T h e lady w a n t s t o s e e t h e m still s m a l l e r .
V e r y well, I'll t r y . H u l l o ! T h e y ' v e g o n e a l t o g e t h e r ,
and, believe me, it's t h e very smallest I can s h o w .

The " Perfect " Wandering C a r d Trick

tin,/ /„/, Car*, fc Kied

Jn COmm^ncmy performance the fu/f s/je Set

of cards are shown usifh the half set tietd
be fund as m t7c. 1 Onc/ny to f f t e pecid/ar
battem of the backs fire cardj can b^. shown
bobfi jidej n-ifhouf the audience defecting ff<e
leecnct Jet The nexf mtue. rs fo pass ntftd hand
before foe full set close them and pain* fheni
o f f fiius repeating f f t e . buff set 7f cccprtfuafe Ttie fnetc Cardst are three /n number , bear/s t c/ubs,
Hxe faof HicJ fhe, cards baire reduced rn S/ge And d/anu'/'ds hat/mg the same number at p'ps
/jtch u-b a curd from, f f t e foose ones faying on ftiese cards are fti* /ncA shorter than ordinary Cards
fbe fable 70.1} / j fite opporfumti/ fo drop fu/f f-ay oat Mese. cards as /n t=7a. / ft 0 «f C e^itii
palmed. se-f arttona tne foose carats and f f t e eyuirafenf Spade cardr third from, your r/yhf /ffter
imq/e card /J hkftd a (fainsf f f t e h u f f Je/ fvyZ drac-umy attention fo ffte cards be/nty four of a. frmd-
jkpuJS fiie special pocket attached fo fiouser feo. furn them face down and carer car^- untt± fftree-
tUa,f it is acft//ja.bfe ft> procure, fbr hofdihy f f t e three Cards from, the pack com/nenema from year rrpttf. •
n
irha.ll seh 'p*'*i t/h The moves noio flow f cytt. /ofi of pack , you. tiaoe. ready I
are fo procure one of fke srna-ff Sefst Substitute if three duplicates of the, exposed fiearts/c/ubsl dia/wids -
f Ordinary curdsJ • ~tfiese cards ffieinpre , fall on fdp of [
for 'and patm o f f the Sef fn f f t e f e f f band ,«"d the spade card and untencum. to a-ud/encer matfe a- 1
drop ffus fatter set m/aifpoobef wfufe obfamma •• Comptete fvur of atTmd flow yet a. spectator fH setiecf t
the next Sr>,«ft sef The f a j f ?/(>" Jef " ran,sM f f w Sef by tfie fvtfoujiniy method of e-tmnKation ffstc for 1
by hiding ,f behveen A " * f s e e Fly 3- Jctectijn of ffte teft or rufkt two / f a r e chosen c
pick then*, up t and say ' then J un// tea tie these ftco heaps j
on the. fable 're C' and fht sfcade . f f ffie f e f f band (
PATTER
tluo are chosen Jay of '/!-/&' "ffiese c<re net re out reds' I
M a n y p e o p l e a r e p e r p l e x e d by t h e w a y in w h i c h they can yo bacA tn pa&k. Repeat questions ov/tk I
c o n j u r o r s p r o d u c e a n d v a n i s h c a r d s a t t h e t i p s of t h e i r C.' and the spade pac/c. Opcou-rje. finally /eat"Hj the Sp,'-Wr £
fingers, a n d a r e inclined t o c r e d i t t h e M a g i c i a n w i t h f a r pattr op. fae /aft* as the pinat jefectioK flocu ntttc your
m o r e skill t h a n a h u m a n b e i n g could e v e r h o p e t o pactr /yc-2 /b jhoui ,thaf'three*'are not there uihich aoucaxdt
a c q u i r e . A l t h o u g h 1 fully r e a l i s e t h a t it is d i s t i n c t l y as dieoftort cards will ml riffle. J7,en turn ooer the fable/rack*
u n p r o f e s s i o n a l t o give a w a y s u c h a v a l u a b l e s e c r e t , I
feel it i n c u m b e n t u p o n m e t o e n l i g h t e n t h e h u m a n r a c e PATTER J
a s t o t h e t r u e s t a t e of a f f a i r s , a n d t h i s e v e n i n g will t a k e F o r t h e p u r p o s e of my n e x t t r i c k , I s h a l l u s e f o u r of i
you all i n t o m y c o n f i d e n c e a s I k n o w you will t r e a t t h e a kind s a y t h e " t h r e e s " (the cards to be used are t
m a t t e r q u i t e c o n f i d e n t i a l l y , a n d n o t let it go a n y f u r t h e r . those you have prepared), a n d t h e s e I s h a l l p l a c e face 1
A s a m a t t e r of f a c t t h e c a r d s used a r e v e r y good o n e s — u p w a r d s o n t h e t a b l e . N o w let m e a s s u r e you b e f o r e r
t h e y c o s t m e s i x p e n c e a p a c k — a n d h a v e a lot of india- w e p r o c e e d t h a t t h e r e a r e no d u p l i c a t e s in t h e pack. ^
r u b b e r in t h e i r m a n u f a c t u r e . T h i s q u a l i t y e n a b l e s m e " S o f a r s o g o o d , " a s t h e b o y said a s h e f i n i s h e d t h e i
to compress t h e c a r d s and so reduce t h e m to more t h i r t i e t h s a n d w i c h . O n e a c h of t h e s e I s h a l l place f
manageable proportions. E x t r e m e p r e s s u r e on m y t h r e e o r d i n a r y c a r d s in t h i s m a n n e r . N o w I t h i n k you'll £
p a r t will r e d u c e t h e m s o s m a l l t h a t t h e y will b e invisible a g r e e t h a t s o f a r t h e r e h a s b e e n n o c h a n c e of m y de- >
t o t h e n a k e d e y e . I p e r c e i v e you t a k e my s t a t e m e n t a s c e i v i n g y o u e v e n if I w e r e s o d i s p o s e d . I t is n e c e s s a r y
a j e s t . 1 a s s u r e you, h o w e v e r , t h a t I a m in e a r n e s t n o w t h a t you s e l e c t o n e of t h e s e h e a p s (patter here
a n d will p r o c e e d t o d e m o n s t r a t e t h e t r u t h of m y a s s e r - must be governed by circumstances). K e e p your
tion. S e c ! H e r e a r e a n u m b e r of o r d i n a r y c a r d s . h a n d o n t h e h e a p you h a v e c h o s e n . W e ' l l call t h a t
T n e s c I s q u e e z e in t h i s m a n n e r a n d w e n o w find t h e y h e a p " U r i a h " — I s a y t h a t s l o w l y in c a s e you t h i n k I
a r e d i m i n i s h e d t o o n e half t h e i r o r i g i n a l size. O b s e r v e , am insulting you. T h e three discarded packets I return
please, t h e difference between t h e s e and t h e original. t o p a c k , a n d s h u f f l e s a m e in t h i s m a n n e r . N o w you
I shall, h o w e v e r , m a k e t h e c a r d s still s m a l l e r by a p p l y - fondly i m a g i n e t h a t I h a v e t h e t h r e e " t h r e e s " in this
ing f u r t h e r p r e s s u r e , a n d h e r e you s e c we h a v e t h e m p a c k . A s a m a t t e r of f a c t i t ' s all a d e l u s i o n ; t h e pack
r e d u c e d t o o n e q u a r t e r t h e full size. I b e g p a r d o n , a s y o u s e e ( r i p p l e edges) c o n t a i n s n o t h r e e s f o r t h e
M a d a m ? Y o u w a n t t h e m still s m a l l e r ? V e r y well, 1 s i m p l e r e a s o n t h a t t h e h e a p you h a v e s e l e c t e d c o n t a i n s
will t r y , a l t h o u g h it will r e q u i r e a g r e a t m u s c u l a r e f f o r t the complete set.
 T k e " P e r f e c t " Rising C a r d Trick C a r d s to Bouquet Trick

Prepare a fength of thread. mth a foop a/one Prepare fur ffie frtcU by -threading ffie.
Cnd. and a ICnot, nth. a. pud of wax, at the Jprmcy bo upuef under -the band on tke
Other end The loop pits oi/er the second button
of fhe. uaisfcoat and the h/ax is pressed on pack card, cos sfuiu/n in fbe i ffus fraf on.
fd the bottom, button- The thread hantfj down- and Sh'UJ Hie face, at- the. cards fannec/ oaf
/S in risible ftaviny forced three cards yet ffiem fodtmcy care, that ffie. ffowers are not .seen
fo die badr of du- pack, and wfnk f f i e yobfeb is
berny examined, yet rVar pad on fo f i f h t fUunttnait Pfs you cfooe fart f j u t t au/ay spring
tfhen ptuctna flack In oohtet press li/axhad ffowers ovtf/ch ujiff open oaf, and enbrefy
on fo focoer"pcirf of hack card (f7& 2) 76 makt COnceaf ffie cards.
Card rise // IS onfy necessary f i straighten •—
thread by moving arm forward, or body back PATTER
as tit f / a 3. fee move first Card and scrape a f f
IMaX on fo fhwnib naif ayain Hand card ou/~ H a v i n g finished m y c a r d e x p e r i m e n t s , I will a s a
for inspection and fake back Old of a/ass to l a s t e f f o r t i n t r o d u c e a little t r i c k w h i c h I d e d i c a t e w i t h
Shout no connection tfas is /he chance to press urax v e r y kind r e g a r d s solely t o t h e l a d i e s . H e r e in m y
on fo second card Repeat mores also with fftird card. h a n d s I h a v e a n u m b e r (or e v e n m o r e ) of o r d i n a r y c a r d s .
L e t u s c o u n t t h e m t o s e c if t h e y a r c all h e r e . I s h a l l
PATTER
n o w c o v e r t h e m f o r a f e w m o m e n t s w i t h o n e or o t h e r of
my h a n d s o r b o t h , a n d i n s t a n t l y w e h a v e a l a r g e
I always do this trick w h e n performing before b o u q u e t w h i c h I shall be p l e a s e d t o h a n d t o o n e of t h e
a h i g h - c l a s s a u d i e n c e . iMost c o n j u r o r s k e e p t h e i r ladies—next time I come.
b e s t t r i c k s t o finish t h e i r E n t e r t a i n m e n t . 1 don't
—all m y t r i c k s a r e good ; of c o u r s e , if o n e j u d g e s
by t h e a p p l a u s e h e r e , I m u s t be c l e v e r ! It is a g r e a t
mistake to talk when performing. I never d o ! This
t r i c k is k n o w n a s t h e o b e d i e n t c a r d s . T o d o a c a r d
t r i c k p r o p e r l y o n e m u s t h a v e a p a c k of c a r d s . Of
The Dissolving B a l l in W i n e g l a s s
course, it's not absolutely necessary to have cards, but
if you d o n ' t h a v e t h e m i t ' s n o t a c a r d t r i c k . P e r h a p s I IMPROVED METHOD
c a n i n d u c e t h r e e of t h e m o r e bold a m o n g y o u t o e a c h
select a card from t h e pack. Will you, Sir, take one.
N o ! d o n ' t t a k e t w o , t h a t ' s g r e e d y . M a d a m , will you
oblige m e by s e l e c t i n g o n e of t h e s e c a r d s f r o m t h e
m i d d l e . T h a t ' s t h e m i d d l e in t h e c e n t r e , t h e r e . T h a n k
you ! P e r h a p s I can persuade you also t o take a card
f r o m t h e p a c k , Sir, a n d m a k e q u i t e s u r e you will k n o w it
a g a i n w h e n you s e e it. Kindly r e p l a c e it in t h e m i d d l e .
T h a n k you ! I'll t r o u b l e y o u . M a d a m , t o lose y o u r c a r d
in t h e p a c k . M a n y t h a n k s ! N o w f o r t h e l a s t c a r d (not
t h e L o s t C h o r d ) . W i l l y o u kindly r e p l a c e it in t h e
m i d d l e of t h e p a c k , S i r ? T h a n k s ! T h e t h r e e c a r d s
n o w b e i n g r e t u r n e d , I'll a s k a lady t o s h u f f l e t h e p a c k .
W i l l you, A l a d a m ? I t a k e it you h a v e s h u f f l e d t h e
c a r d s t o y o u r e n t i r e s a t i s f a c t i o n . I shall n o w p l a c e t h e
p a c k f a i r l y i n t o t h i s c l e a r g l a s s t u m b l e r , a n d hold s a m e The tumbler stands before the. audience, with
a t a r m ' s l e n g t h . N o w w h e n I c o m m a n d , y o u r c a r d Sir, the ytass bet/ behind f t . unseen. fahe up the-
will rise f r o m t h e p a c k , w i t h o u t a n y h u m a n a i d . W a t c h ! bull (proved solid J and drop it fntb the tumbler
place a handkerchief over a//, mc/udiny y/ass
fatfe . FIG. I Pew bake up handkerchief n/ith
The Editor thanks the following the yfass fake and show audience bat/ is sbt/l
there fPecovev fumbter. ctvoppma fake rfytif
contributors:— down on to ball fake yrips ffatt and u/hen
hand Kerchief is uyam removed brings bat! away
PERCY PELLEW with it f f i y 2 ) bio/d handkerchief ever a net
CLIFFORD THOMPSON and Jervatfe. and drop fahe and butt fumb/e*-
has already been seen emphy ; and haudWcrck^f-
STANLEY COLLINS. Can new be shaken ou-fand! shown empty.
 PATTER T h e A l a d d i n Cylinder a n d Balls
Having shown you how I make Balls multiply,
appear and disappear, I want to show you a very extra-
ordinary trick with this last one. Here is an ordinary
tumbler made of clear glass. I like tricks with tumblers
because one can put so much Spirit into them. May I
borrow a handkerchief from a gentleman for a few
seconds ! Many thanks, Sir ! Now watch me carefully.
If I drop the ball into the tumbler in this manner, I
think you will agree if you give the matter a few
moment's reflection, that it impossible for it to be sub-
mitted to any sleight-of-hand manipulation on my part.
I now cover the glass with the handkerchief, and will
ask you to notice that the ball is still lying in its glass
case. I shall now command the ball to disappear.
Presto ! Go ! Here is the glass as empty as a Suffra- f=-/a Z
gette's speech, and you are at perfect liberty to examine
it so long as you don't try to bend it—that warps the The qtass Cylinder // prepared b» f/aa'ny the
glass. 1 return your handkerchief Sir, with very many transparent °/*n "f'
thanks for the loan of it. This to He audience spears to be an
ordt»«ru a/ass tube . unbared /tcw'^ sf"""t
. I. and
the balls, ' u . ?«'/'/y
Hie /./-.. Cardboard tube
A//hp.otrof.
afeiti.
former into yfass
ala. cylinder re mh> the
'iinmq FaUe. . Flt/.l Vow Cover with, th* —
Carl board cb/mney and when r€mo*,nj c?r«sp
Twirling C a r d on W a n d Hie tin,** as jhewn ,n Ft<j.Z and take ,fa»»y
(S<th the chimney, teat/my fixe tyfasj ern-pfy.
tf the hnma and balls are dropped mta «
Sen/ante Hie chimney can be shown empty ayam

PATTER

This is merely a tube of glass on a small metal foot.

I like doing tricks with glass as they are so easily
seen through. In conjunction with the cylinder I make
use of this empty cardboard tube, which is, as you see,
open at both ends. By looking through one end you see
the other; by looking through the other you see the
one. The only difference between the glass and the
fyc.3. cover is that whilst the former contains nothing this
latter is empty. W e will bring the two into somewhat
closer relations, by dropping the cover over the tube,
the eyrcofe. /n the ti/and. /J nof brouyht to or putting the tube into the cover, as you prefer.
the no/ice of the a* tdterxi <: if the usanct is Here are half-a-dozen ordinary round balls, which
niCtritfrtA.la.f~ec/_- spHarttu ////•'n havma wared the just at this particular time, are very much more popular
plate attached to /he ball, /fee-ft ha'rued untd than square balls. This I will place visibly into (Per-
reyuirett for use /leu/ ta.yma cfoujn //to wand / former must arrange his own Patter here, to fit the
Select any card, and shew/r bach and fron/t apparatus used for vanishing). I now propose
then wtieei fetching wand fress folate of bat/ making the balls pass from here into the empty glass
Cn h back of caret uttuch U/it/ adhere /o /he wax. cylinder. Pass ! It is done ! Here you see t h e — - — -
/>6.2. •jhoaiina front of tard on/y. f>/ace is empty, whilst in the glass tube we find the missir
Curd Cayamst face at i*/and cd/owmy fra.// to balls.
Kesf m the urccre f i t first the card ap/rears /o
adhere to the wand , then directly ivand /s fitted A N Y T R I C K E X P L A I N E D IN T H I S
Card Chystericujly travels atony, rero/tema, as ft(j3. B O O K L E T MAY B E O B T A I N E D
/n re inct/lit y Card ftatrn o f t bed! show tfacA of Card. AT GOLDSTON'S

PATTER rON SALE 1/- net, postage 3d.

This is a giddy age and everything seems infectcd
with the giddy spirit. This applies to the inanimate as
well as to the animate. There are the Twirling
Dervishes the Tango Teas, the Turning Tides, and the ELECTIVE MODERN TRICKS
Dancing Waves. Let me prove my assertion by exem- [WITH PATTER]
plifying it with so common an object as a playing card
See ! 1 just lay it on the end of my Magic Wand and Compiled and Edited by W I L L GOLDSTON.
round after round it goes just like a Prudential Insu-
rance Agent on Monday morning. As it revokes, so On Sale at all Magical Dealers o r D i r e c t from—
you will notice it runs from one end to the other
increasing in velocity the while. In conclusion let me WILL G O L D S T O N Ltd.,
prove that this is quite an ordinary card and an equallv ALADDIN H O U S E , 14, G R E E N S T R E E T ,
ordinary wooden stick. L E I C E S T E R S Q U A R E , LONDON, W.C.
 THE EASY
ROAD TO MAGIC
IN

SEVEN LESSONS

1. H i n t s and Suggestions.
2. Tricks for t h e Drawing-
room without A p p a r a t u s
including P a t t e r .
3. Tricks with
Apparatus
a complete
Programme
for t h e
Concert
Platform.
4. Sleight-of-hand Ex-
periments.
5. Studying Magic from books
How t o invent new tricks.
6. Simple Illusions.
7. Money from Magic—
H o w to advertise 1
H o w to a r r a n g e a circular
Obtain e n g a g e m e n t s .
The question of fees, &c.

The Lessons are clearly Illustrated. Price 6/- post paid anywhere.

VFLLL GDI WT0N5 MA&KAL

WILL GOLDSTON'S
MAGICAL SCRAPS
This is an illustration of t h e
" SCRAP B O O K . "
T w o columns to a page.

T h e size of t h e Book is 14 x 11 ins.

The covers a r e cloth and well made.
96 Scraps of t h e latest Tricks are
included. T h e s e are s e n t to sub-
scribers at t h e rate of 8 per m o n t h .

Price 1 0 / 6 post free.

S t r a p s and Padlock 2 / - extra.
 MODERN CARL HERTZ xvrites:
" I h a v e read the book
entitled 4 Modern Card
T r i c k s , ' a n d I m u s t s a y it

CARD WITHOUT
APPARATUS
is a v e r y e x c e l l e n t e s s a y
on c a r d t r i c k s , and t o m y
m i n d it e x p l a i n s t h e d i f -
ferent tricks so explicitly
t h a t a child can a l m o s t
perform them after read-

TRICKS ing t h e e x p l a n a t i o n s o n c e
through."

Price - 2/6
WILL GOLDSTON Postage 4d.
T H E LAST WORD
112 P a g e s . I l l u s t r a t e d . Over
IN C A R D BOOKS
58 Tricks clearly explained.

The Wooden Slab and Flying

ORIGINAL Card
cidence.
Effect.
The
Cards
Omega
and
Ace
Coin-
Ex-
periment. Will ! The Sianese

MAGICAL
Bloodstone. Le Dernier Cri
Mutilated Card Experiment.
A Question of Memory.
Thought Anticipated and Pre.

CREATION^ cipitated.
The Spider.
The Guessing
The
Game.
"Knee"
I. ' i s Ultra Handkerchiefs.
" F.sscee " Kopei and Rings
STANLEY COLLINS Experiment. Ginger and the
Apple. The Filtering Ink Ex-
112 P a g e s . Illustrated.
periment. The " Inktubators."
Each Trick is clearly ex-
Professor HOFFMANN write*:
plained—well Illustrated
1 compliment you on your
c a p i t a l little book, w h i c h 1 h a v e —with Original Patter.
just been reading w i t h m u c h
!
j Sxxnjuev C o l l i n s
p l e a s u r e . It is r a r e t o m e e t s o
many original ideas, and good
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THIS is the hook

written by the
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