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Biblioteca Fundacin Juan March (Madrid)
A B B O T T S M A G IC
FOR MAGICIANS
Secrets of Occidental and Oriental

M YST ERIES
W ritte n by
PERCY ABBOTT
Price T w o D ollars
C o pyright 1934
Printed at Colon, Michigan , U. S. A.
FOREWORD
We have known Percy Abbott for ten years intimately. He has

been in our home a,nd he has played in the American Egyptian Hall,
and by the way, he gave a mighty fine entertainment too.
Percy is an Austrailian and he has traveled all over the world,
particularly in the Orient where he has searched out all the maic of
the East. His head is full of the wonderful things that the Chinese,
Japanese, East Indians and all those wonderful people of the East
do.
We have had the opportunity to see and look through some of
the Chinese books on magic and while we cant read a word of it, yet
the illustrations show some most ingenious devices and gimicks and
it is these things in which Abbott excells.
This new book runs the whole gamut of magic, whetner it be
with coins, cards, thimbles, balls, bowls of water, lighted lamps or
whatnot, here you will find something new that will add to your
knowledge of our wonderful art.
I am pleased to say these few words for my good friend Abbott.
W. W. Durbin,
President
International Brotherhood of Magicians.
A F E W W O R D S FROM THE AU TH O R
There really isnt any excuse for Magic for Magicians. It has
been written in all sincerity, with the hope that the material herein
will be of some value to my brother magicians. The title was to have
been Tried and Tested Magic, as I have performed every trick
described, but I am of the opinion that the present title is more ap
propriate. I have strived to explain everything thoroughly, without
going into details of standard sleights, explained fully in many
works of magic. To the minds of some, it might seem that too much
space has been taken up in doing this, but I know that the majority
will appreciate this, for after all is said and done, I t s the dressing
and what you put into a trick that counts. I have traveled exten
sively and have had big shows a,nd one-man shows and magic has
been a wonderful friend to me. To write this book has beei* a task,
but an enjoyable one, as I feel that my humble efforts will be ap
preciated by all lovers of the Art. I thank you,
Yours devoted to magic,
Percy Abbott
CONTENTS
Page
Finger Tip Card Production___________________ 1_________________
It Hasnt Started Y e t_________________ ________ ___________________
Mental
Masterpiece_________________________________ ____ ________ 10
Double-Over Card Steal __ __________ ____ ________________ ______ 13

Testing Strength_________________________ ____ ___________ _______ .14
The Game of Thirty-one__________ ____ ___________________________ 15
Thirty
Cards_____________________________________________________ 17
Twitching
Muscle_________________________________________________ 19
Two to Four Ball Move___________________________________________20

Novel Four Ball Production________________________________ ______ 20
Mouth
Ball Move___ ___ ______ ____ ____ __________________________ 21
The Last Ball Move______________________________________________ 21

Closed Fist Ball Move_________ _______ ___________________________ 22
Four Thimble Vanish
Passing
................... ...................... ......... ....................... 22
Thimbles__________ ____ __________________________________23
Body Load________________________ _________ ______________________ 23

Disappearing and Reappearing Coin S ta n d _______________________ 24
The Hairy
Match-...................... ... ....................... ................................25
Comedy Penetration_______________________ __________ ___________ 26

The Repeat Candle____________________________________ ____ _______ 2C
Vanish of Grains of Rice ____ _________ ______________ _______ ____ 27
A n Egg Bag Move____________________________ _____________ ______28
Flashy Pagodas___________________________________________________ 28
The Lung-Tester_________________ _____ __________________________ S '7
Dry W ine____________________________________________ __________ ___38
CONTENTS
Page
A
Novel Load_____________________________________________________39
Wine and W ater__________ _

Clink
40
Coins_ _________________
___ _ __ ____ ___
Double Effect Silk Transposition___________________

Plash
________ 40
___________ 41
Cigarette______________________________
Handkerchief Box.
... ........
...................
42
... __
. ..________ 42
The Haunted House_____________________________________ _____ ___43

Strait-Jacket
Fake_______________________________________ ________ 45
The A. B. C. of Ventriloquism . .
Chapeaugraphy
____
45
__________________________________________ _______
46
Chinese Double Bowl Production and Five Trays________ _________46

Chinese Rice Bowls________________________________________________49
Water E ffe ct_____________________________________________ ________ 50
Seed
Bowl ___
___
50
Frog to Fish Bowl________________________________________ _________50

Egg to Frog Bowl____________________________ ___________
Colored
51
Powders_________________________________________ _________51
Single Chinese Bowl Production_________
__
52
Seed Vase Vanish________________________________________ ________ 52

Double Lighted Lamp Production________________________ _______
53
Chinese Release- .
53
__
__
Chinese Stack of Bowls___________________________________ ________ 53

Large Fish Bowl and Plate Production___________________
55
Suspended Vase.
55
. __
__
_____
..
Chinese Plate Spinning___________________________________ ________ 56
In Magic
As in Life
Its Not What
You Do
But How You Do It.
F IN G E R - T IP C A R D P R O D U C T IO N
This has been a favorite production with me for many years

and the many magicians that I have shown this to commented on
this as a welcome addition to add to the variety of the front and
back hand palm. I used this for the first time at the Tivoli Theatre,
Sydney, Australia, in 1922.
Pig. 1 shows quantity of cards palmed.
Fig. 2 third finger
drawn in over ends of cards pressing against backs.
Cards curved
out from palm. Now pressure is released at the palm, straightening
out hand as Fig. 3.
The quantity of cards representing oue card.
Hand being turned, showing both back and front.
One card is re
moved and the balance moved back into palm, as follows: Grip
cards with the other hand as Fig. 4 and without any hesitation,
swing or pivot cards back into palm (withdrawing second finger)
into original palmed position, as one card is pulled out and away
from quantity palmed and placed o,n table or dropped on floor. This
move is repeated until all cards are produced. You may move
around freely while producing cards, at times with left jide to
audience, then the right side, reaching up and then down and so
on. Only be sure to keep back of hand towards audience until cards
are produced at the finger tips as in Fig. 3.
IT H A S N T S T A R T E D Y E T
Cards are fanned out, face up and spectator is asked to take a

card. Magician saying You see how different I am to other magic
ians, I have no trouble in finding out the name of the card you select
ed, I can see it, but the trick hasnt started yet. Let me place your
card on the bottom of the pack, and now, where is it, on the bot
tom or on the top ? To the natural answer that it is on the bottom,
Magi turns pack completely over, showing the face of selected c rd,
saying, No, sir, you are wrong, it is on the top, but I forgot to tell
you that the trick hasnt started yet Magi now turns selected card
over on top of pack, then places it in the middle of pack, saying,
Now where is it, in the middle or on the bottom? To the answer
of in the middle Magi says, Y oure wrong again sir, it is on the
top. (turns over top card showing selected one.)
The working of this trick is very simple. Turn pack completely
over, reverse top card, which is now on the bottom of pack, as you
fan out to have a card selected. When this is done square up pack.
Pack is now face up with the exception of the reverse card which is
face down. W ithout moving the position of pack, place the selected
card on the bottom of pack, that is, next to the reversed card (this
9
card is put under the whole pack face down.) Ask if card is on top
or bottom and when spectator replies, turn pack over showing select
ed card, saying, No, its on the top, etc. Now pick up two cards as
one, displaying selected card. Place these (two) cards on the top of
pack, remove top card and place in the middle of pack, leaving the
selected card on the top for your finish.
M ENTAL M A ST E RP IEC E
This effect is an improvement on passing a number of cards

from one sealed envelope to another.
E F F E C T : A committee of two is invited on the stage. Pack
of cards (in card case) handed to one and he is asked to remove
cards, cut them and count fififteen cards on table and place these
fifteen cards in an examined envelope and place envelope in his
pocket. The second committeeman now counts fifteen cards on the
table from the same pack. He is then instructed by the magician to
go down among audience and have three cards selected and after
members of audience have noted these cards they replace them on
the pack. He returns to the stage and places his fifteen cards in a
second examined envelope. Magician now goes into audience and
holding the hand of each party who selected a card NAM ES THE
CARD. Magician returns to the stage and on committeemen open
ing envelopes, the three selected cards have passed and at no time
does the magician handle the cards. This is a trick that cannot be
hurried, but the effect is worth while and I can assure you that it is
one of those tricks that stick in the minds of your audience.
Now for the details and preparation: Refer to Fig 1, 2 and 3

for construction of tray. A set-up pack is necessary. I use the fol
lowing: six of hearts, five of spades, eight of diamonds, three of
hearts, nine of spades, J of diamonds, K of hearts, ten of spades,
two of diamonds, Q of hearts, two of spades, ace of diamonds,
seven of hearts, ace of spades and nine of diamonds. Three sets be
ing used to make a pack of forty-five. Each complete set of fifteen
cards being placed together so that bottom card would start with the
six of hearts up to nine of diamonds, then six of hearts again and
so on. The three extra cards are the Ace, King and two of clubs.
The twelve extra cards are the Ace, Jack, ten, eight of hearts, King,
seven, six and three of diamonds, eight, seven and four of spades,
and ten of clubs.
SET-UP:
Place the twelve extra cards in envelope (small type
with seal flap at end.) Seal and place in compartment in tray and
slide out of sight. Place prepared pack in card case and set in empty
compartment in tray. Place a rubber band around two envelopes end
10
insert the three extra cards under rubber band so that ends of cards
are flush to end of envelope. Place this package on one end of tray
and an ordinary pencil on the other end.
Have small table set on
each side of stage and another table or chair set up-stage center,
with tray on it. Place off-stage a cardboard, size two and a half by
one and a half inches, a hank and wand.
PR E SE N T AT ION :
Say, Ladies and Gentlemen, we magic
ians like to have some trick that will fool brother magicians. We all
strive to this end. I have mystified hundreds of magicians with this
trick that I am about to present to you. I merely ask for your un
divided attention and cooperation. Now get committee of two on
the stage. (I suggest that you go down among audience and pick out
your committee and walk back to the stage with them. Handle this
in the right way, with the necessary tact and you will have no trou
ble or delay in getting your assistants.) Place one assistant back of
table on right and the other back of table on left. Say, Gentlemen:
I want you to follow my instructions carefully. Ladies and gentle
men, watch these gentlemen closely and watch every move I make,
there will be nothing hurried. Move up-stage, pick up tray, (always
hold with hand on each end) with one thumb on envelope and one
thumb on pencil, coming to assistant on left, ask him to remove
cards from tray and place same on table. You replace tray up-stage.
Next ask him to remove all the cards and place them face down on
top of table, and place empty card case on table, then to cut the
cards (watch him carefully and see that he uses a straight cut.)
Then ask him to count fifteen cards, one at a time, face down,
from the top of pack onto the table and replace the balance of the
cards back into the card case. You pick up envelope from tray, peel
off rubber band and casually place these two envelopes (->>'ith the
three extra cards on the under side) on top of fifteen cards. (All his
attention being taken up in replacing cards in case.) Next ask him
to examine the two envelopes. While he is doing this, you pick up
tray and ask him to place one of the envelopes on the tray and also
the cards in the card case. Now ask him to place his fifteen cards in
the envelope he has retained and seal it. While he is doing this walk
over to the other assistant and ask him to take the envelope and
cards from tray and place them on the table in front of him. Return
back to first assistant and ask him to place his sealed envelope on the
tray (in compartment.)
This is so that it will be easy for him to
write his initials on it? He does this, then walk to second assistant
and ask him to write his initials on the same envelope. When this is
done return to first assistant, ask him to remove the envelope from
the tray, check his initials and place envelope in his pocket
YOU
PLACE P EN C IL ON H IS TABLE and tray up-stage again. Com.ng
to the second assistant ask him to remove cards from case and count
fifteen on the table, replacing the balance back in card case, setting
same on edge of table (his fifteen cards are fifteen duplicates of
the first fifteen counted now in other assistants pocket) ask him to
11
shuffle cards, then say, I want you to play the part of a magician. I
want you to fan out these cards, walk down aisle and have a card
selected. (He starts out but you do the directing, more or less pick
ing out the customers who are to select the cards.) Say, Ask that
gentleman to take one card, thats right, and that gentleman, a little
further on your left, let him take one, and that young man just near
him, let him have one. Three cards will be enough. Ask each of those
gentlemen to memorize their cards, and you sir, (speaking to as
sistant) will you return to the edge of the stage, thank you: And
now I want you to place the cards that you hold on the open palm
of your left hand so that everyone can see them at all times. Keep
your right hand to your side.
(This is so that when his back is to
wards you he cant monkey with cards and it also gives the excuse of
having selected cards replaced on top of pack.) Now go to the gen
tleman who selected the first card and ask him to replace his card
face down on the top of the cards in your hand so that everyone can
see it and now the second and third gentlemen and then please re
turn to the stage. Now seal those fifteen cards in the examined en
velope (W hile this is being done get tray and stand at bis side.)
Say, A ll right sir, now place your envelope on the tray and sign
your initials.
(When envelope is on tray in compartment) say,
have you the pencil? Oh, its over here . (Turn to the left, up-end
tray allowing compartment to slide, exchanging envelopes.) Walking
over to first assistant saying, You have the pencil, sign your in it
ials. When this is done, return to second assistant, have him sign
his initials and place envelope in his pocket and you replace tray up
stage. Now set table from first assistant to center stage and ask as
sistants to stand on each side of table, you standing at the back of
table. Your own assistant comes on stage and takes the second table
and tray off stage. He quickly removes envelope concealed in tr^y,
tears open envelope and removes cards intact. (The third card from
the top is the first selected card, the second card from top the second
selected card and the top card the third selected card.) He writes
the names of cards on small cardboard in their selected order, and
under cover of a hank he places it together with a wand on table
up-stage where tray has been all during this trick. While this is be
ing done, Magi kills the necessary time by saying: Ladies and gen
tlemen, I am going to take the time and trouble to remind you what
has taken place. Remember, this gentleman removed a pack of ca-ds
from card case. He cut and mixed the cards. He then counted fifteen
cards on the table, placed those fifteen cards in an examined envel
ope, sealed the envelope, signed his initials on it and this gentleman
also signed his initials, and he placed the envelope in his pocket. Re
move the envelope sir, and check your initials. Thank you! Then
this second gentleman counted fifteen cards from the balance, mix
ed them and came into your midst and had three cards selected.
These three cards were replaced back into his fifteen and this gen
tleman sealed those fifteen cards in the second examined envelope,
signed his initials, as did this other gentleman and placed the envel
12
ope in his pocket. Check you initials sir, right. Thank you! I intend
passing three cards from the sealed envelope in this gentlmans
pocket into the sealed envelope in this gentlemans pocket, and not
any three cards, but the three cards that were selected, and before I
can do this I must know what they are. Dont tell me. I ll tall you.
Now say to two assistants, Gentlemen, I know exactly where you
have placed your envelopes and I will give you the opportunity of
hiding the envelopes on your person anywhere you wish. I ll turn my
back while you do this. Just say when you are ready. (Turn your
back to audience and walk up to table, pick up card, wand and hank.
Read names of selected cards, retain the card in your hand masked
with grip on wand in same hand, or if you have memorized cards,
place it in your pocket. Use hank to wipe hands, etc. When assist
ants say they are ready, you walk down into audience, up to party
who selected first card, hold his right hand firmly in your left, hold
tip of wand to his forehead, look impressive and name his card.
Repeat with second and third card. Return to stage. Say, If I make
a movement (with wand) between these two gentlemen so; and a
second time and a third, telling you that I have passed the three
selected cards from one envelope to the other, you must believe me.
You sir, remove the envelope from your pocket, check your in it
ials, now tear open the envelope and count the cards. (He counts
twelve.) Now look through those twelve cards, and make sure that
the selected cards are gone. Correct! Thank you! Now you sir, re
move the envelope from your pocket, check your initials, tear en
velope remove cards and count them. (He counts eighteen.) Now
look through your cards for the three selected cards. The first one
was (name it) the second one was (name it) the third was (name
it.) He hands them to you. You dismiss your assistants by, Gentle
men, I thank you for your assistance. (They leave the stage.)
Ladies and gentlemen, you hvae just witnessed the Mental
Masterpiece in card magic, I trust you have enjoyed it
NOTE: Effect may be accomplished without your own assist
ant. You leave the stage, taking tray with you when you ask assist
ants to change location of envelopes, saying, Now gentlemen, hide
your envelopes anywhere, take your time, I ll leave the stage while
you do this.
DOUBLE-OVER CARD STEAL

This move brings card replaced in pack, first unperceived into
left hand and then to top of pack.
After card has been selected, square up the pack, cut and hold
half in each hand as Fig. 1. Card is replaced on top of pack in left
13
hand. Right hand appears to place cards in this hand on top of se

lected card but tip of right thumb rests on selected card about onethird of length of card from back end. W ith thumb, slide the select
ed card back so that almost half of the card projects. Still keeping
thumb on card as you allow top half to lay on lower half. Pre-s do ,vn
with thumb, doubling projecting portion of card into palm of left
hand. Fig. 2. Right hand removes pack, gripping pack at top end.
Hand to spectator to shuffle which leaves the selected card in a fold
ed condition in left hand. When pack is returned, place it into left
hand, between folded card. Draw card to the top of pack with a slid
ing movement of right thumb. In locating a card at a given number,
say eight, draw off seven, gripping top edge of each card in remov
ing it from pack in left hand. Keep back of this hand elevated slight
ly. For the eighth card slide out the folded card. The above, written
by me, appeared in the Magic Mirror Sydney, Australia, in 1912.
NOTE:
Figs. 1 and 2 show the face of card merely to make
this move clearer to you but in the actual working, the back of card
only is in view, also in Fig. 2 the selected card is shown in doubled
up position but in the actual working the half of card in view is
covered by the balance of the pack.
T E S T IN G S T R E N G T H
Pack is shuffled. One end of pack is held by magician. Specta

tor is asked to note the bottom card and then to hold pack by oppo
site end. A hank is thrown over cards and both hands. Magician
states that he will try his magical strength against spectators physi
cal strength. Spectator is asked to grip cards tightly, but when the
hank is removed, the bottom card has disappeared, and is produced
from magicians pocket.
E X P L A N A T I O N : A half card, (say Jack of Diamonds) Fig. 1,
duplicate of which is in magicians right hand pocket. A t the begin
ning the half card is on the bottom. Shuffle cards, keeping half card
out of sight when shuffle is finished be sure that half card is at the
top edge of pack. Hold cards in left hand as Fig. 2. Ask spectator to
hold cards and just as he is about to do this, as an after-thought on
your part, raise left hand exposing bottom of pack (half card only
can be seen) saying, Remember the bottom card.) Now spectator
grips cards and no matter how he does this, magician says, No, not
like that, this way so that you have a real firm grip. While saying
this, magician, still retaining his original grip with left hand with
draws cards from spectator and illustrates his point by gripping the
spectators end (half card) with the right hand, saying,
See tne
idea, press firmly between fingers and thum b? Magician removes
14
his left hand while assisting spectator to hold cards, but during this
by-play ends are reversed. Hank is next thrown over both hands and
after a little by-play of asking spectator to hold tightly, etc., ma
gician slides half card away from pack into the fingers of right hand,
drawing hand away and with it the hank which is momentarily re
moved by the left hand, and is then placed in right hand, comple+ely
covering half card, Fig. 3. Spectator is asked if he felt a card move.
He will say No. Magician then asks him to check the bottom card.
The Jack of Diamonds is gone. Magician removes hank with left hand
and reaches into pocket with right hand, leaving half card there and
brings to view the duplicate Jack of Diamonds.
T H E G A M E O F T H IR T Y - O N E
A gambling game used by the Confidence Men in Australia, but

an interesting parlor trick. Here is the way is is used as a gambling
game, mostly on board ship or train. Anywhere where the operator
can attract attention. It takes two to put it over, the operator and a
confederate. The operator lays out tweny-four cards. The four aces,
twos, threes, fours, fives and sixes:
Ace
two
three
four
five
six
Ace
Ace
two
two
three three
four
four
five
five
six
six
Ace
two
three
four
five
six
He states that he has learned a new game called Thirty-one

and that he knows it so well that he cannot be beaten. Explaining
that it takes two players, each alternately turning over a card, add
ing the value of each card as it is turned over and the one counting
to thirty-one first wins. His confederate asks sufficient questions to
stimulate the interest of the on-lookers, but at no time does he take
an active part. Operator has no trouble starting the game saying:
Come on, it will pass the time and it is only for fu n. He gives the
opponent the privilege of turning the first card. We now suppose
that he turns four, operator turns six, total ten; opponent turns
two, operator five, total seventeen; opponent turns 'three,
operator four, total twenty-four; opponent turns one, operator
turns six, total thirty-one, and operator wins. And no matter how
many times the game is played the operator wins A ll during the
playing, the confederate keeps in the background, studying the
players, looking for the victim that can be worked for the most
money. A fter he has picked his man, he strikes up a conversation
15
with him, conveying the idea that he has found out the secret of the
game.
The operator, in the meantime, laughingly states that he
would give odds that he cant be beaten, say twenty-five cents to a
nickel. When the confederate has the victim interested he says that
he has something to tell him and walks him away from the players.
When he has the victim quietly to himself he tells him that he has
caught on to the game and that if he had any money he would surely
show that clever guy with that game that he wasnt so clever after
all. O f course the victim is interested and on the confederate being
interrogated, he explains the trick, that it is worked by key numbers,
saying that every time the operator won he always counted to the
numbers of ten, seventeen r.nd twenty-four, and that when the
operator turned the first card, it was always a three, so that fu ll key
numbers are three, ten, seventeen and twenty-four. W ith pencil and
paper or with another pack of cards he proves this to the victim,
priming the victim up to the easy money he could make by playing
the game, stipulating that he turn the first card and sticking' religi
ously to the key numbers. He writes them down and gives them to
the victim so that he cant make a mistake. He says Lets go back
and I ll play a couple of games and you watch what cards the oper
ator turns (Confederate has truthfully explained the key numbers
that the operator has been using but they have an ace in the hole )
They return to the game and sure enough the victim sees that the
operator always turns a card so that it will count to one of the key
numbers. Confederate casually remarks: You wouldnt want to net
some real money on that game would you? (giving a sly and know
ing wink to the victim. Operator says, Sure I would and he invites
victim to play a game just for fun and he allows victim to win. He
seems much put out and says, Oh, you were just lucky, I ll bet you
couldnt do it again. The victim falls and is led on to bet all the
money he has. (It looks like a sure thing to him ).
But the victim
stipulates that he has the privilege of turning the first card, he mak
ing up his mind that he will turn cards to count to the key numbers,
three, ten, seventeen and twenty-four. He turns three, operator
turns four, total, seven. Victim turns three, operator turns
four, total fourteen. Victim turns three, operator turns four,
total, twenty-one. Victim turns three, operator turns four, total
twenty-eight. Victim then discovers that all the threes are used up
and no matter what card he turns he cant count thirty-one first.
Now as a parlor trick you can have a lot of amusement working
just the first part and if you feel disposed to tell the key numbers,
permitting those present to play with each other, they will plainly
see that they can win if they keep to the key numbers. When they
know enough about the game that they seem confident of winning,
you state that now that they know the game, that you would like
them to play you once and when they do, they must turn the four
threes (you turning the four fours) to keep to their key numbers,
and to the amusement of the on-lookers, they loose the game.
16
T HIR T Y CARDS
If you will follow this routine carefully, making particular note

of the comedy situations, you can add a ten minute mystifier to your
program, chuck full of laughs and I means LAUGHS.
A number of cards pass from one boys pocket into that of an
other.
P R E S E N T A T I O N and E X P L A N A T I O N :
Magi walks down in
to the audience, picks out a boy, saying How tall are you? Stand
up! Yes, just I thought. Taking boy by the hand, he picks out an
other boy, repeating similar patter. Magi leads the boys to the stage
and when walking up the steps says in a>n aside to each boy. When
I ask you if you are a magician, say Yes. Now facing audience,
Magi asks the name of each boy, then introduces boys to each other.
Magician then states to audience, I have been watching these two
boys for the last ten minutes, they look different than the other boys,
in fact I could go so far as to say that they look peculiar. Turning
to boy on left he asks, Are you a magician? Boy answers Yes.
Magi expresses surprise. He asks boy on right the same question and
boy says Yes . Magician effects more surprise.
There you are
ladies and gentlemen, two magicians right in your midst They wil!
now do a trick for you.
Putting boys heads together he s'avs,
Thats right, get into a huddle, figure out the trick youre going to
do. I ll be back in about ten minutes. Magi exits, getting body load
under left arm. Returning to stage (no need to hurry this, audience
is laughing at boys) separate the boys, saying to them, Dont you
know what to do? I know how you feel, youre just a little nervous,
let me help you out. Talking to boy on left. Y oure a magician, you
know how to hold the Magic Wand. Hold this firm ly in your right
hand. Place the wand so that boy grasps it in middle, holding it in
upright position. In the action of doing this, it is quite easy for you
to whisper to boy, Let it slide out of your hand and drop to the
floor, Magi turns to the other boy as if to say something. As wand
drops from boys hand to floor, Magi turns to boy on left, giving him
a dirty look, picks up wand; hands it back to same boy again, whis
pering, Thats fine, do it again. Magi turns to boy on right as if to
say something and boy on left drops the wand a second time. A n
other dirty look from Magi as he picks up wand and hands it to the
boy for the third time, whispering Y oure doing great, do it again.
(You can talk all you want to to boys now as audience is laughing
so heartily, you cant be heard anyhow.)
Boy drops wand for the
third time. During all this the boy on your right is doubled up with
laughter so you grasp his right hand, put the wand in it telling him
to do what the other boy did, drop the wand. He does. Now follows
business on part of the performer, picking up wand and giving it to
boy a second time. A fter dropping the wand this time, Magi picks up
wand seemingly thoroughly exasperated. Quickly grabbing boys hand
on right, he clasps boys hands on wrand, doing the same with boy on
17
left so that they are both holding wand in an upright position. A pt in

tell them to drop it. When they do, Magi looks more disgusted than
ever. When the laughter has died down, Magi picks up wand, tucks
it under his left arm, saying, Theyre not magicians, theyre slick
ers. Turning to boy on left he says, Are you any good at figures?
Upon the boy answering he says, Two and two, add them together,
whats the answer? The boy says four , magician replies, Pretty
good. Turning to boy on right he asks, Two and three, whats the
answer? Upon the boy replying, magician says, Thats perfect.
Alright lets do a mathematical problem, bring that table over he: e.
I ll count some cards ora the table, you watch the count. Magi n.:w
counts thirty cards, one as a time, on the table. When this is done
he picks up the cards and hands them to boy on left, saying, I would
like to hear you count once. Boy counts the cards on the table.
Magic picks up the cards saying to the boy on the left, Have you an
inside coat pocket upstairs? (If boy is not wearing a coat say,
all right lets use this Oine downstairs. ) During this Magis right
side is towards audience and he palms five cards from the thirty,
taking wand from under arm and holding in the same hand with
palmed cards. Placing the twenty-five cards on the table, he asks boy
on left to cut the cards into two heaps and to take one heap and
place it in his pocket. Now turning to boy on right, he says, I d like
to hear you count. We will suppose that he counts ten cards. Re
move wand with left hand, turn to the boy on the left and say, Ten
from thirty, whats the answer? (During this, Magi rests his right
hand on top of the table, leaving the palmed five on top of the ten.
Not waiting for boy on left to answer, he turns quickly to boy on
right and asks him if you took ten apples from thirty pears, how'
many bananas would you have le ft? whispering to him twenty,
which he is bound to repeat. Magician says, Ten from thirty, twen
ty; thats right. Place the ten cards in your pocket. So, ladies and
gentlemen, the young man on my right has placed ten ?ards in his
pocket and the young man on my left has placed twenty cards in his
pocket, making a total of thirty. The proposition is to pass a number
of cards from one pocket to the other. Now to decide on a number
that will be satisfactory to all. I will permit one of these young men
to remove one card from the balance of the cards I hold in my hand
and according to the value of that card so I will pass that number
from one pocket to the other. (Force a five spot. This is easily done
if in setting up the cards, you have thirty cards, counting from top,
then the four fives, then balance of pack.) Ask the boy who removed
the card to show it to the audience. Then Magi looks at it saying,
five, very well, then, I ll remove five cards from this young m ans
pocket on my left end pass them into this young m ans pocket on
my right. (Put balance of cards to one side and remove table up
stage, then separate the boys, having a boy on each side of stage.)
As you stand boy on left in position whisper to him, When I touch
you with this wand, bend knees as if youre sitting down repeat this
to impress it upon his mind, then touch him with the wand whisper
18
ing, bend down. Upon the boy responding which he is sure to do,
you are assured of a big laugh from audience. W alking from boy on
left to boy on right, (conveying the idea that the card is on the end
of wand in an invisible form.) Touch the boy on right with the wand
whispering, Do what the other boy did, bend down. Repeat this
bit of business for four cards and for the fifth card tell the boy on
left to jum p in the air likewise with the boy on your right. It is
no exaggeration on my part to say that this bit of business is not
just a laugh, its a scream.
A fter all five cards have been passed
bring table down stage. Ask boy o,n left to count his cards and he
has five less.
Ask boy on right to count his cards and he has five
more. Move table to one side (retain all cards in left hand) saying,
I knew these two boys were magicians (Turning to boy on left)
But you have been holding out on me. Palm twenty or thirty cards,
insert your hand in boys pocket, leave all the cards there with the
exception of one, say, Pm surprised at you. Palm a few more cards
and produce in fan from boys knee, whisper to him Put your hnnd
in your pocket and give me one card. When he does this, whisper
Give me another and keep on doing it. Repeat this with boy on
your right so that you now have boys feeding you a card at a time
As a finale, palm a quanitiy of the cards, grab boy on left by nose,
allowing palmed cards to spray to the floor. As a second finale, load
baby clothes under boys coat and produce. (Instructions for this
load will be found in another part of book.) There is no need of any
talking to the audience during this as it is one continuous laugh.
Now turn to the audience saying,
Ladies and gentlemen, these
young men have been responsible in entertaining you, I was only a
means to an end. I would like you to show your appreciation to them
please. (You clapping your hands, audience following suit.) Have
the boys bow during this and as they leave the stage say, "Just a
minute, I want you to promise me one thing, dont tell the other fel
lows how we did that trick.) The foregoing is the outcome of the
continuous working of this trick, in my program for years, build:ng
it up to a perfect comedy offering.
THE T W IT C H IN G MUSCLE
JUST A G A G !
I have found this to be a very amusing and effective way of

naming a selected card. Card is forced, if not, find out name of card
in your own way when it is returned to pack, saying, A ll card tricks
more or less, are the same, you lose the card and I playing the part
of a magician, find it or name it. One of the easiest methods that I
know of is the twitching muscle. We all have the twitching muscle,
its right here (Pass hand in front of your own face) and yours, sir,
19
(pointing to party who selected card) is very pronounced, i ll show

you how it works. I ll name several cards at random and if I should
include the name of the card you selected, that little muscle will
twitch and then I will know that I have named the right card. For
instance, the four of diamonds, the six of spades, three of hearts
the seven of clubs (incidentally this is the selected card) there you
are, it twitched on the seven of clubs. Now I know that that is the
card you selected, is that right sir? It is, thank you!
T W O TO F O U R B A L L M O V E
Starting from the position of ball and shell between thumb and
first finger, second ball between first and second finger and third
ball finger-palmed in left hand. Move third and fourth fingers at the
back of two balls so that part of the fourth finger is under ball in
shell, part of third finger resting on top of this ball and under part
of ball, held between first and second fingers. W ith a slight waving
motion, straighten out fingers, moving ball from shell to between
third and fourth fingers and ball from first and second fingers to se
cond and third fingers. A t the same time a flourish with left hand
over right hand, permits you to leave ball from left hand in space
between first and second fingers. Now showing four balls.
NOTE: The taking of ball from shell is made easy, if you
make sure to have ball out from shell somewhat, there being a clear
space between ball and shell.
N O V E L F O U R B A L L P R O D U C T IO N
A fter a series of billiard ball manipulations, Magi holds one ball

between right hand fingers. A wave of this hand and four balls are
seen occupying each space between fingers.
A sleight that will appeal to all Billiard Ball Manipulators. In
the course of manipulation, get balls in the following positions in
right hand, back of which is towards audience. Ball and shell be
tween first and second fingers, one in palm and one finger-palmed in
left hand. Audience see only one ball. FIRST get ball from palm be
tween third and fourth fingers, thumb assisting. SECOND, roll ball
out of shell with third finger and with a flourish of left hand up past
right hand, place finger-palmed ball from left hand between thimb
and first finger of right hand.
Now displaying four balls in right
hand.
A difficult move when you first try it, but easily mastered if you
stick to it.
20
MOUTH BA LL MOVE
Starting from the position of three balls and shell in rif; i t hand.
A fourth ball vested. Move hand so that ball held between third and
fourth fingers is directly in front of mouth. Grip this ball between
lips, moving the two remaining balls and shell past this ball until
shell is directly in line with ball between lips. Allow ball to slip into
shell as hand is moved away, at the same time poke tongue in cheek,
conveying the idea that the ball is in mouth.
Now go through mo
tions of swallowing ball, reaching with empty left hand up under
vest, producing ball, which is placed in the empty space between
third and fourth fingers. You are now holding four balls and shell.
Next steal the ball from shell, holding this ball finger-palmed in left
hand.
Hold right hand high so that at no time are the balls out of
sight and with a slight waving motion of hand, as you pivot to right,
your back being momentarily towards audience, (left hand taking
this opportunity to slip ball in mouth.) Keep moving until your right
side is towards audience, right hand being fully extended and left
hand elevated gracefully in line with head W ith a slight toss of hand
allow a ball to slip into shell. Turn this hand so that audience can see
that you are holding only three balls. Make a grab motion with left
hand as if getting the missing ball. Tap the top of head with this
hand, dropping ball from mouth and catching it with left hand that
has moved down ready to receive it.
THE LAST BA LL MOVE

A most effective method of vanishing last ball, for instance, in
the multiplying Billiard Ball trick. From the audience point of view,
the effect is: A billiard ball placed in left hand vanishes ana is pro
duced from behind left knee with right hand. It is again placed in
left hand, produced from back of left knee, placed in left hand, hand
is squeezed and ball has vanished.
H OW TO DO:
The right side of magician is towards audience
all through this move. Ball is apparently placed in left hand but re
tained in right. Left fist is then turned with back to audience.
Squeeze left hand open, (still keep back of his hand towards audi
ence) drop left hand down to side as you reach behind left knee with
right hand and produce ball. Do the move again as if you intend re
peating as at first but this time actually place the ball in the left
hand. Turn left hand containing ball with back to audience, squeeze
left hand, open out fingers as if empty, palming ball. Now as you
reach behind left knee with right hand, drop left hand to side as
before, dropping ball in outside coat pocket and with right hand go
through motion of getting ball behind left knee, quickly placing the
supposed ball into left hand. Go through business of squeezing left
hand, eventually open showing empty.
21
CLOSED FIST BA LL MOVE

Audience see magicia,n place a billiard ball in his leit hand,
hand resting horizontally, palm up. He closes hand over ball, turning
the back of hand towards audience. Hand is opened, ball has vanish
ed.
H O W TO D O :
After the ball has been placed in the left hand
and as the back of this hand is being turned towards audience, ball
is pushed down with fingers to lower part of fleshy palm and held
there with little finger as in Fig. 1. First finger of right hand now
rests on the back of left hand as in Fig. 2. Left hand is turned com
pletely over bringing ball into curled over fingers of right hand, lit
tle finger of left hand immediatley falls down forming closed fist as
in Fig. 3. Left hand is lowered slightly as in Fig. 4. Open left hand,
show empty and reproduce ball with right hand.
NOTE:
This move should be executed slowly. Very effective
if presented in slow motion.
FOUR T H IM B LE V A N IS H
EFFECT:
Four thimbles o,n right hand fingers placed in left
hand which is closed, then opened and shown empty. Right hand is
now shown empty and thimbles are reproduced on left hand fingers.
H O W TO DO:
Face audience, showing four thimbles on the
fingers of right hand. Bend body forward slightly as you rest the
back of right hand fingers o.n the palm of left hand. (Both palms
towards audience.) Start to curl left hand fingers around thimbles,
as you turn back of right hand to audience, forming this hand into a
fist, withdrawing thimbles, stretching thumb over to hold them in
line as in Fig. 1, allowing right hand fingers to slide back into hand
under curled left hand fingers. Now convey the idea of pulling off
thimbles into left hand, turning body slightly to the left.
(Right
hand being held in fb ou t line with waist.) Open left hand, showing
it empty. Allow left hand to drop down close to right hand and in
turning with left side to audience, insert left hand fingers inô tVimbles, thumb-palming one as you point with left hand to right, Fig. 2.
back of which is towards audience.
This hand is then turned and
shown empty. Then reproduce thimbles on fingers of left hand.
NOTE:
This move is extremely difficult with ordinary sized
thimbles, unless your hands are narrow. I have always used an extra
long thimble to off-set this.
22
PA SS IN G T H IM B LE S
T H E E F F E C T : is that four thimbles on right hand fingers are
transferred magically to left hand fingers. Audience see a thim ->le
disappear from right hand finger and instantly appear on left hand
finger.
You show a thimble on each finger of right hand (a fifth thumbpalmed in same hand) left hand is empty.
Facing audience, hold
right hand with four thimbles on the open left hand. Hold this posi
tion for a second, then move right hand over left hand finger tips so
that mouth of thumb-palmed thimble is directly over tip of first
finger of left hand. Insert this finger in thimble and thumb-palm as
you make a turn to the right, pointing to the right hand with first
finger of left hand. (Backs of both hands being towards audience."t
Make a throwing movement of right hand towards left, thumb-palm
ing thimble from first finger and bring thimble thum-palmec* in left
hand to view on that first finger. Position is three thimbles and one
thumb-palmed in right hand, one on first finger of left hand. Again
facing audience bring both hands together, backs towards audience
and with thumb and first finger of right hand remove thimble from
left hand first finger and place this thimble on the second finger of
left hand. As soon as thimble is clear of first finger of left hand, in
sert this finger into one ihumb-palmed in right hand and thumb
palm it in left, then with left hand move one of the three remaining
thimbles on to vacant first finger of right
ha,nd. This moving of
thimbles is a logical excuse to bring hands together. The remaining
thimbles are passed the same as the first one, getting possession of
thumb-palmed thimble each time as thimbles are moved from first
finger to the other fingers.
BO D Y LOAD
A good body load seems so little known among magicians that

I am including one that I have used for years. Have load under coat
on left side. Spectators standing on your right. Grab the right erige
of spectators coat with your left hand. Insert your right hand under
your own coat ready to grab load. Swing the spectator towards you,
pulling his coat far enough over to mask load as you withdraw it
from your coat.
Keep on pulling spectator by coat, swinging him
half-way around, releasing grip on lapel, inserting load under his
coat, moving same back as far as possible. Left hand holding it in
position on the outside of his coat as the right hand is withdrawn. A t
the finish of move, spectator is again facing audience, buu is now
standing on your left side. There should be no hesitation, just ane
continuous sequence of moves. A string of baby clothes is always a
23
sure laugh. Fasten an assortment on fifteen foot length of wide tape,

each garment about six inches apart. Fasten a rubber band to one
end of tape. TO FOLD: Place garments, one on top of each other,
fold over ends and slip rubber band over same. In releasing it is al
ways easy to feel rubber band, pulling this end out first.
D IS A P P E A R IN G AND R E A P P E A R IN G COIN STAND

A simply constructed piece of apparatus to enable magician to
demonstrate his sleight of hand skill, whereas very little skill is need
ed.
E FFE C T : Magician removes one coin at a time from stand
with right hand, seemingly transfers to left hand. When opened, coin
has disappeared. When all the coins are gone, magician appears to
hear a remark that coins might be concealed on the back of stand.
To show that such is not the case, magician removes stand fi'om
table, showing it on both sides. Replacing same on table again, he
now drapes hank over stand. Reaching into the air he produces a
coin in right hand seemingly placing coin in left hand, which hand
makes a throwing movement in the direction of stand.
This is re
peated for the four coins. Then magician removes hank showing
coins back again on stand in their original position.
Drawing will show you appearance of stand when constructed
Both back and front are exactly alike. The section holding coins is
sunk or dished in at least a quarter of an inch. This prevents coins
falling from stand and is also necessary in the fake. The inside of
stand is hollow and there is an open space all along the top edge
above coins. Now glue a piece of black velvet to dished in section
and push enough velvet in the opening at top to form pocket the
whole length of stand and sufficiently deep to drop coins out of sight.
Glue end of velvet to the other dished in section and you now have
each side of stand where coins are placed covered with black velvet,
with a pocket on the inside of stand. Now cut a piece of velvet about
a quarter of an inch larger all around than the dished in space
Glue wrong side of material on four edges and turn back so that
when finished you have a stiff edged black velvet flap that fits into
dished-in section.
P R E PA R A T IO N : Load four coins on each side of stand and
cover the four coins on the side furtherest away from audience with
flap. It will easily stay in place.
PRESEN T A T IO N : Remove hank from your pocket, casually
wipe hands and place hank on table at the back of stand. Remove
first coin from stand by placing four fingers of right hand over coin,
24
thumb at the back of stand and more or less slide the coin off the
stand with an upward movement of the hand. (This move is impor
tant as you go through the same motions with the second, third and
fourth coin, but dropping these last three coins into the pocket in
stand.) Display first coin.
Appear to place in left hand, retain in
right. Open left hand, coin has vanished. Now as you reach for the
second coin drop this first coin on hank at the back of stand. Go
through motions of removing each of the remaining coins, but sim
ply allow them to slide into stand. Remove stand from table, show
ing it on both sides and when you replace on table do so with the
flap side now towards audience. As you pick up hank to cover stand
get possession of coin previously dropped there. Reach with right
hand and produce coin. Palm as you apparently place in left hand to
be thrown to stand. Repeat until you have produced four coins, still
retaining this coin in hand. In removing hank from stand, nip the
velvet flap taking it away under cover of the hank displaying the
reappearance of vanished four coins.
Another method of reproducing coins is to appear to reach for
coin and go through throwing motion to stand.
NOTE:
Remember when you slide second, third and fourth
coin into stand, from an audience point of view you have a coin in
your hand so dont hurry on this part. Do change over moves, open
fingers slowly and at times hold fingers as if you are cleverly con
cealing coin. In other words put work and business into the presen
tation and you will get credit for being an expert coin manipulator.
THE H A IR Y MATCH
A pocket trick gag that really puzzles:
Light a match, let it burn for a few seconds, then blow out the
flame, pick a hair from the side of burnt section, wind it around
match, pull hair, breaking and jerking off burnt head of match.
The truth will out. There is no hair to it. Head is removed by
snapping end of match with third finger of left hand.
P R E S E N T A T I O N : Light match, saying Have you ever noticed
the peculiarity of this type of match. The only solution I have for
the strange phenomena is the chemical preparation that these match
es undergo in their manufacture. (Blow out flame and hold match
upright between thumb and first and second fingers of left hand. Tip
of third finger resting on the end of match.) Looking intently at
burnt section of match, you say, Do you see that fine hair (some
times spectator actually thinks he can see it.) Make several attempts
25
to grasp hair with right fingers, eventually get it (?) saying, Watch
I will wind the hair around the match. (Go through winding motion,
then appear to pull hair sharply at the same time snap end of maich
with third finger of left hand, knocking head off match, remarking,
You see the hair was even strong enough to pull off the head.
NOTE:
The best match for this is the ordinary sizei variety
sold in five cent boxes.
C O M E D Y P E N E T RA T IO N
A bit of by-play in showing a glass, apparently pushing wand

through glass. Hold glass in left hand with side to floor and opening
pointing towards right hand. Hold wand in right hand. Commenting
on the fact that the audience can see that the glass is ordinary insert
wand in glass, tapping same and in a continuous movement wi;hdraw wand about an inch clear of opening and pass wand between
lower part of left thumb and outside of glass furtherest from audi
ence, (giving the effect that wand has passed through glass ) Dont
hold wand in this position for any length of time. Pull it away
Look at bottom of glass and convey the idea that you are puzzled.
Say You can see that the glass is ordinary. Repeat as at first and
when wand appears to penetrate glass a second time appear more
puzzled, saying, This is not my glass. I found it on the side of +he
stage and took the liberty of using it. (audience see that you are
uncomfortable and naturally laugh at you.
(Again push wand
through glass. This time get exasperated say, What is this? (study
glass intently and deliberately push wand at the back of glass, and
leave it there Turn so that audience can plainly see what you have
been doing.) Smile and say, But the glass has nothing to do w'th
the trick. I merely use it as a container, etc. This to fit any trick
that may follow.
THE R E P E A T CA N D LE
Magician displays a lighted candle in holder. He then places

paper tube opened at both ends over lighted candle, still leaving
holder or candle stick in view. He next blows out flame and removes
candle from inside of tube and wraps in piece of paper and pla es
this package in fu ll view of audience. He then displays a silk hank,
causes it to disappear and on tearing open package silk is produced.
Candle has disappeared and candle is then removed out of holder
26
through top of paper tube. Seemingly hearing some member of the

audience say something, magician says, W hat! You didnt se- it
that time? A ll right, I ll do it again for you. He again wraps candle
in paper, disappears hank, tears package reproducing hank and on
removing paper tube from candle stick or holder, candle is discov
ered.
Quite an effective trick and very simple to construct.
Fig. 1 is ordinary candle. Fig. 2 is paper shell with small piece
of candle in e,nd and hank pushed up to this end. Fig. 3 Shell candle
placed over ordinary candle in holder.
Fig. 4 paper tube
opened at both ends with doubled over fold in paper to form pocket
large enough to hold second candle shell and hank. Fig. 5 holder or
candlestick with flange to hold tube in position and prevent same
from falling. Paper tube should be long enough to completely cover
candle and edges are sealed at one end only.
PRE P A R A T IO N :
Place duplicate hank, one in each shell can
dle. Slip one over ordinary candle in holder and the other in pocket
of paper tube.
Light candle, show paper tube, allowing
audience to see through it, but keeping fold and concealed candle
out of sight. Place over candle, blow out flame, reach into top of
tube and remove first shell candle that is over real candle. W rap in
piece of paper. Vanish silk, tear paper reproducing silk. Now insert
first and second fingers into tube, thumb and third finger at the back
of tube, grip top of concealed candle in these fingers. Pull candle
out with these fingers, conveying the idea that this candle was re
moved from inside tube. Repeat wrapping of candle and vanish of
silk and for final production of candle remove paper cover from
holder displaying real candle.
V A N I S H O F G R A I N S O F R IC E
A Novelty bit. For instance after the multiplication of rice in

Rice Bowls, magician is seen to pick up a quantity of the giains of
rice. He holds the loose grains in the right hand. Grains tossed into
the air and vanish.
PR O P E R T IE S :
A quantity of small milk white beads threaded
on white thread with about a half an inch of thread between each
bead. Make several loops of this strand so that when finished, it has
the effect of looseness. The ordinary sleeve pull is used in the vanish,
using a length of strong black thread, passed down right coat sleeve,
terminating in a small fine wire hook that is engaged to edge of
27
sleeve. The other end of thread passes under coat and end io fasten
ed to vest button, leaving enough slack to have freedom in move
ment of arms before pull is to be used. There is plenty of opportun
ity of detaching hook from sleeve, holding in fingers until needed.
Prepared beads are in with ordinary rice. When rice has multiplied,
smooth it off, using left hand, pick up prepared beads, holding them
in left hand until you engage wire hook around some part of them,
then drop prepared beads into right hand. Now with right tide to
audience engage left thumb in thread at vest button and as you
make a throwing movement with right hand,
pull down
with left, pulling rice up into the right sleeve. The suiprise is
complete as audience is not prepared to see you vanish loose grains
of rice from bare hands, and although this is but a small item, it
builds up the whole effect of Rice Bowls.
AN EGG BAG MOVE
A subtle move, convincing audience that the bag is absolutely

empty. Presuming that assistant from audience is on your left and
that you have presented the first part of routine placing egg in bag
and it has disappeared, etc. Egg naturally being inside pocket in bag
Turn bag inside out, then carelessly throw bag on op* n right
hand, mouth of bag towards audience (Egg in pocket resting on the
right hand fingers.) Grip the mouth of bag with left hand, drawing
it off and away from right hand, right fingers curled up so that egg is
moved out into right hand, as a turn is made to the left, throwing
bag on the floor at assistants feet. (Egg being held in right hand,
right side to audience.)
Magi asks assistant to jum p on the bag.
A fter this is done, reach down to pick up bag at the bottom with left
hand and as you straighten up again facing audience, right hand ap
proaches back of bag, dropping egg into pocket. Proceed with reg
ular routine. The edge of pocket on the egg-bag that I have Ui-ed
for years is one inch from the bottom edge of bag
CH IN E S E PA G ODA S
Very popular a few years ago in European Countries and in my

opinion worthwhile in any act that wants to add flash and effective
ness. May be used singly or in pairs.
A ll during the act the audience see and admire two oriental
looking pagodas hanging down from stage flies. At the conclusion of
Magic Act, to their surprise these two pagodas autoniatically open
out to more than twice their size, displaying large opened parasol,
four flags, four five-foot banners and a shower of confetti falling to
stage.
Fig. 1 will show appears nee when hanging. Fig. 2 when open
ed.
CLOJD FlfT BALL NOVE

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C O N S T R U C T I O N : Fasten handle of parasol to center of base

which should be three-quarters of an inch thick, Fig-. 3. Hinge the
four sides to a second base, Fig. 4, which should be the same size as
the first one (use webbing for hinges, not metal). Fasten these two
bases together so that ends of webbing are between these two pieces
and when sides are draw.n up into the form of a box they should
work freely from hinges so that the natural inclination is for the
sides to fall down. Lid, Fig. 5, should have a one inch flange and is
made of metal (and must be a loose fit when engaged over the four
sides) with hole in the center of lid to clear ferrule end of parasol
and ring attached to same. A quarter inch hole in each corner of lid
permits four cords being fastened, bringing these four cords to a
common center and fastening to a ring. This is the release. Four
metal pieces are made (Fig. 6) Make small hole in end of flag han
dle and corresponding holes in each side of metal holder. Secure flag
handle in holder by passing a piece of wire through holder and
handle, then bending ends so that wire will stay put. Wire stop at
front edge of holder regulates the flag falling at the proper angle
These holders are fastened to x. x. x. x. in Fig. 3. A five fcot piece
of fancy cloth to represent banner is attached to inside of each
panel, with small wooden rod at end to assist in opening out quick
ly. A flexible wire is fastened to screw eye, Fig. 3, brought up inside
parasol and bound around and fastened to sliding section of parasol,
Fig. 2 (Part that is used in opening parasol) then taken up through
a hole in parasol cover and fastened to the ring attached to ferrule
of parasol. This wire is taut when opened, but slack when parasol is
closed. Six inch lengths of ribbon are glued to edge of parasol.
TO SET:
Place pagoda on floor. Close parasol. Draw each
corner flag in up to parasol, lift up each panel allowing banners to
fold over into pagoda, then drop in a handful of confetti. Put on lid.
L ift up pagoda by ring attached to ferrule of parasol. Attach rope
from batten in flies to this ring. Tie a strong fishing line to ring that
is fastened to the four cords leading to each corner of the lid. As
shown in stage batten sketch. To open pagoda, man off stage pulls on
fishing line, raising lid sufficiently to clear ends of panels.
T H E L UNG-TESTER
A comedy effect that is always well received by a juvenile audi

ence.
E F F E C T : A red hank wrapped in paper and placed in boys
mouth changes to green.
P R O P E R T I E S and P R E P A R A T I O N :
Two pieces of paper,
6x6, one red and one green silk. Wrap green silk in one paper snd
37
place under the open paper and the red silk on top of this paper. Set
on table on right.
Presuming that you already have a boy on stage, standing on
your left. Addressing boy, Young man, you dont seem well. You
are rather flat-chested, put your chest out. Is that the best you can
do? Open your mouth wide and say Ah, (after boy does this, con
tinue) I thought so.
Your lungs are mis-firing. I ll test them for
you.
(Pick up red silk in left hand and the two papers in right
hand, keeping one containing hank out of sight.) Display red silk
asking boy to name color. A fter he does this, hand him the piece of
paper and as he takes it, throw silk into right hand over green silk
rolled in paper, saying, Look this over, its a Lung-tester. Take
paper from boy and say, I ll wrap this red silk in the Lung-tester.
(when this is done, hold the package between thumb and first finger
of right hand. Concealed package being held in the second, third and
fourth fingers of same hand.)
Turn to boy saying, Open y<.ur
m outh! A t the same time change packages and place green silk
in boys mouth. (To do this, allow red to rest on second finger, t.ien
with first finger push bundle under thumb, which momentarily grips
bundle, partly open hand, double thumb over so that nail is under
green bundle, push this bundle up into thumb and first finger, curl
ing second, third and fourth fingers around red bundle.) Continue
to boy, Now hold the package firmly between your teeth and hold
your right hand directly in front of you. Thats right, (it is easy to
get rid of bundle by casually placing right hand in pocket, leave
package there while addressing audience.)
Now here is the idea,
when I count three and give this young man the magic slap on the
top of the cranium, I want him to blow in the direction of his right
hand and if his lungs are in good condition you will see the red silk
leave his mouth and tie itself in a knot around his right hand. Turnto boy say, W hat are you going to do when I count three? ' (Natur
ally the boy cant talk and his effort to do so is a sure laugh, especial
ly if you mimic him.) Say, Are you ready? onetwothree tapping
boy lightly on top of head.) Blow. He does so, nothing happens.
Then say,
Blow again, harder, still nothing happens, then say,
Just as I thought, your lungs are in a terrible shape, remove the lung
tester and take out the red silk. (Boy does this and is surprised to
see green silk.) You seem surprised too and say, Well, ;sn't that
great? I ll take back all I said about your lungs. They are percola
ting O. K .
NOTE:
Change described can be used in torn napkin or coin
or paper pellet substitution.
DRY W IN E
EFFECT:
Magi pours a quantity of wine into an empty metal

38
container. Reaching into container, he extracts a large dry silk hand

kerchief. Upending container, he shows it empty.
Figs. 1, 2 and 3 will describe apparatus necesary. Pig. 1 is a
metal bottle with a partition, so that wine is in top portion only, with
a finger hole in one side.
Fig. 2 is a shaped metal cup containing
hank. Fig. 3 is metal unprepared container.
P R E P A R A T I O N : Fill top portion of bottle with wine. Place
handkerchief in shaped metal cup and insert in the bottom of bottle.
Display empty container, holding it in 1ft
hand. Pick up bottle in right hand, holding metal cup by inserting a
finger in the side of bottle. Pour wine into container, then casually
allow bottom of bottle to rest over the mouth of container, releasing
finger grip on metal cup, allowing it to fall into container, Fig. 4.
Put bottle to one side and as you reach into container to produce
handkerchief, press down on metal shape, thus wedging it in position
so that when container is upended, wine will not leak out.
The size of the metal shape and container will depend on the
size of the bottle used.
A N O V EL LOAD
The fit-up to bring this about might seem silly at your first read
ing, but try it and you will be surprised how practical it is and it
might be just the idea that you can use in combination with 'ome ef
fect. I originally used this idea in Australia in a cannon ball routine,
loading ball into a derby hat. Take a piece of thin cord elastic about
one and a half yards long. Tic the ends together. Place this loop of
elastic around your neck under the coat collar so that end of loop
hangs to bottom edge of vest. (Suppose we are using p. solid wooden
ball about four inches in diameter.) Fasten a small screw hook into
ball, engage this hook in elastic and straining against the elastic
push ball between legs, where it will rest comfortably against the
seat of the pants.
This will in no way make it awkward co move
around freely and if you should turn around the bottom edge of coat
will hide the load.
Holding derby by the brim, with one hand on
front and one on back. Be.nd body slightly forward and legs partly
apart. Show the inside of hat, Now pivot the hat between each hand
so that crown of hat faces audience, at the same time open legs suf
ficiently to allow ball to slide between legs and rest close to body , at
the back of hat. Now pivot hat in towards you (so that mouth of hat
is uppermost) as you get ball inside hat, elastic invariably disenga
ges it self from hook when the weight of ball is off it. (When ball is
resting in hat.) I f it doesnt come loose, it is a simple move to do
this. Any kind of a load maybe used. Produce from a newspaper, or
production cloth, which will give you much more cover than a hat,
39
W IN E AND W A T E R
Magician displays glass filled with red wine. He passes his hand
over glass and it changes to sherry. He again passes his hand over
glass and it changes to clear water which he drinks.
Two celluloid fakes, cut to fit into glass, are responsible. One
of red and the other amber colored. Drawing will show you the shape
of these fakes and how they fit in glass which is filled with water.
When showing glass the first time, have red fake side toward audi
ence.
Holding glass in left hand fingers, bring right hand fingers
over the mouth of glass and grip the slight projecting edge of red
fake between first and second fingers (allowing glass to slide down
slightly into left hand fingers) of right hand, right thumb separating
fakes by pushing amber fake away from red.
Draw right hand up
and away from glass, curling fingers hoiding fake in towards pam.
Now as you bring glass fully into view again, a slight turn to the
right will give you the opportunity of dropping fake in outside coat
pocket. W ine now appears to be sherry.
Repeat move, extracting
amber fake, showing clear water.
C L I N K C O IN S
EFFECT:
A coin is wrapped in a borrowed hank and giver, to
spectator to hold. A second coin is vanished and is heard to clink
with coin in hank.
H O W TO DO:
(Presumably using half dollar.) Palm one coin
in right hand, display two half dollars. Give one to spectator to hold
for the time being.
You hold the other in right hand as ir. Fig. 1.
Borrow a hank and throw over right hand as in Fig. 2, back of hand
being towards audience. Grip palmed coin from the outside of hank
with third and fourth finger tips of left hand (which move is not
seen.) A t the same time grip coin covered with hank between thumb
and first finger, taking coin and hank right away from right hand.
Now with right hand twist hank around coin, (third and fourth fing
ers of left hand still holding concealed coin.) Once again holding
coin in twisted section of hank between thumb and first finger of
left hand as right hand gathers up the ends of hank, as in Fig. 3,
giving spectator end marked B to hold in right hand and end marked
A in left hand. Taking the half dollar that he has been holding, van
ish it in your favorite manner asking spectator to drop end marked
A (which allows the duplicate coin to fall down and clink.)
NOTE:
This is much more effective if two half dollars are
borrowed and marked. It is then necessary to change palmed coin
for one of the marked ones.
40
D O U B L E E F F E C T S I L K T R A N S P O S I T IO N
A sensatioanl opening trick, originated by me in Australia. You

will readily agree that this is a distinct novelty as the effect is re
versed, which is a rare thing in magic.
EFFECT:
A yellow silk tied between two purple silks disap
pears and appears in an empty decanter instantaneously. The two
purple silks are tied together and yellow silk disappears from dec in
ter and instantly appears tied between the two purple silks.
Sketch will show you properties and arrangement. Two threads

pass off stage and two are worked by magician on stage.
Double purple silk is hung on Ring 1. Thread No. 3 being tied
with one knot only to center of yellow silk which is conccaled in
double purple and this thread is passed through eye on base of stand
a,nd then off stage. Unprepared purple hangs on ring 2. Ordinary nir
keeps opening of faked silk closed until ready. Thread 4 is tied se
curely to center of yellow silk which is exposed to view and same
draped over stand as in Fig. 1 and thread is passed down through
stand upright, button being tied on end and this button with suf
ficient quantity of slack thread is left at the base of stand with re
volver. Fix a loop in thread 1. Put hank in loop and poke same into
well in table then pass thread down through mouth of decanter
through hole in the bottom and down through table upright taking
end off stage. Fasten small rubber band o.n end of thread 2 and place
band on mouth of decanter so that half of the rubber band is on the
outside lip of decanter and the other half directly across mouth of de
canter. Carry this thread inside decanter and out through opening in
side. (NOTE: Artists error shows this thread going down through
the bottom of decanter instead of which sketch should show thread
coming from the inside of decanter out through the inch and a quar
ter hole in side of decanter.) Then through table upright and up on
table top, button tied on end.
Magician removes purple silk displays
same, replaces on stand. This is repeated with second purple. He now
appears to tie the yellow silk between the two purple, going through
the necessary motions, etc., but simply tucking the ends of yel'ow
through elastic loops on purple. He picks up decanter, placing wand
inside showing same empty. He returns to forked stand and picks up
revolver and with it the button, holding button in left hand with his
right side to audience, he fires revolver, pulling thread at the same
time with left hand (pulling hank into upright.)
He quickly fires
again in direction of decanter, assistant pulls thread off stage pull
ing silk into decanter. ( N O T E there is no pause between first nd
second shot.)
He removes silk from decanter (disengaging same
from loop) and places silk on table top. Then ties the two purple
silks together, tieing one purple silk to purple tag on yellow silk
(removing pin.) Next places yellow silk into decanter (through rub-
41
ber band and when half of silk is in decanter disengages rubber band
from outside edge of decanter and pokes all into decanter.) Pick up
button with left hand, hold revolver in right, standing fairly close to
table. Turn with left side to audience.
Fire revolver, puli button,
taking hank into upright. Fire again quickly at forked stand, assist
ant pulling thread 3, showing the appearance of the yellow between
the purple.
FLASH C IG A RE T T E
A good laugh and perfectly harmless.

Wrap a piece of flash paper around a cigarette so that it looks
like an ordinary cigarette. Borrow a cigarette and change for Flash
cigarette, light it and theres a flash, but cigarette is in your mouth
looking no different in appearance. Remark that the gentleman who
loaned the cigarete evidentally likes his brand hot, or a f t do:ng
manipulation with a borrowed cigarette, change for Flash a1: you re
turn to owner and ask him to light and smoke it. This is a good gag
and there is no possibility of burning or ill effects.
H A N D K ER C H IE F BOX
A very useful piece of apparatus for the quick and snappy pro
duction of ten fifteen by fifteen inch silks. Especially good to lead
up to a silk routine.
Drawings will explain how this box is constructed.
TO L O A D :
Hold five silks in a bunch by their ends. Pleat in
four rough folds and poke this bundle in one side of box. pull lip
flap and hold in position with movable metal piece. Load sec;nd side
of box. When metal piece is pushed to one side, silks force flap
down. (Flap works freely on wire hinge idea.)
PR E SE N T A T IO N :
Pick up box, rest on left hand, remove top
section and hold so audience can see through it, then push left hand,
holding loose bottom right through allowing box to hang on left fore
arm while you take loose bottom in right hand. Tap on thigh, show
ing it solid. Place loose bottom back in left hand as you draw box
over it, then place box back on loose bottom with a thud, as you re
lease first flap. A fter second hank has been taken from box release
second flap which will fall down on doubled up silks. When all silks
are removed, place box to one side and continue with silk routine.
42
THE HAUNTED HOUSE
A very effective illusion, introducing a spook story and a series

of spook effects, terminating with the appearance of The Ghost
and a young lady.
Refer to drawings for explanation of construction. Fig. 1 is a
box, 24x24x4 (inside measurements.)
Bottom of box projects
3 inches on all sides. A portion is cut out on one side where chimney
fits. Two holes are made in each side at an equal distance apart to
accomodate quarter-inch bolts. Fig. 2 represents one side of house
with two slots to slip over bolts. Fig. 3 is a piece of one inch lumber
9x6 also slotted to fit over bolts, one on each side up agei.ist wall
of house, to the front end of box. Tightening these four bolt? on the
outside (using wing nuts) holds each side of house. Fig. 4 shows a
sectional view of this arrangement. Fig. 5 side of house wnere the
chimney, Fig. 6 is attached by pin hinges. Front and back of house
is now put into position, being pin-hinged to each side Fig- 7 is the
floor that fits the whole of the inside, hinged at equal distances so
that two folds can be folded down on third fold which is pin-hinged
to the front section of house at the bottom edge of door. The front
six inches of this floor rests on the two 9x6 pieces fastened to the
sides. The rear edge of floor rests on a three-quarter inch strip that
is fastened all the way across the inside of back door, nine inches
from the bottom of box. This gives the nine inch space in the bot
tom. Fig. 8 is the side flap which is hinged halfway and is pin-hinged
to back, three inches from the edge of door. A wooden stop fastened
three inches from the edge of front door, prevents it from being
pulled in further than necessary. A tag fastened near this edge of
flap for girl to hold flap in place. The hinged section which comes di
rectly in front of girl is allowed to bulge so that she has eight to nine
inches clearance. Bottom edge of this folding flap rests on f l f Or. Fig.
9 shows an inside view of house, (looking down.) Upper part of
g irls body concealed in chimney and the lower part of body in box
or platform, under the floor. Girl can easily push flap out of the way
to work effects and quickly pull it back into place and for the final
appearance, she pushes the hinged side all the way back to the back
of house. Folds over section of floor, Kneeling on this part as her
head pushes up the door in the roof. Roof is pin-hinged to sides and
back.
Corner pieces being separate pieces pin-hmged io roof.
12x3 panel in brickwork is held in place with catch and only open
ed for the final appearance of girl when she steps out at the finish.
Window in side of house (which is directly opposite chimney,) is ten
inches high and six inches wide. Top of chimney is covered in, but
has ventilation holes. The whole interior of house is black, black velvetteen for preference. The appearance of house is exactly ihe same
at the back as the front. A box hedge, three inches high and two and
one-half inches in depth is pin-hinged to projecting three inches of
bottom of box.
The shrubbery coming up one inch above the top
edge of box. Hedge boxes for the front and back of house art in two
43
sections to allow the steps to fit into position. A grass mat from edge
of last step slopes down to projecting edge of box. Rubber tired
castors elevate house from stage. Pig. 11 is a sectional view of either
front or back of house.
Hedge and steps with only two inches of
brickwork showing at bottom edge of door is a perfect camouflage
to hide the depth of illusion and even when doors are opened back
and front, the interior being black, the extra thickness of chimney
side of house is never noticed. The house is made of three-ply veneer,
box of three-quarter inch white pine. Girl attired in suitable costume
takes her place in house, arranging properties to be used and pro
duced on each side of her legs, under floor. A large piece ol cheese
cloth folded and placed in a small bag so that girl can get it easily to
slip over her head when appearing as the ghost.
R OU TIN E:
Knotted handkerchief,
bourine, ghost, girl.
selected card, bell, tam
Ladies and gentlemen, it is with great
pleasure that I introduce to your notice, the Mystery of the Haunted
House. During my travels and following my investigations mto socalled spiritulastic phenomena, I came into contact with this haunted
house. I heard so many strange stories of the uncanny happenings in
this house that I had a model built, an exact duplicate of the original
and here it is. You will notice that it is very unusual in construction.
The front and back being exactly the same and when both doors are
opened you can see right through the one room that the house con
tains. The original house has been empty for years, just as this one
is, as you can plainly see. But strange as it may seem to you, some
unknown force or power is active in this house, the same as in the
original. Let me show you some strange and curious things that could
happen in this House of Mystery.
Allow me to borrow a handker
chief, thank you sir, and see, I will drop it inside the front door. If
we hear a rap, then we know that we are in apport with the spirits.
Sure enough, did you hear that? (opening door) and see the spirits
have tied several knots in your handkerchief. Let us see if th? spirits
play cards. You remove one card sir, and after noting what it is, re
turn it to the pack so that when the pack is shuffled, the cards are
hopelessly mixed. (Assistant in house has duplicate of card which
was forced and with push pin attaches this card to inside of door.) I
will .now place the pack of cards inside the house, (only partly open
door so that card attached to door is not seen) then close the door
and quickly open it again. Why, there is a card fastened to the in
side of door. The seven of diamonds. Is that your card sir? It is?
Well the spirits are certainly working fine tonight. A t times, they
are musically inclined. I will place the bell and tambourine inside the
house and close the door. (Assistant rings bell and plays tambourine,
eventually resting these against door.) Magi opens door and bell and
tambourine fall out. Door is closed and girl pushes back side panel
and folds floor to the front, draping the cheese cloth over her head
and shoulders. Magi says, Let us turn the lights a little lower and
44
keep absolutely quiet and we might have a visit from a member of

the spirit fam ily. (top of roof is seen to rise slowly.) Magi saying,
Ah, the GHOST . When girl is standing up, have lights turned up
as girl pulls cheese cloth aside, Magi opening panel above door, as
sisting girl to the stage, saying, Ah, as usual, just another woman
in the case!
NOTE:
This is just a brief routine using simple effects. A
performer can make a feature of this illusion by using a variety of
effects, introducing materializations, producing bowls of water, fresh
flowers, a live rabbit, etc., from house.
S T R A IT - JA C K E T F A K E
Used by me for years, both for hanging upside down or rolling

on stage. The advantage of this fake is that Jacket may be inspected
and at no time can the tough guy get the better of you. W ith this
fake, you can effect a release in thirty seconds when the jacket is
put on in the ordinary way.
Fig. 1 will explain clearly. Instead of the strap being fastened
to leather facing o,n canvas sleeve, it passes through. A loop is in the
end of strap with a piece of wood passed through for a hand grip.
Dummy rivets and sewing on the leather facing adds to the genuine
ness of the appearance. When inserting arm in sleeve, grab the wood
grip, pull in all the slack you need and no matter how they strain in
the fastening of this strap, it is impossible for them to interfere with
the amount of strap that you have drawn into sleeve of jacket.
T H E A. B. C. O F V E N T R I L O Q U I S M
Many volumes have been written on this subject, but the following
will show an easy and practical method of mastering this ari.
The
main feature is to have absolute facial control. W ith this w iinkle it
is easily accomplished. Allow your teeth to rest naturally t< gether,
lips slightly open. (Dont clamp them down tight.) Jaws should be
relaxed. Tongue is moved around freely in forming words. Now
say the following words: D ON T GO D OW N TH ERE. To change in
tonation and pitch of voice raise tip of tongue up (dont stiain) in
crease volume, moving tongue as freely as before. The next olep is to
have as much contrast in vent voice to that of your own natural
voice. Other important features that are easily acquired is to forget
that the figure is a dummy, imagine it to be another personality.
When figure is doing the talking, keep full face to audienee. Turn
to figure when addressing it or slurring difficult words when figure
is talking and in doing any business necessary in working up a gag.
Six gags well worked are better than a whole string of useless chat
ter. Singing, if you have any aptitude at all in this direction, is eas
ier than ordinary talking.
45
CHAPEAUGRAPHY
The act of Chapeaugraphy is always appreciated by an audience,

adding, as it does, novelty to any program. There are lots of books
published giving details of folding hat and the type of characters
that can be impersonated. This has been a favorite with me for many
years and I am passing on to you a few wrinkles for the mak;ng
of hat and the presentation of the Act.
My experience has been that the hats supplied by dealers are
always too stiff for quick and smooth working. Here is an easy and
cheap way of making your own hat, or ring of felt. Secure a piece of
black felt padding, that is used to pad floor coverings. (Big depart
mental stores usually have this material) Cut out as Fig. 1, binding
the inside and outside edges with silk military braid. Measurements
are, inside circle, six inches in diameter, from inside edge to outside
edge, five inches. These measurements can, of course, be changed to
fit head. H at should fit real snug around crown of head The best re
sults are obtained in putting this Act over in a snappy way, using a
little talk between each character and having appropriate music to fit
characters, (four to six measures being plenty.) Twelve characters
should take no more than four minutes. I will be pleased to give any
further particulars on this.
O R I E N T A L S E C T IO N
The following effects are of Oriental origin and the methods

herein described are those used by the Oriental magicians today and
a hundred years ago. During my last trip through the Orient, I spent
no end of time and money in acquiring not only these secrets but the
actual apparatus, so there is no guess work on my part in these des
criptions. I have actually performed every item.
We will start with the Double Bowl Production:
C H IN E S E D O U B L E B O W L PR O D U C T IO N AN D F IV E TRAYS
It is necessary in the presentation of this effect and many other

Chinese tricks to wear an Oriental robe. These robes, by the way,
should reach to about the instep of performers feet and must be
made with a fullness in the skirt and lined with stiff material such as
buckram. But the fact that these effects call fo r an oriental costume
does not signify that a Magi must work his act in this form. You will
find that as an impersonation number in your program, it will make
a tremendous hit with your audiences. And remember this feature
I t takes less than a minute to exit, don costume and place on load.
The effect as it is done by the Chinese and the way I have done it in
46
my own show for years:

Magician enters, displays a large cloth
(shows on both sides.) Holding same between both hands directly in
front of him, he throws cloth over left arm, places right hand under
cloth, producing a tray filled with flowers, then a second and a third
tray, then a tray with a roasted chicken on it and a fifth tray filled
with nuts (throws nuts to audience.) Once again the same cloth is
held between both hands and allowed to drop to floor and a shape is
seen under the cloth. Magician picks up cloth disclosing a large glass
bowl filled with water. A fter swinging cloth over his head, he inserts
hand under cloth producing another smaller glass bowl filled with
water.
CON STRU C TION :
First refer to sketch of body holder for
large bowl, Fig. 1 which represents piece of heavy blue denim
cloth, size of same is a yard and a half by a yard wide before it is
cut out as in Fig. 1. Straight edges of top, bottom and sides are turn
ed over and sewn so that a half-inch rope can be inserted as in Fig.
2. Material is now gathered on rope along bottom and side edges.
Loops are now made on ends of rope and the waist line rope which
is rope running through top part of holder is passed through each of
these loops. This waist line section of material is also gathered ac
cording to the size of bowl used, see Fig. 3. Waist rope should fit
tightly. Now the bag holder for five trays. This is made out of >he
same material in the form of a pocket, large enough to accomodate
the five trays but one half of trays protruding from pocket. In other
words pocket is only deep enough for half the length of trays. Refer
to Bag Holder for Trays. A loop of tape sewn to each corner of ma
terial so that when same is slipped over head, load hangs directly in
front of stomach. Now refer to trays as in Fig. 5. Top tray is an im
itation roasted chicken, hollow and the bottom of tray under chicken
removed. Tray number two is unprepared and is the tray used for
loose nuts. Trays three, four and five are loaded with spring flowers
by attaching a thread to each flower, bringing all ends to a common
end and tieing.
Fastening two bunches of flowers so arranged to
tray three, four and five.
Now for the cover for bowls. Lay two pieces of unbleached mus
lin on the table, one over the other. Invert bowl over same. Make a
pencil mark all around the outside edge of bowl.
Stitch the two
pieces of material together completely around pencil line. Place a
piece of half inch rope in between the two pieces of material outoide
of and flush to stitching and pin until you have material pinned to
gether all around the rope, but leave about three inches on each end
of rope sticking out. Sew material together removing pins as you go
but be sure material is pulled snug and tight over rope. Rope ends
sticking out of material are bound together but before doing this,
first tighten these ropes so that cover is a snug fit on bowl. Now cut
material off leaving about a half inch edge around stitched-in rope.
Fig. 7 will give you a sectional view of cover when finished. Fasten
a piece of rubber sheeting (which should be about three inches larg
er all around than cover) to the rope end section of cover. Smaller
47
cover is made in exactly the same way, but this bowl must have a
foot. Now fasten an L shaped piece of metal to the end of piece of
tape, attaching a two inch square of muslin to the tape where it is
fastened to the L piece. Fasten the other end of tape to rope coming
out of small cover. Tape should be just long enough so that L piece
can be forced over foot of bowl. The two inch square of muslin be
tween metal piece and bowl prevents the metal piece from slipping.
Refer to Fig. 6.
PR E P A R A T IO N :
A fter bowls are filled with water, place on
floor. Start cover over edges of bowl and in a squatting position hold
edges of cover in position on bowl with the sides of each knee so that
your hands are free to strain the rope ends of cover over bowl. This
is the last part of cover to go on bowl.
It is understood that the
loose rubber sheeting is on the under side of cover. Then small bowl
is set in similar manner with the exception that metal L piece must
be engaged securely to foot of bowl. Now invert small bowl ' n large
bowl binding ends of rope as in Fig. 6. To set trays, fold flowers and
weight of tray will hold them dowin. Do this with the three flower
trays, placing empty tray on top of first flower tray. Fill chicken
with nuts and place on empty tray. Set trays in bag holder already
to put on. To load prior to working: First put on bodyholdei, stand
ing with leg each side of double bowls, squat down and tip bowls
into holder so that small bowl is at the back and bottom of large
bowl at the front. P ut on bag holder with trays, slip on costume a,nd
you are all set. (It is optional whether or not you remove your own
coat.)
PRE SE N T A T IO N :
Make your entrance with production cloth
whcih cloth, by the way should be 4 ft. 6 in. x 4 ft. 6 in., carelessly
over left arm. Entrance should be made, if possible, from up stage,
but if you must make a side-on entrance with your audienca just a
few feet away from you, resort to the following manouver: W alk a
couple of steps, from wing, then partly face your audience. Make a
gesture with free hand. A few more steps, take cloth from arm with
free hand. A few more steps, make a gesture with left hand and so
on until you are center stage. W alk should be stately and unhurried,
regulating your steps to the swinging of the bowl. Slap chest with
hand, raise right leg, stiff-kneed, from floor, slap thigh. Do the same
with left leg. Then bending over forward slightly, strike costume
from the outside between legs. Hold production cloth stretched out,
directly in front of you. Display production cloth on both sides in the
following manner: Hold cloth rigid by two top corners. Swing right
hand holding corner under left arm. A t the same time swing left
hand to right, towards body, keeping top of cloth straight. Now re
verse cloth back to original position, without letting go of corners.
Now, holding left hand firmly on left corner, swing right hand hold
ing right corner over outside of left hand and arm and tuck right
corner over arm near shoulder. Still retaining grip of left hand, re
lease right hand leaving cloth suspended over complete left arm.
When production cloth is held correctly in this manner, left arm is
48
at right angle in front of body so that cloth now is draped in front

or middle of body. This gives you the opportunity as soon as right
hand is free of cloth to reach inside costume and get possession of
trays which are placed behind cloth. Left arm now comes down be
tween tray and body, completely covering trays with cloth. Left
hand immediately being placed under trays. The right hand momen
tarily taken away from under cloth. Slide left hand from bottom of
trays, gripping the whole five trays by edges together with portion of
cloth. Place right hand in under cloth and remove first tray of flow
ers, then second and third tray, now the tray with the chicken and
lastly the tray containing nuts. Display cloth again, holding it direct
ly in front of you so that bottom edge reaches to floor, Bend knees
sufficiently to allow side of large bowl in pocket to rest on flror. Still
in this bending position move back a pace, bowls will tall clear from
pocket to floor. Allow cloth to drop over bowls. W ith right hand grip
production cloth and ends of rope that are sticking out of covers.
Remove cover from large bowl by drawing your right hand towards
body, disclosing large bowl to view. Swing cloth around your head,
then place left hand under folds of cloth disengaging metal piece on
foot of bowl. Sliding off cover as you bring the second bowl to view.
It is very effective to pour the water from the small bowl into the
large bowl and then to scoup up water from large bowl with small
bowl.
NOTE:
The Chinese Pish, Frog and Egg Bowls, etc. are Uaed
by the Chinese magicians in more or less of a contiguous routine.
Imagine a magician squatting on the ground with eight or nine of
these bowls inverted on each side of him and in plain sight of audi
ence. Bottoms of bowls are marked so that he knows which is wh':ch.
His misdirection consists of picking up an unprepared bowl, every
once in a while, casually showing it and putting it down again. A t no
time does he attempt to show prepared bowls and believe me, his
presentation is such that audience have the impression that all the
bowls are ordinary. My object in including these bowls in Magic
for Magicians is to not only show you the kind of magic that the
Chinese do, but with the idea that at sometime you might use the
same principle in some idea of your own.
C H IN E S E R IC E BO W LS
This effect as performed by the Chinese, is the same as we kr:ow

it with the exception that the water bowl has a disc inside edge of
bowl, not on outside edge. The disc is made of two pieces of metal
w ith a piece of leather between and all three pieces joined together.
Bowl is filled with water and this disc is wedged down into bowl,
thus making bowl watertight, Fig. 4. This bowl is inverted and plac
ed to one side until ready. The usual routine of filling bowl with rice,
inverting water bowl on top, reversing both bowls, removing top
bowl, showing multiplication of rice. In removing rice, enough is left
49
to cover disc. Empty bowl is placed on this bowl and Magi raises this
upper bowl from the back, inserting thumbs of each hand into bowl,
pushing in on disc, forcing it up and out of lower bowl into upper
bowl, one hand coming around to front edge of bowl to get fingers
into upper bowl, holding disc in position, bringing bowl of water to
view. Most of the Chinese magicians performances are close-up work
and this fit-up is perfect for these conditions.
W A T E R EFFECT
Magi shows two empty bowls, places one inverted bowi on the
other and water is seen to spill from bowls as if they are filled with
water. On bowls again being shown, they are seen to be absolutely
empty and perfectly dry.
A soaked sponge concealed in the natural space in the foot of
the bowl is responsible, Fig. 5. Magi holds each bowl so that audience
can see inside of bowls, the (sponge) bowl in right hand. This bowl
is inverted over the other bowl, Magi presses down on sponge caus
ing a fine stream of water to pour over bowls. In setting bowls dov/n,
sponge is retained in right hand. Bowls are eventually taken apart
and show,n empty and insides dry.
SEED BOWLS
This bowl is prepared to hold a load of small seeds or rice. A

disc of metal is made to fit inside edge of bowl, a small hole in the
center of disc, a small hole also in bottom of bowl. A small weight is
fastened to point end of large needle.
Bowl is filled with
seed and the disc put on top then the eye of the needle is passed
through hole in metal disc (small weight on point preventing it from
going all the way through.) Eye of needle passes out through hole in
bottom of bowl and a small sliver of wood is threaded through the
eye of the needle, holding disc firmly up against seeds, Fig. 3. Magi
shows an empty bowl and inverts the seed bowl o,n top. He brings the
two together with sufficient force to break the sliver of wood, re
leasing the load. When top bowl is removed, the lower bowl ia full to
over-flowing with seeds as seeds are resting on disc.
F R O G TO F I S H B O W L
Bowl is divided in halves by cementing in a piece of wood. This

wood partition does not come flush to top edge of bowl. A light wire
frame is made to fit into one-half of bowl. Ends of wire frame to
pass through holes near top edge of bowl and bend at right angels as
in Fig. 1. Wire frame is covered with twine netting, two staples over
50
wire frame, driven into top edge of wood partition hold? frame in
position. Live frog is loaded into net half of bowl and bowl is invert
ed ready to use.
A bowl exactly the same size is shown filled with water, con
taining a live fish. Prepared Frog bowl is inverted on top of this bowl
f.nd the projecting L piece of net frame is turned, bringing the net
down through the water and up on the other side of bowl, leaving
the frog and picking up the fish.
E G G TO F R O G B O W L
This bowl has a partition exactly the same as Frog to Fish bowl.
A piece of metal is made to fit one half of bowl. The section resting
on wood partition to project over this partition a quarter of an inch,
one corner being turned up. This metal is fastened to wood partit'on
with one small screw so that metal piece may be revolved earilv.
Live frog is loaded in one half of bowl which is inverted ready to be
used. Magi places an egg on the floor (The Chinese magicians always
spread a cloth in front of them on the ground or floor when work
ing.) covers with bowl, pressing down slightly so that turned up
metal edge will engage in cloth. He gives the bowl one-half turn
which revolves metal piece, picking up the egg, leaving the frog in
its place.
COLORED POW DERS
A popular effect with the Hindus. In the course of his perform

ance, Magi displays three colored powders, usually red, white and
blue. He places a teaspoonful of each color in a glass, pours in some
water, stirs the contents so that there can be no doubt in the minds
of the spectators that the colors are well mixed. Showing his mouth
empty, he drinks the mixture and then asks spectators to call for any
one of the colors. Supposing red is called. He immediately produces
that color, allowing it to spray down from his mouth on to a China
plate. Powders being absolutely dry. This is repeated with the two
remaining colors.
SECRET:
Figs. 1, 2 and 3 will explain how the duplicate pow
ders are made up and in different sizes so that Magi can distinguish
the colors. The Hindus make these water-proof packages out of dried
anim al skin tissue, the edges being tied with thread.
These three
duplicate powders are concealed in the mouth which is an easy mat
ter, as the largest load is no bigger than three-quarters of an inch in
diameter. A fter drinking the mixed-up colors and a color is called,
Magi brings that load between his teeth, bites down on the outer
covering, allowing the contents to fall to plate. Coverings are retain
ed in the mouth. This should make a very effective pocket trick for
the Magi who strives for unusual effects. Any druggist can supply
you with harmless powders in these colors.
51
SIN G LE C H IN ESE BO W L PRODUCTION

This fit-up is only possible with a bowl no larger than twelve
inches in diameter and bowl must have straight sides as Fig. 10.
Cover is made as in Fig. 8. A piece of muslin five inches larger all
around than size of bowl, the piece of rubber sheeting just a lictle
smaller. A piece of rope holds this cover on bowl a,nd size is arrived
at in the following manner: Pass rope around edge of bowi using a
slip knot in tieing. Strain on rope so that it is a tight fit, remjve rope
and tie ends securely, Fig. 9.
TO SET:
Place cover evenly over bowl then start rope over
cover, using the same method as explained in putting on cover on
Double Bowl Production. The tied ends of rope are the last part of
rope to go over bowl. When rope is on securely, pull down edge? of
muslin and rubber sheeting so that cover sets smoothly over edges
of bowl. Same method of holder and production is used as in Double
Bowls.
SEED VASE V A N IS H
As the Chinese do this:

A vase filled with small seeds is
shown. Magi, resting vase on left hand places his right palm on top
of seeds. Right hand removed and seeds have vanished. H t comes
forward allowing spectators to look into vase and as a further proof
that vase is empty, he throws vase out of his hand and catches it. He
then places vase on floor, covers it with a cloth and after a few
seconds removes cloth showing vase once again filled wiht seeds
Vase is of the shape in Fig. 1. Nine inches high. Opening of
vase no larger than palm of hand. Fig. 2 is a flat disc made of light
tin, covered with a disc of leather (not too stiff.) Size of leather
disc should be just large enough to rest on edges of inside of vase
and tin disc small enough so that it will clear the neck of vase.
(These two disc are glued together.)
PRE P A R A T IO N :
Disc is placed in neck of vase about a quar
ter of an inch from top edge and covered with small seed.
To vanish seed: Press down with palm of right hand on seeds
which will force seeds and disc into vase. When opening of vase is
held towards spectators they cannot see a thing, as the seeds and disc
are lying in the bulge of vase as in Fig. 3. The throwing movement is
accomplished by holding vase by mouth and throwing out from you
so that it makes a complete revolution being caught on the palm of
same hand that threw it. This does not disturb seeds or disc.
The Chinese method of reproduction of seeds :s very simple.

Under cover of the cloth they replace disc and seeds on top as at
first. The first time I saw this vanish, I was completely fooled. The
vanish looks perfect.
52
D O U B L E L I G H T E D L A M P P R O D U C T IO N
The same type of holder as in stack of bowls is used on each

lamp, with the exception that the top section is made of metal as
Fig. 1 with slot on side to accomodate double wire hook, Fig. 2.
Size of each lamp when assembled is 18x6x 4 % , Fig. 3. This will
give you the size of base which is shaped as in the stack of bowls
base only not round and is made of metal Fig. 4.
Slot in base to
allow lighted candle to be inserted after cover is placed on.
Top
section, Fig. 5 is ornamented with a string of heavy beads hanging
down from each corner. Middle section is a metal frame work, fitLed
with glass. The lamps are held together by engaging hooka in lot
on side of lamp.
Chinese method of production is to hang lamps on Chinese re
lease under costume and under cover of large cloth loed is produced
on floor and is then lifted through cloth and held in one hand. The
other hand being inserted under cloth so that one lamp rests on
hand, then ring operating release is lifted up with the hand holding
cloth. First lighted lamp is withdrawn from cloth and piaced on
table. Second lamp produced in same way.
Cloth doubled up and
thrown to one side. Magician now proceeds to show that each lamp
is in three sections and lighted with an ordinary candle
CH IN E S E R E L E A S E
Refer to Fig. 11. The overall size of this device which is made
of brass is no more than two inches. Hanging weight is two ounces.
The shaped cross bar working easily on the balance scale system.
This is the device used by Chinese magicians to carry stack of bowls
under costume. Release hangs by string, the end of which is attach
ed to belt. When load is attached to hook of cross bar, the weight is
raised. The bottom of load hanging about three inches from floor. A
slight bending of knees and load rests on floor. Immediately weight
drops down, releasing load. Magician steps back one or two paces.
Load comes clear of costume. The whole operation being covered by
cloth that is being used to produce bowls. The release hangs in front
of magicians body. Load rests between legs and can be easily carri
ed and does not interfere with other body loads.
C H I N E S E S T A C K O F B O W L S P R O D U C T IO N
Although many mechanical devices have been made lo r this

effect and a number of magicians have had this effect associated
with their names, it is of Chinese origin.
I performed this trick in this form here in America in 19i7,
using an original Chinese set that I brought from China. I also des
cribed this to Harlan Tarbell and he included it in his course, but to
my mind, his description is not complete enough. The whole outfit is
so simple that I have supplied several sets on request at $5.00.
The big advantage is that there is nothing of a mechanical
nature about the outfit. Stack may be handled and swung about free53
ly and carelessly. Stack can be rested on floor during production

with no fear of being released. It is easy to set load behind screen
and bring on stage in the presence of audience and stack is released
only when you are ready.
CONSTRUCTION: Base should be made of wood. Size of in
side top section large enough to accomodate largest bowl. Center is
dished in, see Fig. 1. Fig. 2 is disc of wood a quarter of an inch
thick and large enough to fit easily into smallest bowl. Fig. 3 is a disc
of wood a quarter of an inch thick, large enough to reach to the
outside edge of top bowl. Fasten a six inch length of stout wire to
largest disc, then screw two discs together. Pad the smaller disc with
cotton batten, cover with sheet rubber bringing edges of rubber up
over edges of both discs, tacking it to the uppermost side of top disc
and when it is finished it should be as in sketch 4. Cloth part f cover
is made in two pieces. Sew a cne-inch hem down each side of mater
ial, getting the correct width by pulling cloth half-way around
sloped-in part of wooden base. Correct length can be arrived at later.
Pleat and fold one end of cloth so that it can be tacked to wood disc,
Fig. 5. Next tack second piece of cloth to disc. Place on stack to get
right length which can be decided by pulling cloth one inch over
wood edge, allowing about an inch for hem. Edges of cover should
just meet. As the top disc is smaller than the bottom, cloth will puff
or bulge in places.
Simply take up these places by gathering and
sewing in as many places as necessary. Now sew two naif-inch rings
on one edge of cloth and one ring on the other edge of cloth, Fig. 6
so that one ring will fit between the two when the edges of cloth are
strained over bowls and wooden base. Now the release, Fig. 7, which
is a three-inch metal ring with four pieces of tape fastened to ring at
equal distance apart. Now sew each end of tape to top of cover, Fig.
8. Tapes just long enough to allow ring to be raised one and a half
inches. Fasten end of two lengths of string to ring and on the other
ends fasten a one and a half-inch inch stout piece of wire or gimp
pin. The correct length of strings will be clear to you after reading
the setting of stack.
TO SET: Place cover so made over stack. Draw two edges of
cover together, place one ring on bottom edge between the other two
and hold together with gimp pin on end of string. Now it should be
quite a strain to draw the other two edges of cover together. Engage
rings with pin as in first. The position of the rings engaged with pins
should be over the edge of the shaped base and resting on the sloped
side of base. Shape end of wire (which passes through three-inch
ring) for a finger grip. Stack of bowls may be handled carelessly
and safely by carrying same by this wire grip.
TO R E LE A S E :
Place stack on floor or low stool, grip threeinch ring and pull. This disengages the pins holding rings together.
Raise cover several inches and it is not necessary to lift cover ri^ht
up over top of bowls. Cover may be drawn through bowls. Naturally
this would be done under cover of silk load, but in the Chine?e
Method Refer to Chinese Release.
54
LA RGE FISH BO W L AND PLATE PRODUCTION

This production is made in exactly the same way as the Double
Bowls. The same body holder being used so that it is only necessary
to describe the way bowl and plate are prepared. Plate is ol heavy
china, fifteen inches in diameter. Fish bowl is the two-gallon size,
(smaller plate and bowl may be used for platform work.) Padded
cover is made to fit over bowl and is at least one inch larger on all
sides than the mouth of bowl. Use a piece of quarter inch, three-ply
veneer. Place a one-inch thickness of cotton batten on wood and
cover with sheet rubber. (Chinese do not use rubber, but cloth pre
pared with animal fat, making it waterproof.) Draw edges of rubber
over edge of wood and fasten to the other side. Lay another piece of
wood of the same size on top so that top of padded wood is smooth.
(Last piece of wood placed on side where rough edges of rubber
tack.) Next secure two pieces of wood, one and one-half inches wide
and one-half inch deep. (Length to be the same as length of padded
wood.) Make two cut-outs in these pieces. Fasten on top of padded
cover as Fig. 1. Two metal L pieces are necessary, which are fasten
ed to two ends of tape on each side of holder. Two-inch square of
cloth which is also fastened to tapes is placed between L piece a id
plate edge to prevent slipping. ( If done correctly, this cover will slide
back and forth on tapes.) Tapes should be only long enough so that
the only way it is possible to fit padded cover to bowl is as follows:
Place circle of quarter inch rope on plate. This is to rest bowl on to
prevent it from slipping. Now the fish bowl. Next padded cover. E n
gage one L piece over edge of bowl, but tapes are not long enough
to stretch directly across to opposite edge of plate so the second L
piece must be started over edge of plate about one-third the dis
tance of plate edge from first L piece, and gradually pushed along
plate edge until it is directly opposite first L piece. Correctly made
and assembled this is a perfect waterproof cover. This load is placed
in the body holder so that bottom of plate is towards audience and
one L piece at the top edge. When load is released and it faLs on vhe
floor, under production cloth, reach from outside of cloth, grasp L
piece forcing to one side on edge of plate, holding tape through
cloth as you remove holder, displaying Bowl and Plate.
SUSPENDED VASE
Vase is given for inspection. A piece of string is dropped into

mouth of vase and on raising string, vase is seen hanging suspended
to string. Magi swings vase to and fro, eventually allowing it to rest
back on table, string coming away clear.
Vase should be shaped something like Fig. 1. Size used by
Chinese is three inches in height. Narrow neck is important. Cut a
piece of cork to size that can be forced into vase. The cork should
be blackened and should be rough, not smooth. When vase is inspect
ed, cork is unnoticed because of narrow neck. Stand vase on table
55
Allow end of string to fall in. Pick up vase with one hand up-endmg
it, saying Did you notice the solid bottom of vase? (This action
allows cork to fall down to neck of vase. Straining on string slightly,
cork will wedge against string.)
Replace vase on table, hold-ng
string slack. Now lift up string and vase hangs suspended. A fter
swinging vase to and fro for several times, allow it to land back on
table with a slight bump. This disengages the string.
C H IN E S E PLAT E S P IN N IN G
The secret of this is closely guarded by the Chinese. The next

time you see an Oriental troup, take particular note that after they
have done this item in their act, plates are wrapped taken off stage
(and locked away.)
No stage hand has any chance of seeing how
plates are faked.)
I had quite an experience getting the secret,
which I will not go into detail about here.
Although this is a juggling feat, all Chinese Magicians do it, so
why shouldnt we include something like this in our programs, add
ing not only novelty, but skill?
EFFECT:
Magi is seen to spin an ordinary plate on the end
of a thin bamboo stick or pliable cane. Stick is held at almost any
angle. A t times the edge of plate is almost in line with the floor and
when pliable cane is used, the weight of plate bends cane, but at all
times, plate spins merrily on and under the complete control of the
magician. See Fig. 3. Saucer, small plate or dinner plate may be
used, just so long as there is a ridge on the under side of p bte
Plates are prepared by boring a hole as close as possible to ridge on
plate, Fig. 1. Size of hole is about the thickness of a lead in a lead
pencil, and into plate as far as possible. I f pliable cane is used, one
end is pared to a point. For bamboo, a piece of wire that will fit
easily into hole in plate is inserted in end of bamboo and fastened
leaving about one inch of wire showing. Fig. 2.
M ETH O D OF SPIN N IN G :
Hold stick firmly in right hand,
plate in left with the inside of plate facing audience. Insert point of
stick in hole in plate. Straighten plate and with a quick jerk, towards
your face, of the left hand on edge of plate (letting go) start plate
moving. A t the same time start right hand moving quickly in an
eight or nine inch circle about four times in the same direction that
plate is turning. (This is only to start plate, the continuous spinning
is done as follows.) See Fig. 4.
The hand holding stick is moved
backwards and forwards from the wrist only.
When you first try
this, you will find the ligaments in the wrist become tired and ache
somewhat, but this is overcome with practice. This movement from
the wrist will positively control plate.
You may hold stick at all
kinds of impossible angles, but strange as it may seem, plate spins
on. One may also be operated with left hand just as easily as with
right. The whole manipulation from the starting of the plate with the
left hand to the movement of right hand is very easy and can be
accomplished with very little practice.
56
NOTE
All apparatus described in Magic io r Magicians can be obtain

ed from Percy Abbott, Colon, Michigan. Any trick or illusion built
to order. A ll effects advertised here are my own creation and manu
facture and each item is guaranteed to be as represented or money
refunded.
Detailed instructions are supplied with every trick, in
cluding necessary misdirection and presentation.
A B B O T T S K E E N E
W E LL, M A G ICIA N S, You are looking for novelty in practical

magic.
Get this one and give your customers an effect that is in
keeping with the times.
I unquestionably recommend the following trick as being one
hundred cents value to the dollar.
My tilte for this is ABBOTTS
K EEN E.
EFFECT:
A borrowed handkerchief is draped over Magicians
closed hand, thumb uppermost.
Spectator is then asked to poke
center of hank down into Magicians closed fist with his first finger
thus forming a cup or pocket in the center of the hank. Spectator is
next asked to drop a borrowed knife or pencil into this cup or pocket
in the hank and to the surprise of all, the knife or pencil passes
right through the hank, falling to the floor. Magician does not touch
the knife or pencil and the hank is never out of sight. Hank is im
mediately opened and shown to be unharmed and both hands are
shown empty.
It is sure a dandy effect.
One of those impromptu tid-bits in
magic, ready for all occasions. No fekes, to get rid of. You can do it
after reading instructions. I ve fooled every magician I have shown
it to.
BUT THAT IS NOT ALL.
A fter hank has been shown, it is
carelessly thrown over left hand and then offered back to spectator.
Here is some climax. When he takes the hank he is amazed to see a
glass of liquid resting on opened left hand. Give him same to drink
with your compliments.
Here is a novel pocket or platform trick that will fit into any
magicians program. Remember in this production there is no cover
to get rid of. Do not confuse this with any other liquid production.
I t s a new wrinkle, never before advertised. You can carry loaded
glass for hours with perfect safety and perform at a moments
notice.
I supply you with eveything including glass and comprehensive
instructions. You send a dollar bill or money order for one dollar.
NOTE:
The above is a perfect effect to present and then fol
low with ABBOTTS SQUASH. This is also ONE DOLLA R.
57
A B B O T T S R E P E A L O
Find the W ine Sucker Effect. First time advertised. Find the
Lady Outdone and a different principle entirely. Three profile bot
tles shown. One representing wine and two empties. Placed on easel
with backs to audience with wine in the middle. Location of bottles
is slowly changed. Audience asked to pick out the bottle of wine.
They think they have it, but they are wrong. Then second choice is
wrong again. A big laugh when magician shows where it is. Do it a
second time and this time magician does not move the bottle of
wine. They are sure about it this time.
In the middle they say.
This bottle shown to be empty, replaced on stand. They say On the
end, show this one to also be empty. They say On the other end,
once again it is an empty. THE W IN E IS IN THE M ID D L E : Do it
again, marking the bottle of wine by inverting an empty glass
over same, but they catch you slipping the glass ovei an empty.
The fu n is fast and furious and eventually the suppo.r-edly empty
marked with inverted glass is shown to be the bottle of wine.
Find the Lady has proved a good trick. I put it out and know,
but I can assure you R E P E A L O is even better. Bottles are held
by neck only. A t no time are they up-ended, etc. M A DE E N T IR E LY
OF METAL. Bottles are seventeen inches in height and one-eighth
of an inch thick. Stand is made of metal. Set up in a few seconds.
The three bottles and stand make a package 17x9x% inches. BEA U
T IFU L IN A P PE A RA N C E . W O R K THEM A N Y W H E R E . Two
routines supplied. One with TWO BOTTLES ONLY.
Price complete for three bottles $7.50.
Portable Stand $1.50 postage prepaid.
R. W. H ull says: Your presentation of Repealo at Memorial
Hall Saturday evening at Columbus was perfect. W hat a beautiful
trick!
A B B O T T S C A R D E T T E
AN INSTANTANEOUS EFFECT
Down through the ages in magic there have been many frames
used for the appearance of a vanished card, but we HIT A H IG H
SPOT in the art of Magic with CARDETTE.
A selected card is vanished. Magi states that the card will re
appear instantly before the eyes of the audience. He shows the
Cardette frame, impressing upon them that they can see right
through the frame at all times. Standing at some distance from the
frame, he asks audience to watch it and W H A M , like a flash, the
selected card appears, in frame. Magi removes card and returns it to
spectator. Y oull say THAT THIS IS A MOST IN G EN IO U S FIT-UP.
NOTE:
The moulding of frame is one inch in width, the in
side measurement is 6x4% inches. Celluloid is used in place of glass,
frame is elevated. It is very nicely decorated in bright colors,
strongly made, knocks down for packing. A sure-fire effect, new :md
novel. Price for Cardette, no cards supplied, is $3.00 prepaid.
58
ABBOTTS CLA SSIC IM M ENSE PRODUCTION

Production apparatus may come and go BUT THIS ONE IS
H E R E TO STAY.
A ll parts are separate. The sides of box, bottom, lid and three
fold screen. W alk on stage with all the pieces and assemble them in
full view of the audience.
First a big silk production, box taken
apart and again shown empty. The screen is also folded flat. There
can be no doubt in the minds of the on-lookers, but to their amaze
ment, they actually see a pair of rabbits extracted out of the box
or six doves, or a rooster or a duck, and bear in mind the size of
sides of box, is 12x10x6 inches. The silk production is a separate
unit, in other words, this outfit is double faked and made PRA CT I
CAL TO THE NTH D EG R EE and W HAT A F L A S H ! B EA U T IFU L
is the only word for the appearance of this perfect piece of appar
atus. Can be worked CLOSE UP too; IT IS N O ISELESS. Takes up
very little room in packing, but what an asset to any stage setting.
I unquestionably guarantee C LA SSIC to do all I say and I know
that you will be proud to own it.
Finished in Orange, Black and
Gold.
(Any color combination made to order.) Price including
screen $12.50. DeLuxe Model, with your own initials in Gold L a f
if wanted, $15.00 postage prepaid.
ABBOT TS SQU ASH

A right up to the minute mystery for a pocket or platform trick.
First time advertised.
O R IG IN A L ! CLEA N ! FO O LP RO O F! PERFEC T ! Listen in o,n
this and chance a dollar bill and you will have a novelty that you
will use plenty.
EFFECT: An ordinary glass containing any kind of liquid is
held in full view on palm of hand and the other hand covcrs glass.
Both hands are squeezed together, hands immediately opened. THE
GLASS OF L IQ U ID HAS GON E!
No body moves or concealed pockets. Gone as clean as a whis
tie. Both hands are shown positively empty.
Now, here is another surprising feature, THE SAME GLASS,
not a duplicate, is produced from behind knee or from spectator or
anywhere your fancy dictates. DO IT AGAIN.There is no get-ready
preparation. I guarantee this to be as stated and if you dont think
so when you get it I ll refund the amount received.
Are there any new gags to magic? Y oull say so when you get
this ingenious feke. N E V ER HAS BEEN A D V E RT ISED BEFO RE.
I t s my own. You can do it two feet from audience and fool them
and work it five minutes after you get it.
IT S A SEN SATION AM ONG M A G IC IA N S. P R IC E $1.00
P RE PA ID .
59
ABBOTT CO M IC O THE BIG SU RPRISE

I have dedicated this effect to my old friend, Harry Cecil. We
all know that comedy tricks are few and far between. I am proud of
this one and I feel sure that my brother Magicians will say, IT S
CUTE, CLEV ER, D IFFEREN T , M Y ST IFY IN G and a B IG LA U G H
IN G SU RPRISE C L IM A X .
Magi displays a brass metal cup. He drapes a silk hank over the
mouth of the cup and states as he has no lid for cup, he will ask a
boy to assist him and play the part of the lid. Cup is placed on bovs
left hand and his right hand on the opening of cup, directly o,n top
of the hank. Magi tells him not to let the hank get away. Magi turns
to address audience when there is a holler from the boy and the
audience see a snake spring out of the cup into the air. IS THE
BOY SU R PR ISED ? He looks into the cup, it is absolutely empty,
THE H A N K HAS V A N IS H E D ! Do it at a party. Let a young lady
hold the cup, SCREA M S! LA U G H T E R! Size of cup is one and three
quarters by one and three quarters inches. Snake is about 18 inches
in length. Use any silk besides the one supplied. Now I dont say that
this is the greatest mystifier in the world, but I do claim that it is a
distinct novelty, a good hank vanish and a sure laugh. Do it any
where, no pulls of any kind, self-contained. Trick complete includes,
snake, cup and hank. Price $2.00 prepaid.
NOTE:
I showed the advance model to Harry Cecil, and he
said, W ow! W hat a laugh I cant wait to get it.
A B B O T T S B O T T L IT
A clean vanish with an up-to-the-minute innovation. Magician

picks up bottle and proceeds to pour himself a drink but he has no
glass. He then pours contents of bottle into napkin which has nreviously been shown, saying, This will do. But when napkin is re
moved, a large glass of liquid is seen.
This glass is covf->ed with
napkin and on napkin and glass being inverted, the liquid does not
spill. The napkin is opened out and GLASS OF L IQ U ID H AS D IS
A P P E A R E D . Glass may be produced from pocket, etc. This method
and the apparatus used gives new life to a standard effect. The nap
kin used is beautiful in appearance, with F R IN G E D EDGES, size
18x18 inches. Held within a few inches of you, you cant tell its
faked. Made of colorful plaid material with satin stripe in gold.
Throw away your old-fashioned out-of-date colored cotton hand
hank used to cover glass for vanish. You have never seen a more
beautiful piece of apparatus than this napkin and bottle.
Complete with napkin, glass and fake bottle $3.50 prepaid
Napkin separately $1.50 prepaid.
NOTE:
A borrowed hat may be used to pour in liquid in
place of napkin This is an extremely funny and laughable situa
tion.
60
A B B O T T S B U R N O T H E C A R D F R O M T H E F L A M E S
A B IG SM A LL trick that will fit any program. SE N SAT ION A L!

O R IG IN A L ! and STARTLIN G!
The container is shown on all sides, front and back opened and
audience can plainly see right through it. The fuel container is freely
shown, placed in container and both front and back closed. A card
is selected, torn in to small pieces and actually dropped into con
tainer. A small quantity of alcohol is poured in, M A G I ASKS A U D I
ENCE TO W ATCH THE FLA M ES as he ignites alcohol. Flames are
seen not only coming out of the top of container, but five small holes
in front door of container give a clear vision of the flames inside.
M A G I COMMANDS CARD TO R IS E and the restored card FLYS
ABOUT TH REE FEET INTO THE A IR , R IG H T THROUGH THE
FLAM ES. Magi returns the card to party who selected it, and he
comments on how warm the card is.
IT S STARTLING, B E W IL
D E R IN G , D IF F E R E N T !
FEATURES:
NO PULLS. It is self-releasing. More than one
card may be used.
Can be regulated so that card appears fast or
slow from the flames. The container is a perfect houlette for stand
ard Rising Cards.
M ADE E N T IR E L Y OF M ET AL N IC K E L
PLATED, B EA U T IFU L IN A PPE A RA N CE . An additional effect for
the particular Magi is to allow spectator to retain one of the pieces
of card. When card appears, one piece is missing. Spectator holds
the missing piece. Card may be vanished in any way you wish and
then commanded to appear from the flames.
A perfect climax to
any card routine. PRA CT IC A L for the D R A W IN G ROOM or
STAGE. I recommend BU RN O to all magicians wanting some
thing entirely different, something new, a,nd a distinct novelty. Price
prepaid $5.00
NOTE:
I worked this for F. T. Huffman in Hotel room at the
recent meeting of Magicians at Columbus, and he said Wonder
fu l! I want it.
A B B O T T S S T A G E S C R E E N S
No trick to it, just for your stage setting. Takes the place of
tables. A two-fold screen 26 inches high, each panel 12 inches in
width, light weight, folds flat, neat and showy in appearance, beauti
fu l Dragon design or made to your order. Price $3.00 prepaid.
Loose top, 50c extra.
Top with black-art well, $1.50 extra.

61
A B B O T T S S U C K E R E T T E
C O M B I N I N G A V A N I S H , A C H A N G E , A N D A P R O D U C T IO N
Audience sees an extremely attractive small shallow box, setting

on a fancy drape on top of an ordinary table or chair seat.
The
center section of top of box is a lid.
Magi opens this lid and puts
two or three doves in the box, informing audience that the doves
will disappear at his command. He removes the lid, setting .t to one
side, allowing audience to see right through it, proving that nothing
is concealed there. He then removes the sides, which are in lour sep
arate pieces. The wise ones say that they can see a bulge in the top
of the fancy cloth, which must be the doves. Magi denies this and lifts
up the cloth, and removes the bottom section of box which is just an
open frame. Audience is convinced that the doves are not there but
insist that they are under the fancy drape. A fter they are thoroughly
worked up, Magi permits a spectator to put his hand under the clotl
and remove the contents, a.nd to the surprise of all he brings out a
guinea pig. The cloth is handed to spectator for his inspection. THE
DOVES H AV E P O S IT IV E L Y V A N IS H E D !
W H A T A V A N IS H !
W HAT A SUCKER EFFEC T ! W H A T A S U R P R IS E ! When Mr. Pig
makes his appearance. You get everything, including the table cover,
(no live stock.) There is no trick to the table, use a chair, it is just
as good and does this piece of apparatus look nice? I ll say it does!
A unique futuristic mottled three color effect, so attractive that it
must catch the eye. A ll breaks down and packs into a very small
space.
I guarantee this to be PRA C T IC A L and a perfect piece of
apparatus. Do it in a Drawing Room or Stage. It will fool and sur
prise the wise ones. Priced right at $12.50 prepaid. DeLuxe Model
$15.00. A Marvelous effect to present in combination with Vbbotts
CLA SSIC.
A B B O T T S P A T S Y A P E N E T R A T I O N
A novel illusion using an assistant. Entirely different to any

penetration effect on the market. Everything is carefully examined
by a committee. Four lengths of rope, twenty feet long are passed
around assistants waist and tied securely. Four ends being passed,
through the Patsy and given to the committee to hold. Magi states
that the young lady will penetrate the four strands of examined
rope. Once again the committee inspect the rope passing arcund the
young ladys body. The front panel is closed and the committee in
structed to pull. Immediately the panel is opened and it is seen that
the young lady is free and has passed completely through tne rope,
but the four lengths of rope are still in the hands of the committee
and threaded through the Patsy and may be freely pulled back
and froth. A very effective and showy illusion with the minimum of
apparatus. Girls head, shoulders and legs in fu ll view at ail times.
There are positively no threads used.
The apparatus is strongly
made, well finished in bright colors, light weight, breaks duwn for
packing and can be set up in a few minutes.
Price complete $12.50 postage prepaid.
62
ABBOTTS K E Y O PA SSIN G THROUGH A K E Y H O L E

I advise you to read every word carefully. Every wide-awake
Magi has been looking for an illusion that is PRA CT ICA L, FO O L
PROOF, A R E A L M YST ERY, A DOUBLE CLIM A X, A LA U G H T
ER GETTER, AN D AT A LL TIMES R E A L ENTERTAINM ENT.
I ve been doing this illusion for the past five years.
THE FIRST
TIME A DVERT ISED .
Breaks down. Weight but a few pounds, and can be carried
under your arm. Set up and ready to work in a few minutes.
Briefly, the effect is as follows: Magician draws attention of
audience to round curtained cabinet. Opening curtains, he discloses
a door standing upright, painted in bright colors, an entirely differ
ent color on each side, say, red on one side and green on the other.
A committee is asked to come forward and examine apparatus u?ed.
A fter this has been done carefully to the satisfaction of committee,
magicians assistant (young lady or young man) is introduced, wear
ing an oriental coolie coat and pants. Rope is passed tightly around
assistants waist and tied with three or four knots, (committee may
do this.) A borrowed handkerchief is also tied around knots in rope.
Assistant stands on red side of door, facing door. One end of rope is
threaded through keyhole, the other end through curtains on the
side assistant is standing. This is checked by committee. End of rope
running through keyhole is now passed through curtains on the
green side of door. Each end of rope being held by one of the com
mitteemen before curtains of cabinet are completely closed. Curtains
closed, then magician instructs man on green side to pull on his rope
and man on red side to slacken on his.
BEFO RE TH EY CAN DO
THIS, assistants coat comes sailing over top of cabinet. (laught<r.)
Magician calls out pull. Man does so, assistant screams, magician
quickly opens curtains and assistant is now standing on the other
side of door (green) but without coat and pants, (entire change of
costume.) This is a real surprise.
And the end of rope that was
through keyhole is now through curtain only and the end that was
through curtain only is now through keyhole and curtain, giving the
effect that assistant has been pulled or passed right through key
hole. The hank is checked and removed and knots examined and
after rope is untied, assistant retires. Magician thanks committee,
reaching up under coat of committeeman who did the pulling, und
pulls out assistants coolie pants.
This second surprise is a BIG
LAUGH and a perfect finish.
FEATURES:
Can be performed with audience all around you,
Door can be placed outside theatre for inspection. The title causes
comment and I know by experience with it in my own show that it
will draw business. It is also a strong talking point in selling your
Act. Well made, showy, and an asset to any stage setting. The gim
mick fools magicians.
Price complete with everything (No costume, but can supply
same) is $25.00 prepaid.
63
A B B O T T S L IQ U A
A DISTINCT N OV ELT Y and one that your audience will com

ment on. Briefly, the effect is: Magician shows both hands empty.
He reaches into the air and immediately a glass of liquid is produced
at finger tips. This is placed on table. Again both hands shown empty
and another glass is produced and even before the second glass is
placed on the table, a third glass is produced and then a fourth glass
of liquid. Magician picks up a napkin and wipes hands and another
glass is produced, until eight are produced.
From the napkin, he
produces a medium sized tumbler half filled with liquid and then
immediately from the same napkin a bottle is produced. Tumbler is
placed on table, filled from bottle, covered with napkin. Now a rou
tine of inverting glass and napkin is gone through, eventually open
ing out napkin GLASS OF LIQ U ID HAS D ISA PP E A R E D . I want
you to note the following unexaggerated statements: Four of the
glasses and tumbler are ordinary and the four other glasses are made
up to represent a bright red wine, but any kind of liquid can be used.
NO RU B B E R COVERS USED. Napkin is prepared. Bottle is prepar
ed. I give you illustrated manipulative moves with the glasses of
liquid and a change over palm that is easy and practical. Instruc
tions explain every move and gesture and misdirection necessary so
there is nothing for you to figure out. I t s a dandy routine. Produc
tion of tumbler after the eight small glasses is climax number one,
then the bottle is climax number two, and the vanish of glass of
liquid is climax number three. And I know you will say this is the
cleanest vanish that you have ever done. Y oull say the moves
are
clever, the apparatus and gimmicks supplied perfect.

W H A T Y O U GET:
Eight small sized glasses, one tumbler, one
special metal bottle, one fake napkin (the same as used in Bottlit, two small trays, bottle of cake coloring, and necessary fakes.
Dont confuse this effect with any other glass production advertised.
This is my own creation and can only be obtained from
P E R C Y ABBOTT,
COLON, M IC H IG A N
Price $5.00 Prepaid
64

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Biblioteca Fundacin Juan March (Madrid)

Secrets of Occidental and Oriental

Printed at Colon, Michigan , U. S. A.

Biblioteca Fundacin Juan March (Madrid)

We have known Percy Abbott for ten years intimately. He has

Biblioteca Fundacin Juan March (Madrid)

Biblioteca Fundacin Juan March (Madrid)

It Hasnt Started Y e t_________________ ________ ___________________

Masterpiece_________________________________ ____ ________ 10

Double-Over Card Steal __ __________ ____ ________________ ______ 13

Two to Four Ball Move___________________________________________20

Ball Move___ ___ ______ ____ ____ __________________________ 21

The Last Ball Move______________________________________________ 21

................... ...................... ......... ....................... 22

Thimbles__________ ____ __________________________________23

Body Load________________________ _________ ______________________ 23

Match-...................... ... ....................... ................................25

Comedy Penetration_______________________ __________ ___________ 26

Biblioteca Fundacin Juan March (Madrid)

Wine and W ater__________ _

___ _ __ ____ ___

Double Effect Silk Transposition___________________

The Haunted House_____________________________________ _____ ___43

Chinese Double Bowl Production and Five Trays________ _________46

Frog to Fish Bowl________________________________________ _________50

Single Chinese Bowl Production_________

Seed Vase Vanish________________________________________ ________ 52

Chinese Stack of Bowls___________________________________ ________ 53

Chinese Plate Spinning___________________________________ ________ 56

Biblioteca Fundacin Juan March (Madrid)

Biblioteca Fundacin Juan March (Madrid)

This has been a favorite production with me for many years

Cards are fanned out, face up and spectator is asked to take a

Biblioteca Fundacin Juan March (Madrid)

This effect is an improvement on passing a number of cards

Now for the details and preparation: Refer to Fig 1, 2 and 3

Biblioteca Fundacin Juan March (Madrid)

Biblioteca Fundacin Juan March (Madrid)

Biblioteca Fundacin Juan March (Madrid)

DOUBLE-OVER CARD STEAL

Biblioteca Fundacin Juan March (Madrid)

hand. Right hand appears to place cards in this hand on top of se

Pack is shuffled. One end of pack is held by magician. Specta

Biblioteca Fundacin Juan March (Madrid)

A gambling game used by the Confidence Men in Australia, but

He states that he has learned a new game called Thirty-one

Biblioteca Fundacin Juan March (Madrid)

Biblioteca Fundacin Juan March (Madrid)

If you will follow this routine carefully, making particular note

Biblioteca Fundacin Juan March (Madrid)

left so that they are both holding wand in an upright position. A pt in

Biblioteca Fundacin Juan March (Madrid)

I have found this to be a very amusing and effective way of

Biblioteca Fundacin Juan March (Madrid)

(pointing to party who selected card) is very pronounced, i ll show

A fter a series of billiard ball manipulations, Magi holds one ball

Biblioteca Fundacin Juan March (Madrid)

THE LAST BA LL MOVE

Biblioteca Fundacin Juan March (Madrid)

CLOSED FIST BA LL MOVE

Biblioteca Fundacin Juan March (Madrid)

A good body load seems so little known among magicians that

It Hasnt Started Y e t_ ___

Masterpiece_________________________ 10

Double-Over Card Steal __ 13

Ball Move_ _ ____________________ 21

Thimbles ________________________23

Body Load____________________ _ __________________ 23

Comedy Penetration___________ _ 26

___ _ _

The Haunted House___________________________________ _ _43

Chinese Double Bowl Production and Five Trays _46

Frog to Fish Bowl________________________________ _50

Seed Vase Vanish________________________________ 52

Chinese Stack of Bowls___________________________ 53

Chinese Plate Spinning___________________________ 56