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Harry Wizmanny PDF
Harry Wizmanny PDF
Harry Whiteley
This html version 2000 Jos Antonio Gonzlez Campos
Preface
Introduction
The Great Magic Kettle Act
Description of the Performance
from beginning to end
A Word of Caution
Preparation
Production of a Solid
Walking-Stick
An Improved Swallowing
Wand
Preface
Preface
IN PRESENTING this work to the magical fraternity of England and America, I
desire to thank "SELBIT" for his kind assistance.
Having seen several attempts at a solution of the Kettle Mystery, none of which
could be called workable, I place before the Conjuring world my original
conception of the act, which from personal experience I know to be practical and
workable.
I also include several magical effects that are now for the first time made public,
and I wish to thank MAX STERLING, CHAS. TRICKEY, and ED. FIELDEN
for the effects they so kindly placed at my disposal.
For the Balloon Trick and the Tin Trunk Escape I know not who to thank. To the
remainder I must plead guilty to dressing up old tricks in new clothes.
That this small effort of mine, when read, will find a place in your book-case is
the wish of
Yours as ever,
HARRY WHITELEY.
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Introduction
Introduction
"IT BOILS on ice." So read the headline on many a playbill. It afforded the
penny-a-liner a catchy title for his copy, rejoiced the hard hearts of pantomime
comedians, who welcomed a new victim for their "gags," and, lastly, transferred
bright sovereigns from the pockets of the great and gullible British public to the
banking accounts of magic kettle exhibitors.
The life of the "Great Magic Kettle Act," to give the performance its full and
imposing title, was singularly short for so striking a novelty; more strangely still,
the very germ of its existence proved the cause of its death--we refer to liquid air.
Was there ever such another glaring instance of the fallacy of providing the
public with the key to a mystery?
Gone, but not forgotten! Dead, but it shall rise again! These pages are dedicated
to the memory of the departed, also to nurture its successor by explaining how
the act may be genuinely duplicated, yet minus the expense of liquid air.
Many and varied were the efforts of those who fain would boil their kettles at less
than a guinea per litre (the price of liquid air during the craze), but we hardly
know whether our sympathies were more with the professor or his audience when
calcium carbide and water were the materials used to invoke a semblance of
steam. If at times the "steam" was less apparent to the sight than it might have
been, it is certain the odour was painfully plain to one other of the five senses.
Another equally daring discovery, that ammonia and hydrochloric acid could be
pressed into service for the production of the sought-for vapour, proved but one
of many attempts to arrive at a solution of a ridiculously simple problem.
However greatly kettle operators differed in conjuring steam, to a unit they
plumped for a double pan in which to "boil" that necessary item of the
entertainment--ice cream.
Ingenious or otherwise as the magical (not magic) kettle acts proved, the thorn in
the side of their proprietors were the freezing experiments. In this particular we
believe even the presentors themselves will agree the results were frosts; yet we
hope to show how easily the genuine experiments may be secured at trifling cost.
Introduction
There is small room for doubt that some demand will always exist for a scientific
kettle entertainment at a reasonable fee. Apart from this, the possibilities which
must suggest themselves from practical knowledge of the subject under
discussion lead us to believe that this modest manual will find a welcome in
technical libraries.
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DIRECTLY the curtain is raised we look for the kettle. There it is, slowly
steaming on a stand, with a small spirit stove beneath. It is a most
ordinary-looking kettle, and we barely notice a large block of ice on a centre
table, two side-tables containing metal goblets or beakers, various culinary
utensils, flowers, grapes, and other things, when the operator makes his entrance.
"Ladies and gentlemen," we hear him say, "I shall have the pleasure of
conducting a series of experiments in which nature will contradict her own laws.
Here you see the magic kettle slowly boiling over a stove. When I place it on this
block of ice you will notice that instead of chilling the contents the kettle will be
made to boil furiously."
This suggestion the operator carries out with precisely the prescribed results--the
kettle steams as though some imp of darkness were inside puffing out a steady
cloud of vapour through the spout. Leaving it to boil thus for the moment, the
lecturer offers to conduct a scientific laundry, for which he borrows a gentleman's
hat and a lady's handkerchief--the first for the washtub, the last for the wash.
Dropping the cambric inside the improvised tub he lifts the kettle from the ice,
and lowering the spout well within the hat, tilts up the kettle, and as volumes of
steam ascend from the hat we shudder for the safety of the borrowed articles
when the fiery liquid shall have done its work. Here the kettle is placed on the
table while the operator condoles with the owners of his tub and its contents.
Our misgivings were of course unwarranted; the handkerchief is shaken out, but
although it still steams slightly it is nevertheless dry, and, we are assured, much
improved in the wash. Buth whether there is a difference in the cleanliness of it is
open to question. The hat, it would seem, must be nearly full of liquid from the
kettle; and here we are tricked again--it is as dry as the proverbial herring,--and
both articles are restored to their respective owners.
"It is needless for an owner of a magic kettle to have empty pockets." This
remark the operator illustrates by inserting the kettle spout in his various pockets
and tipping up the still boiling vessel, seemingly filling his clothes with its very
elusive contents.
"If your watch won't go, oil it," is another of his facetious phrases, as he takes out
his apparently gold chronometer and liberally soaks it. Then we are assured that
the match-making industry is doomed. "Instead of vestas, carry a kettle on your
watch-chain; it's so much more reliable in windy weather." The application of
this remark is plain when, taking a cigar from his case, the demonstrator doses it
with the kettle, this causing a flame to spring up at the proper point. There is no
question of the smoke being other than ordinary, for the lecturer calmly smokes
away at it just as though it were the most natural thing in the world to use steam
instead of matches.
Here the operator observes his kettle has become much "lighter," but whether this
has reference to the cigar, or is meant to convey that the contents are exhausted,
we are left to decide for ourselves while the entertainer retires behind the screen
ostensibly to refill the article in question. When it is almost immediately brought
forward again, we notice the kettle is now steaming but lightly, it being explained
that to boil with its erstwhile fury it would have to be replaced on the block of
ice. Other experiments, however, are started, and for the time being the kettle
cannot be spared.
A rubber ball is bounced to assure its genuineness, then dropped in one of the
metal beakers we previously noticed. Some liquid from the kettle is poured over
the ball, and, as with the hat and handkerchief experiment, clouds of steam rise
from the goblet. The operator begins to shake the beaker from side to side, at first
with no perceptible difference, but gradually the soft rubber ball hardens and
knocks against the side of the goblet with crisp, sharp rings.
"The ball is now as hard as steel, yet brittle as a piece of glass," says the
exhibitor, picking out the same but now glistening ball. "Observe when I throw it
on the floor it will break in hundreds of pieces." So saying, the ball is thrown
down, when it splits with a report like a pistol shot, and pieces of it fly in all
directions.
A bunch of grapes is next experimented with. Some are thrown to the audience,
others (about a dozen) dropped into a second goblet. The operation of pouring
liquid over the fruit is attended with similar results to the previous
experiment--the grapes harden and knock against the sides of the vessel which
contains them. They are now emptied out on to a metal tray, our ears telling us
the fruit is as hard as bullets. When some are thrown on the floor they split;
others are thrown to the spectators, who find the grapes transformed into
veritable hailstones.
Chrysanthemums are treated in similar fashion. So soon as the flowers are dipped
in a beaker containing more of the wonderful liquid the petals become hard and
brittle, and when squeezed by the operator's fingers break in crisp pieces.
Specimen chrysantemums in the petrified condition are presented to a few of the
ladies present as souvenirs, with the remark: "Perhaps they will be appreciated
the more if you retain the flowers in your warm fingers for ten minutes or so;
they will then return to their normal condition."
The most curious and convincing property of the liquid is doubtless shown in its
power to solidify mercury. The operator pours a phial of quicksilver in a
cardboard box, places this in a metal dish, pours some of the liquid over it, and
when the cardboard wrapping is torn away, the operator holds a mercurial
hammer with which he drives nails through wood.
We are next invited to pass judgement on the entertainer's ability as a chef. He
will fry us an omelette, substituting for the fire the block of ice, which it must be
admitted appears in this instance to server the same purpose. An egg is broken
into a frying-pan, some of the indispensable liquid is added, when at once the egg
begins to fry, frizzling away for all world as though it were over the fiercest fire.
"Some people like their eggs under-done, some well done," the chef observes;
"I'm very much afraid this one is over-done." And so it is; so much so, in fact that
nothing less than a hammer and chisel will induce the egg to leave the pan. When
they do part company the egg is quite as hard as a piece of ice.
This brings us to another and more interesting feat of cookery--the making of
ice-cream. Eggs, sugar, and cream are beaten together in a basin, then poured in
the pan of a chafing dish, with some liquid from the kettle in the bottom part of
the dish. One might expect the block of ice to be employed somewhere during
this experiment, but it is not to be. By all that's contrary, the chef places the
chafing dish on the stand whereon we first saw the kettle at the beginning of the
act, and the spirit stove burns briskly underneath! Evidently he is going to grill
his ice-cream! Such, in fact, is the operator's intention. In a very little time the
ice-cream is pronounced ready; portions are spooned from the dish on to biscuit
wafers, and passed round for us to sample. Any hesitation we may have felt is
dispelled when the lecturer tastes his own cooking, assuring us it is quite nice.
"Done to a turn," he adds; and while we proceed to verify his assertion, the kettle
is again taken behind the screen for some more liquid.
The operator announces that he will now allow the kettle to boil again. It is
placed on the ice and repeats its former defiance of nature by speedily starting to
steam. So soon as the boiling is at its height, the demonstrator, in bringing his
lecture to a close, remarks: "I trust you have been interested with this series of
experiments, and I propose to bring my entertainment to a close by setting fire to
this large block of ice." The steam from the kettle is now directed straight on to
the ice, and (wonder of wonders!) it takes fire right from the centre. The flames
leap round the ice and rise to a height of two or three feet above it, and upon this
somewhat extraordinary spectacle the curtain comes down--the act is over.
The foregoing is a straightforward, unexaggerated description of the dish we are
serving to you--the following, an equally honest explanation of the mystery.
snow, as we shall hereafter call it, to half fill the bag is required, this taking about
one minute in the accumulation.
Having obtained the snow, it should be turned out on a tin dish to be made up
into closely-packed cakes of about an inch in thickness and an inch and a half in
diameter. A most convenient appliance for making these cakes is a wooden tube
and rammer. A wooden gill measure with the bottom sawn off gives us an
admirable tube or mould, and this has the added advantage of a handle, which
users will appreciate owing to the intense coldness of the snow. For the rammer,
a round stick nine inches long and easily fitting the mould is all that is required.
To make a "snow cake," place the mould firmly on a metal tray, spoon some
snow into the tube, and ram it down tight. Add more snow and continue ramming
until the cake is of the required thickness, then raise the mould and push out the
cake with the rammer.
Each cake of the size mentioned is ample for one experiment. Place a snowcake
in a metal goblet, drop in a rubber ball, pour a little ether over it, and in a very
few seconds the ball will be frozen so hard that if dropped on the floor it will
smash like glass.
To explain the cause of this result briefly, it must be understood that so soon as
ether or spirit comes into contact with the cake of carbonic acid the cake
evaporates very rapidly, resulting in a lowering of the temperature to something
like 150 degrees below freezing point. In this condition the combination gives off
a steamlike vapour, and has every visible resemblance to water at boiling point.
Three kettles in all are required during the act--two for lime, one for ether. The
lime kettles are not prepared in any way, and the arrangement we advise for the
ether kettle is simplicity itself. Obviously the three kettles must be of one pattern,
the one used for ether only differing from its fellows by reason of a tea-strainer
kind of cup inside the kettle in front of the spout hole. This perforated cup is open
at the top, and of a size to hold four snowcakes, which are dropped into this
holder through the lid space. This arrangement is merely to keep the snow clear
of the ether in the well of the kettle until the spirit is poured from the spout.
When this is done the ether has naturally to pass through the cup, and, in passing,
it sets the snow into evaporation, the result being a steamlike vapour issuing from
the spout of the kettle, giving it an appearance of water boiling slightly.
A Word of Caution
THE snow obtained from the cylinder is frightfully cold, and although it may be
handled lightly, if retained for more than a second or two in the fingers, the
holder exposes himself to the certain risk of painful frost bite. The snow must
never, under any consideration, be corked or fastened up, as the constant
evaporation which is taking place generates a gas which would burst any vessel
from which there was no outlet. Therefore, when making the cakes, place them in
a glass tumbler, and either cover it with a handkerchief or not, at will. If these
instructions are remembered, there is no other danger except it be that of the
snow vanishing, and this will assuredly happen if the cakes are made very long
before they are required for use. When exposed to the air the snow evaporates
away gradually. If left for more than an hour there would probably be no trace of
its existence remaining. It is therefore advisable to make all your other
preparations prior to running off the carbonic, leaving this until, say, fifteen
minutes before the show. If used within thirty or forty minutes of their moulding
the cakes should answer for all that is required of them. The syphon carbonic gas
cylinders, costing 7s. 6d., are supposed to contain 28 lbs. of CO2; generally there
are about 30 lbs. in them. For a full act it will be necessary to run off from 3 lbs.
to4 lbs. of gas, so that one cylinder should supply enough snow for seven to eight
shows. The quantity of CO2 in hand may be ascertained by weighing the
cylinder, each one of which has is tare and gross weight impressed on the case.
Preparation
IN ARRANGING the requirements for the Kettle Act, the reader cannot do
better than prepare each of the following items, in the rotation in which they are
given. First see to your block of ice. This should be square, and a well should be
chipped from the top as near to the back as possible. This well is to contain ether
which is required for the blaze at the finish of the performance. One ounce of
ether is plenty for this effect, but it must not be emptied in the ice-well until just
before the rise of the curtain.
A pint of water should be put to boil on a stove, to be ready for use when
required a little later on. Now see to the lime-kettles by dropping four pieces of
lime in each. The cigars require attention next, and it is advisable to prepare two
or three, using for preference the thickest obtainable. With a heated iron burn out
an inch-deep hole in the large end of each smoke, and insert firmly in the cavity a
pea-sized portion of metal potassium. Thus prepared, the cigars should be placed
in a tumbler in readiness on one of the stage tables. During this operation it is
imperative that one's hand are quite dry; if they are at all damp when handling
metal potassium it is liable to take fire. Before placing aside the potassium put
two small pieces of the metal in a thin box-lid, together with a little of the naphta
in which metal potassium is packed for safety. These pieces are required for
lighting the ether in the ice-well, and are placed behind the block of ice.
A glass jug must now be filled with "cream," which in reality is unfrozen
ice-cream mixture, which is made as follows: One pint of milk thickened with
cornflour, to which is added vanilla fravouring and castor sugar to taste, well
boiled and allowed to cool. Such is the contents of the jug. And also required for
the ice-cram making experiment are one egg, basin of white sugar, a dozen ice
wafers, empty basin, egg whisk, two spoons, and a chafing dish.
The remaining properties to be arranged to their own advantage and the
operator's convenience, are a bunch of grapes, rubber ball, another egg,
chrysantemums, tube of mercury, cardboard box, a small piece of stick, and a
hammer and chisel.
About three-quarters of a pound of ether should now be poured in the well of the
ether kettle. This quantity, be it noted, is more than is used in one demonstration,
but it is advisable to have too much rather than too little; the ether remaining over
from one show may be re-bottled and used again.
Having concluded the arrangements already set forth, the next item is to run off
the CO2 and make your snowcakes. Nine cakes are required, their distribution
being one each in three beakers, two in a metal dish for the mercury freezing, one
in the frying-pan for poaching the egg, and four in the cup of the ether kettle. All
the loose snow remaining after making the cakes must be tightly packed in the
base of the chafing dish, and the pan placed over the snow, to prevent as far as
possible its evaporation.
A screen should be placed in front of a table at the back of the stage, and on the
table the operator must arrange his three kettles and pint jug full of hot water. All
is now in readiness for the stage to be set and the experiments presented.
and the pan can be placed on a tray with a number of spoons, and passed round
for any who wish to help themselves. Here the ether kettle is changed for the
second lime kettle, in which the remaining water is poured. Placing it on the ice
while making his concluding remarks, the operator waits for a few seconds until
steam is well up, and then directs the spout round the sides of the ice, and
secretly picks up the pieces of potassium from behind. In changing from one side
of the ice to the other the potassium is let fall into the well of ether. At once the
whole block of ice appears to catch fire, and will burn for quite two minutes, in
which time the curtain has fallen and, we hope, been raised again for the operator
to take a call.
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the conjurer back-palms it (for preference with the first and third fingers),
holding the little one open. When secure in this position the hand is abstracted
from the pocket slowly, and, pointing with the open hand at the envelope on the
stand, say: "Perhaps you are curious as to why this envelope has been here during
my entertainment. I shall now show you." Walking carelessly to the envelope, it
is taken with the finger and thumb; this action of its own accord bringing the
back-palmed smaller envelope directly behind the larger one. In this position
both can be passed from hand to hand without exposing the envelope behind.
The larger envelope is torn open by the conjuror, and then the second one is
drawn up from the back as though it were taken from the interior of the first.
Both envelopes are now offered for inspection, the visiting card, which it would
seem correctly predicts the person's thoughts, being finally discovered.
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presence. In making this the open corner must be at the top left-hand side, which
corner is gripped between the thumb and finger of the right hand and rolled from
this position in order to bring the opening right into the cone.
It now remains to crush the supposed candle between the hands, to show the hat
empty, produce the handkerchief by withdrawing it from the cone, and, as a
finale, to bring the lighted candle from the pocket.
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FOR this exceptionally clever problem two cardboard cylinders claim our first
attention. The largest cylinder is 9-1/2 inches long by 4-1/2 inches in diameter.
The second tube is a trifle smaller, made to fit easily in the first cylinder, and
provided at the top with a projecting hook of stiff black wire. This hook answers
two purposes: it prevents the smaller cylinder from falling through the larger one,
and, by engaging in a concealed wire bar fastened on the back of the birdcage,
enables the conjurer to pull the outer tube free and leave the inner one behind , as
occasion demands. The smaller tube has a bottom to it. Two tin covers or lids
must be procured to fit either end of the largest cylinder. The birdcage used
should be about 14 inches high, with wire top, front, and sides, and wood back.
Inside the cage you have a live dove and a dummy head in the bottom. The
smaller cylinder must be suspended by means of its hook on the back of the cage
out of sight, the other tube, lids, and a glass tumbler being placed on the table.
Now you are ready to present the trick.
Pass the cylinder and covers for inspection, and ask a spectator to place a lid on
one end of the tube. Now take this cylinder, and pick up the cage to let the door
be seen, and load No.2 tube from the back of the cage into the first cylinder,
placing this straight away on the table. The cage is now opened, and the dove
brought out in the right hand, which has also secretly palmed the dummy head.
The dove is transfered to the left hand, and the conjurer appears to wring its head
off. What really happens is this: The head is simply tucked under the bird's left
wing and retained there by pressure of the fingers of the left hand, while the
dummy head is exhibited in the right and then thrown on the table. The bird is
now taken back in the right hand without the head being released, and, picking up
the cylinder in the left, the bird is thrust head down into the tube. Now, as if to
make more room, the cage is lifted from the table and placed on a chair. This is
the most subtle move in the trick. The cage passes with an upward movement in
front of the cylinder, and the inner tube is hooked on to the bar at the back, and
left there. The second lid is now placed on the cylinder, and this stood on an
inverted tumbler. Anyone may now step up and open the cylinder, when, of
course, they find the "bird has flown!"
To conclude the trick a duplicate dove should be produced from the coat of a
gentleman who stepped up to examine the cylinder. Doubtless some of our
readers may prefer to dispense with the head wringing. This, of course, will not
interfere with the effect.
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obtained are placed over the parcel containing egg until they join again exactly. A
stout sewing needle and strong white cotton joins them, or very small pins may
be used. If this work is done well it should be impossible to detect the joining at
close quarters. It must now be wrapped up, tied, and sealed. Finally, the
cokernut--a fairly large one--should be selected, and broken with great care by
light hammering whilst being revolved in the left hand; constant tapping all
round the centre ensures a clean break. Remove the fruit from the two halves,
apply seccotine to the edges of the shells, place in the prepared parcel, then join
neatly, pressing tightly the while until it is firmly fixed. Should the join be too
palpable a small amount of light earth or dust may be rubbed on to the exuding
cement until the shell appears perfect; then it is ready for its wrapping of brown
paper, and finally inthe cover of some favourite periodical. Mr. Sterling
invariably used Pearson's Weekly, and wove several jokes around it which,
however, can be applied to almost any popular journal.
To the back of the trousers sew an ordinary tie-clip to hold the nosegay of
flowers until wanted; also, a small pocket slightly below the thigh of the right
leg, to hold the vanished ring.
A neat hammer, penknife, piece of flash paper, and matches complete the list of
properties. The hammer, etc., and parcel may remain on your table throughtout
your programme if this is to form your grand finale, and in introducing it you
may explain to your audience that: "Undoubtedly you have been wondering what
the strange-looking parcel on my table has to do with the magical effects I have
worked before you. The fact is simply this, it forms my constant travelling
companion--in fact, my portmanteau, for it contains the world in a nutshell. The
wizards of India never perform without it, and claim for it the marvellous
property of collecting anything that may become mislaid or lost during an
entertainment. If anyone present should lose their senses, or even more valuable
property, all we have to do is to investigate the contents of the mystic parcel, to
find the missing article reposing carefully packed within its centre. I will
endeavour to give you an illustration of my argument. Kindly name anything you
have recently missed, and I will assist in its recovery. What, your mother-in-law,
sir? Certainly. All I have to do--beg pardon, thought better of it. Ah, well.
Anything else? No! Then allow me to borrow some trifling article, that you may
witness the full process. Will any lady trust me for a few moments with a
diamond ring; one distinctive enough to preclude the possibility of my
duplicating it? You will observe that the parcel is securely sealed and tied, and
perfectly free from springs or trap-doors. Perhaps you will note that it is wrapped
in the cover of Pearson's popular weekly, but Tit-bits Anwers quite well. So
many valuable articles are always to be found within those covers--they contain
the world in a nutshell."
A volunteer is invited to hold the parcel within full view of the audience and as
far away as possible from yourself. The borrowed ring is "for greater security"
wrapped in a piece of flash paper (faked fold) and an athletic young gentleman is
asked to blow upon the paper--usually the most consumptive-looking young man
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AFTER other sleights the performer offers to repeat a pass slowly, for the
benefit of those who have not been able to follow his movements. The ball is
taken in right hand, the left being about two feet away quite clear from the body.
Now the ball floats from right hand to left and back again, and is then at once
given for examination. To add to the effect the conjurer can bring his hands
nearer together or farther apart at any time during the trick.
The motive power is derived from a lead weight, two inches by one in size,
provided with a grooved pulley wheel and guard, and our very old friend--black
silk thread.
Two dressmakers' eyes must first be sewn inside performer's trouser leg at the
top, about one inch apart, and over the right trouser leg. The thread is now passed
by a needle through the waistcoat from the inside, level with the top edge of
right-hand pocket, and then again through waistcoat, this time from the outside,
about one inch below the previous position. The needle is now taken off thread
and teh ends tied together. The double thread is now passed through the eye
nearest trouser fly, and put over the pulley wheel on weight, which is dropped
down trouser leg.
The thread is next passed through the second eye, and then secured by looping
over one of the trouser buttons. In working the trick, while calling attention to the
ball (which should be of light wood or ivorine), the first finger of right hand is
slipped through the loop of thread from waistcoat and drawn out a few inches.
When the left hand places the ball in right, the first finger of left hand goes
between the threads, so that when hands are drawn apart a double thread, always
taut, is provided, and along this set of lines the billiard ball runs from hand to
hand, according to which is elevated.
Immediately the trick is over, and the thread is slipped from the fingers, the
concealed weight draws it back to the waistcoat, and leaves the performer free to
show both his hands and the ball.
The same apparatus can be used for the floating wand.
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By using an indiarubber ball, coloured to match the solid one, a finer thread may
be used, enabling the performer to perform it at quite close quarters.
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to the stage. While the cards are being marked the conjurer changes the pack for
the short or narrow ones, among which the three selected cards are collected. By
a casual shuffle the conjurer brings these cards to the top, palms two off, and
places the remainder (with the third chosen card uppermost) in the assistant's
pocket. While doing this the assistant is asked to jump off the chair and pretend
someone has run a pin in him directly the conjurer says, "One of the cards----" He
is now seated in the chair and, while making him confortable, the performer
pushes one of the palmed cards under the assistant's coat collar at the back, this
now leaving one still palmed.
Here the conjurer comes from the stage, and says: "Ladies and gentlemen, one of
the cards----," here he looks at assistant if he has not taken his cue, and repeats:
"One of the cards was----," and he should now be interrupted by the assistant's
by-play. During the laughter which is incident always evokes, there is generally
plenty of opportunity for dropping the palmed card in a gentleman's pocket, his
hat, under a chair, or on a lady's hat. If no opportunity offers itself, lay your hand
deliberately over some gentleman's pocket, push the card home, and speaking
from the opposite side to withdraw his attention, say: "You won't mind me
squeezing through--I want to get on the other side."
It will now be apparent as to how the first two cards are discovered; the third
method is probably known already. Given only three fingers wherewith to extract
a card from his pocket, the assistant cannot fail to take the top one, which is of
course what is desired, and this brings the trick, and also this modest manual to a
FINIS
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