secretly slipped off before or after this lacing through movement. The remaining two loose silks are taken between the thumb and first finger of the left hand. All the foregoing moves must be done quickly, because as far as the audience is concerned, you have merely picked up a bunch of silk handkerchiefs by their corners. If used as an opening trick, of course, the preparation is done off stage, and the performer walks on with the handkerchiefs in his hand. 2. THE FALSE COUNT. It is most important that this be rehearsed well, for upon its con- vincing performance depends the whole illusion. The right hand removes, be- tween first finger and thumb, the loose red handkerchief. (The hands must be moved well apart at each count, to demonstrate beyond doubt that the silks are separate.) The performer counts FIGURE 3. “One™. The loose yellow silk is now taken similarly to the count of “ Two". In appearing to count off the third separate silk, the important move is made as follows:— The right hand approaches the left, and the loose red and yellow silks are deposited between the left thumb and first finger. Simultaneously the right first and second fingers grip the ends of the knotted set of silks, and bring them away to the count of “Three”. When correctly performed, this will look to the spectators as though you have merely counted the third silk into the right hand. The actual position is that the right hand now contains the set of three knotted handkerchiefs, whilst the loose ones are in the left. No pause must be made in the counting; care must be taken that the false move is performed at exactly the same speed as the genuine ones. Now the loose red and yellow silks are taken, one at a time to the count of * Four” and “ Five", leaving only the loose green one in the left hand. The left hand is stretched out to display the green silk, the corner of which is allowed to untwist itself from the second finger. Finally the green handkerchief is placed in the right hand for “ Six". The last three (separate) silks are placed between the thumb and first finger of the right hand. 3. The hands separate the two sets, taking the loose silks into the left hand, and laying them over the right arm whilst the knotted set is placed aside Page 31on a convenient chair. Care must be taken in so doing that the knots do not prematurely reveal themselves. 4. The loose red and green silks are taken and knotted together by their corners, using the reef knot illustrated in Figure 3-3, but the knot is left fairly loose. The performer now pulls on the two silks as though tightening the knot. What really happens is this. The fingers of each hand take hold of the red (say) on either side of the knot, and pull sharply. Actually this serves to convert the reef knot into a slip knot, so that when desired the knot (which now is only in the green) may be easily slid off the corner of the red handkerchief. Slide the green knot a little towards the end of the red silk so that an even amount of both colours will show at the knot. 5. The yellow silk is now tied to the diagonally opposite corner of the red silk; and it is the red which is again pulled to upset the knot. You will now find that the yellow and green silks may be easily slid off the red. 6. Display the three knotted silks as in Figure 3-5, and then bring the hands together and take both knots in the right hand (Figure 3-6). The next move must look to the spectators as though you simply fold the silks into a bundle and lay them aside; what you actually do is this. The left hand grasps the silks a few inches below the knots, and the right hand lowers the knots until they are out of sight behind the left, then the red silk is quickly withdrawn from the slip knots. In one continuous movement, the silks are folded over, knots (?) inside, and laid on a chair. 7. All that remains is to say the magic word, to cause the knots to travel from the second set of handkerchiefs to the first. When demonstrating that they have safely arrived, set number one must be taken up with a flourish by one of the corners, D in Figure 3-1. The silks of set number two are picked up slowly and delicately by their corners and shown to be single and separate. NOTES: 1. This routine has been explained in the above form because it is shorn of all complications and yet embodies the basic principles of almost all “* Sympathetic Silk” routines. Once these moves have been mastered, then the reader will have no difficulty in lengthening the routine, but he should be wary of over elaboration and repetition. 2. Study Ken Brooke's ** KNOT-OUT " for the secret unknotting of the silks, and use his moves in the routine. Here you have a fine example of improvement brought about through the knowledge and experience of a talented performer.CHAPTER SEVEN — KEN BROOKE’S PRESENTATION OF THE VANISHING CARD CASE AND CARDS. This delightful sequence of moves provides an ideal introduction to a series of card effects or even a single card trick. EFFECT: From his pocket, the performer removes a card case, opens it and tips out the pack. The cards are fanned out and used to fan the left hand which, of course, must still hold the case. The left hand is opened when it is seen that the case has vanished. Calling attention to his right trouser pocket the performer transfers the cards to his left hand, then reaches into his pocket and produces the card-case which he uses to fan the cards in his left hand. On opening the left hand the cards have vanished but make their re-appearance again when the performer tips them from the case. REQUIREMENTS AND PRESENTATION: You will require two identical packs and their cases (the type with a flap at one end). One of the card cases is prepared in the following manner:— After removing the pack, cut off the part of the box which holds the cards except for the complete side to which the flap is attached, that is, you will be left with the complete flat side of the box which usually has a sample card stuck on (back design showing), including the flap. Place this on a table (back design downwards)—and on top of it put the pack of cards (back design downwards). Now slip an elastic band around the short width of the pack and fake to hold them together. The second case, with the pack inside (backs of cards towards the flap) is in the right hand trouser pocket. The face card of each pack should be the same. With the prepared pack on your table, or in a pocket, all is in readiness. PERFORMANCE : 1. Pick up the fake case and cards with the left hand; thumb at one long side and fingers curled around the face of the cards and onto the other long side. Remove the elastic band with the right hand and place it into a pocket. 2. Still holding the fake (and cards) in the left hand, with the flap of the case towards your body, reach over with the right hand, lift the flap open (Figure 1) and fold it back over the case. Look inside the supposed case. 3. Bring the right hand over again and grip the top short edge of the cards in the position for making the one handed fan. As this is done the cards Page 33and fake case are pushed a little lower into the left semi-closed fist AND AT THE SAME TIME the left hand turns over so that the back is towards the audience. Figure 2 shows the position at this point, the flap has been bent back and folds over the back of the fake case where it is held by the right fingers, so that you are now ready to make a one handed fan. 4. Shake the left hand slightly as if shaking the cards out of the case. Allow the cards to slide out of the left hand, low- ering the right hand a little to bring the cards away from the left hand, but keeping that hand closed sufficiently to appear as if it still held the case. As the cards clear the left hand, immediately fan them out. 5. Keep the left hand partly closed FIGURE | as if it holds the case and gently wave the fan of cards below the left hand (Figure 3.) 6. Turn the left hand over and open the fingers to show that the case has van- ished, 7. After a pause of just sufficient length to allow the vanish to register, close the fan into the left hand keeping the fake case to the rear and holding the closed pack with the left thumb at one long edge and the left fingers at the other long edge. 8. With the right hand, point down to the right trouser pocket and as you do this, turn half left. Show the right hand empty then reach into your right trouser pocket and remove the duplicate case (which contains a duplicate pack of cards) THE MOMENT YOU DO THIS, your let hand (holding the pack and fake case) drops down to your left jacket FIGURE 2. pocket and deposits them. By this time you have brought the case from your right trouser pocket and the left hand has resumed its former position—extended to the left of the body, back of hand towards audience and held slightly closed as if it contained the pack. 9. Toss the card case about two feet into the air with the right hand and catch it again. Bring the right hand up to the left hand and tap the back of the left wrist with the card case. Page 3410. Open the left hand to show that the cards have vanished. 1. Place the card case into the left hand; bring the right hand over and open the flap as before; look into the case then turn the left hand over and allow the pack to fall out into the right hand and fan them. with the single handed fan. 12. Discard the case then go into the card routine of your choice with the pack that you have tipped from the case. This_concludes the sequence of moves. From the text, the excellent effect cannot be properly appreciated, but please give it a fair trial then show it to your friends—I am sure that you will be delight- ed with the result. FIGURE 3. Page 35CHAPTER EIGHT — FREDERICA’S CLOSE-UP THIMBLE ROUTINE. The following routine is not difficult and it has the advantage of requiring no thimble holders, pulls, etc.; in fact it can be performed impromptu providing the reader is prepared to carry five thimbles in his pocket. _It is ideal for those occasions when the request is made to ‘‘show us a trick |" EFFECT : The magician shows both hands empty then produces a thimble on the forefinger of his right hand. The thimble is made to vanish and reappear in the most uncanny fashion then it multiplies to two, three and four. One thimble is removed by a spectator but immediately another appears to take its place. Now the five thimbles are placed one on each finger and one on the thumb of the performer's left hand. They are covered with a handkerchief which, when whipped away, reveals that the thimbles have vanished. The handkerchief may be borrowed. METHOD : Four of the thimbles are stacked, one upon the other and placed in the jacket pocket on the LEFT side. | The thimbles should be of a shape that will not jam or you may have difficulty in obtaining them cleanly during the manipulation, A fifth thimble is in the jacket pocket on the RIGHT side, together with a long pencil or pen. The handkerchief may be borrowed, or you may prefer to use your own which can be left for examination at the con- clusion of the routine. PART 1 — THE PRODUCTION : Obtain the thimble from the jacket pocket on the right side before the commencement of the routine, carrying it to the thumb-palm position of the right hand. To show the hands empty, hold them with the palms towards the body and open the fingers then turn the left hand over to show the palm. The left hand approaches the right and the little finger is inserted into the thimble which is in the right thumb-palm position. At the same time, the body makes a slight turn to the right and the fingers of the left hand close (the little finger stealing the thimble) with the exception of the forefinger which remains extended pointing to the right hand which is now turned to bring its palm towards the audience. By reversing the moves, the thimble is brought back to the right thumb- palm position then the right hand reaches out and by quickly bending the forefinger, inserting the tip into the thimble, then straightening the finger again, the thimble makes its appearance. At this point one or two of the standard Page 36vanishes and re-appearances can be performed but be sparing with these or you may over-indulge in repetition. However, you require misdirection in order to steal the four stacked thimbles from the left pocket so your last effect should be that of appearing to remove the thimble from the right forefinger by the lefthand. After a slight pause, open the left hand to show that the thimble has vanished, then with the excuse for turning the body to the left in order to reproduce the thimble back on the right forefinger from behind the right knee, place the left hand in the pocket and steal the stack by curling the fingers around it. All eyes will be on the right hand and in addition the body is covering the movements of the left hand. Turn the body to the front again and hold the left hand (curled into a fist) at about waist level with the knuckles pointing towards the audience. The opening of the first thimble of the stack should be almost level with the curled fore- finger and thumb. The right forefinger is waggled to draw attention to the thim- ble then it is brought towards the opening of the left fist. As it approaches, quickly bend back the right forefinger thumb- palm the thimble then straighten the fore- finger again as it enters the opening of the left fist and goes into the first thimble of the stack. Figure | shows a rear exposed view of the right forefinger about to leave the left fist with the first thimble from the stack on its tip. The thimble in the right thumb-palm position can be seen and also the remaining three thimbles stacked in the left fist. In the photograph, the left FIGURE 1. thumb has been moved aside and the left fingers opened slightly to permit a view of the inside of the fist. After the thimble has been shown on the right forefinger tip, the forefinger is brought to the opening of the left fist where it leaves the thimble protruding through the fist opening. The right little finger is now inserted into the thimble then drawn away (Figure 2), taking the thimble on its tip and carrying it in front of the body. Drop the left hand to the side of the body (it still contains three thimbles) and hold it there in a natural manner as the right hand is waved in front of the body. By bending back the right forefinger quickly and inserting the tip into the finger-palmed thimble then straightening the forefinger again, another thimble appears on the forefinger. FIGURE 2. Page 37The same moves are performed as before, the thimble on the right fore- finger apparently being placed into the closed left fist, but in reality being thumb-palmed. Then the second thimble of the stack is shown on the fore- finger which leaves it protruding from the left fist for the right third finger to be inserted. The sequence of moves are repeated until there is a thimble on each finger of the right hand and one in the thumb-palm position—the left hand is empty but REMAINS CLOSED INTO A FIST. Suggest to the spectators that perhaps they think that the left hand has something to do with the trick, then open the left hand slowly and show it to be empty. Ask a spectator to examine one of the thimbles and hold the right forefinger forward for him to remove the thimble. When he has examined it, ask him to replace it on the forefinger, but as the right hand moves towards him produce the thumb-palmed thimble on the tip of the forefinger—all fingers have thimbles on them. Watch the surprised look upon his face when he sees that another thimble has appeared. The four thimbles are now removed from the right fingers and placed LIGHTLY on the fingers of the left hand whilst the fifth thimble is taken from the spectator and placed FIRMLY on the left thumb. PART 2 — THE VANISH : Borrow a gentleman's handkerchief and spread one edge along the left arm retaining one corner in the right hand which is positioned over the top of the left hand. Figure 3 shows this position from the spectator's view. FIGURE 3. FIGURE 4. Make a half turn to the left and during the turn, bring the right hand in front of the left and pull the handkerchief over the left hand. Actually, as the thimbles are obscured from view, the right fingers close over the four on the fingers and pull them from the fingertips. This is a follow-through action, the right hand moving all the time as the handkerchief is drawn over the left hand. By gripping the corer of the handkerchief by the tips of the right Page 38thumb and forefinger only, the right fingers are free to take the thimbles but are obscured from view by the handkerchief itself which drapes down in front. Figure 4 is a rear view of the steal—notice how the handkerchief is lifted over the left hand. The follow-through action is continued which is now a down- ward movement of the right hand drawing the handkerchief with it until the whole left hand is covered. The right hand now releases its hold on the corner of the handkerchief and goes to the right jacket pocket, deposits the thimbles and takes out the pencil. Now comes some subtle misdirection. Study Figure 5—the handkerchief has been omit- ted for the purpose of the photograph only. The pencil taps each thimble—at least that's what appears to happen, but really it is the thimble on the thumb that is tap- ped each time to create the illusion of solidity on each fingertip. _ If the thumb is moved behind each finger as the taps are made, the back of the pencil will strike the thimble on the thumb. Of course, in performance, the handkerchief covers the left hand and the pencil taps over it. The pencil is replaced in the pocket then the right hand rearranges the handkerchief over the left hand, permitting the audience oe to obtain a glimpse of the thimble on the thumb as this is done (Figure 6). FIGURE 6. FIGURE 7. Lower the left hand to the horizontal position then grasp a hanging corner of the handkerchief with the right thumb and forefinger. Ask a specta- tor to grasp the corner of the handkerchief in the way you are doing. As you are demonstrating, the left thumb has worked the thimble loose and under cover of the handkerchief, the thimble is allowed to fall into the cupped right hand. In Figure 7 the handkerchief has been moved aside for the photograph Page 39to show how the thimble is worked off the thumb and is in a direct line with the cupped right hand. The right hand (containing the thimble) is removed as the spectator reaches forward to take his grip on the handkerchief, After suitable by-play— or a magic word—have the spectator whip the handkerchief away—the thimbles have vanished, There is ample time and opportunity to dispose of the thimble as the spectator pulls away the handkerchief. Page 40CHAPTER NINE — “ DIMINISHING AND EXPANDING CARDS ” The first person to teach me the finer points of card manipulation was CHARLES KETTLE, a very clever professional magician. He was about seventy years old when I took lessons from him but his hands could perform wonders. In the act with which he had toured theatres, circuses and even fairgrounds for many years, he performed his own version of the Diminishing Cards, which he told me was a combination of Robert Houdin's and Charles Bertram's methods. It was a Fan Diminish (Rober Houdin) but in addition, four cards of varying sizes were palmed in his hand (like Charles Bertram) and as the fan of cards diminished, so would he remove a card from the fan (really one of the smaller cards) for comparison with a full sized card. With this idea as a base, | evolved a routine wherein the smaller cards were placed in pockets stuck on the back of one of the fanned cards. This routine was published in my book “ Expert Manipulation of Playing Cards”. Since the publication of that book the routine has been simplified and the expanding effect added, so here is the new version. EFFECT : The performer fans a pack of cards and removes one for comparison later. After closing the fan and giving the cards a squeeze, he fans them once more when it is seen that the cards have diminished in size—a card from this smaller fan is also removed for comparison. In all, the cards diminish three times, a card being removed after each diminish. After the fourth card has been removed, the cards return to their normal size but that's not all—they now expand until they are Jumbo size ! PREPARATION : As the diminish is dependent upon the fan move, a pack that is suitable for that type of work is required. Zinci Stearas rubbed on the face and back of each card will make them fan easily. The expanding effect is brought about by the aid of the “stripper” principle, half the pack being stripped in one direction and the other half in the opposite direction. When cards from each half are placed alternately throughout the pack, it is possible to pull the two halves apart until they reach the position that they would be in if they had been “weaved"" together. It is now possible to make a Giant Fan. Page 41One last item of preparation for the expansion is to locate a Jumbo Card (face outwards) under the left side of the jacket near the opening of the lapels. This can be in a pocket or held in position with a clip. ‘Now let us go back to the diminishing effect. Two pockets are stuck on the back of one of the cards. These pockets are made from strips of card and their position can be seen in Figure 1. The three smaller cards are placed in the poc- kets in the following order:— (a): The smallest card is inserted horizontally into the top pocket. First Second diminish diminish card stands upright in (b) The second smallest card is now upright in pocket over inserted into the same pocket but standing the bottom [| smallest upright. pocket . —— (c) The card for the first diminish is inserted upright into the lower pocket. Hoylock. This “‘gimmicked” card is placed in the SECOND position from the top of the FIGURE 1. pack and everything is in readiness for the diminishing effect. PERFORMANCE : I. Pick up the pack and show both sides (the ordinary card on top hides the gimmicked card), then hold it in the left hand and make a fan with the faces of the cards towards the audience. This fan should be as large as possible, the left second finger-tip being at the extreme bottom right corner of the pack with the thumb at the back. The right hand goes behind the pack and removes the back (top) card for comparison — Figure 2. This now leaves the gimmicked card at the back of the fan. After a slight pause, place the single card under the left arm or into the breast pocket so that it can be obtained quickly and without fumbling later. 2, Close the fan and move the left second finger about half an inch up the right edge of the pack (the thumb moves up behind the pack to be opposite the second finger-tip). Make a fan from this position and remove the card from the lower pocket. Insert this card into the top of the fan then take the full sized card FIGURE 2. from under the arm and hold it alongside Page 42the fan — Figure 3. Replace the ordinary card under the arm, remove the card from the top of the fan and discard it. 3. Close the fan and again move the left second finger-tip up the edge of the pack for about a further three-quarters of an inch and remake the fan from this position. Remove the upright card from the top pocket and insert it into the top of the fan. Compare with the ordinary card as before (Figure 4) then replace this card under the arm and discard the smaller card. FIGURE 3. FIGURE 4. 4. Close the fan again and move the left second finger-tip up the edge of the cards to within an inch of the top (thumb behind as before). Make the fan in this position and immediately bring the right hand up at the back of the fan (thumb pointing downwards and fingers over the gimmicked card— Figure 5) and turn the fan completely over by turning the right hand—Figure . The gimmicked card is covered by the right fingers and only the backs of the tips of the fanned cards show—it appears as if you are showing that the backs of the cards have diminished. FIGURE 5. FIGURE 6. 5. Reverse the moves to bring the fan into the left hand with the faces of the cards towards the audience again but as the fan pivots over the upper Page 43edge of the left little finger, make sure that the little finger is across the card diagonally. The meaning of this will be clear if the reader will study Figure 7 — notice how the left little finger is across the corner of the face card so that only the index shows; in effect, the width of the card has been lost and the illusion of the diminish is perfect. Remove the last small card, insert it into the top of the fan and compare the ordinary card with it. Bring the ordinary card behind the tiny card and remove both together and discard. 6. Close the fan; make the action of pulling on the cards as if to stretch them again, then remake the fan but from the first position so that a full sized fan is exhibited. Remove the gimmicked card and hold it alongside the fan to compare the size once more (Figure 8), then discard it, being careful not to expose the back. FIGURE 8. You are now left with a pack of cards with which to perform the expanding effect or, if you wish, to go right into a card fanning routine. . The Expanding Cards. This effect can be used as a climax as it adds a touch of comedy and whilst | do not suggest that it is a great mystery, it does conclude the trick on the right note. Immediately the cards have been shown as having returned to their normal size, hold the pack by the long edges, the two thumbs at the inner edge and the second and third fingers of each hand at the outer short edge (face of cards towards stage). Move the hands apart when, due to the “stripper” principle, every alternate card will move until the position is reached which is the same as if the ‘‘weave" had been performed, namely, the cards are ready for a Giant Fan to be made. Take the extended pack into the left hand and make a Giant Fan (faces of cards towards audience) then holding the fan in front of the body (and close to it), reach behind with the right hand. Jt appears that you are reaching behind to extract a card as you did with the diminishing fans but actually the right hand goes under the jacket at the left lapel, seizes the Jumbo Card and brings it into view from behind the fan. Page 44Discard the Jumbo Card then return the pack to normal (by a waterfall shuffle if you wish). I do suggest that the expanding effect is done “with one’s tongue in one’s cheek” — it's not intended to deceive, just to close on a smile. Pace 45FIGURE 2. FIGURE 3. that the light reaches the front of the bag). Having made sure that I was satisfied he took a length of ribbon (ribbon is taken from the table) and proceeded to thread it right through the bag”. The performer now threads the rib- bon through the back of the bag, where the card is and then through the front. The ribbon is pulled through until about five or six feet is left at the rear. At this point, the performer's assistant steps onto the stage and takes the end of the ribbon behind the bag. The performer then passes the end of the ribbon in front to a member in the front row of the audience with a request that he holds on firmly. If the performer does not use an assistant the end behind the bag can be tied to the back of a chair. The patter and actions continue:— “The magician now did a thing that both you and | have seen hundreds of times. He picked up a pack of cards, shuffled it (the performer does so, keeping control of top card), showed all the cards to be different (performer does so), then came into the audience and asked somebody to select a card.” The performer comes down into the audience and forces the duplicate of the card in the pocket in the bag. ‘The method may be one of many, but it must be direct and the selector must be left with the card. FIGURE 4. FIGURE 5. “He now asked the holder to show the card to everyone but himself and Page 48so that this could be done, he turned away. (Performer turns away from holder of card). The card then had to be returned to the pack and the latter given a good shuffle. Perhaps you will do just that. (Pack is handed to holder of card.) Now sir, may I have the cards back like my friend did? (Performer takes back the pack and returns to the platform.) My friend said that he would now drop the cards into the bag. Before he had the chance, how- ever, asked to see that the bag was really empty. He didn't mind abit, (Per- former picks up lamp and places it behind the bag, which as before appears to be empty (Figure 3.) [then let him go ahead. (Performer cascades the pack into the bag, steadying the latter by holding it at the bottom Figure 4.) Nothing left in my hands, he said . . . and then he did just this . . he took told of the bag at the bottom, told the holders of the ribbon to hang on tightly, then asked the selector of the card to name it . . will you sir, name the card you selected . . the Ten of Diamonds... Thank you . . He pulled the bag down quickly and left, just as I have left, the chosen card a prisoner on the ribbon.” (Performer pulls down the bag scattering the cards and leaves the duplicate card on the ribbon. Figure 5.) Page 49CHAPTER 11— TONNY VAN DOMMELEN’S “FRONT PAGE CARDS” This novel effect was a feature of TONNY VAN DOMMELEN'S act which he performed at the International Congress of Magicians at Amsterdam (1955). It has all the ingredients of first class entertainment as, although basically a card trick, it can be seen and appreciated by the whole audience when performed in a large theatre. An entertaining feature is that the performer apparently makes three mistakes in finding selected cards yet saves his reputation by reveal ing the correct cards in an exceptionally novel manner. EFFECT : Three cards are freely chosen from the pack by different spectators. The cards are returned to the pack which, after being shuffled, is placed in the performer's pocket. Now the performer removes three cards which he states dramatically he has been able to locate by his extra sensitive touch. Unfortun- ately they prove to be the wrong cards. However, the performer agrees to attempt to rectify his mistake and to do so folds a newspaper into a packet. After making one tear in the paper, he unfolds it and shows that he has indeed revealed the first card as its pattern is seen to be torn out in the paper. Refolding the paper, another tear is made which, when the paper is unfolded. proves to have revealed the second card. The folding and tearing is repeated fora third time, when the pattern of the last card is shown cut out in the paper. REQUIREMENTS : (a) If you are able to force three cards convincingly then use the method that suits you best. The surest and simplest way for stage work is to use a three-way forcing pack, the force cards being the Eight of Hearts, Eight of Spades and Four of Diamonds. With three indifferent cards on top of the pack and one on the bottom, you are alll set to emulate the feats of a master of sleight of hand with cards ! (b) _In addition to the forcing pack, you will need one full sheet of a newspaper ive. four numbered pages. PERFORMANCE : 1. Three members of the audience each select a card from the pack— unbeknown to them, the cards are forced, one receiving the Eight of Hearts, the second the Eight of Spades and the third the Four of Diamonds. 2. The cards are replaced in the pack. IF you have no difficulty with a false shuffle then this can be done but leave the three indifferent cards on top of the pack. Place the pack in the jacket pocket then state that, because you have extra sensitive fingertips, you can locate the very cards chosen. Page 503. Remove one of the indifferent cards, call its name and look expectant- ly towards one of the spectators who chose a cart ‘hen he denies that it is his, look towards another of the spectators—again it is denied so look appealing- ly towards the third spectator. As he disclaims it, admit that you have made a mistake, but as you have two more chances, the trick can still come out two- thirds right. Remove a second indifferent card from the pocket and repeat the same procedure—again it is the wrong card. _In desperation, remove the last card then after the three spectators have denied that it was not one of those chosen, admit that your fingertips could not be as sensitive as you thought but that you will endeavour to rectify your mistakes in another way. 4. Pick up the sheet of newspaper and hold it, opened ClornieralVi Gulia front of your bedy (Fig. 28) Performers View ure 1, No. 1). Now fold the right side inwards (towards the body) and bring it over to the left side so that the sheet is folded in the middle along its | LH. length (Figure 1, No. 2). Again fold the right side inwards and to the left until it is once more os along its length (Figure . No, 3). Fold the long strip 4 ee from the rear, bottom to top (Figure I, No. 4). Re- peat this fold (Figure 1, No. 5). You will now have the paper folded into a square packet as shown in the illustration: the to top AS kearing” open edges being along the top @ Phen Refeld es! and down the left hand side. 27 Fold as fgh an 5. On the right-hand side * feos bear 9 out of the packet, tear out a portion you of the paper in the shape of 8 of HEARTS fe Bf SPADES half a heart (Figure 2) then re- quest the first spectator to name 3 his card. When he calls: [find (al “Eight of Hearts", open out 4 oo the paper to its full size when it gives you will be seen that there are eight 4 of DIAMONDS hearts cut out in a pattern from the paper. 6. Refold the paper exactly as before (Figure 1, Nos. | to 5). At the bottom of the first tear, make another L” shaped tear. The complete tear will now represent half a spade (Figure 2) and when the second spectator is requested to name his card and calls: “Eight of Spades”, by opening the paper you show the pattern now depicts eight Spades. 7. Again refold the paper and this time tear off the large bottom right- hand corner (shown by the dotted line in Figure 2) so that the original pattern is completely torn away. Ack the third spectator to name his card, which will be the Four of Diamonds. Open out the paper and show the four large holes in the paper in the shape of diamonds. Page 31You have brought your trick to a very effective and successful conclusion. NOTES : 1, The patterns in the paper can be made very accurately and neatly if instead of tearing, the paper is cut with scissors. 2. An effective climax can be obtained if instead of simply cutting or tearing the corner away in order to produce the pattern for the Four of Diamonds, the performer places the folded paper on stage and stands with one foot across the corner (Figure 3) and by pulling the packet upwards sharply, the corner is torn away automatically. Maybe the reader would prefer to have the spectator stand on the corner. Whatever the procedure adopted, the climax is excellent.CHAPTER TWELVE — MARCONICK’S “ GYPSY THREAD ” When Harry Stanley returned frum GRONINGEN in Holland, where he had been attending the DUTCH NATIONAL CONGRESS, he was full of praise for a young Dutch magician by the name of MARCONICK. In the REVIEW Column of the “GEN (Volume 10, Number 5) Harry wrot “T must mention a really brilliant young man ... MARCONICK . . . his act contained so many refreshingly new things that I honestly don't know where to start to try to describe them. I booked him to appear in my show on September 26th and you will see then the reason for my enthusiasm”. MARCONICK came over as promised and his excellent performance at the Victoria Hall confirmed all that had been written about him. In addition to being a fine stage performer, MARCONICK has a wonderful close-up act in which he features THE GYPSY THREAD. He has his own method for this fine trick and has kindly given me permission to publish it. We are also indebted to ALI BONGO who made sketches as MARCONICK carefully explained every move. These rough sketches were later redrawn by Allin his usual artistic manner and readers will agree that they make the neces- sary preparation very clear indeed. The plot of the trick is simple—the magician breaks off a length of thread from a spool After displaying the thread at his fingertips he proceeds to break it into tiny pieces which he rolls into a small ball. A magic word is uttered; the ball is unravelled and the thread is its original state—one complete length. What makes this routine so very mystifying is the fact that everything is done at the fingertips; there seems to be no opportunity for trickery. Every move is clean, deliberate and natural. How can there be trickery involved when the performer demonstrates his magic only inches from the eyes of his audience? They can see every move he makes; see every part of his hands and fingers, yet a seeming miracle takes place. In the MARCONICK routine things have been simplified for the performer by an extremely subtle idea in the preparation which enables the secret bundle of thread (a complete length) to be obtained between the fingers in the action of picking up the spool. The secret work is over before the routine actually starts! REQUIREMENTS AND PREPARATION. If the reader will procure the CORRECT type of cotton and will study care- fully the way in which it should be prepared, then he will have little difficulty in mastering the routine. Ali Bongo’s illustrations will be found to be an enormous help in understanding the preparation as they show most clearly exactly what is required. Page 53Shops that provide tailor’s requirements stock BLACK or WHITE TACK- ING COTTON whi cl is sold on cardboard spools or bobbins. This cotton is cheap; an inferior material to that used for sewing but it has a characteristic that we require, namely it can be snapped easily. LENGTH “B" as LENGTH 'A WIND LOOSELY AROUND FIRST 7 TWO FINGERS IA FIGURE OF EIGHT ILLUSTRATION 1. be slipped off the fingers easily. ped off the fingers is shown in Figure 3 Various sized bobbins are stocked—we require one some- what larger than the more usual reel of cotton—the ideal size can be determined by com- parison between the bobbin and the hand in the photographs. To Prepare:— 1, Unwind about a yard of cotton from the bobbin. We will call this length A. Grip the cotton between the right thumb and forefinger at the point nearest to the bobbin then unwind about another yard. This second length we will call length B. Figure | shows the two equal lengths with ‘x’ the spot where the cotton is held. 2. Place the bobbin in a position where it cannot unroll —on a table or have it held— then grip point "x between the left first and second fingers, holding it firm with the thumb. Holding length B in the right hand, wind it loosely in a figure of 8 around the left first and second fingers. If the left first and second fingers are held slightly apart and the thread wound around them loosely in a figure of 8 as show in Figure 2, until all of length B is used up then the wound thread can The shape of length B after it has been slip- 3. Now bend the top of the 8 over the bottom (Figure 4) when you will have a small circle of coiled thread (Figure 5). Squeeze the circle sideways to make it a small flat skein (Figure 6) then pleat the skein zig-zag into three as shown in Figure 7. length A around it (Figure 8). Take the bundle in the left hand and wind five turns of 4. The little bundle is now placed against the side of the cotton on the bobbin and the remainder of length A is wound back on to the bobbin. Page 54 Thebundle should be near one end of the bobbin and length A wound towards the other end; Figure 9 shows this arrangement. Before the performance commences, the bobbin can be on a table or in the left-hand side pocket of the performer's jacket. PERFORMANCE, If the reader has prepared the thread as described and will go through the following moves with the bobbin in his hands, he will have little difficulty in mastering the routine. 1. Pick up the bobbin in the left hand. The left thumb is on one side of the bobbin and the first and second fingers on the other side. Figure 10 shows this hold and reveals clearly how the bundle comes between the sides of the first and second fingers. With the fingers held close together the bundle is squashed between them and is hidden from view (Figure 11 hase FIGURE 10. FIGURE [1. In Figures 10 and 11, white cotton on a bobbin of black cotton has been photographed so that it shows up clearly. In performance, of course, the cotton would be all the same colour. 2. Take the end of the thread between the right thumb and forefinger and pull to the right causing the thread to unravel from the bobbin. The pull must be a gentle one, then when the bundle is reached, it will not be pulled from between the left first and second fingers. Release the grip on the thumb by the right thumb and forefinger. 3. Holding the bundle and length of thread in the left hand, take the bobbin into the right hand, letting an extra three inches (past the bundle) unravel. Break the thread at this point and place the bobbin aside. Figure 12 shows a good method of snapping the thread close to the bobbin without danger of pulling the bundle away from between the left first and second fingers. Holding the bobbin between the right thumb and Page 55forefinger, the thread is trapped against the side of the bobbin by the pad of the forefinger. The thread goes over the second and third fingers and under the little finger which is bent and pressed against the top of the palm. Thus the thread is anchored against the side of the bobbin and the top of the palm. By bending the second and third fingers up- wards, the thread will snap. FIGURE 12. We are now left with what appears to be about a yard of thread hanging down from the left hand, the bundle being hid- den between the first and second fingers. By bringing the left thumb up against the side of the forefinger, the bundle can be gripped between the pad of the thurnb and the side of the forefinger. This keeps the bundle hidden but releases the second finger and we are left with a natural position for holding a length of thread, namely between the left thumb and forefinger. . The next requirement is to snap the thread into short lengths. This can be accomplished as follows:— With the thread hanging down from the left hand, bring the right hand in front of the thread (nearest to audience) with the back of the hand towards the audience. Lift the left hand and let the thread run through the right fingers until the end of the thread is reached. Take two turns around the right forefinger and hold the thread pressed against the finger by the pad of the thumb. Allow the thread to go over the second finger and under the third and little fingers. Press the thread against the palm with the pads of the third and little fingers. By exerting an upward pressure with the second finger, the thread can be snapped. The small piece of thread that has been snapped off is placed between the left thumb and forefinger, close to the hidden bundle but with just a tiny gap between it and the long length to facilitate easy removal later. FIGURE 13. FIGURE 14.Continue snapping off short lengths and placing them between the left thumb and forefinger until all of the thread has been used up. We are now left with the short lengths held as shown in Figure 13. The bundle (now on a short length of thread) is still hidden between the thumb and forefinger. 5. With the right thumb and forefinger remove all the pieces of thread together except the one with the bundle attached. This can be done without fumbling due to the fact that a tiny gap has been left between it and the rest of the pieces. Make a rolling motion with the right thumb and forefinger; the pieces of thread will roll up into a ball between the pads of the thumb and forefinger. In Figure 14 the visible ball is seen between the right thumb and forefinger whilst the short length of thread (really a long length because it includes the bundle), is seen between the left thumb and forefinger. 6. Place the ball between the left thumb and forefinger, opening the pads sufficiently to let the ball be pressed between them but without disclosing the bundle. Close the pads over the ball. In appearance you have placed the ball against the short length of thread under the pads of the thumb and forefinger: in fact you tell your audience that you are attaching the ball to the short length of thread. Immediately the ball is out of sight, take the bottom end of the thread between the right thumb and forefinger and give a gentle pull. This will bring the bundle into view on the thread (Figure 15). As the ball is hidden between the pads of the left thumb and forefinger, it appears that the ball composed of short pieces of thread has been attached to the aaa. piece of thread held in the left FIGURE 15. and. 7. _After a slight pause, blow on the bundle and slowly pull the hands apart. The bundle will unravel and you are left with about a yard of thread; the same length apparently with which you started. 8. After a pause of sufficient duration to let the audience appreciate the restoration, lower the right hand and hold it palm upwards, Allow the thread to spiral down into the right palm (by lowering the left hand). When both hands are close together, drop the end of the thread and the ball of pieces (under cover of the left hand) into the right palm and bring both palms together. Make a circular motion with the left hand which causes the thread and ball of pieces to roll up together into a single ball. You are now left with a small ball of thread which is apparently the thread the audience has seen restored, This ball can be tossed aside casually—but make certain that it is not able to be picked up by a too curious onlooker. That completes the description of MARCONICK’S method for the effect. It is a beautiful close-up item performed right at the finger-tips. Perfect cover Page 57is provided for every move and a trial will convince the reader that it looks zimply impossible that a duplicate length of thread is concealed anywhere in the ands. ALI BONGO’S ADDITION. At the CONGRESS OF THE BRITISH MAGICAL SOCIETY, ALI BONGO won a prize for his performance of a clever routine; a description of which is given below. Alli has added to the Marconick routine a needle thread- ing effect which has been published in a number of books. However, although the threading idea is not new, it is the dovetailing together of the two effects which makes the BONGO routine so very effective. An addition is required to the initial preparation in that a needle is threaded onto the end of the thread in a certain way—IIlustration Number 2 will make this clear. 1. Select a needle with a large eye and, after the thread has been pre pared on the bobbin (exactly as for the Marconick routine), pass the end of the thread through the eye of the needle (Figure 16). 2. Now take the needle in a half circle in a clockwise direction and pass the point through BOTH lengths of thread. In Figure 16 the points through which the needle passes are shown by "x" "x" 3. Pull the needle and thread ioe the two lengths of thread (the strands will part to allow the passage of the needle and thread) and you will reach a position as shown in Figure 17 4. Continue. pulling on the needle until the loop is pull 16} 117 118} ed tight and the result will be as in Figure 18. All is now prepared for you to perform the complete routine—all you appear to have is a needle threaded on to the thread on the bobbin, To hold everything in place until you are ready, the needle can be passed under a few strands of thread J on the bobbin. 4™ punoie | PERFORMANCE. BoBBIY UNDER 1 Theted: 7 qcne . The thread is unravel- led and broken from the Bi. bobbin exactly as for the Mar- hidden from sight between the HERE conick routine, the bundle being we sides of the left first and second fingers and transferred to be- . ky tween the thumb and first HERE finger. Ager 2. Holding the needle in the right hand, attention is call- ed to the fact that the thread ILLUSTRATION 2. passes through the eye of the Page 58needle once. Now by gripping the thread at point A in Figure 19 and pulling downwards, the thread is automatically threaded through the eye for a second time. This happens because the thread has been joined to itself by the initial preparation—by pulling the thread through the eye, the join is brought up and passes through the eye—thus a second strand of thread is passed through the needle. The pulling can be done by gripping the thread at point A between the left second finger which holds the thread against the side of the left thumb. In this manner the bundle is still held between the thumb and first finger and does not interfere with the pulling. Show that the needle is threaded twice, then repeat the downward pull and for a third time the thread will pass through the eye. Continue the threading effect until it is impossible to get another strand through the eye or the thread is used up, then hold the circles of thread between the left thumb and forefinger (adjacent to the bundle) and release the needle from the right hand. The position will now be as shown in Figure 20. With a pair of scissors, cut through the strands of thread at point B, then pull the needle away and place it aside. This leaves you with small lengths of thread and the hidden bundle between the left thumb and forefinger—in fact we have reached the position in the Marconick routine depicted in Figure 13, From here on, the routine is exactly the same as Marconick’s Page 59