Tom Osborne - Cups and Balls PDF

Tom OsborneCUPS and BALLS MANIPULATION AND ROUTINES BY TOM OSBORNE WITH DRAWINGS BY BILL HANNA Copyright 1937 Copyright 1955 Mitchell Kanter.CUPS AND BALLS MAGIC TABLE OF CONTENTS ARTICLE PAGE 1. Introduction, by Henry Ridgely Evans ........... seceseceesees 6 2. The Oldest Trick, by John Mulholland ...... PREM. vss coviveeee 8 3. To Palm a Small Ball. First Method ....... BREED, oss evseciees 10 4. To Palm a Small Ball. Second Method ...........-.0.see0ee0e+ 10 5. To Palm a Small Ball. Third Method .. 11 6. To Palm a Large Ball, Also to Make a “Pass” .................5 11 7. To Palm a Large Ball, Also to Make a “Pass” . 12 8. To Palm a Large Ball, Also to Make a “Pass” . 12 9, Paling. 65.5.4 <0ckdhe saan eee 13 10. To Introduce the Palmed Ball Secretly Under a Cup 13 1, Second Method ......5...55.-sse0e0es 13 12. Third and Fourth Method . 14 BD. Prats is cuisine ts dee nes vhs 14. To Remove a Ball Secretly from Under a Cup ......++++sseseee0s 15 %5.. Second! Method sa53ii0% se 0254.5 ea 26s 3 Hi hoes sate 16 16. To Remove a Ball Secretly and Show Cup Is Empty ..........---. 16 17. To Place a Ball Openly Under Cup and to Take It Out Secretly .... 17 18. To Place a Ball Secretly Between Two Cups ......--+e0eseeeeeeee 17 19. To Simulate the Action of Placing the Ball Under a Cup ..........+ 17 20. Second Method .. 18 21. Third Method . 18 22. Fourth Method 18 23. To Draw a Ball Through the Top of a Cup .. oo 24, To Produce a Ball from a Wand and Return It ie 25. To Pass One Cup Through Another .............-.0-00- eee ee ee 19 26. To Pass the Wand Through a Cup ...............--2--2020ee00+ 20 27, The Advantage of Using a Square Ball ..........++-++eeseeeseee 20 SB.) Te On RE UD) URE oo. 55 se GME 0 bn eo secs vennscsdeasaeunas 2a 29. To Use a Slanting Table for Stage ............sececsscecceeeees rt SD. THB Vee O88 SOrvante oo... ce vcs ccesccccecsecsceretveseeees 22CUPS AND BALLS MAGIC 3 31, To Use Special Loading Cups .......csessesseecseees bev een sss 23 32. How to Make the Loads . 23 33. To Use a Special Cup ........ 24 34. Loading Large Balls from Pocket 24 35. Loading Large Balls from Any Table . 2s 36. Liquid Loads 25 37. To Load a Glass of Wine Under Each Cup .... . 26 38. To Load Live Chicks .ic......sscsees . 39, Japanese Routine ............eeeseeeee - 27 40. To Show a Ball Under an Actually Empty Cup .. 27 41. The Multiplication Pass ........ Ceeeaseces see - 28 42. Music and Sound Effects ..... 28 43. Routine—Balls from Wand . 29 44. Hidden Ball Routine .. 30 45. Tom Osborne’s Routine .... 32 46. Non-Sleight-of-Hand Routine . . 36 47. To Use Three Large Balls .. - 48. Advice and Your “Patter” .. 40CUPS ANN BALES MAGIC CUPS AND BALLS FROM MANY LANDS Cee Ones EUROPEAN @ JAPANESE Printed Through the Courtesy of Tax SpmixxCUPS AND BALLS MAGIC Cups and balls have been giving pleasure, as a magic trick, to generations of spect.tors. It is still regarded as one of the most outstanding of all magic effects. My gratitude to Dr. Henry Ridgeley Evans and to John Mulholland for writing the story of the cups and balls, so that all may appreciate the history of this classic of magic. Thanks to Bill Hanna for the illustrations which do so much to make the book come alive. TOM OSBORNE6 CUPS AND BALLS MAGIC INTRODUCTION By Henry Ripcery Evans If a consensus of opinion were taken as to the oldest sleight- of-hand trick in the world, it would undoubtedly be in favor of the cups and balls. Angelo Lewis (Professor Hoffmann) proclaims this feat to be “the groundwork of all legerdemain.” The paraphernalia used in performing the trick are very simple, viz.: Three brass or tin cups, the ordinary wand, a lot of small cork balls, and some large balls stuffed with hair and covered with cloth. The object of the experiment is to produce the balls apparently from the wand, known as Jacob’s rod, and make them successively appear and disappear underneath the cups. The combinations that can be formed are seemingly endless, Such is the classic manner of executing the cups and balls, but modern magicians have added many new effects to the routine of the trick, which I have said is very old. It was known to the ancient Egyptians; the fakirs of “Mother India,” the cradle of magic; and to the Greeks and Romans. The Romans called the performers of the cups and balls “acetabularii,” from the Latin word “acetabulum,” which means a cup. The balls used by the ancients were mostly round white pebbles, which must have added greatly to the difficulty of performing the trick. Athenzus, in his “Deipnosophiste,” describes a cup-and-ball conjurer whom he saw in the theatre, as follows: “One thing I remember, and gape with astonishment at it now, and am almost struck dumb. A certain man stepped into the midst, and placed on a three-legged table three small cups, under which he concealed some little white round pebbles such as are found on the banks of rivers; these he placed one by one under the cups, and then, I don’t know how, made them appear under another cup and finally showed them in his:mouth. That man is a most mysterious performer, and could beat Eurybates of Oechalia, of whom we have In the Middle Ages the cup-and-ball trick was exhibited by strolling jugglers and gypsies all over Europe, and formed the piece - de resistance of their repertoires of magic. Conjurers in FranceCUPS AND BALLS MAGIC 7 were formerly known as “escamoteurs,” and their’ art as “escamo- tage.” The word “escamoteur” comes from “escamot,” a cork ball. A cup-and-ball trick is shown in a book entitled “Hocus Pocus Junior,” published in 1635, with some indications of the way in which a ball lies concealed between two cups, one of which fits into the other. Conus, who appeared in London in 1789 and 1790, had the impudence to advertise that he would by sleight-of-hand convey his wife, who was five feet eight inches high, under a cup, in the same manner that an escamoteur does a ball. Conus used large copper balls instead of the usual light cork muscades. The classic performer of the cup-and-ball feat in the nineteenth century was the celebrated Bosco, whose sonorous, bizarre cogno- men has become a byword in France for deception, whether in con- juring or in politics. The statesman Thiers, for example, was called the “Bosco of the Tribune” by his political opponents. Bosco was born in Turin, Italy, January 11, 1793, and died in Dresden, Ger- many, March 2, 1863. A Parisian newspaper thus announced his appearance in the “City of Light”: “The famous Bosco, who can conjure away a house as easily as a nutmeg, is about to give his performances at Paris, in which some miraculous tricks will be executed.” ‘The allusion to a nutmeg has reference to the magician’s cup-and-ball trick, nutmegs frequently being used instead of cork balls. Many clever American sleight-of-hand artists are now exhibit- ing the cups and balls. For “close-up work” it is one of the best and most effective feats in the “bag of magic.” In fact, there is quite a recrudescence in this age ofthis most ancient experiment, the origin of which is shrouded in mystery and dates back, perhaps, to the building of the pyramids. ORD8 CUPS AND BALLS MAGIC THE OLDEST TRICK By JouN MULHOLLAND Houdini once told me that he considered no man to be a magician until he was able skillfully to perform the Cups and Balls. Not only was the Cups and Balls trick a favorite with the old world which bordered on the Mediterranean, but it was a favorite trick also of magicians in India, China and Japan. It is my humble opinion that the trick was invented independently in various parts of the world. Of course, in all probability it was passed from one country to another around the Mediterranean and it may very well be that the Japanese magicians got the trick from the Chinese, but I do not feel that there was any connection between the Chinese and, for instance, the Egyptian magicians as far as this trick is concerned. The cups were bent around the form and soldered; spun brass cups are comparatively recent. The Southern European magicians also, in some instances, used tin cups but many of them used wooden or pottery cups. The Turkish magicians today use a conical shaped cup made of wood. The East Indians use a wooden cup shaped something like an inverted wine glass. The Chinese use crockery cups, their usual handless tea cups. The Japanese have two forms of the trick. One, the old native method using saucers instead of cups, and the other, their own version of the European method using small fancy paper cups. The balls used in various countries at various times differ quite as much as do the cups. The Ancient.Southern Europeans used small round pebbles, and the French, little cork balls that closely resembled nutmegs. The Indians and the Japanese use balls made of wadded cloth, around which another piece of cloth is carefully sewn or tied. The Chinese use small gelatine-like balls which closely resemble cherries. The Chinese do a number of tricks with the cherries, very much like the sponge ball routines of some of today’s close-up performers. The Chinese also use a number of extremely cleverly devised mechanical cups, which they sub-CUPS AND BALLS MAGIC 9 stitute for the unprepared cups. It is an idea which is quite practical for the parlor performer of other countries to copy. The usual finish for the Cups and Balls trick is to make the small balls, used during the beginning of the trick, become large balls which fill the cups. In Ancient times it was customary to change the balls into various small vegetables or fruits. Some of the modern performers, utilizing this old idea, have transformed the balls into steaming hot baked potatoes, and I have seen Max Malini, who, at the beginning uses corks instead of balls, end the trick by having three filled cordial glasses appear under the cups. In Egypt, the magicians transform the balls into baby chicks. In China, I saw one magician place the ball upon the bare earth upon which he was working, then reach up and pluck a ball from the air. The ball used for this trick was coal black. Upon lifting the cup, in place of the ball, which he had put under, was a white mouse. The mouse attempted to scamper away but the magician caught it, put it on the ground and replaced the cup over it. Then taking the little black ball in his hand, it was changed to a white ball and when he lifted the cup, the white mouse had been transformed to a black one. Then successively the mouse became a lively frog and finally a wiggling goldfish. My own ending for the Cups and Balls trick is to put one of the cups right side up, drop a ball in the cup and-balance another cup mouth to mouth on top of the first one. Reaching in the air, I find the ball which was in the cup the moment before and upon lifting the top cup, the bottom cup is found to be level full of water, or if I am in one of my more extravagant moods—wine. Early in the First century, the author Seneca, in writing about his enjoyment of the Cups and Balls effect, expressed pleasure in the mvstery of the trick for, he explained, “If I get to know how a trick is done, I lose my interest in it.” OwD10 CUPS AND BALLS MAGIC ARTICLE No. 3 TO PALM A SMALL BALL, FIRST METHOD ey af ap FIGI FIG.2 FIG.3 To Palm a ball means to hide the ball in the hand so that the hand can be opened or closed with perfect freedom without being hampered by the presence of the ball. Take the ball between the first finger and thumb of the right hand. (Fig. No. 1). Roll the ball with thumb across the first and second fingers until it comes between the second and third fingers, (Fig. No. 2), the fingers opening to receive it and closing as soon as it is secure. Remove thumb, and ball is in position as in Figure 3. ARTICLE No. 4 TO PALM A SMALL BALL. SECOND METHOD eS 4 FIG. 4 FIG.5 Take the ball between the tips of the first finger and thumb of the right hand (Fig. No. 4), bend first finger and thumb to position, as in Figure No. 5. Roll ball into position, as in Figure No. 2, Palming as in Figure No. 3.CUPS AND BALLS MAGIC ll ARTICLE No. 5 TO PALM A SMALL BALL. THIRD METHOD <= 4 WW & FIC. 6 FIC.7 Take up the ball between the first two fingers and the thumb of the right hand, as in Figure No. 6. The ball is then made to roll across the tips of the fingers by the thumb and is lodged between the tips of the third and fourth fingers (Fig. No. 7). Then the ball may be safely hidden by bending these fingers into the palm. The ball may be palmed by removing the third and fourth — and slightly contracting the ball of the thumb, as in Figure 0. 8. FIC.8 ARTICLE No. 6 TO PALM A LARGE BALL, ALSO TO MAKE A “PASS” To make a “pass” means to place an object apparently in one hand, but during transit to the other hand, the object is palmed, the one hand closing as if it were receiving the object. Take a ball between the fingers and thumb of the right hand, and in transit to the left hand remove the thumb from in back of the ball, and at the same moment bend the fingers, pushing the ball into the palm of the hand, remove fingers when the ball is safely lodged, as in Figure No. 8.12 CUPS AND BALLS MAGIC ARTICLE No. 7 TO PALM A LARGE BALL, ALSO TO MAKE A “PASS” SiN FIG.9 FIG. 10 Take the ball between the fingers and thumb of right hand, and in the act of apparently transferring the ball to the left hand, or under a cup, the thumb draws the ball towards the palm, as in Figure No. 9. The left hand closes around the right fingers as if receiving the ball. After removing the right fingers from the left hand, the third finger takes the place of the thumb and pushes the ball into the palm (as in Fig. No. 10), where it may be “palmed.” ARTICLE No. 8 TO PALM A LARGE BALL, ALSO TO MAKE A “PASS” ce s4l FIG. HI FIG. 12 Take up the ball between the fingers and thumb of right hand. Turn back of hand to floor. Fingers, which are slightly bent holding ball, will have their backs toward the audience, as in Figure No. li. The left hand comes over as if to get the ball, and in the act of closing the fingers around the ball, it drops into the palm of the right hand. The left hand moves away as if carrying the ball, and the right forefinger is pointing at the left hand, as in Figure No. 12. At the first opportunity, the ball is safely palmed. This is similar to the pass known as “the French Drop;” the only differ- ence being that the left hand, after apparently receiving the ball, is held as in Figure No. 12. See Article No. 20.CUPS AND BALLS MAGIC 13 ARTICLE No. 9 PALMING The beginner should practice palming the ball, both in the act of apparently transferring the ball to the left hand and in apparently placing it under a cup lifted by the left hand for that purpose. See Article No. 19 for the latter. ARTICLE No. 10 TO INTRODUCE THE PALMED BALL SECRETLY UNDER THE CUP. FIRST METHOD \\ FIG.13 This is done in the act of raising the cup with the right hand to show there is nothing underneath it, or by lifting the cup to show a ball under the cup where a moment before there was nothing. The method of doing this will vary, according to the type of cup used and the type of ball that is to be introduced. The following method is for a small ball. The right hand containing the palmed ball should be spread almost flat upon the table, and the cup should be grasped as low down as possible, between the thumb and lowest joint of the forefinger. We are taking it for granted that the ball is finger palmed, as in Figure No. 3. The fingers naturally assume the position shown in Figure No. 13, when the cup is raised. In order to, introduce the ball, release it in a slight backward movement of the second finger and a forward movement of the third finger just before the cup again touches the table. ARTICLE No. 11 SECOND METHOD If a large ball is used, and it is in the palm of the right hand,14 CUPS AND BALLS MAGIC its introduction under the cup is much easier. The chief thing to be attended to is the position of the right hand in raising the cup. Grasp the lower part of the cup between the first and second fingers on one side, thumb on the other. When the cup is raised, the position of the hand should be as shown in Figure No. 14. When & & FIG. 14 FIG.I5 raising the cup, move it up and toward the body; and in lowering the cup, curl the third and fourth fingers around the ball, as in Figure No. 15. Straighten out the two fingers, which will bring the ball out where it is caught by the cup in its downward swoop. Figure No. 15 shows the tips of fingers grasping the ball to bring it out. This method is much more difficult than the method of curling the fingers around the ball and releasing it. ARTICLE No. 12 THIRD METHOD \ FIG.I6 The following is a method of introducing a ball into a cup that is very effective: Grasp the cup with the right hand (in which a ball is palmed), the four fingers on one side, thumb on the other side, raise the cup, and immediately drop the hand containing the cup to the side. The cup naturally has the mouth upward, as in Figure No. 16. Simply drop the ball into the cup, and when placing the cup on the table, a fast movement is necessary to keep the hall from falling out.CUPS AND BALLS MAGIC 15 FOURTH METHOD FIG.17 The following is another method of introducing a ball under a cup that is very easy to accomplish: We will assume that a ball is resting on top of a cup. The right hand contains the palmed ball, and it is desired to secretly place it under the cup. The right hand tilts the cup over (without removing the cup completely from the table), so that the ball will roll off the cup into the left hand held there to receive it. As the cup is tilted, the palmed ball is released, so it will fall on the table directly under the mouth of the cup, as in Figure No. 17, and by placing the cup back to its original position, the palmed ball will now be under the cup. ARTICLE No. 13 PRACTICE The success of any cup and ball routine depends on the ability of the performer (1) to palm the ball, (2) to introduce the palmed ball secretly under the cup, (3) to simulate the action of placing the ball under the cup. A method to be studied in Article No. 46 will explain how to overcome shortcomings along these lines. This method is known as a non-sleight-of-hand routine. ARTICLE No. 14 TO REMOVE A BALL SECRETLY FROM UNDER A CUP A ball is under a cup, and you wish to show that there isn’t any ball there. Lift cup,with thumb, first and second finger. Just the moment the cup is clear of the table, the third and little fingers shoot under the cup and curl around the ball as the hand sweeps the cup from the table towards the left side of body as in Figure No. 18. As the cup is being carried away the ball is palmed in the16 CUPS AND BALLS MAGIC hand by the two fingers, if desired, or it may be replaced under the cup using the method described in Article No. 11, Figure No. 15. FIG. 18 ry ARTICLE No. 15 TO REMOVE A BALL SECRETLY FROM UNDER A CUP | FIG.I9 Lift cup, press ball against the lower inside of the cup, as in Figure No. 19, and when replacing cup, let the ball fall where it will be covered by the cup. ARTICLE No. 16 TO REMOVE A BALL SECRETLY FROM UNDER A CUP, AND TO SHOW THAT THE BALL IS NOT UNDER THE CUP, NOR INSIDE OF IT ( FIG.20 Take up cup and ball, as in Article No 14. The mouth of the cup can be turned toward the audience, and if the two fingers are curled around the ball, it is hidden from the audience, as in Figure No. 20. The ball can be carried away in the palm, or can be placed under the cup, using the method explained in Article No. 11.CUPS AND BALLS MAGIC 17 ARTICLE No. 17 TO PLACE A BALL OPENLY UNDER A CUP, AND TO TAKE IT OUT SECRETLY FIG. 21 This must be executed very rapidly. The left hand raises cup several inches above the table using the thumb, first and second fingers, the third and fourth fingers are held under the cup to receive the ball. The right hand rolls the ball under the cup, where it is caught by the third and fourth fingers of the left hand, as in Figure No. 21. The cup must be replaced upon the table as soon as the fingers holding the ball are safely out of the way. If performed neatly, the effect to the audience is that the left hand raised the cup so that the ball may be introduced. ARTICLE No. 18 TO PLACE A BALL SECRETLY BETWEEN TWO CUPS FIG.22 In taking up the cup to place on another, the palmed ball is shot upward into the cup, and before the ball has time to descend, the cup is placed over the one directly under it or as in Article No. 12, Figure 16. If timed perfectly, the ball will be between the two cups, as in Figure No. 22. ARTICLE No. 19 TO SIMULATE THE ACTION OF PLACING THE BALL UNDER A CUP The pass described in Article No. 7 may be used here. The18 CUPS AND BALLS MAGIC right hand apparently places the ball under the cup which has been tilted slightly by the left hand, the mouth of cup open to the audience; the cup should be returned simultaneously with the removal of the fingers of the right hand from under the cup. ARTICLE No. 20 TO SIMULATE THE ACTION OF PLACING THE BALL UNDER A CUP You have apparently placed the ball in the left hand, ball being palmed in the other. (See Article No. 8.) Raise cup with right hand, and at the same moment, bring the closed left hand close to the table, scrape the cup across the now opening left palm, and replace the cup on the table. ARTICLE No. 21 TO SIMULATE THE ACTION OF PLACING THE BALL UNDER A CUP This method is similar to the preceding, but more convincing. Actually and openly place the ball in the left hand, raise the cup with the other hand, and use the same scraping motion, only this time open the left fingers very quickly the instant the cup is over the left palm. You will find that the ball will shoot into the fingers of the right hand promptly palmed and then retained in the act of returning the cup to the table. ARTICLE No. 22 TO SIMULATE THE ACTION OF PLACING THE BALL UNDER A CUP Some performers hold the cup mouth upward with the left hand; openly a ball is tossed into it with the right hand. The ball is immediately rolled out of the cup into the right palm, again the ball is apparently tossed into the cup, actually palming it the forefinger of the left hand tapping cup as if it were the ball — the bottom. Return cup to table as if it contained the ARTICLE No. 23 TO DRAW A BALL THROUGH THE TOP OF THE CUP If a small ball is used, palm as in Figure No. 3, simply rollCUPS AND BALLS MAGIC 19 it to the finger tips with the thumb, and if a larger ball is used, palmed as in Figure No. 8, let the tips of the fingers and thumb touch the top of the cup. Release ball so it will strike the top «which is actually the bottom, cups are face downward) tips of fingers and thumb grasping the ball. This sleight is used by quite a number of performers, and should be perfected by all means. The move is simple, but must be practiced faithfully in order to be convincing. ARTICLE No. 24 TO PRODUCE A BALL FROM A WAND OR CIGAR This may be accomplished in several ways. First, hold the wand with the left hand, wand pointing upward, hands otherwise are shown empty. To produce a ball, you must have one, and in order to steal and palm a ball, attention must be called first to the wand, such as striking it on the table, or tapping the cups; in the meanwhile, the right hand has secretly palmed a ball from under the vest. Slide the thumb and fingers of the right hand up and down the wand, keeping back of the hand (which contains the palmed ball) toward the audience, roll the ball to the end of finger tips just as the hand reaches the end of the wand. The second method is to use a cigar, either your own or one borrowed for the purpose. Holding the cigar pointing downward, you apparently squeeze the ball out of it, letting the ball fall on the table; after producing the desired number of balls, toss the cigar out to some one in the audience. For more information on the “wand idea” refer to Article No. 43, which contains a complete routine of “The balls from the wand.” Some performers return the balls into the wand; this is the reverse of the first method of producing. ARTICLE No. 25 TO PASS ONE CUP THROUGH ANOTHER While on the subject of “Cups and Balls,” the following is a very effective sleight with the cups. One of the cups is held, mouth upward in the left hand very lightly, the right hand holding another about a foot directly over it. The cup above drops into20 CUPS AND BALLS MAGIC the lower cup, causing this cup to be knocked out of the left hand, while the upper one will be caught and held in its place. The lower cup is caught by the right hand, and the move is repeated several times. If using a paper cup, it is best to throw the ball. sharply into the cup in the left hand. A running line of patter is used to help put this effect over, and the audience actually believes the upper cup has passed through the lower one. ARTICLE No. 26 TO PASS THE WAND THROUGH A CUP FIG. 23 This is a very good and effective sleight, and it is easy to acquire. It is, also, a good opening move. After saying a few words as an introduction to his routine, the performer begins by picking up a cup in the left hand, and the wand in the right hand. He now strikes the inside bottom of the cup several times (position of hands, cup and wand shown in Figure No. 23), using a driving blow, and on the last drive, the wand is brought behind the cup (between left thumb and cup). If the end of the wand is showing, and if the performer in his talk has given the audience an idea of what he is doing, the effect is that the wand was driven through the cup. If this effect is performed at the beginning of your routine, it will at once command the attention of the audience. ARTICLE No. 27 THE ADVANTAGE OF USING A SQUARE BALL The square ball is generally employed when using a sloping table (table slopes toward the audience) ; although some performers use square balls all the time, as they have an advantage even on a flat surface. The round balls have a habit of rolling over on the floor at an inopportune moment. With tolerable skill in palming,CUPS AND BALLS MAGIC 21 the square ball can be handled just as readily as the round one. The square ball is frequently made out of a rubber sponge. ARTICLE No. 28 TYPE OF CUPS TO USE Good advice as to the particular type of cup to be used will be given here. The best cups to use are the metal cups which are made especially for cup and ball work. Each cup is made with a shoulder near the mouth. This has a two-fold purpose: First, the cup can be picked up more easily; second, when two cups are placed one upon the other, there may be a space between them sufficient to receive a ball or balls, as in Figure No. 22; furthermore, the top of each cup is made, not flat, but concave. These cups can be purchased (any size) from your dealer; however, it is always best when learning a routine to keep in mind the advantage of performing anywhere, any time, and with any type of cup. You may at some time have to use substitutes for your own cups; such as paper cups, dice shakers, or even glass tumblers; in the latter case, wrap a piece of newspaper around the sides. It is a good idea to paint the inside of cups white. Under a strong spot light the metal cups will glare, so paint them on the outside, barber pole style. ARTICLE No. 29 TO USE A SLANTING TABLE FOR STAGE Many performers miss the opportunity of presenting the cups and balls because of its inadaptability for stage use. This is especially true if the smaller size balls are used. Here is a practical method of overcoming this handicap. The only requirement is22 CUPS AND BALLS MAGIC six flat brackets of thin metal about three or four inches in height, by one inch wide with a hole at each end. The table is sloped toward the audience by placing enough books under the two rear legs to give the desired slant. Cover table with a white cloth. Fasten the metal brackets to the side of table (three on each side) by means of a thumb tack. Stretch a piece of thread between each pair of brackets as in Figure No. 24. This will keep the balls from rolling off, and will, also, keep the cups from sliding down. You may find it necessary to stretch two threads across the table from each bracket, so that one thread will check the balls, while the upper thread will keep the cups from tilting over. More care is required working on this table than on a flat surface, as sometimes the balls will bounce over the thread. It is best to perform the routine behind thread A, leaving B and C as reserves. If a ball jumps over A—B or C will catch it. ARTICLE No. 30 TO USE A SERVANTE FOR THE PURPOSE OF EXTRA LOADS SUITABLE FOR ANY TABLE ‘ This equipment has the advantage of permitting the performer to reload by means of a partition on the rear of the table, this partition, or servante, can be attached to almost any table. Two pieces of lightweight boards are used, about four inches wide by two feet long. Two boards are hinged so as to fold flat. One board has two holes in order to permit two wood screws to pass through, which will enable you to fasten the servante to any table, as in Figure No. 25. You may devise some means of fastening this servante on by a clamp. A following article will tell how to make use of this servante as a loading point.CUPS AND BALLS MAGIC 23 ARTICLE No. 31 TO USE SPECIAL LOADING CUPS Three stout paper cups are used, preferably waxed ones, as they will stand more wear than ordinary paper cups. Each paper cup is cut down so it will nest into the real cups without showing. The inside of the three paper cups are stuffed with silks, flags, etc. They are now placed on the servante in a row, mouth downward. An orange is placed on the top of each cup, as in Figure No. 26; because the cups have a ridge on the bottom, the oranges will stay in place. Careful attention must be given the following article, which will tell how to make the loads. ARTICLE No. 32 TO MAKE THE “LOAD” INTO REGULAR CUPS You will find that if you take any cup on the table and bring it down over an orange and push downward sharply the orange will jam into the cup. As a safeguard, it is best to keep the finger under the edge of cup when carrying back to the top cf the table. When replacing cup to table, do so sharply, so as to dislodge the orange. You will, also, discover that the paper cup on the servante can be picked up and carried back the same way, only do not dislodge it. Here is a good method of loading, quickly and effectively. We will say you have completed your routine of the cups and balls, and that you have loaded from your side pocket three large red balls (see Article No. 34). You now have (unknown to the audience) a large, red ball under each cup. Cups are in a row, reading from your left to right, A, B and C, as in Figure No. 26. Lift up cup C with left hand, showing large, red ball. While the attention of the24 CUPS AND BALLS MAGIC spectators is still occupied by the unexpected large red ball on the table, bring cup C down over the orange on paper cup B. Right hand now takes up cup A, bring it down over orange on paper cup C. Left hand after replacing cup takes up the remaining cup and brings it down over the last orange, carrying it back to table after loading. This zig-zag method is employed in taking up the paper cups. Care must be taken when producing silks that the paper cups do not show. ARTICLE No. 33 TO USE A SPECIAL CUP FIG 27 A cup can be made which will enable one to produce “spring” goods, such as a string of sausage. A metal cup is made the same height as the other two cups used in the load. This cup requires a special description. On the inside of the cup, near the mouth, two little lips are used, such as you will see in Figure No. 27. Push your spring load down into the cup. Lock load by using a small piece of thin wood, or a piece of pencil, one that will fit across and under the two lips. To release load, simply turn wood lock to left or right. If using a string of sausage, this lock can be fastened permanently to end. ARTICLE No. 34 LOADING LARGE BALLS FROM POCKET The following is one method of loading balls from left side coat pocket or from the left tail pocket: Contrary to the general belief, this is the easiest of all “Cups and Balls” moves. Stand with right side to audience. Lift cup with the right hand, simultaneously the left hand has secured a large ball from left pocket, which is now held against the left side. (Make no attempt to palm thisCUPS AND BALLS MAGIC 25 ball. If it is held against the side, the hand covers it. Even if people are on all sides of you, they cannot see it.) The cup is brought around to left hand. Now you simply drop ball into cup and replace cup to table with left hand. Repeat as above until all cups are loaded. ARTICLE No. 35 TO LOAD LARGE BALLS FROM ANY TABLE B FIC. 28 Some performers do not care to carry the balls in the coat pocket, because if you are not. careful, the bulge will show. If you want to end your evening’s program with the “Cups and Balls,” the balls are prepared and loaded in the following manner: Use three large solid rubber balls, a large needle and a piece of thread about five inches long. Thread the ball by pushing the needle through the center, remove the needle, leaving the thread through the ball. On the end of thread tie a thumb tack. Push the tack against the back of table, leaving ball hanging from the other end of the table, as in Figure No. 28. In one swoop, you can bring a cup down over the ball, pulling it off the thread, even if the balls are swinging to and fro. This method can be used as a body load, also; substitute the thumb tack for a safety pin, fasten load by means of the safety pin under the coat, so that the balls can be reached easily, and load as in Article No. 34. ARTICLE No. 36 LIQUID LOADS The liquid load is generally used by performers when a small size cup is used. A specially made cup is employed. Some performers carry this cup in the side pocket, but it must be exchanged for one of the original cups by the simple method of dropping the26 CUPS AND BALLS MAGIC one cup into the pocket and taking out the other. It is understood that the attention of the audience is occupied by something you are doing on the table. Regarding the production of a full cup of water or wine from a cup, to the best of our knowledge and belief, John Mulholland, world famous magician, editor of the Sphinx, prolific writer on magic, was responsible for devising such a startling ending to the cup and ball routine. ARTICLE No. 37 A GLASS OF WINE UNDER EACH CUP FIG.29 After raising the cups, there is a glass of wine under each cup. It is best to use the type of glass goblet with a stem. The goblet must be high enough so that after it is placed under the cup, the top of the cup will act as a lid to keep the liquid from spilling out. The little finger of the loading hand keeps the goblet from falling out, as in Figure No. 29. The three glasses are under the coat. There are several methods used for this effect. The methods known as “Keene” or “Squash” may be used. It is my experience that “Squash” is the best. ARTICLE No. 38 TO USE LIVE CHICKS AS A LOAD Put the desired number of chicks to be used in the side coat pocket and load as you would an apple, orange or ball, as in Article No. 34. Caution: Be sure to use a heavy metal cup, if not, you will have the cup waltzing around on the table; because when the chicks are dropped in the cup, they are awakened, and they start moving around. Extreme care should be taken, and only healthy chicks used. If healthy chicks are not used, you may get the surprise of your life when you raise a cup and find a still chick. It is best, when loading chicks, to carry an extra one. When loading, you can feel if the chick is noving, if not, do not take anyCUPS AND BALLS MAGIC 27 chances, put it back, and take up another. Some performers use black and white chicks, because, when exposed to view they look prettier than the yellow ones. For best all around use, the Guinea chicks are best—one reason is that they do not grow so rapidly. If unable to secure chicks in your locality, refer to any farmer’s trade journal. Baby chick dealers advertise therein and they will express day-old chicks within twenty-four hours. ARTICLE No. 39 JAPANESE MOVE The following is a move used by some performers. It can be performed with tea cups and paper balls. The cups are face up on the table, a ball in front of each cup. The effect is as follows: A ball is dropped into a cup, this cup is inverted; the second ball is dropped into the middle cup, this cup is also inverted; the move is repeated for the last cup. Eventually, all the balls find their way (invisibly to the audience) to one of the cups. Method: An extra ball is used and is added to the first cup turned over; drop the second ball into the second cup and turn cup over mouth down. A clever move is next employed. Apparently drop the last ball, also, but instead, hold it against the side of the cup, as in Figure No. 30, and turn cup over as in B and leave it on table. As fingers release cup ball is carried away concealed in fingers. Lift all cups and place them mouths up showing two balls were under first cup, one ball under second cup and the third was empty. Repeat adding palmed ball to first cup, stealing ball from second cup and the miracle is done. ARTICLE No. 40 TO SHOW A BALL UNDER AN ACTUALLY EMPTY CUP Assume that a cup is mouth downward (actually empty). The object is to show a ball in the right hand and make it travel invis-28 CUPS AND BALLS MAGIC ibly, under the cup. (Use any pass, or as described in Article No. 8.) Make a throwing motion with left hand toward the cup, opening hand to show the ball has vanished. To show that the ball is apparently under the cup, take up cup with right hand, teleasing palmed ball back of cup as soon as fingers encircle it. Lift up cup and show ball, The illusion that the ball was under the cup is quite convincing. ARTICLE No. 41 THE MULTIPLICATION PASS FIG.31 Some performers use a hat in this routine. Use four balls. Three balls are in a row upon the table, cover each with one of the cups, The fourth is concealed in the hand. With the left hand lift up one of the cups, showing a ball, which the right hand picks up, releasing the palmed ball, as in Figure No. 31. The back of right hand faces audience, entirely concealing the release of palmed ball. The left hand replaces the cup upon the table, covering the previously palmed ball a moment before the right hand carries the visible ball away. Go through the motion of dropping the ball into the hat, really palming it the moment the hand is inside the hat. (This move can also be used to load larger objects such as chicks, oranges, etc.). Now repeat the same move with the other cups, carrying a ball to the hat and palming each time. It is only natural for the audience to believe the cups are empty and that the hat contains the three balls. Return to the first cup, repeat a number of times. Now turn the hat over as if to show the balls, and to the astonishment of the audience, who expect to see a number of balls, roll out a large sponge, which was in the hat when you first started. ARTICLE No. 42 MUSIC AND SOUND EFFECTS When performing the routine, have the drummer give you aCUPS AND BALLS MAGIC 29 rim shot each time you apparently throw the balls toward the cups. At the finish when vou are turning up the large load, drum roll and cymbal crash would be effective. ARTICLE No. 43 ROUTINE — BALLS FROM WAND FIG.32-. - pera fs) cc Here is a suggestion that is effective, mystifying and is a good opener for a routine. “Ladies and gentlemen, I present the Cups and Balls. I use three cups, three balls, a magic wand and a pair of empty hands.” Show hands and make a pretense of pulling up sleeves. Wand and cups are on the table. Cups are mouth downward and some- what removed from each other. Balls concealed as described later. “To start, to commence, to begin, it is necessary that I produce three balls, My wand supplies me.” Pick up wand with left hand, in the meanwhile, the right hand has secretly taken (and palmed) a ball from under the vest or lapel of coat. Produce ball from wand (see Article No. 24), lay wand on table and proceed. “I place ball No. 1 under this cup (C),” ball is palmed in right hand in the act of simulating the placing of ball under the cup) “once more I take up the wand with the left hand and produce ball No. 2 with my right.” (This is the ball which was palmed in the right hand) “and place it under the middle cup (B).” Lay wand on table or place under the arm. Go through the motion used above in placing the ball under the cup, but this time actually leave ball under the middle cup (B). “Once more I take up the wand to produce the third ball, but first, please notice that my hand is empty,” (show right hand) “and when I say I place a ball under a cup, it really goes under there. I prove it.” Lay wand on the table, lift up the middle cup with left hand, take up ball with right hand, returning cup to table. Again simulating the motion of placing the ball under the cup, ball is now palmed in the right hand.30 CUPS AND BALLS MAGIC Take up wand with the left hand and produce the last ball, and actually place it under the last cup (A). “We now have a ball under each cup. I am going to remove the balls from under the cups and yet you cannot see how it is done. If I were to lift up a cup and take the ball out like this” (lift up cup A with left hand and pick up ball with the right returning cup to table) “you would say that is not so good, so I return the ball under the cup.” In the act of replacing ball it is palmed in right hand, and the audience now believes there is a ball under each cup, “I shall now draw the balls through the top of the cups.” Right hand travels to cup C and apparently draws ball through the top of cup. (See: To draw a ball through the top of the cup, Article No. 23). This ball is transferred to left hand, and is then placed in front of cup C, in the meantime the right hand has stolen another ball. (The concealed balls may be under the vest or under the left or right lapel of the coat. Balls may also be concealed under the coat at the right side, hung in place by a thread, or the balls may be pinned in a convenient position, using a straight pin). Repeat moves with cup B. Place the produced ball on table with left hand, right hand stealing another ball. Moves are repeated and last ball placed in front of cup (A). Cups are now lifted to show that there is nothing under them. ARTICLE No. 44 TO OPEN THE ROUTINE BY THE HIDDEN BALL MOVE Here is another method of opening the routine. The three cups are nested, four balls are used, and the balls are in the last cup nested. Cups are carried and placed on the table, mouth upward, still nested. “Ladies and gentlemen, I present the Cups and Balls. The only apparatus I use consists of three balls and three cups. Here is ball one (reach into cup and remove one ball and place on table),CUPS AND BALLS MAGIC 31 ball two, and ball three.” (Retain and palm the fourth ball by the simple method of turning the cups which are held in left hand and letting the last two balls roll into the right hand, showing only one, of course). ‘Also, cup one, cup two, and cup three.” Slam the cups down on the table on each count rather sharply, so as to wake up the audience, if necessary. The position of cups and balls is as follows: Cups are separated, mouth downward on table, and a ball is in front of each cup, one is palmed in right hand. A B c ® F1G.34 “Before proceeding, I wish to call your attention to these three balis. Here is ball one, which I place in my left hand.” (Do so, adding the hidden ball when ball is placed in the left hand, left hand closing into a fist) “and ball two.” (Push into left fist.) “The third ball I place into my pocket. Immediately the ball leaves my pocket and comes back to my hand, and here are the three balls: one, two and three.” When the right hand enters the pocket ostensibly to leave the bail there, it palms the ball. So when the hand is withdrawn, you are ready to repeat the last move. A variation is used this time. When placing the balls in the left hand, add the hidden or palmed ball to ball two. Take up the last ball on the table and again apparently place ball in the pocket. Show three balls in left hand and replace on table. Bring out the right hand again, which contains the palmed ball. Repeat the move, using still another variation. Pick up balls one and two together, and in placing these balls in the left hand, add the palmed ball. This time, however, when the right hand carries the last ball to the pocket, leave it there. Bring out right hand and spread balls from left hand on the table. “I could keep this up all night, but I know you would get tired of looking at it; so for a very good reason, I hold this cup” (with right hand) “at arm’s length, and I will make all the balls fly invisibly to the cup.”” While talking, the right hand takes up ball one and two together, apparently places them in the left hand, but retaining them in the right hand, left32 CUPS AND BALLS MAGIC hand closing into a fist as if it contained the balls. Make no attempt to palm these balls. Merely close fingers of right hand hiding the balls from view. Move the right hand very rapidly and take up the last ball on the table. Place the right hand in the pocket as if you were leaving the last ball there, but bring out the right hand containing all three balls. Pick up the cup nearest you with this hand, and in the act of holding the cup at arm’s length, shoot the balls into the cup by releasing the balls. Cup is now held in the right hand, mouth upward. It contains all three balls. Make a throwing motion with left hand, roll balls out of cup on the a io are now placed in the same pocket containing the ou all. ARTICLE No. 45 TOM OSBORNE’S ROUTINE The last method is the exact opening used by Tom Osborne. A complete description of Osborne’s routine follows. Most of the passes used are very simple, but most effective. There are occa- sions when it is necessary to substitute some other pass for the ones which are regularly used. Some performers in presenting the Cups and Balls make the mistake of having a routine that is too com- plicated for any one but themselves to understand. The routine described here is very simple and is very easy for the audience to follow, and it can be performed anywhere. * * * APPARATUS Three metal cups. Four sponge balls, each the size of a golf ball. Three large balls, or apples, oranges, chicks, etc. POSITION Cups are nested. Four sponges are in one cup. Three large balls are in left coat pocket or in left tail pocket. Performer carries cups, containing sponges, and piaces them on the table. The introduction is followed immediately by the routine described under “The hidden ball method”—Article No. 44,CUPS AND BALLS MAGIC 33 Attention is then called to the cups. The audience must be convinced that the cups are absolutely empty. Regardless of how many different combination of moves you use, even if the cups are nested, there will always be some one who will say, when the large balls are produced, “They were there all the time.” You cannot over-emphasize this fact, and because they are empty, and it is about the only time you speak the absolute truth in the whole routine, make the most of it as a means of convincing the audience that the cups are empty. Tom Osborne uses the sleight described under “To pass a cup through another”—Article No. 25. Proceed as follows: Four sponges are in the right coat pocket. Cups are separated and placed mouth downward on table, reading from left to right A, B and C, as in Figure No. 35, (performer’s left to right). So the reader may thoroughly understand each move, it is necessary to give some of the patter used. A 8 Cc FiG.35 Move A. To place sponge under each cup and draw it out invisibly. This is similar to the method described in “To produce a ball from a wand”—Article No. 24; only the sponge is taken from the pocket, containing the four sponges, and the motion of placing a sponge under each cup is carried out. When drawing the sponge through the top of the cup, only one sponge is used. Each time it is apparently placed in the right side pocket it is palmed. Repeat the same moves for each cup. When you lift up the cups with the right hand to show there is nothing underneath, the palmed sponge is introduced under the middle cup B, as in Article No. 11. Position of cups and ball are as in Figure No. 36. Move B. To place a sponge under A and C and make them pass to the middle cup. Unknown to the audience, a sponge is under cup B. “I am going to place a sponge under each end cup, the first sponge I take from my pocket and place under this one (C).” Really palm4 CUPS AND BALLS MAGIC FIG.36 sponge. (See Article No. 8.) “I take out another sponge” (same one) “‘and place under this cup (A).” Palm as before. “We now have a sponge under each end cup. I shall now make them fly invisibly to the middle cup, that sponge flies to the middle,” point to cup A, “and there it is.” Lift cup B and show sponge which was there all the time, and in replacing, introduce the palmed ball, as in Article No. 11. “This ball flies to the middle” (point to cup C) “and there they are.” (Figure No. 37.) This time lift cup with left hand, showing two sponges, take up the two sponges with right hand, replacing cup on table. Cups will be as in Figure No. 35. 0 Move C. To place two sponges under the middle cup and make them pass under the two end cups. Right hand holds the two sponges up so everyone can see them. ‘I replace the sponges under the middle cup.” In the action of transferring the sponges to the left hand, one sponge is retained and palmed in the right hand (apparently the left hand has the two sponges). Sponge in the left hand is now placed under the middle cup. “You will notice there is nothing under the two end cups” (A and C). In the act of lifting A and C, the palmed sponge is secretly introduced under cup A. “Two sponges are here,” point to cup B, “one shall leave and go to the end cup.” Lift up cup B and show only one sponge, which you pick up with the right hand. Make a move as if replacing sponge, really palming it, as in Article No. 7. “Now where is the other sponge? It isn’t here.” Lift up cup C, introducing the palmed sponge. “It must be here.” PointCUPS AND BALLS MAGIC 35 to cup A. Lift up cup, show sponge, replace cup on table, and Place sponge on top of cup A. “I now make the last sponge go to this end cup (C) and there it is.” Show sponge and replace on top of the cup C. Positions of cups and balls are as in Figure No. 38. FIG.38 B00 Move D. To pass three sponges in succession under one cup. “I know the trend of your thoughts. You think a sponge is under the middle cup.” The right hand has traveled to the right pocket and taken out the last two sponges. One is openly placed in the left hand, the other is palmed in the right hand; and when the middle cup is raised to show there is nothing under the cup, this sponge is introduced. “There isn’t, but there will be directly. Watch, I take this sponge” (the one in the left hand making a “pass”) “and throw it through the cup.” Right hand has the sponge palmed, the left hand making the throwing motion. Lift up cup to show sponge, and in replacing, introduce the palmed sponge. The same move is repeated in the same manner, until three sponges are shown under the cup, the fourth sponge finally remaining palmed in the right hand. Move E. To drive three sponges in succession through the tops of the cups, and loading large balls. At the conclusion of the last move, the performer had brought three sponges under the center cup B, a fourth sponge remaining concealed in his hand. The three sponges are placed, one in front of each cup. “I am now going to drive the sponges through the top of the cups. Notice there is nothing under this cup” (C).36 CUPS AND BALLS MAGIC Introduce palmed sponge (position of cups and balls are as in Fig- ure No. 39) and take up with the right hand the sponge in front of cup C, holding sponge about two feet over cup C. Bring it down sharply over the cup, palming sponge in transit. The right hand lifts the cup to show the sponge on the table. In the meanwhile, standing right side to the audience, the left hand has stolen to left side pocket and brought out one of the large balls, where it is held against the side. Bring around the cup to the left hand, dropping the large ball into cup a moment before the left hand receives the cup. (Refer to Article No. 34.) Replace cup on table with left hand. At the same time, take up the sponge which has apparently just passed through cup C with the right hand. Pass this sponge openly to the left hand, where it is just as openly carried to the left coat pocket; leave sponge in pocket and get another large ball ready. for the next cup B. Remember, one sponge is palmed in the right hand, lift up middle cup B to show there is nothing under it, and secretly introduce the palmed ball. Repeat as in last move, until all cups contain the large balls. It is a question whether it heightens the effect or not by having the balls lodged in the top. If the performer thinks it does, he may pick up the cups by the top, lifting them several inches above the table for the purpose of showing there is nothing underneath. When replacing the cups, replace them sharply, so the balls will be dislodged. ARTICLE No. 46 NON-SLEIGHT-OF-HAND ROUTINE FIG.40 Move A. Four balls are used, and one is placed in the bottom cup. Cups are nested (Figure No. 40.) Place top three balls on the table, leaving the hidden ball in the bottom cup. Turn cups over quickly to prevent the hidden ball from falling out. Separate cups to positions A, B and C, hidden ball is under B. Now take one ofCUPS AND BALLS MAGIC 37 the three balls exposed, and placing it on top of cup B, cover it with a second cup A. Now command the ball to pass through the cup and fall on the table. Lift up (without separating) the two cups, showing a ball on the table which the audience will take to be the one which just passed through. (The ball which the audience believes is on the table remains between the two cups, as in Figure No. 22.) Turn cup’s mouth upward with the left hand, and with the right hand, take out that cup which is now uppermost (B). Turn both cups down on the table, placing A over the ball which has just been shown. If this is neatly done, the other ball, which has remained in A, will not be discovered, but will be covered by A as it falls. A will now have two balls beneath it. Now place one of the remaining balls on top of A, covering it with either of the other cups, and again go thtough the same process untii first two and then three balls are under the cup. The fourth ball remains, at the close of the move, between the two cups used. Lift cups and show balls on table. Position of Cups and Balls are now as in Figure No. 41. FIG. 41 Move B. Hold the two cups in the left hand, mouth upward. Now state that you are going to pass the balls downward through the bottom of the cups. Take up one of the three visible balls an‘ drop it into the mouth of the top cup. Right hand now removes the bottom cup (containing the hidden ball) and pours this ball into the cup held in the left hand. It appears as if this ball is the same which was dropped into the top cup a moment ago. The cup in the left hand now contains two balls. Place right hand cup in the left hand cup, the two balls are between the cups. Drop another ball in the top cup. Again removing bottom cup, roll out the balls. Repeat the same process until you show the three balls have apparently passed through. At the conclusion, roll the three balls out of the cup upon the table. One, the hidden ball, remains between the two cups.38 CUPS AND BALLS MAGIC O04, FIG. 42 Move C. Now place the three cups in a row on the table (hidden ball under cup A), as in Figure No. 42, being careful that the hidden ball does not fall out. Then proceed: “I will take one of the three balls and place it under the table in this fashion, and make it pass up through the table.” So saying; take a ball in the right hand. Move this hand under the table, so it will be directly under cup C. Lift up cup C with left hand as if to show ball has passed through. (You will remember the extra ball is under A). Lifting cup C is only a blind, as it permits you to bring cup (C) under the table momentarily, so the ball in the right hand can be dropped in the cup C. Return cup C to table, “It must be under the other cup.” (Lift cup A and show ball under cup). “Here it is, you see.” Cover ball with cup A. Continue by taking up another one of the two remaining balls and placing it under the table, directly under cup B. Lift cup B with the opposite hand as if to show ball. Again bring cup B under table, load ball into cup, and return cup B to table position. Lift up cup C and show ball, replace cup C over ball. Take up remaining ball and place it under table and lift up cup B and show ball, cover it again. bBo Move D. A ball is under each cup, and the cups are in a row on the table as in Figure No. 43. The hidden ball can be disposed of by dropping it into a pocket, unobserved. We will presume you are sitting at a table. Unknown to the audience, you have three applesCUPS AND BALLS MAGIC 39 in your lap, covered, if necessary, by a napkin. You proceed: “You will observe that there is a ball under this cup” (C). Lift up cup C with right hand. Bring cup to lap, where the left hand loads an apple in the cup. The left hand carries cup back to the table and places it mouth downward behind the now visible ball, being careful not to disclose the apple. Right hand remains in lap with another apple ready. Lift up cup B with left hand to show a ball, bring cup to lap, load apple, and bring back cup B with right hand and replace behind ball. Lift up third cup A, load as before. You now have the three cups in a row, an apple under each cup and a ball in front of each cup. Now place the three balls in your pocket, lift up cups, and show apples or finish as in Article No. 47. ARTICLE No. 47 TO DRIVE A LARGE RED BALL THROUGH EACH CUP » FIG. 44 Position: Cups are in a row A, B, and C. Under each cup is a large red ball, of which the audience is unaware. Palm another large red ball the exact size of the ones under the cups. Pick this ball apparently out of the air, show it, and cause it to vanish by means of a pass, dropping the ball in your pocket or aservante. Lift up cup C to show the ball, which you have led the audience to believe is the one which vanished a moment ago. Place this ball on top of cup B (Position, Figure No. 44), cover both ball and cup B with cup C; but bring cup C down sharply over them, lift up both cups (a ball is between them), and show the ball on the table. Place this ball on cup A with left hand, withdraw cup B (the right hand drops to the table, cup C containing the hidden ball). Place cup B over ball on cup A, lift up both cups, show ball, separate cups as before, lift up the two remaining cups and show the two balls. It is very important that you study your “patter” as well as your moves. Your “patter” will help you with misdirection, but remember this—misdirection alone is insufficient. Skill must be40 CUPS AND BALLS MAGIC acquired to present smoothly. ARTICLE No. 48 PATTER To make this book complete, the following routine is given. There are no two performers who work alike, and it is best for you to work out your own routine, so that you may confidently count upon performing with ease every feat indicated, providing you practice. Do not make the mistake of trying to have a long “drawn out” routine. Make it short and snappy. Three or four moves with a nice build-up and plenty of punch for the conclusion is best. ARTICLE No. 49 TO PLACE A BALL UNDER EACH CUP AND INVISIBLY TAKE IT OUT AGAIN A B C O O O e FIG.45 Cups are in position A, B and C. Only one ball is used. (Fig- ure No. 45.) Move No. 1: “J take this ball and place it under this cup.” (Use method explained in Article No. 20). “Now, if you watch closely, you can see it come out of the top. There it is.” (Article No. 23.) Actu- ally place ball in left hand, lift cup C and show there isn’t any ball under it. “I now place it under the middle cup,” (Article No. 21) “and I take it out again.” (Article No. 23.) “I now repeat the same thing with the last cup,” (A) “but first, notice there isn’t any ball under the cup.” Lift up cup with right hand. The left hand, containing ball, moves to side coat pocket, enters and comes out again, still retaining the ball. “I now place the ball under the cup.” Move as described in Article No. 20, only you actuallyCUPS AND BALLS MAGIC 41 place ball under cup. By this time some one will say you placed the ball in your pocket. This gives you the opportunity to lift the cup and show the the ball is actually there. Replace the cup on the table (stealing ball, Article No. 7 and draw through top). He FIG.46 8B Move No. 2: Another move with one ball, similar to Move No. 1. The effect: The ball is apparently covered with a cup, and another cup is placed over the last cup. (Position No. 46.) Then draw the ball through the top of the two cups. After showing the ball and showing there isn’t anything under the two cups, you apparently place the ball under the two cups. Now, placing the last cup over the two, you proceed to draw the ball through the top of three cups. A 8 c L Ee FIG. 47 Move No. 3: To pass the same ball from cup to cup. Cups are ina row A, Band C. A ballon table. Position as in Figure No. 47. “J will take this ball and place it under this cup,” (C) “and there is nothing under the middle cup, as you can see.” (Raise B cup and secretly introduce the ball, which you palmed while apparently placing it under cup C). “I now make the ball pass invisibly from this cup (C) to the middle one.” Raise cup B with left hand, and taking the ball in the right hand, show it to the audience. “I42 CUPS AND BALLS MAGIC now put it back under the middle cup,” (palm the ball instead) “and show there is nothing under this end cup.” (A.) Raise this cup to show it is empty, and while doing so, slip the ball in. Make a few remarks about the ball passing over, lift up cup A and show ball. Move No. 4: To cover the ball with two, then three cups and make it rise through the top. You apparently place a ball under a cup. Now you take another cup and cover the last one. In doing so, you secretly introduce the palmed ball between the two cups, see Article No. 18. (Position, Figure No. 48.) You now tell the audience you are going to make the ball pass through the bottom cup. If you are using a rubber sponge, you will find that when the sponge is between the two cups (you are holding the two cups tightly with the right hand), it will raise the upper cup in the air as you release pressure on the two cups. This is a very amusing sight. It looks as if the ball were actually passing through the bottom cup. This move bears repetition. Apparently replace the ball between the two cups, and on taking up the third cup to cover the other two, secretly slip the ball in. Again you make the ball rise up through a cup. FIG.49 a To make two balls pass to each end cup.CUPS AND BALLS MAGIC 43 Cups are in position A, B, and C, A ball is on top of each cup, and a hidden ball is under cup C. (Position No. 49.) “I take this middle ball and place it under the middle cup.” (Palm ball instead.) “T take this ball,” (from cup A) “‘and place it under this (A) cup.” (Here you also place the palmed one.) “I take the last ball and I throw it through the last cup,” (C). (You make a throwing motion, as in Article No. 45, Move E)-“and to show you I wouldn’t fool you, there it is.” Raise cup C to show ball, and when replacing cup, secretly introduce under it the ball just concealed. “At the present time a ball is under each cup. Now into which end cup do you wish the ball under the middle cup to pass?” Lift the cup selected, which we will suppose to be C, and show that there are two balls under it. “I take these two balls and put them back under the cup.” You will only, in reality, replace one. “Now you will see that there is not any under the middle cup.” Secretly introduce under cup B the ball which you have just abstracted from cup C. “TI shall now make one of those under this end cup (C) go and keep company with the one under this end (A). Watch, there it goes.” Lift cup A and place the two balls on the table, lift cup C and show that there is only one ball under it, which you will now place on the table, leaving the hidden ball under cup B. FIG.50 Move No. 6: To make the three balls come together under one of the cups. Position: Cups are in a row A, B, and C. The three balls are together on the table; off to one side, the hidden ball is under cup B. (Position, Figure No. 50.) “J shall take a ball and place it under this cup” (C). ‘(Palm it instead.) “I shall now make it go to the middle cup, and there it is.” When lifting cup B to show ball, slip under it the one just palmed. “I take the second ball, and place it under this (A) cup,” (palming as before) “and it also goes to the middle cup.” When raising the cup to show balls, slip in the third ball. “I take the last ball and place it under the table, and make it go through the44 CUPS AND BALLS MAGIC table under the middle cup, and there it is.” Lift cup with left hand, withdrawing hand from under table, concealing the extra ball, and when replacing cup B, slip the extra ball under it. FIG.51 Move No. 7. Position: Cups in a row A, B, and C. A ball is on each of the cups. The hidden ball is under B. (Position, Figure No. 51.) “Now we will employ only two balls.” Take the ball which is on cup C and apparently put it in your pocket (palm it instead). Take the ball on cup B in the fingers of the left hand, show it, and at the same time, cover cup B with cup C, secretly introducing under it the ball you pretended to put in your pocket. Take the ball on cup A with the right hand, and showing the two balls, one in each hand, say: “Here you see two balls. I place them under this cup” (A). Place only the ball held in the left hand under the cup. “I draw one of the two balls out of the same cup” (A). Show it, and put it on cup C. Lift up cup A, and take the ball from under it with the right hand, and say: “That leaves only one. Here it is, and I shall replace it under the same cup” (A), (palm it instead) “and I take it out.” Show ball at tips of fingers. Take one of the two balls, the one on cup B and apparently, put it in your pocket, palming it instead. Bring out right hand containing the palmed ball, lift up cup A, putting this cup on cup B and cup C, secretly introducing the palmed ball between A and B. Move No. 8: To make the same ball pass through the three cups. Position: Cups are nested, a ball is hidden under each cup. Only one ball is visible, and the audience is to be led to believe that only one ball is being used. Position No. 52. “T take this ball, and I drive it through the top of the uppermost cup.” Palm ball. Raise cup A with the right hand, show that ball has passed between A and C, Then returning it to its place on the table, slip under it the ball concealed in your hand. “TI takeCUPS AND BALLS MAGIC 45 oy FIG.52 this same ball, and I drive it through this other cup” (C). Palm it instead. Raise the cup C and show that it has passed through it. Place cup C on the table along side of cup A, and slip under C the palmed ball. “I take this same ball once more and drive it through this last cup” (B). Palm ball as before. Raise the cup B, take away the ball which is under it with the left hand, and place it on cup A. While replacing cup B with the right hand, slip the palmed ball under it. FIG. 53 Move No. 9: To pass the balls under two cups, then under the third cup, without raising the two cups. Position: Cups are in a row, A, B, and C. A ball is under each cup, one ball is on A. Position, Figure 53. Two balls are taken openly from the pocket and placed one on B, one on C. Six balls are really used, but only three are apparently employed. Position as in Figure No. 54: “We shall now use the three balls again. Notice we have a ball on each cup. I take this ball (C) and drive it through the cup” (C), (palm instead) “there it is, under it!” Raise the cup, show ball, and slip the one in the hand under it. “I take this other,” (the one on cup B) “and I drive it through” (palm instead) “the same cup” (B). Raise this cup, show the ball under it and cover it up again. “I take away (Article No. 23) this same ball from this same cup” (B) “and I drive it through (palming) this one (C), and you will observe it has reached its destination.” Raise46 CUPS AND BALLS MAGIC the cup with the right hand to show the two balls under it, and cover it once more adding palmed ball. Take ball from cup A, drive through top, show ball under cup, cover ball. “Again I draw a ball through the top of a cup,” (Article No. 23, used for cup A) “and drive it through this cup (C), you may convince yourselves that it is there.” Raise cup C, show the three balls, and slipping under it the one concealed in the hand, as you put the three on the table. Move No. 10: To make three balls pass consecutively through each cup. Position: Cups are in a row A, B, and C. A ball is hidden under each cup. Place a ball on top of each cup. Position, Figure No. 54. To make this next move, it is best to use the pass described in Article No. 8, and in Article No. 41, Figure No. 31. “T take this ball (C), place it in my left hand (Article No. 8), and throw it under the same cup. There it is!” Raise the cup, take away the ball, secretly introducing the palmed one when returning cup to table, as in Article No. 41. Now put the ball back on the same cup. Repeat this same move for cup B, then for cup A, leaving the three on top and three underneath. Move No. 11: To make the balls pass through two cups. Position: Cups are in a row A, B, and C, with three balls on the cups and three underneath them. Position, Figure No. 54. “T take these three balls, and put them back in my pocket.” Keep one of the three balls in your hand. “Immediately they leave my pocket and go back again under the cups.” Lift the cups, showing the balls beneath them. Cover A and B balls with their own cups, and place ball from under cup C on top of it. Cover both cup C and ball with cup B, secretly adding the palmed ball whichCUPS AND BALLS MAGIC 47 is in the right hand. “TI take this ball,” (The one which was under cup B) “and throw it between these two cups.” Palm as in Article No. 8. Raise the cup B and show ball. When replacing cup, secretly add the ball in your hand. Repeat the same move with ball A. Raise the upper cup B, show the three balls on the top of cup C, and cover them again with cup B. Be Move No. 12: To draw out three balls through two cups. Position: Place cup A on top of cup B, leaving three balls between B and C. One ball is concealed in the right hand. Posi- tion of cups, Figure No. 55. Now apparently draw a ball out from the cups. Show ball in your hand, pretend to place it in your pocket. Again apparently draw out another ball, showing the same ball, which you pretend to place in your pocket as before. Once more you apparently draw out the third and last ball. This time you actually leave the ball in your pocket. You now wish to show that the balls are no longer under the cups. Lift cup A with the left hand and put it in its place on the table. Lift cups B and C with right hand, tilting both cups away from you. Put down B quickly with left hand; and at the same time place C on the table which contains the balls. If using sponges, you will find the sponges will jam together in the top of cup, and therefor you can hold cup mouth downwards instead of tilting. O58 Move No. 13: To pass three balls, at one stroke, through a cup.48 CUPS AND BALLS MAGIC Position: Cups are in a row, A, B and C. Three balls, unknown to the audience, are under cup C. Position, Figure No. 56. “J shall take these three balls,” take them from your pocket and place on cup B, “‘and I take this cup (A), and cover them. I order them to disappear and to pass under this other cup” (C). Hastily withdraw cup B with the left hand, as in the preceding trick, leaving in the center of the table cup C, under which three balls will be found. “Here they are already, under this cup.” (C): Cup C is between the other two, but will now be referred to as the middle cup B. The hidden balls are under the end cup C. Now take the three visible balls, place them on cup B; let them be found again, in the same way, under cup C. Finally take the three balls, and put them back in the pocket, pretend to make them pass invisibly under the cup where the other three balls still are. Put back two of these three balls in your pocket. You now take out two white balls, which you put on the table. FIG.57 oor Move No. 14: To pass three bails fm one cup to another. Position: Cups are in a row A, B, and C. The black ball and two white balls on the table (Position, Figure No. 57) and one black ball hidden in the hand. “You see that there is nothing under this cup” (C). Intro- duce the black ball palmed in the hand under it. “There is nothing under this one (B), so I will place under it these three balls.” Hold back and palm one white ball. “And there is nothing under this cup” (A). Introduce the concealed white ball under this (A) cup. “I command one of these two white balls, which are under the middle cup, to pass under the end one” (A). Lift cup B and take the white ball in the fingers of the left hand, and the black one in the fingers of the right hand; show them, saying, “You will observe that there is now only one white ball. I will put these two balls back under the middle cup.” Put back only the white ball, palming the black one. “And, there it is, under the end cup.”CUPS AND BALLS MAGIC 49 Raise cup A and show white ball: slip the black ball under it when you replace the cup. ‘Now, I will command the black ball to pass under this cup” (A) Lift cup B to show black ball has vanished, stealing white ball as the cup is returned to the table. “I shall leave that ball under the middle cup and show you that the black ball has traveled to the end cup” (A). Lift cup A, show ball, and slip in the white one concealed in your hand. “I now order the white ball, the one under the middle cup, to pass to the end cup, and there it is!” Lift cup. show the balls, place a ball on each cup. the black ball on the middle cup. FIG. 58 A & Cc Move No. 15: To make the balls change color. Position: Cups are in a row A, B, and C. A hidden ball (black) is under cup C. The white balls are on cups A and C. The black ball is on cup B. Position, Figure No. 58. Please notice that there are two white balls and one black. “T take this white ball,” the one on cup C, “‘and I throw it into the cup” (C). Palm it instead. Take up the black ball with the left fingers, lift up the middle cup to show there isn’t anything under it, slip in the white ball. The ball in the left hand is transferred to the right hand. Now, apparently, throw the ball into the middle cup, palming as before. Take the ball on cup A with the fingers of the left hand, lift up cup with the right hand to show that it is empty; and on replacing cup, slip under it the palmed black bail. The remaining ball in the left hand is, also. apparently thrown through the Cup A. “You will see that when I lift the cups the two white balls will have changed to black and the dark ball will have turned white.” Lift cups to show the balls, and cover each of the balls with its cup again. * * * From here you may make any finish you see fit, as one could go on almost indefinitely with a routine.50 CUPS AND BALLS MAGIC ARTICLE No. 50 COMEDY CUPS AND BALLS This comedy version of the “Cups and Balls” is suitable for club or stage. The actual performance of the trick is easy enough, but some care must be taken with the previous preparation, in order to be certain of producing a perfect result. Because the performer employs two assistants (stooges), it is essential that this routine be rehearsed by all concerned. The success of the trick depends on the action of the stooges. The essential apparatus consists of three quart size paper cups, four lemons, and a special table (or a board) with a hole in the center, and a wire basket. Three of the lemons are hidden, one in each cup, suspended from the bottom of the cup by a long pin, as in Figure C. The other lemon is then placed in the performer’s right pocket. Cups are placed on the table in a row, as in Figure A. A wire basket is fastened under the table, as in Figure B, so when a lemon drops through the hole, it will fall into the basket. It is most important that the set-up be arranged so that the audience can see the lemon fall. Briefly stated, the effect of the routine and the working of it is as follows: Performer enters stage, stands behind the table, takes the lemon out of his pocket and holds it up in the air, so all may see. Having completed this introductory process; the performer proceedsCUPS AND BALLS MAGIC 51 to explain the object of his performance. “Ladies and getlemen, with or without your permission, I propose to exhibit a little experiment, which will show you that the quickness of the hand deceives the eye. I shall use three cups, such as these.” Lift up each cup and replace in same position. “My object is to place this lemon under one of the empty cups, move the cups around, in this fashion, and give you the opportunity of trying to pick out the cup which covers the lemon. Now, if you were betting, and you picked this cup, you would win.” The performer picks up the cup over the lemon to illustrate his point. Then he repeats practically the same move, using slightly different patter. At this point, the two stooges come in. They saunter out on the stage, pause to watch the performer, and because it is so ridicu- lously simple to find the lemon, one decides to make a bet. He borrows the money from his friend and lays the money on the table. The performer places the lemon under one of the cups and moves the cups around, bringing the cup that covers the lemon over the hole, so the lemon will fall into the basket. The performer lifts the selected cup to prove the lemon isn’t there. During the previous move, the stooges are standing off to the side so that they can’t see the lemon fall. As the stooge goes over to console his friend and while his back is turned to the performer, the performer openly reaches through the hole and takes out the lemon from the basket and repeats his opening remarks. The stooges decide to bet again, and again they lose. Once more they bet, but this time the stooge who was standing away from the table saw the lemon drop. He calls his friend over and whispers in his ear. While the performer has his side turned to the table counting his money, the two stooges go through the same move, letting the lemon fall into the basket. They now offer to bet the performer that he can’t pick out the cup covering the lemon. The lemon is placed under one of the cups, and the cups are moved by one of the stooges, and the lemon drops into the basket. Bets are made, and one of the stooges slyly lifts up the cup which was over the lemon, and, of course, the lemon isn’t there, so he decides to double his bet. After doing so, he lifts up another cup. He sees there isn’t any lemon under this one, and he puts more money on the table. The betting stooge lifts up the last cup to be sure there isn’t any lemon there. Again he bets, this time all of his money. (During the time he was lifting the cups he pulled out the pins, letting the hidden lemons fall. It was52 CUPS AND BALLS MAGIC covered by the cup before the audience could see it.) The performer now picks up the middle cup, exposes the lemon, picks up the money and walks off the stage. The two stooges are standing on each side of the table. They look at each other and look under the table at the basket. The stooge on the right lifts up the cup nearest him, exposing the lemon. The other stooge takes up the cup nearest him, exposing the other lemon. They both stand there looking very silly. A rain of lemons drop from overhead and fall on them. This is accomplished by having a paper bag of lemons tied to one of the props overhead. A stout thread is tied to the end of the bag, and at the proper time, the performer pulls the thread, tearing the bag and letting the lemons fall. ARTICLE No. 51 THE CONE AND BALL TRICK This is an excellent table trick, requiring skill in palming and passing, etc. The cone is made out of stout cardboard, such as in Figure No. 60. FIG 60 bp Two rubber balls are used. If you drop a rubber ball into the cone, you will find that it will stick there. To release the ball, place the cone down upon the table smartly, which will dislodge the ball. The routine is as follows: One ball is hidden in the cone, another is placed on the top of the cone, see Figure No. 60. First, prove the cone empty by simply lifting with the left hand the cone with the ball upon it, then bring the cone down upon the palm of the right hand, the ball, wedged inside of the cone, will fall into the palm of the hand. It is instantly palmed, and the back of the right hand turned towards the audience. Tilt the cone over so the audience can see the inside. After showing there is nothing in the cone, reverse the cone so it will be directly over the ball in the right hand.CUPS AND BALLS MAGIC 53 Right hand holds the cone, as you remove the bali from top of cone with the left hand. While attention is being drawn to the ball, drop the palmed ball into the cone as in Figure No. 60, replace the cone upon the table so as to dislodge the ball. You now state that you are going to make the ball pass invisibly into the cone. Use any pass you wish to get the desired effect. Lift up cone and show the ball. This routine is in its simplest form. It is surprising what an elaborate routine can be developed by a series of combination moves. ARTICLE No. 52 SILENT ROUTINE Under certain conditions it is impossible to talk your routine. This is especially true in the larger night clubs. In fact, some spots will not permit any talking. A careful study of this book will enable you to assemble a routine which will overcome this predicament. We would suggest, however, that you make it short and snappy. A suggested routine follows: Show the cups empty, place in a row A, B and C. As each cup is placed upon the table, slip under it a red rubber ball. You now have the cups in a row, with a red ball under each cup. From under your vest, secure and palm a “fake” egg, preferably a rubber one. Lift up cup C with the left hand so the audience can see the now exposed red rubber ball, right hand picks up the rubber ball leaving the egg under the cup. Use the method as in Article No. 41. Bounce the ball upon the table, catch it with the right hand, place the ball into the right side pocket, leave it there, and bring out palmed another rubber egg, lift Cup B with the left hand to show red ball, load egg and remove ball, bounce it and place it into the right side pocket, palming another rubber egg as you remove the hand. Proceed to cup A, and load as before. As situation now stands, you have an egg under each cup, and a ball in your hand, transfer the ball to left hand, place the ball into the left side pocket. In this pocket you have three chicks. You are now ready to load the chicks. Lift up cup C with right hand to show egg, loading chicks as in Article No. 34 or Article No. 38. This routine is short, snappy and carries a punch finish, and it should be worked accordingly. Some performers have larger54 CUPS AND BALLS MAGIC size cups, so the following effect can be produced. One cup is so constructed that two chicks are in the top. This cup is nested into the other two, and to all appearance it seems innocent. By releasing a catch the two chicks drop onto the table. ARTICLE No. 53 THE CUP AND BALL VASE A very old, and a wonderful trick. The apparatus being a small wooden vase, and a red wooden ball. The vase is so constructed that by removing the top of vase a fake ball is now visible, and to all appearances it looks like the genuine one. The effect is as follows: The cover of vase is lifted showing a small ball, the ball is removed, and the cover is replaced. You now make the ball travel invisibly to the vase. Remove cover and show ball. (This ball is the “fake.”) The only drawback to- this trick has been that you can’t let the audience examine the ball and vase. However, the following routine will overcome this. ROUTINE: Lift up with left hand complete cover to show ball in vase. Take the ball in the right hand, replace the cover. Make your “pass,” leaving the ball palmed in the right hand. With the left hand remove the top part of cover, which will leave the “fake,” and it looks as if it were the real ball. Now replace the top over the “fake.” Te € You now state that you are going to make the ball leave the vase. Lift up the complete top cover, with the left hand, showing that the ball has vanished. Reach over with the right hand (which contains the palmed ball), and remove it (apparently) from under some gentleman’s coat, and at the same time the left hand which is holding the top cover travels to the left side pocket, the left thumb pushes off the “fake” portion so it will fall into the pocket.CUPS AND BALLS MAGIC 55 You now offer to repeat the trick. The next move depends upon pure sleight-of-hand alone, but fortunately the moves are easy. Replace the top (“fake” is in the pocket) show the ball in the right hand. Apparently place the ball into the left hand, the left hand closing as if containing the ball, ball is palmed in the right hand. You now say that you are going to show that there is nothing in the cup. Lift up top between the first and second fingers of the right hand, as attention is directed towards the bottom portion of cup, bend the fingers so you can drop the ball in the top portion of vase. See Figure No. 61. Replace the top rather smartly so the ball will not fall out. Make a throwing motion with the left hand towards the vase, and lift up top and show ball. Do not be deceived by the simplicity of this trick. Properly executed it is remarkably effective. ARTICLE No. 54 ROUTINE WITH LIQUIDS End your routine by exposing three drinking glasses from under the cups, then pour a drink from each cup into the glasses. The entire routine is performed using three special cups. We suggest “Kanter’s Cups and Balls with Liquor chaser,” made specially for this effect and entirely self-contained. The cups are loaded with colored liquid. At the proper time load a glass into each cup. Just remember when you are ready to pour liquids into glass they should not be produced upside down. Naturally, some care must be taken in loading so that the glasses will not talk. It is possible to get glasses that nest. You should experience no embarrassment by a conspicuous bulge in your clothing, especially if you wear tails. As you lift each cup to show glass, set cups face up, remove the wax or tape, releasing the liquid into the cup. By the time you return to the first cup enough liquid will have entered the cup to pour into the glass. You can use beer powder in the glasses, so that when the liquid is poured, you can show three foaming glasses of beer. You might try loading three ice cubes, after producing three glasses, then the liquids. Novelty stores carry “fake” ice cubes. Glasses may also be ‘oaded from servante as in Figure No. 26.56 CUPS AND BALLS MAGIC ARTICLE No. 55 SPONGE BALL TRICK ‘This is a good table trick—especially for the night club performer. The magician is often asked to a table, and called upon to do something. You begin by wrapping a glass in paper. See Article No. 56. Now secure and palm in your right hand one of three sponge balls. Reach into the air with the left hand, and grasp an imaginary object. Bring both hands together as if you were receiving something from the left hand, expose ball in right hand. While attention is on the sponge ball, steal and palm another ball with the left hand, close the left hand containing the hidden ball into a fist, push the visible ball into the left fist. Roll both hands together, and then show the two sponges in the left hand. You remark that one ball is longer than the other, so to keep both balls of equal size you will remove a little piece. By this time you have secured and palmed another ball with the right hand. As you make the foregoing remarks, with the right hand apparently pick off a small piece from either of the two sponges. Squeeze the sponge in right fingers as if it were a small piece, and show it. You now remark that you did not remove enough, therefore you will make both sponges equal in size by adding the small piece to the other ball. Make a throwing motion with the right hand, a the ball as you do so, and show both sponges in the left “To make this trick complete I shall roll the two sponges together and make three out of them.” Place both hands together and make a rolling motion, and then expose the three sponges. From here you may go into a cup and ball routine, using the paper-covered glass. See Article No. 56. ARTICLE No. 56 THE PAPER COVERED GLASSES This is the last article, and, as in every cup and ball routine, we will give you a “smash” ending here. It is possible to use three drinking glasses, wrapped in paper as in Figure No. 62, and perform a routine. At the conclusion of routine you smash the paper down against the table and the glassesCUPS AND BALLS MAGIC $7 have vanished. This is accomplished by either dropping the glasses into your lap (if seated at a table), or you may drop them into your side pockets as in Figure No. 62. Another method is to use only one covered glass. After wrapping the glass, take two sponges from your pocket, showing only one. Slip the palmed sponge under the glass, make any ‘“‘pass” you wish with the visible ball, lift the glass and paper with the left hand showing ball, slip palmed ball under glass as you return it to table. You now say you will place the ball into the left coat pocket and you will make the ball leave the pocket and fly back to the glass. As you leave ball in pocket bring out a lemon, and as the cup is lifted with the right hand to show the ball, load the lemon into the glass. You now offer to repeat the trick, place the ball into your pocket, lift up glass with right hand while the attention of the audience is directed on the now exposed lemon, release the glass from under the paper wrapping into the pocket, as in Figure No. 62. Then smash your paper down on table. Another wonderful trick which can be performed with the covered glass is known as the glass through the table. We think it is an improvement over any known method. Before proceeding with the description of the trick, we wish to state that it is important to wrap the paper quickly and neatly around the glass, as it adds to the effectiveness. You can learn the trick in a few minutes, but it will take you quite some time58 CUPS AND BALLS MAGIC before you can wrap the paper around the glass neatly and quickly without any fumbling. So, be sure to get the correct size of paper, then practice wrapping the glass. After wrapping glass set off to one side. Spread a handkerchief or napkin upon the table and ask for a coin. Take coin in right hand, lift up corner of handkerchief with left hand, and place coin under the handkerchief. Let the handkerchief drop over the right hand before removing it. A “sucker” move is made here. Bring out the right hand as if you were trying to conceal the coin. Place the covered glass in the center of handkerchief. You now ask if every one is satisfied that the coin is under the handkerchief. If you execute the “sucker” move properly, some one is certain to say “No.” So you grasp paper cover and glass with right hand, and lift up the handkerchief with the left to show the coin. As attention is directed to the coin you release glass from under paper cover permitting it to fall into your pocket. See Figure No. 62. Return paper cover to table, BUT this time place it under the handkerchief, which will keep the paper cover from falling over. You now give the audience their choice of making either the coin or the glass to go through the top of the table. Do not wait for an answer. Quickly slip the glass out of your pocket, and hold it under the table, then say you will make the glass go through. Smash the handkerchief down, bring the glass up against the bottom of table rather sharply. Bring out glass and show. CAUTION —In presenting this effect the sharp knock of the glass against the under side of table frequently breaks it. If seated at the table it is a much easier matter to drop the glass into the lap. And as paper is smashed let glass drop to floor or produce from under cover.CUPS AND BALLS MAGIC To the reader: The original copies of this famous book on cups and balls used to carry, on this page, descriptions and price lists of the various props Kanter’s had for sale. We are now living in times of constant change, so we will use this page to tell you that we can supply an excellent line of Cups and Balls, plus many modern variations of same, like the Chop Cup, Don Alan Bow! Routine, etc.etc. We also have very fine sponges in various sizes for this kind of work. Write us and we will then be able to tell you, as of that date, what we have in stock and at what price. Good luck with your Cups and Balls! LEE GREYCUPS AND BALLS MAGIC

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