Lewis Ganson - Reelistic Magic

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Contents
REELISTIC MAGIC ............................................................................................................. 5
THE REEL ........................................................................................................................... 6
RE-THREADING THE REEL ............................................................................................. 8
KEN BROOKE'S METHOD FOR "THE UNTYING SILK" ............................................... 10
THE SELF-TYING SILK.................................................................................................... 15
THE UNTYING SILK AGAIN ........................................................................................... 16
PENETRATIONS WITH SILK .......................................................................................... 18
"RIGHT - THRU" .............................................................................................................. 18
"SILK - THRU - CANE" ..................................................................................................... 20
LIGHTNING CHAIR PENETRATION ............................................................................. 21
SINGLE HANDED CHAIR PENETRATION .................................................................... 23
REEL-LY PULLED APART ............................................................................................... 25
MORE MAGIC WITH SILKS ............................................................................................ 27
FLOATING SILK ............................................................................................................... 27
"REEL" 20th CENTURY SILKS ........................................................................................ 29
SUSPENDED CARD SILK ................................................................................................ 31
MAGIC WITH CARDS ...................................................................................................... 32
THE RISING CARDS ........................................................................................................ 32
RIBBON CARD .................................................................................................................. 35
MAGIC WITH ROPE ......................................................................................................... 37
"UNTYING ROPE" ............................................................................................................ 37
SNAP ROPE RESTORATION ........................................................................................... 37
THE DETERMINED KNOT .............................................................................................. 39
ACROBATIC KNOT ........................................................................................................... 41
THE INDIAN ROPE .......................................................................................................... 43
THE REEL-ING KNOT ..................................................................................................... 45
VARIATION OF "SNAP" ROPE RESTORATION ............................................................. 47
MAGIC WITH CIGARETTES ............................................................................................ 48
REPEAT VANISHING CIGARETTE ................................................................................. 48
WHERE’S THAT CIGARETTE? ........................................................................................ 50
MISCELLANEOUS MAGIC .............................................................................................. 51
"THE VANISHING BUTTON" .......................................................................................... 51
THE MAGNETIC WAND .................................................................................................. 53
3
RISING AND FALLING RING .......................................................................................... 54
“VANISHING COIN” ......................................................................................................... 55
THE FLYING NOTE .......................................................................................................... 57
THIMBLE VANISH ........................................................................................................... 58
BIRD CAGE VANISH ........................................................................................................ 60
A FOUNTAIN PEN VANISH............................................................................................. 61
DROPPED THIMBLE ....................................................................................................... 62
THE FLYING RING........................................................................................................... 63
THE ELUSIVE NOTE........................................................................................................ 65
4
REELISTIC MAGIC
Some of the excellent magical effects which can be produced with the aid of a reel have
been known to knowledgeable magicians for many years, but up to quite recent times a
good reel was a rarity. The few reels which were in existence had either been made by
magicians themselves, or to their special order by a skilled craftsman. Accordingly, a
reel was an expensive piece of apparatus, only procured by knowing the maker and
paying his price which, quite naturally, was calculated on the basis of his special
knowledge and skill, plus the many hours necessary to make and assemble each piece by
hand. If a performer had the opportunity of obtaining a reel and could pay the price, he
usually required it for an express purpose—to produce one certain effect. For these
reasons the number of effects produced with the aid of reels was limited, and as so few
performers possessed them, there was naturally little experimentation.
The time came when reels were made on a more mass produced basis, allowing them to
be sold at a price within the reach of the majority of magicians. Most of these cheaper
reels were adequate for the purpose and with so many more performers using them, the
number of different effects increased fairly rapidly. Having been introduced to the magic
of reels, it was natural for discerning performers to value reels which were certain in
operation, worked smoothly and silently and which could be re-threaded easily without
having to be returned to the maker. To fulfil this requirement the "Unique" range of
reels was introduced—reels made individually by a master craftsman yet produced in
sufficient quantity to make it possible for them to be sold at an economical price.
Descriptions of the various types of reels will be found elsewhere in the book, but at the
moment we will concern ourselves with the Controlled Finger Reel.
LEWIS GANSON.
5
THE REEL
The UNIQUE CONTROLLED FINGER REEL consists of a small metal case, housing a
spring loaded drum, upon which is wound a length of thread. The thread exits through
an eyelet in the case and to its free end is fastened a small metal "tag" or clip. The main
purpose of the "tag" is to prevent the thread being drawn completely within the case. It
has other functions as will be seen later.
Figure 1 shows the Reel with the finger clip attached. The clip is grasped between the
second and third fingers and enables the Reel to be held concealed in the palm, yet be
completely invisible from the back of the hand which is the view seen by the audience
when the Reel is in operation (Figure 4).
If the "tag" is drawn away from the case this causes the drum to unwind against the
tension of the spring until the full length of thread is outside the drum. When released,
the spring will cause the thread to be drawn back into the drum until the tag comes to
rest against the eyelet.
Located in the side of the case opposite the finger clip will be found a loose "brake
plate". Pressure upon this will prevent the drum revolving and thus any length of thread
may be permitted to remain outside the case at will. Releasing pressure on the "brake
plate" causes the slack thread to return soundlessly to the case.
As will be seen from Figure 1, the "brake plate" is conveniently situated for the thumb to
exert the necessary pressure upon it.
Should it be considered necessary, a small wedge shaped piece of wood can easily be
made (Figure 5A). This may be inserted in the Reel (Figure 5B) after any necessary
6
length of thread has been withdrawn, and thus set, be laid aside until required. In some
effects this may be found more advantageous than the setting of apparatus before an
audience, especially where the effect has its place somewhere in the middle of the
performer's programme.
7
RE-THREADING THE REEL
Although the thread supplied in the reel is extra strong, and should stand up to many
hundreds of performances without signs of wear, it is obvious that continued usage will
eventually take its toll.
Replacement, however, is quite simple. Always use SILK TWIST, its smooth surface
offers less friction in working.
Remove the cover of the case (the side with the "brake plate"). Take out the "brake
plate". Beneath this you will see the drum. Remove the old thread from its point of
attachment. Now lift the drum right out of the case. Reference to Figure 3 will show how
one end of the spring is soldered to the circumference of the drum. The other end (loose
when the drum has been taken out of its housing) rests in the slot of the centre pivot.
(Figure 3.)
Tie an end of the new thread to the small hole on the drum from which you removed the
old thread, making sure that the knot comes on the INSIDE (within the circumference of
the drum). Now wind the thread round the drum. Important: The thread must be
wound in such a direction that when it is later UNWOUND, the spring will automatically
WIND UP. This can easily be checked.
Lead the loose end of the thread through the eyelet from the inside. Now replace the
drum in the case. Take up some of the tension on the spring by winding it slightly, then
slip the loose end into the slot in the spindle.
Actually these last two actions take place simultaneously. It is difficult to explain, but
will become readily apparent with the component parts of the Reel in hand.
Check the tension of the spring by drawing the thread out and allowing it to go slowly
back. If greater tension is required, slip out the end of the spring, wind it up a little more
and replace. Cut the thread to the required length, and fasten on the tag (the tag should
be drawn tight against the eyelet when at rest).
Now replace "brake plate" and cover. The reel is now ready for use.
Never allow the thread to spring back into the case. Always let it go back
under control, that is by easing the thumb pressure on the "brake plate".
The use of the Utility Reel makes possible many apparently miraculous effects which are
in a class of their own. We have gathered from various sources some of the best material
available on the subject, but the practical performer will quickly appreciate the
possibilities of the Reel and adapt it for use in many of his own routines.
8
Acknowledgements to Albenice — Ken Brooke — Spalding — Henry Bohlen — John
Kenyon — Wilfred Bader — Nat Louis — Janies Herpick — H. Trixer — Rex Reveen —
Tony Griffith — Lewis Ganson and George Hammerton.
9
KEN BROOKE'S METHOD FOR "THE UNTYING SILK"
The Untying Silk is one of the most popular effects in which a reel is used. Several
explanations have been given for its performance, all differing only to a small degree.
The method KEN BROOKE uses has stood the test of being performed before audiences
many hundreds of times. It is quite easy to perform once the method of tying is
understood, and to make the reader’s task as easy as possible, we have provided
photographs from which each action can be clearly seen.
Effect: The performer ties a knot in the centre of a silk handkerchief. Whilst holding
one corner of the handkerchief between the right thumb and forefinger, with the corner
diagonally opposite hanging down free, the free end begins to rise in an uncanny
manner. It travels upwards, through the knot, then falls, causing the knot to become
untied without any apparent action on the part of the performer.
It is a most uncanny effect which appears all the more remarkable because the serpent-
like movements of the silk are visible to the audience and appear to happen without
being controlled in any way by the performer.
The Apparatus: (a) The Handkerchief: Ken Brooke uses a green silk handkerchief,
twenty-four inches square. He ties the tiniest knot possible in one corner of the silk,
right at the corner, pushing the knot up until no free end is showing.
(b) The Finger Reel. Ken finds that, when performing the untying silk effect, it is
desirable to remove the tag and to sew the free end of the thread directly onto the tiny
knot that has been made in the corner of the silk, cutting off any surplus thread. By
removing the tag there is nothing to get caught up when the untying effect is being
performed.
When attaching the thread to the silk, see that a sufficient length of the thread is pulled
out from the reel to ensure that after the end of the thread has been sewn to the tiny
knot and the thread released, there will be sufficient tension on the spring of the drum
to wind up the thread and pull the corner of the silk right up to the eyelet in the side of
the reel, through which the thread passes.
On the back of the reel is a clip which when gripped between the fingers, enables the reel
to be held securely. It is a matter of preference whether this clip is retained or not. Ken
has removed his as, through constant handling, he finds that it has become a simple
matter for him to hold the reel without the clip. However, it is suggested that this is left
on until the reader has mastered the moves, then he can decide if he finds the clip
necessary or not.
With the silk and reel on the table or in a pocket, all is in readiness for the performance.
To ensure that the reel can be grasped easily, it should be on top of the handkerchief.
10
Performance: The photographs have been taken from over Ken Brooke’s shoulder so
that the view is the same as seen by him. For clarity, the direction of the thread has been
emphasised by means of dots which have been added to the photographs.
To commence—the reel and the corner of the handkerchief to which the thread is
attached, is picked up by the right hand.
The diagonally opposite corner of the handkerchief is taken in the left hand, and by a
winding action by both hands, the silk is twirled until it becomes rolled into a sort of
loose rope. Only a few twirls are necessary as it is not desirable to have the silk rolled
tightly.
Photograph 1. This shows the position for holding the reel and silk at the
commencement of the actions for forming the knot. Note the position of the reel in the
right hand with the end of the silk pulled right up to the eyelet in the side of the reel. The
opposite end of the "roped" silk is held between the thumb and forefinger of the left
hand, whilst the centre of the silk hangs down in front of the body.
PHOTOGRAPH 1.
PHOTOGRAPH 2.
Photograph 2. Bring the right hand behind the left hand (towards the body), then pass
the silk over the left wrist and move the right hand down and to the right again. During
11
this action, the corner of the silk in the left hand has been clipped between the left first
and second fingers and the thumb has been removed.
The photograph clearly shows the position at the conclusion of these actions.
Photograph 3. Bring the hands together to enable the left forefinger and thumb to
take the corner of the silk from the right hand whilst the RIGHT THUMB takes the other
corner of the silk from the left hand and holds it AGAINST THE BRAKE PLATE OF THE
REEL.
PHOTOGRAPH 3.
Holding the corner of the silk against the brake plate is most important as it is the
control over the speed at which the reel winds in the thread that helps to make this such
a weird effect. Slow and smooth movement gives the effect beauty, whilst a quick jerky
action completely destroys the illusion.
The photograph shows how the right hand corner has been taken by the left thumb and
forefinger, but the action of holding the left hand corner against the brake plate by the
right thumb has been omitted for clarity. This can be seen in Photographs 4 and 5.
It will be noticed that the portion of the handkerchief that was placed over the wrist has
been allowed to slide onto the left thumb.
Photograph 4. This photograph makes clear the position of the right thumb holding
the corner of the silk against the brake plate. In addition, the corner of the silk in the
LEFT hand has been drawn through the THIRD AND LITTLE FINGERS and the thread
manipulated so that it passes over the fingers of the left hand. Pull on the thread by
moving the hands apart and, because the two corners of the silk are held, one in each
hand, a knot will be made with the thread running THROUGH IT.
12
PHOTOGRAPH 4.
Photograph 5. The position of the thread over the left fingers, and the way in which
the corners of the silk are held, can be seen clearly in this photograph. The dotted line
shows up the thread which is now being pulled out from the reel as the drum unwinds.
PHOTOGRAPH 5.
Photograph 6. The hands have continued to move apart and the loop of the knot can
be seen to be becoming smaller. It is most important that the thread remains over the
left first and second fingers, as this provides a little extra "slack" to the thread and
prevents the end of the silk turning upwards prematurely when this end is released.
Notice how the first and second fingers are extended somewhat to gain this "slack".
PHOTOGRAPH 6.
13
Photograph 7. Drop the RIGHT hand to a position level with the waist and raise the
left hand directly above it. The silk is now in a vertical position. Notice how the thread
still passes over the left fingers.
During the turning action of the hands and silk, extra slack is obtained if required.
The knot in the silk is NOT pulled tight; it remains as a loop although it may fall against
the vertical position of the silk.
PHOTOGRAPH 7. PHOTOGRAPH 8.
Photograph 8. Reverse the position of the hands and silk. The reel will still be in the
right hand of course, but this hand will now be at the top. Remove left hand completely.
After a pause to permit the audience to see that a knot is in the silk, slightly relax the
pressure of the thumb on the brake plate. The fact that the corner of the silk rests on the
plate enables this to be done without any apparent movement of the hand or fingers.
As the pressure is slowly released, the drum begins to wind in the thread, pulling up the
bottom corner of the silk as the thread is taken into the reel. The bottom corner of the
silk will travel upwards, pass through the loop in the silk, then, as it almost reaches the
reel, the corner of the silk in the right hand is dropped. The silk is now hanging
downwards again, without a knot in the middle and the audience has seen it slowly untie
itself. The fact that the end in the right hand is the threaded end which was previously at
the bottom, is never noticed.
It is emphasised that to obtain the maximum effect, it is essential that the thread is
allowed to wind in slowly and smoothly, then the upward movement of the bottom
corner of the silk and the untying of the knot, has the appearance of a serpent uncoiling.
14
THE SELF-TYING SILK
Effect: The effect of this is exactly opposite to that of the previous one.
The performer drapes a twisted silk over the back of his hand. In a flash, the
handkerchief ties itself into a knot.
Requirements:
 A Unique Controlled Finger Reel.

 A twenty-four inch silk.
Preparation: Remove the "tag" from thread and sew the loose end of the thread to one
corner of silk as in the previous effect.
Method: Twist the silk into a rope as before. The right hand holds the reel and the silk
in the position shown in Figure 1.
Grasp the attached corner of the silk with the left hand, and pull it with the thread
towards you over the right thumb and down to the position shown in Figure 2. At the
same time hold the thread between the right thumb and middle finger as shown. With
the left hand, reach between the silk and thread and pull through the short free end of
silk and hold it. (Figure 3.)
Quickly release the thread and tip the right hand downwards at the same time. The
action of the reel will cause the attached end of the silk to come up through the loop and
finish up snugly against the concealed reel. Tipping the hand causes the silk to slide off
the hand and a knot is thus formed in the centre of handkerchief. The moment that the
attached corner of the silk reaches the reel, your right fingers curl round the silk to hold
it, and you let go of the lower corner dropping your left hand so that it seems as though
the knot was tied while the silk was held by the lone right hand. (Figure 4.)
15
THE UNTYING SILK AGAIN
Effect: This is a variation of the Untying Silk, but in this version, a most effective one,
the knot unties itself while the two ends of the silk are held in the hands.
Requirements: As before.
Method: The silk is twisted rope fashion, and the knot tied exactly as in the Untying
Silk, then the ends of the silk are held one in each hand, and the knot displayed as in
Figure 1.
The ends of the silk must now be switched, and this is done in the following manner.
The left hand places its end of the silk in the right hand which now holds both ends, the
knot hanging below as in Figure 2. The right thumb and forefinger hold the thread and
the corner of the silk to which it is attached.
16
The left hand now takes the free end of silk and both hands again hold the silk which
appears as in Figure 3, but the path of the thread has been changed by this switch of
ends, the thread making a loop as it goes from the corner of the silk in the right hand,
through the top part of the knot, and back to the reel.
Let go of the end of the silk in the right hand, and the reel rapidly pulls it through the
loop and back to the same hand, the knot appearing to visibly untie itself, since the
action is too fast for the eye to follow.
17
PENETRATIONS WITH SILK
"RIGHT - THRU"
Effect: The performer holds a silk by one corner in his fingertips. He lowers the free
end of the silk through a steel (or wooden) ring held horizontally by the other hand. The
hand holding the ring moves it up and down the centre of the silk once or twice, then
suddenly the ring visibly melts through the silk.
Method: The reel is held in the right hand in the standard position, between the second
and third fingers. With the back of the hand towards audience and fingers pointing
downwards, the silk is dangled at the fingertips. The left hand holds a ring (about ten
inches in diameter, such as used for the Linking Rings). It brings the ring over in front
of the silk so that the fingers of the right hand can grasp the ring at a point near where it
is held by the left fingers (Figure 1).
As the right fingers take hold of the ring, the left fingers let go and quickly reach in
through the front of the ring, grasp the attached end of silk, which is brought through
the ring from back to front and is then returned to the right fingers. The left hand, at the
same moment, takes hold of the ring again.
These moves all blend into one and take but a second to do.
The right hand is held still while the left moves the ring down and up the silk several
times for a distance of five or six inches. This action proves beyond any doubt that the
ring is actually round the silk (which it is, of course).
18
This action causes the thread to be drawn out of the reel on each downward movement,
and to return to it on each upward movement. The position is as in Figure 2, which
shows the side view with the thread slackened for the sake of clarity.
Suddenly, at the bottom of one of the downward movements, let go of the thread in the
right hand. The attached end of the silk will fly down through the ring and back to the
reel concealed in the right hand. The right hand still appears to be holding the end of the
silk, and the ring, now free, is drawn away by the left hand and displayed.
19
"SILK - THRU - CANE"
Effect: The performer holds a large silk handkerchief by diagonally opposite corners,
stretched out in his hands. His assistant holds a cane directly above it. The handkerchief
is now caused to visibly penetrate the cane.
Method: Have the reel in the usual position in the right hand. With the back of the
hand (fingers downwards) to the audience, display the silk at the fingertips (Figure 1.).
Take the attached corner of the silk between the left forefinger and thumb and draw the
silk towards the spectators, keeping the right hand stationary. This causes some thread
to be drawn from the reel. The assistant now holds a cane horizontally in front of you.
The cane is UNDER the thread, and between the silk and your body.
The attached end of the silk is now passed under the cane and placed in the fingers of
the right hand. The fingers of the left hand are run down the silk till they reach the free
end, which they grasp, then bring forward. The position now is as in Figure 2.
Slacken the silk a little, release the pressure on the reel control, then lift both hands
until the silk is above the cane.
20
LIGHTNING CHAIR PENETRATION
Effect: This is similar in effect to "Silk-Thru-Cane", but in this instance the silk passes
through the top rail of the back of a chair. It can be performed without the aid of an
assistant.
Requirements: As before but, of course a chair with an open back and having a top
rail is also required.
Method: Stand behind the chair. The reel is concealed in the usual position in the right
hand. Dangle the silk on (your) left side of the chair back, waving it to and fro slightly.
Figure 1.
Say, "If I wanted to pass this silk handkerchief through the back of this chair, this would
be the simplest way to do it". The following actions are synchronised with the words.
The left hand takes the attached end of the silk from the right, and the hands are
separated, drawing out a length of thread from the reel. Figure 2.
Replace the attached end of the silk in the right hand PASSING IT UNDER THE TOP
RAIL OF CHAIR, and immediately slide the left hand along the length of the silk until it
can grasp the free end (Figure 3).
Raise the hands until the silk forms a "V" shape between the top bar of the chair and the
hands (Figure 4). Slide the silk back and forth impressing upon the audience the fact
that the silk IS actually under the top rail of the chair.
Say, "Being a magician, I find this way just as easy". Drop your hands a little so that the
silk is not pressing tightly against the underside of the chair rail . . . and release the
21
attached end of silk in the right hand. The silk shoots under the chair rail and back to
the right hand. Lift the hands high above the chair back. Figure 5.
22
SINGLE HANDED CHAIR PENETRATION
Effect: The effect is similar to the previous one. The performer holds both ends of a silk
in one hand, permitting the loop of the silk dangling from his hand to sway against the
upper rail of a chair back. Suddenly the silk penetrates the woodwork and performer
may lift the chair, suspended on the handkerchief.
Have the chair FACING the audience on this occasion.
Method: Have the reel in the usual position in the right hand, the silk hanging down
from the fingers. Stand at side of the chair with your left side to audience. Hold the right
hand about a foot above the chair back so that the silk hangs BEHIND the chair (Figure
1).
Say, "If I wanted to pass this silk handkerchief through the chair back, this would be the
simplest way". Suiting the actions to the words, you make the following movements
which should all blend into one.
Lower the right hand until the attached end of the silk can be passed under the top rail
of the chair into the left hand (Figure 2). Both hands are immediately lifted to a height
of about a foot above the chair back (Figure 3), and the attached end of the silk is taken
back between the first and second fingers of the right hand. As soon as the left hand
releases the attached end, it slides along the silk until it grasps the free end so that the
silk is held out horizontally (Figure 4).
[The illustrations show a side view, looking from the right of the stage.]
23
Bring the right hand forward, lower the centre of silk in a loop (in front of chair back)
and place the free end of the silk between the thumb and first finger of the right hand.
The left hand is completely removed. Silk is now held in the right hand only (Figure 5).
Swing the loop back and forth once or twice between the audience and the chair back,
saying, "But let’s try it like this . . ." Release the attached end of the silk ON THE
FORWARD SWING. It will shoot under the rail of the chair and back into the right hand
which grasps it (Figure 6). Slide the loop along the chair back once or twice, showing
that it has apparently penetrated the wood. If desired the chair can be lifted right up
clear of the floor.
24
REEL-LY PULLED APART
There have been several methods published for performing the "Pull Apart Silks"—a
popular effect because things happen visibly. I found the following method almost by
accident, as it was whilst practising with one of the Unique finger reels and a silk, that
the idea was born.
Effect: A knot is tied in a silk, two corners of which are then held in one hand so that a
loop is formed. A second silk (of a different colour), is passed through the loop and two
corners of this silk are held in the other hand, the silks being clearly seen to be linked
together.
Now the hands are moved apart and the silks, still held as loops, pass through each
other as if by magic.
Method: If the reader studies the moves for performing the "Untying Silk", then he has
nearly all the knowledge required.
Requirements: A finger reel, the thread of which is attached to one corner of a twenty-
four inch (say) blue silk. You also require another twenty four inch silk of contrasting
colour, say yellow.
The first moves. These are exactly the same as for the "Untying Silk" up to the last
paragraph (photograph 6). Photograph 6—The hands have continued to move apart
and the loop of the knot can be seen to be becoming smaller. For the "Pull Apart" effect
we are dealing with, the knot can be pulled until there is no loop (but not pulled tight),
but when performing the "Untying Silk" a very loose knot is essential.
Figure 7—Holding the one end of the silk firmly pressed against the drum by the right
thumb, pass the end from the left hand into the right hand, clipping it between the right
third and little fingers. The silk will now be hanging from the right hand in a loop, the
knot at the bottom of the loop as in Figure 7.
Pick up the other silk with the left hand and pass it through the loop (in the direction of
the arrow), so that it goes over the knot, and with the ends hanging down at each side of
the loop.
Figure 8—Grasp the two ends of the second silk with the left hand and move the hands
apart so that it can be clearly seen that the two silks are linked together (Figure 8).
25
After a pause, gesture with the two hands towards each other, but only move them a
little (they must not come together). Simultaneously relax the pressure on the drum
with the right thumb (but do not let the end of the silk fall from between the drum and
thumb), and open the right third and little fingers. The end of silk between the third and
little fingers is pulled through the loop of the second silk and back to the drum. This
happens smoothly and quickly and the two loops of silk fall apart. Additionally the knot
which was originally tied in the first silk has vanished.
The action of releasing the thumb pressure on the drum should be such that a smooth
pull is exerted—that is, the pressure must not be relaxed entirely or the pull will become
a quick jerk which will be noticeable.
A trial will convince you that this is a very pretty effect and one which produces quite a
gasp from an audience.
26
MORE MAGIC WITH SILKS
FLOATING SILK
Effect: A knot is tied in one corner of a handkerchief. The handkerchief is held in front
of the body, the hands are removed, and the handkerchief remains suspended in the air
without visible means of support. A hoop is passed over the hand, proving the absence
of threads or similar devices.
Requirements:
 A metal or wooden hoop.

 A "Unique" Controlled Finger Reel.
 A twenty-four inch silk.
 A small spring clip.
Preparation: Pull a few inches of the thread from the reel and tie the spring clip "A" to
the end of the thread. Now tie an additional eight inch length of black thread to the clip.
Tie a knot at the end of this extra piece of thread. The finished article will look as in
Figure 1. Place it in the lower vest right pocket. The hoop is lying conveniently on the
table.
Method: Stand in front of and slightly to the right of your table. Show the handkerchief
back and front, then tie a knot in one corner of it. The knot must be loose and fairly
large.
27
"Steal" the reel in the right hand, and fasten the clip to the back of the knot. Draw the
left hand (holding the handkerchief) away from the right (holding the reel), so that a
length of thread is withdrawn from the reel. Let it hang down as in Figure 2.
Turn to the right and pick up the hoop with the left hand. This will draw more thread
from the reel until about four feet of it is hanging down between the hands. Check the
reel at this point. The position now is shown in Figure 3.
Throw the hoop over the right arm as in Figure 4. This will bring some of the thread
through the hoop.
Get hold of the extra thread "C" between the second and third fingers of the right hand;
let go of the silk with the left fingers. The silk will float as in Figure 5. It is now
apparently suspended in mid-air, and neither hand is within eight inches of it.
Reach across with the left hand, grasp the hoop and swing it down over the handkerchief
in one rapid motion, then to the left as shown in Figure 6.
Hold the hoop in this position long enough for the audience to realise that it is now
completely away from the floating silk. Take care that the thread is always between the
body and the silk, and that the hoop is always in a horizontal position. Do not twist the
hoop round.
The movements of the hoop are now retraced. At the same time, pressure on the reel is
relaxed, so that the thread is drawn back into it. THIS MUST BE DONE SLOWLY. The
position will now be as in Figure 7. All but eight inches of the thread has been rewound
in the reel, and the hoop will be between the two threads as illustrated. "B" is the reel
thread; "C" the extra eight inch length.
Now let go of the extra thread and the hoop can be moved away entirely, the silk being
suspended by the reel thread "B". Figure 6. The hoop has been passed completely round
the handkerchief, proving that it is suspended in mid air!
Turn slightly to the left and lay the hoop on the table. Bring up the now free left hand,
grasp the silk, and while taking a bow, release the spring clip from the knot and replace
the apparatus in the waistcoat pocket under cover of the silk. The silk and hoop can now
be passed out for examination if desired, since they are completely free of any
incriminating evidence.
28
"REEL" 20th CENTURY SILKS
Effect: Many methods have been devised for producing the popular effect in which a
vanished silk appears tied between two others. The use of the Controlled reel brings to
this fine trick the touch of real magic, creating a complete and beautiful illusion since
the vanished silk appears Instantaneously and VISIBLY.
Requirements:
 Two twenty-four inch (say) Blue silks.

 Two twenty-four inch (say) Yellow silks.
 A Tarbell Cone or similar contrivance for vanishing a silk.
Preparation: Assuming that you are going to use an assistant (this makes for
smoother working), proceed as follows:- Tie one end of a Yellow silk to the free end of
the reel thread. Tie the opposite diagonal corner of the same silk to a corner of one of the
Blue silks. Now accordion-pleat the Yellow silk (the same one) as in Figure 1. The
assistant holds the reel and pleated silk concealed in her left hand, along with the Blue
silk which is displayed hanging from her hand, the corner projecting upwards.
Method: Call attention to the Blue silk in the assistant’s hand saying, "A Blue
handkerchief and another". On this cue the assistant picks up the unprepared Blue silk
in her right hand, she brings her hands close for a second and transfers the reel from her
left to her right hand, then separates her hands about eighteen inches. The set up is now
as Figure 2. The thread hangs in a loop between the two Blues, and the right thumb and
forefinger hold the thread near the reel.
Pick up the duplicate Yellow silk and vanish it, by any method you choose. At the same
instant the assistant releases the thread in her right hand and opens her left slightly thus
releasing the pleated Yellow silk which flies across like lightning and appears to be tied
between the Blue silks. The right hand, of course, holds its end of the Yellow silk so that
it appears to be tied to the Blue (Figure 3.)
29
"ONE MAN METHOD"
The trick can be worked solo by laying the Blue silk aside with the reel and folded Yellow
silk concealed in its folds.
Vanish the duplicate Yellow Silk, pick up the two Blue silks and proceed as before.
30
SUSPENDED CARD SILK
Here is a novel floating finale. I am going to suppose that you have just finished a
routine by producing a card silk; any other kind of silk or silk banner will be equally
applicable to this floating.
You hold the card silk between the two hands. Then the left hand is removed and the silk
remains in its place. Finally the right hand is removed, and you walk away from the silk
which is still suspended in space. Acknowledging the applause, you walk back towards
the silk, pick it up again and throw it into the air to show that it is free of threads.
This very simple effect is obtained by having the top left corner of the silk attached to a
length of fine "thread", whilst the top right corner is attached to the reel. The "static"
thread is attached at its free end either to a table, chair, etc., on the stage, or to a hook in
the wings. The reel is attached by means of a clip, which is snapped on just before you
commence the floating routine. In this way, the silk is, to all intents and purposes, free
to be handled casually.
Having attached the reel thread, you have only to tauten the "static" thread by moving
the silk sufficiently far to the right, then the left hand can be removed. By pointing the
right fingers towards the silk you can move sideways as far as the reel allows. Clip the
thread between the fingers and face the audience, and then walk back towards the silk
allowing the reel to gather in the thread as you go. Yes, it’s as simple as that, as you can
soon discover for yourselves.
Release the reel clip as you take the silk once more in your hands, and throw it up into
the air.
My reel will pull up to a quarter pound weight. If you produce the silk from a production
box heavier than this, the "static" thread can be attached to the inside of the box. This
makes for cleaner working all round. However, there is the idea for you to use in your
own individual ways, should you wish.
31
MAGIC WITH CARDS
THE RISING CARDS

Effect: Three cards are selected by members of the audience and are then shuffled back
into the pack. The pack is placed in a glass goblet. The performer holds his right hand
about a foot above the glass and one at a time, the cards float up out of the glass into his
hand.
Requirements:
 A pack of cards.
 A goblet.
 A pellet of magician’s wax.
Preparation: Attach the pellet of wax to the "tag" of the reel. The reel can be held in
the palm position throughout the effect, or picked up when required as the routine
demands. Have the pack of cards and goblet on the table.
Method: This is probably the prettiest and most effective of all the versions of this
classic of magic, and well worth the practice necessary to bring it to the state of
perfection it deserves.
Go into the audience and have three cards chosen by spectators. As each is returned to
the pack, "control" it to the top (you will have your own pet way of doing this). You now
have the three cards on the top of the pack in the reverse order to that in which they
were selected.
As you return to your table . . . obtain the reel in the standard position in the right hand.
The following is as good a way of doing this as any. Have the reel and a handkerchief in
your right jacket pocket. Go to the table, lay down the pack and pick up the goblet in the
left hand. Show it all round, meanwhile the right hand goes to pocket, gets the reel in
position, and comes out holding the handkerchief. This is used to wipe over the goblet,
as though you spotted a speck of dust on it, then laid aside.
Pick up the pack in the left hand, holding it, face to audience, thumb at the back, fingers
in front and transfer it to the right hand which takes it, thumb in the front, fingers
behind (Figure 1 shows the audience view). The reel in the right palm is concealed by the
cards. As the left hand places the cards in the right (before it moves away), the tag is
withdrawn slightly from the reel and pressed by the left thumb against the back card of
the pack, at about the centre of its top edge (Figure 2.).
Hold the pack about a foot above the goblet and gesture towards the space between the
glass and the pack, indicating that there are no connections.
32
Take the pack in the left hand with the thumb behind (pressing "tag" firmly against
card) and fingers in front, and place it in the goblet. The right hand follows closely as
though to assist in the operation of putting the cards in the glass. Keep the left thumb
pressed on the "tag" and raise the right hand to a position about a foot above the glass.
This causes the thread to be withdrawn from the reel and as the right hand is lifted, it
turns back to audience with fingers pointing downwards (Figure 3), and the thread is
"run" through the tips of the thumb and first finger, which act as a brake. In this effect
the actual brake of the reel is not used.
As the right hand reaches its position, the thumb and finger nip the thread tightly, and
the left hand is removed from the pack. Make a pass at the glass with your left hand and
slacken off pressure on the thread. The action of the spring will draw the thread back
into the reel, lifting the card out of the pack and up through the air into your right hand
as it does so. As the card reaches the right hand, it is grasped by the thumb behind and
fingers in front. The thumb flicks off the waxed tag" from the back of the card, which is
tossed aside.
Take the pack in the left hand, repeating the same action as before to attach the "tag" to
the rearmost card of the pack and place it in the goblet. Repeat again for the last card.
Only experiment can show you the exact speed at which the thread is "run" through the
fingers to obtain a smooth and magical "rise". Obviously, it is undesirable to have the
card shoot up like a rocket, and likewise it must not be so slow that the card has time to
twist and turn.
There are certain refinements that can be added to the bare bones of the effect (as
described here) to "simplify" the working.
The degree to which these do in fact add to the simplicity of the working, will of course,
depend on the ability of the performer.
To avoid the necessity to "manipulate" the chosen cards, duplicates of those intended to
rise, may be forced from either an ordinary of a forcing pack. The pack is taken back and
laid, face up, on the three duplicates already placed face up on the table, behind a
handkerchief. This is then picked up to wipe the glass. When the pack is picked up
again, the cards are automatically in position. Proceed as before.
33
Thurston’s method is a good one if an assistant is available. Off stage the assistant has a
duplicate pack laid out face up in suits. The performer requests members of the
audience to call out the names of four cards. The pack is handed to a member of the
audience to shuffle and then taken back by the magician. Meanwhile the assistant has
picked out the required cards and carried them on, face up, on a small tray which also
bore the goblet. The tray was tilted away from the audience, so that they were unable to
see the cards. Thurston then laid the pack face up on the duplicate cards while he picked
up the goblet and wiped it.
His method of using the reel is also interesting. His reel was a wrist reel that is, it had a
band enabling it to be attached to his wrist. The "tag" passed through an eyelet in a
small flesh coloured finger ring. When required, the ring (and of course, the "tag") was
withdrawn from the sleeve and slipped over the middle finger. The rest of the modus
operandi was practically as already described, except that there was no "handful" of reel
to worry about. The "tag" could only return as far as the ring, which was simply slipped
off the finger when no longer needed and returned automatically up the sleeve.
Two further ideas used by Thurston are worthy of record. The reel was situated in the
lower left waistcoat pocket, the top of which was pinned so that there was only room for
the exit of the thread. The ring and "tag" rested against the outside of the waistcoat.
When required, the ring was slipped onto the finger and the effect performed as before.
At the time he used this method, a novel and thoroughly practical way of obtaining the
duplicate cards was used too. The assistant slipped the cards (taken as described, from a
duplicate pack) . . . face up in a clip on his back. He then carried the goblet to Thurston
on a tray. As he took the glass from the tray with his left hand, his right hand (holding
the pack), loaded the cards from the clip on the assistant’s back.
To Albenice goes the credit for an idea designed to simplify the fixing of the "tag" to the
card.
Replace the tag with a small button which will project over the sides of the reel. To this
is fixed the wax. If the pack is taken in the hand holding the reel, and held as in Figure 4,
it will be seen that the button comes to rest exactly in the correct position against the
back of the pack. It is a simple matter for the right thumb to grasp both button and cards
in one action and place them into the goblet.
NOTES: Be careful that the thread is not held in front of a white shirt or any
light coloured article. It is best to have the glass at the right, so that your right hand
is extended to the right and the thread is invisible against the general background.
The goblet can be dispensed with, and the pack held in the left hand, if desired.
Because, in almost every version of this classic effect three cards have been risen, it
seems as though they always will be. It is this compiler’s opinion that the first floating
card creates a truly magical and astounding effect. Any repetition can only serve to
detract from the initial surprise effect.
34
RIBBON CARD
Effect: A card is chosen. It is then torn into four pieces which are vanished in a card
box (or any suitable piece of apparatus). The magician s assistant has meanwhile been
standing to one side, holding stretched between her hands a piece of ribbon about a yard
long by one-and-a-half inches wide. At the moment performer shows the pieces to have
vanished, the card fully restored, appears instantaneously on the centre of the ribbon.
Requirements:

 A special card.
 A special piece of ribbon.
 A forcing pack.
 A Tarbell Cone, Devil’s handkerchief, or something similar for vanishing the
pieces of card.
Preparation: The forcing pack should consist of picture cards. Take one of them and
cut it with a razor blade so that you have four quarters. Place these face down in their
correct positions and join them together with half-inch wide strips of elastic, so that you
have a folding card. The tension of the elastic will automatically cause the card to open
when pressure is released. Use rubber solution as the adhesive. With a needle, run a
thread through each of the four inner corners of the card (Figure 1).
The ribbon is really a double one, consisting of two pieces of ribbon, one yard long by
one-and-a-half inches wide, stitched along their edges. The ribbon should have vari-
35
coloured stripes running across its width to mask the slit which you now cut crosswise in
one ribbon only (Figure 2). Stitch the slit to prevent the edges unravelling.
Remove the tag from the reel thread, and using a needle, thread it through the double
ribbon, bringing it out through the ribbon—about an inch-and-a- half from the slit. Tie
the end of the thread to the thread attached to the four corners of the folding card. Fold
the card in four, and push it out of sight into the slit.
The assistant holds the ribbon stretched between her two hands . . . the reel concealed in
her palm. Make sure that there is a little slack in the thread to permit the reel to jerk the
card out of its place of concealment.
Method: The working is now obvious. Have a card selected from your forcing pack.
Tear it into four and vanish the pieces. As you show the empty card box (or whatever
you use) and gesture towards the assistant, she releases the reel which jerks the card out
on to the ribbon and the card expands to full size.
Use of the little wedge described previously will enable you to have it set in advance and
work the effect without the aid of an assistant.
36
MAGIC WITH ROPE
"UNTYING ROPE"
This is in all respects identical to the Untying Silk, with the exception that a length of
soft white rope is used in place of the silk. Because the rope is consistent in its thickness
it works easily and the effect is completely illusive.
SNAP ROPE RESTORATION

Effect: The performer holds in each hand (held about eighteen inches apart), a piece of
rope about twenty-four inches in length. There is no visible connection between the two
ropes.
Suddenly, at the word of command, the lower end of one of the ropes flies through the
air to join itself to the top of the other, making one long length of rope.
Requirements:

 Two lengths of soft white rope about twenty-four inches long.
Preparation: One end of each rope must be stiffened in the usual fashion for
gimmicked ropes, to prevent unravelling and to create a convincing looking join. The
compiler has found that a little clear celluloid dissolved in acetone, provides a jelly like
substance which can be wiped easily onto the end of the rope with the fingers, which
then roll the rope to a natural shape. When dry (a matter of twenty minutes or so), the
ends are trimmed (on the slant or square, as your fancy dictates) with a sharp razor
blade.
Remove the tag from the reel, and with a needle pass the thread into one of the ropes
about two inches from its stiffened end, bringing it out through the centre of the
stiffened end (Figure 1). This is "A" rope.
Now glue (or otherwise fix) the free end of the thread into the centre of the stiffened end
of the other rope, "B".
Method: Conceal the reel in the left hand which also holds "A" rope, so that about an
inch shows above the hand. Withdraw enough thread to allow the right hand to hold "B"
rope "upside down" (that is—with the stiffened end at the bottom) about eighteen inches
away from the other, without the end curling up. The curled fingers of the left hand
keep pressure on the Brake plate of the reel. The position is as shown in Figure 2.
37
Mutter the magic words, and release the brake. The lower end of "B" will leap through
the air and appear to join itself to the top end of "A". Slide the left fingers up to cover the
join and casually display the rope as in Figure 3.
Don’t be dismayed by the necessity to cover the join, The strength of this effect lies in
the "mechanical" leaping of the ropes together, and the "weak" spot should last but a
second before the rope is tossed aside.
38
THE DETERMINED KNOT
Effect: The performer holds a two-foot length of rope hanging from his left hand. In its
centre is a knot. Passing his right hand over the knot causes it to vanish. As though
exposing the trick, the magician opens his right hand to show the knot reposing there.
He tosses it on the table. He picks up a pair of scissors and is about to cut the rope, when
suddenly the knot on the table flies through the air and affixes itself to its original place
on the rope.
Requirements:

 A length of soft white rope about twenty-four inches long.
 A special "knot".
 A pair of scissors.
Preparation: Bend a small piece of tin to form a small semi-circular section of the
circumference of the rope (Figure 1). In its centre, drill a small hole.
From a short length of rope make a knot, which you fix to the metal plate with rubber
cement. Paint any exposed part of the tin to match the rope.
Remove the "tag" from the reel and tie the end of the thread in a knot that will not be
drawn through the eyelet in the reel. To this knot tie an extra length of black thread
exactly half the length of your piece of rope.
With a needle, thread the cotton through one end of the rope and cut at the centre, tying
the free end to the hole in the "knot plate". If the upper part of the rope wrinkles up
when the "knot" is on centre of rope, your extra thread is too short. If the "knot" hangs
loosely from centre of rope, it is too long. The final set up is shown in Figure 2.
Method: Hold the reel in the left hand, which also holds the end of the rope. Display
the rope and call attention to the knot. Pass your right hand over the knot, taking it away
in the closed hand. This withdraws a length of thread from the reel.
39
The knot appears to have vanished from the rope. When you have withdrawn enough
thread to allow you to toss the knot on to your table, check the reel with your curled left
fingers.
Pause for a moment to allow the vanish of the knot to sink in. Then with a knowing
smile, slowly open the right hand, showing the knot. Toss it casually on the table.
Remove from your pocket a pair of scissors as though you are about to perform a cut
rope effect. At this moment, release the reel. The knot will fly through the air and finish
up in its original position on the rope. Look very surprised, put the rope aside and go
into your next effect.
I suppose it could be repeated.
40
ACROBATIC KNOT
Effect: Performer displays a piece of rope hanging from his left hand. At about a
quarter of the length from the top is a knot. The performer explains that for the effect he
is about to perform, he needs the rope the other way up, that is, with the knot a quarter
up from the bottom. Of course, he could turn it upside down, but, this is quicker.
Covering the knot with his hand he draws it down the rope until it is in the required
position. "That’s better", he says, "Now, what I am about to show you is . . . ". While he is
talking the knot slowly and mysteriously climbs back to its original position.
This may be repeated as often as you like.
Requirements:

 A length of rope.
 A special knot.
Preparation: Make a small tube of tin about half-an-inch long which will slide easily
along the rope. Drill a tiny hole in it. Tie round the tube a small piece of rope to form a
fake knot. Paint any exposed portion of the tin to match the rope.
Remove the tag from the reel and tie the free end of the thread to the fake knot via the
small hole.
Plug one end of a piece of rope with a length of lead piping, or anything which will
weight it sufficiently.
41
Method: Hold the rope in the left hand (which also has the reel in the palm), with the
weighted end at the bottom. The knot is slid down the rope to a position about four or
five inches from the top, naturally withdrawing the thread from the reel as it goes down
(Figure 1). Check the reel with your curled left fingers.
Present it as described. When the knot is drawn down the rope to its new position, again
check the reel. While you are pattering, release pressure on the brake plate slightly, so
that the thread will be wound back slowly. Check the reel again when the knot reaches
its original position. Repeat if desired.
NOTE: All these effects utilising the principle of the thread running through the rope
will be improved by the use of Cord with a silky finish, which offers less resistance to the
thread.
42
THE INDIAN ROPE
For some years past I have made it a practice to make a facetious reference to the famed
Indian Rope Trick before commencing the inevitable cutting. The gag is an old one, but
it still goes; the audience are asked whether they have ever heard of the trick, and on
being told that they have, you say that you will not bore them with presenting such a
well-known item, but will do your own version instead.
Requirements:
 A Unique Wrist Reel.

 An ornamental box.
 A length of rope.
With the reel you can illustrate this talk. The effect is very good. You will require a small
but heavy ornamental box, which should look "Indian". The lid should be very easy to
open, and lighter in weight than the rest of the box.
The reel is placed on the right wrist and the clip end to one end of the rope. The rope is
carefully coiled up and placed inside the box, and the lid closed. You hold the box in the
right hand. If you wish to present this effect at some other time during your show you
should have a free end of the rope just protruding at the rear of the box so that the clip
can be conveniently attached. I use this item as an opener, so this is unnecessary.
The thread is drawn over the back of the right hand, through the space between the
second and third finger, then through the thumb crotch. The box is on the palm, which
is held upwards. In this position the thread is perfectly held, and you are able to have
complete control over it when required.
During the preliminary patter, the left hand places the box on the floor, keeping the lid
shut. The right hand is turned over, allowing the thread to run out. When the box is on
the floor, you clip the thread by turning the right palm over again, and then resume an
upright position.
As you tell them about the Indian Rope Trick, you move your right thumb slightly to the
left. This allows the thread to be released very slowly. More movement can be obtained
by opening the second and third fingers. The effect is quite startling—the lid is drawn
open and the rope gradually rises towards the right hand. With the thread held thus, my
reel will not draw the rope up into the hand fully, and this is just what is required. The
rope comes to rest about nine inches from the right hand, so that the effect is that of the
rope standing on end. On the completion of the patter, you take the top end of the rope
with the left hand and seize the bottom end with the right hand. The thumb nail is
placed between the clip, and then the rope is transferred to the right hand completely.
As the left hand approaches the right, the thumb nail opens the clip and the thread flies
43
up the right sleeve. The rope is immediately thrown into the air; this is all one
continuous movement.
I think it is a mistake to let the rope rise completely into the right hand at the
conclusion, because this seems to suggest a "piece of elastic". If you like you can skip the
Indian Rope Trick theme, and allow the rope to travel from the box to your hand. In this
case it is better not to put the box on the floor but on a table. I have tried this too, and it
was very effective. You move the correct distance from the table, patter awhile, then look
at the box and along comes the rope—most startling. Don’t forget to take their minds off
the box for a few moments before producing the rope; it makes it much more surprising
and dramatic.
44
THE REEL-ING KNOT
Effect: Holding the ends of a piece of rope in each hand, the performer demonstrates
how it is possible to tie a knot in the rope without releasing the ends. He next places his
foot on one end of the rope, the other end being held in his left hand (Figure 1). Taking
hold of the knot with his right hand, he slides it down the rope. On its own accord the
knot visibly travels slowly up the rope until it reaches the top, when it is taken off and
tossed into the air.
It will be seen that the routine consists of four magical effects.
Requirements:
1. A Unique Finger Reel.
2. A piece of rope about five feet in length.
45
3. A fake knot. This is simply a short piece of rope, formed into a knot, which can be
slipped over the long rope. It must move easily and freely up and down the rope. The
free end of the thread from the reel is sewn to the knot.
4. Another fake knot made to resemble the first one. With the Finger Reel in position in
the right hand, thread the knot (attached to the thread) over one end of the rope and
hold it, together with the end of the rope, in the right hand as in Figure 2. The left hand
holds the second fake knot and also the other end of the rope.
Performance. With the set-up as in Figure 2, the first requirement is to tie a knot in
the rope without releasing the ends. This is simply the well- known effect, the knot
formed being a fake in that if the ends of the rope were pulled the knot would come
undone. As there is no need to release the ends of the rope, the reel and fake knots are
not disturbed.
Now release the end of the rope in the left hand and put your foot on this end. Transfer
the end of the rope held from the right hand to the left, also taking the reel and knot
attached into the left hand. In the same movement grip the feke knot attached to the
thread with the right hand and move it down the rope. When the right hand reaches the
slip knot it will automatically cancel it out. To the audience it will appear as if you have
moved the knot right down the rope. After just a pause for the audience to appreciate
the effect, slowly release the tension on the reel, when the knot will ascend the rope in a
most uncanny fashion. When it reaches the top, reach over with the right hand and
apparently take off the knot and toss it into the air. Actually you retain the reel and
attached knot in the left hand and take the loose feke knot.
I have found that it is very effective if a few bars of the music "In a Persian Market" are
played as the knot climbs the rope.
46
VARIATION OF "SNAP" ROPE RESTORATION
Effect: The performer holds a twenty-four inch length of rope in each hand, his hands
are held about eighteen inches apart.
He drops the piece from his left hand to the floor, but it climbs through the air of its own
accord and joins itself to the end of the other piece held by the magician. A very good
comedy interlude.
Requirements:

 Two lengths of soft white rope about twenty-four inches long.
 An extra length of thread.
Preparation: Prepare one end of each rope in the same way as for Snap Rope
Restoration. Remove the "tag" from the thread and join the end of the thread to an extra
piece of thread, the same length as one of the pieces of rope. Join the threads with a knot
which will not pass through the eyelet in the reel.
With a needle, pass the thread right through one of the ropes "A", commencing at its
unprepared end, and fix the thread in the centre of the stiffened end of the other rope,
"B".
Allow the thread to be drawn back into the reel as far as it will go (the knot) and the set
up will look as Figure 1.
Method: Hold the reel in right hand which holds "A" rope, prepared end down. Draw
the thread out of the reel so that "B" rope can be held in left hand (prepared end down),
about eighteen inches away (Figure 2).
Toss "B" rope to the floor. Release reel, and "B" rope will jump up and join itself to "A"
rope. Wave the long "rope" for a moment then lay it aside.
47
MAGIC WITH CIGARETTES
REPEAT VANISHING CIGARETTE

Effect: Standing with his right side to the audience, the performer removes a cigarette
from his pocket, with his right hand. It is seen to be openly placed in his left hand, but a
moment later it has vanished. Both hands may be shown empty.
Once again a cigarette is removed from the pocket, and vanished in a similar fashion.
This may be repeated a number of times.
There is little that is new here so far as the effect is concerned. However, the use of a reel
makes the effect clean and easy to work. No sleights are used, and the hands are
absolutely empty after each vanish.
Requirements: A Unique Controlled Finger Reel.
An ordinary cigarette may be used, but since it has to stand up to a good deal of hard
work, we strongly advise a dummy of some description. A length of pencil covered with
cigarette papers and having a small hole drilled in one end, will do the trick nicely.
Preparation: Tie the cigarette to the end of the reel thread, then tie a knot about two
inches from the cigarette so that the knot comes to rest against the eyelet of the reel. The
cigarette is now hanging loose on a short length of thread (Figure 1).
Place the reel in the right lower waistcoat pocket and pin the top of the pocket up so that
the reel cannot come out. The cigarette dangles on its length of thread outside the
pocket, under cover of the jacket.
Method: Stand with your right side to the audience. Reach into the waistcoat pocket (?)
and remove a cigarette which you display at your right fingertips (Figure 2). The thread
is naturally drawn out of the reel, but is concealed by the right arm.
48
Place the cigarette against the palm of the left hand (Figure 3), which apparently closes
over it, and turns back to audience. At the same instant, release your grip on cigarette
which will fly back to the waistcoat pocket.
Indulge in the usual "squeezing" motions, show the left hand empty, back and front,
then the right hand.
Reach into the pocket for the cigarette and repeat.
A cigarette case may be placed in the upper right waistcoat pocket. Each time the
cigarette is taken out, it is brought out behind the case, and apparently removed from
same. The case is replaced in the pocket. The cigarette is vanished and returns to the
case each time.
49
WHERE’S THAT CIGARETTE?
Effect: A cigarette is placed in the mouth from where it vanishes. This can be repeated
ad infinitum.
Requirements. As for Repeat Vanishing Cigarette.
Preparation: Exactly as for Repeat Vanishing Cigarette, except that the reel is located
in lower left waistcoat pocket.
Method: The right hand removes the cigarette from the waistcoat pocket (?). Let it be
plainly seen held in the right fingers as you lift it to your mouth.
A moment before the cigarette actually reaches the lips the curled right second, third
and little fingers straighten out, momentarily covering the cigarette from view. Under
this cover the cigarette is released and flies back to the pocket. Repeat as often as
required.
Note: In this method the angles must be watched very carefully. Practice it thoroughly
in front of a mirror, and make sure that the tension of the reel is adjusted to avoid giving
a "flash" of the cigarette during its flight.
For both the foregoing effects a single breasted jacket is desirable. The coat must be left
open.
50
MISCELLANEOUS MAGIC
"THE VANISHING BUTTON"

Effect: The performer shows a small button resting on the palm of his left hand. He
passes his right hand over it for a moment. The button vanishes leaving no trace. Both
his hands are completely empty, and the button has not gone up his sleeve, since he can
remove his coat and immediately repeat the effect, with his arms bare to the shoulder!
This is a really grand "impromptu" item.
Preparation: A very subtle and unusual principle is involved in this trick. Remove one
of the centre buttons of your waistcoat and tie it to the reel thread in place of the "tag".
Fasten the reel to the inside of your waistcoat just below the right armhole. Now draw
the thread out of the reel so that the button can be pushed through its proper hole.
Because of the tension of the reel the button will be held in its usual position. Figure 1
shows the position.
Method: Obtain the button in the right hand, and hold it resting on the tips of right
second and third fingers. The thread runs along the back of the hand, via the buttonhole
to the reel (Figure 2).
Stand with your left side to the audience. Bring the left hand up and point to button. The
position of the left arm covers the thread.
Cover the flat right hand with the flat left hand for a moment. Tilt the right fingers down
a little and open them. The button flies back to the thread unobserved, and finishes up
in its proper position, on your waistcoat!
51
Keep your hands flat, and of course open all the fingers wide and show both sides to
prove that button has really vanished.
If desired, you can use a duplicate button, and merely undo the one on your waistcoat to
make way for it.
52
THE MAGNETIC WAND
Effect: The old effect in which a wand, borrowed pencil, etc., is caused to adhere to the
fingertips, is easily accomplished with the aid of "Reel Magic".
Preparation: Fix a dab of conjuror’s wax on the "tag". Place the reel in the lower right
waistcoat pocket.
Method: Secretly draw out the thread and fasten the waxed tag firmly to the tip of the
right middle finger (Figure 1).
Hold the hand, back to audience, fingers pointing upwards and hold the wand upright,
resting on the tag for a moment.
Take the wand in the left hand, and turn the right palm downwards, slip the wand under
the right hand, between thread and fingers. When you get it balanced, remove the left
hand and the wand will adhere to the fingers as though magnetized. (Figure 2).
Withdraw the wand with the left hand, flipping the "tag" off with the right thumb as you
do so. The "tag" flies back to the reel, removing all evidence of the "dirty work".
An alternative idea is to fasten a small loop of fine cat-gut in place of the waxed tag. The
reel is pinned to the waistcoat near the right armpit.
The cat-gut loop slips over the nail of the middle finger (Figure 3), its colour causing it
to blend into the colouring of the hand.
At the finish, bending the finger will cause the loop to fly up the sleeve.
53
RISING AND FALLING RING
Effect: Another little effect of the "impromptu" order is this stunt in which a borrowed
ring rises and falls on a borrowed pencil.
Preparation: Fix a dab of wax to the "tag". Place the reel in the lower right waistcoat
pocket, or pin it near the right armpit. In either case the thread is run across the body,
and through one of the buttonholes of the waistcoat where the "tag" rests till needed.
Method: Borrow a pencil, and while requesting the loan of a ring, secretly obtain
possession of the "tag" and fasten it firmly to the blunt end of the pencil, which is held as
in Figure 1, in the right hand.
Now take the pencil in the left hand, turning it over so that the point is down. As you do
this, the right fingers slide along the pencil, taking the thread with them, so that the
pencil finishes up again held in the right hand, as in Figure 2.
Take the ring in the left hand and drop it onto the pencil (and thread). It will drop till
stopped by the right fingers. Hold the top of the pencil with the left fingers (to keep the
"tag" in place). Check the action of the reel by pressing the right arm against the clothing
(and thread under it). Release the thread from the right thumb. Now, by moving the
pencil away from the body slightly, the thread will be tightened and the ring will rise up
the wand (Figure 3). To cause it to fall, bring the pencil towards the body. Flip the "tag"
off the pencil and return it and the ring to the owners.
54
“VANISHING COIN”
Effect: A coin, say, a two-shilling piece, is placed in a fold turned up in the front of your
trouser leg. A spectator places his fingers against the cloth, so that he can feel the coin.
In spite of this, the coin vanishes and both your hands are shown empty.
Requirements:

 A small dress "eye".
 Some wax.
 A coin.
Preparation: Stitch the "eye" just inside the cuff of your right sleeve, about three
inches up. Pin the reel near your right armpit, on your waistcoat. Draw the thread down
the sleeve through the "eye" and fasten it on the "tag". Place a pellet of wax on the "tag".
The "tag", drawn by the tension of the reel, will remain against the "eye" just inside your
sleeve until required.
Method: Secretly obtain the waxed "tag" and hold it between the right thumb and
forefinger. Remove the coin from your left jacket pocket and show it freely in the left
hand. Transfer it to the right fingers which secretly press the "tag" to its underside.
55
The left hand now grasps the cloth at the front of the right trouser leg and turns up a
fold large enough to contain the coin (Figure 1). Put the coin all the way down in the
fold, then the left fingers turn the cloth back a little so that the coin may be seen.
Allow a spectator to press his finger on the cloth so that he can feel the coin through the
cloth.
Your right fingers just move sufficiently to release the pressure on the coin, which with
the slightest change of pressure by the spectator’s fingers, or a slight move of your leg,
will fly up your sleeve.
Your right hand covers the flight from the fold, and is at once shown empty, as too, is the
left hand.
56
THE FLYING NOTE
Effect: The magician, sitting at a table, removes a treasury note from his pocket. His
right hand rests on the near side of the top of the table. He leans over and with his left
hand, places the note on the far side of the table.
Suddenly the note flies back across the table to his right hand.
Requirements:

 A pellet of wax.
 A treasury note.
Preparation: Fix the waxed "tag" of the reel to one end of the note and place the reel
and note in your pocket.
Method: Reach into your pocket and bring out the note at your right finger-tips (the
reel is secretly palmed).
With the left hand, unfold the note and hold it, and the "tag" between the left forefinger
and thumb.
With the left hand, place the note at the opposite side of the table, keeping the right
hand close to the near edge of table. As the left hand places the note, the right thumb
checks the reel (Figure 1).
Allow the note to remain in position for a few seconds, then release the reel. The note
flies like lightning back to the right hand. Replace the note and reel in the pocket.
57
THIMBLE VANISH
Effect: The performer exhibits a thimble on his right forefinger. He thrusts it into his
closed left fist and a moment later it is shown to have vanished. Reaching out with the
empty right forefinger, the thimble suddenly reappears on it.
Once again he thrusts the thimble into his left fist. Once more it vanishes and is
recovered on the right forefinger from the performer’s trousers pocket. Again the
thimble is placed in left fist. A second later it has completely vanished, both hands being
shown empty on both sides.
Requirements:

 Two identical plastic thimbles.
Preparation: Drill a tiny hole close to the rim of one of the thimbles. Remove the "tag"
from the reel and tie the free end of the thread to this thimble.
Fasten the reel on the trousers just above the right trouser leg.
Method: Display the unattached thimble on the right forefinger. Standing with the
right side of the body to audience, apparently place the thimble in the left closed fist
(actually thumb-palm it in right hand). Show it has vanished from the left hand; reach
out and recover it on right forefinger.
Repeat the vanish, but this time go to the right trouser pocket to recover the thimble.
Actually the loose thimble is left in the pocket and it is the one attached to the reel which
is brought out on the right forefinger. The hand is held back to audience, the thread
running along the palm and right arm (see illustration).
58
Repeat the movements of the vanish, but this time, as the forefinger is bent in towards
the crotch of the thumb, the thimble is flipped off and released. It is drawn rapidly back
to the reel.
Show that the thimble has vanished from the left hand, showing both sides of the hand,
then slowly show both sides of the right hand.
59
BIRD CAGE VANISH
Use an ordinary pull, a leather strap round the left wrist, with parachute (nylon) cord
attached to the strap. The cord goes up the sleeve, across the back, and, with the right
arm hanging loosely at the side, ends just below the right arm-pit. To the end is attached
a spring clip, as used to attach dog leads to collars. To the dog clip a handkerchief is
attached, and this is hanging in the right sleeve. Pull the handkerchief out of the sleeve,
the clip and cord comes with it. The cage must be one of the single-handed (rigid) cages,
and instead of a ring, a hook is fixed to the corner.
At the bottom of the right hip pocket, make a hole, and to it attach an extra pocket, just
long enough and wide enough to take the folded cage. Bulkier articles will remain in the
hip pocket, but small or slender articles disappear into the extension. The extension
pocket reaches down to the back of the knee, so that a cage in it will not interfere with
freedom of walking.
Perhaps it is now obvious to you that you can vanish the cage at any time during the act,
and have nothing up the sleeve. If not, read on …
The cage is in full view on the table. Have a cigarette case or pack of cards in your hip
pocket. Take a piece of newspaper in the right hand, holding it at one side of centre, and
make a hole in the centre, against the right wrist. Grasp a corner of the handkerchief and
pull it through the paper.
Automatically pull the dog clip into the right hand, press the clip (which operates like a
pair of scissors), and the handkerchief comes free in the left hand. The clip is finger-
palmed as the handkerchief is thrown over the left shoulder. Place the newspaper aside,
walk to the cage and cover it with the handkerchief. The covered cage is placed on the
right hand and the left hand is moved forward a little so that the cord is straight. The
hook is easily engaged in the clip.
Lift the handkerchief to show the cage still in position on the hand, and reply to an
imaginary remark: Why must he cover it up? After some by-plav, throw the
handkerchief aside, and vanish the cage without cover. The trick is over, and the cards
or cigarettes for the next routine are to hand in the hip pocket. Of course, the cage slides
down, is easily released, and drops into that extension pocket while the cards or
cigarettes are being removed.
By the way, use the UNIQUE Cage . . . it’s the best!
60
A FOUNTAIN PEN VANISH
An effective fountain pen vanish can be obtained by using a Unique Reel. Have the reel
(preferably a wrist or locking type) in the back hip pocket. Prior to use, secretly grip the
snap fastener between the thumb and first finger and bring the hand to a natural
position in front of the body, the jacket being unbuttoned and the thread running under
it. Pull the sleeves well up and tear a piece from a newspaper sufficient to roll a pen in,
and borrow a fountain pen. This must be the type that has a pocket clip. (Naturally, you
do not draw attention to this.)
Presentation: Take the pen at its base, the clip being at the other end facing
downwards, in the free hand. Transfer it to the other hand and as you do so, go over the
thread with the clip, press down lightly and pull back. Done properly you will have
engaged the pen to the reel whilst apparently placing it in the other hand. Hold the pen
by the tips of the finger and thumb so that they conceal the spring fastener which
prevents the thread slipping right through the clip. With the other hand, hold the paper
by one corner and in the centre place the pen, the tip of the clip end being at the edge of
the paper and held in place by the first finger on top and the second finger underneath.
Fold the bottom of the paper upwards and start to loosely roll the paper round the pen.
Whilst doing this, move the hands sideways and then upwards, at the same time
releasing the hold on the pen. It will be instantly pulled to the back of the coat.
As you finish rolling the paper, tilt it slightly and quickly, place the hand over the open
end as if to prevent the pen sliding out. Slowly and deliberately turn the paper so that it
is upright on one hand and held at the base by the fingers. Hold the other hand well
above it and then suddenly come down and crush the paper.
Throw the paper towards the audience, the hands being shown empty. Quickly place the
hand behind the back and release the pen by holding with the fingers and pushing the
spring fastener down with the thumb. Move the hand round to the trouser pocket,
slowly remove the pen, and you have added another miracle to your repertoire.
61
DROPPED THIMBLE
Have you ever dropped a thimble during your pet routine?—I suppose we all have.
However, the idea struck me that a very nice little addition could be produced if you
were to drop one "accidentally", and then have it fly up into your hand. It is a surefire
laughter item.
You will need to drill a small hole in a thimble base, to which is attached the reel thread.
Discard the clip, and secure the end of the thread with a knot on the inside of the
thimble. Thus secured, it will rest inside your sleeve until required.
With the reel on your right wrist, you get well into your thimble routine, and then
secretly push the left thumb into the thimble which is sleeved. The left hand is drawn
across the body, taking the thread with it, and the right hand then clips the thread
between the right thumb and first finger. Now take the thimble with the right second
finger, as if preparatory to vanishing it, and then clumsily drop it. Look at it lying on the
floor, and allow the thread to cause it to rise up into the right hand. The right fingers
and thumb, tips placed together, hold up the risen thimble for inspection. It is very easy
to perform a throw-up vanish——the thimble flies back up the right sleeve. It is well
worth while practicing so that the other fingers can be capped with thimbles whilst you
act this little by-play. I can vouch for its effectiveness.
I have been thinking how effective it would be if a billiard ball could be made to act
similarly. I think that a net crochetted with a fine black silk thread or made from a hair
net, would hold the ball. The net is attached to the reel’s thread. The ball would fly up
into the right thumb crotch.
62
THE FLYING RING
Effect: A ring is borrowed and held in the right hand. This hand is covered with a
borrowed handkerchief, the ring is still felt to be under the handkerchief; it may even be
shown again and re-covered and immediately a strong elastic band is placed over the
hand and wrist. Yet in spite of this the borrowed ring is discovered on a chosen finger of
the left hand, and the right uncovered is shown to be empty. The ring has passed across
in spite of the test conditions.
Requirements: A Unique Locking Reel.
Preparation: Pull out about one yard of the thread and lock it there. Place the reel in
the left trouser pocket, carry the thread across the back of the trousers, under the coat,
and place the spring clip into the right trouser pocket. The spring clip is opened rather
widely and rests on the bottom of the pocket.
Method: Borrow a ring, one having a thin shank being preferable, and meanwhile
remove any articles from the right trouser pocket, change, keys, or whatever you keep
there, being careful not to disturb the spring clip. The left hand goes idly to the left
pocket and presses on the locking device to prevent a premature release. Now the right
hand takes hold of the spring clip together with the bottom of the pocket and
immediately pulls the latter right out to show it empty. The clip is not seen for it is
nipped in the pocket lining and the thread lies behind the pocket as it is held straight
out. After a moment pocket and clip are thrust back again, and at this moment you take
the ring in the right hand.
Slowly and deliberately place the ring in the right trouser pocket, and patter while you
carefully slip the ring inside the clip and snap the latter closed. This is a little more
difficult than one might expect, but I have found that the operation is made quite easy
by a simple and, cunning expedient. The left hand takes hold of the ring through the
cloth and a gentleman is invited to himself testify that the ring is in the pocket, but—
holding the ring in the left hand through the cloth, for that brief moment, has made the
operation into a two-handed one and the right has been enabled to engage the spring
clip quite easily.
Now the performer faces the owner, hands in pockets, and asks which finger he or she
usually wears the ring, or which is his or her favourite ring finger. Meanwhile, the reel
has been released and begins to pull the ring out of the pocket. The right fingers assist it
over the back edge of the pocket by folding them up towards the wrist, so that the hand
does not move out of the pocket. The ring travels across the back and into the left
pocket, where the snap fastener is opened and the ring placed on the chosen finger.
Right hand is removed and the pocket pulled out, then the left hand is brought forth
wearing the borrowed ring on the chosen finger. An effect which, for impromptu
working, is going to be very hard to beat.
63
Your opinion may differ from ours, but we don’t think it is essential to mention the left
pocket at all, let alone show it empty. Concentrate on the right pocket and let the
discovery of the ring on the left hand come as a complete surprise.
64
THE ELUSIVE NOTE
It is fitting that this book should close with an effect which proves beyond all doubt the
amazing versatility of the "Unique" Controlled Reel. In this trick the reel is pressed into
service to enhance the effect created with a standard piece of apparatus. By its aid the
performer is able to bring about a really outstanding illusion.
Effect: A treasury note is borrowed, marked and its number noted.
The performer folds and rolls the note, securing it with a small rubber band. His left
hand now places the note in his left trouser pocket. The hand emerges definitely and
unmistakably empty and does not approach the other hand.
The right hand now removes from the right trouser pocket a small metal tube which is
handed to a spectator. Due to the special locking device with which the tube is fitted, the
spectator requires several minutes in which to open it.
Finally, he removes from the tube, the original marked note, the number of which is
checked.
Requirements:
 A Unique Controlled Reel.

 A Unique Improved Bill Tube.
 A small dress hook.
 A small rubber band.
Preparation: In the right trouser pocket is the Bill Tube, ready for the insertion of the
note. In the same pocket is the reel. The thread is drawn out of the reel, round your back
and into the left trouser pocket, where the "tag" is anchored in the small dress hook
which is stitched there.
Method: Borrow a treasury note. Have it marked, and its number recorded. Fold and
roll it to the required size and secure it with a small rubber band. Place the note in your
left trouser pocket. Quickly and secretly fix it to the waxed "tag", release this from the
hook and allow note to be drawn back to the reel in the right trouser pocket.
When you remove your left hand from the pocket, let there be no question about its
being empty.
Place the right hand in the right trouser pocket, detach the note from the reel, insert it in
the tube, bring this out and hand it to a spectator. Spectator removes note, identifies the
mark and checks the number.
65
For this effect, it might be well to replace the "tag" with a small spring clip, so ensuring
that the note does not do an unrehearsed vanishing act of its own, during the course of
its rapid journey.
If the wedge described previously is used, the dress hook can be dispensed with.
This effect can be built up into a real miracle. Please give it the attention and practice it
deserves, and so repay the originator who has released a real "gem".
66

Lewis Ganson - Reelistic Magic

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 A Unique Controlled Finger Reel.

Have the chair FACING the audience on this occasion.

 A metal or wooden hoop.

 Two twenty-four inch (say) Blue silks.

THE RISING CARDS

 A Unique Controlled Finger Reel.

SNAP ROPE RESTORATION

 A Unique Controlled Finger Reel.

 A Unique Controlled Finger Reel.

I suppose it could be repeated.

This may be repeated as often as you like.

 A Unique Controlled Finger Reel.

 A Unique Wrist Reel.

It will be seen that the routine consists of four magical effects.

1. A Unique Finger Reel.

2. A piece of rope about five feet in length.

 A Unique Controlled Finger Reel.

REPEAT VANISHING CIGARETTE

Requirements: A Unique Controlled Finger Reel.

Reach into the pocket for the cigarette and repeat.

Requirements. As for Repeat Vanishing Cigarette.

"THE VANISHING BUTTON"

This is a really grand "impromptu" item.

Requirements: A Unique Controlled Finger Reel.

Requirements: A Unique Controlled Finger Reel.

Requirements: A Unique Controlled Finger Reel.

 A Unique Controlled Finger Reel.

 A Unique Controlled Finger Reel.

 A Unique Controlled Finger Reel.

By the way, use the UNIQUE Cage . . . it’s the best!

Requirements: A Unique Locking Reel.

Effect: A treasury note is borrowed, marked and its number noted.

 A Unique Controlled Reel.

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