Edward Victor - More Magic of The Hands

W ILL ALMA
M.I.M.C. (LONDON)
M ORE MAGIC
OF THE HANDS by
EDWARD VICTOR
Author of The Magic of the Hands ”
“
A Aiagical Discourse on Effecis witli :

CARDS
TAPES
COINS
SILKS
DICE
SALT
CIGARS
GLOVES
THIM BLES
PENKNIVES
MATCHBOXES
BILLIARD BALLS
CH IN ESE RINGS, &c.
A C o m p a n io n V o lu m e to “ T h e M a g ic o f the H a n d s ”
COPYRIGHT.
“ DEMON SERIES”
L. D A V E N P O R T & CO.
(Incorporating M askelyne’s Mysteries)
LONDON.
Printed and Published by L. D. & C o., L ondon.
“ THE MAGNETIZED CARDS” .
(Chapter 2).
Luck Loves Skill- B u t it
ta^es a great artist so to
conceal his art that what
is r e a l l y an e x a c t i n g
perform ance appears
quite simple to the crowd.
To my son
‘P addy
AUTHOR’S FOREWORD
E ncouraged b y the friendly reception of “ T he M agic of the
H a n d s ,” I have written this second volum e in the hop e that
its general contents w ill again prove of practical assistance to
the m agical worker of to-day.
Since the publication of the first volum e it has been gratifying
to me to have personally m et m agicians w h o have told m e
that they are w orking various effects from “ T he M agic of the
H a n d s ” in their repertoire.
These in clu d e : “ Suprem e C o ntrol” , “ Sign, p le a s e !” , “ A
Silver C ollection” , “ T he C hanging C o in ” , “ M y R o p e T rick ” ,
“ V isitin g” , etc.
It makes an A uth o r feel that he has not written a bo o k in
vain.
Since m a n y branches of M agic are again represented in this
volum e, a close study of it w ill, 1 sincerely hope, assist the
reader in perhaps m ak ing som e little change, ad d itio n or
im provem ent in an existing m o v e ’ or effect in w hich he m ay
be interested.
I have included in this book m y m ethod of w o rk ing a n d
presenting “ The Chinese R in g s ,” m a in ly for those of m y
readers w ho have not u p to no w perform ed this effect, and
w ho m ay desire a reliable and effective m ethod of presentation
for this “ classic” trick.
A ll the effects a n d sleights herein described I have personally
tested before audiences, and have fo un d them “ N ot w anting.
CONTENTS
P a rt One.
Chap. Vag-j-
AUTHO R’S FOREWORD
I. FU RT H E R CARD SLEIGH TS A N D TH E IR U S E S ............... 5
Tlie “ P a s s ” again!—Kings -and Tons effect—The K.V.
semi-circular Colour Change—A New Colour Change Card
Trick—A Move for the “ Rising Cards ” (sleight-of-hand
method)—“ Face-to-Faee ” Pack effects (two methods)—
A “ F a n ” Card Change—A “ Quick” Reversed Card
Trick—A False Riffle Shuffle.
II. MORE CARD PROBLEM S .............................................................. 29
The Cards and Handkerchief effect—The Four Mental
Cards—The Sense of Touch—The Magnetized Cards
(sleight-of-hand method).
III. A RESTORED TAPE A N D R IN G EFFEC T ........................... 46
Introducing a novel principle.
IV. THE C H IN ESE R I N G S .......................................................................... 5S
In which the Author explains liis method of working and
presenting this effect.
P a rt Two.
V. H A N D K E R C H IE F S E C T IO N .............................................................. 81
“ Dyeing by W ireless” (an original silk effect presented
by -the Author for a season at St. George’s Hall, London).
VI. B ILL IA R D B A L L S E C T IO N .............................................................. 91
An effective Vanish and Recovery—A Comedy Baii
Move—A “ passe-passe ” Billiard Ball effect.
VII. CIGAR SECTION ..................................................................................... 103
Production of Cigars from P u rse —Series of sleights and
moves for the Production of Four Cigars.
VIII. M ISCELLANEO US S E C T IO N .............................................................. 115
A Vanishing Glove effect—The “ p o p ” Thimble Vanish—
An original Coin Production—The “ rainbow ” Penknife—
A “ matter through m a tte r” Penknife effect—A Salt and
Knife problem—The Flying Salt—A word on Tables.
C hapter I.
F U R T H E R CARD SLEIG H TS
AND TH EIR USES.
The State Library of Victoria
“ALM A CONJURING COLLECTION”
C H A P T E R I.
FU R T H E R C AR D SLEIG H TS A N D T H E IR USES.
T he “P ass” A gain .
This is a m e th od of p erform ing the tw o-handed pass w ithout
disarranging the order of the bottom portion of the pack.
It is m a in ly useful as a ‘ ‘m eans to an e n d ” . T he effect is
briefly as fo llo w s :
A selected card (or cards) having been returned, the p ack
is squared up; in doing this the face of the botto m card is
exposed, w ithout, how ever, deliberately draw ing the attention
of the audience to its value.
The pass described below is no w m ade and the chosen card
brought to the top; b u t the bottom card of the pack has
rem ained u nchang ed, thus silently proving to the audience an
absence of any m anip u latio n .
This sleight w ill be fo un d specially useful for the passing
of two or more cards from the centre of the pack to the top.
If it is desired to pass only one card and show the same
botto m card afterwards, the m ove k n o w n as the “ side-steal”
could just as easily be employed.. But to pass more than one
card to the top at the same tim e w o u ld be som ew hat difficult
to accom plish with a side-steal.
Those of m y readers w ho already perform the ordinary two-
handed pass swiftly and silently w ill find little difficulty in the
accom plishm ent of the m ove here described.
H a v in g h a d the selected cards returned the little finger is
inserted above them and the p ack squared up.
R aising the pack, let the audience see the face of the
b o tto m card.
T he p a ck is now held face dow nw ards in the left h a n d in
the position for the two-handed pass (thum b across the top,
first, second and third fingers along the right side a n d the little
finger inserted above the cards to be brought to the top).
The right h a n d no w covers the pack, bu t, instead of gripping
the w hole of the lower half below the little finger as in the
usual m ethod, lifts about three quarters of this portion.
The two-handed pass is now m ade in the ordinary w ay, the
7
8 More Magic of the Hands
cards below the portion lifted by the right h a n d lying across

the base of the left thu m b and fingers during the time that the
tw o halves are being transposed.
W h e n the pass is m ade, the original bottom cards of the
pack have consequently not been disturbed.
TH E K IN G S A N D TENS.
I perform an effective transposition of the four kings and tens
m a k in g use of the pass described above.
In effect, the perform er removes from the pack the four
kings and the four tens, together w ith the joker.
H a n d in g these nine cards to any m em ber of the audience
the performer places the pack face dow nw ards on the p alm
of his (own) left hand and requests his assistant to place the
joker at the bottom of the pack.
The assistant is then asked to place the four tens on the
top and finally (the performer m eanw hile cutting the pack
about the centre) to put the four kings in the m id d le of the
pack.
In replacing the cut the perform er inserts the little finger of
his abooe the Kings,
left h a n d and holds the “ break"’ ready fo r
m ak ing the pass as described.
T he assistant is now told that the joker w ill rem ain in position
at the bottom of the pack throughout the trick.
R aising the pack, the perform er shows it to be still there.
It is at the moment of raising the pack to show the Joker
that the pass described above is made.
The “ patter” goes on as follow s: —

“ A s you have yourself placed the joker at the bottom of the
pack and the four tens on top, it should be im possible for m e
to obtain possession of the four kings you placed in the centre
of the pack. Neverthel ss, that is w hat 1 shall attem pt to do in
exactly one second” .
Riffle the side of the pack, and rem oving the four top cards
show them to be the kings.
H a n d the pack to your assistant, rem arking: “ A lth o u g h the
joker has been " o n guard” at the botto m of the p a ck all the
tim e, you w ill find that the four missing tens have fo un d their
w ay to the centre of the pack.
This is verified by the assistant.
More Magic o/ the Hands 9
TH E E .V . SEM I C IRCULAR CO LO UR C H A N G E .
This colour change is so called on account of the m o ving
positions of the right h a n d , w hich travels to and from the pack
held in the left h a n d in a semi-circular arc.
In the process of do ing this, the right h a n d secretly obtains
a card from the back of the pack, p lacin g it eventually on the
face, thus com pleting the change.
M etho d .
Standing w ith the right side towards the audience, the pack
is held face outw ards in the left h and.
T he tip of the thu m b is on the left side of the pack near
the bottom , and the second a n d third fingers are h eld at the
other.
T he top join t of the little finger rests against the bottom of
the p ack at the extreme right h a n d side.
T he first finger is at the back ready to push u p one card at
the required m om ent.
T he right h a n d , havin g been show n em pty, is no w h eld back
towards the audience, elbow bent, on a level w ith the left
shoulder, and, m o vin g dow nw ards, covers the face card of the
pack for a m om ent.
The h a n d im m ediately m oves up w ards once m ore towards
the left shoulder in a semi-circular arc, a n d then dow nw ards
again, covering the face card.
These positions are clearly illustrated in FlG. 1.
10 More Magic o/ the Hands
This u p and dow n m ovem ent of the right h a n d is repeated
tw o or three times. A fter, say, the third tim e, w hen the right
h a nd is again over the face card for a second, the first finger
of the left h a nd pushes u p the back card about h alf an inch.
This projecting card is im m ediately gripped at its two extreme
top sides by the thu m b and little finger, exactly as show n in.
F ig. 2.
The right hand, gripping the card as illustrated, im m ediately

travels upw ards again to the left shoulder.
In descending once more, the card is left on the face of the
pack. The tip of the little finger, held as described at the
bottom of the pack, assists the placing of the p a lm e d card
square on the face of the pack.
The right h and now moves aw ay, and the changed face
card is disclosed.
There m ust be no hesitation in the up w a rd m ovem ent of
the right h a nd as it secures and carries aw ay the projecting
back card. R em em ber also that the back card must not be
pushed u p by the left first finger until the right h a nd is
m om entarily over the face card.
It is also im portant that the left h a n d should hold the pack
very lightly, exerting as little pressure on the sides as possible,
it will then be found a sim ple matter for the left first finger
to push u p one card only from the back; if the fingers and
thu m b press on the sides, more than one card w ill p rob ab ly
com e up .
W h e n the tim ing of the u p and dow n arm m ovem ent,
together w ith the quick “ steal” of the back card, have been
mastered, it should be im possible for the audience (even if
they knew the method) to tell at w h at precise m o m ent the
card from the back of the pack is obtained.
More Magic oj the Hands It
A COLOUR C H A N G E C AR D EFFEC T.
E ffect.
Three cards are freely selected. T hey are returned, and

the p ack is shuffled by the perform er.
H o ld in g the pack face dow nw ards in his right hand, the
m agician removes the top half portion, and turning it face
upw ards, asks the first chooser if the particular card cut at
is his. H e replies in the negative.
T he lower half of the pack, still held face dow nw ards, is
no w slow ly passed over the face of this card, a n d it is seen
to change into the first of the selected cards.
This m ovem ent is repeated, the first selected card changing
into the second.
F inally, the second card, w ithout any covering, instantly
changes into the last one selected.
M eth o d.
H av e three cards selected and then replaced together in

the centre of the pack in the order taken.
In the act of closing the pack, insert the little finger of the
left h a nd under the first selected card, and bring them all to
the bottom by the "tw o - h an d e d ” pass.
N ow shuffle the pack w ithout disturbing the three bottom
cards, keeping the faces turned aw ay from the audience du rin g
the shuffle.
The pack is no w taken, back upperm ost, in the right h a nd
betw een the first finger a n d th u m b at the right h a n d top and
bottom corners, as show n in FlG. 3.
FIG 3
H o ld in g the pack in this position, the left h a n d approaches
the right, back uppermost, and, placing the top joints of the
four fingers at “ o ” (FlG. 3), and the tip of the th u m b at "x”
(FlG. 3), divides the pack in half.
The top packet is turned face outwards, displaying the face
of the card cut at.
A t the same time the left side of the right h and packet (still
held face dow nw ards by the right thu m b a n d forefinger) is
placed on the fingertips of the left hand.
This position is m ade clear in FlG. 4.
The chooser of the first card is now asked if the face card
exposed is the one he selected (e x a m p le : T he three of
diam onds in FlG. 4), to w hich question he replies “ N o .”
H o ld in g the two packets at right angles as illustrated in
FlG. 4, the fingertips of the left h a nd exert a slight pressure
on the bottom card of the right h a n d packet, and the two
portions are separated about a quarter of an inch.
A s this is done, the pressure on the bottom card (w hich is
the one first selected) will cause it to project a quarter of a n
inch over the left side of the right h a nd packet.
T he top corner of this projecting card is im m ediately pushed
between the underside of the upright packet a n d the top
joint of the left first finger, and held clipped in this position.
This is illustrated in F i g . 5.
PROJECTtNG CflRO
HELD HBRC
More Magic cf the Hands 13
T he right thu m b and first finger now raise the bottom portion
upw ards, holding it in a position parallel w ith the floor, a nd ,
at the same time the left fingers bend inw ards, raising the
clip pe d card u p and level w ith the face card of the left
h a n d packet, in w hich position it is h eld a n d retained.
T he right h a n d packet should at this poin t be level w ith
the top side of the face card.
T he tw o halves are no w h eld at an angle of a bou t forty-five
degrees, a n d the right h a nd packet is slow ly passed d o w n
wards over the face of the left h a n d packet, disclosing finally
the face of the card first selected.
T he above m oves are repeated for the change of the first
chosen card into the second.
The instantaneous appearance of the last card selected
makes an effective conclusion, a n d is accom plished as follow s:
H a v in g show n the second card, the hands and pack w ill
again be in the position illustrated in ig F . 4,
T he bottom card of the right h a n d packet (this will be the
last one selected) is clip pe d betw een the upright packet and
the left first finger as before.
Instead of the right h a n d raising u p the portion it holds,
the tw o packets are separated.
A s soon as the gripped card is clear of the right h a n d packet,
the left h a n d m oves upw ards, carrying its packet w ith it. A t
the same m o m ent, the left fingers ben d upw ards, raising the
gripped card quickly and noiselessly u p to the face of the left
h a nd packet, disclosing the last card taken.
This last m ovem ent m ust be m ade rap idly. T he second
chosen card w ill appear to the audience to change visibly
into the third one selected.
M E T H O D OF R EVER SIN G T H E BO TTO M C A R D .

It is som etim es necessary in certain card tricks to secretly
reverse the bottom card of the p a ck either before or during an
effect.
I alw ays perform this reversal in the act of transferring the
p a ck from one h a n d to the other. T he sleight can be perform ed
at any p o in t durin g a trick.
I have not fo un d this an easy m ove to describe in “ cold
p rin t” , so take a pack of cards in your hands and follow the
m ovem ents in detail as described.
Just before you wish to reverse the bottom card, the pack
is held in the left h and face dow nw ards in exactly the same
position as for perform ing the “ C harlier,” or Single-handed
Pass. (That is, lengthwise, the thumb-tip at the centre of one
side a n d the four finger-tips at the other.)
T he pack is now taken in the right h and, the thu m b and
first finger gripping it at the two right hand corners.
Just before the left h a n d moves aw ay from the pack the
bottom card is pulled abou t an eighth of an inch to the left
by the tips of the left thu m b a n d first finger.
It is a k ind of p inching m ovem ent, perform ed quickly just
as the left h a nd moves away.
This action is shown in FlG. 6.
T he pack is now “ set” for the reversal of the bottom card.

It should be held face dow nw ards, level w ith the floor, and
the slightly projecting card will not be seen.
It is in the act oj transferring the pack to the left hand that
the bottom card is rapidly and silently reversed.
T he reversing of the bottom card is accom plished w ith the
tip of the left thu m b and the four fingers.
T he left h a n d approaches the pack, as show n in FlG. 6,
except that the four fingers cf that hand now lie across the
face of the projecting bottom card.
T H E F O L L O W IN G M O V E M E N T S T A K E P L A C E :
(1) The tip of the left th u m b bends the top corner of the
projecting card dow nw ards.
(2) The right thu m b a n d first finger tilt the rest of the pack
upw ards, and at the same time, under cover of the right
h a nd and the pack—
More Magic of the Hands 15
(3) — the left h a n d fingers b e n d inw ards, quickly lifting and
turning over the projecting card.
T he right h a n d no w moves aw ay, leaving the pack in the
left h a n d , w ith the bottom card reversed for whatever purpose
it is intended to use it.
A n exam ple of the use of this sleight is given in “ Face to
F a c e ’ ’ P ack Effects (First M ethod) described in this chapter.
A M O VE FO R T H E “R ISIN G C A R D S” .
(S l e i g h t of H and M e t h o d .)
O n e of the first “ m oves” 1 learned in m y early conjuring

days was, 1 rem em ber, the “ R isin g C a rd ” effect, perform ed
b y pushing u p the back card of the pack w ith the first finger,
giving the im pression to the audience from a short distance
that the card was rising from the centre of the pack.
M ost of m y readers are doubtless fam iliar w ith the w orking
of this m ove, and have p rob ab ly perform ed it at some tim e
or another.
I no w give you an original im provem ent on this effect:
E ffec t.
A card is chosen and shuffled back into the pack. T he
perform er, holding the cards face towards the audience in
his left h and, causes a card to rise u p . It is, how ever, not
the one selected.
H e then places his right h a nd over the half-risen card.
R e m o v in g his h and, im m ediately the card is seen to have
changed into the one originally taken.
M eth o d .
T he selected card is returned to the p ack a n d eventually
brought to a position second from the top by the “ pass” .
FIG- 7
T he pack is now held in the left h a n d face outw ards, the
th u m b on the left side near the top a n d the second, third and
little fingers on the right.
16 More Magic of the H ands
The first finger (nearest the floor) is b eh ind the pack as
illustrated in FlC. 7, separating the bottom card from the rest.
A few “ passes” are no w m ade with the right h and held above
the pack, and the separated bottom card is slowly pushed
upw ards w ith the left fingertip.
W h e n it is half w ay out of the pack, the chooser of the card
is asked if that is the one he selected, to w hich he will naturally
reply “ N o ” .
The left first finger m eanw hile separates the next card at
the bottom , and, under cover of the right h and, w hich for a
m o m ent is held over the half face of the card just raised,
quickly pushes u p the second card.
T he base of the right hand p a lm is held against the top end
of the first card w hile the second card is pushed u p , thus
keeping them both level.
N ow m ove the right hand away, and show the changed
face of the card.
The left first finger continues to push u p the tw o cards
together (as one).
W h e n they have been pushed about two-thirds out of the
p ack, the right h a nd removes them as one card, a n d places
them on the face cf the pack.
The effect to the audience ivill be that of a rapid change
from the wrong card into ihe one actually talien.
Further uses of this m ove are given in “ Face to F ace”
P ack Effects (1st and 2nd Methods) described in this chapter,
a n d “ The Cards and H andkerchief Effect” (Chapter 2).
“FA CE TO FA C E ” PA C K EFFECTS.
Several m ethods of w orking the “ Face to Face” P ack Effect
have already been published.
Briefly described, a pack is cut and the two halves placed
face to face. The pack mysteriously resumes its original condi
tion, all the cards being once more the sam e w ay round.
I here give you two original m ethods, in the perform ance of
w hich uses are m ade of two of the tleights previously described
in this chapter.
These two effects will be found excellent for im p ro m p tu
work, where perhaps the pack is “ borrow ed” .
T hey can be perform ed, if necessary, at very close quarters.
F IR S T M E T H O D .
E ffect.
A pack of cards is cut by the perform er a n d the two portions
are placed face to face.
In this condition the pack is freely exhibited on both sides.
It is no w taken in the left h a n d , and a card is seen to rise
face outw ards from the pack.
T his card is rem oved w ith the right h and, turned face inw ards
a n d pushed half w ay back into the pack.
It slowly sinks dow n to the pack level.
. The cards are im m ediately h a n d e d out for inspection.
Instead of the tw o halves being face to face as they were
p laced at the com m encem ent of the trick, all the cards in
the pack are no w fo u n d to be the same w ay round.
M eth o d .
It is necessary before com m encing the effect to secretly

reverse the bottom card of the p a ck . (See M eth o d of Revers
ing the Bottom C a rd ” described in this Chapter.)
T he cards are taken in the left h a n d face dow nw ards, the
tip of the thu m b at the centre of the left side a n d the top joints
of the four fingers on the right. This position is im portant.
T he right h a n d th u m b no w lifts half the p ack at the end
nearest the body..
F 'G 8
T his u p p e r portion is gripped by the th u m b u nderneath a n d
the fingers above. FlG. 8 illustrates the position (as seen by
the performer).
T he upper portion, held as illustrated in FlG. 8, is n o w lifted
off and is im m ediately turned face towards the audience and
h eld in a fan n e d position.
A t the same m om ent the portion in the left hand is quickly
reversed by turning the left hand back towards the audience.
The card originally reversed before the com m encem ent of
the trick w ill now be facing outw ards.
18 M ote Magic oj the Hand's
FlG. 9 shows the position of the hands and cards at this
point (as seen from the front).
Keeping the left hand in the position shown in FlG. 9, the
fanned packet in the right hand is now placed behind the
portion held in the left hand, and the pack squared up with
both hands.
The pack is now shown on each side, proving it to be
(apparently) face to face.
(Actually the cards are all one way, except the bottom
reversed card.)
REVERSED
The pack is now taken in the left hand, with the reversed
card towards the body, and held as described for the “ M ove
for the rising cards” . (See FlG. 7.)
The bottom (reversed) card is now pushed u p w ith the left
first finger as already described on page 11.
W h e n it is half w ay out of the pack, the card is rem oved
w ith the right hand, turned round, a n d replaced face inw ards
half w ay dow n at the back of the pack.
It is held in this position by pressing the back of the top
joint of the left forefinger against the back of the pack.
A t this point the left m iddle finger is shifted from the right
side of the pack to the bottom end.
The back of the left first fingertip, pressing against the
projecting back card, now slides it dow n to the level of the
p ack.
T he left m iddle finger held at the bottom w ill prevent any
of the back cards accidentally protruding from the lower end
More Magic cf the Hands 19
o f the pack w hile the card is slid dow n.
W h e n the card is level w ith the rest, the pack is im m ediately
handed out for exam ination, and all the cards are fo un d to
be the same w ay round.
SECO N D M E T H O D .
- This is a different m ethod of perform ing the above effect,
a n d is useful in the event of one being asked to "re p e a t the
trick” .
E ffect.
T he pack is cut and the two halves placed together face to

face overlapping each other at either end.
The audience are asked to rem em ber the value of the bottom
cards of each half.
Passing the right h a n d m om entarily over the pack, both
halves are seen to be no w back upperm ost.
T he face cards of each half are then show n to be the same
as those previously noted by the audience at the com m ence
m ent of the trick, and the pack is h a nded out for inspection.
M f t
/ — i*
T l
V
LEFT
HAND,
1 *3
F IG iO F l G 11,
M ethod.
In this second version it is not necessary to reverse the
bottom card of the pack beforehand.
The p ack is taken in the left h a nd in the same position as
for the first m ethod (see FlC. 8), except that in this case it is
held face outw ards.
T he right h a n d lifts off the top half of the pack as before
a n d places it back upperm ost about h a lf w ay above the bottom
portion, as show n in FlG. 10.
The half faces of each portion of the pack are now shown
in turn by turning the left h a n d round, and the value of each
card is noted and rem em bered by the audience.
Now turn the right side of the body towards the audience,
and, holding the pack as shown in FlG. 10, separate the bottom
card of the upper half from the rest with the tip of the left
forefinger (FlG. 11).
N ow , under cover of the right h and, w hich is passed for
a m om ent dow nw ards over the front of the packets, the
separated card is quickly pushed dow n by the left forefinger
to a position level w ith the cards of the lower half.
T he sides of the pack should be gripped as lightly as possible
by the fingers and th u m b of the left h a n d whilst the card is
pushed dow n.
O n rem oving the right h a nd it w ill appear to the audience
that the lower packet has mysteriously reversed itself, a n d
that the pack is no w “ all one w a y .’
A little further m a n ipu latio n however is necessary before
this effect can be proved, a n d the pack offered for inspection.
The right hand, taking hold of the lower packet, thumb at
the front and fingers at the back, as illustrated in F ig . 12,
pulls the lower half down towards the level of the right knee
and quickly reverses it during the downward movement.
F/G i Z . F'G -J3.

T he back of the right h a n d will now be outwards, facing
the audience.
In this position the backs of the two halves are displayed
(w ithout, of course, turning them round).
More Magic oj the Hands 21
T he packet held in the right h a n d is then replaced in its
reversed position behind the uppe r half as show n in FlG. 13,
w ith the four fingers now facing outw ards.
(From the point of view of the audience you have merely
rem oved the lower half for a m o m ent to show them that the
cards are “ all one w a y ” and then replaced the tw o halves
together again.)
Before rem oving the right h a nd (after replacing the packet
b e h in d the u p pe r half) the bottom (reversed) card of the lower
h alf is pushed upw ards w ith the right thu m b about an inch,
the projection of the card being m asked by the packet in
front of it. (See + FlG. 13.)
The final m ove consists in show ing the bottom cards of
each half to be the same as those previously noted.
(A ctually they are, except that one of them is reversed.)
It is in the course of show ing these cards one by one to the
audience that the projecting card is brought right w ay up in
the pack.
T his last m ove is accom plished as fo llo w s :
Stand facing the audience w ith the tw o halves held in
front of the body, backs towards the audience, the thu m b on
the left a n d the fingers on the right.
T he right h a n d no w passes b e h in d the top half (as the
packets are h eld at this poin t this w ill be the portion nearest
the floor) and the projecting card is clip p e d betw een the right
first a n d second fingertips, the nail of the forefinger being
placed on the face of the projecting card, a n d the front tip
of the second finger at the back.
C lip p e d in this m anner the projecting card is quickly p u lle d
a w ay a n d held for a m o m ent w ith its back towards the
audience, the card poin tin g towards the floor.
T urning it round, the card is show n to be one of those first
noted.
It is replaced ba c k upperm ost b eh ind the top half.
T he tw o portions are no w turned round, and the face card
of the low er half is seen to be the other originally noted^
H a n d in g the pack to the audience, they verify the fact that
the pack is no w “ all one w a y ” .
A “F A N ” CARD C H A N G E .
The above title is the most appropriate one I can think o f
for the follow ing extremely useful single card change.
Like the “ M ove for the R ising Cards” previously described
in this Chapter this sleight can also be em ployed in a variety
of ways.
In. its simplest form the effect is as follow s:
A card is selected and shuffled back into the pack.
Facing the audience the perform er then fans the cards faces
outwards from left to right saying he w ill find the one chosen.
H e stops at a card about the centre of the p ack and separates
the fan from it on either side.
H e is inform ed, however, that this is not the right one.
T urning the pack face dow nw ards, this card is rem oved from
the fan by the chooser.
O n turning it round he finds it to be the one he selected.
M eth o d
The card is changed during the brief m om ent that the fanned
cards are turned face dow nw ards im m ediately before the
rem oval of the “ w rong” card from the pack by the chooser.
In the perform ance of this effect it is necessary to k now
the value of the card ABOVE the one selected after it has
been returned to the pack.
The reader m ay probably have his favourite m ethod of
accom plishing this. (I usually divide the pack, have the card
replaced at the cut and then “ spring” the top half on to the
lower portion. It is an easy matter to quickly obtain a glim pse
of the lower index of the bottom card cf the top half as it is
bent inwards for the -spring” ).
W hichever m ethod is used, you now know the nam e of the
card above the one selected. W e will assume it to be the
A ce of Clubs.
N ow hold the pack in the left hand in the same position as
for dealing.
Stand facing the audience and slide the cards (held upright
a n d with their faces outwards) with the left thu m b one at a
tim e into the right hand, the right fingers assisting in this
m ovem ent.
The pack must be kept squared up , the left thu m b sliding
only one card at a time into the right hand.
As the pack is being thus fanned from left to right, it should
be held fairly near the body, and about six inches below the
chin, so that it is possible for the perform er to see the faces
of the cards as they are passed from one h a nd to the other.
W h e n he comes to the ace of clubs this card is pushed to
the right w ith the left th u m b as far as possible, care being
taken, however, not to expose any part of the face of the
card next to it, w hich is the one chosen.
The fan n e d portion in the right h a n d is no w closed by draw
ing the cards dow nw ards w ith the right fingers, the ace of
clubs being held at its tw o bottom corners by the tips of the
left thu m b and the right second and third fingers in the position
illustrated in FlG. 14. (Perform er’s view.)
E nq uiring if this is the card taken, the chooser replies N o .
The pack is no w turned dow nw ards in the position you
w o uld hold it if you were asking som eone to “ take a card’ .
D uring this m ovem ent the ace of clubs, m arked B in
FlG. 14, is changed to the card selected.
A C E OF
CLUBS
S£LECT£p ^
H ere is the m ove in d e ta il:

W h ilst h o ldin g the cards as show n in FlG. 14 a n d displaying
the “ w rong’ ’ card “ B ” to the audience, the tip o f the left
thu m b is m oved from the bottom corner of “ B ” to the position
“ X ” on “ A ” , the chosen card. (See FlG. 14.)
N ow , as the pack is turned face dow nw ards the right h a n d
second a n d third fingers, shown in dotted lines in FlG. 14, p u ll
“ B ” level w ith the right h a n d portion, and the left th u m b
slides “ A ” into the exact position vacated by “ B ’ .
The actual change should be m ade at the m o m e n t the top
ends of the cards are towards the audience, or, in other words,
w h en the cards are parallel w ith the floor.
P erform ed w ith the cards in this position, the change w ill
not be seen by the audience.
A ll that remains now is to have “ A ” rem oved from the
uack by the chooser (who im agines it to be “ B” ) and m agically
“ change” it into the card selected.
A “Q U ICK ” REVERSED CARD TRICK.

H ere is a further effective use for the sleight described
above.
E ffect.
A card is selected and then pushed back into the centre of

the pack.
The perform er then holds the pack in one h a n d for a second-
b e hind his back; it is again show n, and the cards are run from
ha nd to h a n d with their backs towards the audience.
W h e n the centre portion of the p ack is reached, the chosen
card is seen to be reversed in the pack.
It is rem oved by the perform er and the p ack is then placed
face dow nw ards on the chooser’s h and.
The m agician then pushes the card once more face d o w n
wards into the pack.
The chooser is then asked to run through the p ack him self.
H e discovers his card to be again reversed !
M etho d.
In the first part of this trick use is m ade of an old principle;

the second part is original.
Before com m encing, secretly reverse the bottom card of the
pack. (See “ M ethod of reversing the bottom card” already
described in this chapter.)
Spread out the cards, w ithout exposing the face of the bottom
one reversed, and have a card freely selected.
W ith the rem ark: “ N ow please look at your card and
rem em ber it ,” square u p the rem ainder of the pack, a nd ,
taking it in the left h a n d , back upperm ost, h o ld it in the
position illustrated in FlG. 8. (Face-to-face Card Effects), w ith
the reversed card at the bottom .
D rop the left h a nd to the side for a m o m ent, and in d o in g
so turn the p a lm inw ards, thus reversing the w hole pack.
“ Patter” as follow s: “ I w ill take your card a n d push it in to
the m iddle of the p a c k ” .
R aise the left hand (the fingers should now be p o in tin g
dow nw ards towards the floor, w ith the reversed card on top
of the pack) and taking the selected card from the chooser
in the right h and, push it face dow nw ards into the centre o f
the pack.
Continue as follow s: “ I am going to show you the quickest
card trick 1 know ; it is accom plished w ith one h a n d o n ly ” .
Place the pack (still held in the left hand) b eh ind your back
a n d quickly turn over the top reversed top card by sliding it
w ith the th u m b sideways to the right and turning it over w ith
the fingers.
Im m ediately the card has been turned, bring the left h a n d
again to the front of the bo d y , and fan the cards w ith both
hands, backs towards the audience, from left to right.
W h ile doing this, say: ‘ ‘Y o u w ill see that w ith one h a n d
only I have succeeded in reversing the chosen card in the
pack” .
D isplay the reversed card w hen y ou com e to it (it w ill be
facing the audience) and separate the fan, h o ldin g the reversed
card with the right m iddle fingertip against the right h a nd
p ortion as show n in FlG. 15. (Perform er’s view.)
SELECTED
CARD.
While the card is being displayed, the left hand moves

inwards towards the body and quickly reverses the bottom
card of the packet it holds ("A ” FlG. 15) by pushing it to
the right with the thumb and turning it over with the fingers,
a similar move to that just performed when the pack was
held behind the back.
The hands are immediately brought together again to the
position shown in FiG. 15, except that “ A ” is now reversed.
Now lower the pack, and in doing so, perform the " Fan
Change” already described. (FlG. 14.)
The covering “ patter” should run: “ Please notice that this
is the only card reversed in the “ pack” .
H o ld in g the fanned cards in the left h a n d for a m om ent,
remove the reversed card “ B ” w ith the right.
Square u p the pack a n d place it face dow nw ards on the
assistant’s hand.
N ow push the card “ B ” you are holding in your right h a n d
(w hich the assistant w ill im agine to be his card) into the centre
of the pack.
W h e n it is again fanned, the chosen card is fo un d to b e
once more reversed in the pack.
A FALSE “RIFFLE SH U F F L E ” .
This is not a difficult false shuffle to acquire. W e ll per
form ed, it w ill convince your audience that a genuine “ riffle
shuffle’ ’ has taken place; yet, at the conclusion the entire pack
is in its original sequence.
The pack is first divided in half, a portion being held face
dow nw ards in each h a n d as shown in FlG. 16 w ith the tw o
thum bs ben ding the inner corners slightly upw ards.
FIG /G
T he position for holding the tw o halves of the pack should
be carefully n o te d : T he second and third fingers are at the
outer side of each half, w ith the little fingers laying across the
bottom cards of the two portions.
The first fingers rest on top, bent inw ards as illustrated.
The packets are brought together and their two inner to p
corners (see “ x ” FlG. 16) are riffled into each other w ith
the thumbs; the corners should not overlap more than half an
inch.
(If perform ing at a card table, the cards can, if preferred,
be riffled against the table top, a m ethod usually adopted b y
card players.)
More Magic cj the Hands 27
T he portion in the left h a n d m ust be riffled a little quicker
than the one in the right h and, so that at the end of the riffling
m ovem ent there are about eight to twelve loose cards above
the left h a nd packet.
T he four fingers of each h a n d are no w m oved to a position
across the bottom card of each portion.
FlG. 17 shows the hands and pack at this stage of the shuffle.
l_ O O S t C A R D S
O H TOP.
i
FI G /J.
T he right h a n d th u m b no w spreads the dozen or so loose
cards lay ing on top of the left h a nd portion across to the left
so that they cover both packets, as show n in FlG. 18, a nd , as
these cards are pushed across, the right h a n d portion is tilted
slightly upw ards at the end nearest the body and then twisted
outwards, pressing the inner sides of the tw o packets together.
This action w ill free the inter-locked cards.
The unlocking of the riffled pack is com pletely m asked b y
the loose cards spread across the top of the packets.
A s soon as the two halves are disengaged, the p ack is squared
up, and the false shuffle is com pleted, leaving the pack in its
original order.
N o t e .— In squaring u p the cards, the portion in the right
h a n d is pushed betw een the top fann ed cards and the left
h a n d packet.
C hapter II.
MORE CARD PROBLEMS.
C H A P T E R II.
TH E C AR D S A N D H A N D K E R C H IE F EFFECT.
This is an original adaptation of that well k now n and excellent
effect “ The Card through the H and kerch ief” .
In the m ethod about to be described, four selected cards,
instead of one, are produced from a p ack w hich has previously
been w rapped u p in a handkerchief, each chosen card,
apparently passing through its folds.
T he first two cards rise upw ards one by one through the
handkerchief (a la R ising Cards’) and the last two are shaken
out dow nw ards as in the original m ethod with one card only.
R e q u ir e m e n t s .
A pack of cards and a handkerchief, both of w hich m ay be

borrow ed if desired.
E ffect.
Four cards are freely selected and shuffled back by the per
former into the pack.
A handkerchief is offered for exam ination, and then spread
across the p a lm of the right h and.
T he pack is no w placed u p on it face upw ards and the
h andkerchief w rapped around it.
T aking the w rapped u p pack in the left h and, one of the
selected cards is seen to rise, apparently passing upw ards
through the folds of the handkerchief.
This card is rem oved w ith the right h and, a n d the second
card im m ediately rises.
The handkerchief and pack are now transferred to the right
h and, a n d the handkerchief is shaken..
A third chosen card drops to the floor, being finally follow ed
by the fourth card selected.
T he handkerchief is u n w rap p e d and offered for ex am ination
together w ith the pack of cards.
M eth o d .
T he four selected cards are returned to the pack and

eventually brought to the top by the pass.
T he pack is retained in the left h and.
It is now necessary to secretly p a lm these four cards in the
right hand; this move is accom plished in the follow ing indetect?
able m anner:
30
A handkerchief is borrow ed from a m em ber of the audience,

a n d the little finger of the left h a nd is m eanw hile inserted
betw een the four top (selected) cards a n d the rem ainder of
the pack.
T he handkerchief is then held by the first and second finger
tips of each h a n d as illustrated in FlG. 19. This figure shows
the position as seen by the performer.
T h e tw o hands are no w brought together for a m o m e n t in
such a m ann er that the right h a nd p a lm covers the four top
cards separated by the left h a n d little finger, and these four
cards are quickly transferred into the right h a n d p alm .
F fG 2 0
U. p a l m £d
C flRO S
\
HfiNb
F ‘ Q S ir
A t the same instant the handkerchief is given an up w a rd
shake, conveying to the audience that the handkerchief does
not contain anything, a n d the tw o hands are im m ediately
separated.
In this m anner the four selected cards are transferred into the
right hand p alm in an invisible m anner.
FlG. 20 shows the position at this stage as seen by the
perform er.
A udience
~ ^3
, I CARP
f t AWD
F IG 22 F /G 2*3
The first and second fingers of the right h a n d now hang
the top of the handkerchief along the left arm.
The right h a n d is then held in front of the handkerchief
at the centre, and it is im m ediately released by the left h a n d
fingers and allow ed to fall over the p a lm of the right h and,
the inner corner lay ing over the right forearm .
The body should be turned slightly to the left during this
m ovem ent, thus avoiding any possibility of the p a lm e d cards
b e ing seen by the audience.
T his position is illustrated in FlG. 21.
T he pack is now placed face upw ards on the handkerchief

im m ediately over a n d level w ith the four cards concealed
underneath.
The corner of the handkerchief lying over the right forearm
is no w p u lle d over the pack w ith the left h and, a n d allow ed
to h a n g dow n in front.
The pack, together w ith the p a lm e d cards, is then gripped
w ith the left h a n d thu m b and fingers at either side a n d raised
to a vertical position.
T he four selected cards w ill no w b e tow ards the bod y , backs
outw ard, a n d com pletely h id d e n at this stage from the audience.
The top card of these four is now pulled downwards about
an inch, as illustrated in FlG. 22. (Performer’s view.)
A sim ple m e th od of sliding the top card dow nw ards is to
perform this m ovem ent w ith the right thu m b during the act of
gripping a n d raising the handkerchief to a vertical position,
as already explained.
T he sides of the handkerchief are no w folded over cross
wise.
Taking the bundle for a moment in the right hand, the left
hand is brought round to the back of the bundle, holding it
at the opposite sides to those illustrated in FlG. 22.. The left
index finger is at the back.
This is m ade clear in FlG. 23. (Performer’s view.)
T he patter should run som ew hat on the fo llow ing lin e s :
“ I w o uld like those of you w ho have selected cards to
k in d ly concentrate on their value; a n d let me tell you that the
person w ho thinks the deepest w ill see his or her card rise
out of the p a c k .”
The first card is n o w slow ly pushed u p from the back with
the left index finger, and the patter is continued thus: “ W h o se
card is this? Y ours, sir. T hen you are the deepest thinker
in the room ! ”
R em ov e the card from the handkerchief w ith the right
h a n d and slowly push u p the next.
A little com edy m ay be introduced w ith the rising of the
second card in the follow ing m a n n e r: Pushing the card u p
about an inch or so from the handkerchief, enquire whose card
it is. O n being inform ed by the chooser, rem ark: “ W e ll, go
on thinking, sir, it ’s going dow n a g a in ” !
A s this is said, the card is pulled dow n w ith the left fore
finger.
Finally the card is pushed u p again a n d rem oved as before
w ith the right h a n d .
The cards and handkerchief are now transferred to the right

hand, the right thu m b and forefinger gripping the top of the
projecting card through the handkerchief as show n in FlG. 24.
(Perform er’s view.)
/\(J D /£ rtC E
/■ V Q 2 U * .
The handkerchief, thus held, is given a shake and the third
card passes through the handkerchief, dro p p in g on to the
floor.
T he right thu m b a n d forefinger no w release their grip on
the fourth card, and as the handkerchief is again shaken, the
fourth card appears.
T he above trick has the advantage of being equally effective

show n either at close quarters or on a stage or concert plat
form , and in addition requires no preparation before h and.
N o te.
A n addition al effect can be obtained by having five cards
selected instead of four.
T he first four are produced as already described, leaving
the fifth card on top of the pack.
T he fourth card having been shaken out of the handkerchief,
the pack is u nw rap p ed, w ith the rem ark:
" Y o u m ight perhaps like to see the last selected card appear
w ithout the pack being covered” .
The handkerchief is laid aside, a n d at the same tim e the
bottom card of the p ack is quietly slipped on to the top of
the fifth selected card, thus bringing it to a position second
from the top.
T he “ R isin g Card Sleight” described in C hapter 1 (FlC. 7)
is no w perform ed.
W h e n the w rong card rises, the chooser is told that he is
not concentrating ‘d eeply e n o u g h ,’ and to go about ‘h a lf an
inch deeper .
The half risen card then suddenly changes into the correct
one selected.
T H E FO U R M EN TA L CARDS.
This is a good im p ro m p tu card effect, and can be perform ed
anyw here, a n d w ith any pack.
It is original, a n d has been a favourite of m ine for a long
time.
T he trick should be introduced as an experim ent in T hought
R e ad in g .
E ffect.
A n y four cards are rem oved from the p ack , and a m e m ber
of the audience is requested to think of one of them .
T hey are then replaced in the centre, a n d the p ack, after
a cut, is h a n d e d to the spectator in whose possession it rem ains
u p to the conclusion of the experiment.
U p o n his n a m in g the card he thought of, it is im m ediately
produced by the perform er.
M eth o d.
The spectator is actually given a free choice as to w hich
one of the four cards he thinks of.
W h e n these are replaced in the pack they are finally left
(at the conclusion of the m ovem ents about to be described)
:n the follow ing p ositio ns:
I card on top of the pack.
1 card at the bottom .
1 card reversed in the centre.
1 card p a lm e d in the perform er’s right h and.
W hichever of the four cards the spectator thought of can
therefore be produced b y the perform er if he has previously
m em orized their original order at the com m encem ent of the
trick.
Four sleights are m ade use of. These take place in the
follow ing o rd e r:
1 T he two-handed pass.
2 A “ slip cut” , bringing the top card of the pack to the
centre.
3 A secret reversal of the slipped card, perform ed in the
act of closing the two halves of the pack.
4 The palm ing of the top card of the pack in the right
hand.
The detailed w orking of the effect is as follow s:
R em ov e any four cards from the shuffled pack. These are
h e ld in the right h and faces outw ards. (See FlG. 25.)
T he rem ainder of the pack is retained in the left h and.
o o I £ /v c ^
n o 2 5 F IG 2<b
T he perform er gives a quick glance at the faces of the four
cards in the right h a nd and m entally notes their order from
left to right. (See note at end.)
A m em ber of the audience is now asked to think of any
one of the four cards.
D iv id in g the pack at the top corner w ith the left th u m b
(see FlG. 26) the four cards are then squared u p and pushed
h alf w ay into the pack w ith the right h a n d .
T he right fingers and thu m b no w lift off the to p portion
above them , h o ldin g it at the top a n d bottom ends, a n d the
left forefinger pushes the four cards level w ith the lower
portion. N ow , as the top half is replaced over them , the to p
card of the lower portion is slid w ith the left th u m b a little
to the right; this w ill enable the left little finger to be inserted
betw een that card and the rem ainder of the botto m portion
of the pack.
T he pack is no w squared u p , retaining the little finger break.
I. THE TW O-HANDED PASS.
D uring the follow ing patter the two-handed pass is executed;
"1 w ill try to discover the card you thought of b y reading
your m in d ” .
O n the com pletion of the pass, the order of the four cards
in the p ack w ill be as fo llo w s :
Three cards at the top.
O n e card at the bottom .
2. T H E ‘ ‘S L IP C U T ” .
C ontinue to patter thus:
‘ ‘Please think of the suite of your card, whether it is a
H eart, a C lub, a Spade, or a D ia m o n d .
A s this is said, the pack is opened about the centre, book-
wise, a n d as the right h a n d moves u pw ard w ith the top portion,
the left fingers exert a slight pressure on the top card, allow ing
it to slip quietly on to the low er half.
W h ilst finishing the above patter, gaze intently at the face
card of the top portion in the right hand.
3. S E C R E T R E V E R S A L O F T H E ‘‘S L IP P E D ” C A R D .
R e m a rk in g : ‘ ‘Y es, I believe I k now your c ard ” , the top
card of the lower packet (i.e. the card just slipped) is pushed
a little to the right w ith the left thu m b , a nd , in the act of placing
the tw o halves together again the left side of the top portion
is placed against the underside of the projecting card, lifting
it upw ards and reversing it.
38 More Magic oj the Hands
This sleight should be perform ed during a turn of the body
to the left, a n d w ill then be quite invisible, being m asked by
the back of the right hand,.
The two halves are im m ediately brought together a n d the
pa ck squared up; the reversed card w ill be som ewhere about
the centre of the pack.
4. P A L M IN G T H E T O P C A R D .
D uring the action of squaring u p the pack, the top card is
quickly p a lm e d off in the right h and.
T he above moves, as described and num bered for clearness

m ay appear to the reader to take some tim e to perform .
A ctu aly each sleight blends into the next sm oothly during the
delivery of the patter outlined, a n d the w hole is accom plished
w ithin ten seconds.
A t the conclusion of the above m ovem ents the first card
m em orized w ill be the top card of the pack, the second card
palm ed in the right h a n d , the third reversed in the centre of
the pack, and the fourth card at the bottom .
The pack is no w handed to the person w ho thought of the
card.
Patter: “ Please h o ld the p ack tightly in your left h and,
face dow nw ards, and nam e your card” .
Im m ediately the card is n a m e d it is produced as fo llo w s :
If the first card m em orized by the perform er is nam ed, remark
to the assistant: “ Please strike the pack sharply w ith your
right h and, and then look at the top card” .
T his w ill be the card he nam ed .
If the second card m em orized is nam ed (this card is the
one p a lm e d in the right hand) produce it from the right pocket,
rem arking: “ Y o u notice that the card left the pack im m ediately
you n a m ed it” .
If the third card is nam ed (this is the one reversed in the
centre of the pack) say “ Y o u evidently thought of a m ilitary card
for I notice that it has perform ed a ‘right about turn’ in the
pack. Look through the cards and you w ill find it reversed” .
This the assistant verifies.
If the fourth card is nam ed, the pack is taken from the
assistant and rubbed face dow nw ards along his sleeve. T hen,
turning the pack face outw ards, the perform er rem arks: “ H ere
is your card; you should m ake a good Conjuror w ith sleeves
like that” !
N o te.
The m em orizing of the four cards at the com m encem ent of
the trick should, for effect, be done practically instantaneously,
leading the audience to believe that the perform er has not
even glanced at them .
T he follow ing principle, if adopted by the reader, w ill
enable h im to do this.
Unless any values are repeated in the four cards, such as
tw o or more nines, for exam ple, it is only necessary to rem em ber
the values and not the suites.
Thus, supposing the order of the four cards from left to
right to b e :
Three of clubs, nine of spades, seven of hearts and jack
of clubs, only the num bers 3, 9, 7, need be m em orized, the
last card alw ays being disregarded.
S hould the ja c k be n am ed by the assistant, this card, no t
being am ongst the three already m em orized, at once supplies
the inform ation that it is the fourth card.
If, on the other h a n d , the order is:
Three of clubs, Jack of clubs, nine of spades a n d seven of
hearts, your m ental key w o uld be 3, Jack, 9.
If values are repeated, such as:
N ine of hearts, ace of clubs, nine of clubs, ten of spades,
a m ental note m ust be m ade of the relative positions of the tw o
nines by m em orizing one of them by their suite alone.
Thus, in the exam ple given above, the key w o u ld b e : 9, 1.
clubs.
If the values of the first three cards are similar, as, for
exam ple :
Four of hearts, four of diam onds, four of spadesi the suites
only need be rem em bered, m ak ing the key: hearts, diam o nds,
spades.
W o rk in g on the above lines, it is surprising h ow rapidly the
order of the four cards can be m em orized.
T H E SENSE O F TO U C H .
T he m a in sleight explained in this effect is the rapid "sight
ing of a selected card after it has been returned to the pack.
I m ake use of this move in m any card tricks, and feel sure
that those of m y readers w ho include card problem s in their
repertoire w ill find various uses for it.
1 w ill first fully describe the sleight, a n d then explain one
of the effects for w hich it is particularly suitable — “ T h e
Sense of T o u c h ” .
“ S IG H T IN G ” A C A R D IN T H E P A C K .
A selected card is returned to the pack and finally brought
to a position second from the bottom .
T he cards are then held squared u p in the left h a n d , backs
towards the audience and level w ith the perform er’s waist.
The bottom card is now " s lip p e d ” about half an inch d o w n
wards w ith the left h a n d second and third fingers, just sufficiently
for the index corner of the card above it to be quickly sighted.
F .
(See ig 27.)
^ O 0 I £ A/ C e
F / Q 2-7 P IG 28
T he slipped bottom card is then either pushed upw ards
again w ith the left little finger until it is level with the rem ainder
of the cards, or the pack can be transferred to the right h and,
w hich takes it at either end w ith the thu m b and fingers, and
the slipped card pushed upw ards as the right h a n d fingers and
th u m b close over the p ack (FlG. 28) w hich is im m ediately
h anded to the audience to be shuffled.
N o tes on t h e a b o v e .
A. A fter the selected card has been returned to the pack
and brought to a position second from the bottom , allow
the audience to see the face of the bottom card in the act
of squaring u p the pack.
W h e n this is h a nded to a spectator later to be shuffled,
he w ill notice the same card at the bottom .
B. It w ill be only found necessary to slip ’ the bottom card
for about half a second, one quick dow nw ard glance being
given as the pack is held back outw ards, waist high, and
tilted slightly outwards.
C. The follow ing outline of patter is sufficient to cover all
the m o v e s :
“ K indly replace your card in the p a c k ” .
(The card is replaced and the left little finger is inserted
under the card below it.)
“ N o w please rem em ber it carefully” .
(The two-handed pass is m ade and the cards squared,
u p , the botto m card being casually exposed.)
“ 1 w o uld like you to take the cards and give them a
good shuffle” .
(The card is sighted and the pack h a n d e d to the
spectator.)
The m ethod of card sighting above described can be used

w ith excellent effect in the follow ing card p ro b le m : “ T he Sense
of T ouch” :
A n y pack of cards.
M eth o d .
A pack of cards is h and e d to a spectator to be shuffled.
H e is then requested to cut the pack and to h a nd the per
form er any one of the tw o halves.
Spreading out the half h a nded h im w ith both hands face
dow nw ards, the assistant is asked to touch any card w ith his
finger.
The perform er then lifts this card w ith the right h a n d , together
w ith those above it, and, turning the packet face outw ards,
asks the assistant to rem em ber the nam e of the card he has
touched.
This position is illustrated in FlC. 29.
AUDIENCE
CARD
t
TOUCHED
. W h e n the card has been noted, the packets are brought
together again, and in the act of squaring them up , the little
finger of the left h a nd is inserted under the top card of the left
ha nd packet. (See + FlG.29), and the two-handed pass is
executed.
It w ill be found that this can be done very rapidly and
sm oothly ow ing to the fact that only half the pack is in the
hands.
The card touched w ill now be in a position second from
the bottom .
T he packet is no w h eld by the performer back outwards,
the bottom card is “ slip p e d ,” and the touched card sighted
as explained above.
This packet is now handed to the assistant w ith the request
that he shuffles it. the perform er at the same time taking from
h im the half pack he is holding.
“ P attering” mysteriously about the “ Sense of T o u c h ,” the
perform er brings his packet over his assistant’s half, a n d lightly
touching it, announces the nam e of the card touched.
T he above effect can, if desired, be suitably repeated, the
perform er and assistant once more changing packets.
TH E M A G N E T IZ ED CARDS.
(S l e i g h t -o f -h a n d M e t h o d .)
This is a m ethod of causing a num be r of u nprepared p lay ing

cards to mysteriously adhere to the. p a lm of the h and w ithout
the use of any prepared cards or other fakes.
E ffect.
A b o u t 24 cards are , dealt from a shuffled pack and are

placed one by one on the upturned p a lm of the h a n d in a
m ore or less fann ed position.
The h and is then turned p a lm dow nw ards a n d the cards
are seemingly held against it in a “ m agnetized” position.
O n the front page of this volum e is an actual photographic
reproduction of this effect. (The author is using his left h and.)
M eth o d .
E ither h and m ay be used. In the accom panying draw ings the

THE M A G N ET / Z FO C A R D S.
right h a n d is illustrated, a n d to sim plify the description, the

cards are num be red.
A b o u t 24 cards are first dealt from the p a ck a n d are the n
taken a n d held, faces upw ard, in the left h and in a position
as for dealing.
The right h a n d is then held outstretched, p alm upperm ost
a n d quite flat.
T he tw o top cards of the packet held in the left h a n d are
first placed in turn face upw ards on the right h a n d as shown
in FlG. 30, card N o. 2 overlapping N o. 1 by i of an inch.
The next two cards (Nos. 3 and 4) are then laid above them
in a diagonal position, as illustrated in FlG, 31, card N o. 4 over
la p p in g N o. 3 by I of an inch.,
Card N o. 5 is no w laid across the first four cards, a n d is
h e ld pressed against them for a m o m ent w ith the fingers of
the left h and, keep ing all the five cards in position.
T h e right h and is im m ediately turned slightly upw ards, fingers
p o in tin g more towards the ceiling, and card N o. 5 is gripped
a t the opposite corners betw een the third and little fingers and
the thu m b of the right h a n d respectively (ordinary th u m b grip)
as show n in FlG. 32 (+ indicates the tw o gripped corners).
T he object in turning the right h a n d slightly upw ards during
the preceding m ove is to effectively hide the action of gripping
c ard N o. 5 from the eyes of the audience.
The right h a nd should be kept in this up w a rd position during
the tim e the rem ainder of the cards are placed on it, as
■described below .
Cards Nos. 6 a n d 7 are then slid under cards 1 and 2 on
the left side, card N o. 8 under cards 1 and 3, and card N o. 9
under card 2 on the right in the position show n in FlG. 33.
Card N o. 10 is no w pushed under cards 6 and 7, and card
N o . 11 under cards 8 a n d 9. F ig . 34 shows the exact position
o f the cards on the h a n d at this stage.
Cards Nos.. 12 to 24 are no w pushed betw een the outer
ring of cards a n d the h a n d , cards N o. 12 to 16 being held secure
b y a slight u pw ard pressure of the right h a n d fingers w hen it
is turned p a lm dow nw ards.
FlG. 35 shows the final position of all the cards.
The right h a nd is no w turned p a lm dow nw ards, and is then
held in various sidew ay positions, dem onstrating "m a g n e tic
influence” .
N o t e s on t h e a b o v e .
A. T he cards held in the left h a nd at the com m encem ent of

the trick are slid forw ard one by one w ith the left thu m b
as one w o uld for dealing, a n d placed in the required
positions in the right hand.
If desired, the cards can first be dealt on to a table,
and then picked u p one by one w ith the left h a n d a n d
placed as required on the right hand.
B. A s soon as card N o. 5 has been gripped as ex plained
. (FlG. 32),this hold m ust be firmly m a in ta in e d throughout
the rem ainder of the trick.
C. If the left h a n d is used, cards Nos. 3, 4 a n d 5 are naturally
placed in the revese positions to those illustrated in the
diagram s.
D. A little covering “ patter” is advisable whilst the cards
are b e ing placed and arranged on the right h a n d .
• E. Som e practice w ill be required to perform this trick easily
a n d sm oothly. T h e reader w ill find the tim e spent on it
w ell w orth w hile.
C h ap ter III.
A R E S T O R E D T A PE AND
RING E F F E C T .
Introducing a novel principle.
C H A P T E R III.
A RESTORED T A PE A N D R IN G EFFEC T.
Introducing a N ovel P rinciple.
This original effect w ill be fo un d excellent for close quarter
w ork a n d perhaps at times a useful substitute for the " C u t a n d
restored ro pe” .
T he exact effect is as follow s:
A piece of tape half an inch w ide and a bou t tw enty inches
long, is held by the performer at one end betw een his finger
a n d thu m b .
A borrow ed ring is tied to the other end of the tape by the
lender.
H a n d in g h im a pair of scissors, the perform er holds the tap e
taut a n d requests h im to cut it through the centre.
H o ld in g a cut half in either h and, the perform er ties the
tw o pieces together, and, placing his h a n d over the knot, asks
the ow ner of the ring to place his (or her) little finger througk
the ring.
" P u l l, ” says the m agician.
The tape is p u lle d and is seen to be restored.
T h e knot has vanished, the perform er’s h a nd is em pty, a n d
the ring, having been tied to the tape throughout the experi
m ent, has proved the absence of a duplicate piece of tape.
The ow ner of the ring unties it, proving also the absence of
a duplicate ring.
M eth o d .
The tape is actually thirty inches long, the extra ten inches
being concealed between the thu m b and the first tw o fingers
of the right hand.
For a sm all h a n d reduce the length of the tape to twenty-
four inches, concealing eight inches as explained above, a n d
displaying a piece sixteen inches long at the start of the trick.
U sing this principle it w ill be understood that w hen the tape
is cut and finally show n restored, it w ill be exactly the sam e
length as the piece originally show n.
The w orking details of the trick are as follow s :
T ake thirty inches of half-inch tape and m ark off ten inches
from one end.
N o w fold that end over to the m ark.
Fold over this double piece again three times.
The ten inch end w ill no w be half an inch long, presum ing
a piece thirty inches in length is being used. A p in is no w
pushed through the folds, a n d the tape is placed in a heap on
the m a g ician’s table in readiness for the perform ance of the
trick.
It is only a matter of a m o m ent to w ithdraw the pin, pick
C O N C E A L E D FOLDS
PRESSED TlGtfTLY
F/G 36.
u p the tape and conceal the folded end betw een the th u m b
a n d first and second fingers of the right h a n d , folded side
upw ards, as show n in FlG. 36.
H o ld in g a n d displaying the tape as illustrated, the perform er
lifts the centre portion betw een the thu m b and first finger
of the left hand, the first finger being uppermost, as shown
in F ig . 37.
The performer now asks for the loan of a finger ring, and
the owner is requested to tie it on to the tape at the end marked
+ in F ig. 37.
W hen this has been done, the performer slides his forefinger
and thumb to the end of the tape until they rest against the
knot securing the ring.
F ig. 38 illustrates the position at this stage.
Now, in the act of turning the body to the left and removing
a pair of scissors from the right hand coat or trouser pocket,
the following moves are m ade:
C o n c e a le d
folds
I
A . First turn the left h a n d quickly p a lm upw ards a n d then,

b en d the little finger of that h a n d inw ards over the tape as
show n in FlG. 39.
B. Im m ediately turn the left h a n d back upperm ost again,
and at the same tim e disengage the left little finger from the
tape. See FlG. 40.
T en inches of the tape w ill no w be concealed in the left h a n d .
CONCEAL EC
FOLDS
I
C. The right h and no w im m ediately releases the fo ld ed end

{held betw een the th u m b a n d first tw o fingers) and then holds
the tape at the extreme right h a n d end.
R i n g & 10 in c h e s
The positions of both hands and the tape at this poin t of

the trick are shown in F ig . 41.
The above moves A , B and C are all perform ed w ith the
right side of the b od y turned towards the audience, and should
take about three seconds to perform .
D ro p p in g the right end of the tape for a m om ent, the per
form er removes a pair of scissors from his right pocket a n d
hands them to the ow ner of the ring.
N ow , taking u p the dropped end of the tape again between
the right forefinger and th u m b , the perform er asks the assistant
to cut the tape in the centre, at + in FlG. 41.
(If w orking near a table, the scissors can, if preferred, be
placed on it at the start of the trick, a n d picked u p and h a n d e d
to the assistant.)
T he ow ner of the ring can also, if desired, be invited u p
on to the platform at the com m encem ent of the trick and
seated on the perform er’s right, and slightly in front of the
table, w hich should be on the perform er’s left.
In turning to pick u p the scissors from the table, the moves
described above are thus effectively covered.
(These are, of course, points that the perform er must decide
for himself.)
A s soon as the tape is cut, a half is displayed in either
h a n d in the position show n in FlG. 42.
R ing a rio to inched R ING AND lO INCH£-5

of TAPE CONCEALED OF T A P £ CONCEALED.
'I'
/ s^ F/ty-
X A' / -
<LEFT
HANDf
/
\HfiNO
F/G li-X F lG £ 3 .
T he left th u m b is no w low ered and held against the side

of the second finger and the tape.
T he forefinger is then im m ediately disengaged from the tape
a n d is placed above it so that the tape no w hangs over the
left second finger as show n in FlG. 43.
The 10 inch piece of tape, still held by the end in the right
hand (FlG. 42), is now laid half way across the top side of the
left forefinger and kept there in position with the left thumb.
The right h and, still holding the end of the tape, is betw een
the left h a n d and the body.
This end is im m ediately carried upw ards by the right h and,
the left thu m b pressing against this folded piece at the centre.
The instant the end is carried up w ard, the left fingers allow
the concealed 10 inches of tape and the ring to fall dow nw ards.
T he position w ill no w be as illustrated in FlG. 44.
A — B is the 10 in ch piece, gripped in the centre betw een

the left th u m b and forefinger.
C — D is the 20 inch piece hangin g over the left second finger
as explained.
FlG. 45 shows this position as seen by the audience, the left
h a n d apparently h o ld in g tw o separate pieces of tape..
The right h a n d forefinger and thu m b no w seize the tape at

the point m arked x in FlG. 45, just below the left little finger,
an d place it betw een the m iddle and third fingers of the left
hand.
This forms a loop as illustrated in FlG. 46.
T he piece A — B is now tied round this loop in the follow ing
m ann e r:
The ends A — B are held together by the right thu m b a n d
forefinger, the opposite (folded) end being still held secure
w ith the left th u m b .
A — B is now passed under the loop.
A 8
trL O O P 15
CUPPED B Y TIPS
o f R ig h t m /d d l E
& THIRD FlH G iRj.
PU R/N O THL T/1KZ,
O F THE K H Q T
HOW THE TA PE /S T IE D
F/G 4-6 F lG 4-7
The loop is im m ediately gripped by the tips of the right

m iddle a n d third fingers and the piece A — B is tied ro und the
loop in a single knot.
The gripping of the lo o p w ith the right hand fingers assists
this tying m ovem ent, show n in detail in FlG. 47.
W h e n the k not is com pleted, only the top of the loop should
be held secured by the tied knot A — B.
This is accom plished by p u lling C or D w hile the knot is
still held in the h and.
T he tape is now taken in the right h a nd and displayed for
FlG. 48..
a m o m ent as show n in
T he left h a n d then closes over the knot, a n d w ith a short
dow nw ard p u ll releases the knot from the tape.
The right h a nd then drops the end D and removes the tape
from the left h a n d , holding it at the centre as show n in FlG. 49.
T he left h a n d containing the knot then points at the ring
w ith the forefinger, and the ow ner is asked to place his or
her finger through it.
F / G A -9
The performer at the same tim e takes the scissors from h im

an d pockets them , together w ith the knot.
T he assistant is n o w told to p u ll the tape, a n d it is duly shown
restored.
The right h and is then show n to be em pty, and the borrow ed
ring untied from the tape and returned to the owner.
C h ap ter IV.
T H E C H IN E S E RINGS.
Author’s original method of
presentation.
C H A P T E R IV .
T H E C H INESE RIN G S.
A u t h o r ’s o r ig in a l m eth o d of p r e s e n t a t io n .
There are m a ny ways of presenting this ‘ ‘classic” m agical

effect, a n d I here describe for the first tim e the m e th od and
sequence I evolved a n d have m ade use of for a considerable
period.
Those of m y readers w ho have not hitherto included “ T he
Chinese R in g s ” in their program m e, w ill find the necessary
practice of this m eth od w orth w hile, and should in a short
tim e be able to perform
all the m oves described below
faultlessly.
Those of you, on the other h a n d , w ho already w ork the
effect, w ill perhaps find one or tw o of the m oves explained
in this chapter of interest, and perhaps w orthy of inclusion in
your present routine.
T w o advantages in the m eth od here described are :
(1) T hat each ring is exam ined by the audience as the effect
proceeds, before it is linked on to another.
(2) T h at the first half of the effect is perform ed w ithout m a k
in g use of the “ k e y” ring, thus perm itting the h a n d in g
out of every ring for exam ination at a p o in t h alf w ay
through the trick.
I w ill first briefly describe the effect, as a reference to it

from tim e to tim e w ill h e lp the reader to follow the descrip
tions of the various moves described later.
E ffect.
A nu m be r of solid rings are show n. S hould the m agician be

appearing on a stage or concert platform , tw o m em bers of
the audience are invited to stand on either side of him .
If perform ing in a draw ing room , this is not actually necessary.
It is assumed in the present description that tw o people have
been asked u p on to the platform .
T he perform er first hands each assistant a ring to exam ine,
a n d then offers a third ring to the person on his left, asking
h im if he thinks he can link the tw o rings together.
The assistant tries and is not successful.
T he perform er then requests the assistant on his right to h a nd
56
h im his ring. T his ring is im m ediately linked on to one of the
rings he (the performer) is holding.
These tw o link ed rings are h a nded out for exam ination.
The perform er hands a fourth ring to one of the assistants
for inspection and again links it on to one of the rings he is
holding.
A fifth ring is exam ined and im m ediately linked on to the
tw o rings, and all three are handed out for close inspection.
A t this stage of the trick the perform er is left w ith one ring
in his h a n d . This also is given for exam ination, all the rings
being now in the hands of the assistants or the audience.
T he m agician no w collects all the rings and explains to the
audience that the linked rings can easily be taken apart again.
T aking the three link ed rings a n d hanging the rem ainder on
his left arm , the perform er proceeds to u nlink one of these
three rings a n d hands it im m ediately to one of the assistants
for exam ination, together w ith the rem aining two rings still
linked together.
Then, taking these two linked rings, these also are separated
and h a n d e d out for inspection.
The perform er now removes the rem ainder of the rings from
his left arm and, placing them on a table, picks up a large
silk handkerchief.
H e asks one of his assistants to h and h im a ring.
T w isting the handkerchief ropewise it is passed through the
ring, and a knot is tied in the handkerchief to prevent the ring
from sliding.
E ach assistant no w holds an end of the handkerchief.
T he perform er suddenly releases the ring, w hich has a p
parently passed through the handkerchief.
T he perform er no w picks up the rings from the table a n d
hands tw o single rings to the assistant on his left.
T elling his assistant to “ do exactly as I d o ” the perform er
takes two rings him self and links them together.
T he assistant is unable to do the same w ith his !
T he m agician then takes three more rings and links these
also on to the tw o he holds, form ing a chain of five link ed rings.
H o ld in g these u p vertically, the top ring is taken in the left
h a nd a n d pulled dow nw ards, passing each ring a n d com ing
free at the bottom ring. This released ring is im m ediately
passed for exam ination.
F inally the rings are linked together on to one ring, and then
every ring is show n to be separate.
R e q u ir e m e n t s :
N ine rings in all are necessary, arranged as follows;
Set of three single rings.
Set of three linked rings..
Set o f tw o linked rings.
O n e key ring.
A shallow tray, not less than the circumference

of the rings.
A silk handkerchief abou t one yard square.
The key ring I am in the h a b it of using has a perm anent gap

o f half an inch.
Its use enables m oves 5 - 6 - 7 a n d 8 to be executed in a
smart a n d indetectable m anner.
T he m ethod of concealing the op en ing in this ring is explained
in m oves 5 - 6 a n d 7.
The reader is advised to practice each m ove in its respective
order a n d n o t to proceed w ith the next until the preceding
one is fully mastered and mem orised.
M etho d
P lace the key ring on the tray and lay the silk handkerchief
over it, fo ld ed into a convenient size to conceal the ring.
The rem aining eight rings are then placed on the h andk er
chief in the follow ing o rd e r:
T he set of three linked rings first.,
The set of tw n linked rings above them .
T he set of three single rings on top.
T he tray thus arranged is on the perform er’s table.
W h e n ready to present the effect, the eight rings are picked
u p from the tray w ith the right h a n d and im m ediately trans
ferred to a hanging position over the left fingers, the left
h a n d being h eld p a lm upperm ost.
T he three linked rings are nearest the body.
Introducing the effect w ith' appropriate patter* the perform er
invites tw o m em bers of his audience to stand on either side
o f him .
H e then hands a single ring to each assistant for ex am ination.
A third ring is h a nded to the assistant on the perform er’s
left.
H e is asked if he can link his two rings together.
This he finds im possible to do, and the perform er remarks:
“ Let m e show you how easy it really is ! Just place one ring
above the other like this” .
M O V E 1. (L inking tw o rings.)
T a king the ring from the assistant on his right, the perform er
holds it in an upright position, the bottom of the ring touching
the left fingers between the two outermost (linked) rings, and
the left th u m b is then laid across all the rings as illustrated in.
F i g . 50.
FIG SO F/Q. s /
T he upright ring is now lowered outwards a n d dow nw ards
w ith the right h a n d fingers and thu m b until it is level w ith
a nd covers the outside ring of those hanging on the left h and
fingers.
T he left th u m b then im m ediately releases the outermost ring
a nd allow s it to drop on to the fingers of the right h and.
A t the sam e m o m ent the right thu m b is transferred to the
botto m of this ring, h o ld in g it securely against the right fingers.
This movement
is shown in Fig. 51.
#To those readers who care to devote to this effect an extra amount
of time and practice, tlie rings can at this point be shown to be apparently
all separate by means of a series of false counts.
This method is fully explained in that excellent and praiseworthy
book “The Odin Rings”, a study of which the studious reader is
recommended.
If any such counts are made use of, the rings must at the end be
left in the order explained above.
T he original single ring (m arked A in FlGS 50 and 5.1 and
52) is left
hangin g with the others on the left h a n d fingers.
T he drop p ed (linked) ring is im m ediately carried straight
dow nw ards w ith the right h a n d fingers a n d th u m b in one
continuous m ovem ent, and show n to be link ed as illustrated
jn F ig . 52.
Turning the left hand back towards the audience, the right
h a n d , holding the ring at the bottom end, quickly lifts it
sidew ays to the right, a n d the two linked rings are pulled
aw ay from the fingers a n d th u m b of the left h a n d .
These are h a n d e d to the assistant on the perform er’s left

for exam ination, w ith the rem ark: “ W e ll, sir, as y o u do not
ap p e ar to be able to join your tw o rings together, perhaps you
w ill try to u n lin k these” .
T he perform er takes the tw o single rings from h im and
hands them to the assistant on his right, saying: “ A n d w ill
yo u , sir, please lin k u p these tw o rings” .
M O V E 2. (L inking three rings.)

W ith the left h a n d still turned ba c k towards the audience,
the single ring nearest the b od y is taken in the right h a nd
a n d handed to either assistant for exam ination.
The left hand is meanwhile again turned palm towards the
audience.
The exam ined ring is no w taken in the right h a n d and held
in a n u p r ig h t p o s it io n o v e r t h e r in g s in t h e le f t h a n d , a s in
F ig . 50.
M o v e I is r e p e a t e d , t h e left t h u m b a s b e f o r e r e le a s in g t h e
o u t e r m o s t r in g a n d a llo w in g it t o d r o p o n t o t h e r ig h t h a n d
f in g e r s .
W h e n t h is r in g is s h o w n t o b e lin k e d , it is le f t h a n g in g
d o w n w a r d s , a s s h o w n in F i g . 53.
/~ / G 3
I m p o r t a n t N o t e .
The ring just released must be the centre one of the three
linked rings.
In placing the three linked on the handkerchief when setting
the trick, beforehand, the centre ring must be uppermost. It
will then be in the right position when the eight rings are
picked up from the tray.
The left hand is once more turned back towards the audience,
a n d the single ring nearest the b od y is taken in the right
hand.
T urnin g the left h a n d p a lm outw ards again the ring is
held upright above the rings in the left h a n d as described in
M o v e I .
This ring is then lowered outw ards and dow nw ards, and the
outerm ost ring is released b y the left thum b and d u ly show n
to be linked on to the bottom ring as illustrated in F . 54. i g
This is a very effective m ove, and should be perform ed

slowly. T he ring w ill appear to the audience to pass through
the first ring and finally link itself on to the second.
N o w turn the left hand again back towards the audience and
quickly lift the bottom link ed ring w ith the right h a nd sideways
to the right, p u llin g the three linked rings free from the left
h a n d fingers and thum b.
These three rings are im m ediately h a nded to the assistant
on the perform er’s right for inspection.
The perform er w ill now be h o ldin g one ring in his left
b a n d . This ring is also offered for exam ination.
A ll the eight rings are at this stage of the effect in the hands
o f the assistants or the audience.
AupitNce
X
M O V E 3. (U nlinking three rings.)
T h e e ig h t r in g s h a v in g b e e n e x a m in e d a r e n o w c o lle c t e d b y
t h e p e r f o r m e r in h is r ig h t h a n d , a n d a r e im m e d ia t e ly h u n g
o v e r h is le f t t h u m b , t h e le f t h a n d b e in g h e ld p a lm o u t w a r d s ,
t h e fin g e r s p o in t in g t o w a r d s t h e c e ilin g .
The perform er asks for the rings in the fo llow ing o rd e r:

1st The set of tw o linked rings.
2nd T he set of three single rings.
3 r d T h e s e t o f t h r e e lin k e d r in g s .
This position is illustrated in FlG. 55.

More Magic of the Hands 63-
T he perform er grasps the bottom ring at the point m a rk e d

x in FlG. 55 in his right h a n d .
This ring is raised upw ards and h u ng over the left thum b,
the left fingers closing over the top of the rings.
The rings are at the same m o m ent given a shake w ith the
left hand.
D u rin g this shaking m ovem ent the left h a n d is turned back
towards the audience, and the two linhed rings, together ivith
the single ring next to them are fa/jen in the right hand
shown in FlG. 56.
The rem ainder are allow ed to slide on to the left e lb a w

w ith an up w a rd m ovem ent of the left arm.
The single ring of the three in the right hand is quickly
levered upwards by a downward pressure of the right thumb,
and the rings are held as illustrated in FlG. 57.
This m ovem ent is easily accomplished if the two top rings
are held about an inch apart, as shown at x in FlG. 56.
(From the point of view of the audience, the three linked
rings have been taken in the right h and.
A ctually, an exchange has been m ade, and the perform er
holds in his right h a nd tw o linked a n d one single ring.)
D u rin g the shaking of the rings w ith the left h and, as
explained above, the patter should run as follow s:
“ D o you hear a curious sound w hen I shake these rings?
(Shake the rings, turning the left ha nd towards the audience)
. . “ well, you see, they are m ade of a curious sort of
m e t a l!” (Take the three rings in the right h a n d and slide the
rem ainder u p the left arm.)
The three rings in the right h and (two link ed a n d one single)
are at this point show n by the perform er to be apparently
a ll linked, before he proceeds to separate them .
This m ovem ent is accom plished as fo llo w s:
H o ld in g the three rings in the right h and, as show n in

FlG. 57, the ring m arked A is m o ved upw ards and dow nw ards
w ith the left h a n d once or twice, and thus proved to be linked
(as it actually is).
The left h a n d fingers and th u m b then take h o ld of the
centre and top rings at the point marked B in
F lG . 57, and
the right fingers and th u m b take hold of the top ring at the
point marked C in F lG . 57.
This ring is now turned w ith the right h a n d tow ards the
b o d y and outw ards again several times, being held pivotted
at B in F l G . 58, and each tim e hits the centre ring at the point
D in F l G . 58 at the end of each outw ard turn.
This m ovem ent produces the effect that the single ring is
linked on to the other two (linked) rings.
The single ring is now lowered downwards with the right

hand, and the bottom ring (marked A in FlG. 58) raised inwards
and upwards, bringing the single ring in the centre.
The patter runs as follows:
“All one has to do is to fold the rings up in this manner,
and then gently pull one ring aw ay!’
F/q 5 3
The centre ring is immediately removed and passed for

inspection, together with the two linked rings.
During the time that these three rings (two linked and one
single) are in the hands of the assistants, the five rings on the
left elbow are allowed to fall back into the left hand, and
hang over the curved fingers.
The two outermost (single) rings are immediately taken in
the right hand and are hung over the left little finger, as
shown at A in FlG. 5 9 .
The two linked rings are now taken from the assistants
(leaving them with the single ring).
These tw o rings are hung for a m oment over the first,
s e c o n d and th ird fingers of the left hand , as shown at B in
F i g . 6 0 .
T he perform er im m ediately points w ith his right forefinger
to the single ring held b y one of the assistants, and patters
as follow s :
“ 1 w ant you, sir, to carefully exam ine the ring you are
h oldin g . . . ”
T he right h a n d then grasps the two single rings hanging
on the left little finger, m arked A in FlG. 59, in place of the
tw o linked rings it held a m o m ent ago.
T he patter continues: ” , . . and to m ake quite certain that
it is perfectly solid” .
T he above patter and action of the right forefinger effectively
covers the exchange of the tw o linked rings for the tw o single
ones.
Holding these two (single) rings in the right hand, the
remainder of the rings are again allowed to slide up the left
elbow.
The tw o rings are no w held together at the to p in the fingers
a n d thum bs of both hands, and are sw ung to a n d fro (out
wards and inwards) several times.
Patter as follow s: “ W a tc h these rings slowly u n lin k the m
selves” .
The rings are slowly separated du rin g this sw inging m o ve
m ent, a single ring being finally held and show n in either
hand.
T he tw o rings are im m ediately given out for inspection.
M O V E 4. (“ M atter through m atter” .)

In this effect the silk handkerchief on the tray is m ade use of.
The five rings hanging on the performer s left elbow are
allowed to again slide into the left hand, and are placed on
the tray, over the handkerchief.
T H E S E T OF T W O LINKED RIN G S M U ST BE U PPER
M O ST.
The centre portion of the silk is then p u lled upw ards through
the rings w ith the right h and.
T he “ k e y ” ring on the tray is thus added to the five rings
laid thereon.
H o ld in g the handkerchief diagonally in both hands at the
opposite corners, it is twisted ropewise w ith a circular m o ve
m ent of the right h and, the left h a n d rem aining stationary.
T he m iddle portion of the twisted silk is laid on the raised
left knee, and is then taken in the left h a n d at the centre.
The perform er no w asks for a single ring to be h and e d
to him .
The handkerchief is passed through this ring and a single
bow is tied in the silk., as shown in FlG. 61.
In the act of completing this tie, the right thumb quickly
pushes the right hand side of the silk (marked A in FlG. 61)
through the ring. The right hand fingers immediately draw
this portion completely through the ring.
This end of the silk (marked B in FlG. 61) is immediately
handed to the assistant on the performer’s right, and the
opposite end (marked C in FlG. 61) is given to the assistant on
the left.
The ring, if pulled , will come away free from the handker
chief.
T he patter for the above series of moves, from the point
where the perform er has asked to be h a n d e d a single ring,
should run as fo llo w s :
“ 1 will tie a knot in the handkerchief to prevent the ring
from slipping u p a n d dow n . . . ” (Single bow is tied and
the end ‘' A ” is quickly passed through the ring.) . . W ill
you, sir” (addressing assistant on right) “ please take hold of
this end of the silk, and you, sir” (to assistant on left) “ kindly
h o ld the o th er?”
The perform er no w grasps the ring in his right h and, and,
instructing the tw o assistants to hold their respective ends
tightly, pulls the ring w ith a sharp upw ard m ovem ent and
shows it to be free from the handkerchief.
T h e ring is at once h a n d e d out for inspection.
MOVE 5 . ( " D o a s I d o .” )
A little com edy is effectively introduced in this m ove.

The six rings on the tray are picked up and held in a
hanging position over the fingers of the left hand.
The “k e y ” ring must be outermost, with the set of three
linked rings next, and the set of two linked rings nearest the
thumb. The left hand is held palm uppermost.
T h e " k e y ” ring is taken in the right h and, held as show n
in FlG. 62,and the remainder of the rings are allowed to slide
on to the left elbow.
The three single rings are at this p oin t in the hands of
the assistants.
The perform er requests one of the rings to be h a n d e d to
h im , a n d tells the assistant on his left to hold the other tw o.
KEY
KINS
Addressing h im , the perform er say s: ‘‘N ow , sir, 1 w ill

explain the trick to you if you w ill promise to do as I do . . .’
(The perform er hangs the single ring on his (own) left th u m b ,
and continues) " . . . just h ang one of the rings you are holding
on your thu m b — have you a th u m b ? — good, now hit the
other ring against it like this” (the, perform er hits the ring
hanging on his thu m b with the " k e y ’ ’ ring once or twice. This
w ill produce a sound of exactly the same resonance as if
they were both solid. H e continues to hit the ring in turn
w ith the assistant, and says) “ . . . we are doing this, sir, to
prove that the rings are perfectly solid; if there were a flaw
in them , we should not get a clear sound like this” . (The
perform er now holds the tw o rings as shown in FlG. 63, the
" k e y ” ring being towards the bod y , and continues as follows)
" . . . N ow , sir, please take a ring in each h a nd like this, and
m ove your arms up and dow n like a d u c k ! Y o u w ill then
find that your tw o rings w ill becom e lin k e d .” (Here the per
form er raises his two elbow s upw ards a n d then dow nw ards
w ith a “ fla p p in g ” m ovem ent, and at the same time rotates
the tw o rings together in opposite directions w ith an u p a n d
dow n m ovem ent of the tw o wrists.
R e p e atin g these m ovem ents several times, the two rings are
link ed at the m o m ent the open ing of the “ k ey” ring m arked
“ A ” in F lG . 63, reaches the point m arked “ B ” in the sam e
figure.
KEY
F 'Q 65.
The perform er displays his two linked rings to the audience

a n d does not for the m o m ent notice his assistant, w ho is
still unsuccessfully m a n ip u latin g his tw o single rings.
T urning to h im eventually he rem arks: “ W e ll, sir, y o u
evidently h a v e n ’t got the ‘duck m o vem ent’ .”
M O V E 6. (L inking five rings.)

The five rings on the left elbow are now allowed to slide
into the left hand again, the set of three linked rings being
towards the audience.
H o ld in g the “ k e y ” ring in the right h and, w ith the single
ring hangin g on to it, the perform er quickly links the “ k ey ”
ring on to one of the outer rings of the set of three, a n d ,
m o vin g his elbow s again up and dow n, slowly draws the
three rings aw ay from the left fingers, form ing a chain of five
linked rings.
T he rem aining rings in the left h a n d (set of tw o linked) are
immediately allowed to slide back on to the left elbow.
T he five linked rings are held w ith both hands as illustrated
in FlG. 64, the “ k e y ” ring being in the right hand, a n d the
perform er remarks: “ This is an 'outsize’ in w atchchains !
MOVE 7. (The travelling ring..)

T he perform er rem arks: “ I w ill remove one of the links in
‘ slow m o tio n ’ .’ ’ 1'
F (G 64-
H o ld in g the five link ed rings as show n in F ig . 64, the left

h a n d lowers the to p ring and quickly disengages it from the
“ key” ring.
K eeping this single ring in an upright position, the left h a n d
then lowers it do w n to the second ring, then to the third, and
finally the fourth, from w hich ring it is ‘m ysteriously deta ch e d ’ .
D uring the tim e that the ring is being low ered, it m ust be
kept closely u p against the rings as it passes each one in
turn. W h e n it is show n to be free from the botto m ring, it
is at once handed out for exam ination.
The ring will appear to the audience to have passed through

each of the others before being shown free.
M O V E 8. (A bunch o f keys.)
T he tw o l o w e r rings of those held in t h e right hand are no w
quickly gathered in the left hand and both linked on to the
"key” ring.
The performer then allows the set of two linked rings on
his elbow to slide into the left hand , and these also are all
linked on to the “k e y ” ring.
F/Q; (>S.
H e then asks for the three single rings, and these are link ed
on w ith the others.
D u rin g this m ove the left h a nd should shake the rings con
tinuously, m a k in g as m uch noise as possible.
T he rings are then displayed as shown in FlG. 65, w ith the
rem ark: “ This is an im itation of a bunch of keys .
T he rings are finally shown to be apparently all separate

in the fo llow ing m a n n e r :
The left h a n d is passed, p alm upw ards, through the eight
rings at the point m arked “ X ” in FlG. 65, and they are allow ed
to rest on the outstretched fingers.
T he " k e y ” ring is then low ered w ith the right h a n d and
is quickly disengaged from the eight rings.
This m ove can be m ade rapidly ow ing to the fact that
the opening of the “ k e y” ring is half an inch w ide.
This ring is im m ediately placed over the left h a n d fingers
against the outermost of the three single rings, the curled u p
fingers concealing the opening.
T he patter runs as follow s: (To assistant on left) “ W ill y ou
k indly breathe on these rings, sir, it w ill cause them to becom e
im m ediately separated” .
Standing w ith the right side of the b o d y towards the audience
the right h a nd is held p alm upw ards just under the top of
the “ k ey ” ring.
T his ring is then released by the left h a nd th u m b and
allow ed to fall on to the fingers of the right h a n d , the opening
being concealed by the right thum b.
T he three single rings are next drop p ed one by one on to
the right fingers, the right h a n d m o ving a short distance aw ay
from the left h a n d as each one of the single rings are dropped.
Next, the set of two linked rings are dropped singly, the
right h a nd again m oving aw ay after receiving the second ring.
Lastly, the set of three linked rings are allow ed to drop
singly on to the right fingers, and the trick brought to a
conclusion.
N o t e .
M a n y m agicians w ho perform the “ Chinese R ings include

the form ation of various “ Figures” w ith four of the rings (“ k e y ”
a n d set of three linked) such as the “ stirrup” , “ garden seat” ,
“ school g lobe” , etc.
These and other figures are clearly described w ith p h o to
graphs in “ T he M o d e m C onjuror” (L ang Neil) to w hich work
the interested reader is referred.
If it is desired to include figures in the routine described
above, these should be perform ed at the conclusion of M O V E
7 (“ The travelling ring ” ) w hen the ‘k e y ” and set of three
linked rings w ill be ready in the hand.
(M o re Magic of the Hands, continued in Part 11.

Reprinted.
MAGIC OF THE HANDS !

A Marvellous Book by a Famous Magician
ED W ARD V IC T O R
in this wonderful Book tells you his innermost secrets and
«xactly how to perform those real Magic effects he is famous for.
Y o u do not have to use any special apparatus— A p ack of
Cards, T him bles, Cigarettes, Cigars, borrow ed V isiting Cards,
tw o ordinary Slates, or a length of rope, and
W IT H T H E M A G I C O F T H E H A N D S A L O N E
you am aze M agicians as w ell as the p u b lic a n d gain the
reputation o f being extraordinarily clever, a real M agical Expert
THIS BOOK IS THE FINEST INVESTMENT EVER

OFFERED MAGICIANS.
Edward Victor is famous for his Sleight of Hand Effects.
In " T H E M A G I C O F T H E H A N D S " he fully gives
aw ay all his best a n d newest Secrets a n d Effects.
This B o ok when first prom ised was to have been

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A t the published price of 7 /6 , any one of the 10
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single effects alone worth the money.
T H E G R E A T E S T C O L L E C T IO N O F O R I G I N A L S L E IG H T -
OF-HAND E F F E C T S W IT H CARDS, C O IN S , S IL K S ,
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120 Pages of Original Matter — Beautifully Printed —
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PRICE 7 /6 . U.S.A. $2.
R EAD WHAT THEY SAY
THE MAGIC OF THE HANDS !
E D W A R D V I C T O R
BRITISH M A G ICA L PRESS.
T H E M AGIC CIR C U LA R . M ar. 1937.
T h e re is a som ething ab o u t V icto r's w ork w hich m akes it
“
really m agical and th e secret, w hich he em phasises, is careful
m isdirection and co n stan t p ractice.
T H E M AGI. M ar. 1937.
This is an excellent book. From various sources w e hav e h eard
n o th in g b u t p raise of this book by E dw ard V icto r . . . it is
certain ly a book th a t few m agicians could afford to m iss fo r its
w ealth of advice an d technical in stru ction .
T H E M AGIC W A N D . M ar.-M ay, 1937.
. . . A n o tab le featu re is ihe cu t and resto red ro p e for h ere is one
of th e finest elucidations to be found— w ith a score of p erfect
d iag ram s . . . It is usual to w rite of a good book, “ you m ust
h av e th is.” W ell, th e sleight-of-hand w o rk er W ILL have it.
H e a rty co n g ratu latio n s to E.V .
C O N JU R ER S’ C H R O N ICLE. Jan.-F eb., 1937.
T his book carries o u r reco m m en dation and in o u r opinion it w ill’
give satisfaction to all p ractical co n ju rers.
T H E W O R LD S’ FA IR . F eb., 1937.
. . . it is fair to say th a t m any of th e sections alone are w orth
th e w hole p rice of th e book.
T H E M A G ICIA N . M ar., 1937.
It is needless fo r us to say th a t th is is a book w hich SHOULD"
be in th e h an d s of every m agician.
AM ERICAN M AGICAL PRESS.
T H E SPH IN X . M ar., 1937.
T h e g rea te st book of th e y ear, re p lete w ith novel effects, and
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th is book.
T H E “ T O P S .” M ar., 1937.
U ndoubtedly o ne of th e best books to be published this y ear and
a joy fo r all lovers of sleight-of-hand to possess.
T H E GENIL M ar., 1937.
A rriv in g from D av en p o rt th is book im m ediately restored th e
prestige th a t English P ublications had lost.
IN D IV IDU A L LETTERS.
P. T . SELBIT.
. . . . N ext to H offm ann’s “ M odern M agic ” it is th e b est w ork
in my m agical library.
W . G. GRAIGEN, A berd een M agical Society.
“ T h e M agic of th e H ands ” is an excellent p ro du ctio n and I shall
alw ays tre a su re it as a m em ento of a v ery d ear friend.
JA M ES W A K EFIELD , (T h e D erby C o n ju re r).
E dw ard V ic to r’s book is G R EA T. T h e explanations an d sketches
a re clear. I AM GLAD I B O U GH T ONE, T H E R O PE TR IC K IS
V /O R T H T V /O GUINEAS. Y ou can use th is re feren ce if you w ish.
FRED C U LPIT T .
. . . in ev ery little m ove he delivers th e goods.
T H E L A T E O SW A LD W ILLIAM S.
A b rillian t book by a b rilliant au th o r. M r. V icto r h as certainly
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O SW A LD R A E. ,
“ Sign P lease ” is a m aster card effect, th a t is alone w orth th e
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— WILL ALMA
M .I.M .C . ( L O N D O N )
PART TWO.
M ORE MAGIC
OF THE HANDS
EDWARD VICTOR
Author of The Magic of the Hands
“ ”
A jMagical Discourse 011 Effects witli :

CARDS
TAPES
C O IN S
S IL K S
D IC E
SALT
C IG A R S
CLOVES
T H IM B L E S
P E N K N IV E S
M ATCHBOXES
B IL L IA R D B A LLS
C H IN E S E R IN G S , &c.
A C o m p a n io n V o lu m e to “ T h e M a g ic o f th e H a n d s ”
CO PY RIG H T.
“ DEMON SERIES”
L. D A V E N P O R T & CO.
(Incorporating M askelyne’s Mysteries)
LONDON.
Printed and Published by L. D. & C o., London.
C h a p ter V.
H A N D K E R C H I E F SE CTION .
Dyeing by Wireless,”
The State Library of Victoria
“A L M A CONJURING COLLECTION”
C H A P T E R V..
“D Y E IN G BY W IR ELESS.”
(An original silfz effect presented by the Author for a season
at St. George’s Hall, London.)
M y old friend M ax Sterling was k ind enough to review m y
first b oo k, “ The M agic of the H a n d s ,” a n d im m ediately
enquired w hy “ D y e in g b y W ireless” was not in clu ded therein.
I told h im that it was already in m y note-book for a su b
sequent pu blication, and 1 here subm it the effect for the
a p pro v al of m y readers.
E ffec t.
A “ scientific” looking piece of apparatus is seen standing
on the m agician s table. A b o v e it is a “ wireless a erial” on
w h ich repose five different coloured m etal plates.
A w hite silk handkerchief is show n and pushed into an
e m pty m atchbox.
The box is then placed against one of the m etal plates,
a n d the “ wireless influence” is turned on for a m om ent.
There is a bu zzin g sound, and on rem oving the silk h a n d
kerchief from the m atchbox, it is seen to be dyed the same
colour as the plate on w hich it has rested.
Both the box a n d the silk are h a n d e d out for exam ination.
A second plate is now selected by the audience, and another
w hite handkerchief is dyed to its corresponding shade.
A third plate is chosen, and a white silk again dyed
accordingly.
Finally, the m agician demonstrates the curious effect obtained
if a white handkerchief is placed in a m atchbox and held
for a m o m e n t against each of the plates in turn.
W h e n this silk is rem oved from the box it is seen to be
dy e d rainbow fashion into all the colours on the plates.
* • • • ♦
M et h o d .
T he accom plishm ent of this effect depends u p o n the use
of a sleight w ith tw o matchboxes.
This excellent m ove was published in “ N ovel N otion s”
(Robertson Keene) and the present effect “ D y eing by W ir e
less” is built round this sleight.
T he details of it are as fo llo w s :
A closed m atchbox, containing a coloured silk handkerchief
twelve inches square, is held in the left hand and displayed
to the audience as illustrated in FlG. 66 “ A ” .
The right h a n d contains (unknow n to audience) an em pty
m atchbox w hich is finger-palmed as show n in F ig . 66 “ B ” .
T he right h a nd now covers the box in the left h a n d and
apparently opens it.
A ctually, the thu m b of the right h a n d pushes the drawer
of the em pty finger-palmed box upw ards at the m o m ent the
left h and box is covered and the half open box is left in a
position covering the left h a n d box exactly as illustrated in
FlG. 66 " C ” . This draw ing shows a side view, exposing the
h idden box; the left h and really faces the audience as shown
in F ig . 66 “ A ” .
fi/G n r\
' HAPD
A c
The right h a nd now picks u p a w hite handkerchief from
the table, tucks it into the half open m atchbox and the thu m b
a n d fingers of that h and then close the box.
Im m ediately this upperm ost box is closed it is again finger-
p alm ed in the right hand fingers and that h a n d w ithdraw n,
leaving the original m atchbox in the left h a n d (believed to
contain a white silk instead of a coloured one).
T he above moves are perform ed w ith the right side of
the b od y turned towards the audience the w hole of the time.
T he sleight is by no means difficult to acquire.
W e w ill n o w consider the stand. In FlG. 67 the top sketch
“ A ” illustrates the general layout.
"D Y S /A /O by w ireless'*
F/<* 6 7
The lower draw ing “ B ” shows the w orking parts in detail.
T hey are as fo llo w s :
1 T he base is of xin. w ood, I5in. by 2 iin . and stands on
four sm all feet attached to it.
2 The two upright panels are of iin.
or l in . w ood, 18in. by
2{in. A hole is bored in each piece a quarter of an inch
from the bottom , in the centre. 1
A screw bolt is let into both ends of the base (1), and
the side pieces are screwed on to it by a small w ing nut
and washer. This is shown in detail in the bottom left
h a nd figure “ C ” .
T w o small holes are also bored in each side panel near
the top about tw o inches below each other. T h e upper
hole is near the back, and the lower one towards the
front., A piece of thin black round elastic is then threaded
through these holes to represent a wire ‘aerial,’ as show n
in the top draw ing “ A ” .
The elastic should be fixed to the side pieces so that
it is stretched taut w hen the stand is screwed u p in
position.
3 This consists of a rounded piece of w ood six inches in
length and one and a half inches in diameter.
T he w ood is covered w ith green string w o un d round it
to represent an electrical coil. It is screwed on to the
base, being held by two side supports m ade of tin as
illustrated.
T w o pieces of flex are attached to either side of the
w o od a n d the opposite ends are hooked on to the bottom
‘aerial’ . (See top sketch.)
4 These are two small bedstead knobs to im itate trans
mitters, and are fixed on to the base.
5 This is a ‘buzzer’ , obtainable at any electrical store for
about eighteen pence. It is screwed to the base.
6 This is a small switch fixed to the base and connected
by a piece of flex to the buzzer.
7 This is a dry battery connected by flex to the switch.
T he coloured plates are m ade of tin.
Five pieces are cut 4in. by 2 iin . E ach end is bent half an
inch in opposite directions, as show n in the right h a n d lower
figure “ D ” .
T hey are painted respectively red, blue, yellow , green a n d
p in k , and the backs are painted black.
The bottom portion bent at right angles, serves as a ledge
to hold the m atchbox, and the top bent in portion as a m eans
of hanging the plate on to the upperm ost of the tw o ‘aerials'
stretched across the top of the stand.
T he elates hang at an angle, thus preventing the boxes
from falling off.
The w ooden base and sides should be p a inted black, w ith
the front edges of the panels gilt. This w ill give the effect
from a short distance of ‘ ‘wireless m asts” .
A d d itio n a l details m ay be left to the reader’s im agination.
For exam ple: Five sm all coloured electric bulbs could be
fixed along the bottom of the base, corresponding w ith the
■colours on the plates above, and m ade to light u p w hen
the m atchbox is placed on that particular coloured plate a n d
the buzzer sw itched on.
In addition to the wireless stand described, the m agician

w ill also re q u ire :
7 em pty matchboxes.
4 white silk handkerchiefs, 12 inches square.
5 silk handkerchiefs, 12 inches square, coloured respectively
red, blue, yellow , green a n d p ink
1 rainbow or jazz patterned silk, 12 inches square.
FIG 6 8
.Se t t in g and P r e s e n t a t io n .
T he stand is placed towards the back of the table.

E ac h of the six coloured silks is pushed into a drawer of a
m atchbox, and the boxes closed.
T he boxes are placed on the table together, standing on
their narrow sides in front of the ‘buzzer’ . (FlG. 67 “ A ” .)
T he coloured silks inside the boxes are in the sam e order
from left to right as the coloured plates on the ‘aerial’ , w ith
the rainbow silk in the box on the extreme right as show n in
Fig. 68.
. See that the backs of the drawers are in each case on the
left.
T he four white handkerchiefs are laid together on the table
in front of the matchboxes, which, they partially conceal.
(F ig . 67 “ A ” .)
The seventh (empty) m atchbox is finger-palmed in the right
hand, as show n in FlG. 66 “ B ” , and all is now ready for the
presentation of the effect.
A suggestion for “ patter” is here given, together with the

w orking details and presentation of the effect:
“ Ladies and gentlem en, in these advanced days of wire
less and television, anything seems possible.
“ A fter a great deal of experim enting 1 have evolved a
m ethod of dyeing white handkerchiefs by wireless.
“ This is m y apparatus” (lift off one of the coloured plates
from the ‘aerial’ and show it) “ a few specially prepared m etal
plates” (replace plate) “ w hich are operated by an electric
coil a n d two pow erful transmitters” (indicate these). “ W h e n
these are sw itched o n ” (switch on buzzer) “ the required
colour is produced. 1 w ill give you a prelim inary test.”
(Pick u p the m atchbox containing the red silk from the
table w ith the left h and, and at the same tim e take u p one
w hite silk from the bunch in the right h and w hich contains
the finger-palmed em pty m atchbox. H a n g the w hite silk for
a m o m ent over the left arm.)
“ I w ill push this white handkerchief into an em pty m atch
b o x .”
(O p en the box w ith the right thu m b , perform ing the sleight
described and illustrated in FlG. 66, “ A , B and C ” , a n d pro
ceed to tuck the silk into the m atchbox. T hen close the box
w ith the right h and as described, the box containing the
white silk being left finger-palmed in the right h a n d . T he above
sleight is perform ed w ith the right side of the body turned
towards the audience.)
D uring the above m ovem ents the patter continues as follow s:
“ If 1 were to place the handkerchief directly over any o n e
of those plates it w ould im m ediately be disintegrated into
atoms. I have fo un d that a w ooden box concentrates the
electric force. N ow w atch the effect of the wireless rays on
a w hite h andkerchief” .
(Lay the box in the left h a n d on the red plate, a nd , in
the act of sw itching on the buzzer w ith the right h and, the
finger-palmed box is left on the table on the extreme right
of the other boxes. (See “ X ” in FlG.

67). Leave the buzzer on
for a few seconds, then switch off, rem ove the m atchbox
from the plate, a n d open it, taking out the red silk.)
“ Y o u notice, ladies and gentlem en, that the w hite h a n d
kerchief has appropriated the colour of the plate.
“ 1 used to m ake m y living by wireless — no w you see I
a m 'dyeing' by i t ! ”
(If desired, the red silk and m atchbox can at this poin t be
offered to the audience for inspection. In either case the red
silk is finally placed on the right hand side of the table. T he
em pty m atchbox is then apparently placed against the others
actually retained in a
on the left h a nd side; it is, how ever,
finger-palmed position in the right hand, in readiness for the
next m ove.)
“ N ow , w ill anyone please nam e any other colour on those
plates — green — thank y o u .”
(W hichever of the four rem aining colours is called out, the
left h a nd picks u p the box containing the n a m e d colour; the
right h a n d at the same m o m ent lifts u p a second white h a n d
kerchief, hangin g it as before over the left arm . T h u s: Suppos
ing green’ to have bee n called out, the left h a n d w o uld
pick u p the third m atchbo x from the left (rem em bering that
the re d’ box has already bee n transferred to the other endl.
T he sam e m oves are gone through w ith the two boxes vric
66 “ A , B and C ” ) the silk tucked into the em pty box, the
box closed up , finger-palmed in the right h a n d , a n d the box
containing the coloured silk placed on the corresponding plate,
the patter proceeding as fo llow s):
“ Please rem em ber that a freely selected colour has been
called out. W e w ill now leave matters to the wireless ra y .”
(Switch on the buzzer again for a m o m ent w ith the right
h a n d , at the same tim e leaving the finger-palmed box on
the right of the others as before.)
“ Som e people have im ag ined that this effect is accom plished
b y a reflection of coloured light on the w hite h a n d k e rc h ie f.”
(Switch off buzzer, remove the box from the plate, and
draw out the coloured silk.)
“ I can assure you, how ever, that this is no optical illusion.
H ere is the white handkerchief dyed by wireless.”
(Place the coloured silk on the right side of the table w ith
the red one, and the box apparently on the left w ith the others
but retaining it as before finger-palmed in the right hand.)
“ N ow just one more colour please.”
(A nother colour is selected by the audience and the above
moves are repeated, the patter running as follows):
“ Som e people have asked m e to perform some curious
things w ith this m achine. For example, a blonde young lady
the other day w anted her hair dyed red ! 1 hope to perfect
this invention one day and dye the w hole world a peaceful
p i n k ! ” (R em o ving coloured silk from box.) A n d here, 1
think, is another handkerchief dyed to the chosen shade.
"N o w , in conclusion, 1 w o uld like to show y ou the very
curious effect that is obtained if 1 place a w hite handkerchief
in a m atchbox and hold it for a m o m ent against each of these
plates in turn .’
(Place the coloured silk on the right side of the table with
the other tw o ‘dy e d ’ ones, and place the box apparently on
the left w ith the others, but retaining it as before in the right
hand. T he left h a n d picks u p the box containing the jazz silk.
T he right h and at the same m om ent lifts u p the last white silk
and hangs it over the left arm.
The moves w ith the two boxes are repeated, the w hite silk
tucked in the em pty box, the buzzer switched on, the right
h a nd leaving the finger-palmed box again on the right of those
on the table.
The box in the left h a nd is held for a m o m ent against each
o f the five plates in turn, a n d the buzzer then switched off.
T he m atchbox is opened, and the jazz silk pulled out.)
“ This, you see, is w hat happens if one gets the colours
m ixed u p ! But 1 think 1 have proved to you all the possibilities
of ‘D yeing b y W ireless’ .”
VI.
C h a p te r
BILL IARD BALL S E C T IO N .

C H A P T E R V I.
BILL IARD BALL SECTION .

A N E FFEC T IV E V A N IS H A N D R ECO VERY.
I have a few a ddition al sleights to a d d to those already
described in m y first book, " T h e M agic of the H a n d s ” .
For the first one a little practice w ill be necessary, bu t its
acquirem ent w ill, 1 feel sure, a p p e al to the sleight-of-hand
enthusiast.
In effect, a billiard b a ll is vanished, b o th hands are show n
to be em pty, a n d the b a ll is subsequently reproduced.
A reference to the accom p an ying sketches w ill m ake each
m ove clear.
T he b a ll is first apparently placed in the left h a n d , bu t
actually p a lm e d in the right, a n d then caused to disappear.
A n y vanishing sleight w hich leaves the b all finally p a lm e d in
the right h a n d can be used for this. I personally utilise the
“ d ro p ” sleight, a description of w hich is here given:
Standing w ith the right side of the b od y towards the
audience, place the b a ll openly in the left hand; close the fist
a n d casually show the right h a n d to be em pty.
T urn the closed left fist knuckles outw ard, and in the act
o f m a k in g a few "p asses” over it w ith the right h a nd (held
back outwards) the ball is allow ed to drop into the fingers
of the right h a n d as the tw o hands are m om entarily together
the right h a n d im m ediately below the left, and the tw o thum b s
actually touching each other as the b a ll is dropped.
T he right h a nd continues to m ake a pass or tw o, during
w hich time the ball is quickly gripped in the p a lm of t'iat
hand.
T he left fist is then o p ened, and the b all seen to have
disappeared.
W h ate ver sleight the reader m a y choose to m ake use of
for this initial vanishing of the ball, the m ovem ents for show ing
b oth palm s to be em pty sim ultaneously proceed as fo llo w s :
W ith the right side of the b od y still turned towards the
audience and the left h a n d open, having just vanished the b all,
the tw o palm s are brought together, and the ball is gripped
in the left h a nd p alm .
T his h a n d is im m ediately raised back outw ards, the tw o
thum b s touching each other as this is done, and is held in the
position show n in FlG. 69 " A ’ .
93
The right h a n d is then turned p alm outw ards and the palm ed
ball in the left hand is gripped at either side by the top joints
AN E F F E C T I V E V A N I S H A N D P£COVE?*Y-
PALMED
s Right
D }Right/
A ^
RIGHT
W\PtCHT /(
^ J haivaj
D
\ \
*'*HT
HANO^ySx r \p!CtiTj
\HAHO\
r
F ig 69
of the right h a n d m iddle a n d third fingers, as illustrated in
Fi g . 69 “ B ” .
The next tw o m ovem ents, in w hich both palm s are show n
to be em pty at the same tim e, w ill require a little careful
practice b e f o r e a mirror.
The left h a n d is very quickly turned p a lm outw ards and
the hands displayed for a m o m ent as illustrated in FlG. 69
"C ” .
T hen, turning the tw o hands a little backw ards and aw ay
from the audience, the open fingers of the left h a nd are
quickly passed betw een those of the right b elow the ball, as
seen in FlG. 69 " D ” .
' T he hands are no w im m ediately brought to a position facing
the audience and held level with the m outh, a s the bo d y also
turns in the s a m e direction. T his is illustrated i n F . 69 " £ ” .
i g
It is in practising the above tw o moves that a mirror w ill be

fo un d necessary in order to master the angles of the quick turn
of the left h a n d , and the up w a rd and outw ard turn of the hands
in order to ensure that the b all rem ains absolutely invisible to
the audience durin g their execution.
T he bod y no w faces towards the left, and the hands are at
the same tim e kept m a position facing the audience, twisting
outwards as the b o d y faces towards the left, the right h a nd
being now below the left, as show n in P'iG. 69 “ F ” . In this
position the em pty palm s are again displayed to the audience.
Care m ust here again be exercised that the ball is not
glim psed b y anyone during this turn of the hands.
From the above position the left h a nd fingers are quickly
w ithdraw n from their interlocked position, a n d the right m iddle
a n d third fingers are bent inw ards transferring the ball to the
p a lm of that h and.
T he tw o hands w ill no w be in the position illustrated in
FlG. 69 " A ” , b u t w ith the ball p a lm e d in the right hand.
It can be reproduced in any m anner desired by the performer.
The above described sleight, carefully acquired, w ill m ake a
" w o r th w h ile ” addition to any ball routine.
A CO M EDY BALL M O VE.

1 have fo u n d this effect particularly entertaining w hen pre
senting the "p ro d u c tio n of billiard b alls” trick before a juvenile
audience.
A prepared billiard b a ll is necessary for the perform ance of
this m ove.
I will first describe the sim ple construction of the ball a n d
the m ethod of using it, follow ed by an explanation of the
routine 1 have been in the h abit of working.
T ake a i i or I t inch sized billiard ball and bore a hole into
it of such a diam eter a n d depth as to allow the top join t of
the right thu m b to be easily inserted into it and w ithdraw n.
The m ove is perform ed as follows :
T he ball is first p alm ed in the right hand and duly “ pro
d u c e d ” in any m anner desired, w ith the hole, of course,
turned aw ay from the audience.
The ball is then taken in the left hand.
The fingers of the right h a n d now close inw ards and the ball
is placed on top of the fist.
In the act of doing this, the right h a nd th u m b is inserted in.
the hole, and the ball held balanced on the thum b.
FlG. 70 shows the position of the right hand as seen by the
performer.
The fingers of the right h and are held in their curved posi
tion about an inch or so away from the palm.
A s seen by the audience, however, the h a nd will appear
to be closed into a fist.
F / C 7 /.
T he left h a nd now approaches the ball and apparently
removes it from the right h and fist; under cover of this m ove
m ent the right h a nd thu m b is quickly bent inwards at the top
joint, thus lowering the ball into the position show n in FlG. 71.
T he right h a n d fingers should rem ain quite stationary in
their curved position during the perform ance of the above
m ovem ent.
The ball is duly “ vanished” from the left hand, a n d it is in
the m anner of its re-appearance that a good deal of com edy
can be introduced.
Im m ediately the left h a n d opens, show ing the ball to have
■disappeared, the top join t of the right h a n d th u m b is quickly
straightened out again, bringing the ball once m ore into the
position show n in FlG.70.
' The m agician is still gazing at his em pty left h a n d , and
a p parently does not notice the happenings of his right.
The extremely ra p id re-appearance of the b a ll on the right
h a nd fist im m ediately the left h and is opened, alw ays m akes,
I find, a definitely hum orous a p p e al to the younger m ;m b srs
of an audience, a n d it is one of the few existing moves that
can be repeated w ith effect.
It should be perform ed w ith the bod y turned slightly to the
left.
H ere is a routine for the production of four b illiard balls,

w ith the above m ove in c lu d e d :
L o a d the balls beforehand as fo llo w s :
I ball in the right h a n d coat or trouser pocket.
I ball in the left h a nd coat or trouser pocket.
1 b a ll vested centre in a clip.
T he special b a ll described is p a lm e d in the right h and.
Start by p roducing the p a lm e d ball. T his is placed on the
right hand fist, the thu m b being inserted in the op en ing as
described.
T he left h a n d apparently removes it, the b all, however,
re-appearing on the right h a n d fist.
This m ovem ent is again repeated twice, and should be
perform ed fairly quickly.
T he ball is then actually rem oved w ith the left hand from
the fist.
T he m agician, h o ldin g the ball in his closed left h a n d , looks
apprehensively at the right h a n d , as if expecting the ball to
re-appear again at any m om ent, and satisfies him self, and the
a udience, that his right h a n d is really em pty.
T he right h a n d now makes a few passes over the b all in
the closed left h and, a n d the “ drop sleight” (previously
described in this chapter in “ A n Effective V a n ish and
R eco very’ ’) is executed, leaving the b a ll p a lm e d in the right
hand.
The left h a n d is then show n to be em pty and ball N o. 2 is
produced from the right h a nd pocket. This b all is taken in the
left h and.
98 More Magic oj the H ands
(As the right h a n d removes this second b a ll from the right
hand pocket the fingers and thu m b turn the p a lm e d ball
into position to enable the th u m b to be later inserted into
the hole. This sounds difficult in cold print; actually there
is am ple tim e, whilst the h a nd is placed in the pocket, to
‘feel’ the opening in the p a lm e d ball and to turn it upw ards
w ith the fingers and thum b.)
D isplaying the
ball in
the left h and the right h a nd thu m b is
straightened out and a b all im m ediately appears on the fist of
that hand.
The m agician appears surprised at this sudden appearance
and blow s hard on the ball; it im m ediately disappears from
the fist, by low ering the thu m b quickly as explained.
The ball in the left hand is im m ediately placed on the right
fist and the third ball is produced, held between the first and
second fingers, from the left h a nd pocket.
The second ball (on the right fist) is now placed in the left
h a n d betw een the m iddle and third finger-tips, a n d the first
ball re-appears once more on the right fist.
The m agician, in desperation, swallows the ball; as it is
brought near the open m outh the thu m b is again bent inw ards
quickly and removed from the hole. The right h and moves
straight dow n to the vest a n d the fourth ball is produced; this
is placed betw een the third and little fingers of the left hand.
D isplaying the three balls in the left h a n d fingers the first
ball again appears on the right fist.
This ball is placed in the left h a nd betw een the first finger
and thum b, the thu m b effectively concealing the opening in
the ball.
A ll the four balls can now be safely shown on all sides a n d
the effect thus concluded.
A “PA SSE PA SSE ” BILLIARD BALL EFFEC T.

The transposition of two different coloured billiard balls,
each covered w ith a handkerchief of their respective shades
and placed on two candlesticks, is well know n at any rate to'
billiard b a ll m agicians.
T he m ethod about to be described can perhaps be regarded
as a “ new angle” on the old trick.
For those of m y readers w ho have not perform ed the original
sleight 1 will first give a brief description of its w orking;
O n the m agician’s table are seen a red a n d a blue billiard
ball, together w ith two sim ilar coloured handkerchiefs.
The perform er, u nk n o w n to the audience, has an extra blue
b a ll p a lm e d in his right h and.
Facing left he picks u p the red ball from the table and holds
it betw een the thu m b and first finger of his right h and.
The b all is then covered w ith the red handkerchief and both
are taken in the left hand.
T h at h a n d , how ever, instead of taking u p the red b a ll under
the handkerchief picks up the blue ball direct from the p a lm .
A s the handkerchief is lifted clear of the right h a n d the red
ball is quickly transferred to the p a lm of that h and.
T he (blue) ball, covered w ith the red handkerchief, is placed
o n the candlestick.
T he blue ball is then picked u p from the table, the above
m ove repeated and the b all placed on the second candlestick.
W ith a w ave of his h a n d (or w and) the m agician com m ands
the two balls to change places.
O n the handkerchiefs being lifted this transposition is seen
to have taken place.
T he m eth od about to be described, w hilst no t m aterially

altering the presentation of the above effect, enables the per
form er to casually show his right h a nd to be em pty after the
ball and handkerchief are taken from it w ith the left h a nd and
p lac e d on the candlestick.
In the old m ethod this was not possible, as the right h and
contained a p a lm e d ball, as already described.
R e q u ir e m e n t s and S e t t in g .
O ne red and tw o blue billiard balls.
A red a n d a blue silk handkerchief, each I8in. square.
T w o candlesticks, preferably about 8 to 10 inches in height.
H a n g the silks over the candlesticks and then place a cor
respondingly coloured b all on top of each.
T he extra blue b a ll is secretly palm ed in the right hand,
a nd everything is now set for the perform ance of the effect.
P r e s e n t a t io n .
Standing w ith his right side towards the audience, the per
former takes the red ball from the candlestick w ith his left
h a n d , and displays it on all sides.
T he right h a nd (containing the blue ball) is now closed into a
fist and the red b a ll placed on it.
T he red silk is next rem oved from the candlestick w ith the
left hand a n d draped over the red ball.
The left h a n d no w grips the red ball with the thu m b and
first finger through the folds of the handkerchief.
A t the same time the third and little fingers of that h and
take hold of the blue ball at either side through the silk.
F ig . 72 illustrates the m anner in w hich the tw o balls are
held between the fingers of the left h and, the handkerchief
being show n in dotted lines.
The silk is held for a m om ent above the candlestick a n d

the right h a nd casually show n to be em pty; the attention of
the audience, however, should not be directly draw n to this
fact.
T he left h a n d no w lowers the handkerchief over the candle
stick.
D uring this m ovem ent the front bottom edge of the h a n d
kerchief is gripped betw een the fork of the right th u m b a n d
the forefinger of the right h a n d , a n d slightly raised upw ards,
w ith the fingers of that h and extended under it, apparently to'
allow the silk to drop easily over the candlestick.
It is at this m oment that the main sleight is executed.
The left hand is tilted a little forward and the top (red) ball
is allowed to drop into the outstretched fingers cf the right
hand under cover of the handkerchief.
The thumb and first finger of the left hand then grasp the
blue ball through the folds of the handkerchief and place it on
top of the candlestick.
This is illustrated in FlG. 73. T he action of raising the bottom
M ore Magic o} the Hands IOF
of the handkerchief is a natural m ovem ent one w o uld m ake
to allow the silk to drop easily over the candlestick.
T he right h a n d containing the red ball is no w form ed into
a fist, a n d the blue b a ll is then taken from the second can dle
stick w ith the left h a nd and placed on the right h a n d fist.
The left h a nd no w removes the blue handkerchief from the
candlestick and drapes it over the blue ball.
The d rop p ing of the top ball into the right h a n d fingers
already described is repeated, and the red b a ll placed on top
of the second candlestick covered w ith the blue silk.
T he p a lm e d ball in the right h a n d can be disposed of at this
p o in t, if desired, in the act of p icking u p a w and , fan, or
pistol from the table.
T he two handkerchiefs are lifted from the candlesticks in
due course, a n d the transposition of the billiard balls show n
to have taken place.
The candlesticks should be placed on the table about twelve
inches apart.
T he above effect can be effectively in clu d e d in any b illiard

ball routine, and should be perform ed at the p o in t w hen, say,
two different coloured balls have been produced, the third
extra b a ll being then secretly obtained from the b od y or table.
VII.
C h a p ter
CIGAR SE CTION .
C H A P T E R V II.
CIGAR SE CTION .
PR O D U C TIO N O F C IG ARS FROM A PU R SE.
This is an excellent " im p r o m p tu ” effect for the cigar smoker.
A small purse is taken from the pocket, opened, and a
cigar twice the depth of the purse pulled from its interior.
R e p la c in g the purse in his pocket, the conjuror swallows
the cigar, a n d im m ediately reproduces it from beneath his
waistcoat.
The cigar is h a nded to a friend (or an enem y, as the case
m ay be, according to the
brand !).
R e m o v in g the purse once more from his pocket, the m agician
opens it and pulls out another cigar for him self.
T he purse is at once h a nded out for exam ination.
The requirem ents for the perform ance of this effect are
very easily obtained.
T w o small purses, w ithout a centre opening, a n d m easuring
not more than tw o inches square, are necessary; also tw o real
cigars 3 i to 4 inches long.
O n e of the purses is prepared in the follow ing m a n n e r :
A slit a bou t 1J inches in length is cut across the centre of
one side, as show n in FiG. 74.
'F R O M PERFORMERS
V/E W -P O IN T ,
FIG 75
The end of one of the cigars is then inserted in the opening,
and the closed purse a n d cigar placed in the left h a n d trouser
or coat pocket, together w ith the u nprepared purse.
The second cigar is vested, to be subsequentlv reproduced
w hen the first cigar (after being taken from the purse) is
" s w a llo w e d ” .
105
The w orking details of the effect should now be clear.
The purse and cigar are first rem oved from the left-hand
pocket and held as shown in FlG. 75.
The right hand opens the purse and slowly pulls out the
cigar.
The closed purse is then replaced in the left pocket.
The “ sw allow ing” of the cigar is perform ed as follow s:
The cigar is held at its tip in the right h and, betw een th e
thu m b and m iddle finger, and the other end placed betw een
the lips.
The right hand, holding the tip as explained, is now raised
upw ards to a position level w ith the nose, the cigar sw inging
upw ards with it, the opposite end being still held between the
lips.
The right thu m b and fingers then swing the cigar into the
h a n d , where it is quickly gripped at either end between the
first joint of the m iddle finger and the lower part of the palm .
The right h and is no w im m ediately lowered until the fingers
are touching the lips, as if pushing the cigar into the m outh.
T he right hand then m oves dow nw ards a n d produces the
second cigar from the vest.
This cigar is taken in the left h a nd and offered to the
spectator, the right h a nd casually dropping to the side.
T he unprepared purse is now rem oved from the left pocket
and opened w ith the fingers and thu m b of the right h and.
A s the purse is opened, the right h a nd quickly forces the
pa lm e d cigar into it by bending the right h a n d inwards.
O ne half of the cigar w ill be protruding from the top.
.This portion of the cigar is h idd en by the right h a n d fingers.
The left h and n o w grasps the lower end of the cigar through
the outside of the purse and the right h a n d fingers move u p w a rd
along the cigar as if pulling it out.
As soon as the fingers reach the top of the cigar, the left
h a n d fingers release their pressure on the low er half of the
cigar and the right h and continues its up w a rd m o vem ent,
p u lling it clear of the purse.
A very little practice before a mirror w ill convince the reader
of the effectiveness of the above move.
A ll that remains now is to produce your box of m atches
(m agically or otherwise !) light u p the cigars, and in course
of conversation h a n d the purse for inspection.
SERIES OF SLEIG H TS A N D M O VES FO R T H E
PR O D U C TIO N O F FO U R CIG ARS.
The routine described below presented w ith the acc o m p an y
in g patter w ill be fo un d an effective item for sm oking concerts,
clubs, m asonic functions etc.
The only apparatus required is a packet of cigarette papers
a n d four cigars; these can either be ‘the real th in g ’ or m ade of
wood.
If the latter is decided u p o n , m ah ogany should be selected.
• This is a natural cigar coloured w ood w hich does not require
painting, and w ith a cigar b a n d pasted round the centre the
je se m b la n c e is exact.
These im itation cigars can be m ade to the specified length
by any w ood turner; the cigars should be abou t four inches long
a n d flattened at one end.
They are ‘lo a d e d ’ on the bo d y beforehand in the follow ing
m ann er:
O n e cigar in the right h a n d coat or trouser pocket.
T w o cigars in the left h a nd coat or trouser pocket.
O n e cigar vested. (Centre).
(A fountain-pen clip o f the spring ‘arm let’ variety obtainable
at most stationers, a n d illustrated in FlG. 76, makes an excel
lent holder for keeping this cigar in position).
M eth o d :
MOVE 1
P r o d u c t io n o f t h e F i r s t C ig a r
T he perform er com m ences by rem oving one cigarette p aper

from the packet.
This piece is taken in the left h a n d and the packet placed in
the right hand pocket.
In doing so the cigar previously placed therein is secretly
rem oved w ith the right h a n d , gripped betw een the top joint of
the m iddle finger a n d the base of the p alm .
T he cigarette p aper is then held at one end betw een the
right h a nd finger and thu m b .
T he back of this h a n d (containing the p a lm e d cigar) is of
course facing the audience.
K e ep ing the right h a n d stationary in this position the left
h a n d twists the other end of the paper round twice in the
m anner illustrated in FlG. 77.
The left h a n d thu m b and first a n d second fingers now h old
the p aper in the centre a n d roll it into a strip.
W ith the body still facing the audience the paper is then
taken at each end between the thu m b a n d first finger of each
h a nd as seen in FlG. 79.
P R O D U C T 10 N OF FOUR CI GARS (P U J i i )
W h e n this has been done each end of the paper w ill be

spread out som ew hat in the shape of a du m b e ll as show n in
F .
i g 78.
The p alm of the left hand is no w turned for a m o m ent to
wards the audience and then inw ards again.
The rolled strip is no w form ed into a lo o p w ith a turning

m ovem ent of the right h and. D uring this action the cigar is
secretly transferred to the p a lm of the left h a n d in the follow ing
m a n n e r:
H o ld in g the paper strip as show n in FlG. 79 the tw o hands
ap proach each other and the u p pe r e n d of the cigar is gripped
betw een the tips of the thumb and third finger of the left hand
as the right h a n d com m ences to twist the paper into a loop.
T he m iddle finger of the left h a nd im m ediately swings the
cigar into the left p a lm , where it is held at each end betw een
the top joint of the left m iddle finger and the base of the
p alm .
In twisting the paper into a loop, the right h a nd turns p alm
outw ards a n d leaves the right h a n d end of the loop betw een
the left th u m b and first finger,
FlG. 80 shows the position of the hands at this stage of the
sleight.
D uring the above m o vem ent the em pty palm s of both hands
have thus been show n to the audience.
T h e paper loop is now show n to the audience, a n d then

rolled into a b a ll w ith the right h a n d fingers and thu m b .
T he cigar is then slow ly p u lle d from the left h a n d fingertips
w ith the right h and, as illustrated in F ig . 81.
In displaying the cigar to the audience the paper pellet is
allow ed to drop unseen to the floor.
The cigar is now h eld in the centre betw een the right h a n d
thumb and third finger and placed against the open p a lm of
the left hand.
A s the left fingers apparently close over it, the cigar is
gripped and p a lm e d betw een the m iddle finger and the base
of the p alm of the right h and. T his h a n d is then casually d rop p ed
to the side.
The left h a nd is duly opened a n d show n to be em pty.
(If the reader already performs cigarette or cigar effects,
any of his favourite sleights m ay be used for the above
vanish. O ther cigar m oves a n d vanishes are explained and
illustrated in “ T he M agic of the H a n d s ,” C h a p .7,
p. 74.)
T he left h a n d n o w goes to the left pocket, a n d removes the
cigar previously placed therein, apparently the one just
vanished.
This cigar is im m ediately taken in the right hand and h e ld
at one end betw een the thu m b and fingers.
P R O D U C T IO N OF FOUR C IG A R S (P U teH )
P r o d u c t io n of the S ec o n d C ig a r .
The perform er faces towards his left. FlG. 82 shows the posi
tion of the cigars in the right h and.
The right arm is no w m oved in a sm all circle towards the
body and aw ay several times.
The arm then makes a few circles in the opposite direction,
and during the course of this latter m ovem ent the top of the
jirst and third
p a lm e d cigar is gripped at each side betw een the
fingertips. It is then pulled upwards and clear of the palm by
moving the middle finger of that hand downwards.
This is show n in FlG. 83. T he inner side of the th u m b then
pushes the cigar upw ards into the position show n in FlG. 84.
H o ld in g the tw o cigars thus, the cigar just produced is taken
in the left h a n d and throw n towards the audience.
It has, how ever, vanished !
The m e th od of perform ing this sleight is as fo llo w s :
The left hand is brought in front of the lower cigar, back
outwards, in the position shown in FlG. 85.
A s the left h a nd fingers apparently close over this cigar, the
th u m b of that h a nd is quickly m oved inw ards towards the body,
a n d pushes the cigar into the right h a n d palm .
The cigar during this m ovem ent pivots inw ards betw een
the left th u m b and m iddle finger.
T he left h a nd now makes a throw ing m ovem ent towards the
audience, and is then show n to be em pty.
T he left h a n d goes to the left pocket a n d removes the cigar
previously placed therein, apparently the one just vanished.
The cigars are then held in the position illustrated in F ig . 86.
M O V E 3.
P r o d u c t io n of the T h ir d C ig a r .
This is a most effective sleight, a n d is perform ed w ith the

b od y facing the audience.
T he tw o cigars already produced are held one in each h a nd
betw een the tw o thum bs and u p pe r joints of the first fingers.-
The backs of the hands are tow ards the audience, w ith the
fingertips alm ost touching, as illustrated in F ig . 86.
Keeping the backs of the hands outwards, the right hand
cigar is placed crosswise against the outer side of the left hand
cigar and both are turned inwards and downwards towards
the body and then outwards and upwards to their original
position shown in FlG. 86.
T he audience still only see two cigars.
T he above m ovem ents are apparently reversed, and the third
cigar is produced in the follow ing m a n n e r :
H o ld in g the cigars as show n in FlG. 86, the left h a nd is turned
p a lm outwards, and the top end of the palm ed cigar is gripped
at either side betw een the left hand thu m b and first fingertip, as
shown in FlG. 87,
The cigar in the right hand is then im m ediately turned
outwards in a circle right round the left h and, w ith a wrist
m ovem ent, finally arriving in the position show n in F ig . 88.
The sudden appearance of this third cigar betw een the other
two w ill be fo un d extremely mystifying to an audience, and a
short practice of it before a mirror w ill convince the reader of
its efficiency.
The cigar held in the right hand is now 'sw allow ed” as
described in the preceding effect in this chapter, "P ro d u c tio n
of Cigars from Purse,” and is then reproduced from the clip
in the centre of the vest, apparently the cigar just sw allow ed.
This cigar is now placed in the left h and, w ith the other two,
as illustrated in FlG, 89, and the right h and, containing the
palm ed cigar, is casually dropped to the side.
M O V E 4.
P r o d u c t io n o f t h e F o u r t h C i g a r .
In accordance with the patter given below , the m agician n o w

“ pinches” the top of one of the cigars in his left h a nd with
the right h and finger and thum b, and, m oving that hand aw ay,
a fourth cigar is seen at the fingertips.
This last cigar, already p a lm e d in the right h and after the
“ sw allow ing sleight,” is quickly produced at the fingertips in
the follow ing m anner :
The cigar is p a lm e d in the position show n in FlG. 78^
The first and third fingertips grip the top end about h a lf
an inch dow n and lift the cigar clear of the p a lm in exactly
the same m anner as described in M ove 2.
The tip of the thu m b is then placed b e h in d the cigar and
quickly shoots it u p into sight, held at the extreme fingertips.
This cigar is placed in the left hand w ith the others and the
effect concluded.
PATTER.
M o v e 1 .
“ A ll that I require for this problem , ladies and gentlem en, is

a packet of cigarette papers” .
(Rem ove one paper from the packet and place packet in
right h a nd pocket, secretly o b tainin g cigar in the right h a n d .)

“ 1 shall first of all give this p ape r a tw is t".
(Twist paper in centre.)
" B u t please do not im agine that 1 a m going to ‘tw ist’ y ou in
any w a y ! Next I roll the p aper roughly into the form of a
d u m b e ll” .
(R o ll paper.)
" T h e n I m ake a loop like this ’ .
(Left p a lm show n em pty and cigar then secretly transferred
- to the left palm .)
" N o w w atch me carefully. 1 squeeze the loop into a sm all
pellet, and it becom es a c ig a r".
(Pull out cigar.)
" A n d that is one of the cheapest m ethods I k now of getting
a cigar. Let me offer a lit„tle advise to those of you w ho sm oke
cigars. Never squeeze your cigar too tightly in your h a n d ” .
(A pparently place cigar in the left h and, p a lm in g it in the
right.)
" I f you do, you w ill find that it w ill evaporate and p robably
congeal in your pocke t’ .
(Produce second cigar from left pocket a n d place it in the
right hand.)
M o v e 2 .
" S h o u ld you require another cigar for a friend, or an enem y,

as the case m ay be, just give your cigar a twist; b u t never twist
it from right to left. If you do, the leaf w ill only w in d round
tighter. Y o u m ust alw ays ‘untw ist’ from left to right; then the
leaf w ill u nw rap and form another cigar” .
(Show second cigar.)
" N o w you are in a position to offer one to your friend; if
he accepts, throw it over to h im ” .
(Take the lower cigar in the left h and a n d vanish it.)
“ But alw ays have another one in your pocket in case he
does not appreciate that k ind of conjuring’ ’ !
(R em ove third cigar from the left pocket.)
M o v e 3 .
“ ‘Should you require a third cigar, you must m ake a “ b o b ” .

But never ‘b o b ’ inw ards from the outside, because no th ing w ill
h a p p e n . A lw ays ‘b o b ’ outside from the in, so to speak, a n d
y ou will then get three fourpennv cigars — that’s the ‘b o b ’ ’ !
(Produce the third cigar.)
“ I rarely smoke cigars myself; I usually sw allow them
in ste a d ” .
(Swallow the cigar in the right hand.)
“ In that w ay 1 am able to use them over a n d over a g a in ” .
(Produce the fourth cigar from clip in vest, and place it
in the right h and.)
M o v e 4 .
“ A nother effective w ay of obtainin g cigars is by the “ p in c h

ing” m ethod. Please do no t m isunderstand m e, I do not m ean
burglary ! Just pinch the end off your ow n cigar, shake it out,
and there you are” .
(Show the fourth cigar at right h a n d fingertips.)
“ 1 w o uld like to say in conclusion that I could go on pro d uc
ing these things till further orders, b u t the tobacco u n io n does
not allow m e to m ake more than four cigars a day so that
ends the p ro b le m ’’.
VIII.
C h a p te r
MISCELLANEOUS SECTION.
C H A P T E R V III.
M I S C E L L A N E O U S SECTION .
A V A N IS H IN G GLO VE EFFEC T.
This is an introductory effect, a n d as such w ill be found an
excellent opening to any m agical program m e.
E ffec t.
The perform er enters from the right h a nd side of the stage
or platform to a few bars of suitable music.
H e is wearing a silk hat, w hite gloves, and carries a w alking
stick.
T a king the new spaper in his right h and, he strikes the left
h a nd w ith it, and the glove instantly vanishes from that hand.
T he other glove is no w taken off, and w ith an u p w ard throw
ing m ovem ent of the right h and, this one also disappears.
T w o excellent tricks to follow u p w ith are the “ V anishing
W a lk in g Stick” and the “ Torn and Restored N ew spaper”
effects.
M ethod.
W h ite lisle gloves should be used, as they squeeze u p into
a small compass.
LEFT HAND glove :
T he left h a n d glove w ill require a little preparation.

T he back part is cut com pletely aw ay, with the exception
of the top th u m b and finger portions.
These serve as pockets for the insertion of the tips •*if the
fingers a n d thu m b as explained later.
This glove is illustrated in FlG. 90, the dotted lines represent
ing the cut aw ay portion.
117
A strip of tin m easuring 4}
inches long by 4
an inch wide is
now cut, and small holes, each about 4
an inch apart, are
punched alo ng it.
The tin is then bent in a half-circle to the shape of the
wrist and sewn to the bottom portion of the glove.
T he two gloves are attached to each other w ith thick white
round elastic in the follow ing m a n n e r:
A small key ring about I of an inch in diam eter is obtained
a n d a large safety p in put on to it at its h ing ed end in the
same w ay as a key.
A piece of the round elastic 22 inches in length is then
threaded through the ring, and each end of this piece is tied
to the outermost holes in the tin strip. (See “ A ” FlG. 91.)
These tw o holes, together w ith the centre one, should be a

little larger than the others for this purpose.
A second piece of round elastic m easuring 11 inches long is
no w tied on to the key ring at one end and to the centre hole of
the tin strip at the other. (See “ B ” FlG. 91_.)
A third piece of round elastic, also 11 inches long, is now
tied to the opposite side of the key ring, and the other end is
attached to the right h a n d glove at the top of its front opening.
(See “ C ” F i g . 91.)
The safety p in is then attached to the back of the waistcoat
between the shoulders.
This arrangem ent is clearly show n in FlGS. 91 a n d 92.
The gloves are p u t on the hands, before entering, in the
fo llow ing m ann er:
The coat is first rem oved. W ith the safety pin in position
betw een the shoulders, the gloves are then held in their
respective hands and the coat put on again.
The right h a n d glove is first p u t on, the left h a n d m eanw hile
holding on to the left glove.
The th u m b and fingertips of the left h a n d are then inserted
in the ‘Pockets’ at the top of the fingers a n d the left glove
neatly adjusted over the p a lm a n d sides of the left h and.
R eferring to FlG. 90, it w ill be noticed that the back of the
glove is cut low betw een the fingers a n d th u m b , as show n at
the points m arked “ x” in the figure.
These tags are p u lled dow n betw een the fingers and thu m b
and held tightly betw een the closed fingers, giving the glove
a tight fitting appearance on the hand.
The strip of tin at the bottom keeps the lower part of the
glove stretched evenly out, and the three strands of elastic
fixed to it ensure an even p u ll during its vanish.
A folded new spaper is placed under the left arm pit, the
w alking stick is held in the right h a n d , and all is ready for
the presentation of the effect.
P r e s e n t a t io n .
The m agician enters from the right h a n d side to suitable
music. (Patter m ay, of course, be used if preferred.)
H e places the stick under his right arm and displays the p a lm
of his left gloved h and.
The right h a nd then takes the new spaper and strikes the left
h a n d w ith it.
D uring this m ovem ent the left h a nd is turned back outw ards
a n d the fingers and thu m b quickly bent inw ards.
A t the same m o m ent the left arm is stretched out.
These three m ovem ents cause the glove to fly up the left
sleeve.
T he paper is then replaced under the left arm.
The right h a n d glove is now taken off and held in the right
h and.
W ith an u p w ard throw ing m ovem ent, a n d a straightening of
the right arm, this glove is draw n quickly into the right sleeve.
T he above effect is entirely practical, and was perform ed

by the author in the m agical revue “ H u llo M a sk ely ne,” at
St. G eorge’s H all, L o n d o n , during its long and successful run.
TH E “P O P ” THIM BLE V A N ISH .
This is a n original thim ble vanish that deceives the ear as
w ell as the eye.
In effect, a thim ble is first show n on the forefinger of the
right h and, and then placed in the left closed fist.
In rem oving the thim ble, the left h a nd bends the top joint
of the right forefinger inwards.
There is an audible “ p o p ” as the thim ble is p u lle d off, and
on opening the left h a n d later, it is seen to have disappeared.
M eth o d .
T he thim ble is first displayed on the right h a n d forefinger.
Closing the left hand into a fist, with the knuckles outwards,
the thim ble is apparently placed therein.
A s the right h a n d moves upw ards towards the left fist, h o w
ever, the thim ble is quickly thum b-palm ed in the right h and.
T he top joint of the right forefinger rem ains h eld betw een
the base of the left th u m b and first finger.
The m iddle finger of the right h a nd is no w inserted in the
thum b-palm ed thim ble and transfers it to a position against
the top joint of the right th u m b , as show n in FlG. 93. T his draw
ing shows an exposed view of the thim ble; in actual presenta
tion, the back of the right h a n d is kept towards the audience.
F /G <p$ F/G pj, L.

T he right h a nd fingertip is no w bent inw ards by the closed
left fist.
A t the same time the right h a n d m iddle finger, pressing the
thim ble against the top joint of the right h a n d th u m b , is also
bent inw ards a n d right out of the thim ble.
This action will cause a “ p o p p in g ” sound as the finger-tip

is rem oved.
T he position of the two hands a n d the thim ble will no w be
as show n in FlG. 94, the back of the right h a n d being h eld,
of course, towards the audience.
The thim ble is im m ediately thum b-palm ed again a n d the
right hand w ithdraw n from the fist.
T he left h a n d is then duly opened show ing the evanishm ent
o f the thim ble.
A N O RIG INA L COIN PR O D U C T IO N .

The follow ing sleight can be effectively used in the perform
ance of the “ M iser’s D re a m ,” or for any other effect in w hich
a nu m be r of coins are m agically obtained from the air.
A decided advantage is the “ visibility” of the coins produced,
each one appearing betw een the extreme tips of the first a n d
second fingers.
Several uses will be found for this sleight, w hich consists
of tw o separate moves, the first being a production from the
p a lm , and the second from the thumb-palm position.
A routine is here given, incorporating them , for the perform
ance of the '-‘M iser’s D re a m ” (or “ A erial Treasury” as it is
som etim es called).
E ffec t.
A n opera hat is show n to be em pty, and placed brim upw ards
on the table.
The perform er then “ catches" a coin from the air betw een
the extreme tips of his right h a nd first a n d second fingers.
T he coin is visibly d ro p p e d into the hat.
A second coin is " c a u g h t” in the same m anner, a n d also
actually throw n into the hat.
Catching a third coin, the m agician throws it back into the
air and quickly reproduces it from his left knee.
This coin is also throw n into the hat.
T a king u p the hat in his left h and, the perform er proceeds
to produce a dozen or m ore coins singly at the right h a n d
fingertips, throw ing each coin into the hat as it is produced.
A n O p e ra hat.
A b o u t tw enty (or more) p alm ing coins.
A coin holder of the type to deliver a num ber of coins into
the h a n d at once. (This is fixed behind the left leg, and
concealed by the coat.)
M eth o d .
MOVE 1.
Three coins are first p a lm e d in the right hand.
. T he outermost coin is lifted upw ards w ith the top join t of
the third finger, and is then clipped betw een the second and
third fingertips, as show n in FlG. 95,
R aising these two fingers upw ards, the th u m b is placed against
the third fingertip, and presses the bottom end of the coin
against the top join t of the second finger.
This is illustrated in FlG. 96.
The first finger is no w bent inwards, and grips the coin on
its inner side as near the rim as possible.
The first and second fingers are then stretched out to their
full extent as shown in FlG. 97.
A t the precise m oment these two fingers are extended, the
third and little fingers are bent inwards against the palm, with
the thumb laying alongside them.
This effectively conceals the two remaining palmed coins.
A s the third and little fingers close inw ards as described, w ith
the th u m b alongside the third finger, the h and, w hich naturally
has u p to this p oin t been held back towards the audience, is
turned p a lm outw ard revealing the sudden appearance of the
coin betw een the tw o fingertips.
This position is shown in FlG. 97.
H a v in g displayed the coin, the h a nd is then turned back
towards the audience again with the fingers outstretched,
and
the coin throw n into the hat.
The above m ove is repeated for the production of the second
p a lm e d coin.
T he third coin is p roduced from the p a lm in the same m anner

and having been duly displayed is throw n back into the air,
where it seems to vanish in a flash, the right h a nd being no w
held back outw ard w ith the fingers w ide apart. T he coin is
actually thum b-palm ed from the position it was show n in Fig. 97
to that illustrated in FlG. 98. It w ill be fo un d after a very little
practice that this sleight can be accom plished in an incredibly
q uick m anner.
T he left h a n d is now placed b e h in d the left leg and quickly
obtains possession of fifteen or tw enty coins from the holder
previously placed there in position.
T hese coins are im m ediately finger-palmed, a n d the top one
slid forw ard and produced from the left knee, show n to the
audience a n d then dropped into the hat w ith the other two.
T he left h a n d then picks u p the hat from the table by the
brim , havin g thus been loaded w ith a num ber of coins for the
continuance of the production.
There are several types of holders on the m arket for deliver

ing several coins into the h and.
A suitable one is illustrated in FlG. 101.
This consists of a steel clip w ith three small flanges on each
side, and is attached to the trouser leg by m eans of a safety
p in on the end of a small length of b la ck tape.
T he coins are quickly pulled out of the holder, the thu m b and
second finger gripping them at either side.
F IG 101
H e ld in that position, they are easily finger-palmed, and the
to p coin slid forw ard and produced from the knee as explained,
the back of the h a n d being held outwards.
M O V E 2.
The right hand at this stage of the trick contains a thumb-
palmed coin (FlG. 98), which is now “ caught’’ at the first and
second fingertips in the following manner :
T he th u m b first pulls the coin outw ards at the top end, as
show n in FlG. 99.
A ll the fingers are then bent inw ards, a n d the top edge of
the coin is gripped betw een the first and second fingertips (the
first finger b e h in d the coin).
FlG. 100.
T his is illustrated in
These two fingers are then straightened out, and the coin
brought to the position shown in FlG. 97.
T he coin is apparently throw n into the hat, but is actually
thum b-palm ed as already explained in M ove 1 (throwing the
coin into the air) a n d one coin is allow ed to drop into the hat
from the stock in the left h and.
The “ catching” is continued until the stock of coins is
exhausted.
The production can be varied b y passing for exam ple a coin

just “ caught” through the crow n of the hat (actually back-
p a lm in g it in the right h a n d as a coin is released from the left)
or by throw ing a coin back into the air (thumb-palm) and letting
the audience hear it drop a m om ent later into the hat (release
from left hand).
T he reader is advised not to let the above routine go by until

he has given it the necessary practice, and, of equal im portance,
a test before an audience.
TH E “R A IN B O W ” P E N K N IFE .
This is an original elaboration of the w ell know n “ colour
changing p e n k n ife ” effect obtainable at all m agical depots.
E ffec t.
(The sequence is nu m be red for convenience of reference.)

(0
A w hite-handled penknife is exhibited on both sides a n d then
pushed through the left h and.
T he h andle is seen to have changed into blu e, and the knife
is again show n on both sides.
The m agician rem arks: “ A re you quite sure this is a blue
p e n k n ife ? " Passing his h a nd over it, the handle is once more
white !
2
( )
Saying that he w ill "s h o w how it is d o n e ” the performer
pushes the knife slow ly into his left fist.
“ A h ,” he says, show ing that hand em pty, “ 1 must have
pushed too hard ! It has ju m p e d up m y sleeve into this
p ocke t.” T he knife is im m ediately produced from the left vest
pocket.
(3)
Placing the knife in his left h and, the conjuror takes a small
square of red tissue p aper from his right h a n d pocket.
The white knife is w rapped u p in the red paper, and the
perform er m entions that in a second or two the knife w ill
absorb the red colour.
The paper is opened and the handle is now red.
Both the paper and the knife are displayed on both sides.
E x p la inin g that if the knife is held too far aw ay from the
p aper the colour w ill evaporate, the m agician holds them both
at some distance apart, and the knife is seen to be w hite again.
The knife is once more w rapped u p in the tissue.
The packet is suddenly squeezed into a ball, the knife having
again vanished.
“ I must have w rapped it u p too tigh tly ,” says the w izard.
“ It has ju m p e d u p m y sleeve again ! ” T he knife is fo un d once
m ore in the vest pocket.
T he crum pled tissue is replaced in the right h a n d pocket.
(4)
The m agician no w places the knife across the outstretched
fingers of his left h a n d , an d , show ing it to be white on both
sides, passes his left th u m b over it, rem arking: Y o u have
seen this penknife change into red, w hite and blue. N ow you
observe it has turned green” .
T he knife is show n to be green on both sides.
(5)
In conclusion the perform er removes a w hite handkerchief
from his right h a n d pocket and holds it by one corner in his
right h and fingers.
D isplaying the knife in the other h a n d , he explains that
“ the only w ay to m ake the green knife assume its original
condition is to stroke it w ith a w hite handk erch ief” .
The knife is held for a second behind the lower corner of
the handkerchief, and on being rem oved, is seen to be white
a g a in .
The penknife is then handed out to the audience for
inspection.
Such is the accurate description of this effect.

A reference to it during the study of the m ethod w ill assist
the reader to fo llow the correct sequence of the moves <1nd
“ patter” .
1 penknife, both sides w hite.

! penk nife, one side w hite, the opposite blue.
1 penknife, one side white, the opposite red.
1 penknife, one side w hite, the opposite green.
A piece of red tissue paper, 6in. x 4in.
A white handkerchief.
A holder for three penknives (described below).
•T he holder can be m ade of tin or stout cardboard, and
should be of a size to fit the waistcoat pocket.
Sm all holes are pierced dow n the holder and across the
b otto m . A piece of cloth is then stitched on to it to form three

divisions or pockets for the insertion and easy w ithdraw al of
each knife. (See FlG. 102.)
H e ld in this w ay the knives cannot turn round in the pocket,
neither can the w rong knife be produced.
S hape , w it h p e r f o r a t e d
h o l e s , c u r TO FIT
VEST POCKET
I
F IG 102
S e t t in g .
T he holder containing the three half-coloured penknives is
placed in the left vest pocket w ith the coloured sides towards
the bod y, the blue knife to the perform er’s right, the red in
the centre and the green on the left.
T he red tissue p aper (folded in four) is in the right h a n d
coat pocket. If in full evening dress (tails) the right h a n d hip
pocket can be used.
T he w hite handkerchief, together w ith the w hite-handled
penknife are placed in the right h a nd trouser pocket.
F ir s t E ffec t .
The blue and w hite penknife is rem oved from the holder
a n d displayed to the audience as a w hite.knife.
It is pushed through the fist and becom es blue, finally
changing back to white.
M eth o d .
T he m ain sleight in this effect (know n I im agine to the
m ajority of m y readers) depends on the secret twisting of the
penknife, held betw een the thu m b and first finger, during the
m o m e n t that the h a n d is turned upw ards to show (apparently)
the underside of the knife. It is, however, the same side that
is displayed to the audience.
A reference to Figs. 103-4 show the correct m ethod for the
h o ldin g and subsequent twisting of the knife, w hich is held
in the right h a n d , poin tin g dow nw ards, the knuckles of the
h a nd towards the floor.
The positions of the thu m b and first finger (Fig. 103.) should
be noted.
T he th u m b is h eld against the top end of the knife.
(These tw o figures illustrate the h a n d a n d knife from the
perform er’s view point, the end of the knife, m arked ‘ x ’ in
Fig. 103, being towards the floor).
FI G / o s F i Q t O th
1 he low er part of the to p join t of the first finger is held

against the knife opposite the thum b.
The h a n d is n o w turned upw ards with a wrist m ovem ent
only, and at the same tim e the knife is twisted round by a
slight drawing-in m ovem ent of the first finger, displaying
apparently the underside of the knife, b u t actually the side
just seen.
This position is show n in FlG. 104.
The knife is then turned dow nw ards again b y reversing the
above m ovem ents.
T he left h a n d is now closed into a fist a n d held knuckles
outwards.
The knife is then placed betw een the bent first finger of
the left h a n d w ith the w hite side towards the audience, and
ia pushed upw ards w ith the left th u m b tip . ( F i g . 105.)
W h e n the penknife is entirely h idd en in the fist, the upper

end is h eld lightly betw een the bent little finger.
The left th u m b remains pressed against the bottom end of
the knife.
T he three rem aining fingers of the left h a n d are then placed
against the inner edge of the knife (nearest the wrist) a n d roll
it outw ards, thus turning the white side against the fingertips.
Im m ediately the knife has been turned the left thu m b continues
to push it upw ards until it projects about a third of the w ay above
the closed fist.
T he position w ill now be as show n in FlG. 106, w ith the blue
side of the knife towards the audience..
The knife is again gripped lightly in the bent little finger,
and as the fist is turned outw ards into the position show n in
F lG . 107, the third fingertip is placed against the outer edge
of the knife a n d rolls it towards the wrist.
This turning of the wrist and knife at the same m o m ent
is a most effective move, and is well worth the small a m o u n t
of practice necessary to acquire it.
T he knife is now taken in the right h a n d thu m b a n d finger,

and the left h a nd is quickly passed over it w ith the re m a rk :
‘ ‘A re y o u sure this is a blue k n ife ? ” .
U nd er cover of the left h and the knife is twisted betw een
the th u m b a n d finger and the white side of the knife show n
to the audience.
S eco n d E ffect.
The m agician now proposes to explain “ how it was done ! ”

H e pushes the knife slowly into his closed left fist and it
vanishes.
R e m a rk in g that he possibly “ pushed too h a rd ,” the knife
is im m ediately reproduced from his vest pocket.
M eth o d .
F i g . 108 shows the positions of the two hands, as seen by

the audience, at the com m encem ent of this sleight.
F lG . 109 illustrates the m ovem ent from the perform er’s view
poin t.
O n referring to the latter figure it w ill be seen that the top
join t of the left thu m b is bent inwards.
T his allow s the knife to be quickly p ulled upw ards into the
right h a n d p a lm b y the m ethod explained b e lo w :
T he knife is first pushed dow nw ards into the left fist w ith
the white side outw ards (FlG. 108) until about an inch of the
white handle only is visible to the audience.
W hen in that position, the second fingertip of the right
h a n d is placed over the front of the protruding top of the

knife. (See “ x ” FlG. 109..)
More Magic o} the Hands 131
This finger is im m ediately bent inwards, pushing the knife,

w hich pivots betw een the right h a nd thu m b and forefinger,
into the right h a n d p alm .
A s the knife swings upw ards, the right h a n d first finger-tip
moves dow nw ards and is gripped betw een the bent thu m b
a nd first finger of the left h and, and appears to be apparently
p ushing the knife into the fist.
This position is show n in FlG. 110.
FlG. I l l illustrates the m anner in w h ich the knife is c o n
cea led in the right hand, h eld firm ly on either sid e b etw een the
thum b and b en t secon d finger.
A little practice of the above m ove in front of a mirror w ill
convince the reader of its efficiency, and also show that the
secret transfer of the knife into the right h and is entirely invisible
to the audience.
N o te .
This sleight can be effectively accom plished w ith a cigar,
cigarette, cigarette-holder, short pencil or any similar shaped
article.
The right h a nd is d rop p ed to the side, a n d the left th u m b tip

moves into the fist as if pushing the knife through it.
T he left h a n d is then show n to be em pty, and the second
knife (red and white) im m ediately produced from the vest
pocket held betw een the thu m b and first finger of the right
h a n d (containing the p a lm e d knife) white side towards the
audience.
T hird E ffect .
T he knife is w rapped u p in a piece of red tissue.
O n op en ing the paper, the h andle is seen to be red; it changes
again to w hite on being held a short distance aw ay from the
paper.
T he knife is finally w rap p ed u p again and the paper crum pled
u p into a ball.
R e m a rk in g that he m ust have “ w rapped it u p too tightly”
the perform er reproduces the knife once more from his vest
pocket.
M eth od .
T he knife is placed on the left hand p alm , w hite side u p p e r
most.
T he folded piece of red tissue is then taken from the right
h a n d coat or hip pocket, the p a lm e d blue and white knife
b e ing left therein.
The paper is unfo ld ed and w rapped round the knife.
D uring this action the packet is turned over, bringing the
red side of the knife towards the audience.
The p aper is then unfo ld ed a n d the knife show n to have
changed to the same colour as the tissue.
Both are held in each h a nd and displayed on all sides, the
knife being turned between the right finger and th u m b as
already explained. (FlGS. 103 a n d 104.)
H o ld in g the paper in his left h and, and the knife in his right
(FlG. 103) the perform er m entions that “ the colour w ill evapor
ate from the knife if it is held too far aw ay from the p a p e r” .
T o illustrate this the tw o hands are separated.
A t the same m o m ent the knife is quickly turned round w ith
the right h a n d finger a n d th u m b a n d show n to be white.
It is again displayed on both sides. (FlGS. 103 and 104.)
T he knife is no w held betw een the tips of the right h a nd

finger a n d thum b, w hite side outwards, in the position show n
in FlGS. 108 and 109, except that the knife is held parallel
w ith the floor w ith the right h a n d fingers poin tin g to the per
former's left.
The tissue p aper is gripped in the left h a n d betw een the
fingers a n d fork of the th u m b , the back of the h a n d towards
the audience.
T he paper, h eld thus, is no w placed in front of the knife.
The m o m ent the knife is covered from the view of the
audience the second fingertip of the left h a n d is placed against
the handle im m ediately above the first fingertip an d , ben ding
inwards, swings the knife into the right h a n d p alm .
The position of the tw o hands, paper and knife w ill now
be as show n in FlG. 112.
This is exactly the same m ove w ith the knife as already
described in the “ second m e th o d ” .
As soon as the knife is concealed in the right h a n d the
left fingers b e n d the tissue inw ards, apparently over the knife.
T he right h a n d is then dropped to the side.
The paper, presum ably containing the knife, is finally
crum pled into a ball in the left h a n d , and the third knife
(green and white) produced from the vest pocket, white side
outw ards.
The p a lm e d knife remains concealed in the right h a n d .
F ourth E ffect .
T he knife is placed across the left h and fingers, white side
upperm ost.
T he h a n d is then turned, show ing the underside of the h a n d le

to be also white..
T he left th u m b is then draw n across the knife, and it becom es
green.
E ach side of the handle is again displayed.
M eth od .
T he left h a n d at this stage of the routine is holding the
crum pled ball of paper.
T he right h and, containing the p a lm e d blue and w hite knife,
displays the green a n d w hite knife just produced from the
vest pocket, w hite side towards the audience.
T his knife is now placed across the left h a n d fingers, the
right h a n d at the same time taking u p the ball of paper a n d
replacing it in the right hand coat or h ip pocket, together w ith
the p a lm e d knife.
FlG. 113 shows the position of the knife across the top joints
of the left h a n d fingers.
T he th u m b tip is held against the inner edge of the knife a
little above the centre, and rolls it outwards towards the
fingertips as the h a n d is turned knuckles towards the audience.
Both sides of the knife are thus shown to be apparently
w hite.
T he second, third a n d little fingers ben d inw ards as the h a n d
SVHlT£ GRECH
41
LEFT
MAUD
F / G 1/5 F iC t / / fy. F IG U S
is turned, giving the audience a ruiier view ot tne km te.
T his position is m ade clear in FlG. 114.
H a v in g show n the underside of the knife to be w hite, the
three left h a n d fingers cover the handle once more, and,
du rin g the m o m ent that the h a n d is turned round again into
the position show n in FlG. 115, the left thum b is quickly passed
alo ng the green side of the knife.
In FlG. 115 the thumb is shown having just been passed along
the knife.
The effect from the audience’s point of view is that the
thu m b has “ ru b b e d ” the knife green.
It is once more shown on both side by repeating the moves
illustrated in FlGS. 113 and 114.
F ifth E ffect .
The perform er, rem oving a white handkerchief from his
pocket, explains that “ the only w ay to m ake the green knife
assume its original condition, is to stroke it w ith a w hite h a n d
kerchief” .
H o ld in g the handkerchief by one corner, the green knife
is held b e h in d it for a second.
O n being rem oved, it is seen to be white again.
T he knife is then h a nded out for exam ination.
M eth od .
The knife is held between the th u m b and first finger of the
left h a n d , pointing dow nw ards, w ith the green side facing the
audience.
T he white handkerchief is then rem oved from the right h a n d
trouser pocket.
It is p u lled out b y one corner, held by the thu m b and first
finger, together w ith the white-handled knife, the latter being
concealed in the h and.
The left h and holds the knife for a second b e h in d the
bottom corner of the handkerchief, and under cover of this,
turns it w ith the finger a n d thu m b , displaying the w hite side
to the audience w hen the knife is rem oved.
The exchange of the green and white knife for the w hite
one concealed in the right h a n d is accom plished in the fo llow
in g m a nn er:
W h e n the w hite side of the knife has been show n to the
audience it is draw n upw ards into the open p a lm w ith the
left hand fingers; the white side, of course, remains upperm ost.
T he centre of the handkerchief is then placed across the
left h and, covering the knife.
This is illustrated in FlG. 116.
The right h a n d , containing the white-handled knife, im m e d i
ately approaches the left. Passing under the handkerchief, it
a pparently receives the knife from the left h a n d .
A ctu ally it is the white-handled knife that is show n in the

right h a n d a n d h a n d e d out for inspection.
T he handkerchief, w ith the green and w hite knife under it,
is casually placed in the left hand trouser pocket.
A “ M A TT ER -T H R O ’-M A TT E R ” PE N K N IFE
EFFEC T.
This is a suitable trick to follow the “ R a in b o w P e n k n ife ,”
just described.
E ffect .
A large handkerchief and a penknife are handed to the
audience for exam ination.
T he handkerchief is h u n g over the back of a chair (of the
op en back type).
T he perform er then takes an envelope from his pocket, and
op en ing one of the blades of the penknife, makes a small slit
w ith it through the centre.
Standing b e h in d the chair, he holds the envelope in front
of the handkerchief.
H is right h and, h o ldin g the open knife, then goes b e h in d
the handkerchief, and the blade appears a m o m ent later
through the slit in the envelope, having apparently passed
through the centre of the handkerchief.
The knife is p u lle d back through the envelope again and
the handkerchief shown to be undam aged.
The m agician offers to “ repeat the illusion” and, m a k in g a
second slit in the envelope, holds it once more in front of
the handkerchief.
T he blade again appears through the envelope, follow ed by
the handle of the knife.
The open penknife is then allow ed to drop on to the seat
of the chair, and both the knife and the envelope are offered
for exam ination.
R equirem ents .
A penknife.
A large handkerchief.
(The above articles m ay be borrow ed if desired.)
A blade, rem oved from a penknife. (FlG. 118 “A ” .)
A n envelope, not smaller than post-card size, prepared as
explained below .
A n open-backed chair.
M ethod .
The secret lies in the envelope, w hich contains, u nk n o w n
to the audience, the blade portion of a penknife.
The envelope used should be one actually received through
B
F/& //6
the post and opened along the top, leaving the flap still stuck
d o w n . It is prepared beforehand as follow s:
A sm all slit is m ade through one side only of the envelope,
a b o u t tw o inches aw ay from the left h a nd bottom corner. (See
“ x" Fig. 118 “ B” .)
More Magic o) the Hands 137
The blade (FlG. 118 ‘ A ” ) is pushed inside the envelope

through the slit, with the bottom portion remaining visible, as
shown in F ig. 118 “ B” _.
This portion of the blade is concealed by the left h a n d
thu m b tip ; the envelope can thus be show n freely on both
sides. (See FlG. ! 18 " C ” .)
A folded letter is placed in the envelope. Thus prepared,
it is loaded into the right h a n d breast pocket in readiness for
the perform ance of the effect.
The perform er com m ences by hanging the handkerchief over

the back of the chair.
T he seat of the chair should be towards the audience.
T he penknife is then opened a n d the prepared envelope
rem oved from the right h a nd pocket, the slit containing the
blade being h eld towards the body.
The letter is taken out of the envelope and replaced in the
pocket, thus indirectly calling attention to the unpreparedness
of the envelope..
The performer now makes a slit right through the centre of
the envelope with the open penknife held in the right hand,
as shown at “ o” in FlG. 1 19, and standing behind the chair,
holds the envelope in front of the centre of the handkerchief.
T he knife is now placed behind the handkerchief and im m e d i
ately reversed in the right h a nd into the position illustrated in
F ig . 120.
T he left h and thu m b next pulls the blade concealed in the
envelope abou t an inch out of the slit.
This is show n in FlG. 12 i.
T he right h a n d no w grips the bottom of the blade through
the handkerchief w ith the right h and thu m b and first finger,
a n d pushes it through the slit just m ade in the centre of the
envelope.
A side-view diagram o f this m ovem ent is show n in F ig . 122.
“ A -A ” represents the handkerchief hanging over the chair
b ack, “ B-B” the envelope held in the left h and, and “ C ” the
blade held through the handkerchief betw een the right h a nd
th u m b and first finger, that h a nd also containing the reversed
open penknife “ D ” .
The blade, having apparently penetrated the centre of the

handkerchief, is now withdrawn and the right hand finger and
thumb quickly slides it back into its orignal position in the
envelope. (FlG 118 “ B” ).
A ''MATTER-THROUGH'MATTSr ” P EN KN IFE EFFECT.
The right h a n d then turns the open penknife poin t outw ards
again and brings it in to view from b e h in d the handkerchief,
the audience being led to believe that the open blade is the
same one they saw appear a m o m ent ago through the centre
slit of the envelope.
T he envelope is at this point show n on both sides, the left

h and thu m b concealing the bottom of the blade. (F1G 118 “ C ” ).
The m agician no w offers to ‘repeat the illusion’ a n d this time
passes the w hole of the knife through the envelope held once
more in front of the handkerchief.
This concluding effect is accom plished as fo llo w s:
T he open penknife is secretly substituted for the blade
under cover of the envelope in the act of m ak ing a second slit
in it. H o ld in g the open penknife in the right h a nd and the
envelope in the left, in front of the body, the knife is gripped
and held against the envelope w ith the left th u m b tip in the
position show n in FiG.123 “ A ” .
The right hand thumb and first finger immediately pull the
concealed blade out of the envelope and, holding it as shown
in F ig. 123 “ B” , push it through the slit it has just been removed
from thus piercing the front part of the envelope.
In this w ay all evidence of the envelope having a slit through
one side only is destroyed w hen it is finally offered for
exam ination.
F ig. 123 shows the right hand in the act of piercing the
envelope, both from the performer’s and the audience’s view
point.
T he blade is no w w ithdraw n and the envelope held in front

of the handkerchief.
T he right h and, h o ldin g the blade (apparently the penknife)
as explained, goes b e h in d the handkerchief and quietly drops
the blade into the vest pocket under cover of the chair and
handkerchief.
T he right h a nd then seizes the penknife through the h a n d
kerchief a n d pushes it in the slit just m ade in exactly the
same m anner as the blade was previously pushed through the
envelope. (FlG. 122.)
T he w hole of the penknife is finally passed through the slit
as illustrated in FlG.
124, and allow ed to fall on to the seat
of the chair.
The knife, handkerchief a n d envelope are then offered for
inspection.
A N IM PR O M PTU K N IFE A N D SA LT TRICK.

This is a neat dinner-table problem .
E ffect.
The perform er picks u p a knife from the table a n d pours a

little salt on to the centre of one side of the blade.
H e then gives the knife an upw ard jerk, a n d the salt dis
appears, the blade being show n em pty on b oth sides.
" B u t,” says the m agician, "1 propose to collect every grain
of the salt on to the knife again ’ .
W ith another up w a rd flourish of the knife, the salt is seen
to be again reposing u p o n the blade.
The salt is then flicked off the knife w ith the finger.
M ethod.
It w ill be fo un d that if the centre of a knife blade is m oistened
w ith water (or any other liquid) a n d a little salt then poured
on to that portion, the salt w ill adhere to the blade w hen the
knife is turned upside dow n.
In perform ing this effect a fingertip is first secretly d ip p e d

in a glass of water, or whatever the beverage m ay be, and the
moisture then transferred on to the centre of one side of the
knife blade. (See F i g . 125 “ A ” .)
The knife is then h eld in the right h a n d by the handle p o in t
ing slightly upw ards, thus concealing the d a m p en ed portion
from the view of the audience.
More Magic cj the Hands 14 !
A small quantity of salt is now poured on to the wet part

of the bla d e as illustrated in FlG. 125 " B ” a n d the knife is then
given a little shake, getting rid of the surplus salt.
T he m o u n d of salt is show n on the blade, and the knife is
then quickly raised upw ards until it points over the right
shoulder.
W h e n it is in this position it is twisted round w ith the right
h a n d th u m b and first finger, and then lowered to its original
position in front of the body.
T h e salt is seen to have vanished and the blade is apparently
show n on b oth sides by tw isting the h andle of the knife with
the th u m b and first finger in a sim ilar m anner to that explained
in the “ R a in b o w P e n k n ife ” effect described earlier in this
chapter. (See F ig s . 103 and 104.)
The knife is once more raised upw ards and again quickly
reversed, bringing the salt upperm ost.
Low ering the knife, the salt is seen to have re-appeared.
It is then flicked off the knife w ith the finger.
TH E FLY IN G SALT.
The effect of causing a quantity of salt to travel from one
h a n d to the other is well k no w n to most magicians.
There are several m ethods sold on the m arket for the
accom plishm ent of this effect. -
I here describe m y original version of the above trick.
A possible advantage is that the use of a “ fa k e d ” saltcellar
is elim inated.
R equirem ents .
A n unprepared salt-cellar filled with salt.
A saucer or sm all plate.
A hollow flesh-coloured false finger m easuring two inches in
height and w ith the open ing at the base of such a d im e n
sion as to fit closely over the second fingertip of the right
hand.
This is illustrated in FlG. 126 (“ x” ).
A h o llo w finger of this size w ill hold a very fair quantity of
salt.
If the right hand, with the finger in position, is held palm
outwards with the fingers slightly curved as shown in
FlG. 127, the false finger (“ x” ) is quite invisible to the
audience.
THE " F L Y I N G JA L r.”
M eth o d.
The hollow finger is placed on the right h a nd second finger

tip.
T he fingers of that h a n d are bent inwards so that the fake
finger lays against the base of the palm .
T he salt-cellar is now picked u p from the table between the
th u m b and first finger of the same h a n d .
T h e left h a n d is then show n to be em pty and form ed into
a fist; in the act of closing the fingers the right h a nd approaches
the left, a n d the false finger is secretly loaded into the left h a nd
p a lm by straightening out the right h a nd second finger.
This action is illustrated in FlG. 128.
T he salt is no w poured into the hollow finger u p to about
half an inch from the top, as show n in FlG.
129.
In pouring the salt, a little is purposely allow ed to fall on
to the floor, a n d the perform er remarks: “ T hey say it is
unlucky to spill salt unless you throw a little over the left
shoulder ! ”
Saying this, he replaces the salt-cellar on the table and quickly
inserts the tip of his right hand second finger into the fal^e and
raises that hand, together with the finger containing the salt,
across the left shoulder, as if throwing a small pinch of salt
over it.
The right hand is then im m ediately held palm towards the
audience for a brief second with the fingers curved slightly
inwards, as illustrated in FlG. 127.
T he right h a n d is then turned p alm towards the body, and
as the fingers close inw ards, the false finger is brought into an
upright position, as show n in FlG. 130.
Both arms, w ith the fists clenched, are no w held stretched
out sideways, and the perform er states that he w ill m ake the
salt in his left h a n d mysteriously pass into his right.
T he left fist is opened a m om ent later and show n to be
em pty.
The plate is no w picked u p from the table w ith the left h a n d
a n d held beneath the right closed fist.
The salt is then poured on to the plate from the hollow finger
concealed in the right h and, as show n in FlG. 131.
The plate is then laid on the right h a n d p a lm thus concealing
the false finger, and both are placed a m o m ent later on the
table.
A W O R D ON TA BLES.
H a v in g in m y tim e perform ed at m a ny concerts, M asonic
functions, floor shows, etc., I have found that a m in im u m use
of tables is a very useful asset.
A conjurer surrounded by tables is h am pered in his m ove
m ents and presentation.
In presenting a m agical show of say one h o u r’s duration, a.
certain a m ou nt of apparatus m ay be necessary.
It is a mistake, how ever, to have more than tw o tables on
the platform at the same tim e.
Should more be necessary, let these be brought on by an
assistant at the appropriate m om ent, a n d the table (or tables)
finished w ith im m ediately rem oved.
In this m anner, space is gained.
A ssum ing that the perform er has his ow n assistant a n d uses
enough apparatus to warrant the use of say four tables, the
follow ing suggestion w ill be fo un d thoroughly practical, and,
if adopted, w ill necessitate the use of tw o tables only.
TRAY
£
HANDLf
S crewed a ~
£A C H e h o of
TRa y .
F lC / 3.2
Four pieces of 3 or 5 ply w o o d are obtained, a n d each piece

cut to the same dim ensions as the table tops.
T w o flat pieces of m etal are then screwed on at either end
to enable the trays to be easily lifted off the tables.
Fitted w ith the handles described, they w ill p ack quite flat.
T he trays are suitably painted to m atch the table tops or
the cloth covering them .
FlG. 132 illustrates a tray and table top.
E ach tray is first loaded "off
stage” with the appropriate
trick, a n d one is then placed on each table on the platform .
W h e n the trick on the first tray is concluded, the assistant
removes it, re-appearing later w ith the third tray, and places
it " a ll set” on the same table.
T he second tray is rem oved in due course, and the fourth
brought on.
T hus throughout the entertainm ent each table is “ u n lo a d e d ”
a n d subsequently “ re-loaded" as the show proceeds.
In this m anner, tw o tables are m ade to take the place of
several.
“ A U R E V O IR .”
Reprinted.
MAGIC OF THE HANDS !

A Marvellous Book by a Famous Magician
EDW ARD V IC T O R
in this wonderful Book tells you his innerm ost secrets a n d
exactly how to perform those real M agic effects he is fam o us for.
Y o u d o n o t have to use any special apparatus— A pack of
Cards, T him bles, Cigarettes, Cigars, borrow ed V isitin g Cards,
tw o ordinary Slates, or a length of rope, and
W IT H T H E M A G I C O F T H E HANDS ALONE
you am aze M agicians as w ell as the p u b lic a n d gain the
reputation of being extraordinarily clever, a real M agical E xp ert
THIS BOOK IS TH E FINEST INVESTMENT EVER

OFFERED MAGICIANS.
Edward Victor is famous for his Sleight of Hand Effects.
In “ T H E M A G I C O F T H E H A N D S ” he fu lly gives
aw ay all his best a n d newest Secrets a n d Effects.
This B o o k when first prom ised was to have been

published at £1 Is. Od., a n d it w o u ld have been
cheap at this o r 'e v e n a m u ch higher price.
A t the published price of 7 /6 , any one of the 10
Sections is worth the price and many of the
single effects alone worth the money.
T H E G R E A T E S T C O L L E C T IO N O F O R I G I N A L S L E IG H T '
OF-HAND EFFECTS W IT H CARDS. C O IN S , S IL K S ,
B IL L IA R D B A L L S , T H IM B L E S , C IG A R S . C IG A R E T T E S .
ROPES, SLATES A N D M IS C E L L A N E O U S A R T IC L E S
E V E R P U B L IS H E D .
10 SECTIONS — SOME FIFTY NEW EFFECTS —

EVERY ONE A CONJURING CLASSIC.
120 Pages of Original Matter — Beautifully Printed —
Paper Covers.
PRICE 7 /6 . U .S.A . $2.
READ WHAT THEY SAY
THE MAGIC OF THE HANDS !
EDWARD VICTOR
BRITISH MAGICAL PRESS.
T H E M AGIC CIR C U LA R . M ar. 1937.
T h ere is a “ som ething ” ab o u t V ic to r’s w ork w hich m akes it
really m agical an d th e secret, w hich h e em phasises, is careful
m isdirection and co n stan t p ractice.
T H E MAGI. M ar. 1037.
T his is an excellent book. From various sources we h av e h e a rd
n othing b ut p raire of this book by E dw ard V icto r . . . it is
certain ly a book th a t few m agicians could afford to miss fo r its
w ealth of ad v :ce an d tech nical in stru ction .
T H E M AGIC W A N D . M ar.-M ay, 1937.
. . . A n o tab le fe atu re is th e cu t and resto red ro p e for h ere is one
of th e finest elucidations to be found— w ith a score of p erfect
d iag ram s . . . It is u su al to w rite of a good book. 44 you m ust
hav e this. 99 W ell, the sleight-of-hand w orker W ILL have it.
H ea rty co n g ratu latio n s to E.V.
C O N JU R ER S’ C H R O N IC LE. Jan.-F eb.. 1937.
T his book carries o u r reco m m en dation and in o u r opinion it will
give satisfaction to all p ractical co n ju rers.
T H E W O R LD S’ FA IR. F eb.. 1937.
. . . it is fair to say th a t m any of th e sections alone are w orth
th e w hole p ric e of th e book.
T H E M AG ICIA N . M ar., 1937.
It is needless fo r us to say th at this is a book w hich SH OU LD
be in th e h an ds of ev ery m agician.
A M ERICAN M A G IC A L PRESS.
T H E SPH IN X . M ar., 1937.
T h e g rea te st book of th e y ear, re p lete w ith novel effects, and
you will surely find a w ay of im proving y o u r a c t . . . I g uaran tee
this book.
T H E 14 T O P S .” M ar., 1937.
U ndoubtedly o n e of th e best books to be published this y ear and
a joy fo r all lovers of sleight-of-hand to possess.
T H E GENII. M ar., 1937.
A rriving from D av en p o rt this book im m ediately resto red the
p restig e th a t E nglish P ublications had lost.
IN D IV ID U A L LETTERS.
P . T . SELB1T.
. . * * N ext to H offm ann ’s 14 M odern M agic Tf it is th e best w ork
in m y m agical lib rary .
W . G. GRAIGEN, A b erd een M agical Society.
** T h e M agic of th e H an d s 99 is an excellent p ro du ctio n an d I shall
alw ays tre a su re it as a m em ento of a v ery d ea r friend.
JA M ES W A K EFIELD , (T h e D erby C o n ju re r).
E dw ard V ic to r’s book is G R EA T. T he ex p lan atio ns and sketches •
a re clear. I AM G LAD I B O U G H T ON E, T H E R O PE TR IC K IS
W O R T H T W O G UINEAS, You can u se th is referen ce if you w ish.
FR ED C U L P IT T .
. . . in every little m ove h e delivers th e goods.
T H E L A T E O SW A LD W ILLIAM S.
A b rillian t book b y a b rillian t au th o r. M r. V icto r h as certainly
given of his best, an d th e re is n o t an y th in g b etter th an th a t to give.
O SW A L D RAE.
" Sign P lease ,f is a m aster card effect, th a t is alone w orth th e
p ric e of th e book.
Price 7/6. Post Free.

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W ILL ALMA

A Aiagical Discourse on Effecis witli :

cards below the portion lifted by the right h a n d lying across

The “ patter” goes on as follow s: —

The right hand, gripping the card as illustrated, im m ediately

Three cards are freely selected. T hey are returned, and

H av e three cards selected and then replaced together in

M E T H O D OF R EVER SIN G T H E BO TTO M C A R D .

T he pack is now “ set” for the reversal of the bottom card.

O n e of the first “ m oves” 1 learned in m y early conjuring

It is necessary before com m encing the effect to secretly

T he pack is cut and the two halves placed together face to

F/G i Z . F'G -J3.

H ere is the m ove in d e ta il:

A “Q U ICK ” REVERSED CARD TRICK.

A card is selected and then pushed back into the centre of

In the first part of this trick use is m ade of an old principle;

While the card is being displayed, the left hand moves

A pack of cards and a handkerchief, both of w hich m ay be

T he four selected cards are returned to the pack and

A handkerchief is borrow ed from a m em ber of the audience,

T he pack is now placed face upw ards on the handkerchief

The cards and handkerchief are now transferred to the right

T he above trick has the advantage of being equally effective

T he above moves, as described and num bered for clearness

The m ethod of card sighting above described can be used

This is a m ethod of causing a num be r of u nprepared p lay ing

A b o u t 24 cards are , dealt from a shuffled pack and are

E ither h and m ay be used. In the accom panying draw ings the

right h a n d is illustrated, a n d to sim plify the description, the

A. T he cards held in the left h a nd at the com m encem ent of

A . First turn the left h a n d quickly p a lm upw ards a n d then,

C. The right h and no w im m ediately releases the fo ld ed end

The positions of both hands and the tape at this poin t of

R ing a rio to inched R ING AND lO INCH£-5

T he left th u m b is no w low ered and held against the side

A — B is the 10 in ch piece, gripped in the centre betw een

The right h a n d forefinger and thu m b no w seize the tape at

F/G 4-6 F lG 4-7

The loop is im m ediately gripped by the tips of the right

The performer at the same tim e takes the scissors from h im

There are m a ny ways of presenting this ‘ ‘classic” m agical

I w ill first briefly describe the effect, as a reference to it

A nu m be r of solid rings are show n. S hould the m agician be

A shallow tray, not less than the circumference

A silk handkerchief abou t one yard square.

The key ring I am in the h a b it of using has a perm anent gap

These are h a n d e d to the assistant on the perform er’s left

M O V E 2. (L inking three rings.)

This is a very effective m ove, and should be perform ed

The perform er asks for the rings in the fo llow ing o rd e r:

This position is illustrated in FlG. 55.

T he perform er grasps the bottom ring at the point m a rk e d

The rem ainder are allow ed to slide on to the left e lb a w

H o ld in g the three rings in the right h and, as show n in

The single ring is now lowered downwards with the right

The centre ring is immediately removed and passed for

M O V E 4. (“ M atter through m atter” .)

A little com edy is effectively introduced in this m ove.

Addressing h im , the perform er say s: ‘‘N ow , sir, 1 w ill

The perform er displays his two linked rings to the audience

M O V E 6. (L inking five rings.)

MOVE 7. (The travelling ring..)

“ A nother effective w ay of obtainin g cigars is by the “ p in c h

There are several types of holders on the m arket for deliver