harry whiteley - miracles in modern magic

The Learned Pig Project presentsMiracles in Modern Magic

byHarry Whiteley

This html version 2000 Jos Antonio Gonzlez Campos

Preface

Introduction

The Great Magic Kettle ActDescription of the Performancefrom beginning to end

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The Secret Outl How the Kettle is made toSteam

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A Word of Cautionl Preparationl Presenting the Kettle Actl

Miscellaneous Magical MarvelsThe Wandering Orangel Destiny--A Novel Card Trickl A Numerical Card Trickl A New Hot Coffee Trickl The Tin Trunk Releasel Hat, Candle, and HandkerchiefCombination

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The Kari-Kari Bird Trickl Production of a SolidWalking-Stick

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Inflated Balloons Producedfrom Hat

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An Original Billiard BallProduction

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The World in a Nutshelll A Floating Billiard Balll An Improved SwallowingWand

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Whiteley's Three-Card Trickl

Cover

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Miracles of Modern MagicHarry Whiteley

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Preface

IN PRESENTING this work to the magical fraternity of England and America, Idesire to thank "SELBIT" for his kind assistance.

Having seen several attempts at a solution of the Kettle Mystery, none of whichcould be called workable, I place before the Conjuring world my originalconception of the act, which from personal experience I know to be practical andworkable.

I also include several magical effects that are now for the first time made public,and I wish to thank MAX STERLING, CHAS. TRICKEY, and ED. FIELDENfor the effects they so kindly placed at my disposal.

For the Balloon Trick and the Tin Trunk Escape I know not who to thank. To theremainder I must plead guilty to dressing up old tricks in new clothes.

That this small effort of mine, when read, will find a place in your book-case isthe wish of

Yours as ever,

HARRY WHITELEY.


Preface

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Introduction

"IT BOILS on ice." So read the headline on many a playbill. It afforded thepenny-a-liner a catchy title for his copy, rejoiced the hard hearts of pantomimecomedians, who welcomed a new victim for their "gags," and, lastly, transferredbright sovereigns from the pockets of the great and gullible British public to thebanking accounts of magic kettle exhibitors.

The life of the "Great Magic Kettle Act," to give the performance its full andimposing title, was singularly short for so striking a novelty; more strangely still,the very germ of its existence proved the cause of its death--we refer to liquid air.Was there ever such another glaring instance of the fallacy of providing thepublic with the key to a mystery?

Gone, but not forgotten! Dead, but it shall rise again! These pages are dedicatedto the memory of the departed, also to nurture its successor by explaining howthe act may be genuinely duplicated, yet minus the expense of liquid air.

Many and varied were the efforts of those who fain would boil their kettles at lessthan a guinea per litre (the price of liquid air during the craze), but we hardlyknow whether our sympathies were more with the professor or his audience whencalcium carbide and water were the materials used to invoke a semblance ofsteam. If at times the "steam" was less apparent to the sight than it might havebeen, it is certain the odour was painfully plain to one other of the five senses.

Another equally daring discovery, that ammonia and hydrochloric acid could bepressed into service for the production of the sought-for vapour, proved but oneof many attempts to arrive at a solution of a ridiculously simple problem.However greatly kettle operators differed in conjuring steam, to a unit theyplumped for a double pan in which to "boil" that necessary item of theentertainment--ice cream.

Ingenious or otherwise as the magical (not magic) kettle acts proved, the thorn inthe side of their proprietors were the freezing experiments. In this particular webelieve even the presentors themselves will agree the results were frosts; yet wehope to show how easily the genuine experiments may be secured at trifling cost.

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There is small room for doubt that some demand will always exist for a scientifickettle entertainment at a reasonable fee. Apart from this, the possibilities whichmust suggest themselves from practical knowledge of the subject underdiscussion lead us to believe that this modest manual will find a welcome intechnical libraries.


Introduction

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The Great Magic Kettle ActDescription of the Performance from beginning to endThe Secret OutHow the Kettle is made to SteamA Word of CautionPreparationPresenting the Kettle Act

A Careful Description of the Performance from Beginningto End

DIRECTLY the curtain is raised we look for the kettle. There it is, slowlysteaming on a stand, with a small spirit stove beneath. It is a mostordinary-looking kettle, and we barely notice a large block of ice on a centretable, two side-tables containing metal goblets or beakers, various culinaryutensils, flowers, grapes, and other things, when the operator makes his entrance.

"Ladies and gentlemen," we hear him say, "I shall have the pleasure ofconducting a series of experiments in which nature will contradict her own laws.Here you see the magic kettle slowly boiling over a stove. When I place it on thisblock of ice you will notice that instead of chilling the contents the kettle will bemade to boil furiously."

This suggestion the operator carries out with precisely the prescribed results--thekettle steams as though some imp of darkness were inside puffing out a steadycloud of vapour through the spout. Leaving it to boil thus for the moment, thelecturer offers to conduct a scientific laundry, for which he borrows a gentleman'shat and a lady's handkerchief--the first for the washtub, the last for the wash.Dropping the cambric inside the improvised tub he lifts the kettle from the ice,and lowering the spout well within the hat, tilts up the kettle, and as volumes ofsteam ascend from the hat we shudder for the safety of the borrowed articleswhen the fiery liquid shall have done its work. Here the kettle is placed on the

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table while the operator condoles with the owners of his tub and its contents.

Our misgivings were of course unwarranted; the handkerchief is shaken out, butalthough it still steams slightly it is nevertheless dry, and, we are assured, muchimproved in the wash. Buth whether there is a difference in the cleanliness of it isopen to question. The hat, it would seem, must be nearly full of liquid from thekettle; and here we are tricked again--it is as dry as the proverbial herring,--andboth articles are restored to their respective owners.

"It is needless for an owner of a magic kettle to have empty pockets." Thisremark the operator illustrates by inserting the kettle spout in his various pocketsand tipping up the still boiling vessel, seemingly filling his clothes with its veryelusive contents.

"If your watch won't go, oil it," is another of his facetious phrases, as he takes outhis apparently gold chronometer and liberally soaks it. Then we are assured thatthe match-making industry is doomed. "Instead of vestas, carry a kettle on yourwatch-chain; it's so much more reliable in windy weather." The application ofthis remark is plain when, taking a cigar from his case, the demonstrator doses itwith the kettle, this causing a flame to spring up at the proper point. There is noquestion of the smoke being other than ordinary, for the lecturer calmly smokesaway at it just as though it were the most natural thing in the world to use steaminstead of matches.

Here the operator observes his kettle has become much "lighter," but whether thishas reference to the cigar, or is meant to convey that the contents are exhausted,we are left to decide for ourselves while the entertainer retires behind the screenostensibly to refill the article in question. When it is almost immediately broughtforward again, we notice the kettle is now steaming but lightly, it being explainedthat to boil with its erstwhile fury it would have to be replaced on the block ofice. Other experiments, however, are started, and for the time being the kettlecannot be spared.

A rubber ball is bounced to assure its genuineness, then dropped in one of themetal beakers we previously noticed. Some liquid from the kettle is poured overthe ball, and, as with the hat and handkerchief experiment, clouds of steam risefrom the goblet. The operator begins to shake the beaker from side to side, at firstwith no perceptible difference, but gradually the soft rubber ball hardens andknocks against the side of the goblet with crisp, sharp rings.

"The ball is now as hard as steel, yet brittle as a piece of glass," says theexhibitor, picking out the same but now glistening ball. "Observe when I throw iton the floor it will break in hundreds of pieces." So saying, the ball is throwndown, when it splits with a report like a pistol shot, and pieces of it fly in alldirections.

A bunch of grapes is next experimented with. Some are thrown to the audience,others (about a dozen) dropped into a second goblet. The operation of pouring



liquid over the fruit is attended with similar results to the previousexperiment--the grapes harden and knock against the sides of the vessel whichcontains them. They are now emptied out on to a metal tray, our ears telling usthe fruit is as hard as bullets. When some are thrown on the floor they split;others are thrown to the spectators, who find the grapes transformed intoveritable hailstones.

Chrysanthemums are treated in similar fashion. So soon as the flowers are dippedin a beaker containing more of the wonderful liquid the petals become hard andbrittle, and when squeezed by the operator's fingers break in crisp pieces.Specimen chrysantemums in the petrified condition are presented to a few of theladies present as souvenirs, with the remark: "Perhaps they will be appreciatedthe more if you retain the flowers in your warm fingers for ten minutes or so;they will then return to their normal condition."

The most curious and convincing property of the liquid is doubtless shown in itspower to solidify mercury. The operator pours a phial of quicksilver in acardboard box, places this in a metal dish, pours some of the liquid over it, andwhen the cardboard wrapping is torn away, the operator holds a mercurialhammer with which he drives nails through wood.

We are next invited to pass judgement on the entertainer's ability as a chef. Hewill fry us an omelette, substituting for the fire the block of ice, which it must beadmitted appears in this instance to server the same purpose. An egg is brokeninto a frying-pan, some of the indispensable liquid is added, when at once the eggbegins to fry, frizzling away for all world as though it were over the fiercest fire."Some people like their eggs under-done, some well done," the chef observes;"I'm very much afraid this one is over-done." And so it is; so much so, in fact thatnothing less than a hammer and chisel will induce the egg to leave the pan. Whenthey do part company the egg is quite as hard as a piece of ice.

This brings us to another and more interesting feat of cookery--the making ofice-cream. Eggs, sugar, and cream are beaten together in a basin, then poured inthe pan of a chafing dish, with some liquid from the kettle in the bottom part ofthe dish. One might expect the block of ice to be employed somewhere duringthis experiment, but it is not to be. By all that's contrary, the chef places thechafing dish on the stand whereon we first saw the kettle at the beginning of theact, and the spirit stove burns briskly underneath! Evidently he is going to grillhis ice-cream! Such, in fact, is the operator's intention. In a very little time theice-cream is pronounced ready; portions are spooned from the dish on to biscuitwafers, and passed round for us to sample. Any hesitation we may have felt isdispelled when the lecturer tastes his own cooking, assuring us it is quite nice."Done to a turn," he adds; and while we proceed to verify his assertion, the kettleis again taken behind the screen for some more liquid.

The operator announces that he will now allow the kettle to boil again. It isplaced on the ice and repeats its former defiance of nature by speedily starting to



steam. So soon as the boiling is at its height, the demonstrator, in bringing hislecture to a close, remarks: "I trust you have been interested with this series ofexperiments, and I propose to bring my entertainment to a close by setting fire tothis large block of ice." The steam from the kettle is now directed straight on tothe ice, and (wonder of wonders!) it takes fire right from the centre. The flamesleap round the ice and rise to a height of two or three feet above it, and upon thissomewhat extraordinary spectacle the curtain comes down--the act is over.

The foregoing is a straightforward, unexaggerated description of the dish we areserving to you--the following, an equally honest explanation of the mystery.

The Secret OutTHE liquid we guarantee will duplicate the effects produced by liquid air isether, in which is evaporated solid carbonic acid. Cheap ether at 1s. 4d. per poundis quite as useful for our purpose as the higher-priced purer quality, and onepound should last two or three shows. Ordinary methylated spirit may besubstituted for ether, but we recommend the latter as more satisfactory.

Solid carbonic acid is only obtainable from gas cylinders of liquid carbonic acid.These cylinders are used in many of the large meat shops and cold storageestablishments for refrigerating purposes; yet, while a certain quantity of solidacid may be secured from these cylinders, this is by no means a trustworthysource, it being merely mentioned in passing solely in order that the interestedreader may, with the co-operation of his butcher, test the accuracy of ourstatements at the cost of a few pence. Otherwise we are afraid the practicabilityof our instructions may be pooh-poohed, perhaps considered unrealiable, andcondemned to imprisonment in a corner of your bookshelf without a fair trial.

The makers of carbonic acid gas supply a special cylinder, with an interiorsyphon arrangement, which gives off a stream of liquid carbonic. This isprecisely what we require for our experiments.

Presuming we are in possesion of a cylinder of the carbonic acid, or to give it itschemical formula, CO2, this difficulty presents itself: How can it be handled?The simplest method is to tie a flannel bag over the cylinder nozzle, and when allis secure to turn the key and allow some of the contents to escape. The liquidcarbonic acid hisses through the nozzle into the bag, solidifies as it comes incontact with the air, and while the gas escapes through the flannel a solid deposit(like snow in appearance) is retained in the bag itself. The deposit, or "snow," issolid carbonic acid. The quantity obtained depends of course on the amount ofliquid allowed to escape from the cylinder. In size the flannel bag should beabout sixteen inches deep by twelve inches wide. For each full show enough



snow, as we shall hereafter call it, to half fill the bag is required, this taking aboutone minute in the accumulation.

Having obtained the snow, it should be turned out on a tin dish to be made upinto closely-packed cakes of about an inch in thickness and an inch and a half indiameter. A most convenient appliance for making these cakes is a wooden tubeand rammer. A wooden gill measure with the bottom sawn off gives us anadmirable tube or mould, and this has the added advantage of a handle, whichusers will appreciate owing to the intense coldness of the snow. For the rammer,a round stick nine inches long and easily fitting the mould is all that is required.To make a "snow cake," place the mould firmly on a metal tray, spoon somesnow into the tube, and ram it down tight. Add more snow and continue ramminguntil the cake is of the required thickness, then raise the mould and push out thecake with the rammer.

Each cake of the size mentioned is ample for one experiment. Place a snowcakein a metal goblet, drop in a rubber ball, pour a little ether over it, and in a veryfew seconds the ball will be frozen so hard that if dropped on the floor it willsmash like glass.

To explain the cause of this result briefly, it must be understood that so soon asether or spirit comes into contact with the cake of carbonic acid the cakeevaporates very rapidly, resulting in a lowering of the temperature to somethinglike 150 degrees below freezing point. In this condition the combination gives offa steamlike vapour, and has every visible resemblance to water at boiling point.

How the Kettle is made to SteamWE VENTURE to digress a little for the moment to discuss the most desirablemethod by which to make the kettle steam. Without a doubt this can be achievedwith carbonic acid and ether, yet an even better and cheaper result may beobtained by using ordinary builder's lime. In purchasing this lime hard lumpsshould be chosen, small pieces or droppings being of little use. The lumps shouldbe broken into pieces the size of one's fist, as required, since in this way we canbe assured of having our lime fresh. Three or four pieces of lime placed in akettle, with half a pint of hot water added, ensure the kettle boiling splendidly inthirty seconds. If the kettle is not required to boil so suddenly, use water only towarm. By using half a pint only of water the lime will absorb all the moisture bythe time the kettle fairly begins to steam, and there need be no fear of pouringanything in the shape of liquid therefrom, no matter how freely it be tilted. Thispart wants well experimenting with to obtain the desired results. The mostsuitable kettles are the ones with their spouts high up, this constructionpreventing the lime from reaching and clogging the stem, which misadventuremight easily happen to a kettle of the low-down-spout variety.



Three kettles in all are required during the act--two for lime, one for ether. Thelime kettles are not prepared in any way, and the arrangement we advise for theether kettle is simplicity itself. Obviously the three kettles must be of one pattern,the one used for ether only differing from its fellows by reason of a tea-strainerkind of cup inside the kettle in front of the spout hole. This perforated cup is openat the top, and of a size to hold four snowcakes, which are dropped into thisholder through the lid space. This arrangement is merely to keep the snow clearof the ether in the well of the kettle until the spirit is poured from the spout.When this is done the ether has naturally to pass through the cup, and, in passing,it sets the snow into evaporation, the result being a steamlike vapour issuing fromthe spout of the kettle, giving it an appearance of water boiling slightly.

A Word of CautionTHE snow obtained from the cylinder is frightfully cold, and although it may behandled lightly, if retained for more than a second or two in the fingers, theholder exposes himself to the certain risk of painful frost bite. The snow mustnever, under any consideration, be corked or fastened up, as the constantevaporation which is taking place generates a gas which would burst any vesselfrom which there was no outlet. Therefore, when making the cakes, place them ina glass tumbler, and either cover it with a handkerchief or not, at will. If theseinstructions are remembered, there is no other danger except it be that of thesnow vanishing, and this will assuredly happen if the cakes are made very longbefore they are required for use. When exposed to the air the snow evaporatesaway gradually. If left for more than an hour there would probably be no trace ofits existence remaining. It is therefore advisable to make all your otherpreparations prior to running off the carbonic, leaving this until, say, fifteenminutes before the show. If used within thirty or forty minutes of their mouldingthe cakes should answer for all that is required of them. The syphon carbonic gascylinders, costing 7s. 6d., are supposed to contain 28 lbs. of CO2; generally thereare about 30 lbs. in them. For a full act it will be necessary to run off from 3 lbs.to4 lbs. of gas, so that one cylinder should supply enough snow for seven to eightshows. The quantity of CO2 in hand may be ascertained by weighing thecylinder, each one of which has is tare and gross weight impressed on the case.

Preparation

IN ARRANGING the requirements for the Kettle Act, the reader cannot dobetter than prepare each of the following items, in the rotation in which they aregiven. First see to your block of ice. This should be square, and a well should be



chipped from the top as near to the back as possible. This well is to contain etherwhich is required for the blaze at the finish of the performance. One ounce ofether is plenty for this effect, but it must not be emptied in the ice-well until justbefore the rise of the curtain.

A pint of water should be put to boil on a stove, to be ready for use whenrequired a little later on. Now see to the lime-kettles by dropping four pieces oflime in each. The cigars require attention next, and it is advisable to prepare twoor three, using for preference the thickest obtainable. With a heated iron burn outan inch-deep hole in the large end of each smoke, and insert firmly in the cavity apea-sized portion of metal potassium. Thus prepared, the cigars should be placedin a tumbler in readiness on one of the stage tables. During this operation it isimperative that one's hand are quite dry; if they are at all damp when handlingmetal potassium it is liable to take fire. Before placing aside the potassium puttwo small pieces of the metal in a thin box-lid, together with a little of the naphtain which metal potassium is packed for safety. These pieces are required forlighting the ether in the ice-well, and are placed behind the block of ice.

A glass jug must now be filled with "cream," which in reality is unfrozenice-cream mixture, which is made as follows: One pint of milk thickened withcornflour, to which is added vanilla fravouring and castor sugar to taste, wellboiled and allowed to cool. Such is the contents of the jug. And also required forthe ice-cram making experiment are one egg, basin of white sugar, a dozen icewafers, empty basin, egg whisk, two spoons, and a chafing dish.

The remaining properties to be arranged to their own advantage and theoperator's convenience, are a bunch of grapes, rubber ball, another egg,chrysantemums, tube of mercury, cardboard box, a small piece of stick, and ahammer and chisel.

About three-quarters of a pound of ether should now be poured in the well of theether kettle. This quantity, be it noted, is more than is used in one demonstration,but it is advisable to have too much rather than too little; the ether remaining overfrom one show may be re-bottled and used again.

Having concluded the arrangements already set forth, the next item is to run offthe CO2 and make your snowcakes. Nine cakes are required, their distributionbeing one each in three beakers, two in a metal dish for the mercury freezing, onein the frying-pan for poaching the egg, and four in the cup of the ether kettle. Allthe loose snow remaining after making the cakes must be tightly packed in thebase of the chafing dish, and the pan placed over the snow, to prevent as far aspossible its evaporation.

A screen should be placed in front of a table at the back of the stage, and on thetable the operator must arrange his three kettles and pint jug full of hot water. Allis now in readiness for the stage to be set and the experiments presented.



Presenting the Kettle Act

THE description prefacing our explanation of the experiments now to beconducted was written largely with the object of acquainting the reader with theorder and style in which the different effects are shown. Therefore we shall, inthis concluding section, content ourselves with brief directions which, if properlyfollowed, must assure a certain success.

We assume the stage setting is finished, everything required in the act being intheir right places. The operator first pours a half pint of hot water in one of hislime kettles, sets this above the spirit stove, and gives the word to "ring up." Bythe time his opening remarks are made and the kettle poised on the ice, it will beabundantly steaming. In tilting the kettle spout inside the borrowed hat for thewashing trick, nothing issues but steam, which remark also applies to the effectof emptying some of the contents into the pockets.

To light the cigars it is only necessary to hold them for a moment in the steam;almost so soon as the potassium in the cigar ends is reached by the steam a smallflame springs up. The operator may draw at the lighted weed with impunity;there is no taste from the metal and no danger. This effect is worth repeating withother cigars. By this time the steaming power of the lime will be lessening, andthis kettle is changed behind the screen for the one containing ether.

To freeze or petrify the rubber balls, grapes, and flowers, it is only required toplacethem in one of the beakers containing a snowcake, and pour a little etherover them. For the egg-poaching on the ice the proceeding is the same, using, ofcourse, a frying-pan instead of a beaker. It is advisable to break the yolk in thisinstance, since the egg will freeze more quickly in this condition. Slightly moreether is required for the egg, owing to it being a larger area to cover than theother objects frozen, and the frying pan must be tilted to cause the ether to washover its contents. When properly frozen, break the egg by hammering at it for theaudience to see how hard it has become. Mercury is no more difficult to freezethan the objects already treated, although it returns more quickly to its normalcondition.

For the ice-cream making, first break an egg into the empty basin and beat it wellup with a whisk. Now pour the cream into the basin and add a very little sugar,pretending you are using considerably more than is really the case. The mixtureis now to be well beaten together and poured into the top pan of the chafing dish.To freeze the mixture, raise the pan and pour a good quantity of ether over thesnow in the bottom half of the dish, at once clapping the pan back again. A littletime is now wasted in lighting the spirit stove over which the chafing dish is to beplaced. Some moments are also gained in laying out the ice wafers on a tray, bywhich time the cream will be frozen about half way up from the bottom. Beginspooning the underneath portion of cream out first, and dividing it on the wafers.By the time a dozen portions are served the whole of the mixture will be frozen



and the pan can be placed on a tray with a number of spoons, and passed roundfor any who wish to help themselves. Here the ether kettle is changed for thesecond lime kettle, in which the remaining water is poured. Placing it on the icewhile making his concluding remarks, the operator waits for a few seconds untilsteam is well up, and then directs the spout round the sides of the ice, andsecretly picks up the pieces of potassium from behind. In changing from one sideof the ice to the other the potassium is let fall into the well of ether. At once thewhole block of ice appears to catch fire, and will burn for quite two minutes, inwhich time the curtain has fallen and, we hope, been raised again for the operatorto take a call.






The Wandering OrangeTWO cardboard tubes or cylinders and a couple of china plates are handed outfor inspection. On their return the plates are laid separately on a table and one ofthe cylinders placed on each plate. An orange is now introduced which may bemagically produced or otherwise at the conjurer's wish. The orange is droppedthrough one of the tubes on to the plate beneath, and after having raised thecylinder to show the fruit is really there the orange is commanded to pass to thesecond plate, previously shown empty. This transposition immediately takesplace, and the orange can be passed to and fro at will.

There is a charming simplicity in the secret of this pretty little trick which shouldrecommend itself to many. When the orange is shown before being droppedthrough the first tube it is secretly attached to a hook at the end of a lenght ofblack thread fastened to the back edge of the table. By this means, according tothe manner in which the tube is raised, it it possible to either show the orange onthe plate or not. A few moments' practice will enable the reader to discover theproper movement. With regard to the second orange, which must also be fastenedsimilarly to the first, this is procured from the table servante and secretly loadedinto the second tube while standing it on the plate. In this way it will be seen howeasy a matter it is to vanish and produce either orange when required. Therequisite lenght of thread can only be determined by experiment, and will dependon the height of the tubes and width of table used.


The Wandering Orange

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Destiny--A Novel Card TrickTHE following card combination is one of our own arranging, and will, webelieve, make a welcome addition to our reader's rpertoire. As a sequel to othertricks during the progress of which a sealed envelope has been resting in fullview in the clip of a card stand the performer asks anyone in the audience to thinkof any card in the pack. Here attention is called to the envelope, and the conjurerasks for the name of the thought-of card. Having ascertained this, he takes theenvelope between his finger and thumb, opens it, and abstracts another smallerenvelope, also sealed, and hands both to the person naming the card. The lattergentleman is asked to open the second envelope, and when he does so a third one,also sealed, is found inside, and upon this being investigated a small card isdiscovered upon which is written: "The card destined to be chosen this eveningis-----" the dash being substituted for the name of the identical card selected.

For this trick fifty-two plain visiting cards are required--the numbercorresponding to a pack of playing cards. On each card must be written thequotation given in the preceding paragraph, with the addition of the name of acard until the whole pack has been named. This done, each card is sealed up in asmall envelope, and then in a second one a trifle larger, taking the precaution tomark each outside envelope with a pair of dots (as used in marking playing cards)for the purpose of future identification. Having made up the full number, theenvelopes must be stacked together in their suits and numerical order, startingwith the Ace and finishing with the King. This arrangement gives us four packetsof thirteen envelopes. These are all placed in the conjuror's trouser pocket, which,by the way, is constructed with four small divisions or lesser pockets used forseparating the suits. All is now in readiness for the trick.

When attention has been directed to the envelope, the conjuror stands with hishand naturally in his pocket. Directly the person thinking of the card names hischoice the performer picks on the envelopes of the same suit, and then runningthe thumb along their edges counts till arriving at the packet required. This is nolengthy or difficult task, seven envelopes being the utmost it is required to count,for this reason--if the card selected is seven or under we count from the Ace,whereas when the chosen one is higher than seven we begin at the opposite endof the stackthe King. Possession of the correct envelope having been obtained,

Destiny--A Novel Card Trick


the conjurer back-palms it (for preference with the first and third fingers),holding the little one open. When secure in this position the hand is abstractedfrom the pocket slowly, and, pointing with the open hand at the envelope on thestand, say: "Perhaps you are curious as to why this envelope has been here duringmy entertainment. I shall now show you." Walking carelessly to the envelope, itis taken with the finger and thumb; this action of its own accord bringing theback-palmed smaller envelope directly behind the larger one. In this positionboth can be passed from hand to hand without exposing the envelope behind.

The larger envelope is torn open by the conjuror, and then the second one isdrawn up from the back as though it were taken from the interior of the first.Both envelopes are now offered for inspection, the visiting card, which it wouldseem correctly predicts the person's thoughts, being finally discovered.


Destiny--A Novel Card Trick




A Numerical Card TrickTHE following experiment is an adoption of a somewhat old trick. In its presentform it has puzzled many leading conjurers, which, in our opinion, marks theproblem good enough for publication.

Handing the pack to any person to shuffle, he is asked to take notice of any cardbetween one and twenty, carefully ascertaining at what number the card stands,counting down from the top of the pack. The conjurer here takes possesion of thecards and, requesting some other person to think of a number between twenty andforty, leaves the room while a decision is being arrived at. Taking advantage ofhis absence from the audience the performer quickly counts thirty cards from thetop of the pack, and then replaces them on the top, this operation causing theorder of the first thirty cards to be reversed.

Returning to the room the conjurer asks for the number the chosen card stoodfrom the top, and then the number selected between twenty and forty, promisingto pass the chosen card to that number. Invariably the latter selection is thirty,and when such is the case the cards are in readiness; but should some othernumber be chosen the conjurer must equalise this by passing from the bottom tothe top (when the number is over thirty) representing the difference betweenthirty and the selected number. When the selection is under thirty the differencemust be passed from the top to bottom. Remarking, "We will commence to countat the number the card first stood," the conjurer suits the action to the word, andif the directions have been properly followed, on arriving at the selected number,the card chosen in the first instance will be discovered.


A Numerical Card Trick




A New Hot Coffee TrickTHIS effect should make a capital addition to the Kettle Act, although it iscertainly an admirable trick by itself. An ordinary looking kettle has, we will say,been resting innocently on the wizard's table throughout the performance. Intothis the conjurer pours ground coffee and pure water. A few moments elapse andthe kettle boils without being placed near a stove. Immediately the contents arepoured from the kettle into cups and handed to the audience who pronounce theresult to be most excellent coffee.

The kettle is of the stamped variety with the spout high on the shoulder. Insidethere is a cylinder fastened in the centre of the kettle and reaching nearly as highas the spout. This cylinder is fitted with a lid and provided with a spout of itsown, which is continued half way along the spout of the kettle proper. Thecylinder contains lukeward ready-made coffee, while the portion of the kettleround the cylinder is loaded with a few pieces of builder's lime. The groundcoffee is dropped on to th elime, and also the water (which should have the chilljust taken off) is poured in the same outer cavity. So soon as the water acts uponthe lime the kettle will steam and the lukewarm coffee boil. There is absolutelyno taste of lime in the coffee poured from the kettle, and the only smell is thearoma of coffee.


A New Hot Coffee Trick




The Tin Trunk Release

TO BE locked in a borrowed steel trunk and yet escape without injuring thiscurious prison reads like the impossible, and yet the secret is simplicity itself.

In the majority of trunks at present used the hasp on the lid is fastened with acouple of small bolts and nuts, the lock on the body being secured in a similarmanner. After entering the trunk the performer takes from his pocket a smallscrew key, and at once applies himself to unscrewing the nuts in the lid. By thistime the box should have been lifted into the stage cabinet, and the curtainsdrawn. Now the imprisoned one pushes out the bolts securing the hasp, thisallowing him to raise the lid and step out. With a duplicate key he opens the lock,replaces hasp on lid, screws bak the nuts, and then re-locks and brings forwardfor inspection the uninjured trunk.If the trunk manipulator can pick the trunk lock there is no occasion for him toprocure a duplicate key, but how many manipulators can pick even thecommonest of locks?


The Tin Trunk Release




Hat, Candle, and HandkerchiefCombination

A HANDKERCHIEF is dropped in a hat covered with a plate, now a sheet ofpaper torn from a whole newspaper is shown empty and rolled into cone shapeand the top folded in. A lighted candle is next removed from its stick, wrapped ina second piece of newspaper, and then replaced in the candlestick. The problemis to cause the handkerchief to vanish fromthe hat, then to tear up the ostensiblecandle and find it has disappeared, next to discover the handkerchief in the papercone, and finally produce the lighted candle from the performer's pocket.

The conjurer's wand lying on the table consists of a painted hollow brass tubethrough which a strong thread passes, attached at one end to the table andterminating at the opposite end in a small hook. The utility of this apparatus willappear later.

One sheet of the newspaper used in the trick is prepared by pasting a secondsheet over it, all sides being fastened with the exception of a small space at one ofthe corners. Inside this double piece of paper the duplicate handkerchief isconcealed.

The "candle" is simply a sheet of white glazed paper rolled to imitate the genuinearticle, with a tiny piece of real candle in the top end for lighting purposes.

In the conjurer's pocket a genuine candle is placed; this is prepared by abstractingthe wick and inserting in its place a silent striking match, with a small piece ofemery cloth fastened in the pocket on which to light the candle in pulling it out.Before dropping the handkerchief in the hat it is attached to the hook end of thethread. In the dropping, a portion of the handkerchief is allowed to hang over theside of the hat, and this piece is pushed in with the wand. This action gives anopportunity for moving a little away from the table, this causing the thread totighten and pull the handkerchief inside the wand. The wand is now placed aside,and a plata put over the hat as a cover.

The candle should now be wrapped in a piece of newspaper and laid back in thecandlestick, while the cone is constructed from a sheet torn in the spectator's

Hat, Candle, and Handkerchief Combination


presence. In making this the open corner must be at the top left-hand side, whichcorner is gripped between the thumb and finger of the right hand and rolled fromthis position in order to bring the opening right into the cone.

It now remains to crush the supposed candle between the hands, to show the hatempty, produce the handkerchief by withdrawing it from the cone, and, as afinale, to bring the lighted candle from the pocket.


Hat, Candle, and Handkerchief Combination




The Kari-Kari Bird Trickby Chas. Trickey

FOR this exceptionally clever problem two cardboard cylinders claim our firstattention. The largest cylinder is 9-1/2 inches long by 4-1/2 inches in diameter.The second tube is a trifle smaller, made to fit easily in the first cylinder, andprovided at the top with a projecting hook of stiff black wire. This hook answerstwo purposes: it prevents the smaller cylinder from falling through the larger one,and, by engaging in a concealed wire bar fastened on the back of the birdcage,enables the conjurer to pull the outer tube free and leave the inner one behind , asoccasion demands. The smaller tube has a bottom to it. Two tin covers or lidsmust be procured to fit either end of the largest cylinder. The birdcage usedshould be about 14 inches high, with wire top, front, and sides, and wood back.Inside the cage you have a live dove and a dummy head in the bottom. Thesmaller cylinder must be suspended by means of its hook on the back of the cageout of sight, the other tube, lids, and a glass tumbler being placed on the table.Now you are ready to present the trick.

Pass the cylinder and covers for inspection, and ask a spectator to place a lid onone end of the tube. Now take this cylinder, and pick up the cage to let the doorbe seen, and load No.2 tube from the back of the cage into the first cylinder,placing this straight away on the table. The cage is now opened, and the dovebrought out in the right hand, which has also secretly palmed the dummy head.The dove is transfered to the left hand, and the conjurer appears to wring its headoff. What really happens is this: The head is simply tucked under the bird's leftwing and retained there by pressure of the fingers of the left hand, while thedummy head is exhibited in the right and then thrown on the table. The bird isnow taken back in the right hand without the head being released, and, picking upthe cylinder in the left, the bird is thrust head down into the tube. Now, as if tomake more room, the cage is lifted from the table and placed on a chair. This isthe most subtle move in the trick. The cage passes with an upward movement infront of the cylinder, and the inner tube is hooked on to the bar at the back, andleft there. The second lid is now placed on the cylinder, and this stood on aninverted tumbler. Anyone may now step up and open the cylinder, when, ofcourse, they find the "bird has flown!"

The Kari-Kari Bird Trick


To conclude the trick a duplicate dove should be produced from the coat of agentleman who stepped up to examine the cylinder. Doubtless some of ourreaders may prefer to dispense with the head wringing. This, of course, will notinterfere with the effect.


The Kari-Kari Bird Trick




Production of a Solid Walking-StickBy Chas. Trickey

A BLACK, silver-mounted, straight walking-stick is required. This is pushedthrough the breast of your dress waistcoat, passing down left trousers leg, whereit rests in a tiny cloth pocket sewn inside the trousers slightly towards the heel.The ferrule end of the stick should go in first.

The only other requirement is a large newspaper sheet. If considered necessary,the paper may be given for inspection; after which it is rolled in the form of acone. In making this cone the conjurer tears a slit near the bottom, making a gashabout three inches long in an upright direction. The paper is now brought to thefront of the stage, in order that the audience may see there is nothing in it. Inturning round to walk back, the handle end of the walking-stick is quickly drawnfrom the vest and pushed through the slit, and then turning, with the left side ofthe spectators, the conjuror shows his right hand empty, and plunging it into thecone draws out the stick. This should be handed to the audience, and the papercrushed up and thrown aside.

It may be considered an improvement to vanish a duplicate stick beforeproducing the one from the cone. This may be done with the aid of a glazed paperimitation of the original timber. The paper stick should lie on the table underthree or four sheets of newspaper. A duplicate solid stick may be given forinspection, and apparently wrapped in one of the sheets of newspaper. Of coursethe genuine stick is left hidden under one of the sheets, while the paper one issubstituted. When this one has been wrapped up, the package can be crushed andtorn, which is all that may be desired in the way of proving the stick to havedisappeared.


Production of a Solid Walking-Stick




Inflated Balloons Produced from a Hat

THIS quite recent addition to the stock-in-trade of a conjurer is well worthy aplace in many programmes. The balloons used should be of the wide neck kind,and may be obtained at any toy dealer at threepence each. Besides these a numberof much smaller balloons are required (the smallest obtainable), which cost half acrown per gross.

Bicarbonate of soda and tartaric acid prove the most reliable inflating agents, aquarter of a pound of each material sufficing to inflate about half a dozenballoons. The tartaric acid should be emptied in a jam jar of similar vessel, justcovered with water and allowed to stand. With the assistance of a syringe thistartaric water is pumped into one of the small balloons until it attains the size of asmall egg; it is then tied up at the mouth and inserted through the neck into thelarger balloon. Into the latter is now placed a table-spoonful of bicarbonate ofsoda and then tightly tied up. When it is desired to inflate the balloon it is nonlynecessary to squeeze it from the outside. The pressure breaks the skin of tartaricwater, which, acting on the carbonate, causes an effervescence that fully expandsthe balloon in a few seconds.

If using an opera or crush hat for the trick, four of the prepared balloons can beconcealed beneath the springs, the hat lying closed on the table. This avoids thenecessity of loading, which operation is necessary when an ordinary hat is used.


Inflated Balloons Produced from a Hat




An Original Billiard Ball ProductionTHIS effective little trifle was first introduced by Mr. Max Sterling in 1892, andproved one of the most puzzling sleights in that entertainer's drawing-roommenu, and is now for the first time published.

The performer displays both hands, apparently empty (by cross-palming), andplaces both hands perfectly flat, palm to palm,, facing the audience; the hands arethen slowly opened from the wrists, the finger tips still touching while the fingersthemselves are stretched as far apart as possible. A gentle turn is now made withboth hands until the palms are outward toward spectators, and a billiard ball isdiscovered resting on the still-touching fingertips.

Like many another good thing the secret is simplicity itself. A two and a quarterinch hollow rubber ball (cost twopence) is all that is required. A small hole is cutin one side after the manner of the handkerchief ball. This enables the ball to becrushed perfectly flat between the closed palms; on opening from the wrists theball is retained palmed in the right hand until all fingers which must still touch atthe tips, are apart. On turning the now open hands upward and outward, thepalmed ball is released and runs down the fingers into the cradle naturally formedby the touching tips.

The rubber may be enamelled or waxed and varnished red, and so real inappearance is the result that detection is impossible even at close quarters. Thenatural elasticity of the rubber causes it to at once resume its spherical shape themoment pressure of palms is released If any difficulty is experienced in thepreparation of the ball, they may be procured to order through Ornum's MagicalStores or other dealers.


An Original Billiard Ball Production




The World in a Nutshell

ONE of the most graceful effects ever worked in a drawing-room, full of subtlehumour, expectancy, and bewildering artistic dnoement, is also culled from therpertoire of Mr. Max Sterling, who has staged it under the above title, without,however, claiming its conception. That gentleman informs the writer that itoriginally formed a special feature in the programme of the late Mr. SydneyPridmore, of Hinckley, with whom he was closely associated.

Through somewhat troublesome to prepare, the brilliant reception it alwaysachieves well repays the time and labour expended, and in the hands of a skilfulworker, possesed of gentlemanly address, will go far toward filling his date-book.

On entering the room or platform a small parcel is introduced, already sealed andtied, and handed to one of the audience to hold. A lady's ring is borrowed adnvanished into the heart of the parcel held at the opposite side of the room. Theparcel, on being opened by its custodian, is seen to contain a cokernut; this isbroken with a neat small hammer, and in turn contains another parcel securelytied and sealed; the second parcel contains a lemon which, on being peeled,discloses another small parcel securely tied and sealed; this final parcel coversand egg; the egg is held at the finger tips of performer and broken by a tap of thehammer by one of the audience; both ends are thus pierced, and from the egg asmall stem is seen projecting, which on being pulled out, through the egg itself,proves a dainty nosegay of flowers to which is attached the original borrowedring tied to them by a neat bow of beb ribbon; this is handed intact to the ownerfor verification, and as a souvenir of the illusion.

As the "magical" reader may have by this conjectured, the whole secret lies in,first, the vanish of the ring borrowed, and second, in the loading of the flowersinto the egg. The rest requires elaborate and careful preparation, therefore aminute detailed description is given of the parcel and its extraordinary contents.

An ordinary egg is blown and dried, then tied up in thin brown paper andcarefully sealed with wax. A large size lemon is the second requisite. The skin isdivided lengthwise by a sharp clean cut with knife, and then gently peeled fromthe fruit that the juice may not saturate the skin itself. The two half-shells thus



obtained are placed over the parcel containing egg until they join again exactly. Astout sewing needle and strong white cotton joins them, or very small pins maybe used. If this work is done well it should be impossible to detect the joining atclose quarters. It must now be wrapped up, tied, and sealed. Finally, thecokernut--a fairly large one--should be selected, and broken with great care bylight hammering whilst being revolved in the left hand; constant tapping allround the centre ensures a clean break. Remove the fruit from the two halves,apply seccotine to the edges of the shells, place in the prepared parcel, then joinneatly, pressing tightly the while until it is firmly fixed. Should the join be toopalpable a small amount of light earth or dust may be rubbed on to the exudingcement until the shell appears perfect; then it is ready for its wrapping of brownpaper, and finally inthe cover of some favourite periodical. Mr. Sterlinginvariably used Pearson's Weekly, and wove several jokes around it which,however, can be applied to almost any popular journal.To the back of the trousers sew an ordinary tie-clip to hold the nosegay offlowers until wanted; also, a small pocket slightly below the thigh of the rightleg, to hold the vanished ring.

A neat hammer, penknife, piece of flash paper, and matches complete the list ofproperties. The hammer, etc., and parcel may remain on your table throughtoutyour programme if this is to form your grand finale, and in introducing it youmay explain to your audience that: "Undoubtedly you have been wondering whatthe strange-looking parcel on my table has to do with the magical effects I haveworked before you. The fact is simply this, it forms my constant travellingcompanion--in fact, my portmanteau, for it contains the world in a nutshell. Thewizards of India never perform without it, and claim for it the marvellousproperty of collecting anything that may become mislaid or lost during anentertainment. If anyone present should lose their senses, or even more valuableproperty, all we have to do is to investigate the contents of the mystic parcel, tofind the missing article reposing carefully packed within its centre. I willendeavour to give you an illustration of my argument. Kindly name anything youhave recently missed, and I will assist in its recovery. What, your mother-in-law,sir? Certainly. All I have to do--beg pardon, thought better of it. Ah, well.Anything else? No! Then allow me to borrow some trifling article, that you maywitness the full process. Will any lady trust me for a few moments with adiamond ring; one distinctive enough to preclude the possibility of myduplicating it? You will observe that the parcel is securely sealed and tied, andperfectly free from springs or trap-doors. Perhaps you will note that it is wrappedin the cover of Pearson's popular weekly, but Tit-bits Anwers quite well. Somany valuable articles are always to be found within those covers--they containthe world in a nutshell."

A volunteer is invited to hold the parcel within full view of the audience and asfar away as possible from yourself. The borrowed ring is "for greater security"wrapped in a piece of flash paper (faked fold) and an athletic young gentleman isasked to blow upon the paper--usually the most consumptive-looking young man



is chosen as the victim;--several attempts are to be made in the blowingefforts--the paper can be unfolded again to prove the ring present. Accuse theassistant of not blowing in a straight direction--that of the upheld parcel. Light amatch or candle, that he may see better, and in changing the paper from right toleft hand for final blow, allow ring to drop into hand and transfer to hip pocket.

Accidently catch paper in flame of candle; it is gone in a flash, and hands shownempty. Direct attention to the parcel, and to the gentleman's responsibility for themissing ring, should it not be recovered.

Hand penknife to the holder of the parcel, with the request to open it carefully.While strings and seals are being cut assume a natural attitude with both handsunder coat tails; take ring from pocket, and tie on to ends of beb ribbon, thenagain into a neat double bow. By this time the first wrapper if off, and displaysthe cokernut. Bring forward both hands empty and show the nut round,remarking, "I may say I have the nuts grown for me on a very special tree." Takehammer, break the nut, and take out second parcel. Hand as before to be opened,then show the lemon--"Also grown for me upon a very special tree."

With pocket-knife carefully peel lemon until third parcel is visible. Be sure andpocket the peel, that the secret joining may not be discovered. Get the last parcelopened, and, as egg is found, remark, "These are also grown for me on a veryspecial tree--I mean, laid for me by a very special hen." Give hammer to yourtemporary assistant, and offer the egg to him at the tips of your right hand. Yourleft secures the button-hole and ring palmed with stem upwards towards fingers.When one end of egg is pierced, it is turned over and taken by the left hand,which secures the stem into the opening; the remaining end is similarly broken,and with the finger-tips of the right hand flowers are drawn stright through theegg itself, and handed to the lady who loaned the ring, with a few complimentarywords terminating the trick.






A Floating Billiard Ballby Ed. Fielding

AFTER other sleights the performer offers to repeat a pass slowly, for thebenefit of those who have not been able to follow his movements. The ball istaken in right hand, the left being about two feet away quite clear from the body.Now the ball floats from right hand to left and back again, and is then at oncegiven for examination. To add to the effect the conjurer can bring his handsnearer together or farther apart at any time during the trick.

The motive power is derived from a lead weight, two inches by one in size,provided with a grooved pulley wheel and guard, and our very old friend--blacksilk thread.

Two dressmakers' eyes must first be sewn inside performer's trouser leg at thetop, about one inch apart, and over the right trouser leg. The thread is now passedby a needle through the waistcoat from the inside, level with the top edge ofright-hand pocket, and then again through waistcoat, this time from the outside,about one inch below the previous position. The needle is now taken off threadand teh ends tied together. The double thread is now passed through the eyenearest trouser fly, and put over the pulley wheel on weight, which is droppeddown trouser leg.

The thread is next passed through the second eye, and then secured by loopingover one of the trouser buttons. In working the trick, while calling attention to theball (which should be of light wood or ivorine), the first finger of right hand isslipped through the loop of thread from waistcoat and drawn out a few inches.When the left hand places the ball in right, the first finger of left hand goesbetween the threads, so that when hands are drawn apart a double thread, alwaystaut, is provided, and along this set of lines the billiard ball runs from hand tohand, according to which is elevated.

Immediately the trick is over, and the thread is slipped from the fingers, theconcealed weight draws it back to the waistcoat, and leaves the performer free toshow both his hands and the ball.

The same apparatus can be used for the floating wand.

A Floating Billiard Ball


By using an indiarubber ball, coloured to match the solid one, a finer thread maybe used, enabling the performer to perform it at quite close quarters.


A Floating Billiard Ball




An Improved Swallowing WandTHE following will be found a most useful addition to the effect of the conjurerusing the swallowing wand. By means of our improvement the wand may bepushed through the assistant's back or through a borrowed hat, since the nickelendpiece does not need covering as in the older method of presenting the trick.

The wand used is a black wooden one with nickel ends, on one of the nickel endsis a sliding collar, and inside this is a second collar (which can be made of paper)painted black to resemble the wood portion of the wand.

In working the trick, the unprepared end of stick is pushed against assistant'sback, while the two faked ends (one of nickel and one of paper) are palmed on tothe opposite extremity. Now, by slightly tilting the wand, the inside black collarslips out and travels down the wand, dropping over the bottom nickel end, thisproducing the illusion that the metal end has been really pushed into the assistant.The proceeding, now, is in the same manner as in the older trick; the sliding endbeing pushed along the wand (which passes up performer's sleeve) until within afew inches of the "victim's" body.

To pull the wand out again, the left hand is brought into use, apparently to assistin extracting the stick which the audience are assured is stuck. In reality the lefthand palms the black collar and holds the wand while the nickel fake is drawnupward. At the finish the black collar is retained in the left hand, the wand isthrown from the right (which conceals nickel end) to the audience for them to"discover the hidden spring."


An Improved Swallowing Wand



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Whiteley's Three-Card TrickWE VENTURE to believe the following card trick will be as acceptable toreaders as it has been welcomed by all audiences to whom we have introduced it.A pack of cards is handed to an assistant from the auditorium for him to passround and permit three different persons to take one card each. Performer nowasks that the cards may be marked for subsequent identification, after which theassistant has them placed back in the pack and shuffled, and then brings the cardsback to the conjurer, who gives them a final mix, and then puts the pack in theinside breast-pocket of assistant's coat, asking him to "take the chair" for a fewmoments.

The performer now comes among the audience, and just as he steps from thestage the assistant startles everyone by hastily jumping from his chair andindicating as delicately as possible, that a certain spot has been touched, and, ifhe is a good assistant, will make it apparent that his dignity has been hurt at thesame time. On his turning to the chair to investigate the reason of his sudden risein the world, the audience see a playing card sticking to his back. This card isproved to be the first one selected.

The conjurer has now passed accross the room and asks for the name of thesecond card chosen. The card is named, and the performer at once picks out someinoffensive gentleman many yards from him, and requests that individual toremove the named card from his pocket! This is done, and the card is found to bethe identical one in question.

Returning to the stage the conjurer asks for the name of the third and last card. Itis given, and he proceeds to inform his assistant that the cards have beenhighly-magnetised and if he will rub the first three fingers of his left hand on hisright arm briskly, and then, without allowing the magnetism to escape, quicklydip the fingers in the pocket and pull out one card--the selected one will rise intohis hand. When this information has been acted upon the asistant's hand emergesfrom his pocket with the third marked card in his fingers.

The requirements for this trick are a pack of long and short cards and plenty ofcheek. The asistant has three cards taken from the long or wide pack and returns

Whiteley's Three-Card Trick


to the stage. While the cards are being marked the conjurer changes the pack forthe short or narrow ones, among which the three selected cards are collected. Bya casual shuffle the conjurer brings these cards to the top, palms two off, andplaces the remainder (with the third chosen card uppermost) in the assistant'spocket. While doing this the assistant is asked to jump off the chair and pretendsomeone has run a pin in him directly the conjurer says, "One of the cards----" Heis now seated in the chair and, while making him confortable, the performerpushes one of the palmed cards under the assistant's coat collar at the back, thisnow leaving one still palmed.

Here the conjurer comes from the stage, and says: "Ladies and gentlemen, one ofthe cards----," here he looks at assistant if he has not taken his cue, and repeats:"One of the cards was----," and he should now be interrupted by the assistant'sby-play. During the laughter which is incident always evokes, there is generallyplenty of opportunity for dropping the palmed card in a gentleman's pocket, hishat, under a chair, or on a lady's hat. If no opportunity offers itself, lay your handdeliberately over some gentleman's pocket, push the card home, and speakingfrom the opposite side to withdraw his attention, say: "You won't mind mesqueezing through--I want to get on the other side."

It will now be apparent as to how the first two cards are discovered; the thirdmethod is probably known already. Given only three fingers wherewith to extracta card from his pocket, the assistant cannot fail to take the top one, which is ofcourse what is desired, and this brings the trick, and also this modest manual to a

FINIS

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Whiteley's Three-Card Trick


Miracles in Modern MagicCoverPrefaceIntroductionThe Great Magic Kettle ActThe Wandering OrangeDestiny--A Novel Card TrickA Numerical Card TrickA New Hot Coffee TrickThe Tin Trunk ReleaseHat, Candle, and Handkerchief CombinationThe Kari-Kari Bird TrickProduction of a Solid Walking-StickInflated Balloons Produced from a HatAn Original Billiard Ball ProductionThe World in a NutshellA Floating Billiard BallAn Improved Swallowing WandWhiteley's Three-Card Trick

harry whiteley - miracles in modern magic

Documents

kettle mystery

numerical card trickl

novel card trickl

card trickl coverhttp

new hot coffee trickl

magical effects

price of liquid air

expense of liquid air