W I L L ALMA M.I.M.C. ( L O N D O N )

G R A N T S

Super Magical Secrets

WILL 52 SWANSTON ST

MELBOURNE

P U B L I S H E D B Y

U . F . G R A N T P 1 T T S F 1 E L D , M A S S .

I N T R O D U C T I O N

A s an introduction to th is l i t t le book on Magical prob-l e m s and e f f e c t s b y U . F . Grant, I would like to ment ion that the author is a wel l k n o w n magic ian , and h a v i n g a creat ive brain, he is able to orig inate magical problems of a practical nature, and the reader m a y be assured that each e f f e c t has been tried and found per fec t . A g a i n the e f f e c t s have been per formed be fore a reject f e w w h o have o f f e r e d s u g g e s t i c n s and i m p r o v e m e n t s and in this w a y the reader is assured of a real practical workable mag ica l e f f e c t .

If ax . Holden.

The State Library of Victoria

" A L M A CONJURING C O L L E C T I O N "

F O R E W O R D

In o f f e r i n g these original s e c r e t s to brother Magic ians I can truthly say t h a t I h a v e used all e x c e p t the t w o Illus-ions, and e v e r y one has proven to b e real ly worth vvnile and e f f e c t i v e . T h e Hindoo Rope & Ris ing Card an.l Pearls Of Pers ia , are t w o novel l i t t le m y s t e r y s of which I a m proud. D o not fail to g i v e t h e m a t r y and b e convinced of their en-t e r t a i n m e n t value . A l s o I h i v e tried to m a k e m y explana-t ions clear, y e t not l engthy , an I hope this method m e e t s w i t h your approval .

U . F. Grant.

M E C C A

Magic ian p icks u p a deck of cards and r e m o v e s about a dozen, w h i c h are f a n n e d out . H e reaches behind the f a n and produces a c igare t t e , w h i c h i s p laced on top of a g i a n t s ize card. T h i s i s cont inued unti l l f i v e h a v e m a d e their ap-pearance and b e e n placed on top of l a r g e card. N e x t , a t ten-tion ia called t o a hank, w h i c h i s shown on both skies end t h e f o u r corners g a t h e r e d to-gather , f o r m i n g a bag . In this t h e f i v e s m o k i n g c igs . are dropped one a t a t ime . T h e n hank. i s suddenly shaken out and the c i g a r e t t e s h a v e vanishe 1.

Make f i v e f a k e c i g a r e t t e s o f f i b r e or tin tub ing ar.cl paint t h e m w h i t e . A t one end of each g l u e a email p iece of g r a y f e l t to r e p r e s e n t a s h e s , and w h e r e f e l t jo ins t u b i n g g l u e a narrow band of br ight red t info i l . This wi l l g l o w under the act ion of t h e foo t l i gh t s , g i v i n g a p e r f e c t imitat ion of a burning c ig . D i p f e l t t ip in hydrochloric acid (C.P.) an 1 then, if placed in the f u m e s of s t r o n g a m m o n i a (C .P . ) s m o k e will curl up f r o m cig . and t h e decept ion wil l be comple te .

F o r t h e production, m a k e a tin c a s e the s ize of a pack of cards, l e a v i n g the f r o n t s ide open . Pa in t the e d g e s whi te , and on the back g lue a card, back out . N e x t , g l u e a piece of tin to the b a c k of a card and a t t a c h a w e a k spring t h a t wil l j u s t hold card f l u s h w i t h the o p e n i n g w h e n i t i s dropped in case . On a n o t h e r t in b a c k e d card, solder a spiral spr ing in which to cl ip the c igare t t e s . P u t th i s in case , f o r c i n g d o w n o ther f a k e card, place severa l unprepared cards on top, and slip all in to a regu lar card case . Then b y r e m o v i n g pack and f a n n i n g out a f e w cards, you can produce the c igs . f r o m the back of fan , whi l e spr ing backed card c loses open-i n g in f a k e pack.

To producd t h e smoke , c igs . m a y b e dropped in a g l a s s w h i c h has been s w a b b e d inside w i t h ammonia , or m a y be c l ipped on the back of a g i a n t card o v e r a small t in t r o u g h conta in ing ammonia .

F o r the vanish , s e w t w o h a n k s t o g e t h e r , l e a v i n g one corner open. Then, w h e n y o u br ing the corners t o g e t h e r , drop the c i g s b e t w e e n the hanks , a f t e r w h i c h open out and s h o w both s ides e m p t y .

H I N D O O R O P E A N D R I S I N G C A R D .

E f f e c t : Magic ian cal ls a t tent ion to a picture f r a m e containing a s t r e e t scene of India, w i t h a Hindoo s tanding o v e r a b a s k e t .

Whi l e e v e r y o n e i s w a t c h i n g i n t e n t l y , a real rope is s een to e m e r g e f r o m t h e b a s k e t and s lowly r ise u p into the sky . F o l l o w i n g this , a prev ious ly se lec ted card is s een to peek over the e d g e of the baske t , t h e n s lowly w i g g l e and c l imb t o the top of the rope; the e f f e c t b e i n g as if the picture suddenly c o m e s t o l i f e .

HINDOO ROPE A N D R t a i M C r -

Secre t : Procure a picture f r a m e about 20 in. wide and 30 in. h igh , and cut out a p iece of cardboard to f i t . P a i n t the cardboard dead black and then, w i t h w h i t e paint, out-l ine the s c e n e shown in the ske tch . N e a r the bot tom of the p ic ture a t t a c h a smal l w i c k e r b a s k e t w i t h a f l a t back, such as sold in any d e p a r t m e n t store , and divide it into t w o vert ical compartments , f r o n t and rear.

N e x t , c u t a piece of s o f t , pl iable rope such as ordinary cot ton c lo thes line. Tie a black thread to one end and a small w e i g n t to the other . Coil the rope in the rear com-p a r t m e n t and run thread up f r o n t of picture , and through a pinhole near the top.

In the f r o n t c o m p a r t m e n t place a p lay ing card on the back of w h i c h are g lued t w o cardboard c h a n n e l s a s shown in sketch . T h e s e wil l m a k e the card f o l l o w the rope w h e n i t i s pul led u p b y a thread running t h r o u g h another hole a t t h e top c lose to the f i r s t one.

W h e n ready to work, a s s i s tant p u l l s thread a t tached to rope. B e i n g coiled in t h e baske t , t h e rope c o m e s out w i t h a v e r y m y s t e r i o u s z i g - z a g motion, and w h e n the knot reach-e s the pinhole t h e w e i g h t s t r a i g h t e n s out the rope. Then a s s i s t a n t pul l s t h e o ther thread so t h a t the card j u s t p e e k s o v e r the e d g e of the baske t , p a u s e s a m o m e n t , and then cont inues s lowly to the upper end of the rope .

N o t e : If you work alone, t h e threads m a y b e pulled b y t w o w e i g h t s operat ing in sand cyl inders a t tached to the r e a r of tne picture.

G R A N T ' S S U P E R R O P E T R I C K .

E f f e c t : P e r f o r m e r eal l s a t t en t ion to a l e n g t h of rope , the ends of w h i c h he t i e s t o g e t h e r , f o r m i n g a loop. Then a s p e c t a t o r is a l lowed to cut the rope r ight in the center of the loop.

T h e t w o c u t ends are held w ide apart and shown to be ac tua l ly separated, w i t h the knot n o w in the middle of the rope.

Then, b y s imply pass ing his hands over the t w o ends, p e r f o r m e r res tores the rope to i t 's original condition and i m m e d i a t e l y t h r o w s it out f o r examinat ion .

Secret : Take any convenient l e n g t h of so f t , pl iable rope and t ie an e x t r a small p iece around one end, a s s h o w n in ske tch 1A. Then coil up the rope and l a y i t behind s o m e objec t on table .

When ready to present trick, pick up end w i t h the e x -tra piece , concea l ing th i s in the hand. Then g r a s p f r e e end w i t h other hand and hold out f o r inspect ion. Br ing t h e t w o ends t o g e t h e r and tie, f o r m i n g a loop. In the a c t of s h o w i n g the rope to be apparent ly solid, sl ide hand conta in -ing e x t r a p iece down to bot tom, carry ing p iece w i t h it.

N o w g r a s p rope a t top w i t h o ther hand, cover ing real t ied ends as in s k e t c h 2B. Then place end A also in up-per hand. This hand n o w conceals bo th the real and the f a k e tied ends, a s s h o w n in s k e t c h 3.

N e x t pick up the shears , a t s a m e t i m e dropping end A into v i e w , and the audience will natural ly think this is the t w o tied ends of rope. S e e s k e t c h 4. N o w requst a spec ta -tor to cut bo th s ides of loop near the hand, still holding a s in s k e t c h 4 w i t h the real k n o t s concealed. A f t e r b e i n g cut p lace the small p iece w i t h the real concealed knot in pocke t . N o w hold the cut ends w ide apart . N e x t unt ie the e x t r a p iece A and hold rope and loop as in s k e t c h 5.

In re s tor ing t h e rope, e i ther c u t a w a y e x t r a p iece or s l ip it o f f , and same i s l e f t in pocke t wh i l e a f t e r a r ing to p i s s over the rope. N o w s h o w rope as one p iece and t h r o w out f o r examinat ion .

T h e s impl ic i ty of th i s e f f ec t , m a k e s it rea l ly w o r t h w h i l e and e f f e c t i v e .

P E A R L S O F F E R E I A .

Hffect : A decorated box i s displ y e J and the cove . - l i f t -ed reveal ing a beaut i fu l s tr ing of pearls . T h e s e are remo ve.1

and the box shown e m p t y . N e x t a p i p e r cone is sho.vn e m p t y and the s tr ing of pear l s i s dropped in same , then Magic ian m j t t i r s a f e w m ig ic words , cone i s openeJ, an 1 in place of t h s pearls o a t d.-^pj a p r e t t y rose. N o w i pon opening the box , the pear l s are once m o r e d iscovered 2 epos-ing in same , j u s t a s t h e y w e r e a t s tar t of the exper iment , in 111 m a k i n g a v e r y beaut i fu l and appea l ing trick.

I

S e c r e t : Procure a sha l low b o x about s e v e n inches square and t w o inches deep. T h e cover should be h inged and the outs ide painted w i t h a f a n c y des ign . C u t a p iece of thin cardboard that wil l f i t snug ly in the bot tom, and cover th i s w i t h black v e l v e t . On t h e v e l v e t , g l u e a small p iece of wood as shown in sketch , and slip all into b o t t o m of box .

N e x t , g e t t w o s t r i n g s of pear l s and on the ends of one s tr ing f a s t e n t w o b e n t pins. St ick t h e s e in the cardboard n e a r the f r o n t corners and fo ld u p pear l s n e x t to the f r o n t le . 'ge of box . Spread o ther s t r ing out a s s h o w n in sketch , c lose cover and you are ready to p r e s e n t tr ick.

Pick u p b o x , t ip f o r w a r d and open t h e cover , d i sp lay ing one s tr ing of pear l s wh i l e the o ther is sti l l concealed f r o m horizontal v i e w by t h e f r o n t l edge of box.

R e m o v e v i s ib le s tr ing and, w i t h o u t ca l l ing a t t e n t i o n to it , show b o x e m p t y and c lose cover . W h i l e s h o w i n g s tr ing jus t r emoved , drop b o x to side w i t h o t h e r hand, t ipping i t b a c k w a r d . This wi l l cause concealed s t r ing to fal l over the tapered p iece of wood in s a m e posit ion occupied b y f i r s t s tr ing . Then lay b o x on table .

N o w vani sh the pear l s and produce the rose w i t h the fami l i ar double paper cone e f f ec t .

Final ly , pick u p box , t ip forward to cause pear l s to fal l into posit ion, and open cover , r e v e a l i n g the vanished pear l s apparent ly restored. R e m o v e pear ls and pass out box f o r examinat ion .

MAGIC H A N D A N D M Y S T I C R I N G S .

Ef f ec t : Magi cal ls a t tent ion to a spirit hand. On e a c h l i n g e r is a plain si lver band ring.

The four r ings are removed f r o m the f i n g e r s , and hand i s covered w i t h a si lk.

N o w the four t i n g s are vanished. U p o n uncove ing the hand, the r ings are discovered on

t h e f i n g e r s once more.

Secre t : Procure a wooden , paper m a e h e or p las ter h a n i , and f o a r s i lver rinjjs t h a t wil l f i t s n u g l y o v e - t h e t inkers . P a i n t f o r r imi ta t ion rings on t h e back hal f of finge .-s, t h a t is, half w a y a - o a n l so t h a t w h e n p a l m o f hinri is f a c i n g audience , r ings wil l n o t show. Sl ip the f o u r sil-v e r rings over f i n g e r s , c o v e r i n g pa inted ones .

Pick up h i n i , sha.v i t all around, and then l a y i t back cn tab le w i t h p a l m f a c i n g audience . R e m o v e r ings , pick r p h?.nd a n i cover w i t h a silk, and t h e n rep lace i t on t a b l e w i t h back f a c i n g audience .

N o w vanish t h e rings, f l ip t h e silk off the hand, and t h e i i n g s h a v e a p p a r e n t l y reappeared on the f i n g e r s .

A var iat ion of tha above , w h i c h I h a v e found j u s t a s e f f e c t i v e , i s papa.' bands ins tead of s i lver rings, and hal f ban i s g lued on b a c k s of f i n g e r s .

A l t h o u g h t h e p e r f o m e r wil l , no doubt, h a v e h i s o w n p e t method of van i sh ing the rings I a m g i v i n g m y o w n var iat ion , w h i c h h a s proved v e r y s a t i s f a c t o r y . H a v e a card s e l e c t e d end re turned to the pack. R e m o v e t h e r ings and drop t h e m in a mirror g lass , c o v e r i n g w i t h a s i lk. S h o w r i n g s res tored on f i n g e r s an.l t h e n f r o m t h e g l a s s , ins tead of t h e r ings , produce a silk hank in the c e n t e r of w h i c h is a p ic ture of the se l ec ted card.

1 G R A N T ' S S U P E R M A G I C A L S E C R E T S

G R A N T ' S S U P E R D I E B O X

E f f e c t : P e r f o r m e r cal l s a t t en t ion to a large die box, w h i c h can be passed f o r examinat ion . A die i s placed in s a m e and the doors c losed. A f t e r the usual sucker g a g , all coors are opened and b o x s h o w n e m p t y . Then die is pro-duced f r o m a hat .

Th i s die is once m o r e placed in b o x and caused to van-ish, only t o m a k e i t ' s reappearance f rom the hat .

N o w box is s h o w n abso lute ly e m p t y , and then doors c losed. W i t h a m y s t i c pass , the doors are opened and a l a r g e production f o l l o w s , such a s l i ve s tock, s i lks or any-t h i n g t h a t wil l g o in t h e box .

Secre t : B o x is unprepared, and similar to the usual die b o x , e x c e p t t h a t f r o n t doors are h inged a t bo t tom instead of s ides . This is necessary , due to the r e f l e c t i o n principle in-vo lved .

T w o of the d ies are tin f a k e s , f o u r sided ins tead of s x . A mirror is p laced in e a c h a t a f o r t y - f i v e d e g r e e ang le , a s s h o w n in s k e t c h . Behind e a c h mirror m a y be placed a lo id of silks, l ive s tock in a b a g or w h a t e v e r p e r f o r m e r des ires .

A t s t a r t of trick, a h a t conta in ing one of f a k e d ies is on tab le . Other f a k e die i s on table , and t h e solid one on s e . -v a n t e a t rear.

N o w f a k e die is t a k e n f r o m tab le and placed in box as s h o w n in ske tch . All doors are opened and b o x appears e m p -ty, a s inside of die i s s a m e color a s inside of b o x , and mir-ror ins ide of die r e f l e c t s b o t t o m of die, b o t t o m door and h i n g e s ; g i v i n g the i l lusion t h a t you are s e e i n g back of box , t o p door and h inges .

N o w o ther f a k e die i s r e m o v e d f r o m hat , and, w h i l e s h o w i n g s a m e , solid one i s loaded in h a t f r o m servante . F a k e die is then placed in e m p t y side of box , caused to vanish , and then solid one dumped out of ha t .

B o x is once m o r e s h o w n e m p t y , and t h e n all doors closed. Top doors are n o w opane 1, and the art ic les pro l u c e i .

N o t e : T h e wr i t er w i s h e s to t a k e this opportuni ty to s t a t e t h a t h e w a s the f i r s t t o u s e mirrors in a die box, c h a n g i n g l e m o n s to bananas , and c o m p l e t e l y b a f f l i n g some of the f o r e m o s t m a g i c i a n s of the country a t their las t annual N . C . A . convent ion in N e w York City some y e a r s ago .

G R A N T ' S S U P E R M A G I C A L S E C R E T S e g

A B E D T I M E S T O R Y

There i3 rea l ly nothrng new about t h e l i t t le s t u n t w h e r e you d r a w a p icture of a square pig, then b y e r a s i n g t w o of the l ines and adding t w o more you cause the p i g to look round. W i t h t h i s l i t t l e addition, w h e r e the head c h a n g e s i t ' s posit ion in a m y s t e r i o u s manner, the e f f e c t i s sui table f o r a magica l program.

Effec t : P e r f o r m e r s t a t e s he wil l i l lustrate a bedt ime story. To do to, he m a k e s u s e of a s la te and says;

"Once upon a t ime, a small boy brought his s la te home f um school an I asked his f a t h e r to draw a p icture of a pig . T n s f a t h e r proceeded to do so and here 's the r e s u l t . "

Magic ian d r a w s the p icture of a pig, as s h o w n in f i g . 1. "The boy said, ' W h y fa ther , t h a t doesn ' t look l ike a

pig, i t 's square. Can't you m a k e it look round?' T h e f a t h -e be ing a magic ian, said, 'Sure, LOOK!' And, sure e n o j g h , the p ig looked around."

W h e n m a g i ian says "LOOK", the head of p ig f l i e s to posit ion s h o w n in f i g . 2 .

S e c r e t : To accompl ish this e f f ec t , cut out a t r iangular p iece of caraboard s l ight ly l a r g e r than t h e p i g s head. Pa in t this black, so it will no t s h o w up a g a i n s t the s la te , and at-tach it to the s la te w i t h b l i c k c loth h inges . On the back side of this f lap, outl ine the p ig ' s head in w h i t e . F r o m the point of tha f l a p run a black thread across the f ront of the s l i t e , through a small hole a t o ther end, and t ie it to a smal l but ton at the back. In d r a w i n g t h e pig, draw t h e head on t h e blank side of t h e f l a p as in f i g . 1. When ready f o r the h e i i to tarn, pall the thread caus ing f l a p to turn o v e r and apparent ly m a k i n g the head turn around.

S A M B O T H E H U M A N H E N

A N e w Method Of P r e s e n t i n g E g g s F r o m The Mouth. Real N o v e l t y Comedy M y s t e r y .

E f f e c t : A t t e n t i o n is cal led to a l a r g e p iece of card-board on w h i c h is the p icture of a colored boy, w i t h a br ight g r e e n t ie h a n g i n g f r o m his neck . Sambo' s t i e i s pulled and t o everybody ' s suprise h e opens his m o u t h revea l ing an e g g . Cardboard is turned around and shown to be abso lute ly f l a t w i t h o u t any possible space f o r concea l ing e g g s . Stil l , e v e r y t i m e Sambo' s t i e i s pulled a f r e s h e g g m a k e s i t ' s appearance .

S a m b o T h e Hurrrn r len

S e c r e t : The pictu: e is painted on a piece of cardboard; + he t ie is real and sho i l . l be of a br ight color. Running f.-om t ie is a thread which g o e s up behind picture a i d thru s a m e a t top of h e l d and down to the tongue ,wh ich is h i n ^ e i , to

represent an e ^ g . The Illusion is p e r f e c t , a s it looks jus t a s if t ongue rolls bac'< into mouth a s e g g a p p e a r s . This pic-ture is on a s t a n l a r d o e h i n i a t a i l e . Magie ien s tands b e t w e e n table and picture. On : e r v a n t e a t back of table is a supply of e g g s . Whi l e l e f t hand is pul l ing t ie the r ight pa lms an e ^ g fro n servant e. W h e n f a k e e g g m a k e s i ts a p p a i r a n e e r ight hand g o e s in f ront of mouth and f l ips t o n g u e back to or ig ina l posit ion, then right hand c o m e s a w a y e x p o s i n g pa lme ! e g g , which w a s a p p a r e n t l y re-moved f r o m mouth. S a m e is layed on table and the above m o v e s cont inued until supply on s e . - v i n t s are e x h a u s t e d .

M A H J O N G M Y S T E R Y S T I C K S

A ful l t w e n t y minute a c t can be presented by the aid of three small s t icks . T h e y are e x a c t l y al ike and can b e passed out f o r examinat ion .

E f f e c t : A s s i s t a n t m a y be in another room or h a v e back turned to per former , w h o sends h im d a t e s on coins, months of birth, ages , ful l descript ion of spectators , e t c . , b y the aid of t h e s e three s t i cks only. A n / o n e m a y de l iver the s t i cks f r o m p e r f o r m e r to a s s i s t a n t

Secret : The three l i tt le s t i cks should be m a d e exactly-al ike, pointed a t one end and w i t h a f a n c y des ign on one side a s s h o w n in ske tch . I f t h e a s s i s tant i s t o w o r k blind-folded, the des ign should be inlaid so t h a t the posit ion of t h e s t i c k s can be de termined b y the s e n s e of touch.

E a c h of the s t i cks m a y then be placed in the four posi t ions s h o w n and it is t h e w a y t h e y are s tacked or ar-ranged , one on t h e other , t h a t c o n v e y s the idea f r o m per-f o r m e r to as s i s tant , s i x t y four d i f f e r e n t combinat ions b e i n g possible .

S t r a i g h t numerica l va lues m a y be a s s i g n e d to the s t i cks a s f o l l o w s :

Then by p lac ing each st ick in the proper posit ion and adding up their values , any n u m b e r f r o m 0 to 63 m a y be represented . T h e s e numbers , in turn, m a y be assoc iated w i t h the 52 p l a y i n g cards, d a t e s on coins ( s tar t ing wi th , say, 1870), a g e s or w h a t e v e r m a y be des ired.

Whi le count l e s s poss ibi l i t ies will s u g g e s t t h e m s e l v e s to the alert per former , s t ra igh t numerical v a l u e s m i g h t prove c o n f u s i n g to the beginner . T h e r e f o r e the f o l l o w i n g p a g e s wil l b e devoted to a f e w e x a m p l e s of s impl i f i ed g r o u p code transmiss ion w h i c h should be eas i ly memor ized a f t e r one or t w o readings .

St ick 1. St ick 2. St ick 3.

Posi t ion 1. 0 16

32

48

0 4

8 12

0 1 2 3

2. 3.

4.

P e r f o r m e r end a s s i s t a n t should a g r e e beforehand upon a certa in routine, so t h a t no code wi l l b e required to te l l w h a t is to be described. F o r e x a m p l e :

F irs t three i t ems , A g e s .

To prevent the spectator w h o del ivers the s t i cks to the as s i s tant f r o m accidental ly d isarranging their order, he should be asked to form his hand into a f i s t , and the s t i cks inserted w i t h the co-anting s ides toward his f i n g e r tips.

This wil l cover a g e s f r o m 10 to 50. The four pos i t ions of the f i r s t st ick s ign i fy , respect ive ly , tha t the a g e fa l l s within the 10s, 20s, 30s or 40s. The position of the second st ick s ign i f i e s tha t the second f i g u r e is 1, 2 or 3; 4, 5 or 6; 7, 8 or 9; or zero. The f i r s t three posit ions of the third stick will s i g n i f y which one of the three applies, and the four th posit ion will s i g n i f y 50.

A f e w e x a m p l e s are g i v e n in the table be low.

A g e 27 31 45 50 20

Posit ion of f i r s t st ick 2 3 4 4 2

A b o v e should be practiced until thoroughly mastered . The res t will then come e a s y as all use the same principle.

N e x t t w o i tems,

N e x t t w o i tems,

N e x t i tem,

Las t i tem,

Months .

D a t e s on coins.

S u m of column of f igures .

Full description of person.

C O D E for A G E S .

" second st ick 3 1 2 3 4

third st ick 1 1 2 4 not counted

C O D E f o r M O N T H S .

This requires only t w o of t h e s t icks , but all three a r e used to avoid suspicion. The pos i t ions of the f i r s t st ick cov-er four groups of three m o n t h s each , and the posit ion of the second de termines w h i c h m o n t h of the three applies.

In the f o l l o w i n g table , e a c h m o n t h is fo l l owed b y t w o f i g u r e s represent ing the posit ions of the t w o s t icks . J a n u a r y 1,1. Apri l 2,1. J u l y 3,1. October 4,1. February 1,2. May 2,2. A u g u s t 3,2. N o v e m b e r 4,2. March 1,3. J u n e 2,3. S e p t e m b e r 3,3. D e c e m b e r 4,3.

C O D E f o r D A T E S on C O I N S .

Thi s covers 1890 to the present . T h e posit ion of the f i r s t st ick c o v e r s t h e 1890s, 1900s, 1910s, or the 1920s; and the o ther t w o s t i c k s are u s e d e x a c t l y a s in the a g e code to de termine the las t f i g u r e . T h e f o r t y y e a r 3 prev ious to 1890 m a y be covered b y push ing t h e s t i cks d o w n in the spec ta tors hand b u t a s t h e s e d a t e s are se ldom encountered , it is be t ter to put th i s u s e of the s t i c k s t o a b e t t e r purpose, a s s h o w n be low.

C O D E for I T E M S to be D E S C R I B E D .

Thi s should be arranged by the p e r f o r m e r to suit h i s o w n requirements ; and cons i s t s of pushing any one, any two , or all three of the s t i cks d o w n in spec ta tor ' s f i s t . N i n e combinat ions of th is vert ica l posit ion are poss ible w h i c h m a y be used f o r an i t e m code, doing a w a y w i t h t h e n e c e s s i t y of prearranging the l ist , a s r ecommended f o r beg inners above .

G R A N T ' S S U P E R M A G I C A L S E C R E T S

C O D E f o r D E S C R I B I N G a P E R S O N .

F i r s t St ick .

1. Man, l ight e y e s .

2. Man, dark eyes .

3. Woman, l ight eyes .

4. Woman, dark e y e s .

Second St ick (if man) .

1. L igh t hair, l ight tie.

2. L ight hair, dark tie.

3. Dark hair, l ight tie.

4. Dark hair, dark t ie .

Second Stick (if woman) . Third stick.

1. L igh t hair, bobbed.

2. L ight hair, long.

3. Dark hair, bobbed.

4. Dark hair, long.

1. L igh t c lothes , l ight shoes.

2. L i g h t c lothes , dark shoe?.

3. Dark clothes , l ight shoes.

4. Dark clothes, dark shoes.

Suppose the a s s i s tant r e c e i v e s the s t i cks in t h e posit ions 2, 1 and 3. H e will dramat ica l ly re late , " I g e t the picture of a m a n w i t h blue e y e s , l ight hair and a rather f l a s h y tie. H e s e e m s to be w e a r i n g quite a dark suit and brown s h o e s . " Then he g o e s on w i t h someth ing p leas ing about the man's disposit ion, good for tune in s tore etc .

In case any doubts e x i s t about the s t i cks of Mah J o n g b e i n g prac t i ca l , the wr i ter w i s h e s to s t a t e that he has used t h e m w i t h g r e a t success a t various funct ions , and the stud-e n t m a y f ee l assured that , if he d i l igent ly appl ies the principles expla ined to gradual ly increase the scope of their use fu lnes s , he will soon f ind h imse l f in possess ion of a code s y s t e m which, f o r e n t e r t a i n m e n t va lue and baffling possi-bilities, is second to none.

This will prove v e r y e f f e c t i v e if worked in a mind read ir.g ac t where in Medium on s t a g e descr ibes arct ic les handed to p e r f o r m e r in audience.

Ef fec t : A f t e r Medium descr ibes several arct ic les tha t have been handed to per former , h e s t a t e s he is g o i n g to p u t her to a v e r y s e v e r e t e s t , tha t is h a v e her describe the n e x t arct ic le t h a t will be handed to him, wi th-out e v e n he k n o w ing w h a t it is. Medium w r i t e s a prediction on slip of p a p e r and spectator holds s a m e . Then p e r f o r m e r has another p e r -son hand h im any object , w h a t - e v e r it happens to be, upon looking on slip of paper held b y spec ta tor it is found the Me-dium correct ly p -ed ic ted s a m e .

Secret: B e f o r e performnnce , p e r f o r m e r and Medium a g r e e on a certain object , s o m e t h i n g that some-one is bound to hand you. F o r e x a m p l e w e will say a w a t c h . P e r f o r m e r go-e s thru audience and Medium descr ibes m a n y arct ic les . Mag i w a t c h e s for some-one a t h is side, or n e a r b y , w i t h a w a t c h to hand him. Then say's , (Fo lks I a m n o w g o i n g to put the lady to a t e s t . T h a t is, lady will predict w h a t you will hand me . Medium w r i t e s on slip ( A W a t c h ) . Magi immediat ly , b u t in an unconcerned w a y , turns to m a n w i t h w a t c h , then holds out his hand and spy's , ( H a v e you s o m e t h i n g ? ) natur-

S U P E R P R E D I C T I O N

G R A N T ' S S U P E R M A G I C A L S E C R E T S

ally th is spectator be ing c a u g h t off his guard will hand you the art icle he formal ly had on his mind, n a m e l y the w a t c h . And success is yours .

A variat ion: Ins tead of a g r e e i n g on a certain art ic le be fore the per formance , i t is poss ible f o r p e r f o r m e r to w a t c h f o r any object ready to b e handed to h im. Then, by code, send Medirm n a m e of art ic le to b e predicted.

V A N I S H I N G D I E A N D A P P E A R I N G G I R L

~ o p c t ' Q - \ jO

Q > -&

V A N I S H I N G D I E A N D A P P E A R I N G G I R L .

E f f e c t : A g ian t size die i s displayed on a p l a t f o r m ele-vated above s t a g e . P l a t f o r m is s w u n g around s h o w i n g die on all s ides .Wood panels are placed around s a m e , m a k i n g a g ian t die b o x , w i t h four doors s imilar to the fami l iar box. T h e f o u r doors are c losed , fo l lowed b y the usual sucker g a g of f i r s t s h o w i n g one side then the o ther , the t ipping b e i n g omit ted . Final ly ,a l l doors are opened and box shown e m p t y . O n c e more doors are closed, and a t the report o f a revo lver one of the top doors f l i e s open and out j u m p s a girl .

S e c r e t : This Il lusion w o r k s on the s a m e principle a s t h e super die box ,descr ibed in ear ly part of th i s book. T h e die i s ho l low and four sided ins tead of s ix , w i t h a mirror running f r o m front top to b o t t o m rear of die, a t a f o r t y f i v e d e g r e e angle . Girl i s behind the mirror. A l s o a roll curtain runs f r o m top back of die across top and down to f ront b o t t o m w h e r e i t i s hooked, m a k i n g i t poss ible t o

s h o w all s ides. D i e i s l e f t so f r o n t or curtain side is fac -i n g audience . N o w t h e pane l s are put in place, m a k i n g a g i a n t die box ,and a s soon as doors are c losed,gir l re l eases cur-tain. W h e n doors a r e opened a g a i n , b o x appears e m p t y , due to re f lec t ion of mirror.

D R . J E Y K E L L A N D MR. H Y D E .

E f f e c t : P e r f o r m e r s t a t e s t h a t by the aid of Magie a n i sc ient i f i c principles h e will reproduce the f a m o u s Dr. Jey-kell and fiir. H y d e scene. H e s t e p s to table w h i c h contains several t e s t tube3 and a decanter of w a t e r . B y pouring t h s clear w a t e r in the tubes it c h a n g e s to d i f f e r e n t colors. Sud-denly he drinks some. Then, s lowly c h a n g e s to Mr. H y d e in ful l v i e w of (he audience, w i t h long hair, tw i s ted f ingers , large t e e t h etc . In all, a v e r y weird spectacle . Then suddenly he c h a n g e s back to his f o r m e r se l f . All this is done in pan'o-

mine, w i t h appropriate music furnished by the orchestra .

Secre t : T h e principle of t h e " P e p p e r " illusicn has been d. e s s e 1 up to produce th i s n e w and e n t e r t a i n i n g erfect .

A s h e e t of p la t e g la s s i s p laced d iagonal ly in f ront o f t h e main s e t t i n g so that, a dupl icate s e t t i n g a t the s iJe m a y be r e f l e c t e d in i t ' s place, a l t h o u g h it appears to the avu i ence t h a t the f i st s e t t i n g r e m a i n s in v i e w . This i s accompl ished w i t h the aid of rheos ta t s , gradual ly d i m m i n g the l ights t h a t i l luminate one s e t t i n g w h i l e turning up those t h a t i l luminate the other .

T h e layout , a s s h o w n in the d iagram on oppos i te page , cons i s t s o f a smal l curtained o p e n i n g a t the rear of t h e t t a g e w i t h s ta irs and e l e v a t e d f l o o r a la Kel lar ' s B l u e R o o m . A f t e r t h e o p e n i r g spcech , the perforrrer , a t t ired as D \ Jeyke l l , e n t e r s t h r o u g h the smal l door a t t h e back l e f t hand corner and p e r f o r m s the fami l i ar w i n e and w a t e r routine. In the m e a n t i m e , t h e ass i s tant , d i sguised a s Mr. hyde , h a s placed h imse l f in a marked posit ion a t t h e l e f t so t h a t his r e f l e c t e d i m a g e will coincide e x a c t l y w i t h t h e posit ion o ; -cupied b y the per former . T h e n t h e e x c h a n g e i s m a d e b y s w i t c h i n g t h e l i g h t s a s s t a t e d a b o v e .

F o r another variat ion w h e r e t h e e x c h a n g e i s no t m a d e vis ibly, a production cabinet m a y be used. P e r f o r m e r s t e p s in and d r a w s curtain w h i c h i m m e d i a t e l y f l i e s open, disclos-i n g Mr.Hyde , w h o m t h e audience be l i eve t o b e t h e p e r f o r m -e r in another disguise . Curtain i s d r a w n and opened aga in and cabinet i s e m p t y , wh i l e t h e p e r f o r m e r , w h o h a s m a d e h i s g e t a w y t o the rear of t h e thea tre , c o m e s running d o w n t h e a is le .