CLOSE-UP MAGIC FOR
The NIGHT CLUB MAGICIAN FOUR?If and REVISED EDITIO
World Copyright held by
MAX KOLDEN NEW YORK
BOSTON U n d e r specks! a r r a n g e m e n t
PHILADELPHIA. with
MAX HOLDEN Published in England by
L. DAVENPORT & CO. Incorporating MASKELYNE'S MYSTERtES - 25, NEW OXFORD STREET,W.C.I.
FOURTH AND REVISED EDITION
CONTENTS Chapter I.—THE NIGHT CLUB FIELD AND ITS REQUIREMENTS
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Chapter II.—INTRODUCTORY TRICKS M. Moreau's Opening Another Opening Method
Production of Wand The Pear Trick Sugar and Coffee Mystification Ring and Wand Flying Ring
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4 5
Introduction by Table Cards
Chapter III.—MISCELLANEOUS TRICKS Page 7 Cut and Restored Page 8 With Cotton With String Page 9 Pocket Knife and Bottle Page JO Tearing Off a Button Page 12
Chapter IV.—HANDKERCHIEF TRICKS Wand Through Cut and Restored Handkerchief Page 17 Handkerchief Handkerchief Through Another Way Wand Page 18 Dancing Lady Chapter Impromptu Drinking Cup Tearing a Bill Bill and Card Combination ... T'he Tacked Card Torn Card
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Page Page Page Page
13 14 15 16
Page 18 Page 19 Page 20
V.—TRICKS WITH BILLS Page 22 Cigarette and Bill Page 22 Bill Change Over Page 23
Page 25 Page 26
Chapter VI.—TRICKS WITH CARDS Page 29 Poker Deal Page 30
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Chapter VII.—TRICKS WITH CIGARETTES Rolling With One H a r d Page 33 Tlie Foar Hobos Migrating Cigarette Page 34 Chapter VIII.—SPONGE BALL TRICKS Chapter Coin Rising From Glass of Beer Coin Through Sleeve Coin and Silver Boxes Coin and Glass of Water Coin and Two Cards
Page Pagn Page Page Page
Chapter Vanishing Class of Wine Vanishing a Pint!' Swallowing a Plate Fcrk Through a Glass
X.—TRICKS AT THE TABLE Page 48 Plate and Bread Pellets Page 49 Vanishing Matches Page 4P Cigarette Papers Page 50 Walnut Shells and Pan
Page 35
Page 33
IS.—TRICKS WITH COINS 38 40 40 42 43
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Coin in Dinner Roll Novel Vanish Best Coin Fold Coin and Harness Rings Coin Through Hand
Chapter XI.—VESTING AND SLEEVING ' Effective Gags Watch Smashed Page 55 Biting a Piece Out of a Flash Paper Page 55 Plate Match Lighting Fake Page 5S Care of the Hands Oonclusion Page 57
Page 4-1 Page 44 Page 45 Page 48 Page 4T Page 50 Page 51 Page 52 Page 53" Page 52
Page 56 Page 58
I
FOR THE NIGHT CLUB MAGICIAN CHAPTER I.
Jb ;
THE NIGHT CLUB FIELD AND ITS REQUIREMENTS In France and on the continent of Europe generally, a recognized branch of the art of magic has been for a very long time the giving of impromptu performances to the patrons of cafes. It is quite possible that the magician of the cafes represents the intermediate step between the itinerant street trixter and the illusionist of the stage. The field is a wide one and while its scope is necessarily restricted, as compared with stage work, many clever performers have acquired fame and fortune by working the cafes. Until quite recently this branch of the art has been almost "wholly neglected in the United States. The decline of vaudeville and the rapid rise to popularity of the cafes and night clubs have aroused the profession to its new opportunities. It does provide a lucrative field for clever performers, but the qualifications required for success in it are perhaps even more exacting than for vaudeville or stage work generally. The greatest authority on magic has said that "for success in magic three things are necessary: firstly, dexterity; secondly, dexterity; and thirdly, dexterity." In the cafe field it is more than ever required for the perfomer has to work at the closest quarters and is subject at all times to the interference, goodnatured or malicious, of his patrons. He must have, in addition, a never-failing audacity and a smiling imperturbability. He must have an inexhaustible fund of good humour, proof against all mishaps, accidental or designed. He should be able to turn every unforeseen happening to his own advantage, and above all, he must have a good address; in plain American, he must be a good mixer. At the same time he must maintain a most courteous demeanor and take care to avoid undue familiarity. In short, he must be a gentleman at all times. This list of qualifications may seem to be a rather formidable one, but these qualities can be cultivated, and even if the reader confines his endeavours in the magic art to his own family circle or that of intimate friends, their practice will help to equip him for greater success in whatever line of life he may pursue to gain his daily bread and butter, and greatly aid him in getting additional slices of cake, so acceptable to all of us. A word with regard to dress. This should be in good taste and faultless in fit and condition. Particular attention must be paid to the hands. They should be regularly manicured and kept in the best possible condition. No regulations
CLOSE-UP
MAGIC
can be laid down for the performer's patter, but all gags and jokes that are azure in color must be avoided. To sum up, the successful cafe performer will have such confidence in himself, and such a good address and appearance, that so far from there being any feeling of condescension for him on the part of his patrons, they will rather get the impression that it is through his genial good humor that they have the opportunity of seeing his feats.
CHAPTER II.
INTRODUCTORY TRICKS A vital part of the cafe performer's art is his introduction. It is not sufficient by any means to step up to a table, take a pack of cards from your pocket and baldly make the age-old request. "Please take a card." Though I have seen just that done. The reaction of most people would be antagonistic and the performer would have an added difficulty in overcoming this feeling. No one likes to feel that something is being forced upon him. The approach to the particular table selected for attack should be apparently accidental and the first feat performed should be of such a striking nature that the sitters' interest is aroused, making them wish to see more. Perhaps the best way of illustrating methods of approach and opening feats will be to describe those adopted by some of the most successful performers in this field. M. MOREAU'S OPENING. M. Moreau flourished in the cafes of Paris in the latter part of last century. He was acclaimed by hiS' magical conferes as the cleverest card artiste of his time. He confined his work to cafes and private engagements, and seldom, if ever, appeared on the stage. Hence his fame has not extended to other countries, but from reports that have come to us he was undoubtedly a marvellously clever magician. His favorite method of introducing himself was this: Entering a cafe he would quickly select a table that appeared likely to yield him the best returns, as for instance one that was well filled, at which the sitters, having just finished their meal, were relaxing for a chat. He would seat himself at a table nearby and, while waiting for his order to be filled, would take out a pack of cards and begiii building a fancy card castle. Occasionally before placing a card he would throw it in the air, making it return to his fingers, boomerang fashion. Presently, as if by accident, a card would fall on the table he had chosen for attack. Walking over to it he would apologize profusely for his clumsiness. He would then, again apologizing for the straying of his cards, abstract a number of them from the sleeve