Pages from hugard's magic monthly vol 2 by Conjuring Arts Research Center

Hugard's D E V O T E D

S O L E L Y

MAGIC

T O T H EI N T E R E S T S

VOL. II NO. 1

JUNE

O F M A G I C

1944

Monthly A N D

M A G I C I A N 15 CENTS

8 E N T PIN ON CHAIR

Ui%^

THE LAMARQUE RABBIT VANISH Thet rabbit has become indissolubly connected with the modern magician thanks to artists, especially those of the comic strip variety. When depicting a magician, they feel compelled to bring a rabbit into the picture, so before one can be accepted as a real magician, especially by children, one must be able to produce and vanish a rabbit magically. It is only fair and just that the best method of doing this at close quarters should be invented by an artist, Mr. Abril Lamarque, whose superb lightning sketch work has delighted so miry metropolitan audiences. Mr. Lamarque's method requires no complicated paraphernalia, it is simple and practical, yet the rabbit comes and goes as if by magic. EFFECT: The magician shows a

small frame and two pieces of wood which when put together make a small box. Each part is plainly seen to be unprepared, yet when they have been fitted together quite openly, the lid is taken off and a rabbit is found inside, a real rabbit, not one of the stuffed spring variety. Conversely, a rabbit having been placed in the box, this is taken apart slowly and openly, each part being shown separately, and the rabbit has vanished completely. THE APPARATUS: This consists of a frame box with a loose top and bottom, quite simply made of heavy cardboard or 3-ply wood. The outside of the box and both sides fo the lid are painted with vertical stripes camouflaging two strong threads which are attached to the center of the lid as

shown in the sketches. The lid and bottom are 18 inches square; t h e frame 14 inches square by 8 inches deep. The other ends of these threads are fastened to the crown of an old felt hat from which the brim has been cut away. This simple device makes an ideal loading compartment, being always open and ready to receive the load and, when in use, the tension of the threads draws the sides together and makes all secure. The length of the threads must be such that when the lid is turned one and a half times the load will rest at its middle, completely concealed when the lid is held upright, while the threads are invisible even at close quarters, thanks to the painted stripes. (Continued on page 56)

Hugard's MAGIC

Monthly

ROUTINE WITH A SVENGALI DECK By TOM BOWYER This is a routine I concocted quite a number of years ago, The only originality is in the manner of presentation which consists of a droll repetitive sequence that always proves effective, in fact, quite a number of magicians have asked me for it. Suppose the alternate forcing cards in your deck are aces of spades, one of them, of course, being on the top. Slip it to the bottom reversing it in so doing and them make a pass to bring this reveresed ace to a position about one-third from the top. You are ready. Riffle the deck for a person to insert his finger and have him draw out the card underneath it This card will be one of the aces and you name it after "reading his mind" then have it replaced in its original position. Slowly square the deck and say that if you wanted to find the ace quickly, you would have it turn over for you. Riffle the cards and run through them until the face-up ace appears. Turn it over and replace it in the same position allowing the spectator to get a casual glimpse of the indifferent card above the ace. Say, "But, supposing it didn't work, do you know what I would do? I'd give the pack a shuffle and a cut, then ask for any number from one to fifty-two." Riffle shuffle and cut the pack, and have someone call out a number. If it is odd, count down and show the ace there at the required number; if the number called is even, count down and show that the next card is the ace. Also show that, had the number called been one higher or one lower, different cards would have been found there. Continue, "But, supposing it didn't work, do you know what I'd do? I'd give the pack a shuffle and a cut, then ask you to name out loud any card you see as I show them like this". Riffle shuffle and cut. Hold the deck vertically on your left hand, facing some person, and let the cards fall face downwards on your hand apparently singly, though really in pairs. Have this person name one of the cards he has seen. Riffle through the deck to it and cut at that point, so that the card named will be on the face of the upper portion. Show it and then place its packet underneath the remainder of the pack. Spell aloud the name of the card he called, pushing the cards into your other hand without reversing them, one for each letter in the name. Show that the card falling on the last letter, or the next one, as the case may be, is

the ace.

Again, "But, supposing it didn't work, do you know what I'd do? I'd give the pack a shuffle and cut, then push the blade of this knife into the deck anywhere." Riffle shuffle and cut. Show a knife and ask someone where he would like you to find the ace: exactly above the blade or presicely below it? If he says above, slope the blade downwards as you push it into the deck, then show the ace on the face of the upper portion. If he says below, tilt the blade upwards as you push it into the deck and the top card of the lower portion will be the ace. Once more, "But supposing it didn't work, do you know what I'd do? I'd give the pack a shuffle and cut it into several heaps like this". Riffle shuffle and cut the deck into four piles on the table. There is an ace on the top of each pile, but you quickly show an indifferent card in each case by lifting and showing two cards as one, which is easy to do with this deck. Have someone point to any pile. Pick it up, snap the top card and show it is an ace. You say: "But, supposing you had picked this heap". Pick up another pile and place it on top of the one already in your hand. "I would just snap it in the same way and there would be the ace". Snap the new top card and show it is an ace. Continue thus with the two remaining piles. The pack is now assembled and you have just shown an ace on the top. Undercut about half the pack with your left hand and complete the cut, then show the ace on the bottom. Say, "It's a funny thing but some people get the idea that I must use more than one ace". As you say this, undercut the deck again with your left hand and hold half the pack in each hand, with the ace at the bottom of each packet facing the audience. As the laughter starts, continue, "In fact some people go so far as to say that the cards are all alike, that they are all aces". As you say this hold the pack vertically on your right hand and let the cards fall apparently singly, really in pairs, and face up on your hand, when only aces will be seen. Finally, "But, of course you know that is ridiculous. You couldn't use a pack like that because you couldn't get away with it. So I'm glad to say that the cards I use are the regular kind and, as you can see, they are all different". Cut the deck with your right hand, bringing an indifferent card to the bottom. Then riffle shuffle and show the cards all different again.

Hugard's MAGIC Monthly A monthly publication devoted solely to the interests of magic and magicians.

THE RICE BOWLS ROGER BARKANN It has been well said that "a trick stripped of its patter sinks to the level of a mere curiosity". It is the presentation, the plausible plot supplied by the patter of the magician, that lifts a mere trick to the level of magic. Here is a fine illustration of this basic principle kindly sent to me by Mr. Roger Barkann. He writes: "Let's take the time-honored and also time-worn Chinese rice bowls. Let us lay our scene in the China of today. The Japanese hordes have moved in and ravaged the land. Every bit of food is stolen to feed their armies. Yet the Chinese continue to live on. Why? Because a local mystic had a magic bowl and a handful of priceless, treasured rice. Then go through the usual routine of production and multiplication. The overflow onto the tray'is the small amount he saves after feeding the people, the basis for tomorrow's meals. Eventually the old man is captured by the Japs and they take his magic bowl with them. Now they think they will no longer need huge supply trains to feed their armies. But when the time comes to produce the abundance of rice, all that the Japs get is water. So their General commits hara-kiri'.

IMPROMPTU DAUB GERALD L. KAUFMAN On occasions when you are without your regular daub, cut two pieces of blotting paper about one inch by two. Smear one side of each with a generous application of black or red pencil dust and rub it well in. Place one piece in your right vest pocket, the other in the left, prepared side inwards. To secure the daub, simply place your thumbs in your vest pockets as you relax momentarily, either sitting or standing, and "load" the ball of whichever thumb you are going to use. When not in use, carry the papers in a vest pocket the smeared sides face to face.

Hugard's MAGIC Monthly

MAGNETIC FISHERMAN

PRODUCING A ROPE

By A. HELLER The Card Board Lover Effect: A spectator freely selects any card from any deck, notes it and replaces it, the deck being then thoroughly shuffled. The magician lays out the cards face downwards, and, showing a magnet, he announces that it will infallibly discover and adhere to the chosen card and that card only. He touches the backs of a number of the cards with the magnet without result but, finally, one card adheres to it and is lifted horizontally off the table. The spectator names his card and the one levitated is found to be that very card. Working: A simple gimmick is used — a steel penny which you have in your right trousers pocket with the magnet. Using preferably a borrowed deck, you have a card freely selected, noted, returned to the pack and you control it to the top by your favorite method. Proceed to place it at a certain number, say seventh, from the top by undercutting half the cards, running six cards, injogging the next and shuffling off. Form a break at the in jog, shuffle to the break and throw the remainder on top. Take the magnet from your pocket and at the same time secure the steel penny in a finger grip between the top joints of your first and second fingers. Apply the magnet to the top card of the pack and show that, naturally, it has no effect on the card. Give the magnet to the spectator to examine and proceed to lay out a number of the cards face downwards on the table but, on arriving at the seventh, slip the penny underneath it. Continue laying out cards until you have some fifteen or more scattered on the table. Take back the magnet, have the spectator touch the poles with the fingers with which he drew his card and then apply the magnet to the back of each card in turn without result until, arriving at the selected card, it will be lifted horizontally. Hold it in this position a few inches above the table and have the spectator name the card he chose. Then remove the card from the magnet by seizing it with the left thumb on the back, left fingers on the face, slide the penny off into your left hand with your second and third fingers and throw the card face upwards onto the table. Take the magnet in your left hand and put it in your left trousers pocket, at the same time dropping the penny in this safe hiding place.

by GEORGE ENGEL Suppose you have done several card tricks and you manage to provoke the query, "Can you do tricks with anything else?" This is easy enough to lead up to and you reply, "Well, if I had a piece of rope I could show you something interesting". "How long a piece?" inquires your host, "oh, about this length", you say and stretching your arms wide apart a rope materializes between your hands. The effect is good and altogether disproportionate to the simplicity of the means employed. Roll up the rope, four or five feet long, just as you would a silk, leaving the inner end of the coil protruding about an inch and tucking the outside end out of harm's way. You can have this tucked under your vest and at the right moment steal it with your left hand, bring your hands together in front of you, seize the inner end of the coil with your right hand and rapidly spread your arms to full stretch.

SPECIAL NOTICE VOLUME I, complete with Reference Index sent flat. While they last: #1.50. JEAN HUGARD 2634 East 19th Street, Brooklyn 29, N. Y.

Testimonial Show P l a z a Theater Applying th audience popularity

SILKS When roping a silk preparatory to doing flourishes, false knots, etc., take it by two diagonal corners and, holding your left hand stationary, twirl your right hand several times in an outward rotary motion, then pull the silk taut. Relax the tension, twirl the right hand and again pull the silk taut. Do not twirl the silk with both hands skipping rope fashion — a very common error. When displaying a silk, never whirl it about as if you were cracking a whip; always use rather slow and graceful motions.

3-2-1 Here is a fine example of the way in which a simple principle can be built up into an intriguing mystery. Required: are three dice, a shaker and the secret. Effect: Let us assume that you are dealing with four spectators, A, B, C, D; you hand the shaker and dice to A and turn your back. Instruct him 1st, to throw the three dice and note the total of the spots. Suppose he throws three sixes — total 18. 2nd, to lift any two dice, turn them over and add the bottom spots to the first total; in this case he would add 1 and 1, to 18 -total 20. 3rd, to throw these two dice and again add the result. Suppose he gets two fives, total 10; he adds 10 to 20, total 30. 4th, to pick up one die, turn it over and add the bottom spots; say he picks up the remaining six and therefore adds 1 to 30 - total 31. 5th, to throw this single die and add the result; suppose 4 turned up, 31 plus 4 - 35. This final number is the one he is to remember. Proceed in exactly the same way with B, C and D and we will assume that they arrive at 30, 36 and 38 respectively. In each case you arrive at the correct number in your best mind reading manner. The secret; After A's throw with the single die, you turn around, pick up the dice, drop them in the shaker and hand all to B, but you have instantly

A di-abolical deception by GEORGE G. KAPLAN noted the total of all the spots showing, in this case 5 5 4 - total 14. To this you add, mentally, 21 and you get A's number 35, which you memorize, and proceed with B, C and D in exactly the same way. To simply announce the numbers would be bald and unconvincing, so you proceed somewhat after this fashion, after asking your victims to concentrate on their numbers: "I get the impression of the figure 8. Is anyone thinking of 8? You, sir? That is the last digit in your number and the !irst is a . . . 3 . . 38, is that right? Thank you." Addressing A, you continue, "You are thinking of a 6. No? Wait a moment. With three lines of thought coming together it is hard to locate the source of each. The wires evidently got crossed." Turn to C, " You are the one thinking of a 6 and your number was 36. Right? Thanks." Then you name A's number after hesitating, making a mistake and correcting yourself and finally name the last number quickly and confidently, explaining that with only one beam to follow there is no confusion. With the help of mnemonic system you can increase the number of spectators at will but under ordinary circumstances four or five will be found to give a very satisfactory reaction.

Hugmrd'* MAGIC Monthly THE LAMAKQUE RABBIT VANISH (Continued from page 53) PREPARATION: Set the frame on your table with the lid lying flat beside it, the threads having been given one turn around it so that the load hangs at the rear as in Fig. 1, and on the lid place the bottom piece; put a chair on the right of the table. WORKING: Begin by picking up the bottom piece, hold it with both hands and turn it over and over outwards showing both sides and proving it to be absolutely unprepared. Lift the frame with one hand and lay the bottom flat on the table. Show all parts of the frame, thrusting your arm through it, tapping the sides, and so on, and set it on the bottom. Pick up the lid by the sides with both hands and turn it towards you as in Fig. 2, bringing it upright, and then move it forward so that the load is lifted directly behind the box as in Fig. 3. Next turn the lid over forwards in order to show the other side, at the same time winding the threads around the lid and drawing the load to the middle of the side next to your body. A trial will show that this lifting of the load can be done invisibly to the spectators by keeping the forward edge well down in making the turn, Figs. 4, 5. Next bring the lower edge of the lid against the top of the front of the frame, slide the lid forwards and bring it to rest on the table and against the frame, Fig. 6. The loading device has thus

been brought into the middle of the box unknown to the audience. Take the rabbit, show it, drop it into the gimmick, take the lid, grasping it by the sides with both hands, turn it towards you, thus again showing both sides and lay it on top of the frame. Make your magic incantations, pick up the lid as before and give it one complete turn towards the spectators, thus w i n d i n g up the threads, Fig. 8, again showing both sides. Turn it once more in the same direction, lifting the load out of the box and up to the middle of the back. Grasp the lid by the middle of the top edge with your right hand and carry it upright to the chair on which you place it as in Fig. 9. These actions of showing the lid and placing it on the chair are the critical part of the trick. They should be done casually as if merely to prove unmistakably that the lid is just a plain piece of wood. Next slide the bottom from under the frame, show it in exactly the same way as you did the lid and set it against the lid on the chair, but, in doing so, contrive to turn it edgewise momentarily. Finally pick up the frame and turn it to show all parts, thus proving the complete dematerialization of the rabbit. If desired, you may carry the deception still farther. Lay the frame aside and take the cloth off the table by bunching up the part that overlaps at the back as if grasping some object with it, then bundle the front part of the cloth against this and make as if to place the cloth on

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the chair. Do this looking at your hands and with a selfconscious air. Well done, this action will probably draw some Ohs! and Ahs! from the audience, so you stop and, after a momentary hesitation, seize the cloth by two corners and shake it out, showing both sides, then lay it over the box parts on the chair. Finally you may have a rabbit's foot attached to the frame of your table so that an inch or two of it can be seen when the cloth is removed. The audience will see this when you move away from the front of the table to lay the cloth on the chair and again there will be snickers from the knowing ones. However, you remark with a smile that you always carry a rabbit's foot for luck, pull it off and pocket it. Then lift the table and show all parts of it. Once the principle of the turning of the lid is understood and the handling mastered, it will be perfectly obvious how the moves must be applied to use the box for a production. Some operators may prefer to use a servante behind a chair for concealing the gimmick, with or without a load, as in Fig. 10, or to place the lid and bottom on another draped table, as in Fig. 11, or again, instead of placing the parts of the box on a chair, they may be handed to an assistant. Any of these variations will be found satisfactory provided that the turning of the lid has been done gracefully and deliberately without any indication of the fact that something is being hidden behind it.

Dealers must submit trick or book with copy, to Jean Hugard, for approval. All material returned post paid. Minimum, 3 lines, J1.00.

ENDORSED DEALERS OFFERINGS

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WE STRONGLY RECOMMEND THESE GREAT BOOKS BY JEAN HUGARD, all cloth bound: Encyclopedia of Card Tricks, 402 pp., $5.00; Annual of 1937, 141 pp., $1.50; Annual of 1938-1939, 137 pp., $1.50; Modern Magic Manual, 345 pp., $3.50; Expert Card Technique, 474 pp., $5.00. FLEMING BOOK COMPANY Berkley Heights, N. J.

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DO YOU MENTION HUGARD'S MAGIC MONTHLY WHEN WRITING TO ADVERTISERS?

Hugard's D E V O T E D VOL. II

S O L E L Y

MAGIC Monthly T O

NO. 2

T H E

I N T E R E S T S J U L Y

O F

M A G I C

A N D

M A G I C I A N S 15 C E N T S

1 9 4 4

THE ORACLE SPEAKS So far as my experience goes, this slate writing effect far surpasses all others for apparent fairness, ease of working, audience reaction and comedy. It creates so great an impression of genuineness that spectators are forced to remember it and discuss it afterwards. I give my complete routine, but the method of working the slates and the flap can readily be adapted to different effects. Requirements: Three slates of the same size, one flap to fit them, piece of chalk, a change box, about 200 number tags and the Thayer Oracle Numbered Question Booklet. This little book has about eight hundred questions, all numbered and all seemingly different, covering the questions most likely to be asked of a spirit medium. The change box I have devised is made of two card boxes, glued bottom to bottom, a rubber band being used to keep the lids on. Each box will hold one hundred number tags easily. Preparation: Look through the Oracle Book and select any question you please for the first test and number one hundred of the tags accordingly. For the second question use the one which asks, "Do married folks live longer than single ones?" and write the number of that question on the second hundred tags. Place one set in each box and mark the lids so that you know which is which. To prepare the writing on the slates use white ink with large letters, one slate with the answer to the first question, the other with this answer to the second question, "No, it only seems longer". To set the slates for working the trick, place the third unprepared slate on the table, on this the second message slate, writing upwards, on this the second, prepared slate, with the answer to the first question, also written side upwards, and then cover this written side with the flap. Have this stack of slates on your table together with the piece of chalk, the change box and the Oracle Book. Working: After announcing that you will use several slates, pick up the stack, hold it on your left fore-

THE R-MJ AMI foil S?ECtAL

This issue is a tribute to the genius of Mr. R. M. Jamison, the well known magician of Trinidad. Colorado, the contents, in toto, having been contributed by him. Mr. Jamison modestly refers to himself as a small town magician, but his true caliber as a wielder of the magic wand has long been attested by the fine contributions he has made to magic through the pages of the magical journals. He is a true lover of our fascinating art. and with a view to its continual growth and improvement, never hesitates to pass on to his fellow magicians the fine discoveries that he makes. Many, many magicians have benejitted by Mr. Jamison's pure unselfishness, and it is to be hoped that thereby many will be induced to follow in his footsteps and contribute their bit, if only a mite, to the elevation of ow beloved art.

TTT /rm and take up the chalk. Say that you will number the slates, and remove the top slate. Show its flap side blank, turn it over onto the stack and on the blank, unprepared side, write a large figure 1. The flap will fall onto the second slate, covering its message and you at once remove the first slate, placing it erect, on your table against some object already there, with its numbered side towards the spectators. Carry through exactly the same moves with the second

slate and number its blank side with a large figure 2, then place it also upright on your table, beside the first slate. The flap will now lie on the upper side of the third slate and you proceed as if you were about to mark this with the figure 3, but you change your mind, saying, "After all, perhaps two slates will be enough." Lay this slate aside after having casually shown both sides to be blank. Could there be a more natural, unsuspicious way of getting rid of the flap? Call attention to the fact that the slates remain in full view, that no one touches or even goes near them, then pick up the Oracle book and the change box. Explain that the box holds tags numbered in accordance with the questions in the Oracle Book, from 1 to 800. Remove the rubber band, pick out several tags, read them as having different numbers, say 58, 43, 732 and so on, and drop them in again. Replace the lid, give the box a vigorous shake, remove the lid and hold the box towards a spectator, a little above his eye level, and have him take out one tag. Replace the lid and, while shaking it again, seize the opportunity of turning the box over, as all attention is directed to the drawee and he is reading aloud the number on the tag he has chosen. In order to get the utmost out of the s e c o n d question and answer choose a young unmarried girl to pick out the second tag. As she calls the number aloud, replace the lid on the box, put the rubber band around it and toss it carelessly onto your table. Next hand the Oracle Book to the first drawee, have the number corresponding to the chosen tag found and the question it denotes read out aloud. Turn the slate marked with the figure 1 and show the answer that the spirits have written on it. Next have the young lady read aloud the question in the book which is opposite to her c h o s e n number. When she has done so, you remark, (Continued on page 58)

Hugard's MAGIC Monthly

THE SMALL TIME MAGICIAN I have long been waiting for someone to sound the praises of the magicians of the small towns. Here are performers who rarely, if ever, have an opportunity of seeing the big shotsâ&#x20AC;&#x201D;so calledâ&#x20AC;&#x201D;in magic and who have to work over and over again before the same people, practically. To hold his own the small town magician simply has to be good and to constantly improve the presentation of his tricks. To aid him in doing this, he takes every opportunity after his performance of mingling with the spectators, to get their reactions, their criticisms, find out what errors have been made, what particular tricks they like best and so on. In this way, if he has the right approach, he obtains a body of information by means of which he can correct any defects in his routines and avoid many errors so quickly detected by the looker on. Thus he develops a finer sense of misdirection through being compelled to work close to his audiences, for he very seldom has the stage advantage of distance. This advantage is particularly marked in such tricks as the linking rings. Through having to work this trick

continually at the closest quarters, I have developed a routine which I can do with perfect success under the very noses of the spectators, so to speak, and it is the same with m a n y other varied routines and sleights. On the other hand, the big shot, the stage magician, who never has to work at close quarters, never has the advantage of these "after the show" comments. In too many cases he goes through his magical life doing many things that everyone sees through, making awkward and unnecessary movements and so on, but serenely under the impression that he is magic personified. He has never been compelled to study the finer points of the art as has the small town magician. He looks on his magic work merely as a means of making money and pays no attention to the artistic workmanship that our beautiful art deserves. Magic would be on a higher plane today if every professional magician was compelled to go through a course of training under conditions which the small town magician faces every time he performs.

THE TURN OVER CARD CONTROL To my mind it is downright criminal that this illusive and convincing handling of a deck in controlling a card or cards is now so rarely used. If you could see the other fellow use it, it is a safe bet that you would wager your shirt that any card control would be impossible. With the card or cards to be controlled on the top of the deck, hold the deck in your left hand, undercut about half the cards with your right hand and overhand shuffle them onto the other packet, holding a break above the original top card with the tip of your left little finger. Square the pack, retaining the break, and place your right hand, palm upwards, fingers stretched out, near your left hand. With the help of your left little finger, lever up and turn over the cards above the break onto the right fingers so that they fall onto them face upwards. Next close the right fingers and turn this packet over again onto the right palm so that it falls face downwards. Stretch out the right fingers once more. With the left hand tum the remaining packet face upwards onto the right fingers, close the fingers again and so turn this packet face downwards on top of the packet already

FINGER. gREAK)

r1^^ iâ&#x20AC;&#x201D;

Hu-gardenias to JOHN McARDLE for the immense amount of unselfish, most efficient work done by him in providing such fine shows during the past season and for the culminating, big show of 1944, voted by magicians a n d laymen alike as one of the best entertainments they have ever attended.

CHINESE PRAYER VASE With the exception of the individual who examines the vase, I have found that audiences generally believe that the vase is tricked inside, the preparation being hidden by the paint job, thus the full effect of the trick is lost. This is how I have adapted the trick: after my version of the half dollar in the soda pop bottle, I continue with the rope effect, and having secretly inserted a transparent celluloid ball, I use a short piece of rope with painted ends, one being red, the other green. My patter theme is: the invisible spirit within the bottle pays no attention to the green end of the rope but the red end simply sends him berserk, the way he takes hold. The only way to quieten him is to pet the bottom of the bottle. Thus the rope s released, the pellet falls into my h^nd and both bottle and rop? are landed for examination. In this way the nudienc? find the trick most intriguing, nay startling.

V-*

THE ORACLE SPEAKS

on the right palm. Square the pack and the controlled cards are again on the top. The moves are quite illusive, the eyes of the spectators being confused by the changing positions of the packets as they are turned over and by the glimpses he gets of the face cards of each packet.

(Continued from page 57) "My! My! The young lady certainly wants information about the future!" Turn the second slate and show the answer which never fails to get a big laugh. As I say elsewhere, I make it a point whenever possible to get the reactions and the opinions of spectators afterwards and I have found that the effect obtained from this working of the slate trick beats anything else I have ever done. Beginning next issue, there will be two special features devoted to card and coin magic. Both subjects will be treated exhaustively from the basic elements to the most advanced methods. The magazine will be enlarged to 6 pages without extra charge to present subscribers.

Hugard'a MAGIC 'Monthly

JUMBO FOUR ACE ROUTINE (Editor's note: The ace trick with double faced cards, explained in volume I, #11, has brought in many requests for a version employing Jumbo cards. Mr. Jamison's fine routine supplies the answer. With regard to the original version with ordinary cards, so many worthwhile variations in the working have been sent in by kindly correspondents that I propose to publish them in an early number.) Without a doubt the following combination version of the four ace trick with Jumbo cards is one of the most startling that can be offered. It is baffling in the extreme to the layman and highly puzzling to the magician owing to the fact that the first part is almost unknown, and to the subtle inclusion of the faked aces in the second part. Requirements: An easel with tour partitions to take Jumbo cards, three double faced Jumbo aces, ace of hearts, ace of clubs and ace of diamonds, and some twenty Jumbo cards including the four regular aces. It is not necessary to use the whole Jumbo deck since that would make the handling of the trick more difficult without any gain in the effect. Preparation: Lay the ace of spades on the table face downwards, on it the other three regular aces, on these three indifferent cards and next the three double faced aces, the ace sides downwards. On this packet of ten cards place the rest of the indifferent Jumbo cards, also face downwards. Working: 1. Hold the pack face outwards and spread the four aces at the face calling attention to them. At the same time secretly insert the tip of the left little finger under the next three care's 2. Square the aces with the pack and remove them together with the three cards above the left little finger, at the same moment turning the pack face downwards so that no glimpse is given of the first fake ace which will now be at the face of the deck. Place the deck on the table face downwards. 3. Place the packet of seven cards, supposed to be four only, in the partition at the far end of the easel, face outwards. Remove the ace at the face of the packet and put it in the next partition and the next two aces in the same way in the other two vacant partitions, then call attention to the fact that here is a single ace in each partition. Replace the three aces, one at a time, on the end ace, which has of course, three indifferent cards behind it. 4. Remove the packet of seven cards, turn it arcr.nrl nn-J replace it, back outwards, in the same partition. From it remove threo cards, one by one, backs outwards, and place them in

the three other partitions. These three cards are the three indifferent cards but the spectators wiJ be convinced that they are aces. Take the packet of four aces in the end partition, as one card, and turn it face outwards showing the ace of spades. 5. State that you will use 13 cards only, the four cards on the easel, pointing to them, and 9 cards from the pack, by placing three cards on each of the face-down aces. Pick up the pack and, holding it face down, apparently count off three cards each time but, in reality, you make a false count and place two cards only on each of the face down cards. 6. Lay the rest of the pack on the table face downwards. Now remove each of the face-down packets in turn, placing them face downwards in your left hand, saying, " Three odd cards and one ace, the same here, and here. Twelve caids in all anj the ace of spades (pointing to it) makes 13 cards as I said. Thirteen is supposed to be an unlucky number, but in this case it is the number 13 that makes my trick work. I shall send the three aces from my hand to jo;n the ace of spades and that without touching it or even going near it. Watch! Go!" Riffle the packet loudly and immediately spread it widely face outwards, showing the cards plainly. The aces have vanished. Count the cards slowly and openly, proving that there are nine cards only. Put this packet face downwards on the rest of the deck and then take off the ace of spades, put it in another partition, the next in another, the same with the third, thus showing all four aces. This is the climax to the first phase of the trick and as you smilingly acknowledge the plaudits it w:ll receive, take the pack from the table in your left hand without exposing the fake ace at the bottom, end gather the aces from the easel with your right hand, keeping the ace of spades at the face of the four. Apparently place this packet onto the faca o' the deck in your left hand, really slide the ace of spades to the face and the other three to the back of the deck. In other words, you slide the pack between the ace of spades and the other three aces and lay the pack down face upwards. Starting the second ph^sT of the trick, you continue, "It is a popular fallacy that the quickness of the hand deceives the eye and I would like to take this opportunity of proving that to you. I will repeat the trick so that you will know exactly what I am doing and if you see any quick or suspicious move you are at liberty to stop me instantly. Watch closely." (Continued on page 60)

Hugard's MAGIC Monthly A monthly publication devoted solely to the interests of magic and magicians.

THUMB WRITER TELEPATHY Though probably similar to other demonstrations of the kind, I have found this angle to make a highly impressive demonstration, especially at luncheon club work. To prevent any thought of collusion the performer announces that he will have a member of the audience, selected by the audience, leave the room, taking a phone book and pencil with him; he is then to open the book at random and from the several numbers covered by his thumb, select one, mark a circle around it with the pencil and then concentrate. A spectator having been selected to perform these operations and having left the room, you take a card and a pencil and simulating deep concentration, you pretend to have received a telepathic impression and you make the motions of writing on the card and then lay the pencil down. The spectator is recalled and you ask him to announce his chosen number, whereupon you look at your card with a pleased expression as if the influence had worked correctly. But before you give out the card, have several other spectators verify the encircled number in the phone book. Thus you have ample time to write the number on the card with your handy gimmick, a t h u m b writer. This telepathic angle always gets over more strongly than any prediction angle. Telepathy is in the air at present and is accepted as possible by most people, whereas if you pose as a prophet, the audience knows that is pure bunkum since if you had such powers you would be making a mint of money in the stock market or elsewhere instead of working hard for a living. SPECIAL NOTICE W)LUME I. complete with Reference Index, sent flat. While they last: $1.50 JEAN HUGARD 2634 E. 19th Street, Brooklyn 29, N. Y

Hugard't MAGIC Monthly

JUMBO FOUR ACE ROUTINE (Continued from page 59) Take the pack face upwards, deliberately take off the ace of spades and put it in the end partition, face outwards, then the other three (faked) aces, one by one, in the same way. Turn the pack back upwards and place three cards, one by one, face downwards on the face-up ace of spades (these are the three regular aces, be careful not to allow a glimpse of their faces). Continue in the same deliberate tempo to place three cards, face downwards, on each of the other three face-out aces (the faked aces). 2. Continue, "I warn you that it is now that I shall work the magic and deceive you. Watch closely." Deliberately take off the first packet of three cards and a faked ace. Take the top face-down card, turn it face outwards and put it at the back of the packet. Turn the next card face upwards and replace it on the packet, then replace the packet in its partition, reversing it in the process. Do exactly the same with the other two packets of three cards and faked aces, but with the last packet, the ace of spades packet, simply move the ace of spades from the back of the packet to the front, leaving it face outwards. 3. Saying that you will remove the three indifferent cards from each of

three aces, take the outermost card from the first partition. Turn it to show its face, then take the next two face-up cards, thus leaving a facedown card in the partition, which must apparently be the ace, in reality you have removed the fake ace with its spot side showing. Repeat the same operation with the next two packets, and lay the nine removed cards aside. It only remains now to order the transposition of the three (supposed) aces with the three cards at the back of the ace of spades. Give the order, then deliberately take the first of the three single cards by its upper end, turn it around, showing it to be an indifferent card and drop it on the table, thus indirectly proving that it is a single unprepared card. Do the same with the other two. Finally take off the face-out acs of spades and turn the other three cards, one by one, and show all four aoes spread fanwise. In spite of the necessarily lengthy explanation, the whole routine takes only about three minutes. If you have any difficulty in getting a good grade of Jumbo faked aces, just use two regular cards pasted back to back after-drying them under pressure. The extra thickness will not interfere with the success of the trick.

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DOUBLE BACK CARD FORCE The card force explained in Dr. Grote's fine trick in the February issue is undoubtedly one of the cleanest, fairest and most convincing ever evolved! It is so good that I have devised the following method of using it to force a second card. The settingup of the second force card can be done in a split second in a way that cannot be detected by the sharpest eye. All you have to do is to place the second force card, say the jack of spades, third in the deck at the start, face down with the rest of the deck; the first force card is, of course, face upwards above it and the double backed card is on the top. When the C9rds have been spread out and the first force card removed, you will notice that the jack of spades is the bottom card of the face-up portion. T vVith your left hand hold the facedown portion of the pack steady on the table, with your thumb on the double backed card, then as your right hand slides the face-up portion together, slip the jack under the double faced card, square the face-up portion and place it at the bottom of the other packet. Square the pack and you are ready to make your second force.

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MAGIC INSTRUCTION SPECIAL INSTRUCTION in Advanced Magic JACK MILLER Sole management, Bob Novak 51 West Central Blvd., Palisades Park, N. J. SEALED MYSTERIES OF POCKET MAGIC An up to date routine, done anywhere and any time with every appearance of absolute impromptu. Second edition $1.50 Your dealer or Jean Hugard, 2634 E. 19 St. Brooklyn 29, N. Y. MIRACLE M E T H O D S An unequalled course in Card Magic. Vol. 1 The Stripper Deck really explained #1.00 Vol. 2. New Light on Shuffles and Tricks 2.00 Vol. 3. Tricks with Faked Cards 1.50 Vol. 4. New Tricks and Sleights 1.00 "A study of these volumes will enable any card man to hold his own in the fastest company." Your dealer or Jean Hugard, 2634 East 19th Street. Brooklyn 29, N. Y.

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Hugard's D E V O T E D VOI

S O L E L Y

MAGIC

T O

T H EI N T E R E S T S AUGUST

II NO. 3

THREE

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M A G I C

Monthly A

1944

M A G I C I A N S 20 CENTS

ONE

Routine and Improvement by PAUL MORRIS In the book "You'd Be Surprised" by Goodrum and Parish, there is a fine effect with a match, a coin and a thimble. With the permission of Major John Goodrum, now in England, and the valuable assistance of Leon Maguire, I have arranged a routine leading up to the effect, which will, I think, be valuable to the closeup worker. Requirements: Two paper matches, one plain, the other with a head at each end made by glueing a second head onto the plain end; duplicate thimbles, one ordinary, the other prepared with a cork glued into it in such a way that the bottom of the cork comes within about an eighth of an inch of the mouth of the thimble. The exact length of the cork can be gauged thus â&#x20AC;&#x201D; when a dab of wax is placed on the bottom of the cork and the thimble is placed over a match head, this object should adhere to the wax and be carried away, yet allow the mouth of the thimble to rest flat, without wobbling, when set on the table. Preparation: Place the two matches in a bobby pin at the bottom of your coat on the left side; in your left sleeve place a half dollar, in your right sleeve the unprepared thimble, and in your right trousers pocket the prepared thimble together with a penny. Working: Face the audience, reach into the air towards the left with your left hand and pretend to pluck a small object from the air, at the same time drop your right arm and let the thimble fall into the hand from your sleeve. Receive it in the half bent fingers and bring the hand upwards in that condition to receive the object which the left hand pretends to place in it, then close the fingers on it. Extend the left forefinger, closing the others into the palm, push this finger into the right fist between the thumb and forefinger, insert its tip into the thimble and withdraw the finger thus capped, at the same time opening the right hand palm outwards. Display the thimble, work one or

iwo simple sleights with it, finally recovering it on the tip of the right forefinger, the right arm extended towards the right, at the same time dropping the left arm to your side and thus receiving the sleeved coin in the left hand. Bring the left hand upwards, the coin hidden in the bend of the fingers and make the motions of placing the thimble in that hand, really palming it and closing the hand on the coin. Reach into your right coat pocket for a pinch of metamorphosing powder, drop the thimble there and bring the hand out with the thumb and fingers bunched. Pretend to sprinkle the powder on the left fist, then open it and show the coin. Display the coin in your right hand and do the steeple chase flourish, if you can, drawing all eyes to your right hand as you steal the two matches with your left hand. Let them lie at the base of your slightly curled fingers as you bring the left hand upwards to receive the coin which you apparently put in it with your right hand. In reality you palm the coin in your right hand, close the left hand and raise it towards the left, working the fingers by rubbing the tips on the palm. A moment or two later open the left hand and show the matches taking the opportunity to sleeve the coin in raising the right hand to point at them. Hold the left fingers curved so that the second head of the twoheader cannot be seen. With the right thumb and forefinger pick up the two matches as shown in the figure, the second head of the prepared match being uppermost and hidden. Pretend to take both matches with the left hand which you close

around them and then move away towards the left. Really, you take only the uppermost match, the tricked one, and steal the other by closing the right second, third and fourth fingers over it. Gaze at your left hand and work the fingers as before, meantime dropping the right hand to the side so that the sleeved coin falls into your cupped fingers. Then reach into your right coat pocket for more powder and drop the match and the coin there. Pretend to sprinkle your left fist, open it enough to enable you to remove the faked match, taking it by the real head, then display your left hand empty. Borrow a half dollar and invite the owner to come forward to help you. Have him place the coin on the table, or, in the absence of a table, on the floor. Break off the faked match head and put it on the coin. Place the match on the spectator's open right palm, with your left hand close his fingers over it before you release it from your thumb and forefinger, and then turn his hand back uppermost. Reach into your right trousers pocket for your penny and at the same time finger palm the tricked thimble. Place the penny on the back of the spectator's fist, thus preventing him from making an untimely investigation of its contents, then reach out into the air and produce the thimble. Place this over the match head on the half dollar. Review what has been done, announce that the broken head will return magically to the match in the spectator's hand, and pronounce the magic formula. With your right hand lift the thimble, the match head has vanished! With the same hand remove the penny from the spectator's fist, invite him to turn his hand over and open it and, as the whole match is revealed, drop the penny and the prepared thimble into your right coat pocket and secure the unprepared thimble. Place this thimble and the borrowed half dollar alongside the match on the spectator's palm and make him a present of the whole lot. An inexpensive gift (thimbles are two for a nickel at the dime stores.)

Hugard's MAGIC Monthly

COIN MAGIC Coins have this great advantage over all other objects that are used for magic tricks — they are always available. Sometimes there are situations in which playing cards cannot be obtained, but it is hard to imagine one with a total absence of coins. It behooves everyone, therefore, who is interested* in practical magic to acquire a certain dexterity in the handling of coins, but it is passing strange that this branch of the art is so widely neglected. There is an unfortunate trend among those who dabble in magic, and even amongst those who rate themselves as magicians, to avoid anything that requires a little study and practice and to rely on tricks that work themselves, tricks "that can be done five minutes after you get them", as we see advertised so often. Coin tricks that are worth doing cannot be done without some study and some practice, but, here again, coin magic has a great advantage over other branches of the art — the necessary dexterity can be acquired in an easy, almost effortless manner. The essential basis of coin magic is the faculty of holding a coin secretly in the palm of the hand, that is to say, of "palming" it. It is quite possible that one of our antediluvian ancestors, while playing a game seated around the fire with other members of the tribe in their cave, discovered that he could hold secretly in his hand one of the little white pebbles used as counters. With this advantage he soon became the "big man" of the tribe. The secret passed on to his family, became the foundation on which the whole structure of the art of magic was reared. A far-fetched theory, you say, but it is a fact that today little round white pebbles are found in many prehistoric cave dwellings and burial grounds. It is also a fact that the magicians of every country, from the Hindus to the Chinese, from the ' Red Indians of America to the aborigines of Australia, make palming the basis of their mysteries. However, to resume: I have said that palming can be learned in an easy, painless way; you have merely to acquire the habit of holding a coin in the palm of your hand at odd times during the day, when traveling in the subway, while reading, while listening to the radio, or while eating. With a little perseverance palming a coin will become as easy as habit and you will soon find that you can use your hands with perfect freedom without arousing the least suspicion that you are holding a coin secretly in either hand. In this day and date it may seem 62

strange to an expert that I should insist so strongly on palming, but I feel that it is necessary. I have seen in some modern textbooks of magic, page after page given over to various ways in which a coin can be held in different positions between the fingers, both at the front and back of the hand, while the one esential method of palming, i.e., in the palm of the hand, is dismissed with a casual mention and branded as old-fashioned. A moment's thought will prove that this old-fashioned method of concealing a coin, or any other small object, is the only one which permits the hand to be used in a perfectly natural manner and it is on the basis of natural actions that the art of deception rests. Once you can hold a coin securely in the palm of the hand, the next thing is to learn how to place it there. Not at all a difficult operation, it requires a little practice, that's all. To do it, take a coin between the tips of the thumb and two middle fingers, holding it flat and with the hand palm upwards, the natural way to show a coin. Turn the hand over keeping the fingers bent, move the thumb tip to the tip of the first finger and bend the two middle fingers carrying the coin upwards against the palm, press it there firmly, make the slight contraction of the hand necessary to retain it there and immediately move the fingers back to their original position, placing the thumb tip against them as if you held the coin still in that position. The business of resting the thumb tip on the tip of the first finger while the middle fingers bend upwards is necessary to prevent it from moving upwards and so telegraphing that there is dirty work going on at the crossroads. This action of the thumb is automatic and must be overcome. Again, this sleight can be acquired almost unconsciously by practicing it at odd times, there is no necessity for laborious work before a mirror, a vision always conjured up when the acquisition of sleight of hand is mentioned. Finally, you must learn to press the coin into the palm of the hand, as explained above, while pretending to place it in the other hand. For example, you show a coin in the right hand between the tips of the thumb and middle fingers, the arm half bent towards the right; move this hand towards your open left hand, turning it over and in its course pressing the coin into its palm, then press the tips of the thumb and fingers onto the palm of the left hand, at the same time pushing the left hand downwards an inch or two and simulta-

neously closing the left fingers, apparently on the coin. Move the left hand away towards the left in an upward diagonal direction and at once begin moving the tips of the closed left fingers as if crumbling the coin to nothing. Point to the left hand with the right forefinger, keeping the right hand motionless for some moments, and follow the left hand with your eyes until it is a little above shoulder height, then look at your audience as you drop your right hand casually to your side. Finally, to show that the coin has vanished, hold the left hand with its palm to the front and open the fingers in succession, beginning with the little finger. It is an excellent plan to place the coin in the left hand really, remove it under some pretext, then repeat the action but this time palm the coin. When you can detect no difference in the two actions in your mirror reflection, then you have the open sesame to the best coin tricks extant. The trick that follows calls for palming only and it has a very pretty effect. It affords a fine object lesson in the three essentials of real magic, sleight of hand, misdirection and presentation. * *

•

THE MELTING COIN The illusion to be obtained is this: A borrowed half dollar is first made pliable by animal magnetism, melted in the flame of a match, produced from the air alight, and then passed into the flame as it melts; it is taken out in a molten condition and restored to its original state. Requirements: Several large wooden matches and a lighted match gimmick; ability to palm a coin. Place the gimmick under the lapel on the right side. If this gimmick is not available, have several of the matches in a vest pocket. Working and Presentation: Introduce the trick by saying something to this effect — "I would like to show you a curious scientific experiment with metal. Will someone lend me a half dollar? Don't be afraid. I nearly always return any money I borrow. Thanks." Take the coin and handle it very openly, allowing all to see plainly that your hands are otherwise empty. Continue, "Silver, you know, melts at about 1,000 degrees centigrade but when it has certain alloys mixed with it, as is the case with our silver coins, I have found that the application of animal magnetism will cause it to melt in the flame of a candle. Let me show you." "First to magnetize it." Really place the coin in the left hand with the same action as when you palm it and immediately begin to move the tips of