Two Divisions of Magic

Ancient vs. Modern Magic

The Romans Versed in Conjuring

Sleight of Hand in the Middle Ages Forerunners of the Modern School

Modern School of Legerdemain

POWER OF SUGGESTION

The Power of Suggestion as It Works on

Yourself

THE POWER THAT SUGGESTION HAS OVER YOU IN MAGIC

YOU PUT YOUR AUDIENCE UNDER ITS

INFLUENCE

MYSTERY OF THE BURNING CIGARETTE

THE THUMB TIP

THE ASBESTOS PALM

BURNING A BORROWED HANDKERCHIEF

THE ENCHANTED PAPER

THE HISTORY OF SLEIGHT OF HAND

Before proceeding with the lesson I want to give you some further history of Magic -- this time, on the branch of Magic called Sleight of Hand.

Sleight of Hand is the art of deceiving the eye of the spectator by adroit movements of the hand so as seemingly to bring about the following effects:

1--Producing--making an object appear

2--Vanishing--making an object disappear

3--Transforming—changing an object

Legerdemain and prestidigitation are synonyms of the term, sleight of hand.

The term, legerdemain, is often used to cover all kinds of conjuring by means of mechanical and other contrivances, but properly applies only to tricks performed with the hand. In analyzing the word we find that it is derived from the French "leger de main," which means nimbleness of hand, or literally, "light of hand" — "the light touch."

The word, prestidigitation, also applies to tricks depending on the hand only for execution. This word has a Latin origin and analysed means quickness of the fingers.

Two Divisions of Magic

Even in ancient times there were two distinct branches of Magic — that of Divination and Necromancy, communication with the spirit world; and that of Jugglery and Sleight of Hand. The latter branch had no significance in the destinies of people, as the former did, but was regarded only as an entertaining art. The sleight of hand artist, however, was believed to have supernatural powers which gave him his skill.

Ancient vs. Modern Magic

Judging from the accounts which history has preserved for us of the marvels performed by the magicians of antiquity, it is evident that these men were very skillful in practicing their art. It cannot be said, however, that the ancients were more proficient in their art than modern magicians are. Robert Houdin, the greatest of the early modern conjurers, has said, "Antiquity was the cradle of magic -- but only because the art was yet in its infancy."

The explanation then, for the seemingly greater miracles that were produced in ancient times, is that people believed in the supernatural powers of the magicians. The effects these magicians produced were believed to come from inspiration from higher or lower powers and thus took on a tremendous significance for the people. The effects assumed the proportions of miracles in their minds.

Today, these effects, while still mystifying and startling, are not regarded as produced by gods or demons. Thus has arisen the idea that something of the art of conjuring has been lost. Nothing, however, has been lost and very much has been gained in the art of sleight of hand. It is merely that the attitude of people has changed with the enlightenment of modern civilization regarding the supernatural, and now they regard Magic as an Art -- and the most entertaining of all Arts.

The Romans Versed in Conjuring

Conjuring exhibitions date way back to the Roman Empire, showing that even then the art was regarded as one for entertainment. The favorite feat at these regular events was that of the "cups and balls." The cups were called by the Latin word, acetabula, and the performers were called acetabularii. Records show that the balls that were used were round white pebbles instead of the light cork balls used today by conjurers. This, it seems, must have made the performance of the trick a great deal more difficult.

Sleight of Hand in the Middle Ages

The Fall of the Roman Empire in 476 A. D. marks the beginning of the Middle or Dark Ages, which ended with the revival of learning in the Fifteenth Century. These centuries of ignorance naturally were the time for the flourishing of the Black Art. Magic in all its phases and sleight of hand had a widespread influence in the lives of the people.

Forerunners of the Modern School

Emerging from the Dark Ages, we find that the earliest exponents of the modern school were Italians. The foremost were Jonas, Androletti, and Antonio Carlotti. We know little about them and their art however, as the secrets of legerdemain were jealously guarded.

In 1793 we get the first written word on sleight of hand. A book entitled "Testament de Jerome Sharpe, Professor de Physique Amusante," was printed in Paris. The author, M. Decremps, gives an account of some of the methods then in vogue.

In 1840 Döbler, a German physicist, devised an entertainment which is the beginning of the whole modern development of the art of sleight of hand. This was, in effect, the same as the conjuring entertainments which have since become so popular and familiar to everyone.

The names of the most eminent conjurers of a more recent school of magic should be familiar to you. They are Wiljalba Frikell, Hermann, Bautier de Kolta, and J. E. Robert-Houdin.

Modern School of Legerdemain

Robert-Houdin, a Frenchman, is regarded as the actual founder of the modern school of legerdemain. This celebrated conjurer, originally a watchmaker and mechanician, was an inventive genius. When he was young, he turned his attention to legerdemain and bent all his energies to the development and improvement of the art. He discarded the clumsy tricks of what he called the "false-bottomed school" and the gaudy paraphernalia with which his predecessors encumbered their stages.

He produced in 1845 a number of entirely new illusions at a little theater in the Palais Royal, combining the resources of mechanical and electrical science with dexterity of the hands and effective presentation.

His entertainments were a great sensation in Paris and placed Robert-Houdin at once at the head of his profession. His skill and success were so great that the French government sent him on a roving expedition to Algeria. The purpose of this was to have him destroy, by his exhibitions of natural magic, the influence of the "marabouts"—wonder-workers who had gained a dangerous power over the Arabs by their pretended miracles.

A little later on we will begin the study of actual sleight of hand. The tricks and moves you are learning now, begin to give you some manual dexterity, that is, skill in the use of your hands. These tricks do not depend entirely on this dexterity but are the foundation for the more difficult aspect of Magic, the art of sleight of hand.

This art requires practice and study. Robert-Houdin sums it up in this way:

"To succeed as a conjurer, three things are essential; first, dexterity; second, dexterity; and third, dexterity."

This is not a mere trick of language—the hand must be trained, the eye must be trained, and the tongue must be trained.

LESSON 2

I know you must be enthusiastic over the first trick I gave you and are eager to begin on your second lesson.

I want you to go back to the first lesson from time to time and read it over carefully. Each time you study it and each time you practice the trick, the moves become more firmly fixed in your mind. Remember that to be clever at Magic you must know your tricks so well that the moves become automatic.

I gave you a great deal of the fundamentals of Magic in Lesson 1—foundation principles which apply throughout the course. To summarize, these are:

1—Angle of Visibility.

2—Naturalness in Performing.

3—Simplicity of Tricks.

4—Importance of Principles in Magic.

5—Importance of Patter. 6—Finger Palming.

An understanding of these must become a part of you as you will use them time and again in performing many, many tricks. Keep on practicing. Keep on studying. You will be gratified to find how fast you progress. Always with each new lesson you get, spend some time in reviewing the preceding lesson first. The new lesson may call for use of a principle in a preceding lesson in addition to the new fundamentals I give you, and you must have it well in hand.

POWER OF SUGGESTION

Today I want to give you some of the psychology of Magic so that you may have a better understanding of your powers as a Magician and just what it is in the human mind that gives you this power.

The Power of Suggestion is a tremendous force in life. Whether you have realized it or not, it has had its influence on you many times, and you are constantly using it on other people. It has a two-fold character. It works on you from within and it works outward from you on the people with whom you come in contact. Let me explain:

The Power of Suggestion as It Works on Yourself

This is nothing but the theory on which Coué, the French druggist, based his slogan, "Day by Day in Every Way I Am Getting Better and Better." You know what a sensation he caused everywhere. People flocked to see him. He was hailed as a healer. Thousands became mad devotees of the Coué fad. And why? Because he was a psychologist.

Coué merely gave the people the slogan and told them that if they said it over and over again it would make them actually feel better. And it did what Coué said it would do—not because saying a few words can make a sick man well—but because the Power of Suggestion is so great that if we suggest to ourselves often enough that we are getting better and create a vision of ourselves as well and strong, before long the mind has controlled the body to the extent that its functions are toned up. The result is that we do actually feel better.

Coué's influence started with a small group. The gripping stories of the healings were spread far and wide by the newspapers and by the people themselves. And here we find the Power of Suggestion working again. Others who read or heard the tales received the suggestion within themselves that Coueism would make them get better and better, and so Coueism spread like wild fire into every corner of the globe. And back of it is nothing but the Power of Suggestion.

Now why have I gone into the discussion of the Power of Suggestion from a medical viewpoint and in a way that hints of Christian Science? It is because I believe that the Power of Suggestion in medicine is the strongest example I can give you of how this power works within all of us.

Examples from Medical Science give you an understanding of how great this power is. But its influence in the medical field is only a small part of its wide scope. It works constantly in every day life, in the business world, in the professional world—in every walk of life and with people of every age.

Actors are an outstanding example of people who must exercise this power over themselves. Al Jolson, for instance, must be under the influence of suggestion to the extent that he believes, not that he is made up with cork, but that he really has a dusky skin and is singing for his Mammy. If he felt that he were only acting a part, he would never be the success he is.

You have exercised Suggestion on yourself many times. In your business you have suggested to yourself that you were going to sell that Jones firm. You saw the order already written and signed, and you began to believe you were already shaking hands with R. A. Jones, Sr., as your customer. You believed it and you went after Jones with a bang and sold him. That's the way the Power of Suggestion will work for you. It sells you the ideas first, and you must be sold before you can sell the next fellow.

THE POWER THAT SUGGESTION HAS OVER YOU IN MAGIC

You wonder how this applies to you in learning Magic. In just this way: Tell yourself from the start that you are going to be a Real Magician. Form a picture in your mind of yourself as a Successful Magician on the stage or see yourself as Popular, Well Known, a Social Success through your knowledge of Magic. Form a definite image of what Magic will do for you. The Power of Suggestion will do the rest.

If you are in earnest and have suggested to yourself that you are going to be a Social Success or a Stage Success, you will find that "Day by Day in Every Way You Are Getting Nearer and Nearer Your Goal."

Don't minimize the value of this suggestion. The positive suggestion—YOU CAN--will actually give you greater ability because your mind will be open to learn and will be eager to learn.

Another phase of this wonderful Power over you is the use of it when you are performing before your audience. Enter heart and soul into the part you are playing. Your audience believes you have marvelous powers. Let this Suggestion coming from them exercise its power over your mind and let it make you believe that you have these powers. For instance, your audience really believes that you make the coin disappear somehow in Lesson 1 and that you must be in conspiracy with the spirits in Lesson 2 to make the burning cigarette vanish. Talk yourself into believing that you actually do this. Before long you will have yourself almost believing that you do vanish the coin and the cigarette. At first, this may sound impossible to you. But try it.

You will find that with the suggested belief that you are doing magical things, you will get greater confidence and better presentation of your tricks. This belief will show in your facial expression, which is an important element in putting your tricks across. When the handkerchief is whisked off the glass and the half dollar is found to be "dissolved," you show a surprised expression just like the audience.

All of this makes for a belief in yourself as a Real Magician. I want you to realize this mighty tool you have in yourself for making yourself what you want to be—this tool of the Power of Suggestion.

YOU PUT YOUR AUDIENCE UNDER ITS INFLUENCE

This is the other aspect of the Power of Suggestion—that coming from you to your audience. Now then, how do the things that you are constantly suggesting in your tricks work on them?

Let us take the first trick and analyze it from this standpoint. This will give you a new angle from which to study Lesson 1 and all succeeding lessons.

You will begin to understand the great power you have in Magic and what mysterious thing gives you this power.

Take your first trick, The Dissolving Coin, before you as I have it here before me.

Look at your first paragraph of patter. You have put your hand in your pocket to get the glass disk. But you

say, "I must have a half dollar. I thought I had one here in my pocket," etc. You have suggested to the audience that you put your hand in your pocket to get a half dollar. It would never occur to them that you might have taken something else from your pocket because you suggested to them that you went for a half dollar and found you did not have it. There is a bit of the working of the Power of Suggestion.

Now go on to the next paragraph of patter. You tell the spectator to put a good heavy mark on the coin— any kind of mark. This suggests to the spectator that he will be able to identify the coin because, he reasons, you cannot very well have a duplicate coin marked just as he marked his coin.

Then as you go along, you add little touches of humor to get the good will of the audience. This makes them more receptive to your suggestions.

During the rest of the trick up to the whisking off of the handkerchief, it never occurs to the spectator that he hasn't the coin under the handkerchief because you have constantly suggested that he has it—by saying that the coin is under the handkerchief and by telling him to drop it. He hears it hit the bottom. This constant suggestion produces the result that the spectator believes that he has the coin without questioning it at all. You may be sure that he believes this— such is the Power of Suggestion. Then imagine his astonishment to find when the handkerchief is removed that the coin has "dissolved." He knew he dropped the coin into that glass of water and what in the world happened to it?

What has been one of the main elements, then, in producing your effect? The Power of Suggestion, which led the spectator to believe absolutely without question that things were what they seemed because you suggested to him that they were.

In this lesson I teach you four clever effects in which you utilize the Thumb Tip. Each trick can be worked at a moment's notice, and each effect is startling and very puzzling.

Basically, these four effects are one trick, dependent on one working principle and the use of the Thumb Tip. I give you the four effects to show you the value of a principle. Many, many tricks are based on this one principle of the Thumb Tip, "Vanish" and "Production." You may be able to originate other good effects and variations after you have mastered this lesson.

I do not advise your giving all four of these effects at one performance. Though there is no serious objection to performing one after another of these tricks, it is best to do only one or two tricks based on a certain mode of working at one performance.

Any one of these effects can be performed at the dinner table, at your club, in the parlor of a friend whom you are visiting, or on the stage.

1. MYSTERY OF THE BURNING CIGARETTE

EFFECT:

Magician borrows a handkerchief and lays it over his left hand, fist closed and thumb side up. He shows his right hand empty and with his right thumb tucks handkerchief a short way into his left fist. He next borrows a piece of lighted cigarette and drops it burning end down into the little well he made in the handkerchief with his right thumb. The smoke curls upward from the handkerchief. The audience holds its breath, thinking that the handkerchief is being burned. The Magician then sprinkles the magic "woofle dust" over the handkerchief and pulls it off his hand. The handkerchief is undamaged and the cigarette has vanished.

PARAPHERNALIA:

You have been given FREE the paraphernalia for performing this trick:

1--The Thumb Tip.

The other articles you will need are:

a--A borrowed handkerchief (man's or woman's). b--A borrowed burning cigarette (not over half a cigarette in length).

THE THUMB TIP:

This week I introduce you to a clever piece of apparatus which you can use in performing many tricks. I sent it to you FREE with your steel box and other apparatus when you enrolled. No doubt you have been wondering just what it was for. It is called the THUMB TIP. It is a piece of metal shaped like the first joint of the thumb and painted flesh color.

The Tip is made to slip on the end of your thumb, but does not fit down tight. There is a space between your thumb and the end of the Tip to permit the concealing of a small object, such as a piece of cigarette, a strip of tissue paper, a piece of cloth, etc.

Now stand before your mirror. Put the Thumb Tip on your thumb. Hold your thumb sideways and you will see that the Tip on your thumb is noticeable. To keep the Tip concealed when the hand is in this position, hold your thumb naturally behind your four fingers.

Point your thumb towards the mirror and you will get the effect that your audience gets in looking directly at your hand. The Tip cannot be seen and your thumb looks natural. In this position the hand can be shown empty to the audience and they will never suspect that they are looking right at the apparatus.

A little farther on in this lesson I teach you Thumb Tip Manipulation, the methods of keeping the Tip concealed in other positions of the hand.

A WORD OF CAUTION:

The Thumb Tip becomes shiny when it is carried in the pocket for some time. Some shine is all right, but too much spoils the effect of natural skin.

To avoid this, paint the Tip occasionally with Japan paint (this dries quickly). Many paint stores sell this paint in small tubes or you can purchase it directly from me in exactly the correct shade. The paint can be thinned with turpentine, benzine, or gasoline. Sometimes rubbing tip with a cloth dipped in one of the three dulls the surface.

SECRET AND PATTER:

"I would like to borrow a handkerchief for a moment—any kind, any shape, any size, any nationality. Thank you. This one will answer the purpose nicely."

Now while someone is giving you a handkerchief:

Have the Thumb Tip with the nail side nearest your body ready in your lower right hand vest pocket. Put your right hand in your pocket and slip the Tip on your right thumb.

Take handkerchief from spectator with left hand and transfer it to the right hand. By using left hand to take handkerchief, it keeps thumb tip on the right hand from being exposed. Open up handkerchief and hold by two corners.

The handkerchief and the fingers of right hand screen the thumb tip.

Casually without saying anything, show left hand empty and spread handkerchief over it with right hand.

Show right hand with end of thumb to audience. This exposes the whole inside of hand. Seeing nothing concealed, the audience takes it for granted that performer is not palming or hiding anything.

And right here, let me give you a big point in Magic that you must never forget.

SHOW YOUR HANDS EMPTY AT VARIOUS TIMES BUT DO NOT CALL ATTENTION TO THE FACT. MAKE IT A NATURAL MOVEMENT. The audience can see for themselves that nothing is concealed in hand. DO NOT SAY IN WORDS, "MY HANDS ARE EMPTY." The suggestion of showing the hands is enough. An ounce of DEMONSTRATION is worth a pound of talk.

"I spread the handkerchief over my left hand and make a little well in it, so--."

Now swing right hand over towards handkerchief, the four fingers hiding the thumb tip. Push right thumb

into handkerchief and left hand which has closed around tip. When tip is well concealed raise fingers of right hand high in air. This shows audience that well is being made with the right thumb. Draw thumb out (but leave thumb tip in handkerchief) and push back again. This extra tucking is done for a psychological reason. When thumb is drawn out, it shows a natural thumb, and the second tucking with a natural thumb leads people to think that the first was made in exactly the same way.

"Next I want to borrow a lighted cigarette, or rather a piece of one."

(If someone is smoking, ask for that particular cigarette. If not, ask to have one lighted. In case of emergency, have a cigarette of your own with you. After cigarette is lighted, have spectator break cigarette in half and give you lighted part.)

"That's it—give me the front half, light and all."

(Take piece of cigarette between thumb and forefinger of right hand.)

"Now watch. I'll just drop this burning cigarette into the handkerchief, burning end down."

You show well in handkerchief and drop cigarette slowly into the handkerchief. Much depends upon the fact that you CONVINCE audience that you have actually dropped the cigarette into the handkerchief. Show right hand open towards audience with fingers wide apart after cigarette has been dropped.

"Yes, there it is smoking away peacefully."

Audience can see smoke curling up from the handkerchief.

"There is a way that chemists condense smoke. They squeeze it together this way."

Push right thumb into well and into thumb tip. This shuts off air, which immediately puts the fire in cigarette out.

Bring hand away with thumb tip on right thumb, casually showing hand again to audience, and of thumb facing them.

"Sometimes I weight it down with a little Magic "Woofle Dust."

Reach into vest pocket, apparently to get a pinch of "woof Ie dust," but in reality to leave thumb tip there. Leave thumb tip in vest pocket. Pretend to sprinkle dust into handkerchief. Then take handkerchief by one corner and pull slowly off of left hand, so that audience can see that cigarette has disappeared and handkerchief is undamaged. Hold handkerchief again by two corners, one in each hand.

"Yes, it's magic woofle dust. It not only condenses the smoke, but it dissolves the cigarette and is a wonderful restorative for a burned handkerchief." Return the handkerchief to the loaner.

2. THE ASBESTOS PALM

EFFECT:

This is a similar effect to the above, but no handkerchief is used. A lighted cigarette is dropped into the left hand, and a little Magic Sand is sprinkled on it. The left hand is opened slowly—and the cigarette has vanished.

THUMB TIP MANIPULATION:

This effect involves a little manipulation which you must learn right now. It is a little sleight of hand. You show your hand apparently empty and yet conceal a thumb tip. These manipulations enable you to show thumb freely at times. You will find that it is little moves like these that help to make the MASTER MAGICIAN.

Get thumb tip on your left thumb. Now study carefully illustrations on next page. Hold thumb in Position

A. Bend thumb to Position B. Close fingers around tip, Position C. Partially open hand, Position D, leaving thumb tip inside middle, ring and little fingers of left hand. The three fingers conceal the thumb tip in such a way that hand can be shown carelessly and the tip will not be seen.

Reverse the movements and get tip on thumb again. Practice until you can do these moves EASILY and QUICKLY with either hand.

SECRET:

Have tip in left pocket. Get tip onto left thumb and conceal as in Position A above.

Borrow a piece of lighted cigarette as in effect described before.

Manipulate thumb tip to Position D. Casually show left hand. Hold the cigarette with thumb and forefinger of right hand.

Get tip onto thumb again—Position A. Bring thumb up and point hand towards audience, end of thumb foremost. This convinces audience that hand is empty.

Close hand quickly, bending thumb and getting tip to Position D again. Withdraw thumb. To audience it looks as though empty hand was closed.

Drop cigarette into left hand, tucking it in with right thumb. This puts fire of cigarette out and allows you to remove tip on right thumb.

Show right hand empty, tip of thumb pointed toward audience. Reach into vest pocket for the Magic Sand, leaving tip in pocket. Sprinkle imaginary sand over left hand.

Open left hand slowly—the cigarette has vanished.

Study the first effect, MYSTERY OF THE BURNING CIGARETTE, and model your presentation of this second effect upon that, using the same patter where appropriate.

3. BURNING A BORROWED HANDKERCHIEF

EFFECT:

Performer borrows a handkerchief (man's or woman's). He sets fire to the center of it by holding it over a lighted candle or match. The flames are extinguished and handkerchief is touched with a magic ring. The handkerchief is restored.

This trick goes well at a moment's notice in the parlor, the dining room, at a banquet, or on the stage. Many times I just happen to see a handkerchief in a lady's lap. I ask her for permission to use it and proceed to do the trick as though seeing the handkerchief gave me the idea of doing it.

PARAPHERNALIA:

1--The Thumb Tip.

2--A borrowed handkerchief.

3--A piece of white cloth about 4 inches square, similar to cloth used in a handkerchief.

4--A small box of matches or lighted candle.

5--A small nickel-plated ring or a finger ring.

SECRET AND PATTER:

Take small square of cloth, pick up by center and allow edges to fall downward. Note A and B in illustration.

Then tuck into the thumb tip--center of cloth going in last. Center of cloth should rest on side of tip so that thumb can easily be placed on it. This is done so that when thumb is withdrawn from tip the cloth is also drawn out.

Arranged in this way, tip and cloth can be left in right-hand pocket until needed.

Place tip on right thumb, drop hand to side, thumb away from audience, and you are ready to start the trick.

If at a banquet or in a parlor you notice that a lady happens to have a handkerchief in her lap, say:

"I beg your pardon, but I just happened to notice your handkerchief and the kind of cloth it is made of. It is very seldom that one sees that cloth."

Or if you have to borrow a handkerchief, say something like this, while taking it with left hand:

"I would like to borrow a handkerchief for a few moments as I have in mind an experiment that has always been interesting. Thank you. That is just the kind." (Then happen to notice something peculiar about handkerchief.) "Well, here's something peculiar." (Feel it.) "Here is a peculiar cloth which we see very little of."

In either case, open up handkerchief and hold by two corners, the tip being concealed behind handkerchief. This position shows palms of hands empty.

Now pick up center of handkerchief with left hand and transfer to the right hand so that thumb of right hand with tip comes behind handkerchief and index finger in front. Again palm of right hand can be shown. You have thus convinced your audience that you hold nothing but the handkerchief.

Draw handkerchief up through left hand, stopping at a point shown in this illustration on next page.

The left hand closes around the handkerchief and thumb tip, holding both securely. Leave thumb tip with false handkerchief center, in left hand. As right thumb leaves tip, it pulls up with it the little false center (piece of cloth) from the tip. If cloth does not come up with movement, do not worry. Simply pull it up with thumb and first finger. It will look as if you are pulling up handkerchief.

The effect to the audience is that the handkerchief was merely drawn partially through the hand, that the central portion sticks out above and the corners and outer part hangs below, while in reality it is the false or extra center that you have pulled up out of the thumb tip and not the borrowed handkerchief.

"This is peculiar cloth because it is fireproof. A moderate flame will not burn it."

Reach over and allow light of candle to set fire to false center (piece of cloth), which audience thinks is center of borrowed handkerchief.

If a lighted candle is not handy, have someone light a match for you.

"It does burn after all. I must have been mistaken in the cloth. (To owner.) You will pardon me, I am sure."

After cloth has burned a bit and audience has been led to believe that a fair size hole has been burned in

handkerchief, pinch out flame with right index finger and thumb or blow out flame. Then tuck burned part into tip with right thumb and draw tip away on right thumb. Point end of thumb toward audience, showing hand empty, and reach into right vest pocket, leaving tip there. At the same time say:

"In my pocket I have a ring." (Take ring from pocket.) A Magic Ring. If I drop it on the handkerchief, it sometimes helps me out of an embarrassing difficulty." (Place ring on top of left hand.) "The hole in the handkerchief and hole in the ring makes a sort of affinity or friendly feeling between the two."

Take ring in right hand. Grasp handkerchief at bottom and pull it out of left hand through the ring. Hold up by two corners to show handkerchief is as good as ever.

"See--just as I told you. The center is again in the middle and I thank the lady (or gentleman) for the loan of her (or his) handkerchief." (Return handkerchief.)

"And remember, that a flame on a candle (or match) is worth two in a handkerchief."

4. THE ENCHANTED PAPER

This trick is based on the same principle as the preceding effects and may be performed at any time. It is a good one to have at your command when the use of a cigarette would not be in good form.

EFFECT:

A strip of colored tissue paper is shown and tucked into the empty left hand. Upon opening hand, paper has disappeared. Performer states that it has not disappeared and is still on his hand, but it is visible only to the eye of a medium. He places imaginary ball of paper on spectator's upturned palm. Magician then borrows a handkerchief and spreads it over his left hand. With the empty right hand he makes a little well in handkerchief, pushing it a bit into the closed left fist. He then takes imaginary ball from spectator's hand and drops it into the well in the handkerchief. He reaches down and pulls out the strip of tissue paper.

PARAPHERNALIA:

1--The Thumb Tip.

2--A strip of colored tissue paper about 20 inches long and one inch wide.

3--A borrowed handkerchief.

SECRET AND PATTER:

Have thumb tip in left pocket. Just before starting this experiment, get thumb tip onto left thumb. From pocket or off of table, take a strip of tissue paper. Casually show both hands and strip of paper. As in the preceding effects, end of thumb holding tip, is held toward audience. Then finger palm thumb tip, as explained in Thumb Tip Manipulation, and show tissue paper as in illustration.

"This is an old Chinese experiment based on an ancient teaching that everything is, even if it isn't. I can best illustrate it with this strip of colored paper. To the ordinary eye there is nothing mysterious about this paper—but to the trained eye of the psychic there is more than you have dreamed."

"To begin with let me tuck this strip of paper into my left hand."

Now slowly tuck strip of paper into left hand with the right index finger. You are really pushing the paper into the thumb tip. For the last two tucks, use the right thumb and carry thumb tip away on thumb.

Casually show right hand empty and then slowly open left hand and turn palm upwards.

"Yes, there it rests on the palm of my hand. What's that? You cannot see it? Oh, I forgot, you are not using your psychic eyes. When I placed the paper in my closed hand, the warmth of the hand caused the paper to return to its astral form—the state where a thing is, but seemingly isn't." You turn to a gentleman nearby.

"Pardon me, sir, but you seem to have a psychic eye. Would you mind holding the paper for me? Thank you. Just hold out your left hand palm upward."

You now pretend to drop the imaginary ball of paper from your left hand into spectator's hand. Make movement as natural as though you were giving him a real ball of paper. "Now, the paper is in your keeping. You can see it, can you not?" If the gentleman good-naturedly says Yes, then you say: "There, didn't I tell you the gentleman was a psychic." If the gentleman says No, then you say:

"You aren't looking very well today. Well—anyway do not drop the strip of paper."

Turn to the audience.

"I wish to borrow a handkerchief. Either a lady's or a gentleman's. That one will do nicely."

Take handkerchief with left hand. Hold handkerchief up by two corners, thumb tip concealed behind upper right hand corner of handkerchief. Allow handkerchief to drop from left hand and to be held by right. Show left hand, both sides, and spread handkerchief over it. Show right hand empty and tuck handkerchief into left fist with right thumb, leaving thumb tip gripped in left fist. The tissue paper is there ready to be produced, but to the audience the handkerchief is empty. Turn to spectator who holds imaginary paper.

"Now, sir, if you will please give me back the astral paper."

Pretend to pick the paper out of his hand with thumb and index finger of right hand and carry it over to the handkerchief and pretend to drop it into the well. In carrying imaginary paper across, keep palm exposed to audience and other fingers well up. Even though you say you have a paper in your hand, you must convince audience that you haven't.

"I use a handkerchief for this reason—the warmth created by cloth is different from the warmth of my hand. The former materializes objects, while the latter dematerializes them. In other words, one says it is, and the other says it isn't. Now you will observe that it is."

With thumb and forefinger of right hand get hold of one end of the tissue in the thumb tip and pull it out slowly. The forefinger and thumb of left hand should hold paper firmly enough to keep it from being pulled out too soon as a ball instead of a strip.

After paper has been pulled out, turn to spectator who held imaginary paper.

"There you are, sir. You can take it home as a souvenir, but be careful how you hold it or you may not have

it."

HERE IS ANOTHER LITTLE MOVE WITH THE THUMB TIP THAT WILL COME IN HANDY AS IT MAKES A NATURAL GETAWAY WITH A COMEDY TOUCH. (By "get-away" I mean the disposing of an article.)

Handkerchief is on left hand and the tip is in the well in the handkerchief.

Bring right hand over to it, thumb near the well.

Throw handkerchief from left hand over onto the right, at the same time allowing thumb tip to come onto the right thumb. Illustration shows tip on thumb and handkerchief covering hand.

Call attention to handkerchief on flat hand. Raise forefinger. The thumb with tip goes into three fingers where tip is finger palmed.

Pretend to audience that you are going to make a production of some kind. Whisk handkerchief away and show forefinger upright. Then wiggle it a little. It has a funny effect. Try it. This is simply a stunt to change the thumb tip from one hand to the other or to vanish it altogether.

Return handkerchief to loaner with left hand and get rid of tip in pocket with the right. A simple ruse for disposing of Thumb Tip is to start to put handkerchief into right-hand coat pocket and then remember that handkerchief was borrowed and hand it back. The movement of putting it in pocket is enough for you to slip tip off of thumb and allow it to go into pocket.

TARBELL SYSTEM, INCORPORATED, Chicago.

LESSON 3

In your next lesson I give you three effects with rings -- each completely mystifying.

1--A nickeled ring, after being examined, is threaded on a string by a member of the audience. The string is held at both ends by spectators. Performer under cover of a handkerchief in a few seconds removes the ring.

2--Three cardboard rings, red, white, and blue in color, are examined and threaded on a string by the audience. The string is held at both ends as in previous effect by two spectators. Performer removes ring of any color called for without tearing it.

3--Performer ties a single knot in center of a string to make a ring. Then the two ends are tied. Spectator is asked to remove ring, but is unable to do so. Performer then removes it in a second.

Lesson 3 also will add a wealth of knowledge on Magic to that you have already learned.