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 THE UNIVERSITY 
 
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 The John J. and Hanna M. McMANys 
 
 Morris N. and Chesley V. Young 
 
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Copyright, 1920 
 By F. G. Thayer 
 
Original Creation 
 
 for 
 MAGICIANS 
 
 "Up 
 
 Hitherto Kept 
 
 Sleeve 
 
 By 
 
 CHARLES WALLER 
 
 OF AUSTRALIA 
 
 PUBLISHED BY F. G. THAYER 
 334 S. SAN PEDRO ST., LOS ANGELES, CAL. 
 
Publisher's Note 
 
 It is with much pleasure that we are allowed the opportu- 
 nity of supplying to the magical fraternity this most interesting 
 volume. 
 
 In first reviewing Mr. Waller's manuscript, we were at 
 once impressed with the fact that here was REAL MAGIC — 
 something which would appeal to every entertainer in search of 
 new and workable material, the practical application of which 
 would warrant its immediate approval. 
 
 Our most considerate aim is to install the features of qual- 
 ity and satisfaction in all products which emanate from our 
 establishment. To this end it is our personal desire that every 
 reader of this book will derive many excellent ideas, and a 
 thorough realization of their ultimate accomplishment to the 
 success of "More and Better Magic." 
 
 F. G. THAYER, 
 
 The Publisher. 
 
 GIFT 
 
 4 
 

 Contents 
 
 Page 
 
 Perverse Magic 8 
 
 The Secret Tube 12 
 
 Nest of Boxes 17 
 
 The Rising Cards 20 
 
 The Mountain of Flags 23 
 
 A Four Ace Climax 30 
 
 The Rainbow Force 33 
 
 The "Turn-Over" Force 32 
 
 Full or Empty 34 
 
 The Big Production 35 
 
 The Fourth Dimension 39 
 
 Charlie Chaplin and Spooky Ookum 41 
 
 The Utility Fans 44 
 
 The Candle That Was 46 
 
 The Garden of Long Ago 49 
 
 An April Shower 54 
 
 The Leaky Bag 58 
 
 The Floating Ball of Paper 59 
 
 A Japanese Idyll 62 
 
 The Bookworm QQ 
 
 A Patriot 's Dovecote 69 
 
 The Crystal Dyeing Tube 72 
 
 A Bottle and Orange Mystery 75 
 
 The Turnstile 78 
 
 Silk Stockings 81 
 
 The Screen of Life 83 
 
 741 
 
Introduction 
 
 It is difficult, at all times, to set a value on a book of 
 original ideas. Tastes differ, in Magic, as in other things, and 
 what suits one man may not appeal to another. 
 
 I always claim that if the purchaser obtains from such a 
 work one effect that he can present with distinction and suc- 
 cess, he cannot consider that he has been charged too much. 
 
 Such being my opinion, I can only hope that the reader 
 w^U secure not one, but many, workable ideas from the pages 
 that follow; in which case he will be in the debt of the 
 publisher and 
 
 CHARLES WALLER. 
 
Up His Sleeve 
 
 Perverse Magic 
 
 IN THE usual form of magical entertainment the most 
 extraordinary things happen, professedly because the per- 
 former wills that it shall be so. He utters a command, waves 
 his wand, or fires a pistol, and every natural law is apparently 
 set at naught. In what I choose to call perverse magic, sur- 
 prising things happen, despite the influence of the magician, and 
 sometimes without his knowledge. 
 
 This is a mode of presentation that I have, for years, 
 applied to certain tricks, and found productive of the most 
 delightful results. Not only does this departure from the 
 stereotyped style provide a pleasant change ; but its discreet 
 use helps to create a very desirable magical atmosphere. The 
 spectators cannot help but feel that they are living in a world 
 of wonders when inanimate objects, taking the audience into 
 their confidence, so to speak, execute droll and astounding 
 actions behind the magician's back. Let me give a few 
 examples. 
 
 "The Cantankerous Handkerchief" 
 
 All conjurors are familiar with the "Instantaneous Knot," 
 and the "Handkerchief that cannot be tied in a knot." This 
 is how I combine and present both in dumb show, in accordance 
 with the methods of perverse magic. With a complacent and 
 leisurely air, I roll the handkerchief and proceed to tie a knot. 
 When the half -formed knot disappears from the handkerchief, 
 I gaze at the latter with a mild and puzzled air. Again I try, 
 and with no better result (facial business showing annoyance). 
 The third attempt is made in a brisk and determined manner, 
 the set lips and furrowed brow plainly indicating an intention 
 to overcome the obstinancy of the very wilful handkerchief. 
 Another failure, and the handkerchief is dashed, with anger and 
 
 8 
 
Up His Sleeve 
 
 disgust, on the floor. For a moment I stand, as though regain- 
 ing self-control ; then with a gesture that seems to suggest the 
 futility of bothering over so small a thing, I pick up the hand- 
 kerchief. Behold ! It has tied itself into a knot. I hold it 
 away from me, and gaze at it with a face of comical despair, 
 then untie the knot. In a flash, it is back once more. Again 
 it is undone, and thrown quickly into the air. As it descends, 
 I catch it across the open hand. The knot is there again. Shak- 
 ing my head wdth a resigned though discomfited air, I let 
 the handkerchief slip slowly, from the hand, to fall on the 
 floor. It has won. 
 
 ''The Golliwog Ball" 
 
 This is the feat wherein a ball rolls, at command, either 
 up or down a sloping plank. I show it in this way. 
 
 Announcing the experiment as an illustration of the quali- 
 ties of gravitation, I set the ball at the upper end of plank. 
 Naturally, it rolls down. I then place it at the foot of the 
 board, with a block of wood to prevent it from rolling off 
 altogether. Now, standing to one side, and a little in ad- 
 vance of the plank, I deliver a brief lecture on gravitation. 
 This is not a burlesque, but a statement of scientific facts, 
 delivered with utmost seriousness. The humor of the whole 
 performance lies in the fact that, behind my back, the ball 
 is calmly doing the very thing that, in accordance with the 
 law of gravitation, I declare it cannot do. Sometimes, to illus- 
 trate a point, I turn and pick up the ball. At such times, no 
 matter at what stage of its travels it chances to be, it scurries 
 back to the foot of the plank, just in time to avoid being caught. 
 Picture the delight of the audience, when, at conclusion, I 
 express the hope that its members will have benefited by the 
 discourse. 
 
 One more illustration, and I shall have done with this 
 phase of magical presentation. 
 
Up His Sleeve 
 
 "The Impish Card" 
 
 A card, chosen in the customary manner, is returned to the 
 pack, which is then placed in an opera hat on the table. I 
 stand, as in the foregoing example, and tell of the extraordinary 
 control I possess over the cards — mere lifeless things of paste- 
 board, they become, under my influence, creatures of intelli- 
 gence and action. Though, for the time being, they lie still and 
 dormant in the hat, they will, at the word of the master, spring 
 into life, to do his bidding. Now while I have been saying all 
 this, in pompous and boastful tones, the chosen card, with the 
 liveliest impudence, has repeatedly shown himself above the 
 rim of the hat. Always, he has disappeared in time to avoid 
 my eye. One can almost imagine that he winks at the specta- 
 tors, as each time he pops his head above the hat. Later, I 
 take the hat in my hand, and command the selected card to 
 leap from his fellows into the air. As he does so, I catch him 
 in my hand, and show him to the audience, who greet his 
 reappearance with joy, for he has established between him- 
 self and them, a bond of comradeship that is born of conspiracy. 
 And so they applaud, and settle back in their chairs, to await 
 with expectancy the coming of the next problem. 
 
 I will explain the arrangements for this little interlude. 
 The card, of course, is forced, and there are, in the hat, two 
 duplicates, arranged in as many fakes. The card that is respon- 
 sible for the premature appearance is contained in a little case, 
 made of cardboard or leather, and covered with black silk. It 
 is attached by one of its upper edges to that side of the mouth 
 of the hat that will be nearest the spectators. One end of a 
 length of black thread is fastened to the rear or unattached 
 edge of the case, to pass through the side of the hat, just below 
 the brim, and end in a black button. The hat stands mouth 
 upwards on the table, and the thread is laid in little coils by 
 its side with the button slightly apart. If the card (weighted 
 
 10 
 
up His Sleeve 
 
 at its lower edge) is dropped into the case, it naturally carries 
 the thread down with it. The performer, having secured the 
 button, walks away to the full extent of the thread, which he 
 manipulates as is necessary. The second, or jumping card, is 
 contained in a fake that was described in Roterberg's New Era 
 Card Tricks. This is a metal case, open at the top, and which, 
 in this instance, is secured to the rear inner side of hat. Across 
 the open mouth passes a piece of elastic, an end of which is 
 fastened to each edge of case. Insertion of the card pushes 
 the elastic down, and there is, also, a simple lever catch, fast- 
 ened to the front of the case, with an arm bent over the top. 
 Pressure on the longer arm (in front) draws back the short 
 one, leaving the card free, to be shot by the elastic high in air. 
 
 11 
 
Up His Sleeve 
 
 "The Secret Tube" 
 
 T ET me tell you of a device of such general utility as to 
 -■"^ warrant its very serious consideration by the reader. 
 Practically, its possibilities are unlimited. By its use, a stout 
 sheet of cardboard, rolled into a tube, becomes a self-contained 
 piece of apparatus that will effectively take the place of any 
 previously used cylinder or canister for purposes of appearance, 
 disappearance, exchange, or transportation. 
 
 First describing in detail its application to the case of a 
 specific trick, I shall later treat briefly of its effective use in 
 certain other stock feats. As the example given will embody 
 painstaking instruction in preparation and manipulation, the 
 reader may take same as applying, with slight variation, to all 
 other cases. 
 
 "The Growth of Flowers" 
 
 In the realms of magic there is no effect more popular than 
 the instantaneous growth of real flowers. Setting at naught, as 
 it does, the regular process of nature, it is as impudent as it is 
 charming. Previous attempts to overcome the serious draw- 
 back of the long tablecloths have generally succeeded in add- 
 ing complicity to the construction or working. By far the best 
 scheme to come beneath my notice is that of Mr. Ladson Butler 
 (''Sphinx" — Jan., 1918). I prefer my own method, however, 
 on account of the extreme simplicity of the objects used. 
 
 The sand-filled flower pot is stood on a small table, beneath 
 which there is no possible place of concealment. Instead of 
 the usual suspicious looking cone is used a tube openly rolled 
 from a large sheet of cardboard, both sides of which have been 
 shown. The tube, kept from unrolling by a rubber band is 
 thrust into the mouth of the pot. You know the rest. Seeds 
 
 12 
 
up His Sleeve 
 
 dropped from the cylinder grow and blossom in a manner to 
 make sick with envy the amateur horticulturist. 
 
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 Explanation — Briefly told, the secret consists in shifting 
 from one side of the sheet to the other a tube that holds the 
 plant. This much, while turning the cardboard, to display both 
 sides. The cardboard is of a stout, glazed kind, measuring 
 about 24 inches by 30 inches, and procurable at any shop stock- 
 ing artists' materials. Suspended by short lengths of tape, to 
 one of its lesser edges is a tube made from similar stuff. While 
 the diameter of this ''secret tube" is roughly 5 inches, its 
 length is several inches less than that of the sheet to which it 
 is attached. The main sheet, also, is reinforced for about 5 
 inches down from its top edge by another strip, that reaches 
 right across from side to side. (See Fig. 1.) 
 
 The tube carries the plant, made up on a special fake, 
 which may now be fittingly described. 
 
 The basis of the plan is a large wooden spool with one 
 disc removed. Such spools carry the cheap tapes used largely 
 by manufacturers and dry goods men. The ability to secure one 
 
 13 
 
Up His Sleeve 
 
 will save the experimenter much trouble in construction. Down 
 the shaft of the spool runs a stick or cane, equal in height to 
 that of the proposed plant. This rod is carefully made of a 
 thickness to just grip the shaft, without either jamming or 
 falling out. (See Fig. 4.) The leaves and flowers (daffodils, 
 jonquils or chrysanthemums are most easily treated) are tied to 
 the shaft of the spool. Starting at the top, the operator works 
 in rows, until the foot is reached. 
 
 Thus arranged and with its base to the left, as viewed 
 in Figure 1, the plant reposes in the "Secret Tube". The 
 stick is drawn up, as indicated in Figure 4. It will be readily 
 understood, however, that after the plant has been dropped on 
 the surface of the sand the process of pushing the stick from 
 above causes it to enter the sand and hold the construction 
 much more securely than would be the case with a leaden base. 
 (Fig. 5.) 
 
 The most satisfactory way of disposing of the sheet prior 
 to its use is to stand it upright on the seat of a chair, resting 
 against the back, and with the tube hanging behind the rail. 
 An alternative method is to rest the tube on a table or chair 
 seat, with the paper to the front and curled backwards over the 
 tube. (Fig. 6.) 
 
 Now for the presentation. After showing the flower pot 
 the performer takes sheet with a hand gripping each of its 
 longer sides, but close to the upper corners. Fingers in front 
 and thumbs behind and advancing toward footlights displaying 
 one side. Now, with sheet held before him he, in effect, merely 
 turns it over as though to show the other side. This is what 
 actually happens. While the left hand, maintaining its grip, 
 keeps the upper edge about level with the chin, the right shifts 
 to its own lowermost corner. Bending the sheet upward and 
 outward it pauses when the stage is reached, as indicated in 
 Figure 2. The left hand at this phase should be holding the 
 
 14 
 
Up His Sleeve 
 
 main sheet between the first and second fingers, with the thumb 
 pressing the wall of tube (from without) against the first 
 finger. Promptly the right elbow presses against its own end 
 of tube and steadies the same, while the left hand lifts it over 
 the top edge of paper. 
 
 Without a moment's pause this end is brought downward 
 to the rear, completing the turn and leaving the tube still at 
 the back, but now at the lower edge (Fig. 3). While the left 
 hand holds it in this position, the right rolls the paper around it 
 in cylinder form. The cylinder may now be held upright or 
 waved casually with the left hand, the plant being kept from 
 falling by the protruding forefinger. While thus held it is 
 stood in the pot. Later the stick is thrust downward through 
 the sand under pretense of dropping seeds within the tube. 
 
 Doubtless, through the desire to be conscientious, I have 
 produced a rather involved piece of description. The reader, 
 however, has my positive assurance that the method is entirely 
 practical and effective. I have used it many times, both in 
 drawing rooms and before public audiences. On more occa- 
 sions than one I have "grow^n" a Christmas tree, built on a 
 telescopic metal frame, that ended in a leaden base. 
 
 The other purposes to which the ''Secret Tube" may be 
 put are innumerable. With the tube closed at one end, it be- 
 comes the carrying medium for a large quantity of compressible 
 goods, cut flowers or live stock. Applied to the sheet of paper 
 in which the ''mutilated sunshade" is wrapped, it makes the 
 exchange more artistic than any agency yet devised. By its 
 aid a perfect trick is made of the "Dyeing" Plume. In this 
 case, the tube is divided lengthwise into two compartments, 
 opening at opposite ends. The plume first shown goes in at top, 
 while one of different color is drawn from its place of conceal- 
 ment at the other end of cylinder. 
 
 Again the tube may be fitted with a metal receptacle to 
 
 15 
 
Up His Sleeve 
 
 hold liquid. Think of its usefulness, so prepared, in such tricks 
 as ''The Filtering Ink" or the much more ancient "Pyramids 
 of Egypt". So great, in fact, are its possibilities that to pre- 
 vent myself from committing the error of becoming a man with 
 but one idea, I have had to put a check to my inclinations to 
 use it as a means to all ends. 
 
 16 
 
Up His Sleeve 
 
 The Nest of Boxes 
 
 "IT /"HAT I am about to describe is the outcome of consid- 
 ^ ^ erable thought, directed towards securing a perfect and 
 self-contained method of performing this old feat. 
 
 In effect, a lady's ring is found, after its disappearance, 
 strung in a peculiar manner, on a piece of ribbon tied to a 
 bouquet in the innermost of a nest of boxes. All the boxes 
 are ordinary, except that which is second smallest in size. This 
 is bottomless, and as the tapes cannot, in this case, cross the 
 bottom, recourse is made to the customary device. The tapes 
 end on each side just where they pass beneath the box. The 
 boxes are now nested, with this box, for the time being, as the 
 smallest and innermost one. Let me next tell of the smallest 
 box of all, and in which the ring and bouquet will finally be 
 found. 
 
 Though this little box is commonplace enough, it must be 
 subjected to special preparation. The tape with which it is 
 tied is peculiarly treated, so that on occasion its length may be 
 reduced about one inch. To that portion of the tape which, 
 when in action will be below the box, are sewn both ends of a 
 piece of flat elastic. The elastic lays along the surface of the 
 tape, and is sewn either while in a state of tension, or what 
 brings about the same result, while the tape is not fully 
 stretched. It will now be plain that if the box is tied without 
 stretching the elastic, the appearance of things from above is 
 quite ordinary. The lid may, nevertheless, be pried open to the 
 extent of about one inch, and kept in that condition by the 
 insertion of a little prop of wood. When the latter is removed, 
 the elastic, getting to work, will contract the tape once more, 
 and give the box the appearance of being tied with as much 
 security as were the others. The bouquet with narrow ribbon 
 
 17 
 
up His Sleeve 
 
 attached should have been placed in the box before the com- 
 mencement of these preparations. The ribbon should be about 
 eight inches long. While one end is tied to the stalks of the 
 
 bouquet close to where the flowers were cut from the plant, the 
 other is secured as near as possible to the actual blooms. (See 
 Fig. 2.) The result, as will be seen, is a loop of fair size. With 
 the bulk of the bouquet in the box, the stalk end is drawn out 
 through the space made by the propped-up lid, and kept from 
 falling back by being jammed between the tape and the wooden 
 prop. All that now remains is to set the nest of boxes on the 
 table with the little one hidden behind. (See Fig. 1.) 
 
 Presentation 
 
 The table should be on the performer's right, and whatever 
 means of disappearance are used must leave the ring, finger 
 palmed, in the right hand. The performer, calling attention to 
 what he describes as his jewel case, lifts the nest casually from 
 the table. (As the left hand is in front, and the right behind, 
 nest and small box may be raised together, the latter being 
 
 IS 
 
Up His Sleeve 
 
 pressed against the rearmost side of the outermost of the nest.) 
 Both are set down in their former relative position. 
 
 While the left hand is engaged unfastening the tape of 
 largest box, the right quietly pushes the ring down over the 
 projecting stalks of the flowers. When the ring is as far down 
 as it will go, the bouquet is pushed right into the box, an action, 
 also, that is made to knock away the little prop. Promptly the 
 lid closes, leaving all in readiness for the next move. As each 
 box is removed from the next in size, it is stood on the latter. 
 When, however, the magician reaches the bottomless box, he 
 puts it down behind the stack and over the smallest box. The 
 pile of empty boxes is immediately removed, as though to make 
 more room on the table. When the tapes of the bottomless box 
 have been untied, the little one is taken out and carried for- 
 ward. Holding the box on the palm of the left hand, the per- 
 former advances to the lady who loaned the ring, and asks her 
 to unfasten the knots, and raise the lid. The moment the bou- 
 quet becomes visible, he seizes the ribbon daintily, between the 
 fingers of the right hand, and shows that the ring is quite 
 securely tied. 
 
 When I have told how this last operation is effected, my 
 task will be done. Naturally, the ring when pushed along the 
 stalks, will have passed also, over the ribbon. As the performer 
 picks up the ribbon at a point between the ring and the ends of 
 stalks, the position will be as shown in Figure 2. The ring is 
 next gripped between the tips of thumb and second finger, and 
 the bouquet allowed to fall until it meets with the check caused 
 by the ribbon catching in the ring. It will now be found that 
 the ring is securely tied, in the peculiar and intricate fashion 
 shown in Figure 3. Both ring and bouquet are given to the 
 lady, and box and tape carried away, before an examination 
 of the latter reveals the fact that it is not quite as innocent as 
 it should be. 
 
 19 
 
up His Sleeve 
 
 The Rising Cards 
 
 T T WOULD be interesting to know how many methods exist 
 -*" for the execution of this classic in conjuring. My excuse 
 for adding one more to the number is that, in the plan to be 
 described, each card rises from the midst of its companions, 
 and without the aid of apparatus. After the ascent of a card, 
 the selector removes same from the deck. 
 
 As usual, the cards are brought to top of pack, and palmed 
 off if the latter is to be shuffled. When replaced, they are 
 brought once more to center. The little finger keeps its place 
 
 while the right thumb makes a "break" by bending back the 
 rear edge of upper section of pack. The cards may now be care- 
 
 20 
 
Up His Sleeve 
 
 lessly passed from hand to hand, and if desired spread to show 
 that those chosen are not in evidence at top or bottom. 
 
 Finally the deck is stood face to audience on the front 
 joints of the second and third fingers of the right hand, turned 
 palm upwards. The pack is supported between the first and 
 little fingers, while the thumb rests lightly on top. The break 
 is found with the thumb tip which now separates the two sec- 
 tions of the deck, finally pressing slightly forward the front 
 part. If the rear half is allowed to fall backwards towards 
 the palm, its upper edge will come to rest in the thumb fork. 
 It is now a simple matter to lower the thumb, and by pressure 
 with its tip, raise the rearmost card of the front part. This 
 operation is facilitated by the fact that the action quite natur- 
 ally causes the rear portion of deck to bend into arched form. 
 (See Sketch.) 
 
 When the card has risen to its full extent, the pack is seized 
 by the left hand, fingers in front and thumb behind ; on opera- 
 tion that brings the two sections together once more, with the 
 chosen card still projecting at one end. 
 
 The enduring popularity of this magical effect is easy to 
 understand. What is more difficult of comprehension is that, 
 in the fact of many admirable and simple methods that exist, 
 certain magicians should waste their ingenuity in the produc- 
 tion of new and highly involved schemes that add nothing to 
 the effect. An improvement must do one of two things — sim- 
 plify the execution, or produce greater effect. If it combines 
 both qualities, it is an improvement, indeed. I shudder when 
 I think of some of the costly and elaborate arrangements I have 
 seen described, having for their object the lifting of a card two 
 inches above the pack. It has not come yet, but I am keeping 
 my eyes open, and I know that some day I shall see recom- 
 mended as a lifting agency, mule power, steam, or the principle 
 
 21 
 
up His Sleeve 
 
 of internal combustion. The various attempts, also, to secure a 
 satisfactory means for the rise of any card called for, I look on 
 as equally futile. Of what use is it to strive for this end, when 
 the audience in the ordinary way imagines that it is getting a 
 free selection? What is here written of the ''Rising Cards" 
 applies equally well to other feats. Conjuring, at the best, is 
 a harassing pastime, and the less its exponents have to worry 
 over in the way of execution, the more attention can they give 
 to what is all important, viz.. Presentation. 
 
 22 
 
Up His Sleeve 
 
 The Mountain of Flags 
 
 'T^HOUGH the use of flags, in conjunction with telescopic 
 -■' staves, has become very hackneyed indeed, the feat of 
 producing hundreds of flags, each with its own stick, is now 
 rarely seen. Doubtless, the difficulty of manipulating so many 
 flags to good advantage is responsible for this neglect ; though 
 the older production, well presented, is immeasurably more 
 graceful and mysterious. 
 
 The arrangement to be described is the outcome of twenty 
 years' desultory experiment in the direction of securing the 
 utmost effect, by the simplest possible means. Perhaps it will 
 seem unconvincing to the reader, by reason of its very sim- 
 plicity. He is reminded, however, that, so long as there is no 
 sacrifice of effect, simplicity in conjuring is of utmost impor- 
 tance. Also, that the gradual process of evolution, from the 
 complex to the simple, is one that calls for both thought and 
 labor. I dwell on this point because I wish to impress the 
 reader with the value of the scheme under treatment. The 
 results obtained are: 
 
 1. An indetectable means of obtaining the first load, which 
 in itself is so large as to provide ample cover for the securing 
 and development of the next lot. 
 
 2. The almost instantaneous development of each set, with 
 every flag properly displayed, and a corresponding reduction in 
 the number of flags needed. 
 
 3. The ability throughout to hold all sets in the left hand 
 piled one above the other, and with the right hand left free to 
 secure the loads, and if desired, a flag or telescopic staff at 
 conclusion. 
 
 Let us imagine that the magician had created three small 
 silk handkerchiefs, together forming the patriotic tri-color. 
 
 23 
 
Up His Sleeve 
 
 When waved between the hands, these silks enlarge to about 
 36 inches square. After being drawn, in turn, through the right 
 and left hands, the rope-like combination of silks is folded in 
 half, and held in front of the body. It will be noticed that in 
 this condition, the silks seemingly provide very little cover for 
 loading. From the top of the hanging bundle there now 
 emerges, like the gradual opening of a flower and with a beau- 
 tiful fluttering effect, a cluster of flags, that expands to a 
 
 H 
 
 i 
 
 'BacJ' o/ ^ei I. a/ifr Pfoc/u»h'on . 
 
 B-CorJio Sudd or ^ ne^^ Se^> 
 
 C C— 'VhreaJ co/f/fficifhf fa/r t- s/'/A's , 
 
 (ma^/tparir of ihrea</is m ^rcn^ of /a^) 
 
 Shoui/rrj Sachls offer eroe/oef/on 
 of l/iree sefs . 
 
 from loaaino pocket 
 
 trophy of fair size. Above this rises another, and then a third, 
 each of gradually increasing size, till the climax finds the per- 
 former hidden in a glorious shimmering mass of silk flags and, 
 waving above his head, an enormous flag on a long staff. 
 
 If the last effect be eliminated, the method admits of the 
 
 24 
 
Up His Sleeve 
 
 production of a fourth set of flags, making the final pile, about 
 six feet high. 
 
 General Explanation. 
 
 The flags may, if desired, be made straight out, from silk 
 in the allied colors. The easiest plan, however, is to procure 
 Japanese silk flags, and discard the bamboo staves to which 
 they are attached. (I am taking it for granted that these flags 
 are obtainable in America, as they are here.) For each set 
 of flags, also, a stout Japanese fan is needed. These may 
 vary from 10 or 12 inches for the smallest to 24 to 25 inches 
 for the largest size. Such fans take the place of staves as the 
 supporting medium for the flags. The one size in flags may be 
 used throughout, or they may, like the fans, be graduated, the 
 largest fan naturally carrying the biggest flag. 
 
 Starting with the smallest size, a flag is gummed by its 
 shorter edge to each of the folds and at top. If only one size 
 in flags is used, it will be found that the largest fan will carry 
 two rows. By the time the reader has covered one fan, he will 
 be in a position to appreciate the beauty of the arrangement. 
 It will be noticed, however, that the top of the trophy pos- 
 sesses a regularity of curve that is aggressively suggestive of a 
 fan. This is overcome by cutting from the paper between each 
 flag, an elongated and inverted triangle, leaving the mass with 
 the appearance of being supported by many staves. 
 
 If the reader has ever closely examined the construction of 
 a Japanese fan, he will know that the ribs do not actually reach 
 the top. It is necessary, therefore, to strengthen the structure, 
 by glueing and binding to the central rib a thin strip of bamboo, 
 that will reach to the top of the fan. Furthermore, it is neces- 
 sary to tie a short length of stout silk cord to a rib about three 
 removed from the center, and carrying it across, fasten it to the 
 corresponding rib on the other side. (See Fig. 1.) When the 
 
 26 
 
Up His Sleeve 
 
 fan is stretched to its full extent, the cord should be taut. This 
 cord is the very simple medium by which, during the produc- 
 tion, one set of flags is kept supported, and showing above 
 the other. Actually the butt or pivoted end of one fan rests 
 on the cord of the fan beneath it. The treatment is not neces- 
 sary in the case of the largest and uppermost fan. A fan, by 
 reason of its construction, has considerable lasting power. It 
 is advisable, however, to add to the life of each fan by giving 
 the back a coat of light size. 
 Preparation : 
 
 Set 1. (The smallest size, produced first.) 
 
 One end of a strong silk thread is sewn to a corner of each 
 of the three large handkerchiefs, and the other end tied to the 
 top of the bamboo strip, added as a stay to the fan. The thread 
 should be rather longer than any one of the ribs of the fan, so 
 that when the latter is opened, and the thread brought to the 
 front, the three large silks appear to hang from the rivet end 
 of fan — i. e., from the performer's hand as it holds the fan. 
 The three silks are next folded into a compact bundle, secured 
 by a rubber band, and tucked into the top of the left side 
 trouser pocket. The fan, with the flags rolled loosely around 
 it, is stood, flag end upwards, in the breast loading pocket, on 
 the same side. (This is the usual ''Rabbit" pocket, with vertical 
 opening. The connecting thread will be found just long enough 
 to admit of the arrangement.) 
 
 Set 2. (Medium Size.) 
 
 The performer wears, around his waist and over the shirt, 
 a belt of one inch garter elastic, into which set two is tucked, 
 flag end downwards, and with the upper end thrust under the 
 brace suspender, on left side, close to armpit. 
 
 Set 3. (Largest Size.) 
 
 Similarly arranged on right side. 
 
 If the feat is to end with the production of the large flag 
 
 26 
 
Up His Sleeve 
 
 on telescopic staff, the latter, closed, is put butt end downwards 
 in the ordinary vest left side pocket. The loose flag is pushed 
 into the sleeve at armhole. This is the simplest possible method 
 of bestowing the flag, and entirely satisfactory, the usual throw- 
 ing action being quite sufficient to draw the flag from the sleeve. 
 Where the large flag is discarded in favor of a fourth set, the 
 two intermediate sizes are stowed under the vest, on the left 
 side, the largest fan being on the right side, as in the former 
 arrangement. 
 
 When making up my own set, I was able to obtain, for 
 the largest size, a fan of peculiar shape, designed, no doubt, for 
 use as a fire screen. In this article, the wooden side pieces 
 are not nearly so long, as the whole fan, when closed. If the 
 experimenter is forced to use the more conventional fan he will 
 need, in the case of the largest size, to reduce the length of the 
 woodwork this much, to give pliability to the load, when worn 
 under the clothes. 
 
 Presentation. 
 
 Having obtained the three small silks, hold them in the 
 extended right hand. While the general attention is drawn to 
 them, quickly secure the bundle of large handkerchiefs from 
 the top of L. S. trouser pocket. This may be done by direct 
 palming from the pocket, or by hooking the left thumb under 
 the connecting thread, and drawing on same till the bundle 
 comes into the fingers. Turning to face audience, roll the small 
 silks into a ball, and conceal in the left hand under the larger 
 bundle. Free the latter of its encircling band, and gradually 
 develop, allowing the silks to hang by the joined corner from 
 the left hand, held as high as the thread permits. Run the 
 silks a couple of times through the right hand. Now, read care- 
 fully, please ! 
 
 27 
 
Up His Sleeve 
 
 The right hand encircles the silks at the point of their 
 upper end, formerly occupied by the left, the right thumb be« 
 ing under the thread. The left hand now grips the handker- 
 chiefs, at a spot just beneath the right, and with the thumb over 
 the thread. Apparently, the silks are merely drawn upwards, 
 through the left hand. As, however, the set in the loading 
 pocket is attached to the upper corners of silks, it is drawn 
 from its place of concealment, and immediately behind the 
 hanging handkerchiefs. The feat would not be practicable with 
 so little cover, were it not for the fact that the left thumb and 
 fingers, encircling both thread and silks, guide the load unerr- 
 ingly into position. 
 
 Still facing audience, let the upper half of combined silks 
 fall to front over left hand, then with a series of fluttering 
 shakes, push the fan up through the left hand, spreading it as 
 it goes. (This knack of opening each fan, with one hand, is im- 
 portant, and must be early acquired. The fan is never thrown 
 open in the customary manner, but is developed to left and 
 right simultaneously, the thumb drawing one edge back, while 
 the fingers push the other forward. Thus is set up the appear- 
 ance of the flags opening from a common center.) When the 
 set is fully developed, strike a momentary pose, with the right 
 foot back, chest thrown out, and flags lightly touching the 
 breast. The position, if sustained only for a few seconds, is 
 natural under the circumstances. Quickly, under cover of the 
 flags, the right hand enters the vest, and as soon as the handle 
 of Set 2 is secured, a quick turn is made to the right, and the 
 second size drawn out and held behind the first. Gaze for a 
 moment at the flags, then turn quickly and face the audience 
 once more. Develop Set 2, and when fully open, push it slowly 
 up above the first lot, not to an extent that will display the 
 lower part of the fan, but sufficiently high to permit of the 
 butt end being rested on the cord. 
 
 28 
 
Up His Sleeve 
 
 There is now so much cover that later productions become 
 very easy indeed. 
 
 Throughout the production, the flags should be kept, as 
 much as possible, in a constant flutter, a condition that adds 
 greatly to the effect. 
 
 Although, in the eyes of the audience, many hundreds of 
 flags are employed, the quantity is actually much less. In 
 fact, in my own case, ninety flags, spread over four fans, make 
 a densely packed mass. 
 
 '^\ 
 
Up His Sleeve 
 
 "A Four Ace Climax" 
 
 'nr^ HIS idea is used by the writer as a showy finish to a series 
 -■' of four ace tricks, and is really an amplification of the 
 Revolution Card Trick. At the conclusion of the last effect, the 
 aces are replaced in the pack, which is straightway shuffled by 
 a spectator or the performer himself. The pack is next divided 
 into four packets, arranged in a row on the table. 
 
 ''Somewhere, or other," says the magician, "distributed 
 through those four packets are the aces — exactly where, no 
 man can tell, but it doesn't matter — the aces will reveal them- 
 selves." As he gives utterance to the last sentence, he picks 
 up one of the packets and throws it smartly down again to the 
 table top. As it touches the latter, the ace, with quaint effect, 
 appears on top of the packet, turned face uppermost. This 
 action is repeated, with like results, in the case of all three 
 remaining packets. 
 Explanation. 
 
 Whether the aces are inserted in the deck separately, or 
 all together is a matter for individual choice. In any case, 
 they are brought to the top, and palmed off, if the shuffling is to 
 be executed by a spectator, or kept under control, if the magi- 
 cian intends doing it himself. At conclusion the aces are left 
 on top of pack, which is next laid on the left hand, with the 
 fingers pressing on top card. About three-quarters of the cards 
 are now raised in book fashion, and the smaller and lower por- 
 tion drawn away by the left hand, and placed on table. In 
 reality, the fingers of that hand, pressing on top card (one of 
 the aces) draw it down by means of the old ''slip" pass 
 (Modem Magic, p. 35) so that it becomes the uppermost one of 
 the lower packet. The same manoeuvre is repeated for the sec- 
 ond and third packets, the fourth, having the last of the aces 
 
 30 
 
Up His Sleeve 
 
 already on top, being merely laid in row, with the others. Each 
 packet is picked up with the left hand, and transferred to the 
 other, the ace on top, being pushed by the left thumb, so as to 
 project about three-quarters of an inch over right edge of pack. 
 The little packet is then thrown by the right hand, with a smart 
 slap onto table top, with the well known result of causing the 
 top card to turn over. 
 
 31 
 
Up His Sleeve 
 
 The **Turn Over" Force 
 
 THE purpose of this sleight is to force a number of cards at 
 once. A spectator cuts the pack as it rests on the magi- 
 cian 's left hand. The precise number of cards needed for the 
 trick are then dealt by the performer to as many persons. 
 Explanation. 
 
 Before handing the pack to be shuffled, the magician 
 palms off not only those to be forced, but at least one other 
 ordinary card. On taking the deck again, instead of replacing 
 the palmed cards on top in the usual manner, he places the deck 
 on the cards. The natural result of this operation is that when 
 the pack is turned backs uppermost the recently palmed cards 
 are at bottom, and fall uppermost. The pack is rested on the 
 open left hand, with the thumb underneath, and in readiness 
 for the ''Turnover". Immediately the assisting gentleman, 
 divides the pack, and when he raises the upper portion clear 
 of the lower, the ''Turnover" is made, bringing the cards to be 
 forced back uppermost, and on top. When they have been 
 distributed, the extra card remains behind, concealing the fact 
 that all other cards are now face upwards. 
 
 32 
 
Up His Sleeve 
 
 The "Rainbow" Force 
 
 THE cards are spread, with a vigorous sweep, in a semi- 
 circle on the table, and a person asked to pick a card from 
 the number. Despite the fact that special arrangement seems 
 out of the question, the card selected is practically certain to be 
 that needed for the requirements of the trick. 
 Explanation. 
 
 The card, formerly on top, is brought by the pass to the 
 center, and before the pack is closed, slid back about three- 
 quarters of an inch by slight pressure from the tip of the right 
 thumb. Thus, the card will be left ''jogged" at rear. When 
 spreading cards on the table, in the ordinary way, the thumb 
 grips the pack at left side and fingers at right. In this case, 
 however, the positions are reversed, the pack being held be- 
 tween fingers at left, and thumb at right side. The conse- 
 quence is, that when the cards are spread with a semi-circular 
 sweep the rearmost end is brought to the front, and the 
 "jagged" card left projecting beyond the otherwise even arc 
 line to an extent that makes its selection almost a certainty. 
 
 33 
 
Up His Sleeve 
 
 Full or Empty 
 
 THIS is not an original item. As a matter of fact, it was 
 shown me many years ago by a layman. Curiously enough, 
 though, for twenty-five j^ears I have been a close follower of 
 magical literature, I have not come across it in print. I give 
 it publicity here, because it deserves to be known. At the 
 same time, I offer my compliments to the unknown author. 
 
 Three match boxes are placed in a row on table. These 
 are of the small cylindrical type, in which wax vestas are gen- 
 erally sold. Performer picks up the box on extreme left, and 
 shakes it (no sound) — "empty"; takes up the center one, and 
 shakes that also (no sound) — "empty". "When the box on the 
 right is shaken there is heard the unmistakable rattle of 
 matches. "Full, or partly so." Now, while the magician 
 keeps up a stream of jerky patter, he constantly changes the 
 positions of the boxes, after the manner of a demonstrator of 
 the three card or thimble tricks. Like the latter gentleman, 
 also, he challenges an onlooker to find the "full" box. Despite 
 the fact that it has, apparently, been an easy task to follow the 
 shifting positions of the box, the spectator fails. Nor is this 
 surprising. All the visible boxes are empty, but the performer 
 holds in his right hand a fourth box, partly filled with matches. 
 When a box is to appear empty it is shaken by the left hand. 
 If it is to seem full, the right hand comes into action. 
 
 The misdirection is so good as to make a perfect piece o:^ 
 sense deception. As to whether, at beginning or end, one of 
 the empty boxes is, or is not, changed for the full one, is a 
 matter for the decision of the individual performer. 
 
 34 
 
Up His Sleeve 
 
 The Big Production 
 
 THE value of this arrangement is obvious. By its aid, the 
 performer has a perfectly self-contained and easy method 
 of producing from a cloth, objects so large as previously to need 
 the ample shelter of a Chinese robe. A glance at Figure 1 will 
 show the load hanging behind the cloth. From corner to corner 
 of the upper edge is stretched a length of fine silk line, to the 
 center of which is fastened a shorter piece supporting the load. 
 Buttons make the upper corners readily found, and provide, 
 also, a secure grip for the magician's fingers. The silk line is 
 
 
 7Jd 2. 
 
 Troni of c/?a!r 
 
 ^ack ofcha/r. 
 
 lookHiqal Mc 
 
 "Basket- 
 
 7.gS. 
 
 7i^6 . S 
 
 not merely fastened to the corners, but is passed through a hem 
 along the top edge of muffler. This is made necessary by the 
 
 35 
 
Up His Sleeve 
 
 fact that the cloth at times has to bear the strain of consider- 
 able weight. The short end of cord is finished off by a metal 
 ring, to which the load may be attached. With this ring, also, 
 the load is hung on a headless nail driven into the back of the 
 top rail of a chair. If the chair back is not naturally opaque, 
 it must be temporarily rendered so by some form of covering. 
 The attached muffler, roughly pleated with the two buttoned 
 corners together, is hung over the back of chair, the corded 
 end being behind same. (Figures 2 and 3.) 
 
 In presentation, the performer stands to the left of chair, 
 and picks up the muffler by the free end, that hangs to the 
 front. This end is now lifted as high in the air as the con- 
 necting cords make possible. With the muffler in its ''closed" 
 or pleated condition, there is a play of line so considerable as 
 to make possible its easy handling without any suggestion of 
 attachment. (Fig. 4.) The right hand next runs down the 
 cloth till the buttons are reached. This is the critical moment. 
 The left hand, dropping the upper end, which naturally falls 
 to the front, joins the right hand, in opening out the muffler. 
 This is done Avith a brisk action, at once backwards and up- 
 wards, that straightens out the line, and lifts the load from the 
 nail to hang behind the cloth. (Fig. 1.) (These processes are 
 almost impossible to describe in a manner to convey instantly 
 to the reader's mind a clear idea of the action. A trial, how- 
 ever, with a handkerchief, roughly fixed up, will make plain the 
 principle underlying the idea.) Without a moment's pause, 
 the magician walks forward, with the cloth held stretched be- 
 fore him. Coming to a halt, he stoops and spreads the muffler, 
 apron fashion around his knees, a manoeuvre that serves to 
 demonstrate the fact that it contains nothing. (The load is 
 swung between the parted legs, which are then slightly closed, 
 so that the load rests behind the knees.) Once more, the per- 
 
 36 
 
up His Sleeve 
 
 former stands erect, and after shaking and waving the cloth, 
 throws it, finally, either over his left hand, or an uncovered 
 table. As soon as the spectators become aware of the fact that 
 some solid object is beneath the cloth, the latter is removed, 
 revealing the load. 
 
 Of the objects best suited for the production, I enumerate 
 the following : 
 
 1. A basket overflowing with cut flowers. 
 
 2. A large china bowl, filled with water. 
 
 3. An immense Chinese lantern, electrically lighted. The 
 dry cell fixed in the bottom of lantern serves by its weight, 
 to open the lantern fully. The opening of the lantern, also, 
 by putting a strain on a cord, attached to the switch, automat- 
 ically puts on the light. 
 
 4. A large folding bird cage. 
 
 I propose to describe, in detail, the arrangements for Nos. 
 1 and 2, leaving the others to the ingenuity of the reader. 
 
 A Basket of Flowers 
 The basket, broad and shallow, is lined with green silk, or 
 muslin. As it is intended that the flowers, when produced, shall 
 rise well above the upper edge, the basket contains a spiral 
 spring, conical in shape, and covered with the green material. 
 To the apex, or small end of the spring, is fixed a short piece 
 of wire ending in a ring. When the spring is depressed, the 
 ring may be passed through a hole in bottom of basket. A 
 hatpin passed through the ring holds it temporarily in place. 
 (See Fig. 5.) The flow^ers are kept in the basket by a cover, 
 made of fabric similar to the muffler, and having a hemmed 
 edge, through which runs an elastic cord. This cover, which 
 fits over the basket after the manner of the rubber covers in 
 the fish bowl trick, is connected by a cord, to the head of the 
 
 37 
 
Up His Sleeve 
 
 hatpin. The operation of removing the cover with the muffler 
 by withdrawing the pin, frees the spring and allows the flowers 
 to rise. 
 
 The Big Bowl 
 
 The bowl should be broad and shallow, with a rolled or 
 turned-over edge. The cover is made from a piece of light 
 waterproofed material, and has a hemmed edge, through which 
 passes a fine strong cord. Both ends of the line, after emerging 
 from a cut in the hem, pass through a loose ring, to the support- 
 ing cord of the handkerchief. The bowl should be almost full 
 of water, on which floats a few oranges or toy celluloid ducks. 
 The very considerable weight of the bowl and water will stretch 
 the cord so tightly behind the rolled rim as to eliminate all 
 possibility of leakage. The muffler should be thrown over a 
 stool or uncovered table. The removal of the cover, with the 
 muffler, is an easy matter, once the strain caused by the weight 
 is relaxed. 
 
 38 
 
up His Sleeve 
 
 "The Fourth Dimension" 
 
 DOUBTLESS, ladies and gentlemen, you are familiar with 
 what is known as the theory of the Fourth Dimension. As 
 mortals, w^e have a power of vision only over three dimen- 
 sions — length, breadth and depth. Scientists, however, have 
 long considered it possible that beings of a higher civilization 
 than ours — say the dwellers on another planet — possess control 
 of a Fourth Dimension. That is to say, they have the power 
 of seeing inwards. 
 
 "I can assure you that such a faculty exists, because I 
 possess it myself. 
 
 ''Take this pack of cards, just shuffled. As I hold it on 
 my palm, you can measure, with the eye, its length, breadth 
 and depth. I can do more than that. I can look into it, and 
 see any card at any position. Somebody mention a number, say, 
 between three and ten. Seven ! Thanks ! Looking downwards, 
 into the pack, my gaze pierces through all the intervening cards 
 and tells me that the seventh is the five of hearts. Please take 
 the pack and count down yourself. Correct ! Thank you ! 
 Now a larger number, please? Say one between ten and 
 twenty," and so on. 
 
 I present the above simply as a new mise-en-scene, that may 
 be made to cover many known feats. 
 
 The reader will readily recognize, in the example just 
 given, the methods used for the old feat of finding a card at 
 any given number in the pack. The ruses used to obtain this 
 effect are so many and varied that I leave it to the reader to 
 select from his own knowledge or literature. 
 
 Also, the feat may be easily produced by means of De- 
 Land's ''Dollar Deck". 
 
 The patter is admirably suited for use in connection with 
 
 39 
 
Up His Sleeve 
 
 any one of the feats consisting in the naming of objects con- 
 cealed in a box or other receptacle. Of such, the following 
 will be found in Thayer's Catalog: 
 
 The Chaldean Mummies, 
 
 The Mento Mystery, 
 
 The Mysterious Clock, 
 
 The Mystic Ballot, 
 
 The Box of Numbers. 
 
 I would suggest that the performer start with the card 
 trick and finish with one or other of the pieces of apparatus 
 mentioned. 
 
 There is no doubt that for really artistic magic presentation 
 each trick should have its own plot, told in words as few and 
 as simple as possible. Such a plan adds interest and romance to 
 the performance. Also, the intelligence of the audience is mis- 
 directed from the simple means of deception used, and sent on 
 a wild goose chase, in the regions of the doubtful probable. 
 Most magicians seem to lack, altogether, this knack of patter 
 building. How is it done? Natural qualities of imagination 
 must, of course, help a great deal. Still, the power of patter 
 writing, like other qualities, may be developed by systematic 
 effort. 
 
 Take any trick to be treated, and ask yourself, what is 
 suggested by 
 
 1. The appearance of the objects. 
 
 2. Their everyday use (if any). 
 
 3. The actual effect of the illusion. 
 
 The answer to one, or more — possibly a combination of all 
 three of these queries — should suggest a theme that may be 
 worked into a story, appropriate to the effect. Though, at the 
 outset, it may be just a rough sketch, later, for magical pur- 
 poses, it must be pruned and trimmed to fit the action, and 
 working to a definite climax, describe the effect of the experi- 
 ment. 
 
 40 
 
Up His Sleeve 
 
 Charlie Chaplin and **Spooky Ookum" 
 
 T TERE is an idea that turns to droll and effective use the 
 ^ -*■ ingenious little Thayer specialty known as "Spooky 
 Ookum". 
 
 In the beginning, a sheet of cartridge paper, about equal 
 in size to a leaf torn from a writing pad, is rolled tube fashion 
 after both sides have been shown. The paper cylinder is stood 
 on a plate to the performer's left. The little "Spooky Ookum" 
 tube is next displayed and stood on right side table. Into the 
 wooden tube is lowered a model of he who is greater than 
 kings — Charlie Chaplin, to-wit: Slipping his left hand under 
 the "Spooky Ookum" the magician removes it from table, and 
 walks towards audience. Understand that the apparatus stands 
 on the palm of performer's left hand. Dipping his right hand 
 fingers into top of tube, he raises the figure by its head, and 
 having given proof of its presence, lets it drop back again. A 
 moment later he blows into the tube, and immediately after- 
 wards shows it empty. When the paper cylinder is picked up 
 with a jerk, the little figure bobs up suddenly, then falls back 
 again. With successive jerks, it is made to appear and reappear 
 in a manner suggestive of its great original. Finally the paper 
 is unrolled, and the doll removed. 
 
 Explanation. 
 
 The performer will need two of the dolls, which may be 
 bought at any fancy goods shop. One of them is suspended 
 by a short length of thread to the center of one of the shorter 
 sides of the cartridge paper, the thread being attached to the 
 head of the figure. The paper rests on the left side table, 
 towards the back, and with the figure lying on an improvised 
 servante, made of two hooks or nails. Understand, that the 
 
 41 
 
up His Sleeve 
 
 thread is long enough to make this arrangement possible. The 
 other figure needs special treatment. 
 
 The arrangement is identical with that in the case of the 
 old ''Bonus Genus" or vanishing doll trick. The head is sev- 
 ered from the body, but prepared for temporary attachment 
 by a simple peg and hole device. The right side table carries 
 a black art well. In presentation the magician picks up the 
 sheet of paper, with the end to which the thread is attached 
 downwards. The thread is long enough to permit of this end 
 being held a few inches above table. When, however, the paper 
 is reversed, to show the other side, the thread is brought upper- 
 most. The result of this move is to draw the doll from behind 
 the table to the back of the sheet. The paper is then rolled 
 around the figure, and the resulting cylinder stood on a plate. 
 Picking up the ''Spooky Ookum" the performer, after show- 
 ing it empty, stands it just in front of the black art well. The 
 doll is dropped within. Performer, however, keeps hold of the 
 head, and moving the tube backwards, allows the body to drop 
 into the well. The left hand is then slipped under the tube, 
 and the apparatus carried away from table. The left thumb 
 then pushes in the secret slide at back, forming a rest for the 
 head when the latter is dropped. The left thumb maintaining 
 its position keeps the head from falling through the trap. 
 Again the head is raised by the fingers of right hand. When it 
 is again dropped, this hand grasps the tube across the open 
 trap at back, so that the head, as it falls through, is retained 
 and concealed. A moment later, the tube is turned mouth to 
 audience, the slide falling naturally into place and revealing 
 only the empty interior. The head is dropped down well, as 
 the "Spooky" is replaced on table. When the paper cylinder 
 is picked up, with a jerk the figure pops out the top, to be 
 jerked back again, when it reaches the end of its "tether". 
 
 42 
 
up His Sleeve 
 
 This action is repeated several times, after which the paper is 
 unrolled. • ^^^f'rPI 
 
 This little trick, which may be described as a Movie Com- 
 edy, is technically quite perfect and worthy of inclusion in 
 any close quarter program. 
 
 43 
 
Up His Sleeve 
 
 The Utility Fans 
 
 TJ LAITED palm leaf fans of Eastern manufacture are cheap, 
 -*- and obtainable, no doubt, all over the world. The reader, 
 therefore, can easily test the efficacy of this idea. Here are 
 some of the effects. In all cases, the magician wields two fans, 
 which may be gracefully waved about, or juggled carelessly 
 from hand to hand. 
 
 1. The fans are placed together, both handles being 
 gripped by the left hand. The magician, seizing the tip of the 
 uppermost fan, bends it back, while an assistant places several 
 silks between the two. A wave of the fans, and their instant 
 parting shows that the silks have gone. They make their 
 reappearance between the fans, or can be found in some other 
 object. Conversely, the handkerchiefs may be vanished in some 
 other way, to be caught between the fans. 
 
 2. Several silks, placed between, are dyed to different 
 colors. 
 
 3. Three handkerchiefs, making together the patriotic 
 tri-color, change to one big flag. 
 
 4. From the fans, opened oyster fashion, as above 
 described, is shaken a large quantity of spring flowers. 
 
 The preparation is exceedingly simple. It must be under- 
 stood that the fans used are of the flexible plaited type. Such 
 an article is not flat, but concave or convex, according to which 
 side is viewed. Take two fans, identical in size, and place them 
 together, so that concave side faces concave side. Now, bind 
 the handles tightly together, with raffia. It will then be seen 
 that as a result of the concavity and flexibility of both fans, 
 the edges press tightly together, with a kind of spring. By 
 reason of this spring, also, objects soft and light in nature may 
 be stowed between the fans, without causing the separation of 
 
 44 
 
Up His Sleeve 
 
 the edges.. Thus, the combination, even at close quarters, has 
 the appearance of one fan. 
 
 Ti*/ghthwia 
 
 Jie/if ha/fcf 
 
 r 
 
 e ^CLffe of fan . 
 
 7%Z. 
 
 rarunfftne fcws . 
 
 For effect No. 1, it is sufficient to use an ordinary fan in 
 conjunction with a trick fan. In all other examples, both the 
 fans are ''tricked." For the vanishment of the silks, the fans 
 are placed together, with the fake one undermost. The per- 
 former seizes the combined tips of the ordinary fan and the 
 uppermost section of the trick one. When the handkerchiefs 
 are placed within the latter, the thing is done. In exchange, of 
 course, the silks are placed within an empty fake, the other one 
 being already loaded with colored duplicates. The spring flow- 
 ers should not be stowed in one bulky load, but distributed in a 
 number of small parcels, the largest by far being two last placed 
 where the spring is strongest, close to the handle. This produc- 
 tion is exceedingly pretty, the flowers ''gushing" more and 
 more freely from between the fans, as the uppermost is drawn 
 slowly back. 
 
 45 
 
up His Sleeve 
 
 The Candle That Was 
 
 TT ERE is quite a startling little trick, that is both easy and 
 -*- •*■ practical. If not as brilliant an illusion as the Vanishing 
 Lamp, neither is it so costly. 
 
 In the beginning, the candle, unlighted, reposes in a stick 
 of the tall variety. The magician drapes over it a paper servi- 
 ette, in the center of which a small slit has been torn. The 
 wick passes through the slit. He lights the candle, and remov- 
 ing it, still covered from the stick, walks to center of stage. 
 Suddenly, as the paper catches fire, it is thrown high in air 
 to be caught and crushed between the hands on its descent. The 
 candle has gone. With that smile of calm superiority that the 
 wizard always assumes, as he nears the successful termination 
 of a trick, he places his hand in his breast pocket, and pro- 
 duces the candle, still burning. 
 
 Explanation. 
 
 The candle stick is hollow throughout, and open at top. 
 The candle may be the real article, or made of wood or metal 
 tubing. In either case, there is a tiny fake, in the form of a 
 short section of tubing that fits over the top of candle. The 
 tube has a division across its center, the upper portion being 
 designed to carry a thin slice of candle, complete with wick. 
 To the center of the partition on the lower side is soldered a 
 short peg, with a knobbed end (See Fig. 1), for the accommo- 
 dation of which a hole is drilled in the candle. A length of 
 thread is tied to a tack, driven into the lower end of candle. 
 When it is desired to hold the candle upright in the stick the 
 thread is passed below the base of latter. The weight of the 
 whole is sufficient to keep the thread pressed down, and the 
 
 46 
 
Up His Sleeve 
 
 candle upright. Nevertheless, if the stick be lifted ever so 
 slightly, the candle disappears. (Fig. 2.) 
 
 1 
 
 -^x 
 
 s^ 
 
 <=> 
 
 
 TKr«a4 
 
 M^Mec/fahe and mo^//z . 
 
 When the performer, in effect, removes the candle, he 
 really grasps the little fake through the paper with the left 
 hand. As the right hand at the same time raises the stick a 
 trifle, the actual candle drops within the latter. Coming to a 
 halt at a position well away from table, he introduces his right 
 hand beneath serviette. The projecting peg is clipped between 
 the second and third fingers at rear. When the blazing paper 
 is tossed upwards, the hands are naturalUy turned w^ith palms 
 to audience, the straightening of the fingers bringing the fake 
 out of sight at back of right hand. The flame is extinguished 
 by the quick upward movements. The right hand entering 
 breast pocket, secures the duplicate candle, prepared as usual 
 with a match head, to be struck against a piece of sand paper 
 
 47 
 
Up His Sleeve 
 
 or the striking portion of a safety match box. The fake is left 
 behind in the pocket. 
 
 If the reader is in a position to make or buy flash paper 
 in large sheets, as a substitute for the serviette he has it in his 
 power to secure still greater effect. The interior of the candle 
 stick at bottom should be provided with a pad of cotton wool 
 to make noiseless the fall of the candle. 
 
 48 
 
Up His Sleeve 
 
 "In the Garden of Long Ago 
 
 )> 
 
 MAGICAL presentation, to date, has been almost entirely 
 lacking in poetry and romance. Though conjurors have 
 always been commendably quick to turn to magical use the 
 latest inventions in the realms of science, presentation, the 
 more artistic branch of the craft, has been very much neglected. 
 Performers style themselves variousl}^ as "Wizards," "Ma- 
 gicians," "Necromancers" or "Wonderworkers," and cover 
 their bills with devils and weird goblins. With the imagina- 
 tions stimulated by all this suggestive material, one would nat- 
 urally expect to see a performance of dramatic mysteries. In- 
 stead, when the curtain rises what does the audience view? A 
 talkative man, in a dress suit (sometimes shabby and ill-fitting) 
 moving amongst gas-piping tables, placed before any old set- 
 ting. Further, he shows hackneyed feats, in a conventional 
 manner, to an accompaniment of jokes, so feeble as to be treated 
 with derision by a vaudeville comedian. I think that magical 
 progress in the future will be as much (if not more) in the 
 direction of improved presentation, as in technical and scientific 
 advancement. There is too much of the commonplace in magic, 
 because its exponents play only to two senses — curiosity and 
 humor. If magicians are poor actors it is due, not so much to 
 lack of histrionic parts, as to the fact that they have never 
 thought to develop any latent qualities, in this direction. 
 
 This article breaks new ground, inasmuch as it applies to 
 comparatively small material ; methods that have been suc- 
 cessfully used in the sketches at St. George 's Hall, England. 
 
 Briefly described, the effect suggests the memories revived 
 in an old man's mind by the stirring of the contents of a jar of 
 potpouri, once the property of his long dead wife. A small 
 version of the "Spirit Paintings" figures in the creation. Be- 
 
 49 
 
Up His Sleeve 
 
 fore entering on the dramatic side of the effect, the performer 
 quickly displays the various properties, all of which are on 
 one table. Showing the ''Spirit Frame," he places in it a 
 blank canvas. 
 
 
 ^/. t/oftojiah/e. 
 
 ^'j^^ " y^ Woui/^ 
 
 Then there is the jar of ''potpouri". The dried rose 
 leaves are temporarily poured into a box, that the jar may be 
 shown empty. When the leaves have been replaced, it is stood 
 on the table at the end (on right of audience) away from the 
 frame. Briefly stating the purpose of the illusion, performer 
 takes seat at the table, with the jar before him. (See Fig. 1.) 
 The light behind the Spirit Frame should be already burning. 
 Now, while the house lights are gradually lowered, and while 
 the orchestra softly plays one of those haunting refrains 
 ("When Other Lips," for example) popular in the mid-Vic- 
 torian era, he delivers the following lines. (Of their quality 
 I will say no more than that they are intended merely to point 
 the way to some brother magician who may possess greater 
 powers of versifying than myself. 
 
 As he speaks, he stirs, gently, the rose leaves in the bowl. 
 
 "Withered and sere are the rose leaves, only their perfume 
 lives, 
 
 50 
 
Up His Sleeve 
 
 Lingering as the recollections of the joys of other years, 
 Breathing forth tender memories, fragrant with love of she, 
 Who so gaily gathered the roses, In the Garden of Long 
 Ago. 
 
 **I see her again, in the springtime, the spring of our wedded 
 life. 
 Full of innocent gladness, her measure of joy complete. 
 Laughing and gay in the sunshine, with her baby at her feet, 
 As she tenderly gathered the roses In the Garden of Long 
 Ago. 
 
 "Nothing is left but the rose leaves, withered but fragrant still, 
 Making a mystic garland, woven of memories, 
 Sad, and sweet, and joyful, spanning the stretch of years, 
 
 And taking me back with my lost love to the Garden of 
 Long Ago. 
 
 > J 
 
 The verses ended, the old man, placing the lid on the jar, 
 falls into a reverie. As he gazes, musingly, on the illuminated 
 canvas, in the frame, there slowly materializes, on its surface, 
 in warm, bright colors, the head and bust of a young woman 
 with a cluster of roses pressed to her bosom. Stepping eagerly 
 to the frame, he removes the canvas, and gazes tensely at the 
 picture. (Thus the audience is given every opportunity of see- 
 ing that the picture is actually on the cloth.) He retires once 
 more to his chair, and lays the canvas before him on the table. 
 Lifting the lid from the bowl, he finds that the roses have come 
 to life again. He pours them forth, and for a little while plays 
 lovingly with them. Then, with gentle fingers, he restores the 
 roses to the jar, and replaces the lid. 
 
 One rose that has been omitted he holds clutched in his 
 left hand, resting on the table. The orchestra plays softly on. 
 
 51 
 
Up His Sleeve 
 
 Slowly his head sinks to rest on the right arm. As the lights 
 go suddenly up, the music livens, a young girl enters and 
 glances, casually, at both sides of the canvas. It is blank. She 
 lifts the lid from the jar, and it is seen to be filled once more with 
 withered flowers. Tenderly placing an arm around the shoulders 
 of the old man, she calls "Daddy". 
 
 He slowly raises his head, and opening his hand releases a 
 few dry leaves. 
 
 ' ' Dead ! Dead ! " he mutters. ' ' Dead, as all my hopes. ' ' 
 Now, daddy," says the girl, "Remember you still have 
 
 ( ( 
 
 me." 
 
 
 Aye! Lass; thank God for that." 
 
 Then cheer up, old boy ! You've been brooding again over 
 mother's old jar of potpouri. Now come and have your sup- 
 per." (Exit, arm in arm.) 
 
 Little remains to be told. The "Spirit Painting" method 
 may be as simple as possible, because the effect is not presented 
 under test conditions. 
 
 The bowl is built on precisely the same lines as the bran 
 vase that consists of vase proper and lid, with a shell to fit the 
 inside of the vase, and a tray that fills the mouth of the shell 
 at outset, and is carried away within the lid at conclusion. A 
 small addition is necessary, in the form of a short wire piston 
 that passes through the knob on lid, and is finished below by a 
 round plug. Its top or outer end is surmounted by a smaller 
 knob. Pressure on this knob causes the tray to be detached 
 from the lid, and fall once more to close mouth of shell. This 
 operation takes place, when, for the final phase, the jar is to 
 have the appearance of being filled once more with withered 
 leaves. If the reader possesses a large bran-vase, it may be 
 converted to the purpose, though the shape shown in Figure 2 
 is more suitable. In this instance, dried rose leaves replace the 
 bran on top of tray fake. 
 
 52 
 
up His Sleeve 
 
 The performer, in his seated position, works the cord that 
 operates the sliding carriage, in the Spirit Frame. Having 
 taken the materialized picture from the frame, he switches it 
 under cover of the table for a blank canvas. This is done while 
 he is again taking his seat, and as the left hand, by shifting 
 the jar, provides the necessary mis-direction. 
 
 For the final little incident, the left hand secures a dead 
 rose from a convenient pocket. The living rose is palmed in 
 the act of pretended transfer to the left hand. 
 
 This article has been carefully written to illustrate one 
 phase in dramatic presentation. I do not claim that it is the 
 only style. Indeed, quite apart from the need for variety, it 
 would be absurd to present every feat in the same manner. I 
 do not think that in this example I have set the reader, to whom 
 it may appeal, an impossible or even a difficult task. Both the 
 Bran Vase and the Spirit Paintings have been proved practical 
 by thousands of performers the wide world over. There re- 
 mains, then, only the acting. 
 
 If desired, the verses may be omitted, and with some brief 
 explanation, at the outset, the effects presented in a dumb 
 show. I notice that Mr. Thayer lists a small and quite inexpen- 
 sive form of the "Spirit Paintings". I have not had the oppor- 
 tunity of inspecting this, but am certain that the reader could 
 rely on any information Mr. Thayer might give him, regarding 
 its suitability for this particular purpose. 
 
 53 
 
Up His Sleeve 
 
 An April Shower 
 
 ^ I ''HIS is an entirely new idea. As an opening trick, it 
 -"- should prove startling enough to wake up the most somno- 
 lent audience. 
 
 When the magician walks on, he carries over his shoulder 
 an open umbrella. First he shows the interior. The umbrella 
 is then held upright, and gently twirled. Suddenly, from be- 
 neath its shelter fly eight doves, while from as many points 
 around the outer edge drop strings of beautiful floral balls. 
 Cascades of gay silken streamers, also, descend from beneath 
 the cover, each in its fall setting free a shower of flowers. 
 Explanation. 
 
 To the best of my belief, I am the first to think of closing 
 with black fabric, the spaces between the short supporting ribs 
 of an ordinary umbrella, so as to secure a receptacle capable of 
 holding a considerable quantity of light production material. 
 While the idea might be employed in several ways, that to be 
 described represents the most effective use I have been able to 
 make of it to date. 
 
 If the reader will open an umbrella, he will find that the 
 cover is divided into eight sections by as many ribs. Also, there 
 are the eight short supporting ribs that travel from the tube on 
 handle to about the center of the long ones. The space between 
 any two of these shorter ribs is triangular in shape, the apex 
 coming at the aforementioned tube. For our purpose, it is neces- 
 sary that each of these spaces be filled in with a flap that may 
 be instantly removed, to permit of the fall of the articles in the 
 chamber above. Each triangular section of black material, 
 therefore, is stretched over a wire frame, that makes one point 
 of the star-like arrangement shown in Figures 2 and 3. This 
 star is designed to take up either of two positions. When ful- 
 
 54 
 
up His Sleeve 
 
 filling its function, as a mask for the contents of the chambers, 
 it lies along the shorter ribs, with its points to the handle. 
 When, however, the production has happened, it rests against 
 the cover of umbrella, between the points where the short ribs 
 join the long ones, and the edge of cover. In short, it flaps 
 over. It remains to be told how this process is effected. 
 
 %'g Z,. - 7/aj/bs C/oie<f 
 
 tfe 
 
 ^e 
 
 ^t»t/t^ Jbo^h 
 
 T^gJrTi^ O^ 
 
 C.- liTet/oacfs 
 
 The basis for each flap is a V-shaped wire frame as shown 
 in Figure 4. It will be noticed that each end of the wire is 
 twisted to form two eyelets, separated by about one inch. Each 
 frame is attached to the long ribs of the umbrella by pivots 
 passing through the innermost of these eyelets. As it is not 
 
 55 
 
Up His Sleeve 
 
 desirous that the ribs be weakened by drilling, a small piece of 
 metal is bent around the rib, securely soldered, and provided 
 with a hole through which the pivot may pass. Each pivot con- 
 nects one branch of the frame in the compartment adjoining. 
 As all pivots are outside the cover, it follows naturally, that 
 the eyelets on extreme ends of wires will also be above. When 
 all the frames have been pivoted on, the umbrella is turned 
 upside down, and a piece of strong cord elastic passed through 
 each of these end eyelets. The ends of elastic are tied, so as 
 to leave the latter in a state of mild tension. It will now be 
 found that the combination of flaps making the star occupies 
 what may be termed its normal position — i. e., each flap presses 
 against the lower side of cover (Fig. 3) and each star point 
 approaches the edge of same. But, when the flaps are all turned 
 over, to fill the spaces between the short ribs and (Fig. 2) then 
 released, they immediately spring back to their former posi- 
 tion. This is because the folding over process puts a greater 
 tension on the elastic, the pull of which is towards the center 
 of umbrella. It is necessary to find some simple means of reten- 
 tion for the flaps when in position as shown in Figure 2. A 
 metal collar is fitted around the sliding tube on handle, and 
 this tube is provided at top edge with a projecting rim, made 
 concave, on the upper side. When this is pushed up to press 
 against the extreme tip of each flap, it holds all in place. Its 
 withdrawal sets free the flaps, which instantly revert to 
 Figure 3. 
 
 Naturally when the flaps lie along the short ribs the latter 
 are hidden. As they have a bright appearance, the absence of 
 which may be noticed, it is well to sew around the two long 
 edges of the cloth on each flap a narrow bordering strip of 
 shiny black American leather or oil-cloth. The material used 
 for covering the flaps is umbrella cloth, and the ''base" (so to 
 speak) of each triangular flap is sewn down to the actual 
 
 5e 
 
Up His Sleeve 
 
 cover. Here is another detail that makes for smooth working. 
 Each short rib is connected with the section of long rib imme- 
 diately above by a piece of light black cloth. This arrangement 
 makes each space a compartment to itself, and whatever is 
 placed within may fall without entanglement with the contents 
 of another chamber. Now for the preparation. 
 
 The flower balls are attached to flap joints that they may 
 appear around the edge of umbrella. The streamers hang from 
 rings, distributed at intervals along the top ribs, and are rolled 
 around the flowers. The doves are put in last, and each is 
 tucked as far back as possible, under the broadest part of the 
 flap. The production takes place when the magician reaches 
 up and slides down the collar. 
 
 Last of all, the arrangements do not interfere with the 
 closing of the umbrella, for purpose of travel. 
 
 6T 
 
Up His Sleeve 
 
 The Leaky Bag 
 
 A CANNON ball is enclosed in a small silk bag, around the 
 mouth of which is tied the center of a long piece of tape. 
 The ends of the tape are held by two volunteer assistants. The 
 
 bag is now hanging on the tape, but the weight of the ball 
 provides the magician with a reasonable excuse for keeping his 
 grip on the neck of the bag. 
 
 When the interest of the spectators is thoroughly aroused, 
 the performer, giving the bag a slight upward toss, releases 
 his grip. The ball falls with a thud to the stage, leaving the 
 bag hanging limp on the tape. 
 
 Nor does examination of the bag give the slightest clue as 
 to how the ball makes its mysterious passage through the 
 fabric. 
 
 There is employed, in this feat, the principle of the double 
 bags, as used in one well known form of the sack trick. After 
 the enclosure of the cannon ball, performer palms in a duplicate 
 bag, the neck of which is then drawn through the mouth of 
 the other one, and the left hand used to conceal the point of 
 juncture. 
 
 The tape, of course, goes around the neck of the empty 
 bag. The magician wears a simple cord pull that travels up 
 the right sleeve, across the back and ends in a leaden weight 
 resting in the left trouser pocket. The sleeve end of the cord 
 terminates in a swivel hook, temporarily fastened to the shirt 
 cuff. Securing the hook, performer fastens it to a ring at the 
 right lower corner of the bag. The right hand now relieves 
 the left of its grip on the combined necks of bags. Standing 
 with right side to audience, he gets possession of the leaden 
 weight. At the count of "three" he gives the bag an upward 
 throw, and pulling on the cord, draws the outer bag up the 
 sleeve. 
 
 . 58 
 
Up His Sleeve 
 
 The Floating Ball of Paper 
 
 ^TT^HIS is an original plan that admits of a greater variety 
 -■- of movements than is possible in most methods. 
 
 Use a long loop of black thread, on which slides a short 
 piece of light tubing, with a bend in the middle. (This is the 
 little device described by Prof. Hoffmann in "More Magic," 
 for the trick of the ''Obedient Orange.") Place the tube in the 
 upper pocket of vest, on the left side, and pass the loop at 
 other end beneath the left foot. This is an entirely safe 
 arrangement that leaves the tube in position to be quickly 
 secured. Having obtained the tube (the loop stays through- 
 out) borrow a program, or tear a sheet from a writing pad. 
 With both hands between the threads of loop, roll the paper 
 into a ball between the palms and around the tube. 
 
 1. Pace audience, with palms together, and thumbs upper- 
 most. Slowly part the hands, when the ball will be seen float- 
 ing between. 
 
 2. Raise the right hand at such time as the left is grad- 
 ually lowered. With a peculiar and graceful parabolic curve, 
 the ball will float upwards, to the right hand. 
 
 3. In the same way, by alternately raising and lowering 
 either hand, the ball will travel from one to the other, a pretty 
 and quaint effect. 
 
 4. The left hand is drawn from between the threads, and 
 the right raised (with the ball) to tightly stretch the loop. 
 Place the left hand (outside the thread) about 18 inches below 
 the right. At command, and while both hands remain passive, 
 the ball travels to the lowermost. When told to stop half way, 
 it does so, resuming its journey on instruction. (The little tube 
 comes into action here, the result being obtained by alternately 
 slackening and tightening the thread.) 
 
 59 
 
Up His Sleeve 
 
 5. Transfer the ball to the left hand, and pick up a hoop 
 to be temporarily dropped over the right arm. Pass the ball 
 once more to the right hand, put it in suspense again, then, 
 seizing the hoop, draw it down over hand, thread, and ball. 
 Move it up and down several times. The ball has now been 
 proved free of attachment in one way. To make the hoop* 
 encircle the object horizontally, use the following subtlety : Let 
 it hang from fingers of right hand, so that the ball seems to 
 float at about its center. With the left hand, seize the lower 
 edge of hoop, and using the fingers of both hands, twirl it 
 
 Jiefi/ianc/ 
 
 «o 
 
Up His Sleeve 
 
 around the ball with the thread serving, so to speak, as the 
 axis, on which it turns. This is a most effective move, worth 
 noting, for application to other tricks. 
 
 The above description does not, by any means, exhaust 
 the possibilities of this method. I leave the reader to experi- 
 ment for himself. 
 
 61 
 
Up His Sleeve 
 
 A Japanese Idyll 
 
 ^ I ^HE feat of spinning a ball on a Japanese sunshade is de- 
 ^ lightfully pretty and fascinating. Also, it is amongst the 
 easiest, in the repertoire of the juggler. Though I do not, in 
 a general way, approve of the inclusion of juggling feats in 
 a magic show, I thought this one so attractive that some time 
 ago I arranged it as the basis of a mystical production. 
 
 First of all, a parti-colored ball is produced from the bare 
 hands. An assistant takes this, and gives the performer, in- 
 stead, a sheet of cardboard. The board is rolled into a tube 
 (after being displayed on both sides), through which the ball is 
 dropped, to be caught as it emerges from the other end. The 
 ball is transferred to the left hand, which also grips the tube 
 around the middle. A moment later the magician, thrusting 
 his hand into the tube, draws forth, with a graceful sweep, an 
 open Japanese sunshade. The assistant removes the tube, leav- 
 ing performer with ball and sunshade. Bouncing the ball on 
 the floor he catches it as it descends on the umbrella top. Now 
 follows the spinning feat. Even in its simplest form, this 
 accomplishment always brings forth applause, but the operator 
 will find, that, as he grows expert, many extra tricks will occur 
 to him, the inclusion of which will secure greatly enhanced 
 effect. 
 
 Having carried the performance as far as he thinks fit, he 
 tosses the ball from the umbrella, to be caught in the right 
 hand. Bowing to the applause, he lowers the umbrella, but 
 almost immediately raises it, and replaces the ball on its sur- 
 face. Again comes the spinning process. The sunshade, how- 
 ever, has not made many revolutions, when the ball bursts 
 into many others, that stream over the edge to the floor. Be- 
 fore the audience has recovered from this unexpected develop- 
 
 62 
 
Up His Sleeve 
 
 ment, the performer is seen to be holding two umbrellas. An 
 assistant takes these, but leaves the magician smiling beneath 
 the shelter of one gigantic umbrella, that has, apparently, 
 materialized from nowhere. 
 
 Explanation. 
 
 The ball production is a matter of simple palming. The 
 cardboard sheet is prepared according to my principle of "The 
 Secret Tube". The invisible tube holds the umbrella and a 
 duplicate ball. Both ball and umbrella handle are together, 
 at what will be the lower end when the cylinder is held up- 
 right. When the visible ball is dropped in at top, it falls into 
 a small bag, the mouth of which is secured to the tube opening. 
 Instead, the duplicate ball (previously retained by the project- 
 ing fingers of the left hand) emerges as its representative. The 
 umbrella is developed with the usual semi-circular sweep. 
 
 . When the performer, after the juggling feat, lowers the 
 umbrella, he quietly (and under its cover) drops the ball into 
 one pocket, and takes from another, a bundle of spring balls. 
 These are made up to resemble the original, which is also cloth 
 covered. If the reader has any acquaintance with spring 
 balls, he will know that a bundle always takes a roughly 
 spherical shape. Also, that if tied around one way only, a 
 very slight knock is sufficient to cause their escape from bond- 
 age. The bundle is placed on sunshade, and the latter spun 
 immediately, so that the audience does not get the opportunity 
 of judging the shortcomings of the "Ball". If the bundle does 
 not burst after a few revolutions, it is tossed into the air, to 
 come down heavily on top of sunshade, a process that may 
 be relied on to do all that is necessary. 
 
 The second umbrella is carried behind the performer's 
 back, and hanging from a hook between the shoulder blades 
 under coat. The assistant makes her entrance, with the large 
 
 63 
 
Up His Sleeve 
 
 sunshade hanging behind, and well masked by her dress. To 
 get possession of it, while transferring the smaller ones to her 
 hands, is an easy task for the performer. 
 
 Instructions for the execution of a juggling trick consist, 
 as a rule, of little more than advice to practice until the knack 
 comes. It is perfectly true, that such accomplishments do come 
 to the experimenter quite suddenly, and about the period when 
 he has reached a condition of despair. There must be, never- 
 theless, a physical basis to what is known as ''knack," and 
 what my experience has taught me in mastering this particular 
 feat, I shall now impart to the reader. 
 
 The sunshade should have a stout frame, and measure not 
 more than fifteen inches from center to tip of ribs. As it is not 
 spun by the end of handle, but from a point just above the 
 center of gravity, part of the handle may be cut off. This will 
 simplify the task of production. Hold the handle between 
 thumb and fingers of left hand, and on that side of body, and 
 learn, first of all, to make it revolve, to the left, with clean, 
 swift spins that keep the top as level as possible. This last 
 condition is important, and the operator will soon learn that 
 the performance is as much one of balancing as spinning. Hav- 
 ing acquired some skill at the spinning as a process in itself, 
 place the ball on the sunshade, with a slight roll that sends it 
 to the right. The position of the ball should be between the 
 performer and the center of sunshade. (It will be understood 
 that the ball does not travel around the umbrella, but keeps 
 practically to the same position.) The natural difficulty is to 
 keep the ball from rolling off the surface. If the spin is even 
 and swift enough, the principle that underlies the feat makes 
 success certain. The least deviation, however, of the umbrella 
 top from the horizontal, or a slackening in the spin by stopping 
 the momentum of the ball will cause it to roll over the side. It 
 is necessary, therefore, to instantly correct such deviations, by 
 
 64 
 
Up His Sleeve 
 
 a quick return to the level. The performer will find, that by 
 imparting an upward bobbing movement to each spin the ball 
 is made to bounce slightly, and the task becomes much easier. 
 
 As something like perfection comes, this bobbing action 
 gradually disappears, or merges in the general spin. 
 
 I feel that I cannot conclude this article more fittingly 
 than advising the reader to ''Stick to it, till the knack comes." 
 
 66 
 
Up His Sleeve 
 
 The Bookworm 
 
 TN THE beginning a lady examines a book — a small edition 
 -■' of one of the earlier writers, as Dickens or Thackeray. 
 Taking it back, and mentioning that the pages run to (say) 
 800, the magician invites his fair assistant to state a number, 
 less than that, and preferably about the middle of the book. 
 Let me imagine that she calls 452. He casually turns over the 
 leaves and stops at a certain page, which then he displays, and 
 announces as the chosen one. The same lady selects a card, and 
 after its return shuffles the pack. 
 
 The book is then laid on the palm of the performer's right 
 hand, and the lady asked to encircle both book and hand with 
 a rubber band. Thus, the hand may be held upright above 
 the head, and the book supported without aid from the thumb. 
 
 Speaking of the literary tastes of his cards, performer 
 
 66 
 
Up His Sleeve 
 
 states that it is difficult to keep them from browsing into any- 
 book that may chance to be about. ''Now tell me please, madam, 
 what card you looked at. The four of hearts — how strange ! 
 That card, in particular, is a regular bookworm. It would not 
 surprise me to find it already in the book, and at the page select- 
 ed by you. Now, four of hearts, will you kindly leave, for a 
 time, the love affairs of David Copperfield, and show yourself?" 
 As all eyes are directed to the book, the card is seen to slowly 
 emerge from the pages, atop. 
 
 ''Very good," says the magician. "Now you may return, and 
 finish the chapter, after which — bedtime, my lad." (With a 
 comical little rush, the card retires.) 
 
 "Madam, if you will be kind enough to remove the band, and 
 open the book, I am sure that you will find the card at the 
 page selected by yourself." 
 
 Explanation. t 
 
 On top of the deck at the outset are two editions of the 
 four of hearts. Casually handling the pack, performer palms 
 off one of these. After hearing the number of the selected 
 page, he runs the leaves over with the right thumb. Approach- 
 ing the chosen page, he commences to call off the numbers, in 
 a nonchalent, meditative manner of one engaged in such a task. 
 On reaching the actual place, he announces it as 454 and turn- 
 ing back one more leaf boldly shows the open pages and calls 
 in a louder tone, four hundred and fifty-two. Really, the book 
 is open at 450, but as nothing has been done to indicate the pur- 
 pose of this operation, the spectators, though they cannot see 
 the page numbers, have no reason for doubting the magician's 
 word. It will be remembered that the right hand held the 
 four of hearts palmed. When the correct place was reached, 
 the hand was held flat on the right page (453) and kept there 
 till the right thumb, reaching across, had drawn the opposite 
 
 67 
 
up His Sleeve 
 
 leaf (451-452) to hide the card. The reader has my positive 
 assurance that this barefaced, though subtle, move is entirely 
 deceptive. The second four of hearts, after being forced on 
 the lady, is returned to, and palmed from the deck. The volume 
 is laid over the palmed card, which remains, after the fixing 
 of the rubber band, firmly held between the book and the hand. 
 Now, when the book is held in the air, after the manner of a 
 pack, in the old feat of the "Rising Cards" the card may 
 be pushed up by finger pressure from the rear. (Fig. 2.) The 
 effect is particularly striking because the extended thumb sug- 
 gests the impossibility of action by the hand. In reality, the 
 elastic band provides the resistance that in the ''Rising Card" 
 trick is given by thumb and fingers gripping opposite sides of 
 the deck. The disappearance of the card is caused by the 
 fingers being quickly bent back, to give space in which it may 
 fall. The hand, with the card palmed, is removed, and the 
 book passed to the assisting lady. 
 
 68 
 
up His Sleeve 
 
 A Patriot's Dovecote 
 
 A DOVE that the magician has created in the manner that 
 '*' ^ pleases him most is left, for the time being, on the right 
 side table. On a table at the other side is a box painted red, 
 and taped in the orthodox manner. When this is opened and 
 tilted towards audience, there is revealed as its contents a 
 white box, which in turn contains another — blue, this time. This 
 is lifted out, and put alongside the dove. 
 
 Returning to the other boxes, magician encloses the white 
 in the red once more, and hands the result to an onlooker. The 
 reader is invited to note this point, which makes the feat dif- 
 ferent to the many others, in which nests of boxes figure. 
 
 After the dove has been placed in the blue box, the latter 
 is wrapped in a sheet of newspaper. When the interest of the 
 audience has been worked up to the desired pitch, the performer 
 suddenly crushes the paper between his hands — dove and box 
 have gone. The gentleman who holds the other boxes opens 
 them, and finds the blue one, as the innermost of the set, with 
 the dove safely housed therein. 
 
 In conclusion, the spectators are asked to exercise their 
 minds on the interesting problem as to whether the dove carries 
 the box or vice versa. 
 
 Explanation. 
 
 All three boxes, as seen at the finish, are commonplace. 
 There is, however, another and bottomless blue box that fits as 
 a shell over the box proper of that color. This is the arrange- 
 ment when the nest is first opened. Though the shell box is 
 tied like its companions, the tapes end at the base of each side. 
 This ^ake, also, is provided with a bag, which, without inter- 
 fering with the nesting arrangement, serves later to retain the 
 
 69 
 
Up His Sleeve 
 
 dove, within the shell. A duplicate dove is in the actual blue 
 box. The dove and fake box are vanished by means of a "Chap- 
 ender Newspaper Servante. " The arrangements for this simple 
 appliance, which cannot be too highly praised, are as follows : 
 
 Two full sheets of newspaper, with a strengthening piece 
 of calico between, are pasted together. Also, between the 
 sheets, with one of its longer sides, close to the central fold of 
 the paper, is a piece of cardboard. To the outer long edge of 
 this is cloth hinged another piece of similar size and which 
 forms the servante, or shelf. After the last named has been 
 covered with newspaper and attached by two tapes, that it 
 may stand out at right angles to the first piece, the apparatus 
 is complete. The free half of the paper is fastened to the table 
 top by means of drawing pins. Now, if the rear half is dropped 
 over behind the table, the shelf stands out in readiness for the 
 load. In preparation, the paper is opened out, and another 
 ordinary sheet laid thereon, after which both are closed up 
 and laid on the table top. During presentation, shell box con- 
 taining dove is raised by the right hand, as the left opens out 
 the papers. The prepared half of the trick paper falls behind, 
 and the shelf opens automatically. As the left hand lifts the 
 loose sheets, the right places the box below. The paper is 
 pressed over the top of box, that an impression of the latter 
 may be retained, after it is deposited on the servante. 
 
 When the performer opens the red box, in the beginning, he 
 tilts it towards the audience, revealing the white one within. 
 A similar procedure is followed to show the blue box. Before 
 the removal of the latter, however, the white box is tilted back 
 to its natural position. Consequently, when the blue shell is 
 taken out, the spectators have not the least suspicion that an- 
 other box remains behind, to play its part in the climax. En- 
 tirely simple as this subterfuge is, the deception is complete. 
 
 My original intention was to make the shell of blue silk, 
 
 70 
 
Up His Sleeve 
 
 stretched over a collapsible wire frame on the lines of DeKolta 's 
 vanishing cage. The fake was to be bottomless so that the dove 
 might be disposed of via a Black Art Well. Like the cage, 
 also, this fake was to disappear up the sleeve. Though I have 
 not, as yet, tested the practicability of the trick in this form, I 
 notice that Mr. Brunei White, in his excellent book of originali- 
 ties, employs a similar device in connection with a vanishing 
 die. I mention this idea for what it is worth. 
 
 71 
 
up His Sleeve 
 
 < ( 
 
 The Crystal Dyeing Tube 
 
 FOR the effect of this experiment I am indebted to Sydney 
 Legrande; to Max Sterling's now defunct journal, the 
 Magical World," August 13, 1913. 
 
 The mode of execution to be described, however, is quite 
 original and entirely different to that of Mr. Legrande 's. With- 
 out going into details regarding the construction of the latter, 
 let me mention that it was dependent upon the Mirror Di- 
 vision. In effect, a white silk of large size is pushed through 
 a transparent gas chimney, and emerges a brilliant red. As 
 the chimney is only grasped around the center with the right 
 hand, the silk is only out of sight during the time it is passing 
 by the fingers. Also, the tube is shown empty, both just before 
 the insertion of the handkerchief and immediately afterwards. 
 
 Though my original intention was to make use of a chim- 
 ney of glass, I was discouraged in this by a glass cutter, who 
 informed me that the cylinder would have to be specially blown. 
 Consequently, the one I use with good effect is made of cellu- 
 loid finished off at the ends with strengthening bands of metal. 
 While the mica chimney of commerce could, no doubt, be 
 treated as desired, I consider that its length is too short for 
 effective use. My own chimney measures eight inches in length 
 and resembles exactly the familiar one of mica. 
 
 A narrow slot is cut along the tube for half its length, per- 
 mitting of the passage up and down of the wire finger grip, 
 attached fo the handkerchief changing fake as shown in Figure 
 2. This fake is little less across than the internal diameter of 
 the chimney, and has a length of about 2 inches. Not only is 
 it fitted with the usual changing bag, but it is covered with 
 flesh colored silk. This is to insure silence in working in addi- 
 tion to serving a purpose to be described later. 
 
 72 
 
Up His Sleeve 
 
 At the outset, the fake is in the chimney at its lower end, 
 the finger grip projecting through the slot. In such condition 
 the chimney rests on the table, the presence of the fake being 
 masked by the white handkerchief which provided plenty of 
 cover when crumpled ball fashion. (Though Figure 2 shows 
 the tube in an upright position, it is plain that it may be laid 
 on the side.) 
 
 2. 
 
 The right hand seizes silk and tube together, with the 
 finger behind and the thumb in front. While the thumb presses 
 
 73 
 
Up His Sleeve 
 
 the handkerchief against the chimney, the projecting fake grip 
 is passed between the second and third fingers. 
 
 After the left hand has removed the white silk, the right 
 is held outstretched for a brief period, exposing the whole in- 
 terior of the chimney. This action is made possible by the 
 existence of the flesh colored fake, which, seen through the 
 celluloid, resembles exactly the fingers of the hand behind. 
 Both hands being brought momentarily together, the fake is 
 slid along as far as it will go, and the right hand turned with 
 the back to the audience. Now the white handkerchief is in- 
 serted in the top of the chimney and pushed through with the 
 wand. As it makes its gradual disappearance behind the 
 hand, its colored duplicate emerges with quaint effect below. 
 The left hand, after removing silk, grasps the chimney by its 
 upper end, and drawing same away from the right hand, leaves 
 the fake concealed in the latter. An easy task, thanks to the 
 ' ' grip ' '. Thus, the chimney may now be shown actually empty 
 and the silk, grasped by the right hand, used as an effective 
 means of concealment for the fake. 
 
 74 
 
up His Sleeve 
 
 A Bottle and Orange Mystery 
 
 ' I ''WO familiar objects, ladies and gentlemen — on my left, 
 -"- an orange — on my right, a beer bottle. I hope you do 
 not mind my calling a beer bottle a familiar object. Then, 
 there are two sheets of paper, both to be roughly moulded into 
 tubes around the bottle, so. While one tube is intended to go 
 over the orange, the other remains as a covering for the bottle. 
 
 ''Now you know the exact condition of things. Orange 
 here (lifts tube on left), bottle here (lifts tube on right). Yes, 
 orange there (pointing), and bottle there (pointing). At least 
 that is what any sensible, logical person would imagine. But 
 there is nothing either sensible or logical about a magical proc- 
 ess, and so we find the orange here (lift right side tube) and 
 the bottle here (lift left side tube), and, to put it mildly, it is 
 really unfortunate when a fellow never knows where to find the 
 beer bottle. " 
 
 Take Co^^ri^ 
 
 The reader should have no trouble in following the action 
 of the trick from the patter. The bottle is an ordinary one of 
 glass, but with the bottom knocked out. Not only does it 
 cover a second orange, but it fits within a cylindrical shell of 
 
 75 
 
Up His Sleeve 
 
 transparent celluloid. This shell, open at both ends, and equal 
 in height to the straight part of the bottle, is lined with a col- 
 ored surface paper, either dark green or black through the cel- 
 luloid, and white inside. Thus, the shell may be made, at will, 
 a lining for one of the tubes, or a cover for the lower portion 
 of the bottle. In either condition it is invisible. Also, this 
 shell has a label to match that on the outside of the bottle, and 
 a small **lug" or "tab" of celluloid projecting from that point 
 of its lower edge, which, when in operation, will come to the 
 rear. 
 
 The sheets of cartridge paper are of equal width, and large 
 enough to go around the bottle, with a couple of inches to 
 spare. In height, however, one is greater than the other by 
 about two inches. At the outset rolled lengthwise (the shorter 
 around the larger), they rest on the table top between bottle 
 and orange. 
 
 The papers are taken up and the smaller one unrolled and 
 placed around the bottle in such a manner as to keep the open- 
 ing to the front, and with the left edge outside and over- 
 lapping the other. Then the larger paper is placed on this, but 
 with the ** opening" to the back, just opposite to the position 
 of the shorter paper. While the thumb and forefinger of right 
 hand nip together the overlapping edges, at the top of tubes, 
 the second finger dips into the neck of bottle. During this 
 operation, which follows without an instant's pause, on top of 
 the arrangement of the second paper, the left hand moves up 
 and down the cylinder as though moulding it to the shape of 
 the bottle, coming to rest finally at the bottom, the thumb of 
 the hand is rested against the projecting ledge or tag of 
 celluloid. Now comes the critical move. In effect, the right 
 hand merely lifts the outer or taller tube and places it over 
 the orange. This move, if neatly executed, passes without 
 suspicion, for actually the bottle, dangling from the second 
 
 76 
 
Up His Sleeve 
 
 finger is shifted also and dropped gently over the orange. The 
 raising of the outer tube invariably drags up the inner one, and 
 shows the celluloid fake, but which looks like the bottle and no 
 one suspects that the bottle has been removed. 
 
 Later, when each tube is in turn raised to show that the 
 bottle and orange are in their respective places, the left fore- 
 finger is dipped into the neck of the bottle as before, and the 
 bottle raised with the tube. 
 
 The second paper is merely raised high enough to reveal 
 the fake actually clearing the top. Finally when it is de- 
 sired to show the transposition, the magician, standing on right 
 of table, seizes the tube that hides the fake at the point on top 
 edge where the edges overlap. Nipping these overlapping edges 
 between the fingers, he tightens the paper around the fake, 
 making easy the task of lifting both together. 
 
 The tube is now transferred to the left hand and held in a 
 manner to permit inspection of its interior. As the second tube 
 is without preparation, it may, when lifted to show the bottle, 
 be allowed to fall open in a casual way. Afterwards it is 
 rolled around its companion, and both, including fake, are 
 tossed carelessly over neck of bottle. 
 
 If desired, the fake may be made of metal, which by its 
 greater weight will not cling to the bottle. In other respects, 
 however, the celluloid fake is preferable. There are many 
 things to recommend this experiment to the performer, and it 
 is really superior to the passe passe bottle and glass tricks. 
 
 77 
 
Up His Sleeve 
 
 The Turnstile 
 
 ' I ''HIS illusion, based on the principle of Black Art, is in- 
 -"- tended for the instantaneous production of four human 
 beings. 
 
 The apparatus takes the form of a broad circular stool on 
 which is mounted a turnstile arrangement of four black covered 
 panels. In appearance, the whole strongly resembles the re- 
 volving turnstiles, on which pictures are sometimes displayed, 
 in shops and galleries. The stool carries a raised edge to mask 
 the presence of a turntable, into which the turnstile is fixed 
 by pins in its lower edge. Thus, the turnstile may be revolved 
 in either direction to show all parts. 
 
 All the outer edges of the panels, with the exception of 
 those at base, are bordered with white. While this arrange- 
 ment gives an appearance of depth to each compartment, the 
 gloom of the interiors is really made more impenetrable, by the 
 glare of the white border lines. The turntable, like the panels, 
 is covered with black cloth. 
 
 Each assistant, prior to production, stands in the angle, 
 formed by the junction of two panels, and is hidden by a black 
 flap. As each flap is spring hinged to a panel, its normal posi- 
 tion is against the latter, and within the white border lines. For 
 the purpose of concealment, however, it may be opened out like 
 a door, till its outer edge touches the further panel, and is kept 
 in position by the operation of a spring catch. 
 
 These arrangements are so simple and the operation of the 
 Black Art principle so well known that there is no doubt re- 
 garding the practicability of the conception. 
 
 In presentation, performer steps into one of the chambers 
 and, giving the appliance a ''push off'' goes for a ride. Getting 
 out, he sets the turnstile moving once more. Four pistol shots 
 
 78 
 
Up His Sleeve 
 
 are fired in quick succession, and as each compartment comes 
 into view, it is seen to be the abiding place of a beautifully 
 dressed damsel. Much of the success of illusions of this type 
 depends on the selection of characters that will make an in- 
 stant appeal to the taste or imagination of the audience. Four 
 girls in Georgian costume, male and female, might emerge and 
 execute the step of an old time minuet. Music and dresses 
 combined would make of this an appealing feature. Again, the 
 assistants, appropriately attired, might execute one of the 
 modern folk dances. Clown, Pantaloon, Harlequin and Colum- 
 bine could be created to perform their drolleries. A quaint 
 effect might be obtained, by openly standing a tiny girl in one 
 of the spaces. Round and round goes the wheel of life, and 
 with each revolution the child is seen to pass through the suc- 
 cessive stages of womanhood, — flapper, young woman, matron, 
 and ancient dame. 
 
 r/a/i. 6/foLi/tny //a/OS. 
 Cfosev/, O^e-n OK /rr 
 tif^cesi o/' o/oft^/hf . 
 
 ^of/ec/ fines jAott/ 
 Sec^-e^ //a/>s . 
 
 Curious would be the effect of turning the apparatus the 
 reverse way to produce a series of rejuvenations, ending once 
 again, at the stage of childhood. All costumes should, as much 
 as possible, be designed to give the appearance of bulk on pro- 
 duction. 
 
 79 
 
Up His Sleeve 
 
 The catches on ''doors" are so devised, that they may be 
 drawn back by a pull on a black cord that hangs on the inner 
 side. Each hidden assistant frees her 'flap" by a pull while the 
 compartment in which she is placed is away from audience. 
 Promptly she steps forward to loom as bulkily as possible in the 
 eyes of the spectators. 
 
 6^^^^ 
 
 SO 
 
Up His Sleeve 
 
 Silk Stockings 
 
 TDECAUSE this idea is simple, I hope its ingenuity will not 
 -■^ be overlooked. 
 
 A large box, built like a safety match box, and decorated 
 and inscribed to resemble one of the fancy cardboard cases in 
 which silk stockings are packed rests on the stage. The box, 
 which is closed, stands on one of its narrow sides, and end-on to 
 audience. 
 
 Performer and assistant, between them, turn it around, so 
 that the printed side faces audience. The drawer is pulled 
 right out of the case and the latter turned around and laid on 
 its bottom. The spectators can now see right through the case 
 to the scenery at rear. 
 
 The case is restored to its former position, and the drawer 
 reversed to show the bottom. Finally the drawer is pushed into 
 the case, which is then turned with front uppermost. 
 
 Now comes the effect. 
 
 Performer pushes the drawer partly through, to protrude 
 about a foot beyond the case. Instantly, is popped up a pair 
 of shapely legs, clad in dainty shoes and silk stockings. The 
 vision lasts for but a moment, when the legs are withdrawn, 
 and the drawer pushed through to protrude in the same way on 
 the othej side. Up comes a second pair of legs, displaying 
 hose and shoes of another color. The male spectators are not 
 given time to appreciate the fascinating display because the 
 drawer is pushed through once more. This time, the wearer of 
 the stockings rises, right end uppermost, and steps from the 
 box. In the same way, the second lady emerges from the other 
 end — a taking effect. 
 ExplanatioiL 
 
 Though both drawer and case are faked, the arrangements 
 
 81 
 
up His Sleeve 
 
 are very simple. That end of the drawer which, in the be- 
 ginning will emerge last, is spring hinged to the bottom ; so that 
 normally, its upper edge presses against a bar that connects 
 the two sides at top. A section, also, is cut from the bottom of 
 the case. (See Fig. 1.) 
 
 Por6'ori S/?OurS 0/0e/7f/f0 
 
 The drawer is inserted with its faked end nearest to the 
 end of case, at which the opening is situated. Both girls, at 
 outset, are within the box. As the drawer is slowly drawn out, 
 they bend down the moveable end, and passing into the case, 
 leave it via the open trap at rear. (Naturally, as soon as the 
 drawer passed the opening the way was clear for them.) As 
 quickly as possible, they get behind that portion of the drawer 
 that has left the case, and follow up its further movement. The 
 case is then turned down and around, to display the interior. 
 (The trap is not noticed because the interior is painted a dark 
 color, to match a cloth spread on floor.) When the case is 
 placed once more on its narrow side, it is stood just in front of 
 the drawer and with the ends overlapping slightly. (Fig. 2.) 
 Promptly, the assistants leave the shelter of the drawer for that 
 of the case. Entering the latter, they wait for the re-insertion 
 of the drawer. As it runs in, they push back the end and 
 enter in turn. That is all. 
 
 82 
 
up His Sleeve 
 
 The Screen of Life 
 
 T ONG ago, I bought a "Box of Tricks." That was before 
 -*^-' the era of back-hand palming, and at a time when ma- 
 gicians were content to let lions and tigers slumber peacefully 
 in the Zoological Gardens of the world. As usual, this cabinet 
 contained, among its marvels, the "Magic Pocketbook." The 
 feature to be described represents a successful attempt to 
 turn to larger use the ingenious stringing arrangement that 
 made this trick possible. By its use, there is obtained an 
 inexpensive and self contained illusion, capable of variation to 
 any extent. Here is one striking effect. 
 
 On the stage, stands a large three-fold screen. Approach- 
 ing this from the front, magician closes and turns it right 
 around, then opens it anew, so that the side that was formerly 
 rearmost, now faces the audience. The fact of the reversal is 
 easily grasped by the spectators, because the cloth on one side 
 is of a different color to that on the other. The screen is next 
 arranged to make a triangular enclosure. Suddenly, as the 
 incense of burning sandalwood floats through the theater, and 
 while the orchestra is twanging a quaint little Chinese air, 
 the screen is opened, and there emerges a Chinaman, bearing on 
 his shoulder, a pole from which hang two chests of tea. The 
 interior of the screen also, has been transferred to an Eastern 
 background, while an immense Chinese lantern hangs from a 
 cord, stretched from panel to panel. 
 Explanation. 
 
 An inspection of Fig. 1 will show that the screen is really 
 built up of four panels, the center one (B. B.) being in dupli- 
 cate. These two sections are connected by bands of stout web- 
 bing, two bands being at top and two at bottom. The man- 
 ner in which each band passes from the edge of one panel to the 
 
 83 
 
Up His Sleeve 
 
 furthermost edge of the other, is clearly shown in the sketch. 
 The reader, familiar with the operation of the pocketbook will 
 know that like the latter, these two panels may be parted 
 along either of the longer sides, the opposite long edges being 
 thrown together for the time being, to form the back, or hinged 
 side of the book. 
 
 It will be noticed that, in the case of the outside panels, 
 one (A) is hinged to the back, and the other (C) to the front B 
 section. > 
 
 That the screen may be easily shifted without raising from 
 the floor, each panel is provided at base with two castors, or the 
 more modern and satisfactory furniture cones. In all sketches 
 X shows the position taken by performer, while the assistant's 
 place, for the time being, is indicated by a dot. 
 
 pi5,i. 1/ FI0.2. wt H wa& 
 
 Mh»>r^ Bt>*^>g x M "*•'♦■ 
 
 A X 
 
 FIG. 6. FI6. 7. FlO.S. 
 
 At the outset, the screen is arranged as in Fig. 2. Per- 
 former closes outer panels A and C against the particular sec- 
 tion of B, to which each is attached, and produces the wedge- 
 shaped formation shown in Fig. 3. In effect, the screen has 
 been closed up. The spectators within the range of visibility 
 on either side cannot judge of its condition while the inter- 
 posed body of the performer prevents those directly in front 
 from realizing that the screen is not quite closed. As a matter 
 
 84 
 
up His Sleeve 
 
 of fact, even at its furthermost edges, it is not open very many 
 inches because the hidden assistant stands side on to audi- 
 ence. Furthermore, the panels are not solid throughout, being 
 merely rectangular frames, over which the cloth is stretched. 
 There is, thus, a considerable amount of ''Give" in the sides. 
 
 The screen is next turned quickly to the left, around as- 
 sistant, and while he remains stationary. (See Fig. 4.) Now 
 comes the critical move. The performer holds the screen 
 steady, while the assistant moves between the two B panels, to 
 the opposite side. As he advances, stepping en route over the 
 lower bands, the panels open before him, and automatically 
 close, at his rear. (Fig. 5.) "When the panels are opened once 
 more, the condition is identical with Fig. 2. As, however, the 
 screen has been turned right around, the respective positions 
 of A and C have been reversed. Panel C (according to Fig. 
 2) is now brought^around to close the opening. (Fig. 6.) Im- 
 mediately this is done, the assistant pushes the innermost B 
 panel across, so that it comes to rest against the opposite side 
 of the triangle. (Fig. 7 shows the panel in course of tran- 
 sition.) The assistant now has the whole triangular space in 
 which to roam, and the two rear walls of enclosure are made 
 by what were formerly, the inner sides of the panels B. 
 
 These interiors should either match in color, the side that 
 is now to the front, or be decorated with a design in keeping 
 with the effect of the illusion. In this case, they should repre- 
 sent a pattern in Chinese lattice. If the assistant carries in his 
 pocket a scroll, showing a similar design to be hung on the inner 
 side of the front panel, all three sections of the screen, when 
 opened, will be in harmony. The lantern hangs from a wire 
 already stretched between the tops of panels B and is tacked, 
 for safety, beneath a band that forms part of the lattice pattern. 
 The Chinaman's broad brimmed straw hat, pole and tea chests 
 
 85 
 
Up His Sleeve 
 
 (collapsible) are similarly stowed in a manner to be readily 
 secured. 
 
 The performer, passing behind screen, changes places with 
 an assistant attired and made up to represent magician. As- 
 sistant might then, with back to audience, operate the screen 
 in the manner just described, leaving the actual performer 
 at conclusion, with the screen, to wait his part in the finale. 
 The assistant would then of course, don some form of cloak, 
 and make a further exchange by other means with a female 
 character. 
 
 I leave it to the reader to make the best possible use of 
 the idea. 
 
 86 
 
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