Impromptu magic, with patter

Contents

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Introduction 7

Author's Preface 9

Introduction

Nature is not alone in abhorring a vacuum. The literature of magic is sadly lacking in the initiatory stage of the foundation principles of the simple deceptions that really deceive without apparently doing so.

At the dinner table, the parlor gathering, the impromptu meeting of friends at a neighbor's, do you know of any book or pamphlet on magic that fills the bill?

Well, Impromptu Magic, with Pattee, does that very thing, and does it satisfactorily. The author, George DeLawrence, has been a society entertainer for many years, has learned the in's and out's of the whims and exacting demands of social affairs, and knows how to meet them with just the thing that fills the gap and prevents the ennui of what promised to be a dull time at the gathering satiated with music, song and cards. Magic is an art that sometimes instructs, often amuses and always entertains.

The Commercial Traveler, the Book Agent, the Insurance Solicitor, in fact any man who finds it difficult to interest a "prospect," will find many things in this book that will help to land a sale or secure an order. For the first principle in dealing with another is to gain attention and arouse interest. Nothing will accomplish this end quicker than will an impromptu trick, done with seeming unconsciousness of having done anything.

Many books and booklets on patter, numerous works, little and big, on magic, have been published. But not until this work of DeLawrence has there been one that covered both, and with material that anyone of reasonable intelligence could use successfully and satisfactorily.

Having read the manuscript I congratulate the author on his wise selection of tricks and on the sensible and appropriate patter accompanying them. The fortunate purchaser is also to be congratulated, for he will have a veritable mine and inexhaustible storehouse of material that will prove a boon and blessing in time of need, and thus will be able to prove himself an entertainer who actually entertains.

A. M. Wilson, M. D.

Author's Preface

You will pardon, I trust, this somewhat lengthy preface to Impromptu Magic, with Patter. In covering a field that has been sadly neglected by most writers on magic and sleight-of-hand, this detail has been gone into for your own benefit, that at the end of the book you not only may know how the various tricks are accomplished, but will be able to present them yourself.

The author as a boy was naturally backward, due mostly to fact that he could neither sing, play a musical instrument, nor otherwise "perform." Hence at social gatherings he was, more or less, what is termed a "wallflower." Chance brought a copy of a magic dealer's catalogue into his hands. He invested in some apparatus and spent long hours in secret practice, with the result that thereafter he had a diversion to offer at parties and various social gatherings ; and, instead of remaining a "wallflower," he became a much talked-of entertainer.

I realize that many young people are in the same position today. Magic is an art that is always interesting, will make you a welcome guest at any social function, and, with proper practice, may also be the means of your earning a fair recompense as an entertainer. Therefore this book of off-hand tricks — with complete explanations and instructions, illustrations of the various moves, and the necessary

K) IMPROMPTU MAGIC

"patter," or talk to cover — has been prepared for your benefit.

First, I am going to tell you the basis of all magic, be it the smallest pocket trick or the largest stage illusion. That is misdirection ; in other words, deceiving the eye into believing it sees certain things which actually are not so. The hand is not quicker than the eye, but it can easily deceive that optic. For illustration: Take a coin in the left hand, place it once or twice in the right hand, then, instead of placing it in the right hand, retain it in the left, dropping this hand carelessly to your side, while the right hand closes the fingers as if containing the coin and is raised above your head. Every eye will follow the right hand. That is your deception, the basis of magic ; or, as I have termed it, misdirection.

A word as to practice. Even the most simple tricks should be practiced several times until you are sure of yourself, so that you can go right ahead and perform the trick without hesitating or fumbling. The difference between the raw performer and finished performer is this: The former does not know what he is going to do, while the latter knows just what he is going to do. There are no tricks explained here that require any degree of trained dexterity, or more than an hour's practice. Considering that card and coin experts and other exponents of the art of magic spend years in practice, you will appreciate more the value of the tricks or effects explained herein, some of which are even more startling than those requiring considerable skill.

You have, no doubt, often noticed an amateur magician who perhaps was able to accomplish the work he set out to do, but made a miserable attempt in his presentation talk> or what the professional calls "patter." This is the hardest and most difficult part of his "turn" or "act." It has proved the stumbling block for more than one aspiring and otherwise clever magician. So I have added this feature, a short, snappy talk to cover each trick, in order that, after you have learned the moves of execution, you may at once be in position to present the effect before a gathering and present it in a manner that will be a credit to you.

Half the battle is won when you know you are right, for then nervousness and "stage fright" should be of short duration. However, don't lose hope if you get nervous the first two or three times you endeavor to work before an audience. Even the most hardened professional went through the same agony, and this bugaboo sometimes returns to haunt him in later years, such as on opening nights, or at the first presentation of a new act.

While this volume of simplified magic is intended for the beginner who wishes to achieve sleight-of-hand effects without being obliged to spend much time in study and practice, it is hoped that the book will be of interest and value to my fellow professionals as well.

THE POSSESSED MATCH HEAD.

Three heads of paper matches appear in this trick, or in lieu thereof, three pieces of dough, or bits of rolled-up tissue paper. To the spectators, three heads are used. In reality you have four heads, one being 1 concealed at the base of the fingers on the right hand, between the first and the second fingers.

The heads are laid on the table. Then one is picked up by the right hand and placed in the left, which immediately closes, thereby keeping the match head from view. A second head is likewise picked up by the right hand, and, when placing it in left, the concealed head is allowed to drop with it into the left hand which immediately closes as before. Three heads are now in the left hand, which the audience thinks contains but two.

Pick up the third and last head from the table with the right hand. You apparently throw it under the table or off to one side, but in reality this head is held between first and second fingers near their tips, the thumb aiding in getting it into this position.

The match heads in the left hand are thrown on the table, showing three therein, and making it appear that the discarded head has joined the first two in the left hand.

You can repeat the operation, actually throwing away the last head this time. Then, if you desire to repeat again, have concealed in the wrinkles of the trousers, above the knees (if seated at table), one or two similar match heads, which can be easily obtained by the right hand as the left throws the three heads out on the table.

I have here, ladies and gentlemen, three little match heads, which you see are very ordinary, no strings, threads nor magnets being attached. I want you to count them carefully — one (place in left hand), two (place in left hand), and here is number three, which we will discard under the table. ( Throw away.) But strange to say, it hops right back to its friends, and here we have one, two, three. (Throw on table.) For the benefit of those who were not paying attention, I will once more demonstrate this painless operation. Three match heads; number one; here is number two, and number three goes on the floor. But before you can wink an eyelash, here he is — three. Mr. seems skeptical, so to convince him that it is not the contents of any bottle that causes this match to hop, here goes again. Number one; here is number two, and number three actually is thrown across the room, but instantly — here he is. One, two, three.

THE PENETRATING MATCH.

Either matches or toothpicks can be used in this experiment. The toothpicks are better, as there is less solid matter to grasp between the fingers. If the picks are too long, break them off to a size that can be easily handled.

The effect is as follows: A toothpick is held between the first finger and the thumb of both the right and the left hands. Then, bringing the hands quickly together, they are caused apparently to pass through each other, being interlocked as shown in Figure 1.

The secret is : The toothpick in the right hand is not held between the thumb and first finger alone, but is grasped by the first and second fingers so that it can be held by these fingers when the thumb is drawn away. You make two motions of the hands, bringing them close together, and on the third motion, release the thumb of the right hand, bringing the toothpick a short distance away from the thumb, as in Figure 2, the free end going down inside of the stick held in the left hand. The instant they have passed the thumb comes against the free end, as in Figure 1 , causing a perfect optical illusion.

It will take several minutes' practice to get the movements down so that the hands work in harmony, but when this is accomplished with the hands in motion, the bringing away of the thumb cannot be seen even under a spectator's very eyes.

To bring the toothpick out, simply reverse the movements, finishing with the hands separated a foot or more.

An after-dinner dessert — toothpicks — generally furnished by chop houses free of charge. {Show toothpicks.)

You will notice I have one in my right hand ; also one in my only remaining hand. Nothing peculiar about that. However, what I am going to do is very peculiar ; something that was shown to me by an old Indian, Prince Bon Ami by name.

By moving the hands quickly together, on the third movement one toothpick, invisibly and without leaving a trace, penetrates the other — like that. It's a poor rule that won't work both ways. So when you desire to get the toothpick out, simply reverse your count — three, two, one — and there, the dirty work is done. (Repeat if desired.)

THE DISAPPEARING MATCH HEADS.

Two flat paper matches are exhibited in the right hand. The left hand passes over them and the heads disappear. Another motion and they again appear, in both cases the two sides being shown with or without heads, as the case may be.

The actual operation is caused, in the first instance, by previously shaving off the head on one side of each match. To show both sides with heads, hold the matches between first finger and thumb about level with your waist, so that the shaved sides of the matches cannot be seen. Then bring the hand upward with a quick motion, at the same time giving the matches one turn sidewise by rolling them between your fingers. The upward motion should be made with an inward curve, so that when the hand stops the heads of the matches are pointing toward the body. Thus, while you have appeared to turn the matches over but once, you have given them also a sideways turn, so the same side appears to view as at first, and the under side is again out of sight. You have apparently shown both sides of an ordinary match. Now bring the hands back down to the first position, again twisting the matches between the fingers, and the heads are again in view. To cause the heads to disappear, pass the left hand over the matches, and under this cover give them a side turn with the right hand, bringing the shaved sides to view. The upward movement may be made without turning the matches, if it is desired to show the opposite side. It will be seen that by following these movements the matches may be shown at will, either with or without heads.

The same trick may be done with paper matches which have printing on one side, making them appear plain or printed on both sides.

The patter is written for this effect.

Most of you are familiar with the shrewdness of the Hebrew race and what wonderful salesmen they are.

The other day I witnessed the most clever piece of selling ability that so far has come to my notice.

This salesman was selling matches — ordinary paper matches like these two. He was explaining to his customers the advantage of advertising, saying his firm would print his ad on one side of the match, as is customary with these articles. Another person standing by spoke up and said: "Veil, I vould puy some of your matches, but I vant my ad on both sides." The salesman, nothing daunted, said : "That's easy, just pass your hands over these matches, and there you are. Advertising on this side, also on the reverse side." Another fellow butted in, saying: "I could use some, but I don't want any advertising at all." Up spoke the salesman again: "That's the beauty of our matches. If you want the match to be entirely blank, pass the hand in the other direction. Nothing on this side, likewise nothing on this side." The first customer spoke up: "That is certainly a most wonderful match, but for myself, I'd like to have the advertising on one side." "Fair enough," said the salesman. "Move the hand downward, and there is your wish. An ad on this side, the other perfectly blank." I might say that he sold a heap of matches.

THE PENETRATING QUARTER.

This is to be performed while seated at a table.

To get the best effect, three quarters or half dollars are used. One quarter is concealed in the palm of the right hand, which in conjuring parlance is termed "palming." It will be found a simple matter to hold a quarter in the hand without cramping it to a noticeable degree. The two visible quarters are laid on the table, about five or six inches from the edge. The performer picks up one coin with the right hand, which holds the palmed coin, of course not allowing the palm of the hand to be seen. The right hand is placed under the table and the left at the same time picks up the remaining coin. Now take this last coin, snap it down on the table and keep it covered with the fingers of the left hand, while the right hand under the table drops the quarter from finger tips into palm, causing the two to click. Bring up the right hand with the two quarters and throw them out on the table. At the same time the left hand, with a quick but natural jerk, snaps the coin off the table, allowing it to drop into your lap. You have apparently caused one quarter to pass down through the table top, joining the one previously held there.

If you experience any difficulty in palming the quarter, place it, unknown to the audience, on your knee instead of palming it. Go through the above routine, picking up quarter on your knee when the right hand goes under the table, and drop it into the palm at the right moment.

Here is a little trick shown me by a Chinese friend of mine, my laundryman ; by name, Wun Bum Lung. When I saw it performed it was done with Chinese coins — "cash," I believe they call them. I started to buy some, but found the freight on two-bits' worth amounted to $11.34, so I experimented with quarters and finally accomplished the seemingly impossible.

This Chink took two coins and laid them on the table, as I am doing. Then he picked up one and held it under the table, right below the remaining coin, which he took and snapped like this. At the same time he sang out : "Chow, Chow, Chow Mein." And — would you believe it ? The coin penetrated the table. When he brought out his right hand the two were together, just like that. Marvelous, isn't it?

COIN AND GLASS OF WATER.

This effect requires a little skill, but the biggest asset is plenty of nerve.

The effect : A dime or other small coin is placed on the table, a playing card laid over it, and this in turn covered by a fedora or soft hat. The audience is asked which shall appear, heads or tails?

No matter which the choice may be, the hat and card are lifted and the experiment is then tried again. You will probably fail, so you say you will cause the coin to pass through the top of the table. Then when the hat is lifted your audience sees on the table, instead of the coin, a glass partly filled with water.

This is performed while you stand at a small table, with the audience standing all around you, and here is where the value of misdirection is appreciated.

Just before you perform this trick, secretly procure an ordinary drinking glass and fill it, half-way or a little more, with water or any other liquid. Then place the glass under the vest so that its base rests against the top of the trousers. The glass will easily stay in this position and you need have no fear of dropping it out, nor is the bulge noticeable.

Borrow a soft hat and lay it on the table. Borrow a coin and place it on the table and cover it with a card. Over these place the hat and ask someone to call "heads" or "tails." Generally the request will be opposite to what appeared when the coin was placed. Lift the hat with the right hand, bringing it to a natural position against the body at the waistline, where the glass reposes. Have someone lift the card. If the coin is not as called for, say that something went wrong, and make excuses ; or if correct, say you will try it again anyway, and repeat the covering and uncovering with card and hat. Once more bring the hat to the waist line. When the party starts to lift the card, all eyes are naturally focused on the table, and this gives you ample opportunity to secure the glass with your left hand, place underneath the hat and grasp it with the right hand through the top of the hat, all unnoticed.

This time take up the coin with the left hand, and lay hat and glass on the table. Do not drop it so as to make a noise, but dent in the top of the hat if necessary to hold the glass. The coin in the left hand is apparently placed in the right which at once makes a throwing motion under the table. Lift the hat with your left hand and there is your glass of water, on the table. This trick is sure to cause a lot of surprise and favorable comment.

I was talking the other day to a magician who showed me what wonderful control he had over coins. So this evening, for your edification, it is with pleasure I repeat one given me in strict confidence.

Will some soft gentleman lend me his hat? Pardon me, I mean will some gentleman lend me a soft hat? Any kind at all. This one is entirely satisfactory.

My next request is going to be harder to grant. Someone please let me have a dime. Yes, I'll give it back. I thank you. The dime I will place on the table, covering it with the playing card (or a calling card will answer the purpose), over which goes the hat.

Now, then, if you will tell me which you desire, heads or tails, the coin will obey my command and appear in that position. Heads? Heads it shall be. (Lift up the hat yourself.) Kindly raise the card. Heads, that is correct. Once more, you will notice it is now heads. Over it goes the card, and then the hat. What is your pleasure this time? Tails? Very well, tails it shall be. Please lift the card. (Get your glass of water.) What is it? Heads? Something went wrong this time, I fear. I'll try it in a different manner, causing the coin to pass up through the table. What do you want this time? Heads? Very well, it must be heads. Lift the hat and see if I am not correct. (The glass of water is found, which concludes the experiment.)

THE TRAVELLING COINS.

This is based on the principle of the old cups and balls and the three-shell game.

The effect: Four nickels or pennies are placed seven or eight inches apart in the form of a square on a cloth-covered table as in Figure 3.

Two playing cards or other similar pieces of stiff paper are placed over coins one and two. Coin three is taken in the right hand and apparently pushed up through the table. On lifting the card that was over coin one, two coins are found there, as in the arrangement shown in Figure 4. Coin four is next taken and likewise appears to penetrate the table, so that three coins assemble in number one position. The last coin is then caused invisibly to congregate with the others, all four being found finally under the first card.

The method: The four coins are placed first as shown in the diagram; two cards are exhibited, one

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(D being held in each hand. Cover coins one and two, calling attention to the fact that two coins are covered and that two remain in view. Now lift the cards from coins one and two, and cover coins number three and four. Then move the cards back from three to one and from four to two, but as you place the card over coin two the right hand picks up the coin and holds it with the tips of the fingers against the underside of the card. (Figure 5 shows the method.)

Practice these moves until they can be made without awkwardness. Do not look at the right hand when executing the move.

With coin two held under card in the right hand, the left hand, with card, moves away from coin number one, and is brought over the right hand so that it exactly covers the card in that hand. The right hand with coin two under the card then moves away, the left hand instantly dropping its card and apparently covering coin two, which is really held under the card in the right hand. This card in the right hand is now placed over coin one, the concealed coin two being allowed to drop as the card touches the table, but care should be taken to see that the two coins do not hit each other, which would cause them to "talk."

Your audience is now under the impression that a coin reposes under each card, while actually coins one and two are in number one position, while there is no coin in number two position. (See again Figure 4.)

Now openly pick up coin three with the right hand and place it underneath the table. During this move drop it into the left hand, which is also held below the level of the table. The right hand under the table snaps its finger against the wood and is brought out empty. Pick up the card in number one position with the right hand, while the left hand below the table is getting the coin to the tips of the first and second fingers. When the card in number one position is lifted, two coins are shown to be under it, and the card is then passed from the right hand to the left, which takes the card, keeping the coin concealed thereunder. With the left hand the card is replaced in number one position, the third coin being dropped, secretly, alongside of the other two.

Repeat the same operation with coin four, which will apparently bring three coins in position number one, whereas four are actually in that spot. Tap the card in position two, lift and show that the fourth coin has disappeared and has joined the others under the card in position number one.

Most of you are familiar with these coins — nickels or "jitneys" — but I am going to convince you that they are possessed of peculiar characteristics. Making a square of the round nickels I will again call your attention to the fact that there are four — four and no more; also that these are two very ordinary playing cards. By covering these two coins, two are still in sight. Likewise if I cover these two, the former are in view. No matter which two are hidden, two always remain where you can keep your eyes on them.

I will take this coin, place it under the table and cause it to instantly and invisibly pass right through said table and join the coin already there. Of course some of you are undoubtedly skeptical, but you see I'm telling the truth. Two coins are really there. I'll try it again, and want you to keep your eyes on me very closely. Here is the coin. Under the table it goes — one, two, three — and here it is with the other two, leaving one more coin under this card. But to show you how square and fair I am, this coin will be caused to vanish and join the others right in plain sight. (Tap the card.) It has already done so, as I presume most of you are aware, for you see here are the four coins all together.

FOUR COIN TRICK.

The effect: A penny is placed in the palm of the right hand and another in the left hand. The hands are then closed, and palms turned upward. One of the audience lays another penny on the ends of the closed fingers of each hand. With a throwing motion, and turning the hands downward, one penny is caused to transfer, invisibly, to the other hand, so that the left hand, when opened, is found to contain three coins, and but one remains in the right.

The method: Four pennies, or similar coins, are placed as described and shown in Figure 6. When the hands are turned over the left hand opens and grasps the outside penny with the finger tips, so that the two are held in that closed hand. But when the right hand turns, it opens and drops on the table the penny in the palm as well as the one on the finger tips, so that the coins are located as shown in Figure 7.

To the audience it now appears that the pennies which rested on the finger tips of both hands fell on the table. Remark that the trick did not work, and again request one of the audience to place the pennies on the finger tips as before. Hold the hands far apart and quickly turn them over, opening the fingers sufficiently to grasp the coins with the finger tips and pull them inside the fists. When the hands are now opened the left hand holds three coins and the right hand one, yet the audience has not seen how the coin was passed from one hand to the other.

Ladies and gentlemen, this is a cheap trick. I use pennies — four of them — thereby making it a fourcent trick.

One penny I will place in my right hand and one in my left hand, which is half the trick. The other two pennies I wish you would place on the ends of my fingers, one on each hand. I thank you.

Watch me closely, and remember: The closer you watch the less you see. {Turn hands and drop coins.) Pardon me, my mistake. It didn't work that time. Would you mind replacing the pennies once more on my finger tips?

Again. Watch closer. {Turn.) It is done, and I doubt very much if you saw that penny travel from the right hand to the left. But, anyway, as Shakespeare says : "It is did." There is the one lone cent {open left hand), the other little rascal being over here where there was more cents {open right hand), It's really a nonsensical trick.