Having seen several attempts at a solution of the Kettle Mystery, none of which
could be called workable, I place before the Conjuring world my original
conception of the act, which from personal experience I know to be practical and
workable.

I also include several magical effects that are now for the first time made public,
and I wish to thank MAX STERLING, CHAS. TRICKEY, and ED. FIELDEN
for the effects they so kindly placed at my disposal.

For the Balloon Trick and the Tin Trunk Escape I know not who to thank. To the
remainder I must plead guilty to dressing up old tricks in new clothes.

That this small effort of mine, when read, will find a place in your book-case is
the wish of

Yours as ever,

HARRY WHITELEY.

Contents

Preface

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Miracles of Modern Magic

Harry Whiteley

Contents

Introduction

T BOILS on ice." So read the headline on many a playbill. It afforded the

penny-a-liner a catchy title for his copy, rejoiced the hard hearts of pantomime
comedians, who welcomed a new victim for their "gags," and, lastly, transferred
bright sovereigns from the pockets of the great and gullible British public to the
banking accounts of magic kettle exhibitors.

The life of the "Great Magic Kettle Act," to give the performance its full and
imposing title, was singularly short for so striking a novelty; more strangely still,
the very germ of its existence proved the cause of its death--we refer to liquid air.
Was there ever such another glaring instance of the fallacy of providing the
public with the key to a mystery?

Gone, but not forgotten! Dead, but it shall rise again! These pages are dedicated
to the memory of the departed, also to nurture its successor by explaining how
the act may be genuinely duplicated, yet minus the expense of liquid air.

Many and varied were the efforts of those who fain would boil their kettles at less
than a guinea per litre (the price of liquid air during the craze), but we hardly
know whether our sympathies were more with the professor or his audience when
calcium carbide and water were the materials used to invoke a semblance of
steam. If at times the "steam" was less apparent to the sight than it might have
been, it is certain the odour was painfully plain to one other of the five senses.

Another equally daring discovery, that ammonia and hydrochloric acid could be
pressed into service for the production of the sought-for vapour, proved but one
of many attempts to arrive at a solution of a ridiculously simple problem.
However greatly kettle operators differed in conjuring steam, to a unit they
plumped for a double pan in which to "boil" that necessary item of the
entertainment--ice cream.

Ingenious or otherwise as the magical (not magic) kettle acts proved, the thorn in
the side of their proprietors were the freezing experiments. In this particular we
believe even the presentors themselves will agree the results were frosts; yet we
hope to show how easily the genuine experiments may be secured at trifling cost.

Introduction

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There is small room for doubt that some demand will always exist for a scientific
kettle entertainment at a reasonable fee. Apart from this, the possibilities which
must suggest themselves from practical knowledge of the subject under
discussion lead us to believe that this modest manual will find a welcome in
technical libraries.

Contents

Introduction

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Miracles of Modern Magic

Harry Whiteley

Contents

The Great Magic Kettle Act

Description of the Performance from beginning to end
The Secret Out
How the Kettle is made to Steam
A Word of Caution
Preparation
Presenting the Kettle Act

A Careful Description of the Performance from Beginning
to End

IRECTLY the curtain is raised we look for the kettle. There it is, slowly

steaming on a stand, with a small spirit stove beneath. It is a most
ordinary-looking kettle, and we barely notice a large block of ice on a centre
table, two side-tables containing metal goblets or beakers, various culinary
utensils, flowers, grapes, and other things, when the operator makes his entrance.

"Ladies and gentlemen," we hear him say, "I shall have the pleasure of
conducting a series of experiments in which nature will contradict her own laws.
Here you see the magic kettle slowly boiling over a stove. When I place it on this
block of ice you will notice that instead of chilling the contents the kettle will be
made to boil furiously."

This suggestion the operator carries out with precisely the prescribed results--the
kettle steams as though some imp of darkness were inside puffing out a steady
cloud of vapour through the spout. Leaving it to boil thus for the moment, the
lecturer offers to conduct a scientific laundry, for which he borrows a gentleman's
hat and a lady's handkerchief--the first for the washtub, the last for the wash.
Dropping the cambric inside the improvised tub he lifts the kettle from the ice,
and lowering the spout well within the hat, tilts up the kettle, and as volumes of
steam ascend from the hat we shudder for the safety of the borrowed articles
when the fiery liquid shall have done its work. Here the kettle is placed on the

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table while the operator condoles with the owners of his tub and its contents.

Our misgivings were of course unwarranted; the handkerchief is shaken out, but
although it still steams slightly it is nevertheless dry, and, we are assured, much
improved in the wash. Buth whether there is a difference in the cleanliness of it is
open to question. The hat, it would seem, must be nearly full of liquid from the
kettle; and here we are tricked again--it is as dry as the proverbial herring,--and
both articles are restored to their respective owners.

"It is needless for an owner of a magic kettle to have empty pockets." This
remark the operator illustrates by inserting the kettle spout in his various pockets
and tipping up the still boiling vessel, seemingly filling his clothes with its very
elusive contents.

"If your watch won't go, oil it," is another of his facetious phrases, as he takes out
his apparently gold chronometer and liberally soaks it. Then we are assured that
the match-making industry is doomed. "Instead of vestas, carry a kettle on your
watch-chain; it's so much more reliable in windy weather." The application of
this remark is plain when, taking a cigar from his case, the demonstrator doses it
with the kettle, this causing a flame to spring up at the proper point. There is no
question of the smoke being other than ordinary, for the lecturer calmly smokes
away at it just as though it were the most natural thing in the world to use steam
instead of matches.

Here the operator observes his kettle has become much "lighter," but whether this
has reference to the cigar, or is meant to convey that the contents are exhausted,
we are left to decide for ourselves while the entertainer retires behind the screen
ostensibly to refill the article in question. When it is almost immediately brought
forward again, we notice the kettle is now steaming but lightly, it being explained
that to boil with its erstwhile fury it would have to be replaced on the block of
ice. Other experiments, however, are started, and for the time being the kettle
cannot be spared.

A rubber ball is bounced to assure its genuineness, then dropped in one of the
metal beakers we previously noticed. Some liquid from the kettle is poured over
the ball, and, as with the hat and handkerchief experiment, clouds of steam rise
from the goblet. The operator begins to shake the beaker from side to side, at first
with no perceptible difference, but gradually the soft rubber ball hardens and
knocks against the side of the goblet with crisp, sharp rings.

"The ball is now as hard as steel, yet brittle as a piece of glass," says the
exhibitor, picking out the same but now glistening ball. "Observe when I throw it
on the floor it will break in hundreds of pieces." So saying, the ball is thrown
down, when it splits with a report like a pistol shot, and pieces of it fly in all
directions.

A bunch of grapes is next experimented with. Some are thrown to the audience,
others (about a dozen) dropped into a second goblet. The operation of pouring

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liquid over the fruit is attended with similar results to the previous
experiment--the grapes harden and knock against the sides of the vessel which
contains them. They are now emptied out on to a metal tray, our ears telling us
the fruit is as hard as bullets. When some are thrown on the floor they split;
others are thrown to the spectators, who find the grapes transformed into
veritable hailstones.

Chrysanthemums are treated in similar fashion. So soon as the flowers are dipped
in a beaker containing more of the wonderful liquid the petals become hard and
brittle, and when squeezed by the operator's fingers break in crisp pieces.
Specimen chrysantemums in the petrified condition are presented to a few of the
ladies present as souvenirs, with the remark: "Perhaps they will be appreciated
the more if you retain the flowers in your warm fingers for ten minutes or so;
they will then return to their normal condition."

The most curious and convincing property of the liquid is doubtless shown in its
power to solidify mercury. The operator pours a phial of quicksilver in a
cardboard box, places this in a metal dish, pours some of the liquid over it, and
when the cardboard wrapping is torn away, the operator holds a mercurial
hammer with which he drives nails through wood.

We are next invited to pass judgement on the entertainer's ability as a chef. He
will fry us an omelette, substituting for the fire the block of ice, which it must be
admitted appears in this instance to server the same purpose. An egg is broken
into a frying-pan, some of the indispensable liquid is added, when at once the egg
begins to fry, frizzling away for all world as though it were over the fiercest fire.
"Some people like their eggs under-done, some well done," the chef observes;
"I'm very much afraid this one is over-done." And so it is; so much so, in fact that
nothing less than a hammer and chisel will induce the egg to leave the pan. When
they do part company the egg is quite as hard as a piece of ice.

This brings us to another and more interesting feat of cookery--the making of
ice-cream. Eggs, sugar, and cream are beaten together in a basin, then poured in
the pan of a chafing dish, with some liquid from the kettle in the bottom part of
the dish. One might expect the block of ice to be employed somewhere during
this experiment, but it is not to be. By all that's contrary, the chef places the
chafing dish on the stand whereon we first saw the kettle at the beginning of the
act, and the spirit stove burns briskly underneath! Evidently he is going to grill
his ice-cream! Such, in fact, is the operator's intention. In a very little time the
ice-cream is pronounced ready; portions are spooned from the dish on to biscuit
wafers, and passed round for us to sample. Any hesitation we may have felt is
dispelled when the lecturer tastes his own cooking, assuring us it is quite nice.
"Done to a turn," he adds; and while we proceed to verify his assertion, the kettle
is again taken behind the screen for some more liquid.

The operator announces that he will now allow the kettle to boil again. It is
placed on the ice and repeats its former defiance of nature by speedily starting to

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steam. So soon as the boiling is at its height, the demonstrator, in bringing his
lecture to a close, remarks: "I trust you have been interested with this series of
experiments, and I propose to bring my entertainment to a close by setting fire to
this large block of ice." The steam from the kettle is now directed straight on to
the ice, and (wonder of wonders!) it takes fire right from the centre. The flames
leap round the ice and rise to a height of two or three feet above it, and upon this
somewhat extraordinary spectacle the curtain comes down--the act is over.

The foregoing is a straightforward, unexaggerated description of the dish we are
serving to you--the following, an equally honest explanation of the mystery.

The Secret Out

HE liquid we guarantee will duplicate the effects produced by liquid air is

ether, in which is evaporated solid carbonic acid. Cheap ether at 1s. 4d. per pound
is quite as useful for our purpose as the higher-priced purer quality, and one
pound should last two or three shows. Ordinary methylated spirit may be
substituted for ether, but we recommend the latter as more satisfactory.

Solid carbonic acid is only obtainable from gas cylinders of liquid carbonic acid.
These cylinders are used in many of the large meat shops and cold storage
establishments for refrigerating purposes; yet, while a certain quantity of solid
acid may be secured from these cylinders, this is by no means a trustworthy
source, it being merely mentioned in passing solely in order that the interested
reader may, with the co-operation of his butcher, test the accuracy of our
statements at the cost of a few pence. Otherwise we are afraid the practicability
of our instructions may be pooh-poohed, perhaps considered unrealiable, and
condemned to imprisonment in a corner of your bookshelf without a fair trial.

The makers of carbonic acid gas supply a special cylinder, with an interior
syphon arrangement, which gives off a stream of liquid carbonic. This is
precisely what we require for our experiments.

Presuming we are in possesion of a cylinder of the carbonic acid, or to give it its
chemical formula, CO

, this difficulty presents itself: How can it be handled?

The simplest method is to tie a flannel bag over the cylinder nozzle, and when all
is secure to turn the key and allow some of the contents to escape. The liquid
carbonic acid hisses through the nozzle into the bag, solidifies as it comes in
contact with the air, and while the gas escapes through the flannel a solid deposit
(like snow in appearance) is retained in the bag itself. The deposit, or "snow," is
solid carbonic acid. The quantity obtained depends of course on the amount of
liquid allowed to escape from the cylinder. In size the flannel bag should be
about sixteen inches deep by twelve inches wide. For each full show enough

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snow, as we shall hereafter call it, to half fill the bag is required, this taking about
one minute in the accumulation.

Having obtained the snow, it should be turned out on a tin dish to be made up
into closely-packed cakes of about an inch in thickness and an inch and a half in
diameter. A most convenient appliance for making these cakes is a wooden tube
and rammer. A wooden gill measure with the bottom sawn off gives us an
admirable tube or mould, and this has the added advantage of a handle, which
users will appreciate owing to the intense coldness of the snow. For the rammer,
a round stick nine inches long and easily fitting the mould is all that is required.
To make a "snow cake," place the mould firmly on a metal tray, spoon some
snow into the tube, and ram it down tight. Add more snow and continue ramming
until the cake is of the required thickness, then raise the mould and push out the
cake with the rammer.

Each cake of the size mentioned is ample for one experiment. Place a snowcake
in a metal goblet, drop in a rubber ball, pour a little ether over it, and in a very
few seconds the ball will be frozen so hard that if dropped on the floor it will
smash like glass.

To explain the cause of this result briefly, it must be understood that so soon as
ether or spirit comes into contact with the cake of carbonic acid the cake
evaporates very rapidly, resulting in a lowering of the temperature to something
like 150 degrees below freezing point. In this condition the combination gives off
a steamlike vapour, and has every visible resemblance to water at boiling point.

How the Kettle is made to Steam

E VENTURE to digress a little for the moment to discuss the most desirable

method by which to make the kettle steam. Without a doubt this can be achieved
with carbonic acid and ether, yet an even better and cheaper result may be
obtained by using ordinary builder's lime. In purchasing this lime hard lumps
should be chosen, small pieces or droppings being of little use. The lumps should
be broken into pieces the size of one's fist, as required, since in this way we can
be assured of having our lime fresh. Three or four pieces of lime placed in a
kettle, with half a pint of hot water added, ensure the kettle boiling splendidly in
thirty seconds. If the kettle is not required to boil so suddenly, use water only to
warm. By using half a pint only of water the lime will absorb all the moisture by
the time the kettle fairly begins to steam, and there need be no fear of pouring
anything in the shape of liquid therefrom, no matter how freely it be tilted. This
part wants well experimenting with to obtain the desired results. The most
suitable kettles are the ones with their spouts high up, this construction
preventing the lime from reaching and clogging the stem, which misadventure
might easily happen to a kettle of the low-down-spout variety.

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Three kettles in all are required during the act--two for lime, one for ether. The
lime kettles are not prepared in any way, and the arrangement we advise for the
ether kettle is simplicity itself. Obviously the three kettles must be of one pattern,
the one used for ether only differing from its fellows by reason of a tea-strainer
kind of cup inside the kettle in front of the spout hole. This perforated cup is open
at the top, and of a size to hold four snowcakes, which are dropped into this
holder through the lid space. This arrangement is merely to keep the snow clear
of the ether in the well of the kettle until the spirit is poured from the spout.
When this is done the ether has naturally to pass through the cup, and, in passing,
it sets the snow into evaporation, the result being a steamlike vapour issuing from
the spout of the kettle, giving it an appearance of water boiling slightly.

A Word of Caution

HE snow obtained from the cylinder is frightfully cold, and although it may be

handled lightly, if retained for more than a second or two in the fingers, the
holder exposes himself to the certain risk of painful frost bite. The snow must
never, under any consideration, be corked or fastened up, as the constant
evaporation which is taking place generates a gas which would burst any vessel
from which there was no outlet. Therefore, when making the cakes, place them in
a glass tumbler, and either cover it with a handkerchief or not, at will. If these
instructions are remembered, there is no other danger except it be that of the
snow vanishing, and this will assuredly happen if the cakes are made very long
before they are required for use. When exposed to the air the snow evaporates
away gradually. If left for more than an hour there would probably be no trace of
its existence remaining. It is therefore advisable to make all your other
preparations prior to running off the carbonic, leaving this until, say, fifteen
minutes before the show. If used within thirty or forty minutes of their moulding
the cakes should answer for all that is required of them. The syphon carbonic gas
cylinders, costing 7s. 6d., are supposed to contain 28 lbs. of CO

; generally there

are about 30 lbs. in them. For a full act it will be necessary to run off from 3 lbs.
to4 lbs. of gas, so that one cylinder should supply enough snow for seven to eight
shows. The quantity of CO

in hand may be ascertained by weighing the

cylinder, each one of which has is tare and gross weight impressed on the case.

Preparation

N ARRANGING the requirements for the Kettle Act, the reader cannot do

better than prepare each of the following items, in the rotation in which they are
given. First see to your block of ice. This should be square, and a well should be

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chipped from the top as near to the back as possible. This well is to contain ether
which is required for the blaze at the finish of the performance. One ounce of
ether is plenty for this effect, but it must not be emptied in the ice-well until just
before the rise of the curtain.

A pint of water should be put to boil on a stove, to be ready for use when
required a little later on. Now see to the lime-kettles by dropping four pieces of
lime in each. The cigars require attention next, and it is advisable to prepare two
or three, using for preference the thickest obtainable. With a heated iron burn out
an inch-deep hole in the large end of each smoke, and insert firmly in the cavity a
pea-sized portion of metal potassium. Thus prepared, the cigars should be placed
in a tumbler in readiness on one of the stage tables. During this operation it is
imperative that one's hand are quite dry; if they are at all damp when handling
metal potassium it is liable to take fire. Before placing aside the potassium put
two small pieces of the metal in a thin box-lid, together with a little of the naphta
in which metal potassium is packed for safety. These pieces are required for
lighting the ether in the ice-well, and are placed behind the block of ice.

A glass jug must now be filled with "cream," which in reality is unfrozen
ice-cream mixture, which is made as follows: One pint of milk thickened with
cornflour, to which is added vanilla fravouring and castor sugar to taste, well
boiled and allowed to cool. Such is the contents of the jug. And also required for
the ice-cram making experiment are one egg, basin of white sugar, a dozen ice
wafers, empty basin, egg whisk, two spoons, and a chafing dish.

The remaining properties to be arranged to their own advantage and the
operator's convenience, are a bunch of grapes, rubber ball, another egg,
chrysantemums, tube of mercury, cardboard box, a small piece of stick, and a
hammer and chisel.

About three-quarters of a pound of ether should now be poured in the well of the
ether kettle. This quantity, be it noted, is more than is used in one demonstration,
but it is advisable to have too much rather than too little; the ether remaining over
from one show may be re-bottled and used again.

Having concluded the arrangements already set forth, the next item is to run off
the CO

and make your snowcakes. Nine cakes are required, their distribution

being one each in three beakers, two in a metal dish for the mercury freezing, one
in the frying-pan for poaching the egg, and four in the cup of the ether kettle. All
the loose snow remaining after making the cakes must be tightly packed in the
base of the chafing dish, and the pan placed over the snow, to prevent as far as
possible its evaporation.

A screen should be placed in front of a table at the back of the stage, and on the
table the operator must arrange his three kettles and pint jug full of hot water. All
is now in readiness for the stage to be set and the experiments presented.

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Presenting the Kettle Act

HE description prefacing our explanation of the experiments now to be

conducted was written largely with the object of acquainting the reader with the
order and style in which the different effects are shown. Therefore we shall, in
this concluding section, content ourselves with brief directions which, if properly
followed, must assure a certain success.

We assume the stage setting is finished, everything required in the act being in
their right places. The operator first pours a half pint of hot water in one of his
lime kettles, sets this above the spirit stove, and gives the word to "ring up." By
the time his opening remarks are made and the kettle poised on the ice, it will be
abundantly steaming. In tilting the kettle spout inside the borrowed hat for the
washing trick, nothing issues but steam, which remark also applies to the effect
of emptying some of the contents into the pockets.

To light the cigars it is only necessary to hold them for a moment in the steam;
almost so soon as the potassium in the cigar ends is reached by the steam a small
flame springs up. The operator may draw at the lighted weed with impunity;
there is no taste from the metal and no danger. This effect is worth repeating with
other cigars. By this time the steaming power of the lime will be lessening, and
this kettle is changed behind the screen for the one containing ether.

To freeze or petrify the rubber balls, grapes, and flowers, it is only required to
placethem in one of the beakers containing a snowcake, and pour a little ether
over them. For the egg-poaching on the ice the proceeding is the same, using, of
course, a frying-pan instead of a beaker. It is advisable to break the yolk in this
instance, since the egg will freeze more quickly in this condition. Slightly more
ether is required for the egg, owing to it being a larger area to cover than the
other objects frozen, and the frying pan must be tilted to cause the ether to wash
over its contents. When properly frozen, break the egg by hammering at it for the
audience to see how hard it has become. Mercury is no more difficult to freeze
than the objects already treated, although it returns more quickly to its normal
condition.

For the ice-cream making, first break an egg into the empty basin and beat it well
up with a whisk. Now pour the cream into the basin and add a very little sugar,
pretending you are using considerably more than is really the case. The mixture
is now to be well beaten together and poured into the top pan of the chafing dish.
To freeze the mixture, raise the pan and pour a good quantity of ether over the
snow in the bottom half of the dish, at once clapping the pan back again. A little
time is now wasted in lighting the spirit stove over which the chafing dish is to be
placed. Some moments are also gained in laying out the ice wafers on a tray, by
which time the cream will be frozen about half way up from the bottom. Begin
spooning the underneath portion of cream out first, and dividing it on the wafers.
By the time a dozen portions are served the whole of the mixture will be frozen

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and the pan can be placed on a tray with a number of spoons, and passed round
for any who wish to help themselves. Here the ether kettle is changed for the
second lime kettle, in which the remaining water is poured. Placing it on the ice
while making his concluding remarks, the operator waits for a few seconds until
steam is well up, and then directs the spout round the sides of the ice, and
secretly picks up the pieces of potassium from behind. In changing from one side
of the ice to the other the potassium is let fall into the well of ether. At once the
whole block of ice appears to catch fire, and will burn for quite two minutes, in
which time the curtain has fallen and, we hope, been raised again for the operator
to take a call.

Contents

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Miracles of Modern Magic

Harry Whiteley

Contents

The Wandering Orange

WO cardboard tubes or cylinders and a couple of china plates are handed out

for inspection. On their return the plates are laid separately on a table and one of
the cylinders placed on each plate. An orange is now introduced which may be
magically produced or otherwise at the conjurer's wish. The orange is dropped
through one of the tubes on to the plate beneath, and after having raised the
cylinder to show the fruit is really there the orange is commanded to pass to the
second plate, previously shown empty. This transposition immediately takes
place, and the orange can be passed to and fro at will.

There is a charming simplicity in the secret of this pretty little trick which should
recommend itself to many. When the orange is shown before being dropped
through the first tube it is secretly attached to a hook at the end of a lenght of
black thread fastened to the back edge of the table. By this means, according to
the manner in which the tube is raised, it it possible to either show the orange on
the plate or not. A few moments' practice will enable the reader to discover the
proper movement. With regard to the second orange, which must also be fastened
similarly to the first, this is procured from the table servante and secretly loaded
into the second tube while standing it on the plate. In this way it will be seen how
easy a matter it is to vanish and produce either orange when required. The
requisite lenght of thread can only be determined by experiment, and will depend
on the height of the tubes and width of table used.

Contents

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Miracles of Modern Magic

Harry Whiteley

Contents

Destiny--A Novel Card Trick

HE following card combination is one of our own arranging, and will, we

believe, make a welcome addition to our reader's répertoire. As a sequel to other
tricks during the progress of which a sealed envelope has been resting in full
view in the clip of a card stand the performer asks anyone in the audience to think
of any card in the pack. Here attention is called to the envelope, and the conjurer
asks for the name of the thought-of card. Having ascertained this, he takes the
envelope between his finger and thumb, opens it, and abstracts another smaller
envelope, also sealed, and hands both to the person naming the card. The latter
gentleman is asked to open the second envelope, and when he does so a third one,
also sealed, is found inside, and upon this being investigated a small card is
discovered upon which is written: "The card destined to be chosen this evening
is-----" the dash being substituted for the name of the identical card selected.

For this trick fifty-two plain visiting cards are required--the number
corresponding to a pack of playing cards. On each card must be written the
quotation given in the preceding paragraph, with the addition of the name of a
card until the whole pack has been named. This done, each card is sealed up in a
small envelope, and then in a second one a trifle larger, taking the precaution to
mark each outside envelope with a pair of dots (as used in marking playing cards)
for the purpose of future identification. Having made up the full number, the
envelopes must be stacked together in their suits and numerical order, starting
with the Ace and finishing with the King. This arrangement gives us four packets
of thirteen envelopes. These are all placed in the conjuror's trouser pocket, which,
by the way, is constructed with four small divisions or lesser pockets used for
separating the suits. All is now in readiness for the trick.

When attention has been directed to the envelope, the conjuror stands with his
hand naturally in his pocket. Directly the person thinking of the card names his
choice the performer picks on the envelopes of the same suit, and then running
the thumb along their edges counts till arriving at the packet required. This is no
lengthy or difficult task, seven envelopes being the utmost it is required to count,
for this reason--if the card selected is seven or under we count from the Ace,
whereas when the chosen one is higher than seven we begin at the opposite end
of the stackthe King. Possession of the correct envelope having been obtained,

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the conjurer back-palms it (for preference with the first and third fingers),
holding the little one open. When secure in this position the hand is abstracted
from the pocket slowly, and, pointing with the open hand at the envelope on the
stand, say: "Perhaps you are curious as to why this envelope has been here during
my entertainment. I shall now show you." Walking carelessly to the envelope, it
is taken with the finger and thumb; this action of its own accord bringing the
back-palmed smaller envelope directly behind the larger one. In this position
both can be passed from hand to hand without exposing the envelope behind.

The larger envelope is torn open by the conjuror, and then the second one is
drawn up from the back as though it were taken from the interior of the first.
Both envelopes are now offered for inspection, the visiting card, which it would
seem correctly predicts the person's thoughts, being finally discovered.

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Miracles of Modern Magic

Harry Whiteley

Contents

A Numerical Card Trick

HE following experiment is an adoption of a somewhat old trick. In its present

form it has puzzled many leading conjurers, which, in our opinion, marks the
problem good enough for publication.

Handing the pack to any person to shuffle, he is asked to take notice of any card
between one and twenty, carefully ascertaining at what number the card stands,
counting down from the top of the pack. The conjurer here takes possesion of the
cards and, requesting some other person to think of a number between twenty and
forty, leaves the room while a decision is being arrived at. Taking advantage of
his absence from the audience the performer quickly counts thirty cards from the
top of the pack, and then replaces them on the top, this operation causing the
order of the first thirty cards to be reversed.

Returning to the room the conjurer asks for the number the chosen card stood
from the top, and then the number selected between twenty and forty, promising
to pass the chosen card to that number. Invariably the latter selection is thirty,
and when such is the case the cards are in readiness; but should some other
number be chosen the conjurer must equalise this by passing from the bottom to
the top (when the number is over thirty) representing the difference between
thirty and the selected number. When the selection is under thirty the difference
must be passed from the top to bottom. Remarking, "We will commence to count
at the number the card first stood," the conjurer suits the action to the word, and
if the directions have been properly followed, on arriving at the selected number,
the card chosen in the first instance will be discovered.

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Miracles of Modern Magic

Harry Whiteley

Contents

A New Hot Coffee Trick

HIS effect should make a capital addition to the Kettle Act, although it is

certainly an admirable trick by itself. An ordinary looking kettle has, we will say,
been resting innocently on the wizard's table throughout the performance. Into
this the conjurer pours ground coffee and pure water. A few moments elapse and
the kettle boils without being placed near a stove. Immediately the contents are
poured from the kettle into cups and handed to the audience who pronounce the
result to be most excellent coffee.

The kettle is of the stamped variety with the spout high on the shoulder. Inside
there is a cylinder fastened in the centre of the kettle and reaching nearly as high
as the spout. This cylinder is fitted with a lid and provided with a spout of its
own, which is continued half way along the spout of the kettle proper. The
cylinder contains lukeward ready-made coffee, while the portion of the kettle
round the cylinder is loaded with a few pieces of builder's lime. The ground
coffee is dropped on to th elime, and also the water (which should have the chill
just taken off) is poured in the same outer cavity. So soon as the water acts upon
the lime the kettle will steam and the lukewarm coffee boil. There is absolutely
no taste of lime in the coffee poured from the kettle, and the only smell is the
aroma of coffee.

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Miracles of Modern Magic

Harry Whiteley

Contents

The Tin Trunk Release

O BE locked in a borrowed steel trunk and yet escape without injuring this

curious prison reads like the impossible, and yet the secret is simplicity itself.

In the majority of trunks at present used the hasp on the lid is fastened with a
couple of small bolts and nuts, the lock on the body being secured in a similar
manner. After entering the trunk the performer takes from his pocket a small
screw key, and at once applies himself to unscrewing the nuts in the lid. By this
time the box should have been lifted into the stage cabinet, and the curtains
drawn. Now the imprisoned one pushes out the bolts securing the hasp, this
allowing him to raise the lid and step out. With a duplicate key he opens the lock,
replaces hasp on lid, screws bak the nuts, and then re-locks and brings forward
for inspection the uninjured trunk.

If the trunk manipulator can pick the trunk lock there is no occasion for him to
procure a duplicate key, but how many manipulators can pick even the
commonest of locks?

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Miracles of Modern Magic

Harry Whiteley

Contents

Hat, Candle, and Handkerchief

Combination

HANDKERCHIEF is dropped in a hat covered with a plate, now a sheet of

paper torn from a whole newspaper is shown empty and rolled into cone shape
and the top folded in. A lighted candle is next removed from its stick, wrapped in
a second piece of newspaper, and then replaced in the candlestick. The problem
is to cause the handkerchief to vanish fromthe hat, then to tear up the ostensible
candle and find it has disappeared, next to discover the handkerchief in the paper
cone, and finally produce the lighted candle from the performer's pocket.

The conjurer's wand lying on the table consists of a painted hollow brass tube
through which a strong thread passes, attached at one end to the table and
terminating at the opposite end in a small hook. The utility of this apparatus will
appear later.

One sheet of the newspaper used in the trick is prepared by pasting a second
sheet over it, all sides being fastened with the exception of a small space at one of
the corners. Inside this double piece of paper the duplicate handkerchief is
concealed.

The "candle" is simply a sheet of white glazed paper rolled to imitate the genuine
article, with a tiny piece of real candle in the top end for lighting purposes.

In the conjurer's pocket a genuine candle is placed; this is prepared by abstracting
the wick and inserting in its place a silent striking match, with a small piece of
emery cloth fastened in the pocket on which to light the candle in pulling it out.
Before dropping the handkerchief in the hat it is attached to the hook end of the
thread. In the dropping, a portion of the handkerchief is allowed to hang over the
side of the hat, and this piece is pushed in with the wand. This action gives an
opportunity for moving a little away from the table, this causing the thread to
tighten and pull the handkerchief inside the wand. The wand is now placed aside,
and a plata put over the hat as a cover.

The candle should now be wrapped in a piece of newspaper and laid back in the
candlestick, while the cone is constructed from a sheet torn in the spectator's

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presence. In making this the open corner must be at the top left-hand side, which
corner is gripped between the thumb and finger of the right hand and rolled from
this position in order to bring the opening right into the cone.

It now remains to crush the supposed candle between the hands, to show the hat
empty, produce the handkerchief by withdrawing it from the cone, and, as a
finale, to bring the lighted candle from the pocket.

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Miracles of Modern Magic

Harry Whiteley

Contents

The Kari-Kari Bird Trick

by Chas. Trickey

OR this exceptionally clever problem two cardboard cylinders claim our first

attention. The largest cylinder is 9-1/2 inches long by 4-1/2 inches in diameter.
The second tube is a trifle smaller, made to fit easily in the first cylinder, and
provided at the top with a projecting hook of stiff black wire. This hook answers
two purposes: it prevents the smaller cylinder from falling through the larger one,
and, by engaging in a concealed wire bar fastened on the back of the birdcage,
enables the conjurer to pull the outer tube free and leave the inner one behind , as
occasion demands. The smaller tube has a bottom to it. Two tin covers or lids
must be procured to fit either end of the largest cylinder. The birdcage used
should be about 14 inches high, with wire top, front, and sides, and wood back.
Inside the cage you have a live dove and a dummy head in the bottom. The
smaller cylinder must be suspended by means of its hook on the back of the cage
out of sight, the other tube, lids, and a glass tumbler being placed on the table.
Now you are ready to present the trick.

Pass the cylinder and covers for inspection, and ask a spectator to place a lid on
one end of the tube. Now take this cylinder, and pick up the cage to let the door
be seen, and load No.2 tube from the back of the cage into the first cylinder,
placing this straight away on the table. The cage is now opened, and the dove
brought out in the right hand, which has also secretly palmed the dummy head.
The dove is transfered to the left hand, and the conjurer appears to wring its head
off. What really happens is this: The head is simply tucked under the bird's left
wing and retained there by pressure of the fingers of the left hand, while the
dummy head is exhibited in the right and then thrown on the table. The bird is
now taken back in the right hand without the head being released, and, picking up
the cylinder in the left, the bird is thrust head down into the tube. Now, as if to
make more room, the cage is lifted from the table and placed on a chair. This is
the most subtle move in the trick. The cage passes with an upward movement in
front of the cylinder, and the inner tube is hooked on to the bar at the back, and
left there. The second lid is now placed on the cylinder, and this stood on an
inverted tumbler. Anyone may now step up and open the cylinder, when, of
course, they find the "bird has flown!"

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To conclude the trick a duplicate dove should be produced from the coat of a
gentleman who stepped up to examine the cylinder. Doubtless some of our
readers may prefer to dispense with the head wringing. This, of course, will not
interfere with the effect.

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Harry Whiteley

Contents

Production of a Solid Walking-Stick

By Chas. Trickey

BLACK, silver-mounted, straight walking-stick is required. This is pushed

through the breast of your dress waistcoat, passing down left trousers leg, where
it rests in a tiny cloth pocket sewn inside the trousers slightly towards the heel.
The ferrule end of the stick should go in first.

The only other requirement is a large newspaper sheet. If considered necessary,
the paper may be given for inspection; after which it is rolled in the form of a
cone. In making this cone the conjurer tears a slit near the bottom, making a gash
about three inches long in an upright direction. The paper is now brought to the
front of the stage, in order that the audience may see there is nothing in it. In
turning round to walk back, the handle end of the walking-stick is quickly drawn
from the vest and pushed through the slit, and then turning, with the left side of
the spectators, the conjuror shows his right hand empty, and plunging it into the
cone draws out the stick. This should be handed to the audience, and the paper
crushed up and thrown aside.

It may be considered an improvement to vanish a duplicate stick before
producing the one from the cone. This may be done with the aid of a glazed paper
imitation of the original timber. The paper stick should lie on the table under
three or four sheets of newspaper. A duplicate solid stick may be given for
inspection, and apparently wrapped in one of the sheets of newspaper. Of course
the genuine stick is left hidden under one of the sheets, while the paper one is
substituted. When this one has been wrapped up, the package can be crushed and
torn, which is all that may be desired in the way of proving the stick to have
disappeared.

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Miracles of Modern Magic

Harry Whiteley

Contents

Inflated Balloons Produced from a Hat

HIS quite recent addition to the stock-in-trade of a conjurer is well worthy a

place in many programmes. The balloons used should be of the wide neck kind,
and may be obtained at any toy dealer at threepence each. Besides these a number
of much smaller balloons are required (the smallest obtainable), which cost half a
crown per gross.

Bicarbonate of soda and tartaric acid prove the most reliable inflating agents, a
quarter of a pound of each material sufficing to inflate about half a dozen
balloons. The tartaric acid should be emptied in a jam jar of similar vessel, just
covered with water and allowed to stand. With the assistance of a syringe this
tartaric water is pumped into one of the small balloons until it attains the size of a
small egg; it is then tied up at the mouth and inserted through the neck into the
larger balloon. Into the latter is now placed a table-spoonful of bicarbonate of
soda and then tightly tied up. When it is desired to inflate the balloon it is nonly
necessary to squeeze it from the outside. The pressure breaks the skin of tartaric
water, which, acting on the carbonate, causes an effervescence that fully expands
the balloon in a few seconds.

If using an opera or crush hat for the trick, four of the prepared balloons can be
concealed beneath the springs, the hat lying closed on the table. This avoids the
necessity of loading, which operation is necessary when an ordinary hat is used.

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Miracles of Modern Magic

Harry Whiteley

Contents

An Original Billiard Ball Production

HIS effective little trifle was first introduced by Mr. Max Sterling in 1892, and

proved one of the most puzzling sleights in that entertainer's drawing-room
menu, and is now for the first time published.

The performer displays both hands, apparently empty (by cross-palming), and
places both hands perfectly flat, palm to palm,, facing the audience; the hands are
then slowly opened from the wrists, the finger tips still touching while the fingers
themselves are stretched as far apart as possible. A gentle turn is now made with
both hands until the palms are outward toward spectators, and a billiard ball is
discovered resting on the still-touching fingertips.

Like many another good thing the secret is simplicity itself. A two and a quarter
inch hollow rubber ball (cost twopence) is all that is required. A small hole is cut
in one side after the manner of the handkerchief ball. This enables the ball to be
crushed perfectly flat between the closed palms; on opening from the wrists the
ball is retained palmed in the right hand until all fingers which must still touch at
the tips, are apart. On turning the now open hands upward and outward, the
palmed ball is released and runs down the fingers into the cradle naturally formed
by the touching tips.

The rubber may be enamelled or waxed and varnished red, and so real in
appearance is the result that detection is impossible even at close quarters. The
natural elasticity of the rubber causes it to at once resume its spherical shape the
moment pressure of palms is released If any difficulty is experienced in the
preparation of the ball, they may be procured to order through Ornum's Magical
Stores or other dealers.

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Miracles of Modern Magic

Harry Whiteley

Contents

The World in a Nutshell

NE of the most graceful effects ever worked in a drawing-room, full of subtle

humour, expectancy, and bewildering artistic dénoûement, is also culled from the
répertoire of Mr. Max Sterling, who has staged it under the above title, without,
however, claiming its conception. That gentleman informs the writer that it
originally formed a special feature in the programme of the late Mr. Sydney
Pridmore, of Hinckley, with whom he was closely associated.

Through somewhat troublesome to prepare, the brilliant reception it always
achieves well repays the time and labour expended, and in the hands of a skilful
worker, possesed of gentlemanly address, will go far toward filling his date-book.

On entering the room or platform a small parcel is introduced, already sealed and
tied, and handed to one of the audience to hold. A lady's ring is borrowed adn
vanished into the heart of the parcel held at the opposite side of the room. The
parcel, on being opened by its custodian, is seen to contain a cokernut; this is
broken with a neat small hammer, and in turn contains another parcel securely
tied and sealed; the second parcel contains a lemon which, on being peeled,
discloses another small parcel securely tied and sealed; this final parcel covers
and egg; the egg is held at the finger tips of performer and broken by a tap of the
hammer by one of the audience; both ends are thus pierced, and from the egg a
small stem is seen projecting, which on being pulled out, through the egg itself,
proves a dainty nosegay of flowers to which is attached the original borrowed
ring tied to them by a neat bow of bebé ribbon; this is handed intact to the owner
for verification, and as a souvenir of the illusion.

As the "magical" reader may have by this conjectured, the whole secret lies in,
first, the vanish of the ring borrowed, and second, in the loading of the flowers
into the egg. The rest requires elaborate and careful preparation, therefore a
minute detailed description is given of the parcel and its extraordinary contents.

An ordinary egg is blown and dried, then tied up in thin brown paper and
carefully sealed with wax. A large size lemon is the second requisite. The skin is
divided lengthwise by a sharp clean cut with knife, and then gently peeled from
the fruit that the juice may not saturate the skin itself. The two half-shells thus

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obtained are placed over the parcel containing egg until they join again exactly. A
stout sewing needle and strong white cotton joins them, or very small pins may
be used. If this work is done well it should be impossible to detect the joining at
close quarters. It must now be wrapped up, tied, and sealed. Finally, the
cokernut--a fairly large one--should be selected, and broken with great care by
light hammering whilst being revolved in the left hand; constant tapping all
round the centre ensures a clean break. Remove the fruit from the two halves,
apply seccotine to the edges of the shells, place in the prepared parcel, then join
neatly, pressing tightly the while until it is firmly fixed. Should the join be too
palpable a small amount of light earth or dust may be rubbed on to the exuding
cement until the shell appears perfect; then it is ready for its wrapping of brown
paper, and finally inthe cover of some favourite periodical. Mr. Sterling
invariably used Pearson's Weekly, and wove several jokes around it which,
however, can be applied to almost any popular journal.

To the back of the trousers sew an ordinary tie-clip to hold the nosegay of
flowers until wanted; also, a small pocket slightly below the thigh of the right
leg, to hold the vanished ring.

A neat hammer, penknife, piece of flash paper, and matches complete the list of
properties. The hammer, etc., and parcel may remain on your table throughtout
your programme if this is to form your grand finale, and in introducing it you
may explain to your audience that: "Undoubtedly you have been wondering what
the strange-looking parcel on my table has to do with the magical effects I have
worked before you. The fact is simply this, it forms my constant travelling
companion--in fact, my portmanteau, for it contains the world in a nutshell. The
wizards of India never perform without it, and claim for it the marvellous
property of collecting anything that may become mislaid or lost during an
entertainment. If anyone present should lose their senses, or even more valuable
property, all we have to do is to investigate the contents of the mystic parcel, to
find the missing article reposing carefully packed within its centre. I will
endeavour to give you an illustration of my argument. Kindly name anything you
have recently missed, and I will assist in its recovery. What, your mother-in-law,
sir? Certainly. All I have to do--beg pardon, thought better of it. Ah, well.
Anything else? No! Then allow me to borrow some trifling article, that you may
witness the full process. Will any lady trust me for a few moments with a
diamond ring; one distinctive enough to preclude the possibility of my
duplicating it? You will observe that the parcel is securely sealed and tied, and
perfectly free from springs or trap-doors. Perhaps you will note that it is wrapped
in the cover of Pearson's popular weekly, but Tit-bits Anwers quite well. So
many valuable articles are always to be found within those covers--they contain
the world in a nutshell."

A volunteer is invited to hold the parcel within full view of the audience and as
far away as possible from yourself. The borrowed ring is "for greater security"
wrapped in a piece of flash paper (faked fold) and an athletic young gentleman is
asked to blow upon the paper--usually the most consumptive-looking young man

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is chosen as the victim;--several attempts are to be made in the blowing
efforts--the paper can be unfolded again to prove the ring present. Accuse the
assistant of not blowing in a straight direction--that of the upheld parcel. Light a
match or candle, that he may see better, and in changing the paper from right to
left hand for final blow, allow ring to drop into hand and transfer to hip pocket.

Accidently catch paper in flame of candle; it is gone in a flash, and hands shown
empty. Direct attention to the parcel, and to the gentleman's responsibility for the
missing ring, should it not be recovered.

Hand penknife to the holder of the parcel, with the request to open it carefully.
While strings and seals are being cut assume a natural attitude with both hands
under coat tails; take ring from pocket, and tie on to ends of bebé ribbon, then
again into a neat double bow. By this time the first wrapper if off, and displays
the cokernut. Bring forward both hands empty and show the nut round,
remarking, "I may say I have the nuts grown for me on a very special tree." Take
hammer, break the nut, and take out second parcel. Hand as before to be opened,
then show the lemon--"Also grown for me upon a very special tree."

With pocket-knife carefully peel lemon until third parcel is visible. Be sure and
pocket the peel, that the secret joining may not be discovered. Get the last parcel
opened, and, as egg is found, remark, "These are also grown for me on a very
special tree--I mean, laid for me by a very special hen." Give hammer to your
temporary assistant, and offer the egg to him at the tips of your right hand. Your
left secures the button-hole and ring palmed with stem upwards towards fingers.
When one end of egg is pierced, it is turned over and taken by the left hand,
which secures the stem into the opening; the remaining end is similarly broken,
and with the finger-tips of the right hand flowers are drawn stright through the
egg itself, and handed to the lady who loaned the ring, with a few complimentary
words terminating the trick.

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Harry Whiteley

Contents

A Floating Billiard Ball

by Ed. Fielding

FTER other sleights the performer offers to repeat a pass slowly, for the

benefit of those who have not been able to follow his movements. The ball is
taken in right hand, the left being about two feet away quite clear from the body.
Now the ball floats from right hand to left and back again, and is then at once
given for examination. To add to the effect the conjurer can bring his hands
nearer together or farther apart at any time during the trick.

The motive power is derived from a lead weight, two inches by one in size,
provided with a grooved pulley wheel and guard, and our very old friend--black
silk thread.

Two dressmakers' eyes must first be sewn inside performer's trouser leg at the
top, about one inch apart, and over the right trouser leg. The thread is now passed
by a needle through the waistcoat from the inside, level with the top edge of
right-hand pocket, and then again through waistcoat, this time from the outside,
about one inch below the previous position. The needle is now taken off thread
and teh ends tied together. The double thread is now passed through the eye
nearest trouser fly, and put over the pulley wheel on weight, which is dropped
down trouser leg.

The thread is next passed through the second eye, and then secured by looping
over one of the trouser buttons. In working the trick, while calling attention to the
ball (which should be of light wood or ivorine), the first finger of right hand is
slipped through the loop of thread from waistcoat and drawn out a few inches.
When the left hand places the ball in right, the first finger of left hand goes
between the threads, so that when hands are drawn apart a double thread, always
taut, is provided, and along this set of lines the billiard ball runs from hand to
hand, according to which is elevated.

Immediately the trick is over, and the thread is slipped from the fingers, the
concealed weight draws it back to the waistcoat, and leaves the performer free to
show both his hands and the ball.

The same apparatus can be used for the floating wand.

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By using an indiarubber ball, coloured to match the solid one, a finer thread may
be used, enabling the performer to perform it at quite close quarters.

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Harry Whiteley

Contents

An Improved Swallowing Wand

HE following will be found a most useful addition to the effect of the conjurer

using the swallowing wand. By means of our improvement the wand may be
pushed through the assistant's back or through a borrowed hat, since the nickel
endpiece does not need covering as in the older method of presenting the trick.

The wand used is a black wooden one with nickel ends, on one of the nickel ends
is a sliding collar, and inside this is a second collar (which can be made of paper)
painted black to resemble the wood portion of the wand.

In working the trick, the unprepared end of stick is pushed against assistant's
back, while the two faked ends (one of nickel and one of paper) are palmed on to
the opposite extremity. Now, by slightly tilting the wand, the inside black collar
slips out and travels down the wand, dropping over the bottom nickel end, this
producing the illusion that the metal end has been really pushed into the assistant.
The proceeding, now, is in the same manner as in the older trick; the sliding end
being pushed along the wand (which passes up performer's sleeve) until within a
few inches of the "victim's" body.

To pull the wand out again, the left hand is brought into use, apparently to assist
in extracting the stick which the audience are assured is stuck. In reality the left
hand palms the black collar and holds the wand while the nickel fake is drawn
upward. At the finish the black collar is retained in the left hand, the wand is
thrown from the right (which conceals nickel end) to the audience for them to
"discover the hidden spring."

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Miracles of Modern Magic

Harry Whiteley

Contents

Whiteley's Three-Card Trick

E VENTURE to believe the following card trick will be as acceptable to

readers as it has been welcomed by all audiences to whom we have introduced it.
A pack of cards is handed to an assistant from the auditorium for him to pass
round and permit three different persons to take one card each. Performer now
asks that the cards may be marked for subsequent identification, after which the
assistant has them placed back in the pack and shuffled, and then brings the cards
back to the conjurer, who gives them a final mix, and then puts the pack in the
inside breast-pocket of assistant's coat, asking him to "take the chair" for a few
moments.

The performer now comes among the audience, and just as he steps from the
stage the assistant startles everyone by hastily jumping from his chair and
indicating as delicately as possible, that a certain spot has been touched, and, if
he is a good assistant, will make it apparent that his dignity has been hurt at the
same time. On his turning to the chair to investigate the reason of his sudden rise
in the world, the audience see a playing card sticking to his back. This card is
proved to be the first one selected.

The conjurer has now passed accross the room and asks for the name of the
second card chosen. The card is named, and the performer at once picks out some
inoffensive gentleman many yards from him, and requests that individual to
remove the named card from his pocket! This is done, and the card is found to be
the identical one in question.

Returning to the stage the conjurer asks for the name of the third and last card. It
is given, and he proceeds to inform his assistant that the cards have been
highly-magnetised and if he will rub the first three fingers of his left hand on his
right arm briskly, and then, without allowing the magnetism to escape, quickly
dip the fingers in the pocket and pull out one card--the selected one will rise into
his hand. When this information has been acted upon the asistant's hand emerges
from his pocket with the third marked card in his fingers.

The requirements for this trick are a pack of long and short cards and plenty of
cheek. The asistant has three cards taken from the long or wide pack and returns

Whiteley's Three-Card Trick

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to the stage. While the cards are being marked the conjurer changes the pack for
the short or narrow ones, among which the three selected cards are collected. By
a casual shuffle the conjurer brings these cards to the top, palms two off, and
places the remainder (with the third chosen card uppermost) in the assistant's
pocket. While doing this the assistant is asked to jump off the chair and pretend
someone has run a pin in him directly the conjurer says, "One of the cards----" He
is now seated in the chair and, while making him confortable, the performer
pushes one of the palmed cards under the assistant's coat collar at the back, this
now leaving one still palmed.

Here the conjurer comes from the stage, and says: "Ladies and gentlemen, one of
the cards----," here he looks at assistant if he has not taken his cue, and repeats:
"One of the cards was----," and he should now be interrupted by the assistant's
by-play. During the laughter which is incident always evokes, there is generally
plenty of opportunity for dropping the palmed card in a gentleman's pocket, his
hat, under a chair, or on a lady's hat. If no opportunity offers itself, lay your hand
deliberately over some gentleman's pocket, push the card home, and speaking
from the opposite side to withdraw his attention, say: "You won't mind me
squeezing through--I want to get on the other side."

It will now be apparent as to how the first two cards are discovered; the third
method is probably known already. Given only three fingers wherewith to extract
a card from his pocket, the assistant cannot fail to take the top one, which is of
course what is desired, and this brings the trick, and also this modest manual to a

FINIS

Contents

Whiteley's Three-Card Trick

http://thelearnedpig.com.pa/magos/books/whitel/15.htm (2 of 2) [4/23/2002 3:24:48 PM]

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Miracles in Modern Magic

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Harry Whiteley Miracles in Modern Magic

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