Original Creations (Cartomagia de Salón, Magia Con Cuerdas y Líquidos.)

ORIGINAL MAGICAL
CREATIONS
By
STANLEY COLLINS
Electronic Edition
ã 2003 José Antonio González
2
FOREWORD
THE WOODEN SLAB AND FLYING CARD EXPERIMENT
CARDS AND COINCIDENCE
THE OMEGA ACE EXPERIMENT
WILL!
THE SIAMESE BLOODSTONE
LE DERNIER CRI MUTILATED CARD EXPERIMENT
A QUESTION OF MEMORY
THOUGHT ANTICIPATED AND PRECIPITATED
THE GUESSING GAME
THE SPIDER
THE" KNEE" PLUS ULTRA HANDKERCHIEFS
A NEW ROPES AND RINGS EXPERIMENT
GINGER AND THE APPLE
THE FILTERING INK EXPERIMENT
THE INKTUBATORS
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Original Magical Creations
FOREWORD
MAGICIANS who are seeking that evanescent “something new” which, like the Family
Ghost, is very often talked about but seldom seen, will, I venture to prophesy, find
“something new” in Original Magical Creations.
In penning this volume my aim has been twofold. In the first place, I have set out to
describe in detail the methods by which certain experiments originated by myself are
performed, and secondly my endeavour has been to teach how to perform them, which is a
totally different proposition.
To carry out this plan in its entirety, the inclusion of the covering patter becomes a sine
qua non, and this feature of my book I am confident will be welcomed, as the patter in
every case is arranged specially to serve the purpose all magical patter should serve,
namely to cover up suspicious movements and to give specious reasons for doing things
which would otherwise appear unnatural.
In describing the various feats in connexion with Cards, I have presupposed the student
to be acquainted with the familiar card sleights which are explained in numerous text
books. Sleight-of-hand tricks pure and simple, however, have been omitted, as these I
propose exhaustively dealing with in a section of another volume to be planned on lines
identical with this.
Those who purchase this volume hoping to find mere explanations of some scores of
tricks which can do nothing more than satisfy idle curiosity, will be doomed to
disappointment. The book is written for the serious student, and the items included are
intended to be practical lessons in a few Original Magical Creations.
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Stanley Collins
ORIGINAL MAGICAL CREATIONS

The Wooden Slab and Flying Card Experiment
MOST of our modern card tricks bear a sort of family likeness. Analyse the card
experiments of to-day and underlying quite ninety per cent. of them will be found the plot
of selected cards turning up in some unexpected manner after being returned to and
apparently hopelessly lost in the pack.
The experiment I am about to describe, although based upon this root theory, has a
decided appearance of novelty, as the addition of a slab of wood with six elastic bands on it
used in conjunction with the pack of cards impresses onlookers as something different
from the usual card experiments.
The effect, a decidedly

puzzling one, has the
advantage of a brilliant climax.
Coming forward with a pack of
cards which he freely shuffles,
performer introduces a long
slab of thin wood over the
width of which in regular order
are stretched six rubber bands.
Explaining that the bands are
provided to hold six cards in
position on the board, a like
number are taken from the
pack and inserted, backs
toward audience, under the
bands. Some one is now
requested, whilst performer
turns away, to glance at one of
the six cards and without
removing it merely to
remember how many pips are
displayed thereon. Leaving
board with the six cards on it in
full view of every one, the
obliging spectator is asked to
make a mental note of the card
in the position from top of pack
indicated by the number of
pips on the card he looked at on
the slab. This done, spectator is
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instructed to shuffle the pack thoroughly. Inquiring now the name of the memorized card
performer demonstrates it is no longer present by showing, one by one, every card in pack.
The gentleman, in conclusion, is asked to look again at the card he turned over on slab
where, instead of the one originally there, he discovers the missing card.
Briefly, the number of pips on a card freely selected from six on the board, decides a
card to be memorized in that position from top of pack. That card, by some extraordinary
means vanishes before the pack leaves spectator’s hands, and is finally found under the
rubber band on slab in place of the one originally turned up!
In the first place, I must explain that the pack of cards used for this experiment must
possess special features, which are usually predominant in packs of uncertain age. Firstly,
the backs must be of a pattern to enable performer to distinguish one end from the other.
In old-fashioned packs this style of backs was largely used. Secondly, the indexes of the
cards must be very small, the value and suit occupying no more than 1/4 inch, a peculiarity
likewise common to old-fashioned packs. In most modern makes of cards it will be found
that the indexes occupy nearly 3/4 inch, a size fatal to the success of the trick I am about to
discuss.
As I write, the pack I use for this experiment is before me and I find that similar packs
may be obtained from Will Goldston, Ltd.
No duplicates are required, but the following six cards must be doctored by the
conjuror:-
Queen of Clubs.
Six of Spades.
Jack of Spades.
Two of Clubs.
Ace of Diamonds.
Three of Clubs.
These cards are faked by altering in each case one index with a pen, as per the table
below.
Queen of Clubs. Index, Jack of Clubs.

Six of Spades. “ Eight of Spades.
Jack of Spades. “ Queen of Spades.
Two of Clubs. “ Two of Spades.
Ace of Diamonds. “ Ace of Hearts.
Three of Clubs. “ Three of Spades.
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Stanley Collins
Let me explain the faking of each index in turn. In the case of the Queen of Clubs, the tail
and part of the left side of the Q are scratched away with a very sharp penknife, so that a
perfect J is the result. The top curl of figure 6 of the six of Spades is made to join the lower
circle, to give an exact appearance of an 8. In the case of the Jack of Spades, the process is
the reverse of that to which the Queen of Clubs was submitted. The J is altered to a
complete oval and a tail added to make a Q. The two of Clubs retains its figure, but the suit
is transformed into a Spade with a few touches of the pen. The Ace of Diamonds likewise
retains its value, but the suit is altered with red ink into a Heart. The three of Clubs is
changed into a three of Spades in manner the same as the two of Clubs. I have had a sketch
drawn (of course greatly enlarged) to show how the numbers and pips are altered to suit
performer’s requirements, the dotted lines in each case indicating the marks which have to
be added or removed. I must not forget to caution the reader that the cards must all
present the same ends for the faked indexes.
The cards represented by the faked indexes, viz.—
Jack of Clubs.
Eight of Spades.
Queen of Spades.
Two of Spades.
Ace of Hearts.
Three of Spades.
must now be removed from the pack.
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The slab and elastic bands can be dismissed with a very few words, they being quite
ordinary. The board should be of plain wood 16-1/2 inches long by 3-3/4 inches wide. The
rubber bands must be fairly wide and of sufficient strength to grip the board tightly when
stretched over it. The bands should be in position on the slab when it is introduced to
audience.
Returning to pack, the first step is to arrange the cards so that their backs are all the
same way up. This done, the six unprepared cards and the six faked ones must be bestowed
in pack in following positions:
Ace of Hearts (top)
Queen of Spades (2)
Two of Spades (3)
Eight of Spades (4)
Three of Spades (5)
Jack of Clubs (6)
Faked Queen of Clubs (7)
Faked Six of Spades (8)
Faked Jack of Spades (9)
Faked Two of Clubs (14)
Faked Ace of Diamonds (17)
Faked Three of Clubs (18)
Care must be taken that the backs of the faked cards are arranged the same way as
remainder of pack. In the case of the top three, the unprepared ones, however, they are
purposely reversed for a reason which will be understood as we proceed with the trick.
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Stanley Collins
With pack thus arranged, performer calls attention to the slab of wood and its supporting
easel, but touches neither. Whilst talking it is as well to give the pack a careless shuffle
without commenting on the fact. The shuffle may be executed in any manner, but must
leave the original top eighteen cards in precisely the same order and position.
The top six cards are then placed one by one in regular order under the bands on board,
commencing from whichever end the conjurer pleases.
A spectator is now asked to glance at one of the six cards and note the number of pips
upon it. This done, the slab is taken in hands to draw the attention of audience to its back
and also to the innocent nature of the easel. This perfectly straightforward act is really the
key to the trick, as it enables performer secretly to turn the slab upside down in the most
natural manner. The order of the cards, therefore, which we will mentally number 1 to 6,
commencing from left as seen from audience, is really reversed when slab is replaced; the
order then being 6, 5, 4, 3, 2, 1. My friend the artist has, I think, made this quite clear.
The reason the cards were bestowed on the board with three backs one way up and three
reversed now becomes apparent. Were this precaution not taken, the six cards, when slab
is turned round, would be reverse ends up and give the clue to the trick.
Thirteen being the greatest number that can be expressed on one card, performer
deliberately spreads the top thirteen cards in a fan and requests the gentleman to note the
one in position indicated by the number of pips. It will be readily understood that the
fanning of the cards only permits the gentleman to see the index and a part of each one and
needless to say, it is the faked indexes which are presented to him. The apparent
disappearance of the memorized card a few seconds later is thus easily accounted for, and
the reason we elect to have small indexes also becomes patent. So soon as gentleman has
shuffled the pack, performer receives it with his right hand and holding face to company,
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asks for the name of the card memorized. Taking the cards one by one from top of pack
with left hand, each is slowly and deliberately shown to company. The faked indexes are, of
course, held downwards, and as each card is taken into left hand the fingers cover the
index, thus giving no chance to the individual who might be keen sighted and on the alert
sufficiently to notice the fact that one index was untrue. If now the assisting party turns up
the card on slab in position corresponding to that he originally looked at, he will discover
the one that is missing.
As an example, let us imagine that the first order of the six cards on board is as shown in
top sketch of Fig. 1, and that gentleman glances at No. 4, which is the eight of Spades. The
eighth card from top of the forty-six cards remaining is the two of Clubs, with false index
reading two of Spades. The latter card, therefore, memorized by gentleman is passed by
audience as two of Clubs when cards are displayed and consequently appears to have
vanished. The real two of Spades, owing to the reversing of the slab, will be in the fourth
position, as shown in the lower sketch, when gentleman looks the second time.
A word of caution may not be out of place. When selecting the individual who has to
memorize one card from the fan spread before him, don’t pick one with defective sight, for
reason which must be obvious.
An alternative method of vanishing the card would be to have six duplicates of those on
the board, each cut a little shorter than the rest of the pack. With these short cards placed
in positions as already explained, the pack could be handed to the gentleman for him to
note the necessary card and straightway shuffle. The apparent disappearance of the card is
caused by ruffling the edges of pack slowly before gentleman, when each short card will
pass unnoticed behind an ordinary one.
Should the reader experience difficulty in procuring cards with a “one way pattern
back,” an ordinary pack may be improvised by inking a fairly thick black line across the
edges of one end.
PATTER
In one’s travels as an Entertainer, some really remarkable people are encountered. I

remember well some years ago, for instance, I was performing at a Charity Institution, and
a gentleman present rather irritated me by exclaiming after every one of my experiments,
“I know how it’s done—it’s all sleight-of-hand.” I tried to argue with him, but without avail.
According to his idea everything I did was a case of “quickness of the hand, etc.,” and there
the matter ended so far as he was concerned. I ruminated on this for many days, and finally
made up my mind to invent an experiment that couldn’t be explained away by the old
gentleman’s theory. It is this effect I am about to show you.
This board, as you see, is embellished with six elastic bands, provided for the special
purpose of retaining cards and preventing any manipulation.
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Stanley Collins
Now, sir, I want you to take this pack and place under those bands, faces towards board,
six cards from the top. Very many thanks. Again I must crave your co-operation, sir. Whilst
my back is turned (my back I am told is the most attractive part of my anatomy) will you
please, without removing the card, look at any one you fancy and merely remember the
number of pips which are displayed upon it. The suit doesn’t matter at all. It’s the number
of the spots which I want you to impress upon your mind. Do you quite understand, sir?
You do! Then whilst I retire over here, kindly look at the face of a card on the slab and
memorize the number of pips you see. That is done! Thank you, sir. I understand, do I not,
that all you have record of at the moment is a number. Good! Let me assure you there is no
preparation about the board or the easel upon which it reposes. Now you will admit, I take
it, that I do not know the number in your mind at the present time. As a matter of fact, I do
not. Here is the remainder of the pack. I want you to let the number in your mind
determine the position of a card, and the name of that card I want you to impress upon
your brain. I’ll spread out the cards to help you. Now you understand what I want you to
do? If the number in your mind is a 9, take a mental photograph of the ninth card. Have
you thought of the card in the position determined by the mystic number? You have! Then
please take the cards in your own hands and shuffle them thoroughly. You have mixed
these cards to your entire satisfaction? Now before you part with the pack, I am going to
order your card to disappear. Go! Let me show you the face of every one of these forty-six
and count them as I do so. Please notify me if you see your mental selection. (Count the
forty-six cards slowly on table.) Your card has disappeared, sir? Well, there being forty-six
cards here, there remains but one proposition. Your card must be one of these six
(signifying those on the slab), Which card did you turn up? The fourth? And what was the
card you looked at in pack? The two of Spades! Some mysterious agency, you see, has
precipitated your card under the very rubber band you selected in the first instance.
Cards and Coincidence

This, although quite a modest little experiment, I have found so successful that I feel it
incumbent upon me to pass on to readers of this volume. From a borrowed pack three
cards are freely selected by a like number of spectators. After these have been returned to
and shuffled in the pack, a slab of wood provided with a hinged flap is stood on table facing
audience. Each of those who selected cards is asked to name a number between one and
twelve, whereupon a like number of cards are counted from top of pack and the heaps
placed backs to audience against the easel. With the three heaps thus bestowed, the
conjurer asks the respective parties to name the cards that were selected. As each one is
nominated the particular heap is turned over and the bottom card seen to be the one
selected.
The secret is entirely manipulative, no trickery being vested in cards or board. I will not
presume to instruct the reader how to get the three selected cards to the top of pack, after
shuffling, etc., as this has been done some dozens of times in books on conjuring. I will
suppose that the three cards are on top of pack and that audience is preoccupied in
examining the little wooden easel. Taking advantage of this abstraction, the two halves of
pack are brought face to face, by making what is technically known as a “half pass.”
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Holding the faced pack squarely in left hand, with the three selected cards on top, right
hand lifts off top card as performer says, “Any number between one and twelve.” The
removal of one card apparently illustrates that a number is about to be counted off and
looks perfectly natural, more so, as it is returned almost instantly. During the few seconds
that the top card (i.e. one of those selected) is removed, the left hand quickly turns the pack
completely over, so that the opposite half is brought uppermost, and it is on to this half
that the original top card is returned. It will be obvious now that whatever number is called
the removal of a like number of cards will not affect the two selected ones remaining on
bottom. The desired number of cards having been counted off into right hand, one on top
of the other, the selected card will be the undermost one and is thus placed face to board.
Whilst all eyes are watching performer resting the packet of cards against the easel, the left
hand again turns the pack to bring the selected cards to the top. Picking off the top card, as
in the first instance to request the number, the pack is once more reversed before the card
is returned. Whilst the second heap is being placed alongside the first, the left hand does
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Stanley Collins
the needful for the last time. The last of the selected cards being now on top, it is not
necessary to reverse again, the cards being this time counted off without any turn of the
pack. Precisely the same actions to right hand, however, should be given. The three cards
facing board will now be those selected and the experiment culminates in their discovery
at positions suggested by those who drew them.
If so desired, the three selected cards may be caused to be on the top of each heap at the
conclusion. In this case, the manipulation is precisely the same, save that instead of
counting off the cards on to each other in right hand, the desired numbers are removed
without reversing their order. The first method is to my mind far preferable, and it is for
this that the patter which follows is written.
PATTER
Very few people in this bustling twentieth century realize what a wonderful part in
human affairs is played by chance or coincidence. Philosophers such as Laplace, Bernouilli
and others, have, in the past, devoted years of labour to the analysing of caprice, and they
have succeeded in demonstrably proving what at first sight appears to be a paradox, that
even coincidence is governed by fixed laws. I have been keenly interested in this subject
and have gone so far as to make experiments in this direction. Playing cards, whilst
acknowledged by all to be most capricious objects, are said by certain people to fall into an
order when shuffled that will indicate the dominating events of an individual’s past,
present and future life granting a certain prearranged significance be attached to each
card. My experiments, however, are on an entirely different plane of thought, as I hope to
prove to you. Here is a pack of cards from which I desire three of you each to select one.
Will you take one, sir? And perhaps you will oblige me, madam? I’m sure you also would
like to participate, sir. I must ask the drawers of these cards to make mental pictures of
them before returning them to the pack. Have you fixed that card on the tablets of your
brain, madam? Thank you! I take it yours is also fully registered in the grey cells, sir?
Good! I see by your expression, sir, that you have done the needful. The three cards being
now hopelessly lost in the pack, it is essential to the success of my experiment that each of
the three participants submits the pack to a shuffle or cut. I’m so sorry to trouble you,
madam. Now you Sir, please. Will you also mix the cards a little, sir? Very many thanks.
Now, Madam, I’m going to ask you to give me a number say between one and twelve. A
corresponding number of cards I shall count off the pack and place the packet against the
little board which is hinged so that it may be stood obliquely before you. Kindly give me a
number. Seven? One, two, three, four, five, six and one are seven. These I place against the
board in this manner. Now perhaps you will likewise give me a number, sir. Two? One!
Two!! These again I lodge against the board. Now for you, sir. What number do you
suggest? Five? One, two, three, four, five.
Now each of you will be certain that the numbers suggested were entirely of his or her
own volition. As a matter of fact you see how the long arm of coincidence has entered into
our affairs. You, madam, gave me number seven, and you see your card was in that
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position from top of pack. You sir, suggested two. You couldn’t help yourself because your
card was in that position. I am equally successful in your case, sir—or rather I should say
you are equally successful for you see you accurately determined the position of your card
when asked.
The Omega Ace Experiment

Here is a comparatively recent version of the four Ace effect devised by me about
eighteen months ago.
The merit of this particular method undoubtedly lies in the apparent fairness of the
preliminaries and the fact that the pack contains no duplicate aces. The four Aces are
lodged, faces toward audience, on a little wooden easel, and against each the inevitable
three ordinary cards are laid. In this case, however, the accompanying cards are likewise
displayed faces outwards. One heap is selected, shown to consist of one ace and three
ordinary cards and placed into an unprepared envelope. This envelope before being sealed
down is shown to contain nothing but the four cards and is entrusted to a spectator who is
charged to hold same very tightly. The three remaining aces are vanished one by one and
are finally discovered by the gentleman himself in the sealed envelope, which has never
left his possession.
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Stanley Collins
In view of what I have already written, it will no doubt come as a surprise when I apprise
my reader that duplicate aces (three to be exact) are used in the trick. These duplicates are
bestowed, however, where they are least suspected, and herein lies the main charm of the
trick. Duplicates of, say, Ace of Hearts, Ace of Diamonds and Ace of Clubs are concealed,
backs towards flap, in the envelope used, which should be in size about 6 inches by 3-1/2
inches. No other preparation is necessary, the remainder of the trick depending entirely on
adroit manipulation and address.
Performer introduces the experiment by calling attention to the little hinged board and
explaining the purpose for which it is used. Standing with table at his left and pack face
upward in left hand, the four aces are removed one by one and placed on the ledge of the
board, the ordinary cards being discarded and left faces upward on table, immediately in
front of board. The face of every card being passed before the company duplicates cannot
be suspected. When arranging the aces on the board, it is important that the Ace of Spades
be third from onlookers’ lefthand side; the others may be arranged in any order, either by
accident or design.
The conjuring away of the respective aces is in each case accomplished by what is now
known as my “four card vanish,” a description of which I have already explained at length
in the Magazine of Magic. This subtlety consists of placing four cards on each ace instead
of three, as audience believe to be the case. In the experiment under discussion, it must be
remembered that the cards which accompany each ace have to be lodged faces toward
audience, and this alteration brings us face to face with the difficulty of securing the fourth
card naturally. Although very possibly some of my readers may evolve for themselves a
sleight to do this, the move I perform is perfectly natural, and has never been suspected.
Standing with the table at his right, the
pack is held face towards audience in left
hand with fingers at one end and thumb at
the other (Fig. 1). The right thumb
approaches the pack and draws off first and
second cards into hand, but in the case of
the third one, although precisely the same
movement is executed, the fingers (which
should be slightly moistened) draw off the
rear card at same time as the face card is
removed, both instantly being allowed to
drop on the two already held. Packets of
four cards in this wise are lodged on the
first, second and fourth aces, but in the case
of the third one (the Ace of Spades) three
cards only are placed upon it.
At this stage of the proceedings, the complete set of aces will be facing audience on the
ledge of board with four cards on both the first and second aces, three only on the third ace
(Ace of Spades) and four cards on the fourth ace. The forcing of the choice of the third
packet has now to be negotiated, and the artifice, although daring, is very convincing.
15
Apparently a spectator is asked to nominate one of the four heaps, and that particular one
without any further ado is used. Actually, however, it is a case of “Hobson’s Choice” very
craftily disguised by the manner in which the question is asked. It is essential that some
one on extreme left of performer makes the choice, and the request is couched in the
following terms: “May I trouble you, sir, to give me a number between one and four, so that
every one present can hear?” The italicized preposition obviously gives the choice of either
“two” or “three,” they being the only numbers between one and four which can be named.
The audience, however, never suspects the ruse and the impression at the back of their
heads is that any number out of one, two, three or four is selected. If “three” be chosen
(which almost invariably is the case) the heaps are counted from left to right in the usual
manner and the third heap consigned to the envelope. If, as sometimes happens, “two” be
the selection performer counts from the right hand side towards the left and, of course, the
desired packet is removed. It is to provide naturally for this latter contingency that some
one on the extreme left is asked to make the selection, it appearing perfectly natural to
count from his end if “two” be called.
Taking for granted the “forcing” of the

desired packet has been successfully
accomplished, the three ordinary cards with
ace on top are displayed fanwise in left hand.
Taking these into right, fingers on faces of
cards and thumb on backs, the envelope
containing the three duplicate aces is picked
up by the bottom with left hand. The fingers
should be on address side and thumb on the
flap side. Lifting up the flap with the fan of
cards, the four are apparently dropped into
the envelope. I say apparently, for the reason
that one card only, the ace, goes inside, the
three others being held by the left thumb
outside the envelope as shown in Fig. 2. Care
must be taken that the ace goes between the
duplicates and the front of envelope. Additional effect may be gained if performer writes
on the face of the envelope the initials of the gentleman who has been called upon to select
the heap.
The three cards held at back of envelope have now to be disposed of naturally, and this is
done in the following manner.
Holding envelope in his left hand with thumb on front and fingers at back, performer
remarks, “Now please remember the disposition of the aces. On the board we are left with
the Ace of Diamonds, the Ace of Hearts and the Ace of Clubs.” As he names each ace, a
careless indicative movement of envelope is made in its direction, the cards held behind
being dropped on the others lying faces upward, when thus indicating the second ace (see
Fig. 3).
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Stanley Collins
Continuing, performer says,

“Here in the envelope is the
selected ace, the Ace of Spades,
with three ordinary cards to keep it
company.” The cards are removed
with right hand and the face of the
Ace of Spades shown to the
company, As the words “with three
ordinary cards to keep it company”
are said, the four cards are turned
over, fanned out and straightway
returned to envelope which is
sealed up and handed to the
gentleman.
Now for the evanishment of the

three aces which remain on board.
The first step is to show the four
ordinary cards as three, and this
being a rather difficult move to describe, I have had

the exact position of the hands sketched so that
there may be no misunderstanding. The four cards
are picked up together and the ace added on top.
With the five cards held in left hand as shown in
Fig. 4, the thumb of right hand draws off the ace,
the first and second cards in turn, when the last
two, as one, are thrown by left carelessly on top of
those in right. The audience should be impressed
with the names of the ordinary cards as they are
exhibited.
The ace is now behind

or on top of the packet of
five cards. Taking all in
left hand, as shown in
Fig. 5, performer makes
a throwing movement
towards the gentleman
holding the envelope, at
same time ruffling cards
with thumb. To show
that the ace has
apparently disappeared,
right hand finger and
thumb withdraws the
17
undermost card and turning it face to audience it is named and placed on table face
upward with the others already there. Whilst so doing the third finger of left hand draws
back the bottom card of the four which are left, a distance of about half an inch. This is the
extra card the face of which has not been seen by spectators. The right hand now takes the
card above the slipped one and withdrawing it exhibits it to audience as the second of the
ordinary cards originally shown. Now comes the vital move. The two top cards held
together as one are withdrawn by right hand and shown as the third ordinary card, and
placed on table. The card remaining in left hand (the one audience imagines to be the ace)
is now slowly withdrawn and shown to be an ordinary card. This vanish of the ace, if nicely
done, is so subtle that it has puzzled every magician ,to whom I have shown it, and it has
the advantage of being equally mysterious to spectators sitting behind the conjuror when
the vanish is performed.
The three aces having been vanished in this way, nothing remains but to request the
obliging gentleman to cut open the envelope and display the wandering aces.
I have written at length about this experiment as the various sleights, once understood,
will be useful in quite a number of card effects. Elsewhere in this volume I describe an
experiment depending for its success on one of the sleights I have expatiated upon.
PATTER
My next experiment with cards requires the use of this little ledged board, which you
will observe is provided with a hinged flap at the back. This article is employed by me
merely to display cards which otherwise would have to be placed flat on table and for some
of you, at any rate, would be out of the range of vision.
The cards I propose displaying are the four aces, and the searching for these is perhaps
the most desultory part of the experiment. Here’s number one, a pally card—the Ace of
Piccadilly —(Ace of Clubs.) It’s sometimes known as the Palace. Here’s number two, the
Gaiety Ace—(Ace of Hearts)—sometimes called the Menace. This is rather a slow business.
It reminds me of the old saying, “More aces, more speed.” Ah! Here we have the grave Ace
(Ace of Spades)—quite a grimace. We hear a lot about calling a spade, a spade. I know a
man who calls a spade a shovel—John Bums. Here’s the last one, the Ace of Hatton Garden
(the Ace of Diamonds) always a solace, as every one knows.
The four aces being now so openly displayed before you on the board, you must admit it
is quite impossible for me to conjure them away without your being cognisant of the fact.
Against each of these aces I shall now lodge three ordinary cards from the pack; one, two,
three, on the Ace of Diamonds. One, two, three on the Ace of Spades, one, two, three on the
Ace of Hearts —sounds like the Tango or the Turkey Trot, doesn’t it?—and finally, one,
two, three on the Ace of Clubs. (Spread remainder of pack faces upward on table in front of
board.)
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Stanley Collins
I think you’ll agree that nothing could be fairer. The four aces are openly lodged on the
board—a sort of board and lodging—and against each, three ordinary cards are placed, in
turn, faces toward you. May I trouble you, sir, to give me a number between one and four,
so that every one present may hear. Three? Thank you! One! Two! Three! The selection
falls this evening on the Ace of Spades. I, therefore, take these three ordinary cards (spread
them out) and the ace and bestow them inside this envelope. If you’ll oblige me by
informing me what your initials are, I will mark the envelope with them. Thank you! Now
please remember the disposition of the aces. On the board we are left with the ace of
Diamonds, Ace of Hearts, and the Ace of Clubs. Here in the envelope (taking out the packet
of cards) is the selected Ace (the Ace of Spades) with three ordinary cards to keep it
company. For safety’s sake I’ll stick the flap down and perhaps I can prevail on your good
nature, sir, to the extent of adopting the envelope for a few minutes. Please take care of it as
I had quite an adventure to get it. Seeing a packet of envelopes similar to that in your
possession on the counter of a shop I honour with my patronage, I asked the girl what they
ran to. She very curtly informed me they didn’t run at all—they were stationery.
Doubtless you have anticipated my problem. It is this. I propose passing these three
aces, one by one, from my hand into the envelope held by our friend. Watch me closely,
please. Here, I have the Ace of Diamonds and one, two, three ordinary cards. Go away! The
ace yields its place to one of the ordinary cards (show four ordinary cards one by one and
name each as produced). I don’t think you quite saw how it was done. Watch a little closer
this time. Here’s an ace and one, two, three ordinary cards. Pass again! The ace has
changed places with an ordinary card (enumerate them as before). You still seem dubious
as to how the aces disappear—well, you have one more chance of discovering my secret.
Here is the last heap—an ace and three indifferent cards (ruffle cards). The ace has
departed, its place being taken as before by one of the cards from envelope. Now, sir, if you
open the envelope I think you will find the four aces together inside. Very many thanks for
your assistance.
Will!
This experiment, based on old, and to the conjuror well known principles, has a
singularly good effect as the climax is quite unexpected. The usual three cards having been
elected from pack, the latter is discarded with the exception of about fifteen cards. Into this
packet of fifteen the three cards are returned, and the whole casually spread out on table
face downwards. Showing his right hand empty, the palm is pressed on the cards, all of
which adhere to the fingers when hand is lifted. After allowing his audience to have a close
view of his hand and suspended cards by coming amongst them, a shake of the hand
causes all the cards to fall except three which prove to be those selected. Another jerk
imparted to the hand causes these to fall on top of the others.
A special card is mainly responsible for the trick. This is really two cards stuck together
with a little metal fake inserted between them. A tin disc about the size of a shilling, having
a bent pin soldered at right angles to it, is glued to the centre of back of (say) the King of
19
Clubs and another card provided with a small hole to allow pin to project through, glued on
to the first. This double card is laid face downwards on table where it cannot be seen.
The ordinary slotted finger ring, familiar to all conjurers in connexion with the table
lifting experiment, will be required, and this is worn on middle finger of right hand.
The first card chosen, an unprepared King of Clubs, is forced; the two others, however,
are perfectly free selections. Explaining that only a few cards are required, about fifteen
are taken from top of pack and the three cards returned to the packet, care being taken that
the King of Clubs is the last. These three are brought to the top and the King of Clubs
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Stanley Collins
palmed away. Performer now takes the two top cards (the selected ones) and places them
one on each side of the pin projecting from faked card, as shown in sketch. All the other
cards are placed under these two and spread out so that they may be all lifted together
when ring engages the pin emerging from faked card. With the cards adhering in this
manner, performer may advance amongst his audience without fear of having his secret
discovered.
If a quick jerk be imparted to hand and pressure be retained on the two cards on each
side of pin, all the cards will fall to floor but the three selected, which are verified by the
drawers as the ones chosen by them. To cause the three cards to fall, the ring is merely
disengaged from the pin under cover of a quick jerk.
PATTER
My next experiment exemplifies one of the extraordinary phenomena of that much

discussed faculty “Will.” William Shakespeare, the famous writer of Revues whose Avon of
rest was at East Ham or Stratford East—I really forget which—very truly said, “Where
there’s a will there’s a weigh-out.” What a fine motto for a lawyer. Vulgar people call Wills
“Bills.” It amounts to just the same thing, however; bills always mean a weigh-out. Some
21
men have weak wills; others have strong wills. Some prefer Gold Flake or Three Castles.
One man I know is always Willing—he’s a bill poster.
The experiment I am about to present to you is the result of years of study and
self-denial. Here is a pack of fifty-two cards, from which I require three selected by as
many of my audience whose principles are as exemplary as my own. Will you favour me by
taking one of these cards, sir? (force King of Clubs). Thanks. I know you are anxious to
participate, madam, so please withdraw one. Now it’s your turn, sir. Thank you very much.
This extraordinary experiment necessitates the use of only a few cards in addition to
those drawn, so I’ll take about a dozen from the top of the pack and discard the others.
Perhaps you will put your card into the middle of this little packet, sir? Thanks. Will you
do the same, madam? I’m obliged. You, sir, have the last card—no, sir, not the lost chord—
which kindly place with these. Thank you! (Shuffle again and palm off the King of
Clubs.)
If ever I make a will you shall be my executioner. See, I spread these few cards face
downwards in haphazard manner on the table.
Now for my experiment. By simply placing my right hand on these cards and
concentrating all my will power I compel the lot to adhere to my palm. Please notice how
the cards are apparently glued to my finger tips. This is the result of a very high form of
animal magnetism, cultivated after months of careful observation in the Zoological
Gardens.
Every experiment should have a climax, and this I now have to demonstrate to you. A
shake of my hand causes all the cards to fall with the exception of the three selected by
members of my audience. Am I right? Thanks! Another shake and these three fall on the
others, leaving my hand empty as at first.
The Siamese Bloodstone

A piece of coloured stone, supposed to possess the peculiar attribute of tending to
attract to itself any object with which it has once been in contact, is laid on each of three
selected cards before they are returned to the pack. The pack is placed in a borrowed hat,
which is rested on edge of a china plate. On bringing the stone immediately over mouth of
hat, the selected cards, presumably by attraction, jump completely out on to floor.
The effect is gained entirely by misdirection, as the cards in reality do not jump out of
the hat at all, but are shot into the air from behind it. A mechanical plate, a description of
which I will now give, although professedly introduced only as an adjunct, is really
responsible for the acrobatic performance of the cards.
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Stanley Collins
The plate should be octagonal in shape, so that when held vertically, a flat edge is always
presented on top. The plate itself (a china one}, is quite ordinary, the faked portion made
of cardboard being an addition to it. This fake (a general view of which is shown in Fig. 1) is
5 inches across by 1/4 inch thick, and is glued on underside of plate to form a sort of
false base. Within it are two fairly strong spiral springs attached to a metal bar T.
Projecting from below this bar is a hooked metal arm H which, when springs are extended,
passes through a hole in bottom of fake and prevents their return by engaging the edge of
23
opening. if fake be now loaded with duplicates of the three cards to be forced on company,
the springs will propel the cards out of slot high into the air when the arm H is pushed
aside.
The art of the experiment lies in the manner in which the plate is made to serve its
purpose without being introduced as a necessary factor.
Having forced the three cards, and the stone having been laid on each one in turn, the
pack is placed on the trick plate, to avoid contact, as performer glibly explains, whilst a hat
is borrowed. Pack is shot into hat from plate and to leave hat and cards perfectly insulated,
the hat is rested on edge of plate as shown in Fig. 3. To account for the sudden jumping of
the cards from the pack, the stone should be held over mouth before the catch is released.
The experiment, to be successful, wants very careful dressing. The patter which follows
is arranged specially to throw onlookers off the real scent.
PATTER
Collecting has always a great fascination with human beings and but few of us manage
to elude its snare. We are all collectors. Some people collect books: some collect
postage-stamps: some collect butterflies. I myself am a collector. —I collect English
sovereigns. I know one man who’s even a tax collector. A very dear friend of mine, an
extensive traveller, collects stones, and I can assure you he has some very extraordinary
specimens in his museum. Perhaps the most remarkable is one known as the Siamese
Bloodstone, a very rare and valuable specimen, few of which I am given to understand are
in existence. Knowing the interest I take in everything bordering on the mysterious, my
friend has made me a present of one of these Bloodstones. Here in this piece of tissue
paper is the mysterious jewel.
The peculiar characteristics of the dog known as the bloodhound are common
knowledge; not so with the Siamese Bloodstone, however. The bloodhound, as you know,
can always locate anything it has once scented. With the Siamese Bloodstone, the reverse
is the case, as the stone actually tends to attract any object brought within a certain range
of it, providing it has, shall we say, “scented” it previously. I use the word “scented” to save
the use of highsounding technical phrases.
The singular power of attraction possessed by this stone I hope to demonstrate with
ordinary playing cards. Perhaps I can induce three ladies each to select one card from this
pack. (Force the three cards, duplicates of which are in faked bottom of plate.) Now the
peculiarity of the Bloodstone resembles that of the Bloodhound in one respect; it must
have previous contact with the article it has to attract. If, however, the stone be touched
with the fingers, its virtue is annulled, hence my reason for displaying and holding it in this
tissue paper. Will you oblige me, sir, by just resting the Bloodstone on each of the selected
cards for a second before you return it to pack. Thank you very much. Now please shuffle
the pack, and return me the stone.
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Stanley Collins
From this point there must be no human contact in any form, so I will place the pack in a
a hat if I can be so fortunate as to borrow one. Thank you, sir. The gentleman says he wants
it back as he’s" afraid to go home in the draught." Kindly place the shuffled pack on this
plate. The pack I now insulate by allowing it to fall into hat. To make insulation doubly
sure, I will lodge the hat on the edge of the China plate and thus prevent any possibility of
human contact.
For the benefit of my audience, will the three ladies kindly name their cards. The two of
Clubs, five of Diamonds, and King of Spades. Thank you! Now watch! I bring the Siamese
Bloodstone within the range of its activity—Nearer! Nearer!! Exciting, isn’t it? Nearer!
There they go!!!
These (picking up cards off floor) you see are the three selected cards which have been
attracted by the potent and mysterious force of the Bloodstone. Very many thanks for the
loan of the hat, sir.
Le Demier Cri Mutilated Card Experiment

Here is yet another version of the ever-green “Torn Card” Trick. In this case the selected
card is cut into four pieces with a pair of scissors and one of the pieces freely selected by the
individual who performs the mutilation. A large envelope is now introduced and handed
to someone to hold, whilst the three pieces which remain are burnt or otherwise disposed
25
of. The envelope proves to be the largest of a nest of four, in the smallest of which the
chosen card is found restored but for one corner, which is supplied by the gentleman and
found to fit exactly.
Nothing particularly new in effect is here offered but the method of working possesses
points of novelty. Presuming the forced card to be the eight of Spades, four duplicates of
this will be required, from each of which a corner piece equalling a quarter of the card must
be cut off. Let us mentally number these duplicates one, two, three and four.
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Stanley Collins
From No. 1 cut off the left hand top corner

“ No. 2 “ “ “ left hand lower ”
“ No. 3 “ “ “ right hand top ”
“ No. 4 “ “ “ right hand lower ”
These four pieces have now to be marked in such a manner that they may be easily
identified by performer.
No. 1 is, therefore, provided with one dot in a position where it may be instantly seen by
performer, who knows of its presence.
No. 2 is marked in a similar manner with two dots.

No. 3 is marked in a similar manner with three dots.
No. 4 is marked in a similar manner with four dots.
These four pieces are placed on table well towards edge and covered with an ordinary
card from pack placed face upward over them. I use the “Joker” for this purpose as no
significance is attached to its presence on the table if it happen to be noticed when
performing at close quarters.
Leaving the pieces for the time being, we must give our attention to the disposal of the
four mutilated cards. Each of these is placed into an envelope just large enough to contain
it comfortably and the flap sealed down. Each of these envelopes is then placed into
another a shade larger and all sealed down as before. The four together are then bestowed
inside one envelope a good deal larger than those it has to contain, care being taken to
retain the envelopes in order from one to four as per the imaginary numbers given to the
cards they enclose. This envelope, after being sealed down, is put into one still larger,
which, in turn, is sealed down, and placed upon an easel or in some other manner rendered
conspicuous during performance.
Advancing to one of his audience performer requests that a card be removed from the
pack and proceeds to force the eight of Spades upon him.
Retiring to table to secure the pair of scissors the pack is placed face downwards on top
of the upturned “Joker” and the gentleman instructed to cut the selected card fairly into
halves with the scissors. The halves are then again cut through by the assisting gentleman
so that four pieces result. Whilst this is being done performer picks up his pack, together
with the added “Joker” and the four duplicate pieces which are held underneath by fingers.
The pieces on being received from the gentleman are placed one by one on top of the
pack. Attention now being drawn to the envelope, performer explains that he proposes
restoring the mutilated card and passing it into the smallest of the nest of four envelopes
which has been in full view during the performance. As a precaution gentleman is asked
freely to select any one of the four pieces which are now handed to him. Instead of the four
pieces, however, which were returned to performer, the gentleman receives the four
27
duplicate pieces which, while attention was focussed on the nest of envelopes, were
brought uppermost by turning the pack completely over. The “Joker” being face
downwards on the upturned pack no one suspects that the pack is really face upward.
So soon as the piece has been selected, the remaining three are taken by performer and
consumed in the flame of a candle. As each piece is consigned to the flame, the performer
by noting the various dots, knows which piece has been retained. Presuming that No. 3
piece has been selected, the largest envelope is cut open and the next size openly removed.
This envelope, it will be remembered, contains the four sets of 2 in regular order from 1 to
4. The third envelope, therefore, is taken out and the cut one discarded carelessly, with the
others inside it. The envelope last removed is handed to the gentleman so that he may open
it himself. He, of course, finds the fourth and last one, which on being opened reveals the
eight of Spades minus one corner. This is found to be a perfect fit with the piece retained by
him.
PATTER
Perhaps I can induce you to remove one of these cards from my pack, sir? It doesn’t
make the slightest difference whether you get an ace or a deuce as there are no prizes. Now
my experiment demands that the card selected by you from fifty-two, be marked in a very
distinctive manner, and as money is no object with me—I just like a little to be
fashionable—I propose that you cut the card into halves with this pair of scissors. This
(signifying the blades) is the part you cut with, sir. Having done that so artistically,
perhaps you will place one piece on the other and cut both through. How many pieces do
you make out you have now? Make a rough guess. Four? Correct! Our friend, like me, must
have matriculated at a Kindergarten. (Receive pieces on top of pack as explained.)
Now to tell you what my intentions are in respect to that card. I propose passing the
pieces from my hand into this large envelope, which is really a nest of four. All four are
sealed in exactly the same manner as this one, and the nest has been displayed openly
during the time I have been before you.
To conclusively prove that the card you actually selected and mutilated passes into the
nest, perhaps you will be good enough to retain one of these pieces to identify it by. Kindly
take the four into your own possession and having selected one, give me the other three.
Thank you, sir! Now please watch! I burn each piece in the flame of this candle (burn one
piece). That disposes of one piece. Now for the second. It, too, suffers the same fate as its
predecessor. The third and last piece having been consumed I pass the ashes into the
envelope by means of this wand (apparently take burnt ash on end of wand and make
passes in direction of envelope). It’s done! On opening this envelope, we find inside it, one
somewhat smaller, and sealed in exactly the same manner. This we likewise open and find
another still smaller and in turn sealed. Perhaps you, sir, will be more satisfied if you open
the last two yourself. Ah! There’s number three, sealed in exactly the same manner as the
others. Do you feel anything inside? You do! That’s good. My experiment is a success. The
eight of Spades! Is that the card you selected? It is? Now you have only to fit to it the piece
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Stanley Collins
you retained to satisfy yourself that the original card is restored. It is a fit. May I show the
company? You see the piece fits perfectly—just like a ready-made overcoat.
A Question of Memory
I might well have titled this experiment “The Pocket to Pocket” effect had not a card
classic already been so designated. The plot may be disposed of in a very few words. A
gentleman having selected a card, and been instructed to Place same into his trouser
pocket with the injunction that the card be well inscribed on his memory, another card
taken haphazard from pack by performer is, in like manner, placed into his own trouser
pocket. The problem is to cause the two cards to change places, without performer having
any contact with his volunteer assistant.
29
The secret mainly lies in the manipulation of a special card, which is quite easily
prepared by performer himself. This particular card, which by the way was placed on the
market by me some years ago under the title of “The Non Plus Card Transformation,” can
still be obtained from high-class magical dealers. It is merely an ordinary card, say the
Nine of Hearts, with a section of another card, say the six of spades, glued upon its face, as
shown in accompanying illustration. In the experiment sold by the dealers a card chosen
from three by a spectator changes into a totally different one whilst in his own possession.
The puzzling part of the trick lies in the fact that only three cards are used to bring about
this result.
The experiment I am about to explain amplifies the idea, to bring about a passe passe
effect, and has the distinct advantage of leaving the pack in conclusion with its
complement of fifty-two cards, and no possibility of a trick card being discovered even if
the presence of one were suspected.
In addition to the prepared card, the pack is provided with a duplicate King of Clubs
placed on the bottom. The ordinary six of Spades is removed and placed into the right
hand trouser pocket. Thus prepared and with the trick card on top of pack, the King of
Clubs second, and any distinctive card, say the Ace of Diamonds, third, the experiment is
ready to be presented.
The pack at the outset should be given a false shuffle in an absent-minded manner,
whilst making the opening remarks to the company. Openly counting off the top three
cards, which must not be disturbed by the shuffle, into his right hand, the remainder of
pack is placed on table and the three cards spread in a fan faces toward audience. Here,
however, the dominant part of the deception transpires, as the cards shown to the
audience are not a legitimate fan of three, but two cards held as one on the trick card,
which serves for two. The cards shown will thus appear to be—
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Stanley Collins
Nine of Hearts,
Six of Spades,
Ace of Diamonds,
the King of Clubs being out of sight behind the Ace (Fig. 2). The presentation here
demands that the performer impresses his assistant with the necessity of remembering the
three cards and their order. In one movement the fan is turned over and the actual three
cards spread out, the King of Clubs now being in the centre. This, (presumably the six of
Spades) is forced on the gentleman, who is told to place it into his trouser pocket without
looking at it. “Now, sir,” says the performer, “let us see whether you do remember the
order of the three cards shown you. Please name the card you have selected. The six of
Spades! Quite correct, for, as you see, you have left me with the Ace of Diamonds and the
nine of Hearts.”
During the above interrogation, the trick card and the ace of Diamonds are reversed and
spread out to display the cards as indicated above with B end uppermost. By thus reversing
the trick card a greater portion of the nine of Hearts may be exhibited than would be the
case if held in the original manner. Proceeding with his patter, the two cards held by
performer are returned to top of pack (faked one on top of all), and the pack carelessly and
quickly shuffled. The object of this shuffle is to leave the trick card second from bottom,
viz., next to the King of Clubs which must not be disturbed. To bring about this state of
affairs, the pack is held in left hand with fingers on top and thumb on bottom, pressing
fairly tightly on cards. Right hand fingers, and thumb grasp the ends of pack, and lift all the
cards clear of the left hand with the exception of the top and bottom ones which are
retained by pressure brought to bear upon them. The cards in right hand are now shuffled
deliberately on top of the two in left, which arrangement leaves pack in conclusion with
King of Clubs at bottom and faked card immediately above it. These two cards, held as one
are then taken from bottom of pack, shown as the King of Clubs and openly placed into the
upper part of the trouser pocket.
The trick is now done. The assisting gentleman finds a King of Clubs, which he thinks is
the King of Clubs in his pocket, whilst performer shows he has the Six of Spades. In taking
the latter card from his pocket, the conjuror should carelessly pull the pocket inside out,
but draw no attention to the fact. The two cards being bestowed well up to the top of the
pocket, this may be done without fear of betraying their presence.
PATTER
My next effect calls for the co-operation of a gentleman with a good memory. I would
suggest a Tax-collector.
Thank you very much, sir! I take it for granted that you pride yourself on the possession
of, at any rate, a normal memory and could remember say half a dozen cards shown to you.
I shall not tax your memory even to that extent, contenting myself with asking you to try to
memorize the order of but half that number. Here, for instance, are three cards: the nine of
31
Hearts, six of Spades and Ace of Diamonds. Do you think you can remember the order of
these three cards for a few minutes? You do? Suppose we put you to the test! Just take one
of these and place it into your trouser pocket without looking at its face. Thank you! Now
sir, let us see whether you do remember the order of the three cards shown you. Please
name the card you have selected. The six of Spades! Quite correct, for as you see you have
left me with the Ace of Diamonds and the nine of Hearts. As the remembering of one card
does not call for a very great mental effort, perhaps I may impose a further test and trouble
you to remember one more. Let us take this bottom card, which I see is a very distinctive
one, the King of Clubs.
Now as in your trouser pocket you have the six of Spades, I in turn will place this card for
safety in my own trouser pocket and ask you to fix your thoughts on the positions of the
respective cards. Now, sir, I am about to challenge your memory. Where is the six of
Spades, and where the King of Clubs? You say you have the former and I the latter. You see
(producing six of Spades from his own pocket) how easy it is to forget, for it was I who had
the six of Spades and you the King of Clubs. Remove the card from your pocket, please. Am
I right? You see the advantage of a properly trained memory. Having only two cards to
remember, you deemed your task easy and allowed your thoughts to wander, with the
result that the positions of the respective cards became confused in your brain.
Thought Anticipated and Precipitated

From six cards removed from pack
and placed in a row on table, a
spectator is requested to turn up and
remember one. An empty frame is then
wrapped in a borrowed handkerchief
and passed into the care of the Party
who has participated in the first phase
of the experiment. Picking up the six
cards, they are well shuffled and
counted one by one slowly on table,
when only five cards are in evidence,
the one selected being missing. The
gentleman on unwrapping the frame
therein finds the very card he selected
of his own free will.
The key to the evanishment of the

card is already in the possession of the
reader, it being described in connexion
with the Omega Ace Experiment on
page 14. Before explaining its present
application I must describe a subtlety
in connexion with the final issue of this
32
Stanley Collins
feat that I think will be admired. Duplicates of the six cards are bestowed into a like
number of pieces of apparatus, the respective position of each being memorized by the
conjuror. Let me detail my own arrangement. The six cards may, of course, be any
particular ones, but for the purpose of illustration I will imagine the following :—
Eight of Spades. In smallest envelope of nest of four.

Ace of Diamonds. In ordinary wooden card box.
Queen of Hearts. Inside a Cigar or Cigarette.
Seven of Clubs. Rolled inside a candle.
Two of Diamonds. In a sand frame.
Five of Hearts. In an American Brass Card Box.
Of these respective articles which lie promiscuously with others on performer’s table,
one only has to be requisitioned. This fact is never detected as none of the articles in
question is brought into any prominence.
The pack must be prepared by having the set of six cards on top, and if a shuffle be
executed, it must not disturb the top stock. The order of these cards being memorized,
performer instantly knows the value and suit of the particular card turned up and
straightway brings forward the particular article containing the duplicate. I must here
mention that the pack should possess the “one way pattern” backs as in the “Wooden Slab
and Flying Card Effect,” page 5. When picking up the cards from table, they are taken by
lower right hand corner between finger and thumb and passed into left which, held
knuckles down, receives the card face downwards. By this means all the backs are
reversed. The one which has been selected, however, is picked up by right finger and
thumb in identically the same manner, but is not turned round when being put into left, as
the latter hand in this case is held palm upward. The backs of the cards now held in left
hand will all be the same way up except the one selected, The purpose of the shuffle is to get
33
this card to the top of the six, which done the little packet is held as shown in Fig 5 on page
17 and cards withdrawn as there described. The three bottom cards having been taken
away, the third finger of left hand draws back the fourth card, the two top ones (the one
hidden, of course, being the selected card) being straightway removed and shown as one.
The slipped card is finally shown as the fifth and last card, the selected one apparently
having been spirited away.
Nothing remains but to produce the desired duplicate card from the particular piece of
apparatus into which it was placed.
The artifice of using a number of pieces of apparatus to produce duplicate cards was
devised some years ago by me, to allow free choice of one from a like number of cards. The
idea appeared some time ago in a Magical Journal, but no credit being given me for the
idea, I take this opportunity of claiming my own.
PATTER
My next experiment demanding very close observation, may I trouble a gentleman to

assist me at very close quarters. Very many thanks, sir!
Now, sir! Would you believe it possible for me to precipitate invisibly an object chosen
freely by yourself from one side of this room (or Stage) to the other? Our friend says he
wouldn’t be surprised at anything I did—I don’t know whether to take that as a
compliment or otherwise. (Performer during this harangue has been casually shuffling the
pack.) However, I am going to count openly on the table six of these cards. One, two, three,
four, five, six! Now, sir, there on the table are six cards counting from this end. Counting
from this end (indicating the opposite) there should be half a dozen. I have purposely
shown you the faces of the cards as I placed them down. I now must ask you to pick up any
one of the six you please and make a mental picture of it. You’ve done so? Thanks! Replace
it, please, with the others. Here is a small frame, which I think it superfluous to inform you
contains nothing, as the fact is self-evident.
The frame I shall wrap up in this handkerchief and will ask you to take charge of it for a
few minutes. Try to look as if you like it, sir!
Now (picking up the six cards and shuffling them) we come to the psychological
moment in our experiment. I am going to attempt the precipitation of the very card you
selected from the six I hold in hand into the frame you hold. Watch, please! (Ruffle the
cards.) It’s done. Five cards only remain. (Take them from left one by one, naming each as
it is shown.) Please name the card you turned up. The Two of Diamonds? You see I am
quite successful, for here behind the glass is the very card that is missing. I am very grateful
to you for your assistance.
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Stanley Collins
The Guessing Game

In effect, three cards are taken from pack,
shown to and carefully noted by a
gentleman. He is requested to take one,
place it in his pocket and then guess which
one he has removed. Showlng the two that
remain, the gentleman is assured his guess
was a correct one. Turning backs of the two
cards to the gentleman, he is asked to name
them. His guess this time proves at fault, as
when next shown to him one of the two
cards proves to be the one he fondly thinks
he has in his trouser pocket, the one missing
from performer’s hand being taken by
gentleman from his pocket instead of the
one he imagined he put there.
The trick centres round a prepared card

made as shown in sketch. The pack is
prepared by having the three following
cards on top of pack:
The faked card (top),

Ten of Hearts,
Queen of Spades.
These are openly removed from pack one by one (faces downwards) and the pack
discarded. The two ordinary cards, held as one with Queen of Spades uppermost, are so
disposed on trick card that apparently three are shown, viz., ten of Hearts, five of
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Diamonds and Queen of Spades. The assisting gentleman is requested to take particular
note of the cards and the order in which they are exhibited. Turning cards over and
simultaneously fanning the three, the centre one (presumably the five of Diamonds, but in
reality the ten of Hearts) is forced on to the gentleman, who is instructed to place it into his
pocket without looking at its face. He is then asked to guess which card he has taken, and
his reply, of course, is “The five of Diamonds.” “You guess you’ve removed the five of
Diamonds. Well, I guess you’re right,” responds the performer, at same time displaying
the faces of the two cards in his hand as the ten of Hearts and the Queen of Spades. This is
done by moving the Queen of Spades nearer to edge of trick card, so that the faked strip
representing the five of Diamonds is covered. Whilst interrogating the gentleman as to the
names of the two cards just shown him, they are turned reverse end up, so that B with the
five of Diamonds index is uppermost. With the Queen of Spades completely hiding the
faked portion of the trick card, the two are turned and exhibited to the gentleman as five of
Diamonds and the Queen of Spades, he, of course, proving to have the missing ten of
Hearts when he takes the card from his pocket.
The effect of this experiment is somewhat similar to “The Question of Memory,” but in
the present case the faked card is wholly responsible for the trick.
PATTER
I have recently conceived a little game which I am assured by my friends is quite

attractive and exceedingly fascinating. It has the advantage of being very exciting and,
what is perhaps of more importance, quite inexpensive. I call it “The Guessing Game,” but
really it’s a competition. Are you good at guessing, sir? You’re not? That’s funny; so am I.
Perhaps you will compete with me in my new game, which like the individual on a
well-known poster is so simple. If you win, I’ll show you a sovereign. I just take three cards,
the ten of Hearts, five of Diamonds and Queen of Spades. Kindly remember them, sir. Now
please take one and put it in your pocket. You have now the first guess. What card have you
removed? The five of Diamonds? You guess you’ve taken the five of Diamonds. Well
(showing two cards in hand) I guess you’re right, so it’s a dead heat. Once again, please!
Remember these. Now (turning backs to gentleman and secretly reversing) guess the
names of these. The ten of Hearts and the Queen of Spades? You’re wrong, sir. Five of
Diamonds and Queen of Spades here. That’s one to me. You guessed you had the five of
Diamonds in your pocket. It’s not; it’s the ten of Hearts. I’m afraid your guessing has come
undone, and think you’ll agree that I’ve won. You had better send the cigars by post!
The Spider
The experiment to which I gave the above title has been one of the most successful items
in my repertoire for a number of years. The effect is equally good with a juvenile audience
as with an adult. The plot is distinctly novel. A small sheet of tissue paper, folded into a
little packet about the size of a postage stamp, is hung by means of a small clip on a loop of
black thread which in turn is suspended from the left elbow. Asking his audience to
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Stanley Collins
imagine that the suspended parcel is a

voracious spider with a predilection for pips
from ordinary playing cards, performer
introduces a pack with the eight of Clubs on the
bottom. With pack held in left hand, one pip is
apparently removed from this bottom card
with right fingers and given to the Spider,
leaving only seven pips on the card. Another
pip taken away and in same manner given to
the Spider leaves six on the card. Explaining
that the Spider is excited, two pips together are
next removed, leaving four on the card. These
four are finally transferred en bloc from card to
Spider, leaving, of course, a blank card on
bottom of pack. The little paper parcel then
being unfolded shows the eight pips to have
arranged themselves in haphazard order on the
sheet.
The experienced reader will not need to be

informed that the original paper is deftly
exchanged for the one with the pips upon it and
that the successive removal of the spots from
card is accomplished by a series of
sleight-of-hand manipulations known as
“Colour Changes.”
Although I have no doubt many of my readers will prefer devising a method of so doing
for themselves, I shall explain the trick used by myself to exchange the two little packets.
Since the experiment was conceived I have devised some dozen of methods for effecting
the exchange, but the one I use today I have found to be the most natural and undetectable.
It is this move I will now explain.
Presuming the experiment to be presented with “Steamboat” Cards, the case which
contains the pack has to suffer mutilation in the interests of Magical Art. The first step is to
cut a piece about 1-1/4 inches square from the flap side of the case as shown in Fig 2. About
one-third of an inch above this opening, a slit an inch long is cut with a sharp knife. The
final touch is the entire removal of the flap and with it a piece about 3/8 inch deep from the
top of case.
The sheets of paper used should be about nine inches square and one is prepared by
sticking eight club pips (previously split to be as thin as possible) in irregular order on one
side. Both papers should be folded in exactly the same manner so that one cannot be
distinguished from the other. The “pipped” sheet when folded should be secured with a
small" Bull-dog," clip, which serves to hold the packet together and forms an easy
connecting medium with loop. These minute clips, sold in boxes, are known as ticket clips
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and may be procured from any high class stationer. The pointed arms should be broken off
the pair used in this experiment as they are quite unnecessary.
Before explaining the method of exchange, it will perhaps be a help to those who desire
to perform the experiment without having to trouble themselves with details, to give the
sequence of “colour changes” used by myself.
A blank card, in addition to the eight, seven, six and four of Clubs will be required. The
edges of the four of Clubs are darkened with black ink so as to be readily distinguished
from the remainder of the pack. The five cards are placed in the following positions in the
pack: on the bottom the eight, under that the seven, and on top of pack the six of Clubs. In
the middle the blank card and the four are bestowed together, the blank one, however,
turned reverse way, so that the plain side faces the four. Thus arranged, the pack is
inserted in the case with back next to the side with opening in it.
The little packet prepared with the pips is held on outside of case by forcing the minute
spring arm attached to the clip under the tongue of card formed by the slit. The
accompanying diagrams (Figs. 1 and 2) show the position very clearly. Thus arranged, the
pack is placed on the table, faked side downwards, with the open end towards front.
A length of fairly coarse black thread about a yard long, knotted into a loop, should be
placed in a small box of any shape or design according to taste.
Thus prepared and with creased sheet of paper and small clip to hand on table, the
experiment is ready for performance. A gentleman is invited to assist and is given a seat on
performer’s left with instructions to watch closely the preliminary operations with the
paper and clip. These accomplished the packet is handed to him, whilst the little box is
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Stanley Collins
introduced. The loop of thread is removed, shown to audience and then handed to
gentleman who at the same time is relieved of the little parcel.
Holding the packet in right hand between tips of first and second fingers, the pack is
picked up with the left hand between thumb and finger. The exchange of packets is effected
in the most natural manner by merely drawing the pack clear of the case. Figs. 3 and 4 very
clearly show the exact operations. The packet in right fingers is passed quickly into the
waiting fingers of the left, the right simultaneously withdrawing the pack and the duplicate
packet at the same time. The case is laid down with left hand, the fingers at the same time
pushing the parcel through the opening to the inside. During the exchange, attention
should be full on the gentleman who has the loop of thread under his scrutiny.
Without the obliging gentleman releasing his hold on the thread, performer hangs the
little packet on same and proceeds to thrust the left arm through the loop, so that paper
parcel hangs suspended below his elbow.
Proceeding with his patter, performer explains that he intends feeding an imaginary
spider (the suspended packet) with pips from the bottom card of his pack. With pack held
in left hand, the two bottom cards, viz.: the eight and the seven of Clubs are removed as one
and held in right hand as for the “Excelsior Change” described in New Era Card Tricks on
page 22. As these various sleights are subsidiary and quite optional, I do not propose
wasting space by describing them in detail, preferring rather to leave students to look up
particulars for themselves. The eight of Clubs having been replaced on pack, the seven,
palmed in right hand, is added on top of the eight and one pip apparently removed
between first and second fingers. This is, to all intents and purposes, thrown into the
suspended packet. Calling attention to the fact that but seven pips remain on the bottom
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card the top one (the six of Clubs) is palmed in right hand and placed over the face of the
seven by the familiar “Colour Change ”method, and apparently another pip taken away in
right fingers.
A break is now made at the black-edged card and the little finger of left hand inserted in
the opening. To effect the change from six to four, under cover of right hand the ordinary
double-handed pass is made to bring the four of Clubs to bottom, this apparently causing
the disappearance of the two middle pips from the card. This arrangement leaves the blank
card, plain side outward on back of pack. To vanish the four pips together, the pack under
cover of hand is very quickly turned completely over and the blank card thus brought face
towards audience.
The above arrangement is the sequence I now use, but it must be distinctly understood
that I do not infer that it is in any way arbitrary; on the contrary it is quite conceivable that
the above arrangement would not suit the idiosyncrasies of many performers. I only give
the routine I use for the sake of completeness.
Nothing now remains but to ask gentleman to pull the little packet off the loop, unfold it
and show to the company.
The experiment is an ideal one for the Drawing Room. When shown to children (for
which audience the experiment is eminently suitable) the presentation must be studied.
The patter which follows is intended for an adult audience.
PATTER
My next is a very fanciful experiment to which I have given the somewhat unpretentious
title of “THE SPIDER.” The principal part is played by this piece of white tissue paper, and
I can assure those sufficiently interested that any other colour would answer my purpose
equally well providing, of course, it happened to be white. Now watch me very carefully. I
daintily fold the sheet in this manner, and as that’s easy I’ll perform the same movement
again, which is another way of saying I repeat it. The brainy members of my audience will
notice that as the paper diminishes in size, so they find it—"in creases." Here now we have
the sheet folded to about the size of an ordinary postage stamp, and in order to ensure it
keeping this position, I propose securing the edges with this miniature Bull-dog clip, so.
Will you, sir, adopt the parcel for a few minutes and look as cheerful as you can under the
distressing circumstances. Bear in mind Plato’s witty remark—"There’s no time like the
pleasant."
Here is a curious little box which contains a loop of black thread (hand loop to
gentleman and take the packet from him). It was purchased by me one day in Cheapside
(pick up case and make exchange), an event prophesied by Shakespeare, who wrote
“There’s Mappin in the Webb of it.” Kindly examine that curio please.
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Stanley Collins
I must next draw your attention to this pack of cards, which completes my list of
requirements. I now suspend the little packet from the ring of thread, in which condition it
resembles certain pugilists—it’s suspended from the ring. This loop I will pass on to my left
arm, and to make the experiment humorous will lodge it at the funny bone.
The preliminaries being finished, I desire to draw upon your imaginations (if you’ve
brought them with you) to the extent of mentally endowing this piece of paper with life.
There you see a large Spider with its life hanging upon a thread.
The spider, as doubtless you are all aware, is an insect created specially for the
delectation of Scotchmen. This particular spider has a rapacious appetite and a
predilection for pips; neither Orange pips, Apple pips nor Banana pips, however, but the
pips from ordinary playing cards. Let me show you how I feed this hungry spider. See, on
the bottom of my pack I have a card with a number of pips on it—eight, I should estimate at
a rough guess. Let us count them. Yes, eight! Quite an ordinary card, as you see. (This
remark gives an excuse for taking the two cards into right hand to carelessly show back and
prepare for the “Excelsior Change.”) The creature has already scented the pips and is fast
becoming agitated, so I take one of them in this manner and feed the Spider. I’ve got the
pip. The Spider’s got the pip. I hope it isn’t infectious, sir. Very few insects as you know like
(K)eating, but this Spider’s appetite is insatiable, so I take off another pip in this manner
and leave but six on the card. This being a very gluttonous insect I must be more lavish
with the courses, so this time take two pips (a sort of pip-pip), and pass them into the
creature’s maw. Only four left. Nothing short of the remainder will lessen the rapacity of
the insect, so I remove the last four spots together and pass them on to the voracious
Spider. There being no more pips on the card, you will notice the dumb Spider, has, to use
a vulgarism, “Got the Spur” or, as the Latin has it “Dum Spider’s Spero.” Let me now prove
to you that the Spider ate eight—ate eight (performer pretends to get tongue tied)—the
Spider has absorbed the eight pips in its tissue.
The “Knee” plus ultra Handkerchiefs

In my entertainments at one time, I included an exhibition of knot feats with a couple of
large silk handkerchiefs, the most successful of which was invariably the one I am about to
describe.
The plot is an extraordinary one. A yellow handkerchief is passed twice round the left
leg, just above the knee and the ends tied with a double knot. The right leg is treated to a
garter formed in precisely the same manner with a green handkerchief. Taking hold of the
one on left leg, it is pulled instantly free, minus loops and knots. What is more
extraordinary, however, is the action of the green handkerchief. This, simultaneously with
the release of the yellow handkerchief is seen to jump across to the opposite leg, round
which it becomes twice looped and knotted exactly as tied in first instance.
I must in the first place confess that neither handkerchief is actually twice looped round
the legs, the trick in each case being the intersected loops behind knees, as familiar to every
41
conjurer. What I have to

make clear is the method
employed to cause the
transposition of the green
handkerchief from the right
to the left leg.
No preparation is
necessary, the feat being
entirely manipulative. The
first step is to twist the green
handkerchief diagonally,
rope fashion, and carelessly
place it over the left leg, as
shown in first sketch of Fig. 1,
whilst the yellow one is
exhibited and twisted.
The position of the green

handkerchief must be
carefully observed, as it is
vital to the success of the feat.
Taking the twisted yellow
one, its centre is placed upon
leg under the end A and the
handkerchief looped under
leg, the ends being brought
up on top to be tied. Before
tying, however, the end B is pulled toward body so that the yellow handkerchief does not
hold the end B when tied on top of leg. (See second sketch Fig. 1.)
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Stanley Collins
This done, each end of the green handkerchief is allowed to drop, end A falling over left
side of leg and end B down the right side. If these movements have been correctly
performed it will be found that the green handkerchief will be hanging by its centre from
both loops of the yellow handkerchief which has been apparently passed twice round left
leg (Fig. 2).
Hoping I have made the preliminary part

of the trick intelligible, I will pass on to the
next step, which is the tying of the right leg
with the green handkerchief. Passing the end
(B) over top of right leg and the end (A) below,
the same loop-to-loop tie is made and the
ends doubleknotted on top, as in the case of
the yellow.
Of course, both legs must be close together

to enable the foregoing movement to be
accomplished.
Now for the concluding movements, which

I’m afraid are wellnigh impossible to describe
in told print. Taking hold of yellow
handkerchief in hands, the knot, by the well
known artifice of pulling on one end, is
converted into a slip knot, the ends, unknown
to onlookers, being pulled free. Taking these
ends in right hand, without revealing the fact
they are unknotted, a quick strong upward
pull is given to the handkerchief, which, by
43
reason of its loops engaging the green,

causes the latter to be dragged across to the
left leg and assume position shown in Fig.
4. Right hand now releases one end of the
yellow handkerchief and pulls it straight
through the loops of the green one held by
the left hand on left leg. Simultaneously
with the withdrawal of the yellow
handkerchief the lower loop of the green is
gripped by left hand and passed through
top loop, thus giving it its original
appearance of being twice passed round
knee and knotted on top.
Of course, the green handkerchief may

now be pulled clear of the knee without
unknotting, but to my mind, it is more
artistic from a magical point of view to
unknot the handkerchief and unwind it as
if it were really passed properly round leg.
About a year ago I presented my friend

Harry Houdini with this feat and in his
hands it is a veritable masterpiece.
PATTER
Here are two large silk handkerchiefs, which I may tell you are of very fine quality. As a
matter of fact they were procured by me at enormous expense from the Sixpenny Bazaar.
There was a bargain sale on at the time, so I think you will agree I was extremely lucky in
getting the two for a shilling.
The ladies, I know, will admire the brilliancy of the shades. This one is known to artists
as Marmalade Yellow, by kind permission of E. and T. Pink, Ltd., the originators of that
famous saying, “It is a Long Lane that has a Jam Factory.” (Lay on left leg as explained in
context.)
This is rather a delicate shade of green. There are many varieties of green known to the
colour specialist—Sage Green, Emerald Green, Camberwell Green and Erie Greene. This,
however, is just a Clapham Common or garden green.
First I take the yellow one. This I twist rope fashion and give it two turns round my left
knee, finishing with a double knot. According to the old adage: “One good turn deserves
another,” so I will accordingly treat my right knee in the same manner with this green
handkerchief. Both handkerchiefs you see are passed twice round my legs, and tied with
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Stanley Collins
double knots. Now for the “turn of the tied.” Watch, please! Here is the yellow
handkerchief free from my leg and without knots. The green one, you see, tired of its
position on my right leg has flown to the spot vacated by the yellow. I think you’ll agree
that’s a good turn and the “good turn that deserves applause.”
A New Ropes and Rings Experiment

Some of my professional
friends who have witnessed my
performance of this experiment,
whilst admitting its excellency
have asserted that useless waste
of thought is expended in
devising a new method of
performing an old effect which
was practically perfect in
principle. The trick, they argue, is
merely an instance of the
prevailing mania of “Conjuring
for Conjurers,” and as such gains
no more appreciation from an
ordinary audience than the
experiment performed with the
“loop-to-loop” method which has
been so hackneyed by conjurers
for many years.
Whilst acquiescing that far too

much attention is nowadays
devoted to methods and details
which can only be appreciated by
the technical onlooker, and
which accordingly carry no appreciable value from the point of view of the ordinary
spectator, I am inclined to think that in this particular experiment something is gained by
employing the method I am about to describe.
As a parlour trick, the familiar experiment is an ideal one; it is a good “time killer” and
allows plenty of scope for comedy.
Unfortunately the “Grandmother’s Necklace ”principle is so well-known that in a

“smart set” a performance of this trick can do little more than create mirth without
mystifying. In the experiment under consideration, those in possession of the old secret
will be doubly mystified.
45
It would, however, be violating all magical artistry for the performer to presuppose his
audience in possession of the secret of the old trick, and nothing is gained by suggesting
this as an improvement, or in pointing out the weakness of the old method.
The experiment as I introduce it is performed with two long silk cords (stay laces prove
excellent) and three ordinary wooden curtain rings. Through one ring both cords are
passed separately, two different members each threading one cord if so desired. This ring
having been firmly secured with a double knot, the second is threaded on to cords from
one pair of ends and the last ring from the other ends. The cords are finally carried down
the sleeves of a coat, when another knot having been tied, the ends are handed to two
gentlemen with request that they pull against each other. Instantly the cords are pulled
straight and free from knots, the rings and coat being left in hands of the performer.
Everything, in conclusion, may be left for inspection.
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Stanley Collins
The curtain rings used in this experiment are of the ordinary wooden variety, four of
which are employed, the audience however being cognisant of three only. One of these is
split along the grain, and this may easily be done by performer himself by dropping a ring
edgewise on a very hard substance.
A ring split in this manner may be handled most freely, and close to spectators’ eyes
without any fear of the crack being observed. It would, in fact, require a very close
examination to discover the split even if the ring were handled. This and two unprepared
rings are openly introduced, the fourth ring being kept until wanted in left breast pocket.
It is through the faked ring that the two cords are first passed, and these may be
threaded on separately by different members of the audience if so desired. The two knots
tied are perfectly genuine ones, but instead of the opposite ends of both ropes being tied,
actually the ends held in each hand before tying belong to one rope only, each being looped
as shown in Figs. 1 and 2, which purposely exaggerate the idea for the sake of dearness.
Tied in this way the cords really become two knotted loops which, as soon as split ring is
removed may be unknotted to allow the two ordinary rings to drop into hands when the
cords are brought to a tension by the assisting gentleman.
In presenting the experiment, two cords are threaded through the faked ring, and a
double knot tied in manner described above. Next the two ordinary rings are threaded on,
one on each side of the knot, and the ends of the cords carried down the sleeves of a coat.
One cord from one sleeve and one from the other are then tied with a single knot and the
gentlemen requested to hold two ends each as shown in Fig. 4.
Holding coat in front of him, so as to entirely mask his operations, the faked ring is
removed from cords and exchanged for the ordinary one in breast pocket. The double knot
then untied allows the other two rings to fall into hands, whereupon gentlemen are
instructed to pull against each other. The two cords emerge from coat sleeves perfectly
straight and free from knots, the rings and coat being left in performer’s hands. Everything
may now be left for examination.
PATTER
On my way here this evening I called in to a draper’s shop—you know the idea—a place
with a long counter and members of the feminine gender standing in a row behind it like a
Minstrel Troupe. “Well?” inquired the shopwalker. “Yes, thanks,” I replied. “And what
might you want?” he asked, “I might want a rocking-horse,” I responded, “but I don’t. I’ve
come to buy some silk cord.” “What do you want the cord for?” my friend next asked. I said
“for sixpence.” “Oh, we keep nothing so common as that,” blurted the shopwalker, “our
cord ranges from a shilling up.” “But,” I added, “I’m a conjurer.” “In that case,” he
ejaculated, “it’s a shilling down.” We argued the point for a while, and finally he informed
me, “what you require is so much the yard, but you’ll save half if you take the piece.” After a
few moments’ reflection I took two pieces, and so saved the lot. Here they are. Here also
are three wooden curtain rings which I purchased at the same emporium (really a shop,
47
only emporium sounds better). They were marked three for a penny or five for twopence. I
had a pennyworth. I propose threading one ring on to these two cords. A philosopher (a
man with information on the brain), informed me the other evening that two into one
wouldn’t go. I told him there was no occasion—it was two into one wooden ring.
Putting on the ring is usually associated with tying the knot; I’ll tie two knots and so
guard against premature divorce, which is sometimes known as the “turn of the tied.”
As company for our friend in distress, I’ll pass the other two rings on the cords. I have
now rather an unusual request to make. Can I induce one of the gentlemen to lend me a
coat—any sort of coat will do except a Cotton “Coate” with the large dividends in the
pockets. Yes, sir, an overcoat will do nicely. I’ll take great care of it—I had an overcoat of my
own once. I just thread the cords through the sleeves and to prevent it slipping off and
getting lost, will tie a knot just here.
My problem now is to remove the rings and coat from the cords without having to untie
the knots. Perhaps two gentlemen will hold the respective ends whilst this is being
performed. Very many thanks. Now, gentlemen, hold the lines please and I’ll give you
three rings when you pull. Right! You have the two cords intact and free from knots, whilst
I have the three rings and the coat.
Ginger and the Apple

Private entertainers whose lot it is to
entertain children know how difficult it is to
arrange experiments suitable for the juvenile
mind without having recourse to certain old
and well-worn effects. The experiment to
which I have given the above title is designed
especially for children and is the invention of
my ingenious friend Mr. Albert Fellows, an
exceedingly clever amateur conjurer, with
whose full permission it is included in this
volume. I am indebted to this gentleman for
many valuable suggestions from time to time.
To illustrate a story told by the conjurer a

little doll with long red hair is placed in a
miniature cannon and fired at a hat
containing an apple held by a boy who, for
additional effect, is blindfolded. The doll
visibly disappears from the gun and is found
in hat instead of the apple.
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Stanley Collins
The experienced reader will rightly have guessed that two jointed dolls, exact replicas of
each other, are employed in the trick. These, which should be of wood and 6 inches long,
must not exceed at any given point a diameter of 1-1/2 inches. Not considered in this latter
measurement is a wealth of red straight hair, about an inch long, standing off the heads
after the manner of the familiar Golliwog. They may be painted or ornamented to suit
individual taste, hut should not be dressed.
The main part of the feat centring round the cannon, an examination of this must be our
first consideration. The bore of this miniature instrument of death is perfectly cylindrical,
and consists of two metal tubes, one fitting easily into the other. As the length of these
tubes is regulated by the size of the doll used, about 6 inches must be the maximum length.
About 2 inches from breech, two longitudinal slots about 1 inch in length and of sufficient
width to accommodate comfortably two small pegs which project from inner tube, are cut
exactly opposite each other. The pegs fit into hole A and slot B (Fig 2) in sides of the
carriage and form a pivot upon which the cannon is raised from the horizontal to the
vertical. These pegs should be soldered about 2 inches from end of inner tube, so that latter
may be moved forward and backward a distance of one inch in the slots cut in the larger
tube. About one inch from opposite or muzzle end of this inner tube, a quantity of red
straight hair to match that of the dolls is stuck, as shown in Fig. 1, which illustrates the
inner tube projecting beyond the larger. The head of the cannon is not a fixture, being
made to open on a spring hinge at H. A very small curved projecting pin T is connected
below breech for a purpose to be explained a little later.
Now for the carriage. Fig. 2 so clearly conveys the construction of this that no
description is necessary. Suffice it for me to explain how the doll falls from the cannon into
the black-art well in table over which the carriage is lodged.
49
When placing the doll into the cannon, the inner tube with the loose hair on end must be
out of sight as shown in top sketch of Fig. 2. As the head of the doll disappears inside the
cannon, poised vertically, the outer tube is drawn back to allow the inner one to project an
inch and display the hair which onlookers deem to be that possessed by doll.
When the cannon is moved to the upright the projecting tag from breech is caught by
steel rod running across the open trap in base and the head of the cannon forced back to
allow the doll to fall through trap in base into :table well. With the fringe of hair, which
audience imagine belongs to doll, still projecting beyond muzzle, the cannon is lowered to
the horizontal and pointed at the assisting boy, holding hat with apple in it. To cause the
disappearance of the doll (?) all that is necessary is to push the head of the cannon in a
forward direction as aim is taken, the movement causing the fringe to be drawn inside the
larger tube where it is completely hidden as at first.
The patter and business with boy on stage gives ample opportunity for loading the
second doll into borrowed hat. The apple is, of course, palmed out.
PATTER
No doubt you have all heard of William Tell, so named because he wouldn’t tell a lie. He
was very much the same as other boys until he grew up and became a man, when he
married and became no one in particular.
William had a brother named “Ginger”; he also had a cannon the same size as this one,
only larger. One day William shot at, and spoilt his father’s favourite cherry tree. When his
father saw it he was very angry and said—"Bill! Did you or did you didn’t?" William with
honesty in his open face said—"Father I cannot tell a lie—I saw Ginger do it." Ginger was
charged, but pleaded “Not Guilty” under the First Defender’s Act. This, however, was
without avail. He was sentenced by his father to be fired from the offending cannon at an
apple placed upon William’s head. Taking an apple from the fallen tree he placed it upon
the head of brother William and putting Ginger inside the cannon, he fired. Now here’s
Ginger! William’s gone to get his hair cut, so perhaps one of our friends in front will be bold
enough to take his place. Thank you! So you will take William’s place. Allow me to
introduce you—Ginger, this is William No 2; William the 2nd—This is Ginger. Now Bill (I
mean Mr. William), you have no objection to being blindfolded have you? You see you
might be nervous and move, and we don’t want any accidents. I’ve had very few up to the
present and nearly all have got over it with careful nursing. Here, then, is the cannon and
Ginger; there’s the apple and William Pear (pair). Now, sir, I want you to balance the apple
on your head. Either you have a small head or this is a wobbly apple. Perhaps it will answer
the purpose equally well if we put it into this hat and get you to hold it quite steadily above
your head—this is your head. You see being blindfolded he can hardly be expected to know
where his head is situated. We’ll put Ginger into the cannon. There he is—Canon Ginger.
Now Ginger was the very opposite of what the modern song would have us believe him to
be. Being really very fly he flew instantly to the apple and promptly found a good home for
it, thereby giving the pip to William, who had previous designs upon the forbidden fruit.
50
Stanley Collins
Let me show you how he did it. Are you ready, sir? Keep quite still—(Fire). Ginger’s gone.
And so has the apple from the hat for Ginger here (produce doll) has eaten it.
This story only goes to prove the truth of the old saying “Honesty is the best policy—for
the other fellow,” for Ginger became a great man and always had his boots cleaned with
Cherry Blossom.
The Filtering Ink Experiment

This experiment, which has
so mystified the magical
fraternity, was invented by me
a few years ago. It remained
unduplicated until I placed it
upon the market.
For the benefit of readers

who may not have seen the
effect, let me very briefly
describe it. Two empty
tumblers, placed mouth to
mouth on table, are covered
with a cardboard tube open at
both ends. A clear glass jug,
nearly full of ink, is then placed
upon a disc of glass and both
stood on top of the cardboard
tube. At command, the ink is
seen to disappear slowly from
jug without performer being
anywhere near the table. On
lifting the tube the quantity of
ink that disappeared from the
jug is seen to have found its
way into the lower tumbler,
which is now almost full.
The charm of the trick lies in

the fact that it requires no
assistance and may be
performed in the arena of a circus. Let me, in the first place, explain the peculiarities of the
two tumblers. One of these (the inverted one) has to be perfectly full of water. This water,
under cover of the friendly cardboard tube, runs into the lower glass and becomes dyed a
jet black by virtue of an “ink pellet” dropped therein. Now for this plan to work out
perfectly several very important details must be considered. In the first place, had both
51
tumblers the same holding capacity, the result at the conclusion would be an overflowing
of the bottom glass with consequent mess and inconvenience. To overcome this difficulty,
the tumbler which does duty in holding the water, is shortened by cutting off a piece from
mouth about 1/2 of an inch deep. The edge is then ground perfectly flat and a shouldered
disc of plate glass
accurately fitted to it. This
disc is made slightly
concave on one side and
has a tapering hole drilled
in centre as shown in Fig.
3. A small hole drilled
through the centre of
bottom completing the
preparations to this
tumbler, we will turn our
attention to tumbler No. 2.
Without reflecting, one
would suppose that no
preparation was necessary
to this as it had merely to
receive the water from the
tumbler inverted upon it.
Experiment, however,
would soon show that the
lower glass would become
airbound and result in but
a small quantity of the
liquid from top tumbler
dropping into the lower.
To obviate this difficulty,
the edge of the large
tumbler is notched in
several places, as shown in
Fig. 2. These little
openings, although quite
minute, serve to allow the
air to escape as the liquid
takes its place. Before leaving the tumblers, I must mention that they should be cut glass,
with a figured design on them, so that the refraction caused by the top one being full of
water is to a great extent obviated.
Now for the jug. This is shaped like a large mug and is provided with a fixed glass lining
as shown in Figs. 1 and 5, which greatly exaggerate the idea. The bottom of the inner shell
is provided with a small hole, and at a point just above top left side of handle, another hole
is drilled, the exact position of which is determined by the right thumb, whose lot it is to
perform the manipulation connected with it, In view of what I have written, the reader will
52
Stanley Collins
readily understand that if both holes (the one in bottom of lining and the one in jug) be left
open and the vessel filled with ink, the liquid, by virtue of the well known law, will find its
own level through the hole in bottom of shell lining by forcing out the fixed air through the
hole on side of jug. If now the latter hole be plugged with a dab of wax, and the liquid in jug
poured away, the quantity
which remains between
the lining and the jug
itself will be prevented
from escaping by the
pressure of the air in jug,
and it is in this condition
that the vessel is
introduced to audience.
So soon, however, as the
wax is scraped away from
the air-hole with thumb,
the liquid will be forced
through hole in bottom of
lining until the two levels
(i.e. the one between sides
and the one inside jug) are
identical.
The cardboard tube

should be about an inch
longer than the height of
the two tumblers when
placed mouth to mouth, and of sufficient width to go over them comfortably without
allowing room for wobbling. The disc of glass is only used for effect and may be discarded
altogether if so desired.
Before filling the “short” tumbler, it is essential that the shoulder of glass disc be well
vaselined, as were this not done, the liquid, instead of running entirely through the hole,
would ooze out under disc and produce an effect the opposite of pleasant. The bottom of
tumbler should first be plugged with wax and then completely filled, which done, the disc
is fixed on top with pressure and a slight turn. Care must be taken that no air is let in, as the
tell-tale bubble thus produced would betray the presence of the water. Having been dried,
the tumbler is placed mouth downwards behind the empty glass on table on top of a few
small shot.
Having shown the empty tumbler, an ink pellet concealed in fingers is dropped inside
and the cardboard tube picked up with left hand, Whilst holding it horizontally for
audience to look through, right hand picks up the second tumbler and inverts it on the
first. The tube is then dropped over both and the dab of wax scraped from the bottom of the
inverted tumbler with middle finger. Whilst showing the disc of glass, the liquid in top
tumbler steadily runs into the lower and in less than a minute the complete transition is
53
accomplished. Before standing the jug on the glass, the vessel should be shaken to prove
the presence of real liquid.
To cause the level of the ink between lining and jug to fall, the thumb of right hand
scratches off the dab of wax and performer retires to watch the effect himself. So soon as
performer realizes that further disappearance is impossible, he exclaims “Stop!” and
picking up the jug once more shakes it and shows it from all sides.
The tube is now lifted and the lower glass shown to be almost full of ink. Instantly the
upper one is lifted off and placed mouth downwards behind the cardboard tube. The disc
will adhere quite tightly to the empty glass, by virtue of the vaseline.
In my original version of this trick, I employed two glasses of exactly the same size, the
lower one being of very thin glass and the other of very thick. I find, however, that the"
short" tumbler is much preferable.
PATTER
For the purpose of my next experiment I have to make use of this ordinary drinking
glass, sometimes called a tumbler. You will observe that this, like all other tumblers, is
closed at one end to keep liquid in, and open at the other to let it out. At the present
moment it is empty, which is not at all surprising considering I have a particular faculty for
emptying tumblers.
This one I invert on the other, in which condition the two resemble the Kissing
Cup—they are lip to lip. Kissing usually being associated with darkness, I will cover the
glasses with this cylinder of cardboard, thus:—
Talking of glasses reminds me of a friend who had defective sight. He recently went to
an oculist who after a careful examination of his optics advised him to take to glasses. To be
on the safe side, he straightway took about a dozen and found a marked improvement at
once —he saw double.
This disc of glass is used merely to close this end of the tube, which resembles St. Peter’s
Gate. It’s the Soul (sole) Entrance.
Here is a jug which contains, as you see, a quantity—or perhaps a little more—of real
Ink. Although I receive nothing for the advertisement, I don’t mind telling you this is
Stephens’ Ink. You’ve heard of Stephens, of course. He’s the man who throws blots on
Railway Stations, and to mollify the companies presents them with overgrown
thermometers, so that we may know whether it’s summer or winter when the trains come
in. (Place jug on glass disc.) Behold the jug of ink on top of the cardboard tube. To enable
you to see this wonderful effect to better advantage I’ll hold this sheet of “The People”
behind the jug. I’ve been “taking in” the people for quite a number of years. A Study in
Black and White by Canon Buch. Watch the effect when I command the ink to disappear.
54
Stanley Collins
Go! You see it disappears like a married man’s banking account. Stop! (lift jug and shake
ink inside). Real ink, I assure you. Would any one like to taste it? My experiment being
successful, we find that the liquid has filtered through bottom of jug and disc of glass, and
found its way into this tumbler. I hope my secret has not, like the ink, leaked out.
The Inktubators
Some months after the completion of the feat last described, I set myself to work on an
improvement. Before vanishing the ink I desired to fill the jug in front of audience, instead
of bringing the vessel on apparently
full. Although I could find no
satisfactory solution to this
problem, I was successful in hitting
upon an experiment which included
the disappearance of any dark fluid
poured into a glass vessel before
audience.
The effect would appear as

follows: Performer introduces two
cylindrical glass vessels, of identical
proportions, each provided with a
metal cap fitting tightly on the
bottom. One of these is full and the
other half full of ink. A quantity is
poured from one to the other
several times to prove the reality of
the liquid, one, which we will call A,
being finally left full, and the other,
B, half full. To prevent anything
being surreptitiously added to
inside of B, a closely fitting metal cap is pressed on top and the whole covered with a
cardboard cylinder. Taking A on palm of his left hand, performer commands the quantity
of liquid that was openly poured in to disappear until the vessel is but half full. The
removal of cover from B proves the liquid to have returned, this receptacle being now quite
full as at first.
The principle of the trick employed to cause the apparent visible disappearance of the
fluid from A is quite a new one. Both cylinders vary in detail, although each possesses one
trick in common. Let us examine A first. This is divided midway by a partition formed with
a shouldered disc of celluloid. The inside of the cylinder below the division is painted jet
black and a small air-hole is drilled in side at a point below disc as near to it as possible.
The bottom of this cylinder should be permanently provided with a water-tight cap to
prevent any possibility of the liquid escaping.
55
Vessel B now wants a few words of explanation. Half of its interior is stained jet black in
identically the same manner as A, but in this case there is no dividing partition. To even
matters, however, a shallow fake about half an inch deep, made of celluloid, is stuck into
the lower end of the cylinder and hidden by the metal cap which, in this case, must be
removable. The three metal caps used should be alike in appearance.
Before putting ink into cylinder B, it should be turned upside down and the cup fake
entirely filled with ink. The cap, which should be a tight fit, is then fixed on and the cylinder
reversed so that darkened half is downwards. The vessel is now half filled, viz., to top of
darkened part, with ordinary ink or any dark liquid which will answer the same purpose.
We must now direct our attention to the preparation of A. The first step is to plug the
airhole with a minute dab of wax, which done, ink is poured on top of the dividing partition
until the cylinder appears almost full. With the respective cylinders thus prepared and
cardboard tube at hand, the trick is in readiness to be performed.
Calling attention to the quantities held by the respective vessels, A is picked up with
right hand and ink poured into B, until it is almost full. When lifting A, a large cloth or
56
Stanley Collins
serviette is held for the ostensible purpose of preventing the hand from becoming soiled in
the event of any of the liquid spilling, which, of course, is a very possible contingency.
Although such an innocent looking proceeding, the use of the cloth is really vital to the
success of the trick as it prevents the fact of the painted inside being observed when vessel
is tilted. Fig 3 showing how the tube appears when lowered toward the horizontal, it is
obvious that some stratagem must be employed to mask the artistic effort on the inside of
the lower part of the vessel. No comment, however, should be made on the use of the cloth.
To prove still further the genuineness of the liquid, half of B is poured back into A, the
same method of concealing the faked portion being employed. The third cap is now fitted
on top of B, which should be held in left hand whilst the cardboard tube is dropped over it.
Matters will now be as shown in Fig. 2. In turning to place tube on table, the cylinder is
reversed so as to allow the real ink to fall and leave the painted end with the little cup of ink
uppermost.
Returning to A, it is placed upon the palm of left hand and held at arm’s length. To cause
the ink to disappear all that is necessary is to scratch away the dab of wax from air-hole and
let liquid run into the lower half of cylinder. On uncovering B it will have the appearance of
being quite full, a finishing touch to the illusion being supplied by the presence of the real
ink in cup fake when lid is removed (Fig. 4).
Instead of using the cardboard tube to cover B a far better plan is to envelop it in the
cloth which is utilized in first part of trick. The reversing of the vessel is easier and more
natural with a cloth than with a tube.
PATTER
It will doubtless interest those of my audience who have a tendency towards scientific
matters, to know that after many years devoted to the study of Hydraulics, I have recently
come to a most profound conclusion. I positively assert without fear of contradiction that
water will always find its own level, and what is perhaps more extraordinary the same law
applies to Hydraulic Acid. It was my express intention to perform an experiment with
Hydraulic Acid here this evening, but unfortunately my Acid manufacturer has recently
been so overworked making Acid Drops for the Local Picture Palace, that he has had no
opportunity to execute my last order. So that you may not be disappointed, however, I
have decided to try the experiment with ink, as it tastes almost as bad as the acid referred
to. These two vessels contain ordinary ink-Stephens’ Ink to be exact. Every one knows
Stephens—quite a charming man, I assure you. His family motto is, “Do write and smear
not.”
Please note the condition of these inktubators. This one is full—this one is considerably
reduced in circumstances. If I now fill this one (pour hall o! A into B) this vessel contains
50 of a pint and this one contains—ever such a lot. (Pour ink back from B to A). Please
observe that I don’t palm any of the ink. As a matter of fact it’s utterly impossible to palm
ink, although any one can “palm oil.” We live in such a sceptical age, however, that perhaps
57
I had better put this metal lid on the top to prevent any evaporation. To make matters
doubly sure, I’ll cover the whole with this cardboard tube, which was presented to me
when I purchased the glass cylinders. You see, the tube is open at both ends. This is the
entrance and this the exit entrance. (Secretly reverse tube and place on table.)
I’m now going to show you an extraordinary experiment with this cylinder full of ink.
Watch the effect when I command the liquid to disappear. Instantly you see the level
begins slowly to fall. Stop! That liquid, according to my discovery, must have found its
original level in the other vessel. Yes! This one is now quite full again, leaving the tubes “In
statu quo ante,” which means “As they were before they wasn’t.”
58

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Original Creations (Cartomagia de Salón, Magia Con Cuerdas y Líquidos.)

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ORIGINAL MAGICAL

THE WOODEN SLAB AND FLYING CARD EXPERIMENT

CARDS AND COINCIDENCE

THE OMEGA ACE EXPERIMENT

THE SIAMESE BLOODSTONE

LE DERNIER CRI MUTILATED CARD EXPERIMENT

THOUGHT ANTICIPATED AND PRECIPITATED

THE GUESSING GAME

THE" KNEE" PLUS ULTRA HANDKERCHIEFS

A NEW ROPES AND RINGS EXPERIMENT

GINGER AND THE APPLE

THE FILTERING INK EXPERIMENT

ORIGINAL MAGICAL CREATIONS

The effect, a decidedly

Queen of Clubs. Index, Jack of Clubs.

The cards represented by the faked indexes, viz.—

must now be removed from the pack.

In one’s travels as an Entertainer, some really remarkable people are encountered. I

Cards and Coincidence

The Omega Ace Experiment

Taking for granted the “forcing” of the

Continuing, performer says,

Now for the evanishment of the

being a rather difficult move to describe, I have had

The ace is now behind

My next experiment exemplifies one of the extraordinary phenomena of that much

The Siamese Bloodstone

Le Demier Cri Mutilated Card Experiment

From No. 1 cut off the left hand top corner

No. 2 is marked in a similar manner with two dots.

Thought Anticipated and Precipitated

The key to the evanishment of the

Eight of Spades. In smallest envelope of nest of four.

My next experiment demanding very close observation, may I trouble a gentleman to

The Guessing Game

The trick centres round a prepared card

The faked card (top),

I have recently conceived a little game which I am assured by my friends is quite

imagine that the suspended parcel is a

The experienced reader will not need to be

The “Knee” plus ultra Handkerchiefs

conjurer. What I have to

The position of the green

Hoping I have made the preliminary part

Of course, both legs must be close together

Now for the concluding movements, which

reason of its loops engaging the green,

Of course, the green handkerchief may

About a year ago I presented my friend

A New Ropes and Rings Experiment

Whilst acquiescing that far too

Unfortunately the “Grandmother’s Necklace ”principle is so well-known that in a

Ginger and the Apple

To illustrate a story told by the conjurer a

The Filtering Ink Experiment

For the benefit of readers

The charm of the trick lies in

The cardboard tube

The effect would appear as

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