The size of a trick means very little in the Magical Profession. You may take any small, simple trick and make a masterpiece of it with Showmanship. The effects which you see on the stage appear to be very big effects, whereas in reality most of them are amazingly simple. So don't let yourself be carried away by the idea that you must have "big" tricks. Houdini makes of the simplest experiments the greatest effects. With his Showmanship he makes a trick with five packages of needles and a spool of thread become a wonderful stage effect.

The effects which I give you in this lesson are not difficult, but they are exceedingly mysterious. While they are really simple when presented, they give the impression that they are "big" effects.

The beauty of them is that they are entirely impromptu and can be presented at a moment's notice anywhere.

1. THE PENETRATING RING

EFFECT:

Magician takes two rubber bands and twists them around each finger of his right hand. An examined nickeled ring is placed on the first joint of the second finger. Attention is called to the fact that it cannot slip down to the base of the finger because the rubber bands prevent it from doing so. In a moment, however, the ring passes the bands and slides down to the base of the finger. The rubber bands are still around all the fingers and the ring seems to have penetrated them. Then the magician slips the ring off his finger again, apparently right through the rubber bands.

PARAPHERNALIA:

1--Two rubber bands, about 2 3/4 inches long. Secure an ounce box of Eberhard Faber, size 18, rubber bands. I have always found these satisfactory. You can purchase them at almost any stationery store.

2--A nickeled ring, about an inch in diameter. Ring must be large enough to slide on and off second finger of right hand easily. The nickeled rings which I sent you with your apparatus are the kind I use. 3--A pair of scissors, preferably blunt end.

SECRET AND PATTER:

To Perform:

Pick up two rubber bands and the nickeled ring. "In this experiment I am using two rubber bands and a small nickeled ring. You can examine the ring, sir, as I place the bands around my fingers."

Give the ring to a spectator to examine. Place the two rubber bands together as one and wrap them around fingers of right hand as shown in Figures 1 and 2.

You can readily see how the bands wind in and out around the fingers. Keep bands between first and second joints of fingers. Show hand on both sides, spreading fingers so that audience can see that bands are wrapped around fingers fairly.

"You will note how the bands secure each finger by winding themselves around it and how they bind all the right fingers together. Now, if you will please give me the ring."

Take ring from gentleman with left hand. As you do this, drop right hand at side for a second, and in doing so, slip SECOND finger from the rubber band loop around it. Figure 3.

When finger is free, place it in back of rubber bands. From the front of the hand it looks as though all the fingers are still tied, but in reality the second finger is free. You may even spread your fingers apart and it will look as though all the fingers are still wrapped with the rubber bands. Figure 4.

"I will place it on the first joint of my second finger."

You must now show both sides of hand again to prove that bands are still secure. To show back of hand, push tip of second finger under the bands and let finger come in front of bands. You do this as you turn your hand. Then to show front of hand again, slip finger back to original position in back of bands.

Practice this move until you can do it easily and naturally. To the audience it will appear that all the fingers are secured when you show them both sides of your hand again, whereas your second finger is really free. Study Figures 5 and 6.

Place ring on the first joint of the second finger of right hand outside the bands. You should stand turned a little toward the right with right hand held out to side about shoulder height. Figure 7.

"It is said that a solid object cannot be passed through another solid object without harming either. That may be true but this little ring is an exception to the rule. It is always running around and going into places you would least expect. Here it rests on my finger on the outside of these rubber bands. It cannot get down onto the base of my finger because these bands will not let it."

Spread fingers and show with the aid of left hand that ring cannot get beyond rubber bands. Close fingers together again.

"That's what we say, but the ring says not so."

Push hand out suddenly and allow ring to slip down past bands onto the base of finger. This is easy to do as finger is free and need be lifted only slightly away from bands in order to permit the ring to slide down. Figure 8.

"See, here it is at the base of my finger. It has broken right through the traces. Iron bars do not a prison make—neither do rubber bands."

Show both sides of hand again. Keep fingers pointed upward a little and as you turn hand, slide second finger under bands as you did before. Figure 9.

The object of keeping your fingers pointed upward is to guard against dropping the ring off from the finger. As you turn hand to show back of it, there is danger of the ring slipping off unless you hold hand properly, as shown in Figure 10.

Now point fingers downward, palm of hand toward audience, and allow ring to slide off finger into left hand. Figure 11. Do this move quickly.

"Now—one, two, three—and the prisoner has escaped. I shall explain this again with a pair of scissors so that you will misunderstand it still further."

Take a pair of blunt-end scissors from pocket with left hand. Pass tip of second finger of right hand through one of the handles of scissors. Hold ends of scissors with left hand. Figure 12.

"I slip the first joint of my finger through a handle of the scissors." Push scissors suddenly behind rubber bands to base of finger.

"Well—well—here it is on the third joint."

Turn hand over and manipulate second finger to front of bands so that when back of hand is shown rubber bands seem to be around all the fingers.

Let go of scissors with left hand while hand is being turned.

Then show palm of hand again with second finger behind bands. "But what's a joint or two between friends in prohibition time." Pull scissors off of finger and away from hand.

"Now it is away from all joints."

Show right hand again, both sides, to convince audience that fingers are securely wrapped with the rubber bands.

"Rather an odd thing, that."

Pull bands from fingers suddenly to destroy the evidence.

2. THE JUMPING RUBBER BAND

I remember seeing this effect performed years ago by Theo. Bamberg (Okito). In the hands of this master of sleight of hand the illusion was a perfect thing.

This experiment is a good one to use before or after the PENETRATING RING effect. If you use this trick first, you can explain (?) how you did it with the ring. The audience, of course, is none the wiser after you finish than they were before.

EFFECT:

A rubber band is placed over first and second fingers of right hand. Another band is twisted around fingers, one at a time, between first and second joints. The first band seems to be secured on fingers by the second band, but in a moment the first band suddenly jumps down around the third and fourth fingers. Then it jumps back again around first and second fingers.

PARAPHERNALIA:

1--Two rubber bands (as described in preceding effect).

SECRET AND PATTER:

To Perform:

Take one of the rubber bands, double it, and place it around the first and second fingers of your right hand. Figure 13.

"Yesterday afternoon when I was in China I saw a very funny effect with a rubber band. A Chinaman took a rubber band and placed it around his fingers just as I have done here." Show right hand, both sides.

"Then he took another band and wrapped it around all his fingers so that the other rubber band could not get away."

Twist a second band around all fingers of right hand between first and second joints, as you did in THE PENETRATING RING effect. Show both sides of hand.

"Quite a clever Chinaman."

Hold right hand in front of you, back of it to audience. Slip index and second fingers of left hand under band A and pull out about an inch or two from right hand. Figure 14. This is screened by hand.

Then close right hand and as you do so push all four fingers of right hand through band A. This brings band A into this position: It is around first and second fingers of right hand below the other rubber band. There is a twist in the band coming up between your second and third fingers. Then the band is around your third and fourth fingers above the other rubber band. Figure 15. Remove left hand.

Back of your hand is toward audience, and your hand is closed for only a second so that audience cannot see the move you make here. You are working from the inside of your palm so that audience sees the rubber bands still in position on the back of your hand. Figure 16.

"Then he closed his hand and said, 'Hi-Diddle-Diddle,' and would you

believe it . . . "

Open hand suddenly, stretching out first the first and second fingers. The rubber band jumps down onto the third and fourth fingers below the first band.

Open hand wide and show it on both sides. Figure 17.

"The rubber band jumped down onto the two other fingers."

With back of hand to audience again, slip thumb of right hand under band A. Pull band away from hand. Figure 18.

Close fingers again so that all four fingers go through loop. Figure 19.

Then remove thumb and let band A rest on finger tips.

"Then he closed his hand again and said, 'Eenie-Meenie-Miney-Mo . . . '."

Open hand far enough to permit band to jump back to first and second

fingers.

"And up jumped the rubber band again to the top of two fingers. Now, for the benefit of those who do not understand this, I will explain it—in Chinese."

Repeat first move of pulling band away from hand with two fingers of left hand. Close right hand, get fingers into loop, and remove left fingers.

"All he had to do when the band was on the top fingers was to say, 'Parlay voo Fransay?' ..." Let band fly to lower two fingers.

"And down she goes. Then he would say, 'Sprechen Sie Deutsch?' ..."

Place thumb under band A, as explained previously. Lift band away from hand, close hand, place fingers in loop, remove thumb. Open fingers slightly and band flies to upper two fingers again. "And up goes the band again." Show hands, both sides.

"Rather a foolish explanation, but good." Remove bands from hand.

3. THUMB TIE WITH RUBBER BAND

EFFECT:

Performer's two thumbs are securely bound with a heavy rubber band. Yet in spite of this, he passes hoops onto his arms and passes his tied thumbs through a broom handle or cane.

PARAPHERNALIA:

1--A large, heavy rubber band. Experimentation will show you the size best adapted to your thumbs. Band must not be too tight or too loose.

2--A broom or cane.

3--Two or three large metal rings or wooden hoops, such as those used for doing embroidery work.

SECRET AND PATTER:

To Perform:

Request someone to come up from audience to assist you. Have assistant stand at your right.

"A rubber band is only a small article, but it can hang on about as well as anything I know. It is said that once a Japanese policeman, not having a rope handy, tied up his prisoner with rubber bands. And the prisoner didn't get loose either because the policeman knew how to tie him. One of the bands, I have been told, went around the thumbs."

Follow these moves carefully. They are not difficult, but you must watch the details to get them correct.

Hold band in left hand. Push thumb and index finger of right hand through band. Figure 20.

Make loops in band with thumb and first finger, as shown in Figure 21.

Slip loop from index finger over onto thumb. This leaves your thumb secured by a double loop in the rubber band. Figure 22.

Repeat this series of moves exactly in the same way with the left thumb.

You now have the arrangement pictured in Figure 23. Loop around right thumb is A, loop around left thumb is C, and the band between loops is B.

"Something like this. Anyway, I am well tied. A nice time I would have getting my thumbs out of two tight loops like these."

Show hands, both sides, and move thumbs to show that they are tightly bound. Figure 24.

Pick up cane or broom and give it to assistant from audience.

"Now, if you will please hold this broom up. . . . That's right, the brush part on the floor and the handle up. Now please hold the upper end tight."

Have spectator assisting you hold broom straight up in a vertical position.

"Nothing could pass under the broom because of the floor or above the broom because of the gentleman's hands."

As you say this, screen right hand with left and push second finger of right hand into Loop C. Then insert third finger also in Loop C. Figure 25.

When loop is secure on second and third fingers of right hand, remove left thumb from Loop C. Be careful to screen this movement behind hands. Figure 26.

Place left thumb quickly under B portion of rubber band. Keep hands close together so that assistant and audience cannot see your movements. Figure 27.

Pull down slightly with fingers in Loop C and bring two thumbs close together. The audience is not aware that you have made any change in the arrangement of the rubber band. It appears that the thumbs are still secure in the loops. Figure 28, next page.

"Oh, I forgot to tell you. The policeman placed the man's arms around a small tree for extra precaution." as you say this, bring hands up to broom about a third of its length from the top. Withdraw left thumb

from under band. Open hands only enough to allow broom handle to pass between. Figure 29.

When hands are around broom handle, like a flash slip left thumb under B portion of rubber band again. Turn thumbs to audience and to assistant to show that they are still securely bound. Figure 30. The effect produced is that you have passed broom handle right through rubber band between your hands.

"Like this. Now my arms are around the tree, or broom rather. Of course, being bound like this, it is impossible ..."

Slip thumb out of B, bring hands away from broom handle, and slip thumb back under B again very quickly.

Practice for perfection in this move. You must perform it very rapidly so that neither assistant nor audience suspect you are doing anything out of the ordinary. Be careful to keep hands screened and hold them as closely together as possible while passing them around broom handle.

"To escape."

"Now that you understand that, I shall explain it again."

Repeat above effect — putting arms around broom handle and then bringing arms away.

"Please, lay the broom aside and we will use these rings."

Pick up rings from table and give them to spectator assisting you, all the while keeping thumbs closely together.

"Examine these rings to see they are perfectly solid. You are satisfied? Toss one to me so that I can catch it when I have counted three. Are you ready? One - two - three."

As ring is thrown, draw away thumb and open up hands slightly to catch ring on right arm. Place left thumb back in place quickly, then show that hands are still tied.

"I didn't mean that you should throw it quite so hard. You see you threw it on my arm. But I'll forgive you this time. Now throw another ring."

Catch the second ring as you did the first one. Then show that thumbs are still tied.

"I guess the second ring wanted to be with his brother. Toss the third one. One - two - three." Catch the third ring, allowing it to pass onto left arm.

"This one is more exclusive. See, it went onto my left arm. Will you please take them off?" Spectator tries to take them off, but, of course, he is unable to do so.

"So, they will not come off. Well, no wonder, you didn't speak to the rings according to the manner set forth in the latest book on etiquette. You should say, "If it will not inconvenience your royal highnesses, I should like to have your presence at my home for afternoon tea,' . . . "

Slide rings all over onto left wrist. Then removing thumb from loop quickly, let rings slide onto the tips of

your fingers. Slip thumb back into loop immediately. "And away they go." Give three rings to assistant.

Show thumbs still tied securely.

Now open Loop C a little with second and third fingers of left hand and quickly slip it back onto left thumb. Remove other fingers. Loops are around both thumbs again as they were in the beginning of the effect. You may now have assistant examine bands around thumbs and remove them to see that they are intact.

"The moral of which is, 'It is better to be a magician than to go to jail'."