* L!

B*/S

WiLL ALMA
M.I.M.C. aONDON)
PROUDLOCK’S EGG BAG
AND FOUR-ACE
PRESENTATIONS
PROUDLOCK’S
EGG BAG
AND

FOUR-ACE
PRESENTATIONS
EDWARD BAGSHAWE

COPYRIGHT

Otlv.ON

SERIES

Manufacturing Rights Reserved.

L. DAVENPORT & CO.

(Incorporating Maskelync’s Mysteries)

LONDON
Printed in England.
Previous Books—
“ PROUDLOCK’S
ROUTINE WITH
THIMBLES ”
(100 Illustrations)
Price 5/6, post 3d. $1.60

“ PROUDLOCK’S
VERSION OF THE

SYMPATHETIC
SILKS ”
(38 Diagrams)
Price 5/-, post 3d. $1.40
CONTENTS
PACE
PREFACE . . . . . . . . . . . . . . 7
INTRODUCTION . . . . . . . 9

THE EGG BAG

BRIEF OUTLINE OF EFFECT ... 11
REQUIREMENTS . . . . . . . 12
PREPARATION . . . . . . . 13
WORKING AND “PATTER” ... 15

THE FOUR ACES

REQUIREMENTS . . . . . . . 22
WORKING . . . . . . . . . . 23
“PATTER” . . . . . . . . . . 27
EDWARD PROUDLOCK
COLD MEDALLIST
MAGICIANS’ CLUB
LONDON
 PREFACE
¥T is wifli a great deal of pleasure licit I have noted lie* very
favourable reception given lo tin- two previous volumes
containing my magical presentations.

In I liis hook (lie reader will find my arrangements of two of

I he most populiir tricks in magic— namely, the Key Hue- and
the Four-Ace tricks.

These versions, like the items m my previous hooks, have

appeared in my own programme for some considerable time
and, therefore, I am able to testify to their effectiveness when
presented as outlined.

The “patter" has been given in its entirety, and the text
made easy to follow by the numerous illustrations. Both
tricks will be found easy to work, with the minimum of sleight-
of-hand. So with every wish for success, I leave the reader
to them.

KDWAIll) lMKMiBLOCK.
 • INTRODUCTION
5 this is a hook ‘‘ for magicians only/* 1 have
no doubt that tin' two (‘fleets it deals with will be
familiar to every reader. For these tricks have stood
the test of time, and tin* simplicity and effectiveness of
their “ plots ” have made (hem constant favourites.

That good presentation—which includes the arrange­

ment of all necessary details - is an essential factor,
cannot he denied. Often the success of a magical
problem may ho said to lie in the amount of creative
thought expended beforehand to devise* the most
effective procedure. Happily, my confrere, Edward
Froudloek, is well-known for his ability in this direction,
and in tin* present effort- wo have* two further interesting
examples of his work.

The routine with the Egg Bag is essentially a comedy

one; it is easy to learn, and should well repay 1 ho
magician on the lookout for a “ different ” version
combined with a comedy element.

Tho Four-Ace routine, although the same in principle

as a standard version of tin* trick, possesses points
which cannot fail to appeal to the artist who appreciates
attention to detail. AH the cards an* dealt with their
faces showing, their best and most deceptive arrange­
ment lias been worked out, and these features, together
with the clean-cut moves, makes this one of the very
best methods, particularly where Jumbo cards are used.
I can confidently recommend these presentations to
my fellow magicians.

HOWARD BADS IIA WE.

 PROUDLOCK'S
EGG BAG & FOUR ACE PRESENTATIONS

THE EGG BAG

BRIEF OUTLINE OF THE EFFECT
TWO gentlemen an; invited to help, and one is handed a black
(doth ha”- to examine. A little byplay is introduced hy the
production of a rat from this assistant’s coat, to he followed by
the production of an egg. This egg is given to the same
assistant and he is asked to write his name upon it, being;
given a giant pencil for this purpose.
The performer now propounds the old riddle as to which
came first, the egg or the chicken; and apparently decides for
himself that “ 1 lie answer is a lemon," a lemon being’produced
from the hag. Finding that there is still something in the bag
the magician affects surprise as he extracts a curious-looking
chicken from it which he tosses aside.
Now, getting down to business, he takes the egg and places
it in the bag, announcing that as ho says “ (Jo!” the egg will
vanish. He is detected in placing the egg in his pocket and at
a second attempt is seen apparently to place the egg under his
left. arm. However, lie continues by showing the bag perfectly
empty, inside and out, and then obligingly raises his left arm
to show the egg is not there as was anticipated. He next allows
the two assistants to grip his wrists and with their remaining
free hands assure themselves that the bag is empty—-this done,
he deliberately inserts his right hand into the hag and produces
the egg.
And now, says the performer, he will explain the exact
working to the audience. In the subsequent explanation he
places the egg in his pocket and shows the hag empty. The egg
vanishes from his pocket, which is shown empty, and the bag
is likewise still empty. Again the assistants hold his wrists ami
he succeeds in producing the egg from the hag. The assistants
examine the egg and note it is the same one that was written
upon at the commencement.
This actually concludes the eil'ect, hut as the performer is
about to see the assistants off stage he grasps one of them by
the lapel and quickly produces a large imitation duck from
inside his coat, making an unexpected finale; and the long-
suffering helpers are then allowed to retreat.
 PROUDLOCK’S EGG BAG

REQUIREMENTS
Three Black Cloth Bags, size Hi by 10 inches, as detailed
below :
Bag 1: This bag is unprepared.
Bag 2: Has the usual inverted pocket at one side.
Bag 3: A thin wooden stick is sewn inside this bag, along
the bottom edge. An ordinary press-fastener keeps the opening
closed when the bag is set for the trick. One portion of
another similar fastener is sewn outside the bag, near the
top. See Fig 1.

Stickalow
Bottom FIG. 1. FIG. 2.
One Spring Duck, such as is obtainable from the magical
depots. One leg has a 10 inch length of one-inch-wide black
tape fastened to it (for security’s sake the tape should be
double). The other part of the press-fastener last mentioned is
sewn an inch or so from the end of the tape and a small knot
is tied just above. See Fig. 2.
One Imitation Chicken, the appearance of which will be
gauged from the illustration further on.This chicken is smaller
than those usually obtainable, and has no spring inside, being
stutfed with down.
One Egg and a shell to fit it. A shell to go over the end of

- - - - Page Twelve- - —- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
 AND FOUR ACE PRESENTATIONS

the egg is perhaps preferable, although one fitting on the side

will answer the same purpose.
One Lemon—imitation or otherwise.
One Spring Rat.
One Giant Pencil, measuring approximately lti inches long
and 2j inches in diameter.
The Card Stand used for the Jumbo Four-Ace Trick is also
requisitioned, hut if the Four Aces is not being performed any
suitable object placed on the performer’s table can be made to
serve as cover for the exchange of the bags.

PREPARATION
Fig 3 shows the magician’s table set for the effect. The card
stand is at the centre and in front of this lies the unprepared
Bag No. 1. The other bags are out of view behind the stand.
■4*
AUDIENCE

Page Thirteen
 PROUDLOCK’S EGG BAG

Hag No. ” contains tlu- chicken, folded so as to go as flat as

possible, and also the lemon — the latter placed above the
chicken. The large pencil also lies behind the stand, its
pointed end inserted into 11a"' No. 2.
The position of Hag- No. 3, containin'!- the duck, is also shown
in Fig- 3.- To “ load ” the duck into the ha"- first close up the
spring, and holding; the bird with its neck downwards, fold the
wings over, then the legs—bend the feet in and insert the duck
into the bag with its head near the lower edge of bag, feet near
top. Take the tape attached to one of the legs and bring it over
the edge of bag; secure it here by means of the press-fastener.
This arrangement has already been shown in Fig. 1. Finally,
close the opening of the bag by means of the fastener at the
centre.
The egg and .shell, together with the rat, should be placed
in the right trousers-pockct. (As the rat is required first it
should rest above the egg).
In passing, let us add that the effect is usually performed
with one confederate (this being “ the assistant on the right”
—see Working—who is mostly addressed hv the performer and
is responsible for a good deal of the comedy “ business”).
However, the effect can he worked just as well if both
assistants are unknown to the magician.

"B” SKETCHES SHOW PERFORMER'S

"A” SKETCHES FOR THIS TRICK
SHOW AUDIENCE’S VIEW

Page Fourteen
 AND FOUR-ACE PRESENTATIONS

WORKING AND “PATTER”

“ Ladies and Gentlemen : I ;un now going' to show you a
very old trick—in fact it is so ancient that Noah is said to have
swopped a pair of White Angoras for it—and that wasn't the
only washout he had either. Anyway, 1 intend to make use of
tliis little Muck hap- which, as you can see, is as free from
deception as 1 am myself. However, as I don't suppose there is
anyone here who believes a single word I say 1 am going to ask
two members of my audience to step forward for the purpose of
acting’ as a committee of two.” (Point to someone.) ‘‘Now,
you, sir, have a nice, Christ mas-like expression—1 wonder if
you would care to assist me in this experiment? And you,
sir?” (To someone else.) ‘‘ l’lease don’t jump, just walk up
in thi> usual way.” (Two assistants having been obtained by
these or similar means, one is seated on the right of stage, the
other on the loft—well in front of the table. Commence by
showing' the unprepared hag and handing it to the helper on
your right.)

First 1 would like you to thoroughly satisfy yourself that

this hag is quite empty.” (Whilst assistant is looking at the
hag stand with right hand in right t rousers-poeket and palm
the rat. The examination finished, bring right hand from
pocket, with rat, and take (he hag hack.) ” I should say, from
the thorough way in which you have investigated the hag, that
any further twisting or rending on my part would he super­
fluous . . . Pardon me, hut what is this you have wriggling
about in your pocket?” (Quickly insert right hand inside coat
pocket of assistant and produce the rat, held by the tail.)
“Well, I should not have thought from the look of this gentle­
man that he was a llolnrian. 1 hope this hasn’t got you ratty,
sir? Please; keep calm, for there is worse, to follow.” (Place
rat on table with left hand, at the same lime getting the egg
from pocket with the other hand. Continue addressing the
same assistant as follows.)

‘‘You don’t happen to have an egg on you as well, 1 suppose?

No, I thought not. Just a moment, please ...” (Again
plunge right hand into assistant’s, inside pocket and produce

Page Fifteen
 PROUDLOCK’S ECC BAG

the ligj;.) “I have on more than one occasion been accused

of using an indiarubber egg, but I never use a prepared egg of
any kind—just an ordinary hen’s eg", which has been hard-
boiled and rendered as hard as any empty wooden box.” (Tap
egg on head.) ‘‘To prove that I do not exchange this egg I
would first like you to inspect it very carefully—tligt is, look
at it, listen to it, and endeavour to impress it on your memory
—and then, having done these things, T should like you to
write your name on it with a pencil; and in case you haven’t
got one (a pencil, I mean), 1 have here a hit you can use.”

(Whilst making the above remarks walk behind the table,

holding hag in right hand. Leave hag on table and pick up
the giant pencil and Bag No. 2 containing the chicken. Walk
forward with the hag in one hand and pencil in the other. The
exchange of the bag is, of course, completely concealed by the
large stand on the table, and it should appear as if you have
just crossed behind the table to pick up the pencil.)

"Now please write your name as clearly as you can.” (Hand

the giant pencil to assistant. Whilst he is attempting to write
on the egg, you casually remove his handkerchief from his
breast-pocket and dab his brow with it — then replace the
handkerchief in your own breast-pocket. If the assistant isn’t
a confederate, don’t forget to return the handkerchief later!)
‘‘That’s the idea, sir, write your own name on the egg. I once
heard of a man who practised writing other people’s names;
hut now he is thinking of a number.” (Take the egg from the
assistant and examine the writing.) ‘‘This gentleman writes
something like an income-tax collector — you can only under­
stand the amount. I suppose you would recognise this
handwriting again, sir, if you never saw it again; because if
the egg gets lost we shall want to know definitely that it’s this
one. Anyway, I should like you to hold this egg for a moment
. . .” (Again hand egg to assistant) “ . . . and, by the way,
you might give me hack the pencil before you forget; as that’s
the way I came by it myself.” (Drop pencil on floor behind
assistants chair. Throw the hag in the air and catch it
again.)

I’ago Sixteen
AND FOUR-ACE PRESENTATIONS

“No doubt you are perfectly satis­

fied that this bag is quite ordinary
and that there is no one inside?’’
(Now address the assistant on left.)
“Can you, sir, tell me where this
comes from?” (Point to the egg held
by the other helper.) “A chicken!
And where does the chicken come
from? An egg! Then it appears to
me as if the answer is, in the words
of the classics, a lemon.” (Produce
the lemon from the bag, show it, and
place on table. Turn to assistant on
right.) “You don’t seem to have
examined this bag very carefully—
look here!” (Slowly extract the
chicken from the bag — Fig 4a.)
“This must be the only one in cap­
tivity ... I should know those beau­
tiful eyes anywhere!” (Display the
chicken, and then drop it at front of
table. Take the egg from the helper
on right.)
“Now I want nil of you to watch
me very carefully. Please keep one
eye on the bag, one on the egg, and
just let the other roam around. With
that ease and grace for which I am
noted I am going to hurl the egg
within the depths of the bag — or,
if you prefer, just bung it in — and
1 now announce the fact that at the
word ‘Go’, it will completely disap­
pear.” (In saying this, and with the
bag held in left hand and the egg in
right, throw the egg into the bag to
illustrate your remarks; removing it
again in right hand immediately
FIG5A afterwards). “At least, I cer­
tainly hope if will disappear, or

Page Seventeen
 PROUDLOCK’S EGG BAG
i

we shall be in a terrible mess. However, let us make the

attempt.” (Quickly plunge the right hand, with the egg, into
the bag. Make a half-turn to your left, holding bag upside-
down, one corner being- grasped in your left fist as seen in
Fig. 5a.)
‘‘Remember, when I say ‘Go’ the egg will disappear. One
—two—three—GO!” (On the final word remove'the right
hand—closed, containing egg—from the bag, and place in
right trousers-poclcet; leave the egg in pocket and remove
right hand. With this same hand take the bag and slap it a
few times against left hand. Turn bag inside-out, show both
sides, and then turn it back again.) ‘‘You will note the bag
is now perfectly empty. Yes, I know what you’re thinking
—let me confess I did place the egg in my pocket, but that was
just to see whether or not I had your undivided attention.”
Place right hand into pocket and slowly bring the egg into
view again.) ‘‘So watch me very closely this time.” (Again
place the egg in the bag and, as before, turn left and hold the
bag upside-down as already shown in Fig. 5a. This time allow
the right hand to work the egg into pocket of bag; then bring
the hand out as if containing the egg and appear to deposit the
latter UNDER THE LEFT ARMPIT. Now let the right hand
grasp the bag, holding egg through it, and slap the bag a few
times against the open left hand.)
‘‘Ah, I see you think the egg is
under my arm. I’m sorry, but you
are quite wrong this time, which is
perhaps just as well considering the
age of the egg.” (Raise the left arm
to show the egg is not there. Turn
the bag inside-out and show it
empty in usual manner, then turn it
back again — getting the egg into
position as in Fig. 6a, a la usual
procedure. Address the two helpers
as follows.) ‘‘Now, gentlemen, I
should like you to stand one on each
side of me, as I may want a little
FIG.6B support if the trick should fail.
(Duly range, the assistants on either

Page Eighteen
 AND FOUR-ACE PRESENTATIONS

side of you.) “Thanks, 1 knew you

would stand by me — and to make
sure 1 don’t get away, will you
kindly hold my wrists.” (Now hold
the bag' as shown in Fig\ 7». Get the
assistants to hold your wrists, and
with their free hands to feel inside
the bag. This done, allow the egg to
drop to the lower part of the bag,
and then insert right hand and
slowly produce it.) “As you see,
here is the egg once again.”

“Now would you like me to explain exactly how this is done'{

I will do so with pleasure. First 1 should like you two
gentlemen to let go of my wrists, as I am gasping for air. You
will remember that I placed the egg in the bag, like this, and
then held the bag up in this manner.” (Repeat the first moves.)
“And then you thought I pul the egg under my arm.”
(Remove closed right hand, containing the egg, from the bag,
and place under left arm, to illustrate this.) “1 didn’t really
put the egg under my arm, but instead, under cover of the bag,
I placed it my pocket.” (In saying this you first turn the
closed right hand with fingers towards the audience, then open
it a little to show the egg is really there. The right hand at
this stage is near left armpit. Now lower it, keeping it con­
cealed by the bag in the left hand, and place it in right
trousers-pocket, leaving egg there—remove hand from pocket,
showing it. empty both sides.) “Now you see how it is I am
able to show you the bag to be perfectly empty.” (Turn bag
inside-out and display it, finally turn it right way out again.)

“Now when 1 want to get the egg back into the bag, under
cover of the bag I .just place my hand in my pocket, bring out
the egg, and drop it into the bag again.” (Suiting the actions
to the words, place right hand in pocket and bring out the
egg WITH THE SHELL UPON IT. In doing so turn
the pocket inside-out lo emphasize its emptiness, and
leave it thus for the time being. Show egg and
drop it into the bag. Now address one of your helpers.)

Page Nineteen
 PROUDLOCK’S EGG BAG

“Well, they don’t seem to think much of that, do they? 1

will do it once more, and this time I shall not hide the egg
at any stage of the proceedings. Please watch me carefully.
Here is the egg.’’ (Remove egg from bag, LEAVING SHELL
INSIDE, and display it once again.) “I place it in the bag,
so.’’ (Put egg in bag and immediately WORK IT INTO THE
POCKET, making a half-turn t£> the left .and again holding
the bag upside-down, as depicted in Fig. 5A. Allow the egg
to drop down inside the pocket, leaving the SHELL ONLY at
the uppermost corner of the bag. Show outline of shell; then
remove right hand from inside the bag and flick the shell a
few times with the fingers.) “You can always tell an egg by
the sound of it — this one -sounds a little over-ripe.’’

“I now take the egg out and place

it in my pocket.” (Let the right
hand enter the bag and bring out the
shell, fingers clasped around it as
seen in Eig. 8A — audience’s view.
Place this hand in the trousers-
pocket, pushing back the i>ocket—
this, it will be recalled, has remained
inside-out. Leave the shell AT THE
TOP OF THE POCKET and bring
out the right hand, showing it
clearly to be empty.)

“The bag is, of course, quite empty.” (Turn bag inside-out,

slap it against left hand, and perform the usual moves such as
screwing it up, etc. Now bold the bag upside-down, still in
inside out condition, and clip one of the upper corners between
your teeth — clap your hands together and show them empty.)
“And. strangely enough, my pocket is empty also.” (Slap
pocket with right band and then place this hand inside and
pull out the pocket, the shell remaining unseen in the space at
top. Allow the right hand to be clearly seen empty, so that it
does not appear that you have removed anything from the
pocket. Take the bag in both hands, and turn it right way
out again.) “And so the point is, what has become of the

Page Twenty
 AND FOUR-ACE PRESENTATIONS

egg? May I again ask you f>-c»utto take hold of my

wristsY” (Hold bag as before — .Fig. ~n — the egg being
held through the pocket by the right. liaud, in usual manner.)

‘‘Now let, us all make a noise like a ehieken and see what
happens.” (Get the assistants to ‘‘eluek” in unison: then
allow the. egg to fall to the bottom of bay;-, insert the right hand
and slowly bring egg into view.) “Here, gentlemen, you see
we have the egg once more.” (Hand it; to assistant on right.)
‘‘And if you will examine it, sir, I have no doubt you will
recognize it. as yours — the signature 1 mean, of course. Show
it to the other gentleman as well.'’

(Whilst assistants are looking at the egg, pick up the giant

pencil—which, on referring hack, you will note was dropped
behind the chair on the light side. Quickly pass behind
the table, placing the pencil at the hack and at the same time
exchanging the hag you hold for Hag No. d, containing the
duck. Place the third hag under your left arm, compressing
the duck inside. The opening of the hag should he outwards,
and the side of hag having the tape fastened to it. should he
next, to your body. Advance towards the helper on your right,
at the same time undoing the two fasteners on hag with your
right hand, which hand should grip the end of the tape, ready
for the production.)

‘‘Well, are you sure it is the same egg? I though so.

Excuse me a moment, sir . . . whatever is this? (With
right hand pull hag from under arm, holding the rod at the
bottom by the left hand. As you face assistant, extend the
left hand, keeping hold of bottom of hag, and grasp assistant’s
coat by its right lapel—with the left hand swing the hag inside
the coat, and pull the duck upwards from the hag, the whole
moves giving the appearance of the duck being produced
from under the assistant's coat. With the production of the
duck the routine is brought to an end, and it only remains for
you to thank the assistants and see them off the platform.)

l’age Twenty-one
 PROUDLOCK’S EGG BAG

THE FOUR ACES

AS the effect of this card experiment is so well-known, it will
be unnecessary to describe it in detail, and so we may pass
right away to the ... *

REQUIREMENTS
These consist of sixteen Jumbo cards and a large stand.
The required cards are listed below. Six should be double-
faced, the remainder are ordinary. They should be arranged

FIG.9

in the order given. To do this, first place the King of Diamonds

FACE UP on table, then place the Queen of Hearts on top —
follow with the other cards so that the Ace of Diamonds will
be the face card of the set.
IvD; QH; JH: 9H backed AC); 8S (backed AD);
KID (backed AS); JC; 30; 5S; 5D; 3H; 3D; AS
(backed KH); AH; AC (backed 50); AD (backed 5H).
The above cards can, of course, be run off a pack of Jumbo
cards if desired, in which case the rest of the pack will be
required.
The stand will not require a special description except to
say that it should be of a size to take four packets of Jumbo
cards and should have two ledges upon it (see illustrations).
Incidentally, the method can be applied to standard size
cards, although giant cards are naturally more effective.

Page Twenty-two
 AND FOUR-ACE PRESENTATIONS

WORKING
Take up a position at the right of the table, on which reposes
the card stand.
Exhibit the set of sixteen cards, casually showing the packet
both sides, then run the cards from hand to hand, face out­
wards, calling attention to the Aces on front.
Square up the cards and, still holding them face out­
wards, remove the Ace of Diamonds and place it at the left side
of the stand, on the upper ledge. In a similar manner take the

FIG. 10

other three Aces, separately, and lay them on the stand. In

showing the Ace of Hearts, a glimpse may be given of the
back, this being the only genuine Ace. The row of Aces on
the stand is shown in Fig. 9.
You are left with the twelve indifferent cards in your hands,
facing outwards — deal the front three cards, separately,
against the Ace of Diamonds, these cards being placed upon
the lower ledge of stand. Similarly, deal three cards against
each of the remaining Aces. The position is now as seen in
Fig. 10.
The location of each card should be clear from the following:
AD AC AH AS
3D, 3H, oD bS, 30, JC Kill, 8S, 9H JH, QH, KD
The next move is to force the HEARTS packet, and this is
done by means of the usual request for “a number between
one and four,” the counting being done from either end to
suit the performer; or by any other means preferred.

Page Twenty-three
 PROUDLOCK’S EGG BAG

Now pick up the Ace of Hearts and the three cards in front
of it and hold the packet facing audience, in the left hand.
Count off the three indifferent (double-faced ) cards separately
into the right hand, and then turn the Ace of Hearts FACE
DOWN on top of them. Square the four cards together and
place them aside (say, for example, against the back or leg of
a chair), the back of the Ace of Hearts facing towards the
spectators.

VANISH OF THE ACE OF DIAMONDS

Take this Ace from the stand,
together with the three cards in
front of it. Fan and show the cards,
then close them up and hold in the
left hand as seen in Fig. 11. With
your right hand draw off the face
card. Similarly, draw off the next
card ON TOP of the card now held
in right hand. The Ace and an indif­
ferent card remain in your left hand.
Draw off the indifferent card, again
on top of those already in right
hand, but place this third card in
the position shown in Fig. 12 (it
rests about an inch below the other
two cards). Now place the Ace on
top, coinciding with the third card
—-thus these two cards project a little
helow the first two cards dealt off.

Grasp the cards in the left hand

and place the SECOND FINGER of
the right hand between the two
front and the two back cards, at the
bottom edge. Curl the third and
fourth fingers in towards the palm.
The correct positions for both hands
are clearly shown in Fig. 13. Press
upwards with the right hand
and you will thus square the two

Page Twenty-four
 AND FOUR-ACE PRESENTATIONS

front ranis together with the others.

FIG. 13 Now it will he found an easy matter
to turn over the two front cards as
one. This accomplished, square the
packet together and show it on both
sides.

With the right hand draw off each

of the three back cards in turn,
placing them, face out, on the lower
ledge of the stand, at the left side —
they should overlap each other
slightly.

Thus apparently the Ace remains

in your left hand; in reality it will
be found to be the THREE OE
DIAMONDS. Before showing the
face of this card place the hands
over the upper and lower portions.
Now turn it slowly to the audience
so that the effect is as seen in Fig. 14
and the impression is given that the
card is the Ace of Diamonds.

Blow on it, then withdraw the

fingers from the upper and lower
portions and the card is seen to he a
Three. Place it on the stand.

VANISH OF THE ACE OF CLUBS

Pick up the Ace of Clubs and the three indifferent cards and
hold in the left hand as in the previous Fig. 11. Allow the
right hand to approach and draw the cards off one at a time,
reversing their positions so that the Ace is brought to the
front. Square up the cards and show the packet back and front.
Now allow the left thumb to slide the three top cards a little
to the right — Fig. 15 — and with the right hand immediately
turn these cards over on top of the single card at back. Without

Page Twenty-five
 PROUDLOCK’S EGG BAG

pause, fan the four cards and two

will show reversed — Fig'. 16 —• this
apparently being’ a mistake (see
FIG. 16 patter).
Take the two cards which face
outwards, separately, and place them
on the stand. Two cards remain back
outwards in your hands. Turn the
lowermost one face to audience and
show it to be an indifferent card,*
then place it on the stand. The
remaining' card is apparently the
Ace. Flick the back of this card,
and slowly turn it around and it is
seen to be an indifferent card also.
Likewise place this card on the
stand.

VANISH OF THE ACE OF SPADES

This proceeds exactly the same as
in the vanish of the Ace of Diamonds
up to the point where the Ace
(really two cards) has been reversed.
The packet is then held in the left
hand in the manner depicted in Fig.
IT.

Now, as a variation, draw off

(upwards) the reversed card at the
front (presumably the Ace), with
your right hand—and then slide this
card down behind the others so that
it projects about two inches above
them—Fig. 18. Next, with the right
hand, take the three cards facing-
outwards, showing each separately,
and place them on the stand. Flick
the back of the remaining card and
slowly turn it to the audience, skow-

Page Twenty-six
 AND FOUR-ACE PRESENTATIONS

iug' that the Ace had been re] laced bv an indifferent

Place this card on the stand.

And so, as the Aces have flown from their original positions,
it is only necessary to conclude by showing^that they have
magically re-assembled in the packet first placed aside. Pick
up this packet and fan if so that the four Aces are visible. The
fact that one card was reversed at the outset is entirely for­
gotten by the spectators.

Place each of the Aces on the stand. If the cards already

there have been arranged to overlap each other the appearance
finally presented will be that of a row of cards extending across
the stand.

“ PATTER”
“The articles 1 propose using in the following somewhat
strange experiment consist of this large wooden stand and a
supply of playing cards which are just a little larger than
those you may be accustomed to see.

“The four principal characters — in fact, 1 may call them

the prime movers — in this little magical problem are the
Aces. Here they are — first we have the Ace of Diamonds,
generally known as the Hatton Garden Ace. Next the Ace of
Clubs, sometimes known as the Ace of Piccadilly. And here is
the Ace of Hearts, which is, of course, always favourite with
the ladies. And last, but by no means least, we have the Ace
of Spades, quite a grim Ace.

“In front of each of the Aces 1 place three further cards, in

this manner. And now may I ask any member of my audience
to call out a number between one and four. Three! Thank
you. The third packet, consisting of the Ace of Hearts and
three other cards I now take from the stand and show you —
one—two—three cards; and the Ace. f shall place these
cards over here where you will be able to keep them in view.

“I now take another packet of cards, consisting of . . .

one—two—three cards, and the Ace of Diamonds which 1

Page Twenty-seven -
 PROUDLOCK’S PRESENTATIONS

flhall turn over like this. Please keep your eye on the Ace.
IgPie other cards I return to the stand — one — two — three,
peaving me with the Ace. Yes, the Ace of Diamonds . . .
no, I am sorry, it isn’t the Ace ! merely the Three of Diamonds.

“Please watch once again with the next packet. One —

two—three cards, and the Ace of Glubs. As before I turn the
Ace over . . . excuse me. I seem to have turned two cards
by mistake. But it will not make the slightest, difference.
Which carefully. One — two — three ordinary cards, and the
Ace . . . has flown again. The experiment becomes more
exciting as we go on.

“And, finally, here is the last packet. 1 want you to watch

very closely, for this is your last chance of observing the
departure of the Ace. One — two — three cards, and the Ace
of Spades. I turn the Ace over, hut in order that you may keep
vour eyes on it I will place* it behind the others, hut a little
apart from them, thus. L now slowly remove the other three
cards — one — two — three. And only the Ace is left. At
least, it seems so, hut yet we find that that great, big, black
Ace of Spades has vanished without a trace.

“And now, strange as it may seem to your somewhat puzzled

intellects, we shall probably find that the four Aces have
assembled in the first packet of cards I showed you. Ares, here
they are .... one — two — three — four Aces, and I am
pleased to tell you that the experiment has been a complete
success.”
The State Library of Victoria
“ALMA CONJURING COLLECTION”
• ACKNOWLEDGMENTS
Some of the Four-Ace opening patter must be credited
to that clever entertainer, Stanley Collins; whilst a
small part of the patter for the Egg Bag derives from
Fred Cullpitt’s excellent book, “Laughter and Leger­
demain." The“mistake’’ move of turning three cards
together in the Four Aces (see page 25) is believed to
have been evolved by Ellis Stanyon, the well-known
magical dealer.

Page Twenty-eight.
Printed and Published by L.D. & Co., London, England. Copyright.
DEMON

SERIES