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OLi N ifOliNELL, UNIVERSITY LIBRARY 3 1^24 084 449 192 Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924084449192 - "TRIX anJ CHATTER" A NOVELTY-SERIO-COMIC MAGIC -OLOGUE By W. DORNFELD (Domy) ^ In '^hree ylcts and a Finale PUBLISHED BY ARTHUR P. FELSMAN 3234 HARRISON STREET, CHICAGO. ILLINOIS COPYRIGHTED 1921 BY W. DORNFELD 'Dedicated to 'Uhe Ses/ and Most 'Popular ^.agical Journal in 'Che World '"^he Sphinx" PROGRAMME PAGE Overture 13 Act One — "Chatter" 19 Intermission — "The Ne-Kro-Mancer Man" 65 Act Two — "Who's Who — and Why" 73 Intermission — "War Magic" 181 Act Three — "Trix" 193 Finale 272 (5) WARNING By The Author authors' introductions are seldom read, I have shoved AS that responsibility on to a couple my good friends : Dr. T. C. Bonney of Aberdeen, South Dakota, and Ladson Butler of Rochester, both well known to the magical fraternity thruout the world. To make sure that there would not be any argument I have decided to say a few words in defense of myself in writing this outburst of soul and feast of reason. First of all, I regret that my name has to appear with more or less fre- quency thruout the book, but someone has to take the blame. I have given as near as possible, the choicest bits of patter in my repertoire and can guarantee results as I have, with several notable exceptions, used the chatter myself and have found that it "went", so it's up to you to do likewise. Sometimes a bit from one set may be combined with a line of another, thereby effect- ing the desired result. Another thing ; I do not claim originality for all the patter I have put in this volume. But I have applied whatever is Avritten in such a way that it will suit the needs of most any magical entertainer who desires to do a talking act. I think I have an innovation in the other portion of the book, as with one very fine exception, "C. Lang Neil's Modern Conjuror" the idea of various well known performers con- tributing their favorite trick has never been done before, and the short biography of each contributor is something unusual and interesting I believe. I want to thank all those who co-operated with me in making this little volume a possibility and trust that it will afford as much pleasure to its readers as it has been for me to write it. Painlessly yours, "DORNY." (7) INTRODUCTION GOOD books on patter are rare and when it is remembered that proper patter is essential to the successful presenta- tion of a trick as are the mechanical principles involved, the necessity for it becomes apparent. I have enjoyed several years of close association with Mr. Dornfeld, have witnessed his inimitable performance many times, and it gives me unquali- fied pleasure to endorse "Trix and Chatter" as one of the best works on conjuring that has been produced in recent years and to bespeak for it a hearty welcome. Mr. Dornfeld's aim has been to produce a work that will be of value alike to amateur and professional conjurers, and that section devoted to patter will. I feel sure, prove extremely useful to those who find difficulty in arranging a suitable "verbal clothing" for many of their illusions. The tricks, numerous and varied, which cover a wide range of conjuring will be of great assistance to any one engaged in the practice of magic, be he amateur or professional, as they are clearly explained, fully illustrated where illustrations are required, and are the favorite experiments of the contributors to this work. Mr. Dornfeld's experience and wide acquaintance with magicians in this country and abroad (he was a member of the "Cannoneers" an organization of soldier-entertainers who toured France and Belgium after the armistice was signed), have given him a peculiarly favorable oppqrtunity for producing a real, practical treatise on magic, and I am certain that a perusal of the contents of this volume will be ample proof that he has done so in presenting "Trix and Chatter" to the profession. T. C. BONNEY. Aberdeen, S. D. August, 1920. (9) ANOTHER INTRODUCTION (With a Closing Supplication) SEVERAL years ago, while going about my ordinary con- cerns, I received a telephone message from a person by the name of Dornf eld, who was staying at one of the Buffalo hotels, and who desired conversation with me. I went to the hotel and there, stretched out on the bed or perhaps I should better say, folded up on the bed, was what afterwards became quite familiar to me as the figure of the author of this book. At that time I thought he was about a foot longer than necessary, but have since come to believe that an All-Wise Providence created him that way so he might stand head and shoulders above his fellows. From what other people tell me, his size and voice came in very handy in France. At that time Dorny had a little act that was very short and very funny. We had Dorny out to the house and he went through his act for us. A friend dropped in and Dorny went through it again. More friends followed and with each addition to the company Dorny had to repeat his act. By the time he had given his tenth performance I was fairly sick from laughing and I have been laughing at him ever since. Dorny's humor fits him like Lincoln's homeliness fitted Lin- coln. It is just as natural for him to be funny as it for a bow- legged man to walk bow-legged. In addition to his own humor he has a very fine appreciation of the humorous in general and knows better than any other performer of my acquaintance how to fit laugh-producing patter to magical effects. A few months ago I saw Dorny give his performance before the members of the S. A. M. at their annual dinner and it is not withholding praise from anyone else to say that his was by far the most entertaining number on the bill. In some ways he was the same Dorny and in some ways it was the same act that I had seen years ago, but years ago he was unknown, today there is not a live amateur or professional who doesn't know Dorny, (11) 12 TRIX AND CHATTER and he has made himself known principally through his ability to hook up humor with his magic. Of one thing I am sure, that is that any patter he' has written for a trick is bound to fit it—is bound to create laughter, in the right performer's hands. Along with his appreciation of the humorous is his appreci- ation of the truly magical. This shows in the following pages. The idea of magical symposium is not new. The gathering to- gether of each performer's favorite effects is not entirely novel. But Dorny's way of doing it is both new and novel. If you feel grateful to him for what you find in this book, you should feel doubly so for the absence of what is not in it. Perhaps you have heard of the John Wanamaker handshake. Mr. Wanamaker has a way of shaking hands with a visitor which lands the visitor outside of J. W.'s office and sends him quickly on his way feeling that he has been royally welcomed rather than promptly dismissed. Dorny has worked the j. w. h. on a lot of material and has out-johnned j. w. in persuading performers to come back with offerings fully up to his high standards. Only an enthusiast like Dorny would have exercised such persuasive pa- tience and only Dorny could have been so patiently persuasive. (There is a fine distinction here.) Magic like any other art, grows only when one performer starts in somewhere near where his predecessors leave off. No man works alone. You will not find in this book, or in any other, an efifect which is wholly and truly original, but you will find improvements, embellishments, additions and new combinations. Do your part by adding at least the touch of your own personality to any of these effects which you include in your program. Sincerely yours in M. U. M., Ladson Butler. Rochester, N. Y. November, 1920. OVERTURE Opening Patter Comedy Second Ditto " Serious (13) COMEDY — OPENING PATTER The most important part of any kind of an act, be it magic or anything else, is the opening. By the way you start, one can generally tell whether the act will be good, bad, or otherwise. For different kinds of performers different introductions are neces- sary; and I am submitting below, not one style of introductory patter, but several, so there will be a choice for various styles of act. Or one may be combined with the other. Here goes. "Ladies and gentlemen:—I shall endeavor to annoy you this evening with a few simple problems in up-to-date burglary or magic. As you no doubt have had inflictions of this kind before, I will not spend much time telling you what I intend tO' do, but shall proceed at once to my first experiment. Etc." "Gentlemen and ladies:— I say gentlemen first, with malice aforethought for I believe it should be that way.

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