Ifteiieue it ok Mat I

This is a silk routine which I am sure you will like. It has the advantage that it can be fitted into any part of an act and requires no preparation.

Displaying five silks which, we will assume, consist of two green, two red, and one yellow, the performer deliberately drops the green silks one at a time into a previously shown empty opera hat. Taking the red silks he slowly ties the yellow one around the latter and displays the knot by holding the yellow in his right hand and allowing the two red silks to hang down. The three silks are then slowly rested in a bunch on the front brim of the opera hat which contains the two single greens. Recounting what has transpired, the performer then makes a statement something like this : " Seeing is not always believing, and although you may believe that I tied the yellow silk to the two red ones, I am going to prove that you are wrong." Saying these words he advances to the hat and suddenly plunges his hand among the silks and suddenly throws three silks in the air. The spectators now see that the yellow silk is tied to the green ones. The performer shows the situation by holding the two greens with the yellow in the middle by holding a green in each hand and allowing the contrasting silk to hang down. Placing the " string " in his left hand the red silks are then picked up and are shown to be single and separate. The hat is then shown to be entirely empty once more. There are no duplicates or switches, in fact nothing but the silks, a hat, and ? ? ? But read on !

Requirements are five silks about eighteen inches square (these can be of any colour, but one should be of a distinct contrast to the other four). This " contrasting " silk is the one that is mysteriously transferred from one pair to the other. An opera hat is needed and is preferable to any other on account of its depth and style. The last requirement is a few small rubber bands. (Only one is necessary in the routine, but a few others should be handy as a precautionary measure.)

To Perform.—One of the rubber bands is placed on the second finger of the right hand. If preferred the bands may be placed in the trousers right hand pocket and one obtained when required, but that is up to the reader. The five silks are at hand over a chair back and the folded opera hat is on the table. Spring open the hat, showing it to be empty and place on table. Show the silks, each in turn back and front, and take one of the green ones, " twirl " it in the usual manner and allow one end to drop into the hat, and with a zig-zag forward and backward, allow the silk to sink into the hat, but the end in the right hand is left hanging about three inches over the rear brim of the hat, which, by the way, is broadside to the audience. Repeat with the second green, the end of the latter coinciding with its mate. Place the two reds in the left hand and tie the yellow to the latter. This is the usual fake knot made by twisting the yellow corner around the two red corners held together and then tieing a single knot on top. The yellow silk is held in the right hand and the red ones are allowed to hang down, giving the audience plenty of time to see the " state of affairs." Grasp the two reds about three inches below the " fake " knot with the left hand. Raise the left hand above the level of the right, which is lowered slightly at the same time to avoid " discomfort." This action makes the yellow sag and the two hands approach each other to bunch the silks as they are about to be placed on the front brim of the hat. It will be found an easy matter to slightly twist the right

BELIEVE IT OR NOT — continued from page 6 5

hand under cover of the left with its bundle. This upsets the fake knot " half way." As the three silks are placed on the brim, the reds to the front, the yellow dips slightly into the hat but the right hand does not release its end. The latter is drawn backwards over the greens until it coincides with their ends. It must be understood that the placing of the three on the brim takes but a second or two, and the secret placing of the yellow in position for the finale synchronises with the movement. Plenty of cover is provided by the red bunch at the front and the move should provide no difficulty. The performer now patters about " seeing is not always believing," and while so doing slips his index finger into the band which we will assume is now 011 the second finger. Thus the two fingers are encircled.

Advancing toward the hat the thumb is now slipped into the band and as the right hand is thrust towards the hat the band is stretched. The hand grasps the three corners of the silks hanging to rear of hat about three inches from the end and from above, and as his hand grips the three, the band is allowed to slip off the fingers and thumb on to the silks, thus fastening them together. Without hesitation the lot are thrown in the air, the yellow one coming away easily from the reds on account of its upset knot. The three silks are caught and displayed by holding the greens in one each hand, the yellow hanging down. The lot are then placed in the left hand while right hand picks up reds singly. Finally the hat is shown to be empty.

" Free Ring" is a colourful release problem suitable for the close quarter worker and utilising simple objects, namely a ring, ribbon and silk. The performer displays a length of ribbon or coloured tape, and a spectator is requested to thread a two inch diameter curtain ring on it. The performer now holds the ring and allows the tape to hang down. A small silk is now handed the spectator assisting, and he is asked tu thread the silk through the upper part of the ring and to tie a knot thereon. This done the operator grasps the ring at its " top " and allows the silk to hang down the ends of which partly drape the tape. Two spectators now grasp an end each of the latter, the tape now taking a horizontal position and the performer lowering his hand holding the ring as this position is reached. Giving a slight jerk the ring and silk are lifted free of the tape and everything may be examined.

Requirements.—Two curtain rings (approx. two inches diameter), a length of ribbon or coloured tape (about two and a half to three feet of three-quarter inch). All these can be had at the Sixpenny Stores. A small coloured silk and a small portion

Sting of conjurers' wax. The latter is stuck to the outside edge of one (see B) of the rings which is placed in the right hand trousers pocket. The silk is placed in the left trousers pocket near the top for quick removal; the other ring (see A) and tape are placed on table.

To Perform.—Hand out the ring which we will call A, and request a spectator to pass the tape through it and bring the two ends together, so that an equal length hangs on each " side " of the ring. While this is being done palm the duplicate ring with the wax side or edge at the little finger position. The ring is palmed between the first and little fingers. Take the threaded ring with the left hand grasping the part where the tape passes over it at its lower edge. The left thumb just rests lightly on the latter and the largest area of the ring remains visible to the audience and during the following move apparently never leaves their sight. Bring up the right hand as if to grasp the visible ring A and immediately the left hand is covered, press with continued on page 71

PRESSURE EXBHTED HERE \ CAUSES SWIVBL DOWNWARDSj

PRESSURE EXBHTED HERE \ CAUSES SWIVBL DOWNWARDSj

DUPLICATB RING "B»1

TOP OP RIBBON GRIPPED WITH BING "B" & DRAW:; AWAY BY RIGHT HAND

RING "A" IH IT3 NEW NSW POSITION

MOTS-. ORIGINAL PORTION OlTUNO "A" THAT WAS VISIBLE TO AUDIENCE 1

DUPLICATB RING "B»1

TOP OP RIBBON GRIPPED WITH BING "B" & DRAW:; AWAY BY RIGHT HAND

RING "A" IH IT3 NEW NSW POSITION

MOTS-. ORIGINAL PORTION OlTUNO "A" THAT WAS VISIBLE TO AUDIENCE 1

THLK3 4 FINGERS HOLD RI3B0N & RING "3" JIRKLY TOGETHER, THS THUMB PRESSING FOLDED PORTION ONTO WAX, THAT IS OVER EDGE OF'RING AT "Y"

THLK3 4 FINGERS HOLD RI3B0N & RING "3" JIRKLY TOGETHER, THS THUMB PRESSING FOLDED PORTION ONTO WAX, THAT IS OVER EDGE OF'RING AT "Y"

3tet&i Wxvdack'i

" SJhanks,

This is a card effect for fairly intimate work. The climax is all that can be desired ; the drawback to some conjurers will be that it entails (as the deck is torn up) a new deck for each performance.

The Effect. — A card after being freely selected and autographed is returned to the deck. The latter is now distributed between about five members of the audience who are asked to tear the cards into quarters. These quarters are then dropped into an examined cloth bag which is held by a spectator. This spectator gives the bag a good shake to mix the pieces. Showing his hand to be empty, the conjurer places it inside the bag. His hand comes out with a quarter of card, which he does not show, but places face down on a piece of perspex. The movement is repeated three more times. The piece of perspex (which has been treated with a thin coating of vaseline) is then turned over to show the four quarters forming the spectator's autographed card !

The Requirements are simple.—A deck of cards ; a cloth bag measuring ten inches by twelve inches ; a paper clip ; a piece of perspex (or glass) measuring six inches by six inches.

Preparation.—Slip the paper clip on to the left hand shirt cuff. Smear a thin layer of vaseline on one side of the perspex then placing the latter vaseline side upwards on the table. The cloth bag is placed nearby.

Presentation.—Let me emphasise that smoothness and naturalness in presentation are essential— the most important part of the chicanery being concealed by natural play on the part of the performer. The conjurer, holding the deck of cards, approaches a member of the audience. " Would you mind, Sir, thinking of just one card and one card only ? When you have made your decision I should like to remove it from this pack and write your name across its face. Please don't let me see the face of this card ! " The spectator takes the deck, removes the thought of card, and, as he takes a pencil to write, the conjurer retrieves the

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