Match

Many of our readers will, no doubt, have seen Jack Eddlestone perform this version of a ring release and know how extremely effective it is.

The effect is that a small brass ring is threaded on a length of string, the ends of which are held by spectators. The ring is further secured by the means of a matchstick which the conjurer places between the ring and string. Suddenly the conjurer breaks the match and the ring falls off the string ! The conjurer then reverses the effect, passing the ring back on to the string. Everything, as they say in the adverts., can be examined.

Requirements for this superlative pocket trick are simple : a length of string (of sufficient length for two spectators to hold and still give room for the conjurer to work), two small brass rings (small curtain rings are those used by Jack), and a match-stidk. Rings, string and matchstick are placed in left hand pocket.

Method.—Hand the length of string and one of the rings to a spectator, who is requested to thread the ring on to the string. One spectator now holds one end whilst another holds the other. (Quite obviously this can be worked for one person, the conjurer facing him as he works.) The conjurer now goes to his pocket ostensibly for the matchstick. As he does so he positions the duplicate ring and match, bringing them out as shown in first illustration, i.e., the ring rest between the thumb and first joint of first finger. (The fact that the matchstick is visible makes the holding of the ring natural.)

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The right hand first finger and thumb now take the match from the left hand and at the same "time the left hand turns over; the action to the audience now is that the performer anchors the ring to the string, and the movement of both hands again is natural, for with the turn over of the left hand the duplicate ring is placed against the string to the right of the original ring, the right hand coming in and insetting the matchstick between ring and string. Apparently the left hand has simply steadied the ring while the match was pushed through. The second illustration shows the underside of the performer's left hand (the hand is shown open to make position clear ; actually it should be closed) which at the conclusion of the anchoring pushes the original ring further left. The left hand, in a closed position, moves slightly left and the right hand breaks the stick, removing the ring. Again the presence of the steadying influence of the left hand is accounted for. The ring is held by the right hand fingers for a brief space, it is then placed under the left hand and finger-palmed as the left hand comes away revealing the original ring ; as the left hand moves the ring is given a slight touch, sufficient to make it spin on the string.

There are just two tips before signing off; the first is that if the ring is of thin metal, to whittle a piece off the match, so that it will break without bending the ring; the second, that in practising, beware of angles.

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EFFECT :—Announcing that he has made a prediction, the performer shows a piece of paper, which he places in a prominent position. Names of six guests present are written on sheets from a note pad. Each name is checked by the nearest person, crumpled, and dropped into any convenient container. One of the crumpled names is freely chosen, the paper opened and the name read out. The piece of paper containing the prediction is opened up and the names are found to be the same . . . Now a further predictioa is made on a sheet from the note pad, and this, too, is crumpled and placed in a prominent position. Six names of people at'the other side of the audience are collected, written down on sheets of the pad, and these sheets are crumpled and placed in a container. Once again a free selection is made, and once again both papers are opened up and the names found to be identical. . . There is no possibility of your audience discovering the method, because each time a different subterfuge is employed.

THE MOVING FINGER WRITES ... By Robert Harbin

EFFECT :—Announcing that he has made a prediction, the performer shows a piece of paper, which he places in a prominent position. Names of six guests present are written on sheets from a note pad. Each name is checked by the nearest person, crumpled, and dropped into any convenient container. One of the crumpled names is freely chosen, the paper opened and the name read out. The piece of paper containing the prediction is opened up and the names are found to be the same . . . Now a further predictioa is made on a sheet from the note pad, and this, too, is crumpled and placed in a prominent position. Six names of people at'the other side of the audience are collected, written down on sheets of the pad, and these sheets are crumpled and placed in a container. Once again a free selection is made, and once again both papers are opened up and the names found to be identical. . . There is no possibility of your audience discovering the method, because each time a different subterfuge is employed.

The time taken is four minutes or more, and something is happening all the time. The effect on your audience is dumbfounding. This is the first really practical prediction foir dinner and private show workers—a reputation-maker. And the price is right.

Only a few left 5/- (One Dollar). You receive illustrated instructions only. Just one simple move. After ten minutes'

study you can put it right into the Show.

ROBERT HARBIN :: 401 FROBISHER :: DOLPHIN SQUARE :: LONDON, S.W.I

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