Peter Warlocks

With the exception of the two rings, the items can go into any of the performer's pockets. The rings however, unless the performer is left-handed must be placed in a right hand pocket.

TAKE THIS RING

JOHN DERRIS

The presentation commences with the performer taking from, his pocket the handkerchief which he places on the table to his left. Next the cord is produced and this is laid across the centre of the table. Finally the right hand goes to the pocket and appears to bring out just one ring. Actually, however, the performer has one ring between his thumb and first finger, whilst the other is finger palmed, resting against the fingers at an angle of ninety degrees. Figure 2 shows an exposed view of the hold. Pointing out to the spectators that there is more than one way of threading a ring on a length of cord, the performer instances the most obvious method by taking hold of the cord about nine inches from one end and lowering it through the exposed ring, its own weight allowing it to pass through the right hand and the concealed ring until the position shown in figure 3 is taken up. The right hand retaining the concealed ring upon the cord releases the free end, then pulling the remaining part of the cord through the visible ring, which is then dropped on to the table.

A loose knot is now formed with the cord. So that the audience are given the impression that both hands are playing a part in the making of this knot, the left hand passes its end through a thrown loop so that a loose knot is formed. A

JOHN'S contribution takes the form of a "quickie" utilising a length of cord and a metal ring. First of all the length of cord has a loose knot tied at the centre. In the process of making this knot the centre of the cord is lowered on to the table taking up a position which is made clear in the figure 1. A handkerchief is spread over the knot and each end of the cord is held by a spectator. Removing a small metal ring from his pocket with his right hand John places it in the left hand. It is squeezed and vanishes. When the handkerchief is lifted from the cord, the ring is found tied within the knot in the cord.

The reader will require the following items in order to present the effect:—

1. A length of silk cord measuring approximately three and a half feet.

2. Two metal rings one and a half to two inches in diameter. The matter of weight is rather important, and the reader will find that the type of ring sold with the English Jardine Ellis Ring effect ideal for the purpose.

3. An opaque silk handkerchief two feet square.

With the exception of the two rings, the items can go into any of the performer's pockets. The rings however, unless the performer is left-handed must be placed in a right hand pocket.

glance backwards at the illustration accompanying the effect shows how it should look. The right hand with the ring concealed within it retains its grasp upon the end, but because of the move that is to take place in a moment or two the little finger of the same hand maintains a strong grip near the end. This grip is such that if the remaining fingers of the right hand were taken away from the cord, the cord would still be held.

to the assistants must be very casual. There mustn't appear to be anything purposeful about the procedure. The main part of the effect from the performer's viewpoint is almost complete. Taking the ring from the table with his right hand and using the "tourniquet" or some similar feint, he appears to place it in his left hand, really retaining it in the right. The left hand closes into a fist and is held above the centre of the handker-

Relinquishing the left hand end of the cord the handkerchief is picked up at the centre of one side and spread over the loop. At the same time with the cover afforded, the right hand fingers relinquish their hold on the concealed ring which slides down the cord into the right side of the loop. Asking a spectator to take the right hand end of the cord, another person is asked to take the left hand end. In picking up this latter end, the alteration in plane of the cord allows the ring to slide automatically inside the loop proper. The handling of the cords and the handing of the ends chief. A squeezing movement is made and then the hand is opened showing that the ring has vanished. The right hand then takes a corner of the handkerchief and whips it away from the table, letting the spectators see that the vanished ring is now safely knotted on the centre of the cord !

One final note. As a heavy metal ring is necessary and it has to fall some little distance on to the table top, it is important to see that a covering is used sufiicient to deaden any noise.

THE CLOSE-UP SLATE TEST

PETER WARLOCK

AFTER reading Annemann's "Club Slate Test" in " Sh . . . Its a Secret," I used it a great number of times, always finding it most effective. To me the only snag was the need for a flap and mainly with a special type of presentation that had to be given at the Society of Psychical Research, 1 lighted on a method which gave the same effect as that of Annemann's but at the same time obviated a flap.

Let's take the effect first in case some readers are unaquainted with the original.

Two slates are shown to be perfectly free from guile. A member of the audience is asked to write on a business card the name of some dead person. This card is placed in an envelope which after being sealed is rested against some prominent object. One slate and a piece of chalk is taken and one side of the slate is covered with different letters. The other slate is taken and this is similarly dealt with. (In Annemann's description he covered all sides of the slates, but the additional two sides are time stealing). The chalk is placed down and taking a duster the letters are erased from both slates which are then placed one on top of the other. The card written upon by a member of the audience is now removed from the envelope and the performer reads it aloud. Now taking the slates apart the name of the dead person is seen written upon one side of one of the slates.

The effect is very clean in working and the theme can be that matter created cannot be destroyed, that the letters written though erased, still exist to provide a bond between thought and matter.

The Requirements.

Two unprepared slates. Both should have fairly smooth surfaces. The kind I use are the non-locking Wandman.

A pay envelope large enough to take :—

A visiting card.

One stick of ordinary chalk.

One piece of specially prepared chalk. This is the preparation. Take one part of methylated spirit and one part of Stephen's Gum (Mucilage). Just pour them into a small glass and then taking half a stick of chalk drop it into the horrible mess. Leave it for about an hour then remove it, wipe away any surplus mixture and keep this piece of prepared chalk in a test tube which contains slight moisture. A couple of drops of water is enough to keep the chalk in perfect condition.

A duster (actually a piece of silk).

A small box with a hinged lid. Preparation.

Cut away part of the pay envelope to form a window envelope. This envelope, window side down, goes on the table to the right. On top of it is placed the visiting card whilst to the left of these articles go the two slates one on top of the other. Inside the box goes the piece of chemical chalk and also a piece of unprepared chalk. The duster can be placed in the pocket.

Presentation.

The two slates are picked up and shown. It is a good idea that they should not be too clean and thus to an obliging spectator you say, as you remove the duster from the pocket, " would you mind, sir, making sure that they are quite clean." In this way you have the slates in the hands of a spectator who may examine them to his heart's content. At the same time you do not have to use those shocking words, " will you please examine the slates!"

Whilst the slates are out of your hands, ask another spectator to write down the dead name on the card. Ask him, when he has finished writing, to hold the card writing side downwards for, "Though I myself play little part in the phenomenon that is about to take place, it is as well if I do not see what you have written." Bringing the envelope forward, the spectator pushes it inside. The action of sealing the flap gives the performer the opportunity to glimpse the name written. The envelope, window side away from the audience is now rested against some article of prominence in the room where it can be seen by the whole company.

Taking back both the slates and the duster, all are placed upon the table, the performer then opening the lid of the box and apparently removing a piece of chalk. Actually he takes both pieces, the ordinary piece being held at the fingertips whilst the faked piece is finger palmed.

One slate is picked up and supposing that the name glimpsed was " VIVALDI" (This was the actual name I had at the S.P.R.) the performer starts writing three lines of letters with the surface of the slate towards him. On the first line with the ordinary chalk he writes a set of letters. Now as he comes to the second line he switches under the adequate cover of the slate, the pieces of chalk and now on this second line writes the letters forming the given name, in this case VIVALDI. He spaces them well, and as he writes he will find that the writing given by the chalk is practically invisible, but after a few seconds it comes up pure white matching the ordinary chalk letters. Now again switching the chalks over he altars the letters forming the chosen name by adding lines or curves. In this case the V becomes an M, the I an E, the V an N. Nothing is done to the A. The L becomes a D and the final I a T. The following illustration analyses the make up of ordinary and fake chalk on the slate.

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