Turn the egg to show the silk stuffed into the hole FIG

At the same time you are saying, "Never show this sideof theegg..., "the right hand goes into the right coat pocket to grasp the silk. As the audience's attention is directed toward the opening in the egg, grasp the real egg into a right fingerpalm and remove the silk from your pocket by just the one corner (FIG. 5). Notice that by holding the silk from one corner, you provide perfectly natural cover for the right hand and the switch of the eggs that is coming up. Your left hand approaches your right (FIG. 6), and as it does, the left thumb is pushed into the hole at the rear of the fake egg (FIG. 7).

The left hand seems to be only reaching for the silk, but as it does, the left thumb moves, taking the fake egg with it, to the far side of the real egg> which is hidden in the right hand. The fake egg moving into the right palm forces the real egg to the left, into the left hand (FIG. 8).

The right hand remains motionless during the switch. The left hand removes the silk from the right hand, taking it along with the real egg (FIG. 9).

We will give you the exact wording for both the switch and the ditch. These line accompany natural movements designed to perfectly choreograph and cover the switch and ditch actions. The left hand gestures with the silk and the real egg (FIG. 10) as you say, "Rule number two, is to make sure the silk..." Bring your right hand up and take the silk as you continue, "...that you took from your pocket,.." As you say "pocket,"gesture to your right pocket, ditching the egg into the pocket in the process (FIG. 11).

Turn the spot on the real egg toward the audience,saying, "...isthesamecolorasthesilk you stuffed into the egg. "It appears to be the fake egg with the silk stuffed inside it. The illusion is perfect. The switch and ditch is a very smooth and flowing sequence, perfectly covered by a single sentence of humorous patter. When reconstructing, they will believe that the fake egg never left their sight. Drape the silk over your left arm, being careful to move very fairly, keeping everything in full view. You have already done the dirty work and are way ahead of the audience. It makes no sense to take one of your hands out of sight to pick up a glass or set down a silk. That negates the value of the switch.

"Of course, every now and then you hear someone whisper, 'He's got a fake egg.' Wfld^ou do then is give it one vtore magical pass, then peel the !i.oU; off... stick it in an inconspicuous place, then break the egg to prove its real. Any questions?"

Suiting your actions to words, peel the hole off of the real egg and stick it onto your forehead. Now cleanly break the egg into the glass, dropping the shell inside also. This is a definite applause cue, which you accent with a slight pause, but do not entirely stop your actions. Continue by taking the silk into your right hand and, as the audience applauds, accordion-pleat it into a small bundle in your right hand (FIG. 12). This takes only a few seconds, and passes as mindless clean-up after the trick has supposedly ended.

Once the is bundled in the right hand, take it with your left hand, clipping the very tip of one corner between the left first and second fingers. The left thumb holds the bundle in place (FIG. 13). Mime the act of placing the silk into your left pocket, actually retaining it in your left hand.

Say, "Of course, don't worry about the other you want, you can take it back out of the hole, and then go on to anothertrick,' 'As you say this, bring your left hand up the sticker on your forehead, as if to steady the spot you stuck there. Now bring your right hand up and grasp the corner of the silk from between your left first and second fingers. Now begin to pull the silk from your left hand (FIG. 14). Keep your left hand against your forehead as this is done. As the last bit of silk is pulled from the left hand, remove the sticker at the same time. This completes the wonderful illusion of pulling a full eighteeri-inch silk from the hole on your forehead. This ending takes the sting out of the aspect of the rou tine, and provides for a great visual conclusion.

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