Rice's Encyclopedia of Silk Magic Vol 1 by Harold R. Rice

COPYRIGHT - 1948 AND 1975 BY HAROLD R. RICE COPYRIGHT IN CANADA AND IN ALL COUNTIES SUBSCRIBE TO THE BERHE CONVERSION.

ALL RIGHTS

RESERVED

NO PRRT OF THIS BOOK MAY BE REPRODUCED IN ANY FORM WIITHOUT PERMISSION IN RIGHTINHG FROM THE PUBLISHER THE MANUFACTUREING RIGHTS FOR THE DEVICES DESCRIBED OR ILLUSTRATED HEREIN ARE RESERVED BV THOSE CREDITED WITH THE EFFECTS DESCRIBED. PRINTED IN THE UNITED STATES OF AMERICA SECOND PRINTING 1960 THIRD PRINTING 1974 FOURTH PRINTING 1986

DEDICATION

F O R E W O R D

A N D

I decided to compile and write this encyclopedia while attending a magicians’ convention eight years ago. A friend in magic with whom my wife and I spent much of our time and with whom I talked silk magic for hours was so grateful for the knowledge gained from our informal discussions that I felt there must be others interested in silk magic who would find an encyclopedia of this, the most beautiful of all magic, of value to them. To compile and write on encyclopedia is a tremendous task, and some of my friends attempted to discourage me in my undertaking. It had to be done in my spare time, and as nothing like it had ever been attempted before, material had to be gathered from the four corners of the earth. Wishing to make this work as authentic as possible, I spent several years seeking confirmations and permissions from magicians whose names were associated with various tricks. When the material was compiled I was faced with the problem of presenting my writings to my readers. Much of silk magic is difficult to explain even in person, and few authors have done a first class job in print. Not wanting to publish just another book, I decided to use thousands of illustrations in several volumes, supplemented by text where necessary. Francis B. Martineau, a prolific creator and performer of unusual effects in magic and a paramount illustrator, was engaged to do the illustrations and lettering. Shortly after he started his tremendous assignment war was declared, and Francis enlisted. However, his interest in the project prompted him to design and build a special kit in which to keep his art materials. This kit went with him throughout his activities in the European theatre of war.

A C K N O W L E D G E M E N T S A work truly encyclopedic must include contemporary material. While none of the material herein was taken verbatim from previously published copy, permissions were sought and obtained. I am deeply grateful to all of those who have supported my project with such enthusiasm and assistance. Several dealers supplied illustrations made at their own expense of all of their silk effects, and many publishers favored me with copies of their books for my convenience. Particular mention of appreciation is due Eric C. Lewis of Northamton, who, although active in military affairs, found time to compile and forward descriptions of silk effects that originated in England. I have credited each source with a courtesy line throughout the text, and although there may be instances where others will claim prior authorship or invention, I have been as accurate as is humanly possible. I am deeply grateful to John Braun for the reading of the entire manuscript and for numerous invaluable suggestions and criticisms. He have generously of his time whenever I called upon him for technical information and verification. AT this reading Volume Two is under way, to be followed by a third and possibly a fourth volume. When the series has been completed I hope to have given the profession a complete illustrated thesis on practical silk magic. Harold R Ricr

C O N T E N T S Dedication………………………………………………………………………………………………. Foreword and Acknowledgements……………………………………………………..

V VI

CHAPTER ONE The Romantic Story of Silk…………………………………………………………………

1

CHAPTER TWO Dyeing Your Own Silks…………….……………………………………………………………

15

CHAPTER THREE Methods of Folding Silks………………………………………………………………………

33

CHAPTER FOUR (NON-APPARATUS METHODS) Methods of Producing a Single Silk……………………………………………………

57

CHAPTER FIVE (APPARATUS METHODS) Methods of Producing a Single Silk……………………………………………………

87

CHAPTER SIX Non-apparatus Quantity Productions…………………………………………………

145

CHAPTER SEVEN Apparatus Quantity Productions…………………………………………………………

181

CHAPTER EIGHT Vanishes……………………………………………………………………………………………………..

289

CHAPTER nine Changes………………………………….………………………………………………………………..…

361

CHAPTER Ten Transpositions…………………………….…….…….…….…….…….…….…….…….…….……..

399

The Romantic story of Silk Introduction For this most beautiful of all textiles, we must thank the lowly silkworm. The filament it spins to make its cocoon provides the fibers from which silk is made. Silk dates back to 2700 B.C. in China and the secret of its production was closely guarded for many centuries. The silkworm industry is foreign even today, centered chiefly in China, Japan, Italy and France. The United States, however, ranks first in the manufacture of silk fabrics.

A Brief History of Silk Magic It is interesting to note that silks and effects employing their use were almost neglected prior to the latter part of the nineteenth century. Before that time the cambric handkerchief was employed in magic. Robert Houdin was one of the first to make use of the silk handkerchief. The “ VANISHING HANDKECHIEF” and the first application of the “HANDKERCHIEF PULL” are accredited to him. Buartier de Kolta was the first to appreciate the many possibilities of the silk handkerchief. He applied his inventive genious to silks, and first presented silk effects that were complete tricks within themselves. Professor Louis Hoffmann explained a few silk effects in his “MODERN MAGIC” and “ MORE MAGIC”. However, the offerings in his “LATER MAGIC” are generally considered the best of his contributions to the profession. Many of the basic principles of today’s silk magic will be found therein. Since Hoffmann, the development has been a very rapid one. Numerous silk effects have been created, the more practical ones being marketed by the various dealers of magical supplies. Such creations will be discussed in detail in later chapters of this book. The present day performer finds it difficult to assemble material representative of today’s magic. While numerous manuscripts have been placed on the market since the work of Hoffmann, these are scattered. There has been no recent publication of any size devoted exclusively to the art of silk magic.

In view of the foregoing, I have assumed the tremendous task of assembling this voluminous material into one or more volumes. I hope to make this research as extensive and as complete as humanly possible. May the works of the masters of both the past and the present inspire the silk artists of the future!

Types of Silks Available SOLID COLORS The first silks used in magic were the solid color variety, Figure I. These were dyed in various vivid hues, red and green being most popular. Soon a silk of solid body with wide borders of white or contrasting colors put in its appearance. Both styles of silk are in use today. The plain solid-color style is more popular however, the wide border silk having certain disadvantages when used in effects requiring the knotting of two or more silks together. Further, the wide border adds additional bulk to the silk and this is often undesirable. Finally, plain silk is less expensive, quality being equal. RAINBOWS This particular type of silk is dyed in several colors, the arrangement of the colours forming a geometric pattern. It is difficult to credit the individual responsible for this creation for written records shed no light on its origin. Based on the famous “tile-and-dyed” principle, “rainbow” dyeing is quite old, dating back into the early history of the peoples of Asia. Regardless of their origin, rainbow silks play an important part in the various silk effects of today, many of which would be impossible without them. The term “rainbow” is often misinterpreted. Some magicians have likened it to the rainbow of our heavens. Such conception would classify only those silks of a diagonal pattern as “rainbows”. The original term was

intended for much broader treatment, rainbow meaning any geometric pattern made up of a number of the colours of the rainbow, without any particular reference to any specific pattern. Thus, any multi-colored silk, whether its pattern be made up of diagonal strips, colour radiating from the center ( incorrectly called “ sunburst silks”) , or pattern of similar arrangement, should be correctly termed a rainbow silk, Figure 3. PRINTED SILKS The latest contribution to silk magic has been the printed silk, excluding flags. Silk flags (commercial) have been available to the magician for many years. However, these flags were not designed for magical use and were not as practical as those printed exclusively for the magician of today, Figure 4. Records show that the L. Davenport Company of London, England, was among the first to produce printed silks in any quantity. The patterns offered included a butterfly, a dragon, a rabbit-in-hat, and other designs. A few years later the Silk King Studios of the United States of America introduced their own line of printed specialties. Figure 5. Just at the out-break of World War No. 2, Silk King Studios announced a new style of printed silks titled “ Symphony Silks”, Figure 6. These, as cataloged, were made up in various patterns resembling those formerly offered in the rainbow series. However, the were described as “machine printed”, while the “rainbows” were dyed by hand. These new printed silks seem to be superior to the earlier “rainbows” as they are advertised as washable, containing fast colours. Most “rainbows” cannot

washed due to this dyeing process involved, as explained in Chapter Two. While the printing of patterns on silks has been a well-established commercial process for some time, the printing of special silks for the magical trade is relatively new. Such procedures are rather expensive and the volume of sales realized by any one magical manufacturer did not justify an outlay of the necessary capital to undertake such an enormous task. By specializing exclusively in silks and silk effects, Silk King Studios made printed silks possible for the American magical profession, just as Davenport did for the English magicians.

Graded Silk and its Construction PURE SILK Magicians can be reasonably assured of obtaining pure silk by purchasing from nationally recognized dealers. “Just-asgood” substitutes are never bargains, regardless of their original cost. To present silk magic effectively, the performer MUST have the best of PURE silk. Inferior materials invariably contribute to an inferior performance One of the simplest tests for pure silk is to remove several threads from the silk and to burn them, Figure 7. If the material is pure silk it will burn slowly with a

small flame. It ignites more readily than wool and less readily than cotton’ the flame is easily extinguished. Pure silk leaves a crisp, black, roundballed ash, which crushes very easily. It gives off an odor like burning hair or feathers. To be assured that the entire piece of material is PURE silk it is necessary to test both vertical and horizontal threads since through skillful mixture or substitution in manufacture it is possible to weave two or more different types of fibers into the same material. Thus rayon or Celanese could be mixed with pure silk, unknown to the purchaser. Rayon leaves almost no ash, that which is given off being black and powdery. Rayon ignites easily and flashes with a yellow flame, like cotton. It gives off a faint odor like burning paper. Celanese leaves a hard, shiny black ash. It burns more rapidly than rayon and gives off a blue flame, the material appearing to melt. It sputters and puckers as it burns. Burning Celanese has an odor of slightly sour vinegar. WEIGHTED SILK Unless silk is processed to specification at the source of manufacture, it will invariably contain a certain amount of foreign substance known as weighting of SERCIN. Untreated silk is most difficult to hem and it is a common practice to add this “silk glue” or SERCIN to facilitate handling. SERCIN represents from 25% to 40% of the total weight of bolt silk. It coats heavily the fiber of the silk, giving a harsh brittle effect. Once the silk is cut and hemmed into specified sizes, this foreign substance should be removed. This practice will usually double the life of a silk. SERCIN is seldom removed from commercial silk. However, it must be remembered that silk used for magical purposes is handled under entirely different conditions. Such silk is at times crumpled in the hands or pushed through tubes repeatedly. A coating of SERCIN can be likened to a thin sheet of ice that has been coated over both sides of the silk. If a silk, so created, is crumbled into a small ball and then viewed under a microscope, one is likely to find hundreds of jagged “saw-toothed edges”, where the “ice” has crocked.

The harmful stiffness caused by the presence of SERCIN has the same qualities as the ice. When a silk is crumpled, this substance “cracks”, leaving scores of “saw-toothed edges to cut into the delicate fibers. Weighted silk (silk containing SERCIN) ignites with no flame. It glows and chars. It leaves a heavy ash and when burning gives off an odor like burning hair or feathers. It is therefore most essential that all weighting be removed before a silk is dyed or used. It is not difficult to remove it. The silk should be placed in a large basin of water and allowed to remain there overnight, Figure 8. It should be removed the next day, rinsed in fresh luke-warm water, Figure 9. and finally allowed to dry, Figure 10. It can then be pressed and put into immediate use, Figure II. CAUTION! Before attempting to remove SERCIN, be certain that the colors are fast. Solid-colored silks of different colours should never be placed in the same basin. Rainbows cannot be so treated unless the manufacturer definitely states that the colours are fast. Most manufacturers remove the SERCIN before dyeing rainbow silks. The wise magician will insist on silks manufactured under intelligent and scientifically controlled conditions.

GRADES OF SILK Few magicians stop to consider the fact that, as in all fabrics, there are various grades and weights of silk. It is generally accepted within the profession that so called “China Silk” is preferred to “Jap Silk” for magical purposes. While this is the layman’s method of designating the grade of silk desired, there are actually nine (9) grades of each weight of silk. Briefly, silk is graded as follows: FIRST QUALITY (Red ink markings) • Special • Select • Ordinary

SECOND QUALITY (Blue ink markings) • Special • Select • Ordinary

THIRD QUALITY (Black ink markings) • Special • Select • Ordinary

Silk sold by reliable dealers is never poorer than Select First Quality material. This is the best that can be obtained on the open market. Several dealers import direct, having their silk made to specification. This is the very best that can be obtained, being Special First Quality material. Space will not permit a detailed discription of various markings, etc. But the magician interested in doing his own silk dyeing should ask to see the markings on the end of the bolt. If these are in RED ink, the silk is first quality, although it still can be any one of three grades. Silk marked in BLUE ink is of second quality and that marked with BLACK ink is of third quality. Blue and black quality material is intended for commercial use where it receives little or no handling. Such silk is frequently used to manufacture shower curtains or to line caskets and is not suitable for magical use, although it has appeared on the market for such purposes. WEIGHTS OF SILKS The weight of silk is referred to as “momme”, a term meaning weight. For general purposes, six momme is recommended. Silk of a lighter weight will not withstand the punishment received through frequent manipulation. Silk used for productions can be five or six momme, the former being preferred. However when five momme silk

is used, it should be loaded into the production apparatus with extreme care. As silk of this weight is quite thin, it will snag easily, regardless of the quality of the material. Silk used to conceal other silks or materials used in the effect should be seven or eight momme. Silk of these weights is more expensive and therefore is seldom used by the manufacturer. Effects such as Blendos, mechanical Color Changes, and the “bag silks” in 20 th. Century ‘Silks should be made of this heavier weight. While the use of this better material makes it necessary for the dealer to ask a few cents more for this superior product, the customer should place quality above price. He will be omply repaid through the satisfaction received from the better product.

Standard Sizes of Magical Silks Bolt silk comes in two widths, 27” and 36”. To eliminate waste, silks are cut to fit within the original width limitations. Silk 27” wide can be made into squares 27” x 27”, or can be cut lengthwise into strips of various widths. Squares measuring 12” x 12” and 15” x 15” or others 13” x 13” (after hemmed) can be made from these strips. The 36” wide silk is much more popular with manufacturers. Squares measuring 12” x 12”, 18” x 18”, 24”x24” and 36”x36” can be made from 36” material, without waste. In view of the above mentioned limitations, standard sizes of silks are squares measuring 12”, 15”, 18”, 24”, 27” and 36”. Some dealers offer lengths of silk various widths. These are called “streamers”. While any width can be cut from a 27” or 36” wide bolt, the standard widths of streamers are 6”, 12”, 18”, 24”, 27”, and 36”. Silks larger than 36” wide must be pieced together. These mammoth silks are usually used for production purposes and are produced last from the production apparatus, forming a pleasing climax to the effect. While various sizes are

affered in this mammoth style, the most popular with magicians is the 6’ 6’ square.

The Care of Silk

GENERAL SUGGESTIONS Silk is a delicate material and must be given every consideration if long life is expected. Follow the listed suggestions carefully. 1. Silks are folded to facilitate shipping. These folds should be removed upon receipt of shipment. 2. Silks should be given frequent use whenever possible. Inactive silks should be “aired” at least once a month. 3. When possible, silks should be kept in their original sets. When a silk is borrowed from one effect for use in another, it receives more use and this added wear is quite evident when the silk is used with the others of the original effect. 4. Silk is an animal fiber, and will “rot” with age, Silks that are used frequently will outwear those stored for long periods of time. 5. Silks should be kept clean and fresh. Frequent pressing, if properly done, will not harm silks. WASHING SILKS Unless silks become obviously soiled, it is not wise to wash them. Washing silks, especially rainbows, is an art in itself. Solid colored silks or printed silks of guaranteed fast colors can be washed with ease. Some performers wash their solid colored silks before using them to remove any undesired SERICIN that might be present. However, a good quality silk that has been purchased from a reliable dealer should not require any such “advance” washing. 1. Solid colored silks and printed silks (fast colors) are washed in the same manner as a pair of silk stockings Silks of like color can be washed in the same water. The water should be changed with the washing of each new color 2. Few rainbow silks are dyed in fast colors: these should not be washed unless it is absolutely necessary. It is safer to have rainbow silks dry-cleaned.

3.

4. 5. 6. 7.

When washing rainbow silks, use luke-warm water. Add a very mild soap such as LUX to the water, forming a good suds, Figure 12. Rotate the silk in the water, allowing the water to circulate through it freely, Figure 13 Rinse under cold running water. This removes any suds or loose dirt and sets the colors again. Squeeze the silk between the hands, forcing the water from it. Do not twist or wring the silk, Figure 15. Hang a rainbow silk at its full length so it cannot overlap. Should part of the silk overlap, the pattern may fade into the other part of the silk.

PRESSING SILKS Some prefer to press the silk while it is still damp; others contend that it should be thoroughly dry before it is pressed. If a silk is still damp when it is pressed it is free of any little wrinkles. However it will not be quite as soft and fluffy as one that is pressed after it is dried. Either procedure has its compensations. 1. If the silk is dry when it is pressed, the iron should not be too hot as it will scorch the silk. Silk sticks to an over-heated iron.

2.

3. 4.

If the silk is damp when it is pressed, the iron can be quite hot. However, the ironing board should be heavily padded. The heat passes through the silk into the padding. This is more of a steaming than ironing process. The folds in a silk should be changed with each pressing. This adds life to the fabric. AT times a silk will have a pulled or drawn thread in it, running deep into the material, Figure 16. This often occurs while the silk is being hemmed and escapes the notice of the manufacturer. A silk is by no means inferior if received in this condition, as it is possible to pull the best of silk. To remove this pull, start at the center of the silk and press outwards towards the hem, Figure 17. This action equalizes the tension on the pulled thread and restores the silk to its original state.

STORING SILKS Silks that are to be stored for a period of less than a month can be folded as desired and placed in a box of suitable size. Silks that are to be stored for on indefinite period of time should be prepared as follows: 1. Press out all creases that may be in the silks. 2. Wrap the silk around a suitable object such as a mailing tube, Figure 18. Some performer store their silks in a paper or cloth window shade purchased from the ten-cent store. The shade is opened out flat, the silks piled on the shade, and then the shade is wrapped around the roller again, Figure 19. Smaller silks can be hung on coat hangers by attaching them with a small clothespin of the clip type Figure 20. 3. A sheet of heavy brown Kraft paper should be wrapped around the roll of silks to exclude

any strong light, thereby eliminating the possibility of the colors fading. THREAD ENDS Sometimes a silk will be received with one or two long threads extending from the body of the silk. These are ‘end” threads. In the original weaving a spool of the warp or weft thread ran out and a new one was started. ON examining the silk it will be noted that the new thread starts back one or more rows before the old one ends so as not to weaken the material, Figure 21. “End” threads are common and their presence does not necessarily indicate inferior quality. These are usually clipped before they leave the weavers, but some pass through the inspectors unnoticed. Should a silk be received with one or more “end” threads, these should be clipped (not pulled) before being used. To clip threads, lay the silk flat on a table and hold the loose threads in a vertical taut position. Clip the thread from the silk with a pair of scissors, being careful not to snip part of the silk proper as well, Figure 22. Now press the silk and it is ready for immediate use Have no fear of the silk deteriorating after the “end” thread is removed. It is properly woven to permit this clipping procedure.

DYEING Your Own SILKS Introduction

1

Few magicians care to do their own silk dyeing as most silk items can be purchased from a reliable dealer for less than the cost and time involved in doing one’s own work. However, there are those that feel so inclined, and a number of practical suggestions are disclosed for their benefit. Then too, although the reader may not care to try his hand at this art, the information may prove of interest to him. Finally, a performer may need a special silk and cannot obtain it through the regular dealer channels. By following the plans set forth in this chapter he can do his own work to his complete satisfaction.

Preparation

2

A number of simple items are required. They will differ with the process being followed. These properties will be treated separately in each instance. REMOVING WEIGHTING Before doing any special silk work, the weighting or sericin must be removed. The details of the procedure are given in chapter I. Once this foreign substance is removed the silk is ready for a special dye job. TYPES OF DYES While many dealers use regular household dyes such as Tintex, Rit, or Diamond Dyes, these are not recommended for use on magical silks. These colors are not in a concentrated form and do not give the desired brilliant colors so characteristic of the silks used for magical purposes. The best type of dye to use is known as ‘Basic Aniline Dye, (concentrated)”.

This can be obtained in powder or liquid form from most art stores. If larger quantities are desired, purchase dyes from o reliable manufacturer of dye stuffs. The E.I. Du Pont De Nemours Company of Wilmington, Deleware, has offices throughout the United States, and carries a complete line of suitable colors. It is important to use BASIC dyes as ACID dyes have a tendency to ‘run’ much more readily. PROTECTIVE APPAREL Regardless of the procedure to be followed, it is advisable to wear a pair of rubber gloves and a protective apron, preferably rubber. As aniline dyes are fast, it is almost impossible to remove dye stains of spots from clothing. Should the hands become stained, they can be cleaned with alcohol.

Dyeing Solid Colors

3

Fill a vessel about half full of hot water. To this add enough dyestuff to obtain the desired shade. The color will get deeper as more dyestuff is added. The exact quantity cannot be recommended here as some are stronger-than others in their concentrated state. Small pieces of silk can be used as test strips and dipped into the liquid to determine the strength of the color, Figure I. It is well to remember that colors dry several shades lighter than they appear in their wet stage. If the dye-stuff is in a liquid form, it is poured directly into the vessel of hot water. Powdered dyes must be treated in a different manner. Several teaspoons of the powdered dye should be placed in the center of a square of muslin measuring about 6” x 6”, Figure 2. The corners are then brought together and the square tied directly above the dye-stuff with a length of string, forming a bag, Figure 3. The dye-stuff’ cannot escape.

Hold the bag so that the dye is covered with water and swish it around in a circular fashion, Figure 4. The water will disolve the dye and color the water. Continue until the liquid is of the desired shade. Now remove the bag and lay it aside. Hold the silk to be dyed under hot running water until it becomes saturated. Squeeze out the surplus water and place the silk in the liquid bath, expanding it so that it receives an equal distribution of dye; otherwise one part may dye a darker shade than the other. IF the silk is swished gently around in the bath it will dye more evenly than if allowed resting in one spot. The longer it remains in the dye bath the darker it becomes. When it is of the desired shade, remove it and rinse the surplus dye away under cold running water, then hang it up to dry. Note that the dye bath contained hot water; the silk was placed in hot water before dyeing; the dyed silk was rinsed in cold water. When the dye and the silk are hot the color penetrates the fibres. The cold water “rinse” sets the colors. This process eliminates the tedious procedure of boiling the colors into the silk.

Mottled Silks

4

A very interested mottled pattern can be obtained with a minimum amount of effort and with little or no skill. A flat surface such as a table should be covered with five or six thick nesses of newspaper. The piece of silk is rinsed in hot water, the water squeezed out, and the semi-dry silk placed flat upon the papers, Figure 5. One or more vessels of prepared dye ( see SOLID COLORS) are set nearby. In addition, a number of pieces of rubber sponge (of small pores) are needed. A piece of sponge is dipped into the desired color. Only a small amount of dye should be allowed to enter the sponge; should the

pores fill completely, part of the liquid should be squeezed back into the vessel. With the sponge loaded with colored liquid, tap it gently on the silk at various spots, varying the pressure being applied. This will give a pleasing mottled effect, Figure 6. Once the technique has been mastered, more elaborate coloring arrangements can be carried out. For example, a rather wide spread pattern of blue can be first applied. This can be supplemented with an application of red on the areas not previously covered. At times the red may slightly overlap the blue giving an interesting purple tinting. There is still another possibility. In the above mentioned suggestions the silk is white. A square of yellow, treated in the same manner, will produce different results. It can be mottled with red and green, with a small dash of orange added. The possibilities of mottled silks are almost unlimited. However, there is one limitation that must not be overlooked. Certain colors will not blend when mixed and are known as “opposites”. For example, if a red is sponged over green, the mixture will be on uninteresting gray or muddy brown. It is advisable to try various combinations on scrap material before venturing into the main project.

Tie-Dyed Silks

5

Most of the “rainbow” or “vari-colored” silks used in magic are dyed through some variation of the ‘tie-dyed” process. This is on ancient Indian and Javanese art and is even today one of the most fascinating of art forms. Anyone can do tied-and-dyed

work, and with a little experimenting and practice highly artistic color and pattern effects may be obtained. Tie-dyeing employs the old principle of ‘resist-dyeing’ which is provided by bunching the material into knots or winding with string, tying tightly, and dipping in dye. The knotted or tied portions resists the dye, retaining the original color of the cloth.; The silk is then held under cold running water to set the colors. Finally the strings and knots are removed and the silk opened out flat and placed upon a pad of newspapers of five or six thicknesses. Final ‘touch-ups’ can be added with a brush if necessary. The silk is allowed to dry before it is pressed. The first pressing should be with a hot iron, as this helps to set the colors. COLORS If all exposed portion are to be the same color, the entire piece is immersed in the dye solution after the bindings are in place. If several colors are to be used, each portion must be immersed separately in its color solution. The surplus color should be squeezed from the silk before a new color is added. To get a clear-cut design, dip the material into the solution up to the bindings, being careful to avoid any overlapping of colors. Often the most beautiful effects are obtained by overlapping the colors, thereby blending two colors together to make a third. Apply the lightest colors or tints first, and those of greater depth lost. If colored silk is used, it will affect the final colors. For example, blue dye on light pink will become lavender or purple. It is better to try a small sample first, remembering that color, when wet, is deeper than when it is dry. DESIGNS An almost endless variety of artistic designs may be obtained by variation in tying and knotting. Small geometric forms are obtained by tying the silk over cubes, marbles, pebbles, buttons, etc.. To make a square design, the silk square is as shown in Figure 7. Corner ‘Dr’ is folded over on top of corner ‘B’, Figure 8. Corner ‘A’ is folded over on top of ‘C’, Figure 9. The silk is folded on ‘O-X’, Figure 10, and finally on ‘O-Y’, Figure 11.

The result is a long narrow strip, triangular in shape. This is tied with string at various intervals, the spaces being determined by the desired widths, Figure 12. The finished silk is illustrated in Figure 13

To make a circular or Sunburst pattern, pick up the silk at its center with one hand and pull it though the other, creasing the silk do awards evenly, Figure 14. Bind it at desired intervals, Figure 15. The finished silk will look the one shown in Figure 16.

To make a diagonal pattern, fold a square of silk as shown in Figure 17, 18 and 19. Now “all folded silk into a long tube like bundle, Figure 20. Tie it at the desired intervals, Figure 21. Here again the exact spacing will vary with the taste of the individual. The finished silk is as shown in Figure 22.

Twist-Dyed Silks This is merely a variation, of the tied-dyed process. The finished silk resembles a silk dyed by the “mottled” process. The silk is folded and twisted, producing a soft, wavy effect. Fold the material lengthwise in even folds, accordion fashion, Figure 23. Twist the silk as tightly and as evenly as possible, Figure 24. Fold the silk back on itself, Figure 25. and allow it to twist to-gether naturally, Figure 26. Now dip the silk in a desired color. Two or more colors may be used, dipping certain portions of the twist in different colors. The resulting pattern will be like Figure 27.

6

An interesting all-over pattern can be obtained by applying one color while the material is twisted lengthwise, and another with the twist running crosswise. To dye such a pattern the silk is folded as shown in Figures 23,24,25 and 26. It is dipped into any desired color. The silk is opened out once more and folded again. However, instead of pleating the silk lengthwise, Figure 23, it is pleated crosswise. Then the steps illustrated in Figures 24,25 and 26 are followed, and the prepared silk dipped in another color.

Stenciled Silks

7

None of the previously mentioned techniques is suitable for work that requires a controlled outline. Such work must be done by the use of stencils or hand-painting. Frequently a performer desires a silk with a special lettering or an illustration on it. Unless this special silk can be produced in quantity, it is much less expensive for the individual to do his own work than it is to have it done by a magical house. Stenciling is not difficult but it requires considerable time to do, a fact only realized by those who attempt such work themselves. The process is simple. The desired design or lattering is carefully drawn on a sheet of ‘stencil paper”. This is turn is placed on a padding of newspaper or cardboard and the outline cut through with a sharp singleedges razor blade, Figure 28, or a special stencil knife which can be purchased at an art store, Figure 29. This gives a stencil sheet with the desired design or lettering cut away, leaving an opening through which the color is to be applied, Figure 30. There are various kinds of paper suitable for the stencil. If but one reproduction is to be made, a good grade of heavy

Kraft paper is satisfactory. However, much better results can be obtained by using a sheet of oak-tag, the type of paper used to make filefolders. Oak-tag is obtained at most paper stores and is offered in sheets of various sizes. Any paper or thin cardboard that is rather hard is satisfactory. Porous papers of soft textures are not desirable as they absorb the colors and usually give a fuzzy edge along the outline contour. After the stencil is prepared the silk is stretched over a board. Some prefer to place a large blotter between the board and the silk to absorb any surplus dye that might penetrate the silk in the stenciling process, Figure 31. Professionals apply the color with an ‘air-brush’. If there is a sign-painter in the community, have him spray the color on the silk. Once the stencil is prepared, it requires but a few minutes to apply the color, and the cost will be slight. The colors used should be the basic aniline type as explained earlier. However, once the powder is transformed into a concentrated liquid form, the mixture should be diluted with alcohol instead of water. When the color is sprayed on the silk the alcohol evaporates soon after the color, hits, leaving a pattern that is sharp and distinct. If an ‘air-brush’, Figure 32 is not available, the new Textile Colors can be brushed in with o stencil brush. Full instructions for their use accompany each outfit and additional details will be given in a special section to follow.

Painting With Home-Made Colors

8

Thousands of years ago the ornamentation of fabrics by means of painting was an authentic and important art expression. IN fact the oldest known example of fabric decoration (2300-2500 B.C.) is a piece of painted muslin, found in an old Egyptian tomb and attributed to the eleventh Egyptian dynasty.

Decorative painting on fabrics is still a pleasing and fascinating accomplishment which may express great ingenuity of design and beauty of color. You need not be a talented artist to paint fabrics. No skill is required. Time and patience are the basic factors in textile pointing. COLOR PREPARATION Prepare a gum thickener as follows: ½Oz. Powdered Gum Traqacanth. 1 Qt. cold water. 1 Teaspoonful Formaldehyde or 10 drops of Carbolic Acid. Allow the powdered gum to soak in the water for 24 hours while it swells to a gelatinous mass, stirring it occasionally. Add the formaldehyde or carbolic acid and beat with a fork or an egg beater until the mixture is perfectly smooth. Bottle the mixture in a tightly corked container. Fill a small jar or wide-mouthed bottle about two-thirds full of the gum thickener. Disolve a teaspoonful of powdered online dye in a third of a cup of boiling water. Strain the dye into another container. Add enough of this dissolved dye to the gum to produce the desired depth of color, and shake vigorously to mix. The gum solution prevents the dye from spreading on the silk. Test the consistency by making a few trial strokes on a scrap of silk with a camel’s hair or red sable brush. To thicken, add a small amount of the gum solution, To thin, or increase the color strength,

add dye solution. It is proper consistency when it is just thick enough to prevent running and brushes on easily without stickiness. Kept in tightly closed containers, these paints may be used indefinitely. APPLYING THE DESIGN Any weighting that might be in the silk must be removed. The silk is then pressed free of any wrinkles. Stretch it smoothly over a large sheet of wall-board and faster it with small thumb tacks. It is advisable to place blotting paper between the board and the material to absorb any excess paint that penetrates the silk. Either draw the design directly on the material, or apply the design by using carbon paper. Many lovely transfer designs are specially prepared by pattern makers for textile painting. Very sheet silk is semi-transparent and the design can be drawn on the blotter instead of the silk. Large white blotters can be purchased from any printing house for a few cents.

PAINTING TECHNIQUES Painting on textiles differs very little from other types of brush work. Because of the quick absorption of the paint by the cloth, the brush is more quickly drained of its color. Long sweeping strokes are not possible. Point boldly with short, firm strokes. Do not carry excess color in the brush as the silk may pick it up and on ugly blot is the result. When the paint consistency is correct, clear sharp outlines are obtained. Very fine lines can be pained with small brushes.

Use a saucer or small dish to mix small quantities of special shades. When using standard shades, dip the brush directly into the jar. Clean the brushes carefully before using another color, and remove any hardened paint by soaking the brush in cold water. Remember that the dyes are transparent and therefore the original color of the silk affects the result. Light tints are obtainable only over white or very pale colors. It is advisable to use a pure white silk for this type of work.

SETTING THE COLORS After completing the pointing, allow the material to dry thoroughly. Then place it between damp cloths and press with a hot iron. This ‘sets’ the colors and the cloth absorbs the excess dye and gum, leaving the painted silk soft and pliable. If the cloths are dipped in white vinegar before placing a silk between them, the vinegar aids in setting the colors. To clean use gasoline or a similar dry-cleaning solution. The hand painting material is cleaned in the same manner as any other fabric requiring this treatment.

Eric C. Zewis’s method

9

Stretch the silk tightly over a board that has been previously covered with a large sheet of blotting paper. Now prepare a stiff starch paste as follows: 1. 2. 3. 4. 5. 6.

Grind two tablespoonfuls of a good quality starch into a cup. Add sufficient cold water to form a very stiff gummy mass. Stir until very smooth. Add boiling water in very small quantities, stirring continually. Continue until the mixture becomes a pale blue. Stop adding water at this point. Continue stirring for a few minutes, forming a stiff paste.

The paste must be used while hot. Brush it freely over the stretched silk and allow it to dry thoroughly. When dry, sketch or trace the design on the silk. Now the silk is ready for painting, the starch coating preventing the colors from running. Any water-proof dye can be used. Some use water-proof colored inks. Aniline dyes are excellent. Regardless of the type of dye used, the solution should be hot while painting with it. Allow each color to dry thoroughly before adding another. After the picture is completed and all the colors are dry, wash the silk in warm water. This removes the starch. Allow the silk to dry again, and then press it between two damp cloths previously moistened with white vinegar.

Batik Dyeing

10

The ancient Oriental art of Batik was originally used as a subtle form of textile decoration for special costumes, and reached its highest form of development in Java, India and Japan. The word ‘Batik” is Javanese, and means to apply design on a fabric with wax, after which it is dyed. The wax prevents the part covered from absorbing the dye. More wax may then be added to other portions and the material dipped in another color, continuing this process until very elaborate designs are created. The wax is then removed by heat or gasoline.

PREPARING THE SILK The material should be washed to remove any weighting. The silk is then pressed free of wrinkles and attached to a frame. A special frame resembling a picture frame is necessary for Batik work. Assuming that a piece of silk 36” square is being used, the frame should measure about 34” on its inside dimensions. This allows a I” overlap of silk on all sides. The overlapping portions are tacked to the frame at equal intervals, Figure 33. Before the silk is attached to the frame the design should be applied to the material. Sketch the design in lightly with a soft pencil. If the silk being used is very thin, the design will show through the silk and it is very easy to trace it on to the material. It is also possible to transfer the design on the silk with a carbon paper.

WAXHING THE SILK Wax made of equal parts of paraffin and beeswax gives good results. The wax must be kept uniformly hot so that it will flow freely and evenly from the brush.

of tool. An electric grill or alcohol lamp can be used to keep it hot, or better still, place the wax dish in a pan of boiling water to avoid burning both the wax and the brush, Figure 34. If the silk has been properly attached to the wooden frame, Figure 33, there is a working surface 34” x 34” that does not touch the frame. This area should never be allowed to touch any other surface while waxing as the wax will stick and break when pulled away, allowing the dye to penetrate the broken spot and thus ruin the pattern. The wax outlining may be done either with a fine camel’s hair brush or a special Javanese tool called the “tjanting” which sends the hot wax through a tiny spout in very fine lines, Figure 35. These tools are obtainable at most art stores. Larger spaces may be filled in with a broad brush. DYEING THE SILK Prepare a number of dyeing vessels with the desired colors. The dye-bath should be lukewarm. IF it is too hot it will melt the wax. The vessels should be large enough to accommodate the dye and material without crowding. Any water-proof colors can be used, aniline dyes being preferred. Test the shades with small test strips of silk to obtain the desired depth of color, remembering that colors look darker when they are wet. Remove the waxed material from the frame and immerse it in the dye bath. Several dippings in a weak solution will give a more permanent color than one quick dipping in a strong color. Dip the silk in light colors first, deep colors last. Always remove the material before adding more color solution. If the dye bath is too hot it will melt the wax; if too cold the wax will crack, After dyeing, rinse the piece thoroughly, drain or ‘blot’ the water from the material by placing it between

two clean dry cloths, and hang the silk on the line to dry.

REMOVING THE WAX When the piece is thoroughly dry, remove the wax by placing the silk between two sheets of clean white paper. Place several thicknesses of newspaper on each side and run a hot iron over it. Remove the remaining wax by dipping the silk in gasoline.

ADDITIONAL COLORS At this stage of the process the silk is colored where it was exposed (areas carrying no wax) and white where it was protected with wax. Some may prefer to add additional colors. The silk is now ready for the second waxing and the application of the second color. Remember that this second color will penetrate every portion not covered with wax. The process of waxing and re-dyeing is repeated until the Batik is a completed, harmonious design.

Crackle Batik

11

To produce a crackled effect or a fine all-over moss-like pattern, dip the entire article in dye after the design has been applied by the regular Batik process. Now crumple the silk in the hands, cracking the wax-coating which is now applied to penetrate the broken places. Remove the wax as previously explained above. A speedy “mottled” pattern can be obtained by dipping a pure white silk in wax. After the wax is dry continue as suggested above. By dyeing each silk a different color, an assortment of contrasting colored silks can be prepared in a very short time.

Outline Batik

12

This is a method of getting Batik effects quickly by outlining each area to be dyed with a narrow line of wax and painting in the spaces with a brush. The wax lines act as stoppers for the separate colors. When dry, remove

the wax and press the silk between damp cloths to set the colors and remove the excess dye. A wax crayon can be substituted for the liquid wax if desired. Outline the design with a good quality wax crayon of a light color. Then continue as explained above.

Textile Color Painting

13

A number of commercial preparations specially prepared for painting on textiles have recently appeared on the market. One type known as “Prang Textile Colors” is highly recommended and can be obtained from most art stores. A special stencil brush is made up of stiff bristles similar to those in an artist’s oil brush, Figure 36. The color can be painted on the silk but more pleasing results are obtained by the stencil process. Less color is used in stenciling and the silk retains its original soft and fluffy texture. Textile colors are very vivid and have certain advantages over other coloring preparations. They are very easy to apply and once dry they are fast, making it possible to wash the silk in ordinary soap and water. Full directions are supplied with each color kit. Those interested in doing their own silk painting are urged to investigate this latest art product.

Methods of FOLDING Silks Introduction

1

The proper preparation of the silks before the actual presentation plays a large part in the success of silk magic. Few magicians know the proper methods of folding silks, for few silk manuscripts give this important information. Each of the methods of folding to be described in this chapter has its individual characteristics, and the particular fold to be used will be governed by the use to which the performer intends to put it. These folds are the standard ones. Additional folds designed for definite routines or to meet particular situations will be given in later chapters. The reader should acquaint himself with them all.

Single Silks

2

TRAP-FOLD This fold is recommended for loading silks into a dye-tube or where the silk is to be pushed upward into a bottomless glass, or through a trap. It is made as follows: 1. Lay the silk out flat on a table, Figure 1. 2. Fold the corners in to the centre of the silk, Figure 2. 3. Repeat operation 2 over and over until the silk is folded into a bundle mall enough to meet the particular requirements, Figures 3 and 4. 4. When loading a “trap-fold” silk into a dye tube, the centre of the silk should enter first – the corners last, Figure 5. When the silk is pushed out, the corners will expand first.

COIL-FOLD This fold is excellent for preparing silks that are to be produced from the apparently empty hands. The “coil-fold” silk can be manipulated like a billiard ball and is one of the best folds for general manipulative purposes. It is made as follows: 1. 2. 3. 4. 5.

6. 7. 8. 9.

Lay the silk out flat, Figure 6. Fold the diagonal corners “A and C” to the centre, Figure 7. Fold the doubled portions in half again, Figure 8. Repeat this operation until the strip is but 3” wide, Figure 9. Fold one half of the strip over on the other, making a long narrow band 1½ wide, Figure 10. Fold about 2” of end “B” back upon the silk at right angles to the strip, Figure 11. Starting at end “B”, roll the strip to end “D”. Roll as tightly and neatly as possible. After the roll is completed, tuck the left end into the folds of the silk, Figure 12. Some tuck it into the end of the coil apposite the extended end “B”, Figure 13.

Some performers tie a tiny knot in corner “B”, the protruding corner. This makes it easier to grasp the corner for manipulation or production. By taking this corner in the fingers of one hand and shaking the silk bundle sharply, it will open instantly.

A useful gimmick invented by Joseph Maynard, and described in HUGARD’S ANNUAL OF MAGIC 1937, A Holden Publication*, was designed for making the coil fold. It is a metal tube 3/8 in diameter and 3½” long. It has a narrow slit cut along one side as shown in Figure 14. A loop of string is passed through the qimmick. Then one corner of the silk is placed in the exposed loop, Figure 15. By pulling the knotted end of the string, the silk is pulled into the tube, Figure 16. The loop of string is no longer needed. Draw the silk through the slit, letting it hang down as shown in Figure 17. The silk is wound tightly around the tube and the remaining end of the silk tucked into one of the outer folds with a blunt pointed instrument, Figure 18. Finally, slide the silk down the gimmick to the left, removing it from the tube. The result is a small compact ball, which can tube. The result is a small compact ball which can be safely handled and yet it will expand instantly to full size by pulling on the protruding corner “B”, Figure 12.

ENVELOPE-FOLD This fold holds the silk in a neat compact ball in readiness for instant production. It is made as follows: 1. 2. 3. 4. 5.

Lay the silk out flat on a table, Figure 19. Fold corners “W, Y and Z” to the middle of the silk, Figure 20. Fold the sides “A-B” and “C-D” to the middle, Figure 21. Repeat this folding procedure until a Strip 3” wide results, Figure 22. Fold one half of the strip over the other, making a long narrow band 1½ “ wide, Figure 23.

6.

Beginning at the square end opposite “X”, roll the band to the right. Roll it as tightly and as neatly as possible, Figure 24.

This gives a small compact bundle. It is impaled on the point of a long needle or pin under the edge of the coat or vest. Held in this manner, it is a simple matter to steal the silk with the manner, it is a simple matter to steal the silk with the manner, it is a simple matter to steal the silk with the fingers and to palm it. Some tie a small knot in corner “X”, making it possible to locate this corner just prior to the production without looking at the palmed silk.

SQUARE ACCORDION-FOLD This fold is recommended for very large silks or flags. When released, the silk develops instantly. Two small buttons or beads are attached to the two adjacent corners “A and B” so that these can be found quickly and without fumbling. The fold is made as follows: 1. Lay the silk out flat on the table, Fig. 25. 2. Fold one side of the silk in toward the centre, forming a band 1½” wide, Figure 26. 3. Grasp the silk at “D” with one hand and at “C” with the other; carry the fold back under the silk. The silk is now in the position shown in Figure 27. 4. Continue this operation, alternating from one side of the silk to the other until the silk has been folded

completely, Figure 28. Note that the corners ‘A and B” are on top. 4. Starting at the top, fold the silk to form a square measuring 1½” x 1½”, Figure 29. 5. Accordion pleat the strip until it resembles the neat pocket shown in Figure 30. Note that corner “A” remains on top. Corner “B” is on the bottom and directly under “A”. 6. A strip of tissue paper or a length of weak thread is placed around the packet to hold it in place. This is easily broken when producing the silk. Corner “A” is taken in one hand, corner “B” in the other, and the arms are extended in opposite directions. This action breaks the band or thread which falls to the floor unnoticed as the silk develops to full size.

DIAGONAL ACCORDION-FOLD This fold is also, recommended for large silks and flags but differs slightly from the square accordion fold. A “square accordion fold” is produced between both hands while this one is used in a finger-tip production, the silk being held at one corner instead of two. The fold is made as follows: 1. 2.

Lay the silk out flat on a table, Figure 31. Fold one corner “B” in towards the centre. This first fold is about 1½” wide, Figure 32. 3. Turn the silk over and make another fold the same width, Figure 33. 4. Turn the silk over again and make a third fold, Fig. 34. 5. This operation is continued, until it results in a long narrow strip 1½” wide, Figure 35. The silk thus for has been pleated accordion fashion. 6. Bring the bottom corner up onto the narrow strip for a distance of about 1½”, Figure 36. 7. Turn the silk over and fold it again, Figure 37.

8.

9. 10.

Repeat this operation, alternating from one side of the silk to the other until the silk has been folded completely. It now appears as illustrated in Figure 38. Note that corner “A” is on the top of the packet. Some performers tie a small knot in corner “A”. Figure 31. This makes it easier to find the corner during the production. A narrow band of tissue paper or thread is placed around the bundle. This can easily be broken with the fingers while being palmed, corner “A’ taken between the thumb and first finger, and the silk shaken with a snap into view.

SPIRAL-FOLD Several professionals carry a silk folded in this manner on the coat lapel. The silk, when properly folded, resembles a flower. This is an ideal way to introduce the silk to be used subsequently as a cover for a quantity production. It might also be used to introduce a routine of knot flourishes covered in a later chapter. A small red silk in “spiral-fold” resembles a halfbrown rose. A number of these could be fastened to a potted rose bush, plucked as roses, and changed into silks. The fold is

made as follows: 1. 2. 3. 4. 5. 6. 7. 8.

Lay the silk out flat on a table, Figure 39 Fold the silk as shown in Figure 40,41,42 and 43. This strip should now measure about 2” wide, Figure 43. Twist the silk a few times, Figure 44. Roll the silk into a tight and compact coil. Figure 45. The remaining end is either tucked into the folds or is pinned in place, Figure 46. The finished roll is a spiral packet resembling a rose. Pin the packet to the coat lapel. The head of the pin is under the lapel flap and the point of the pin pushed up at a slight angle through the silk.

FINGER-FOLD There are times when, it is necessary to fold a silk quickly; this is accomplished by rolling it around the first finger of either hand, as follows: 1.

Grasp the corner of the silk between the thumb and first finger, leaving about an inch of the silk extending above the finger, Figure 47.

2. 3. 4. 5. 6.

Wind the silk tightly around the finger until all of the silk is consumed, Figure 48. Slip the roll from the finger, being careful not to disturb the folds. Tuck the remaining end into the opening on the end opposite the protruding corner, Figure 49. Conceal it to suit the use to which it is to be put. If the protruding corner is held between the thumb and fingers and the rolled silk given a snap, the silk will unroll and fall into view.

NEW-FINGER-FOLD *

Oscar Weigle When a silk is prepared as is about to be disclosed, it unfolds instantly, hanging by a corner at the fingertips. 1. Lay the silk out flat, Figure 50. 2. Bring corner “C” down so that it falls on top of “D”, Figure 51. 3. Bring “C-D” upward so that it forms a strip 1½” wide at the base, Figure 52. 4. Now bring “C-D” down again, making another 1½” wide strip on top of the first one. 5. Continue this folding process, accordion fashion, until the entire silk is consumed, Figure 53. 6. Fold “B” over onto “A” Figure 54. 7. Fold “B” back to the right to the centre of the fold, Figure 55.

8. Fold the strip in half again, the long way, Figure 56. 9. Pick up the silk near corner “B” between the left first and second fingers, Figure 57. 10. Wrap it around the left first finger until but half an inch remains, Figure 58. 11. Tuck “A” into the folds of the coiled silk, Figure, 59. 12. Remove the silk from the first finger You have a neat compact ball which can be hidden on the body where it can be easily obtained when needed. To produce the silk, the tucked in corner “A” is pulled from within the folds and grasped by the thumb and first finger. With a shake of the hand holding it, the silk will appear instantly. If it is not feasible to take the time to find corner “A”, a small piece of ribbon about I” long, matching the color of the silk, can be tied to this corner, Figure 60.

When corner “A” is tucked in, the ribbon protrudes and can be easily grasped, Figure 61. A loop of catgut can be used instead of the ribbon, if desired. Should this added piece of tape be undesirable, a slipknot with a large protruding loop can be tied in the silk near the corner, “A”. When the corner and the knot are pushed into the folds, the loop remains out where it is easily grasped. When the silk is produced the knot is easily pulled out by grasping the silk is easily pulled out by grasping the silk at opposite ends and stretching it. The knot is illustrated in Figure 62 as it would appear before it is tightened around the loop.

HANK BALL-FOLD* Oscar Weigle This clever fold eliminates the use of a hand-kerchief ball for a single silk. The silk is handled just as though it were loaded in the ball. It is made as follows: 1. Lay the silk out flat, Figure 63. 2. Fold one corner “C” onto the diagonal corner “D”, Figure 64. 3. Fold “C-D” upwards to form a strip measuring about 1½” wide at the base, Figure 64. 4. Now fold “C-D” down again, making another band on top of the first, Fig..66. 5. Continue this folding process, accordion fashion, until the entire silk is used up, Figure 67. 6. Now fold the entire strip in half length wise, farming a new strip about ¾” wide, Figure 68. 7. Place o weight on the silk just to the left of the centre, Figure 69. 8. Fold corner “B” over at about 2” from its end, and then fold a small tip of

11.

Continue rolling, four turns on top, then for on the bottom, four on top again etc., until but four inches of unrolled silk remains. Wrap this around the bundle in a final tight roll, and when corner “A” is reached, tuck it in along the folds, Figure 73.

When about to produce the silk, the bundle is concealed in the right hand, resting across the base of the fingers with the protruding corner “B” nearest the thumb, Figure 74. The hand is held at the side of the body. The left hand is shown empty and the performer looks to the left as though seeing something in the air. Reaching out with the left hand, the left thumb and first finger appear to catch this “something” from the air. Now the left hand is held motionless and the right hand, cupped into a loose fist, is brought up to it. The left thumb and first finger grasp corner “B” of the silk. The right hand, holding the rolled silk rather loosely, moves downward in a quick and continuous motion. Figure 75. The illusion is that the left hand caught the silk from the air and it was invisible until the right hand stroked it. Done properly, the illusion is perfect. This move is credited to the late George Stillwell.

BUBBLE-FOLD

Russ Walsh

This unique fold has almost unlimited possibilities. It is unique in that once the silk is released, it literally bubbles forth and expands immediately, it is recommended for large silks. The male and female sections of a dress-snap are sewn to the silk as follows: 1. To corner “D” sew the male section of the snap, Figure 76. 2. Turn the silk over and sew the female half of the snap to the centre of the silk of “E”, Figure 77.

Dress-snaps are available in various colors and the one selected should match the colors and the one selected should match the color of the silk used. The bubble-fold is made as follows: 1. 2. 3.

4.

Spread the silk out flat on a table as shown in Figure 76. Bring corners ‘A,B, and C” to the centre of the silk, Figure 78. Wad all the silk excepting corner “D” in towards the centre so that it forms a compact crumpled ball. Do not attempt to fold or pleat the silk. See Figure 79. Corner “D” is brought over the top of the bundle, acting as a strap, and is snapped to the other half of the dress-snap underneath the ball, Fig. 80.

The silk is vested or concealed elsewhere on the body. When it is stolen into the hand for production, open the dress-snap with the thumb nail of the hand holding the ball and the silk will bubble forth on the palm of the outstretched hand, creating one of the prettiest silk production effects in magic.

E-Z-FOLD

Ned Rutledge.

This new fold appears in print for the first time. It is recommended for large silks or flags. The instructions to follow are for a 24” silk. If a larger silk is used, the folds will have to be altered accordingly. The E-Z fold is made as follows:

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

Lay the silk out flat on a table, Figure 81. Fold the silk through its middle, “B” failing on “A” and “C” on “D”, Figure 82. Fold “D-F” up to meet “J-H” , Figure 83, forming a band about 4” wide at the base of the silk. Now fold the band to the back of the silk, Figure 84. Bring the band to the front of the silk once more, Figure 85. Repeat this accordion pleating until the balance of the silk is consumed, Figure 86. AT this point separate corners “C” and “D”. If the silk is folded properly the band is of six thicknesses and is 4” wide by 12” long. Fold “F-G” over about 4” to the left, Figure 87. Fold the resultant bundle to the left again, Figure 88. Continue to fold (not accordion pleat) the silk to the left until all the silk is consumed. If properly folded the silk is now in a bundle measuring about 2” x 4”, Figure 89. Now the silk is folded on the diagonal “R-S” indicated with a dotted line in Figure 90. After the fold is made the silk appears as shown in Figure 91. Corner “T” is folded to the right. The silk now appears as showin in Figure 62. Note corners “C and D”. Start at the bottom of the folded bundle at point “S”, roll the silk up towards corners “C” and “D”, Figure 93. This action gives a neat, compact bundle as shown in Figure 94. A rubber band is placed around the silk, Figure 95.

The folded silk is palmed in the right hand just prior to production. The corners “C” and “D” are just to the left of the right thumb. The left hand approaches the right and takes corner “C” between the thumb and first finger. AT the same time the right thumb and first finger take corner “D”. The hands describe two arcs as illustrated with dotted lines in Figure 96, in a downward and outward motion. This sudden action snaps the silk free of the rubber band and the silk appears, a corner being held in each hand as seen in Figure 97.

Quantity of Silks

3

ZIG-ZAG FOLD This fold is ideal for loads where a quantity of silks is to be produced singly. Although the assembled load is a compact unit, the silk can be produced one at a time, each succeeding silk coming into the proper position for continuous production. The “load” is folded as follows:

1. Lay one silk out flat on a table, Figure 98. Lay a second on top of the first. Half of the second silk extends to the right of the first, Figure 99. 3. Fold the exposed half of the first silk to the right and on top of the second silk, Figure 100. 4. Now a third silk is added. One half of this silk is to the left of the folded bundle. The other half overlaps the bundle, Figure 101 5. Continue as outlined above until all of the required silks have been folded into one bundle. 2.

TRAP-FOLD This particular fold is similar to that recommended for a single silk. Although the finished bundle is quite compact, each silk expands in full as it is produced. The fold is made as follows: 1. Lay the silk out flat on a table.

2. 3. 4. 5. 6.

7.

8.

9.

10.

Place a second silk near it. Fold the four corners of the second silk to its centre, Figure 102. This forms a small square. Fold the corners of this smaller square into their centre, Figure 103. Pick up the small pocket thus folded, turn it over, and place it in the centre of the first silk. Put a book on the bundle to prevent it from expanding. Place a third silk on the table and fold it in the same manner as the second silk, Figures 102 and 103. Turn this third silk over and place it on top of the folded second silk, which in turn rests in the centre of the first, and replace the book. Continue this folding operation until the desired number of silks have been folded, one at a time, and placed one on top of the other in the centre of the first silk which has remained opened out on the table. Remove the book, fold in the corners of the first silk, one corner at a time, and fasten the last corner in place with a pin, Figure 104.

The bundle, prepared as just explained, is eventually loaded into the piece of apparatus from which the silks are to be produced, When the pin is removed, the silks will expand so that they fill the apparatus to overflowing.

COIL-FOLD This fold is designed for producing a quantity of silks from the bare hands, all of the silks appearing at one time. The fold is done as follows: 1. Lay a silk out flat on a table, Figure 105. 2. Fold the diagonal corners “A” and “C” to the centre, Fig. 106. 3. Fold the double portions in half again, Figure 107. 4. Repeat this operation until the strip is but 3” wide, Figure 108.

5. 6. 7.

8.

9. 10.

Fold one half of the strip over on the other, making a long narrow band 1½” wide, Figure 109. Treat each silk as explained in the first steps above. Place one silk on top of the other, forming a neat pile of narrow strips measuring about 1½” wide, Figure 110. Treating this packet as one silk, turn about 2” of the right ends back upon the silk and at right angles to the strip, Figure III. Starting at the right end, roll the strip to the left, rolling it as tightly and as neatly as possible. After the roll is completed, tuck the remaining left ends into the folds of the silk, Figure 112, If preferred, the ends can be tucked into the end of the coil, opposite the extending right ends, Figure 113.

To produce the silks, steal the bundle into the right hand and palm it. The extending corners are downwards but out of sight. Grasp these ends with the thumb and first finger of the left hand, which is held stationary, and pull downwards with the right hand, which is holding the coil in the palm. The shower of silks of various colors creates a startling effect and is well received.

ACCORDION-FOLD This fold is a variation of the Diagonal-Accordion-Fold described for a single silk. It is recommended for use in a production box or piece of production apparatus containing a large load chamber. Many performers merely bunch the silks haphazardly and push them into the apparatus. It is difficult to make a smooth and rapid production when silks are carelessly loaded and the effectiveness of the production often suffers. Silks loaded “Accordion Fold” should be handled as follows: 1. 2.

3.

4.

5. 6.

Grasp one corner of a silk between the thumb and first fingers of the left hand, Fig. 114. Close the finger and thumb of the right hand around the silk directly below the left hand, Figure 115. Run the right fist down the silk to the tip (diagonal corner) “B”, drawing the silk into a roughly pleated strip, Figure 116. Turn the right wrist to the right, bringing the closed right palm uppermost, Figure 117. The left hand drops down to the left. This brings a portion of the silk across the middle of the backs of the closed right fingers. Open the fingers of the right hand far enough to allow this fold to enter the palm where it falls an top of the portion already, retained there, Figure 118.

7. 8. 9. 10. 11.

12.

13.

14.

Close the fingers of the right hand again. Now turn the right hand back into the position illustrated in Figure 116. The left hand is above the right once more. Turn the right wrist to the right once more, bringing the closed right palm uppermost again, Figure 117. Again o portion of the silk falls across the closed right fingers. Open the fingers again and gather in this new fold. Repeat this alternating process until end ‘A’ is reached. The left hand releases end “A”. it will be found that the silk is neatly accordion-pleated in the right hand, end “A” falling across the top of the pleated bundle. With the silk so folded, deposit it in the load chamber with the right hand, end “A remaining on top. A second silk is treated in the same manner. After it is folded, end “B” of this second silk is twisted into end “A’ of the first, Figure 119. This is done as the second silk is placed on top of the first in the load chamber. End “A” of the second silk is now on top. This procedure is continued until all the silks have been loaded into the production apparatus.

When the production is made, each silk produced pulls end “A” of the next silk into view, ready for production. The maximum load can be made by the use of this fold. use this fold when tucking the silks into the paper cylinder during a silkdyeing effect. It can be made in a few seconds and the silk takes up less space when treated in this manner before it is pushed into the cylinder (and dye-tube). As the left hand holds the paper cylinder, and is not entirely free, the fold is made as follows: 1.

Hold the cylinder in the left hand with the thumb and first two fingers of the right hand.

2. 3.

Clip end “A” of the silk under the third and fourth fingers, Figure 120. Now roughly accordion-pleat the silk as just explained under Accordion Fold.

This fold is also often used to form the silk into a small and compact bundle just prior to vanishing it.

CLOCK-FOLD Silks prepared with this fold will expand when released and burst forth into a beautiful shower of colors. The fold is recommended for use where a quantity of silks are to be produced all at once. To make it: 1. Each silk is folded in half diagonally, Figure 121. 2. The silks are placed one over the other, clock fashion. The first silk is placed so that the fold “A-B” runs between 6 and 12 o’clock, Figure 121. The second silk has its fold “C-D” between 1 and 7 o’clock, Figure 122. 3. Continue with the rest of the silks, the third being between 2 and 8 o’clock, etc.. All of the silks are treated in this manner, Figure 123. 4. Starting with the first silk, which is now at the bottom of the pile, fold the ends to the middle of the stock of silks. 5. Continue with the next silk, this being the second from the bottom. 6. This folding process is repeated until all of the corners have been brought to the centre, resulting in a neat and compact bundle.

7. 8.

Tie the bundle with a piece of weak thread, Figure 124. Give the packet a quarter of a turn and tie a second thread around it, the two threads crossing at the top and bottom of the packet, Figure 125.

In producing a bundle of silks such as this, it is advisable to obtain the packet under cover of a large silk produced earlier. Break the threads at the bottom of the packet (this is the side opposite the folded ends) and allow the silks to shower downwards over the palm of the free hand.

ENVELOPE-ACCORDION-FOLD This fold is designed to release several dozen silks into the hands to enable the performer to apparently multiply the number of silks being displayed into a much larger quantity. The load is tucked under one side of the vest and is stolen under cover of displaying silks that have been previously produced. The fold is made as follows: 1. 2.

3.

4.

Lay a silk out flat on a table, Figure 126. Each of the remaining silks is ‘accordian folded” as explained in the first eleven steps, pages 51 and 52. Place the first folded silk in the centre of the open silk resting on the table, Figure 127. Place a book on the silk to hold its folds while each of the other silks is treated in the same manner. Each newly folded silk is placed on top of the previously folded one. When the lost silk is in place, remove the book.

5. 6.

7.

Fold the bottom edge “A-B” of the flat silk up over the bundle, Figure 128. Fold the sides in, one at a time, Figure 129. Finally fold the top edge down, forming an envelope around the pleated silks as in Figure 130. The pocket, thus prepared, is tucked under one side of the vest, in the space directly in front of the hip, where it is carried until needed, Figure 131.

Methods of Producing a Single Silk • NON-APPARATUS METHODS •

Introduction

1

This chapter will be devoted exclusively to methods of producing a single silk without the aid of magical apparatus. It is not intended to give complete routines here as these will be taken up in later chapters. At times it is necessary to pass the silk from one hand to the other in executing the production methods about to be described. Before taking up the actual methods, the reader should acquaint himself with the ‘Change Over Palm”.

CHANGE OVER PALM A “balled” or rolled silk obtained by any of the methods to follow can be passed secretly from one hand to the other. The sleight is based on the familiar “billiard ball change-over palm. Assume that the silk is properly folded and palmed in the right hand and it is necessary to get it into the left. The left palm is toward the audience and the left fingers extended to the left as in Figure 1.

1.

2.

3.

Bring the tips of the right fingers to a position where they touch the left wrist and swing the body to the right so that the left shoulder is now nearest the audience. At the same time run the right fingertips down to the left fingertips. When the fingertips of both hands touch, the right palm releases the silk packet and the left hand cups itself to palm it. Now draw the tips of the left fingers along the palm of the right hand until the position

4.

illustrated in Figure 2, is reached. The entire action is done in one smooth yet rapid move. The sleight is one of the easiest to master, but should never be done as a sleight. Only use it as a means of showing the hands empty or as a secret treansfer.

From the Elbow

2

Prior to presentation, “Coil-Fold” the silk and place it under a fold of the coat sleeve at the bend of the left elbow. The folded silk is placed under the fold of cloth so that the protruding end of the silk is uppermost, pointing towards the left shoulder, Figure 3. 1.

Show the hands empty, keeping the arms slightly bent so the silk will remain in its place of concealment at the left elbow. 2. Pull up the right sleeve with the left hand, grasping it at the folds in the bend of the elbow. 3. Pull up the left sleeve with the right hand, grasping it in the same manner. 4. As the right hand pulls up the left sleeve, it steals the silk from within the folds of cloth. The protruding end of the silk falls directly under the right thumb which presses it against the middle joint of the first finger, Figure 4. The right fingers are cupped around the coiled silk. 5. The hands are brought together in front of the body, and the protruding end of the silk is taken between the thumb and first finger of the left hand. The hands are separated, which brings the silk into view fully developed, diagonally opposite corners being held in either hand, Figure 5.

From the Arm Pit

3

The silk, folded with the Coil-Fold’, is placed under the left arm pit with the protruding corner uppermost, the arm being held against the body so the silk is held in place. The silk is produced in the same manner as “From the Elbow” just described, the right hand grasping the left sleeve under the arm pit to pull up the sleeve (instead of at the elbow as in the farmer method). When the right hand is in this position the coiled silk is palmed. Now bring the hands together and produce the silk.

From Under the Vest

4

This is one of the most popular places for secreting a silk. Assume that the Coil-Fold has been used (any of the other folds could be used). The silk can be placed under either side of the vest. The protruding corner should point either to the left or right, depending on which hand is to make the production. Let us assume that the silk is to be produced with the right hand. 1.

Load the silk on the right, protruding corner to the left.

2. To produce it, press the right elbow against the right side and hold the forearm across the front of the body, Figure 6. The fingers fall at the point where the silk is vested.

3. Turn the body to the right and reach high into the air with the left hand as though taking something from the air. In the meantime steal the silk with the right hand. Many performers nearly reach up under the vest and steal the load into the hand with the four fingers, Figure 7. This method is satisfactory if there is something in front of the hand doing the steal so as to hide the move. However when a bold steal such as this is made without cover, the

misdirection must be better than average. 4.

To make the steal from the vest, proceed as follows: Bring the right hand to a position just over the bottom of the vest, palm next to the body, thumb uppermost, Figure 8.

5.

Without moving the fingers, drop the thumb down to the bottom of the vest so this digit con be pushed under, Figure 9.

6.

Raise the thumb, forcing the bottom point of the vest up with it, Figure 10.

7.

This exposes the load so that the right fingers can steal it, yet it is hidden from the spectators by the right hand being in front of it.

8.

After the load is safely in the right palm the thumb is lowered allowing the point of the vest to drop back into position.

9.

Bring the hands together in front of the body and produce the silk.

10.

A word or fan can be held in the left hand

and displayed while the right hand steals the silk. The ward taps the hard containing the silk (or the hand is fanned) and the silk materializes. If the ‘Trap-Fold” is used, the silk will materialize as soon as the hand is opened. Some performers prefer to have the silk under the vest impaled on the point of a long needle or pin. Several silks can be carried under the vest in this way. 1. Push the needle or pin into the bottom part of the vest, starting on the outside and passing through the material to the inside, point downward. 2. The silk, prepared with the Trap-Fold, is impaled on the point of this needle or pin. 3. When placed properly, the silk should be about ½ above the edge of the vest, where it remains out of sight. 4. The silk is stolen and produced as explained above.

From Under the Collar

4

A silk, folded by one of the foregoing methods, is secreted between the collar of the coat and shirt. Figure 11. It can be carried safely in this position throughout the performance. As it is necessary to bend the arm so that the end of the elbow is towards the spectators so as to bring the hand in position to steal the silk, it is advisable to conclude the previous effect so that the elbow is brought into this position in a natural manner. Let us assume that a coin routine is being concluded: 1.

2.

3.

Bring the right arm in position so that the fingers fall on the concealed silk. A coin is thumb palmed in the left hand. Without calling attention to the right, bring the left hand up to the point of the right elbow and produce the coin, Figure 12. While the coin is being produced, the right hand steals the silk, Fig. 13.

4. Pretend to toss the coin into the air, really thumb palming it in the left hand. 5. Bring the left hand to the closed right hand and grasp the protruding corner at the bottom of the palm and pull downwards, disclosing the silk, Figure 14. The corner diagonally opposite that in the left hand in detained by the right. 6. Release the corner held in the left hand; the silk now hangs exposed in the right. 7. The left hand approaches the silk and extracts the thumb palmed coin from the folds of the silk.

8.

This completes the coin routine; after the coin is pocketed the silk is used in the silk series to follow.

From the Coat Lapel

5

This is one of the more subtle methods of producing a silk and has been used by professionals many times. Prepare as follows: 1.

2. 3.

4.

5.

6.

Fold the silk with the ‘TrapFold’ ‘Coil-Fold’ or “EnvelopeFold.” Thread a needle with a piece of thread about four inches long. Tie the ends of the thread together, forming a loop of thread through the eye of the needle. Make the knot large so that it will not pull through the fabric of the suit. Lift the right lapel and pass the needle through the material on the fold. Pull the needle through until the large knot is flush with the spot where the needle entered the coat. Now the needle hongs inside of the coot. Push the needle through the silk to hold the original tight bundle, Figure 15. The performer takes his ward in the left hand, focusing attention on the ward. In the meantime the right his brought up to the right lapel in a position to steal the silk, Figure

From the Bottom Edge of Coat

6

The pin arrangement suggested in ‘From Under the Vest or the needle and thread attachment suggested in ‘From the Coat Lapel’ can be used with equal success along either or on both sides of the coat. The silks are produced one at a time; one from the left, then one from the right. This is done much in the same manner as cigarettes are produced from clips holding them under the edge of the coat. The silks should be within half on rich from the bottom edge of the coat.

From Within the Sleeve

7

If the shirt sleeves are rolled back, a silk prepared with the ‘Coil-Fold’ can be dropped into the coat sleeve where it remains out of sight. Assuming that the silk is in the left sleeve: 1. Show the left hand empty. Right arm hangs by the side. 2. Now bring up the right hand and show it empty, dropping the left arm slowly to the side. The back of the left hand is towards the audience and the fingers are cupped slightly to catch the silk. 3. As the arm is lowered the silk will fall into the palm of the left hand. The fingers should be motion less until the silk lands in the palm. Fig 17. They are closed around the silk immediately. Then the left arm is brought up in front of the body again. In the meantime the right hand has been shown empty. 4. Now bring both hands together, obtain the protruding corner from the left hand with the right and develop the silk, one corner in each hand, Fig. 18.

By Misdirection

8

A silk prepared by the “Coil-Fold” can be hidden behind any one of a number of objects and palmed while attention is being called to some other object. For example, another silk, crumpled into a loose ball, is on the table. The coiled silk is directly behind it. The left hand picks up the balled silk between the thumb and first finger, the other three fingers stealing the coil and palming it. 1. The right hand takes the silk from the left, holding it at one corner. 2. The left hand (holding the palmed “coiled” silk with the protruding corner uppermost) goes to the right. The right thumb and first finger take this corner and add it to the one already held there, Fig. 19. 3. The fingers of the left hand open sufficiently to encircle the visible silk directly below the right hand, but still retaining the coil, Figure 20. 4. The left hand strokes the visible silk, moving downward, and the second puts in its appearance during this action. The right hand now holds the tips of both silks. The object hiding the coiled silk need not be another silk. Any small object such as a book, deck of cards, fan, or ward can be used. The object is picked up in the same manner as the silk, the coil being palmed at the same time. The object is transferred to the right hand and passed over the closed left fist. Finally the object is laid aside and the silk developed between the hands. The silk can rest on a servant at the back of a table, or be held in readiness on a pin (point upward at a 45º angle) affixed to a chair back. To obtain the silk, merely move the table or chair, grasping it with both hands, one hand over the secret load, stealing it. Or, it may be stolen with one hand as the other places an object on the chair seat.

From the Hip Pocket

9

This method, properly presented, is one of the prettiest productions ever devised for the introduction of a silk. The silk is prepared with a Coil-Fold, and tucked into the top of the right hip packet just for enough to hold it in place, Figure 21. The protruding corner is uppermost, a small knot tied in the corner if desired. The roll must be a very tight one as the silk is to be handled by the protruding corner and it must not unroll prematurely. 1. The left hand reaches high into the air as though obtaining something from it. The left hand is now closed around this nothingness. 2. At the same time the right hand is held on the right hip. It is then moved back into such a position that the protruding end of the roll can be clipped between the thumb and first finger, Figure 22. As attention is focused on the movements of the left hand, the right pulls the silk roll from the pocket and closes the fingers around it in a loose fist. 3. The left fist is held about head high and well to the left of the body. The back of the hand is to the audience, thumb down toward the floor. 4. The right hand approaches the left as if to pull into view whatever it contained therein. As the hands come together the right is directly below the left. The left thumb and first finger, are spread apart to allow the corner of the silk to enter the left hand, Figure 23. 5. Just as the right hand meets the

6.

From Slits in the Clothing

left, the right thumb moves away allowing the corner of the silk to go into the lower part of the left fist, Figure 24. Now the left thumb and first finger encircle it. Retaining a firm grip on the hidden roll, the right hand moves sharply downward toward the floor as though pulling the silk from the left hand.

10

This is one of the oldest methods of producing one or more silks, but it has not received the popularity due it. Probably this is because of the necessary preliminary preparation. However, once it is given a fair trial it will prove a very effective method. A tiny slit must be made along the seam of the clothing, usually in the trouser leg or along the arm of the coat. The slit is just large enough to permit a silk to be pulled through it. While the early performers allowed the silk to remain just inside of the silk, those now using this method usually have a long narrow bag like pocket sewn inside of the trouser leg or sleeve, with the opening directly under the slit. This bag is made of light weight material such as rayon. About an inch of black thread is sewn to one corner of the silk that is to be produced. A piece of black cork or a back bead is tied to the free end of the thread. 1.

2.

If a pocket is sewn inside of the clothing, the silk must be tucked into it. Use a blunt object such as an orange stick or the eraser end of a pencil to load the silk into the pocket. Start at the diagonal corner opposite that to which the thread has been attached, Figure 25. After the silk is loaded the bead hangs just outside of the pocket

3.

where it can be obtained easily when desired, Figure 26. To produce the silk merely obtain the small bead and pull the silk from the clothing as rapidly as possible.

Usually another silk is used for a cover when producing silks from slits in the clothing. For example, a silk produced from another source is displayed and draped over the knee (which is slightly bent) while the hands are shown empty, Figure 27. The bead is gripped through the visible silk as it is whisked away from the knee, carrying away the stolen silk at the same time. The covering silk is removed and the stolen silk brought into view.

From a Wire Loop

11

A piece of florist’s wire may be used to affix a loop or similar attachment to the silk. Florist’s wire is very fine and quite flexible. Most florists carry a ready stock, and it can also be obtained from hardware or ten cent stores. The wire should be dull finished, preferably black. The silk can be folded in any one of the ways described in Chapter Three, or merely formed into a compact ball. The wire is fastened to the silk as follows: 1.

2.

Fold or ball the silk into a compact bundle. Place the silk on the middle of a piece of wire and bring the ends

3. 4.

around the bundle once, Figure 28. Twist the wires together several times so that they hold the silk securely, Figure 29. Finally, twist the ends of the wire together so as to form a loop large enough to permit the end of the thumb to enter it, Figure 30.

The silk, thus prepared is placed in any convenient position on the body. For example, it can be loaded into a vest pocket; between the buttons of the vest; under the bottom edge of the vest; in the match, pocket; in the right coat pocket; in the watch pocket of the trousers; in the breast pocket of the coat; under either lapel; under the coat collar, etc… To obtain the silk, merely engage the thumb in the wire loop and lift the little bundle from its hiding place so that it falls into the palm of the left hand. The silk can be produced from the closed fist, leaving the wire in the hand, As the hand is lowered, the wire is dropped to the floor, unnoticed by the spectators. The load need not be secreted on the person. It can be hidden on a servante, behind some object, or suspended on a headless nail or pin in a convenient place.

From the Wrist

12

A silk prepared with the “Trap-Fold” can be carried against the wrist until needed. To make this production: 1.

2.

The silk bundle is placed so that the folded corners are against the inside of the right wrist. It is held in place with a single strand of strong flesh-colored silk thread which passes around the wrist and the silk, Figure 31. The right sleeve is pulled down

3.

4.

5.

in place to hide the silk. Show the left palm by pushing the left sleeve back above the left wrist with the right hand. The right shoulder is nearest to the audience. Turning to the right, bring the left shoulder nearest to the audience; left hand pushes the right sleeve back while showing the right palm and the hidden silk falls directly into the left palm during this action. Break the thread as the silk is taken into the left hand. Bring both hands to the front, and produce the silk.

Some performers prefer to carry the silk under the strap of their wrist-watch. It is obtained in the same manner as the silk that is tied to the wrist with a thread.

From a Rubber Band

13

This effective method permits the performer to have the silk already palmed at the beginning of the performance, yet the hands can be shown apparently empty. The silk is back-palmed similar to a playing card. 1.

2.

3.

4.

5.

A flesh colored rubber band is placed around the second and third fingers at the middle or second joints, Figure 32. A silk is folded into an oblong bundle about 1½” long and less than I “wide, Figure 33. The four corners of the silk are well wrapped into the folds of the bundle. Lay the centre of the bundle on the portion of the band that crosses the inside of the fingers. Fold the silk over that portion of the band, Figure 34, and push the bundle to the back of the hand, Figure 35. Close the fingers tightly together, holding the silk at the back of the hand. Show the front of the hand, and turn

6.

From Under the Coat

it over to show the back with a quick flourish; the fingers are spread apart and then closed again, bringing the silk into the palm again, Figure 36. Close the hand containing the silk under the bond with the free hand. Open the hand quickly and the silk will expand, filling the hand.

14

This clever method is used to produce a silk at the finger-tips. It is particularly effective, as the silk makes its appearance while the hands are well away from the body. Prepare the silk as follows: 1.

6.

One end of about three feet of fine black silk thread is attached to the centre of the silk. 2. The other end of the thread is tied to the bottom button of the vest. Or, a safety pin can be attached to the free end of the thread. The pin is passed through the button hole of the vest and pinned to the cloth just inside where it will be out of sight. 3. The silk is folded with the “Trap Fold” and the thread (which is attached to it) wrapped once around the middle of the bundle, which is tucked under the vest on the left side. The thread hangs down, forming a loop, Figure 37. 4. The hands are shown empty, and the right thumb engaged under the thread so that it runs over the bridge between the thumb and first finger, Figure 38. 5. The right hand makes a quick upward motion away from the body and the silk will be pulled into the hand. In displaying the silk, break the thread and

In a variation of the above production, a finger ring is used. The ring is passed over the thread so that it is between the end fastened to the silk and the end attached to the vest. The silk is prepared in the same manner and tucked under the left side of the vest. The ring is put in the lower right vest pocket. The ring is eventually placed on the right middle finger, the thread passing under the palm. The silk is produced as explained above. Thayers Studio of Magic sells this effect as INSTANTO *.

From Under the Arm

15

The silk is encircled with a loop of elastic and hidden under the armpit. When the arm is raised, the silk appears in the breast pocket. There are two popular methods of accomplishing this effect. The first is as follows: 1.

6.

7.

Pierce the bottom of the breast coat pocket with a sharp instrument. 2. Through this hole run a length of fine block elastic. 3. The end that is under the coat passes around the performer’s back to his right side and is tied or pinned to o belt loop or suspender button. 4. The end that is inside of the breast pocket is formed into a loop. 5. When completed the arrangement is as show in Figure 39. Note that the loop end lies in the bottom of the pocket; the hole must not be large enough to permit the loop to pass through it. Taking the silk at its centre, pull it half way through the loop, Figure 40. Pull the silk and its encircling loop from the pocket, stretching the elastic, and place the bundle under the left arm. The arm is held against the body to hold the

bundle in place and to conceal it, Figure 41. 8. To produce, raise the left arm sharply and the silk will instantly appear in the breast pocket. 9. The silk can be removed from the loop, leaving the latter in the pocket unnoticed. The second method is similar and is suggested by Water A. Schwartz in his book CIGAM. One end of the elastic is fastened to the bottom of the inside of the breast pocket. The usual loop is at the other end. Before the lop is formed, the elastic is just long enough to reach the top of the pocket without being stretched. After the loop is made, the elastic does not come to the top of the pocket. The hank is put into the loop as before and the silk and loop carried under the left armpit. The release and removal of the silk from the loop are the same as explained in the first method.

From the Breast Pocket

16

The effect to be obtained in this method is the same as that suggested in effect number 15, From Under The Arm, but the method is quite different. Instead of elastic, a thread is used. The silk is secreted in the breast pocket and appears suddenly when the performer wishes it. Proceed as follows: 1.

2.

One end of a strong black silk thread is fastened around the centre of a silk, Figure 40. The silk is placed in the breast pocket. The free end of the thread is threaded through a needle and pulled through the coat (from outside to inside). The thread passes through the coat about two inches

3.

4. 5. 6.

7.

the pocket, Figure 42. Remove the needle and faster a button to the free end of the thread. The exact length of the thread can be determined by trial. Put on the coat, passing the thread over the left shoulder and down the back, under the coat, where it cannot be seen. The button hangs at the lower edge of the coat at the performer’s back, Figure 43. When the silk is desired, the left hand goes to the back and secretly pulls down on the button. This causes the silk to rise into view in the breast pocket. The silk is pulled from the loop as it is unfolded, and removed from the pocket, the thread remaining inside, hidden from view.

From Sleeved Position

17

This method is similar to that in From Within the Sleeve. However, the silk has a thread attached to it. Fold the silk in any one of the suggested folds and tie one end of a short length of thin black thread around its centre. The other end is fastened to the bottom button on the left coat sleeve. Finally drop the silk down into the left coat sleeve, Figure 44. The silk is produced as follows: 1.

2.

3.

4.

The left hand takes the right sleeve at the wrist and pushes it up the arm as the right hand is shown front and back. The same procedure is followed with the left sleeve, showing the left hand containing nothing. However, the right thumb is inserted under the thread as both sides of the left hand are shown, Figure 45. As the hands are brought to the front, the silk is drawn into the right palm and between the hands. Work the silk free from the loop of thread encircling it, allowing the silk to materialize slowly from

5. 6.

within the hands. Take it by one corner and hold it between the thumb and first finger of the left hand, where it is displayed. While the thread will remain unnoticed, it can be removed while the silk is held in the left hand; the right adjusts the left sleeve, breaking the thread and dropping it to the floor as the right hand is lowered to the side.

There is still another clever method of producing a silk that has been hidden in the sleeve. Again the method depends upon a thread, one end of which is tied to a button of the performer’s vest or coat. The other end has a loop tied in it just large enough to accommodate the centre of a folded silk which is tucked through it as shown in Figure 40. The length of the thread will be governed by the length of the performers arm. It should be just long enough to run from the button to the right fingertips when the right hand is extended in front of the body. The loop is tied in this free end of the thread and the silk inserted as previously explained. Finally, the silk and loop are inserted loosely into the right sleeve, the centre of the silk going in first, Figure 46. To produce the silk proceed as follows: 1.

2.

3.

Patter about being able to materialize a handkerchief from the either. Reach upward with the left hand as though grasping an invisible silk. During this action take the thread so that it passes between the first and second fingers of the right hand. At this point the silk encircled by the loop rests in the right sleeve. The thread runs from the sleeve, across the right palm, between the right first and second fingers and down the back of the right hand to the button to which it is fastened, Figure 47. Turning to the ‘left, bring the right

shoulder nearest to the audience and shoot the right hand upward. This action will pull the silk into the right palm. 4. The left hand takes one of the corners and pulls the silk from the right hand, freeing it from the loop, which drops away unnoticed. (By tying the thread to one corner of the silk and then wrapping it around the folded silk several times instead of using a loop, you are ready for the self-tying and un-tying routine disclosed in a later chapter.)

From the Body

18

There are few methods of producing a large silk without the aid of some piece of apparatus. The following method is both popular and effective: 1. 2.

3.

4. 5.

6.

Lay the large silk or flag out flat on a table. Faster a length of strong block thread to corners ‘A’ and ‘B’, Figure 48. The thread is slightly longer than the top edge of the silk. Pleat the strip nearly so that it forms a strip about two or three inches wide. The thread is at the top edge of the silk, Figure 49. Note the position of the ends of the thread, “A” should be at the opposite side of “B”. Pleat again, lengthwise, so that a compact bundle is formed, Figure 50. Drape the thread over the top as illustrated and tuck the bundle under the front of the vest at the waist. Loop the thread over the vest button as shown in Figure 51.

To produce the silk, place the thumbs in the loop of thread, lifting it off the button. The arms are extended in front of the body, pulling the silk from the vest. As the hands leave their position near the vest, they move downward pulling the load from under and clear of the vest. Then they are shot upward and extended far apart so as to develop the silk. The production is instantaneous, each movement blending into the next. Some performers use a loop of fine wire at corners ‘A’ and ‘B’, Figure 52. The loops are large enough to accommodate the thumbs with ease and are sewn to the corners. The silk is folded in the manner just outlined and is held in a compact parcel with a strip of tissue paper or band of weak thread. The bundle thus prepared is tucked into the opening at the top of the vest, leaving one of the loops in front and out where it can easily be engaged with the thumb, Figure 53. To produce the silk: 1.

4. 5.

While showing the left hand empty bring the right hand into position, palm next to the body, and insert the right thumb in the loop. 2. Raise the right palm upward, pulling the packet into the right palm. 3. Bring the packet forward immediately, putting both hands together. Insert the left thumb in the remaining loop. Now the hands are separated, breaking the band, and the silk is developed instantly, a loop over each thumb.

The silk packet need not be loaded at the top of the vest. It can be concealed in the right hip pocket, right trouser pocket, or right coat pocket. Regardless of the silk’s

secret location, the right thumb engages the loop and carries the packet to the front where both hands are brought around it immediately.

From Back Palm

19

While this method requires skill, the performer will be well repaid for his efforts. Those who have already mastered the back palming of a playing card will need no further practice. 1. 2.

3.

4. 5.

Attach a 12” length of fine black thread to a corner of a silk. Now fold the silk with the Envelope-Fold. The thread is attached to corner ‘x’, Figure 54. (There is no knot in corner “X”) Wrap the thread around the centre of the compact roll until about 10” of the thread has been consumed. Wrap the remaining 2’ of thread around the tip of the right first finger. Hold the silk clipped between the right first and little finger, Figure 55.

With the right side nearest the audience, reach into the air as though trying to catch something, nothing is found. Now turn to the right bringing the left shoulder nearest the audience, back palming the silk under cover of this action. Toss the right hand upward, releasing the silk roll, and the silk will develop as the thread unwinds from around it. Catch the silk between the thumb and first finger of the right hand as the silk soars downward. Some performers attach a small flat flesh-colored button to the free end of the thread and clip this between the fingers instead of wrapping the thread around the tip of the first finger. This permits the performer to pick up the silk at any time during, the performance. Still others manipulate the silk without the aid of the thread. However, this requires considerable practice.

From the Trouser Leg

20

A silk folded with the Coil-Fold can be held in position for production by impaling it on the point of a pin which has been pushed through the cloth of the trousers. The pin is at the back of the right trouser leg, point upward, its exact position is determined by dropping the right hand to the side so that it hangs in a natural position. Proceed as follows: 1.

2.

3.

4. 5.

Patter while showing the left hand empty without calling attention to its emptiness. Turn so the left shoulder is nearest the audience and reach up into the air as though obtaining something from it. During this action the right hand steals the silk from the pin and palms it. The right hand approaches the left, Figure 56. The left thumb and first finger take the extended corner, Figure 57, and the silk is developed.

This method is particularly good for Art Silks or silks with a pattern. There is usually some black or other dark color in the pattern. There is usually some black or other dark color in the pattern. This dark color should be to the outside of the roll. Properly folded, a dark silk will never be noticed when impaled on a pin against a dark suit.

From a Lapel Pocket

21

A small pocket made of black Sateen is sewn under the left coat lapel, the opening of the pocket at the top. A silk prepared with the CoilFold is fastened to a short length of strong black thread by tying one end of the thread around the centre of the roll. A pin is tied to the free end of the thread, Figure 58. The roll is then tucked into the hidden pocket

a position several inches to the left of the lapel, leaving a small loop in the thread, the loop being between the silk and the pin, Figure 59. With the silk thus prepared and in position, it is produced as follows: 1.

2. 3. 4. 5.

6.

The left palm is shown empty as the right first finger points to it without approaching it. The right shoulder is nearest the audience. The body is now turned to the right so that the performer faces the audience. During this turn the left thumb is passed under the loop of thread. The right palm is shown empty as the first finger points to it. Looking upward, bring both hands together at a point above the head and the silk will be secretly pulled between them. The body is still turned slightly to the right and this aids in hiding the flight of the silk. Develop the silk, allowing the thread to fall unnoticed against the coat.

From the Mouth

22

Ball a silk of very fine texture into a small bundle and place it in the centre of a small square of cellophane or similar water-proof paper. Bring the corners of the paper together and twist them until they enclose the silk so completely it cannot expand until released. Put this ball into the mouth prior to presentation. 1. 2. 3.

4.

Show the hands empty back and front. Push the sleeves well back on the arms. Using the thumb and first finger of both hands. Slowly approach mouth so that it is obvious that nothing is being placed inside. With the tongue, roll the ball to the front of the mouth so that the twisted corners are against the inside of

the lips. Part the lips for enough to permit the fingers to untwist the cellophane without disclosing it. Grasp a corner of the silk and pull it into view.

5. 6.

It is effective to produce a small glass of water first, then drink it, then produce the silk. The water will not wet the silk as it is protected by the cellophane covering. A quantity of silks can be produced by this method. Other silks, each in a cellophane enclosure, are in the right coat pocket. As the left hand pulls the first silk into view, the right hand steals a second silk. The right hand, with the palmed silk, approaches the left and leaves the second silk in the mouth as the first is pulled free.

From the Thumb It is possible to have a silk wrapped around the tip of the thumb if the production is to be made immediately upon opening the performance. Wrap the silk tightly around the tip of the right thumb. Tuck the last corner under the folds of the silk. Bend the thumb inward toward the palm so that the silk is hidden from view, Figure 60. To produce the silk: 1.

2.

3.

Show both palms while holding the hands in o position with the right thumb hidden behind the left hand, thumb upwards, Fig. 61. Turn the left hand over so that its back is toward the spectators, Figure 62. During this action care must be taken so that the silk does not come into view. Now the back of the right hand is exposed to the audience, Figure 63. The backs of both hands are now facing

23

the right thumb and the silk is produced.

From the Handkerchief Pocket

24

Fold the silk with the Envelope-Fold. Tie one end of a length of black thread around the centre of the packet, and the other end of the thread to the top button of the coat. The exact length of the thread is determined by placing the silk packet in the outside breast pocket of the coat. There is a slight slack in the thread when the silk is in position, Figure 64. To produce the silk: 1.

Stand with the left shoulder nearest to the audience calling their attention to the empty right hand which is shown back and front. 2. At the same time, the left hand is brought up into a position just over the handkerchief pocket where the silk packet is hidden. The left thumb is engaged in the loop of thread, Figure 65. 3. The left hand is raised upward, lifting the silk from the pocket into the hand, Figure 66. The thumb presses against the first finger so as to clamp the thread between them. The left hand is held for enough out in front of the body once it obtains the silk to cause the thread to become taut. 4. The right hand is brought between the left hand and the body so that the right thumb can engage

5.

6.

7. 8.

the thread as shown in Figure 67. The right hand now moves up and around the left hand until it reaches the position shown in Figure 68. Note that the left thumb skill presses against the first finger of the left hand. The left hand is withdrawn, leaving the silk in the right hand Figure 69. As the silk is being transferred from one hand to the other, the body is slowly turned so that the right shoulder is nearest to the audience when the silk is received by the right hand. Now the left hand is shown to be empty. Bring the hands together, break the thread that encircles the pocket and the silk will expand, materializing between the expand, materializing between the two hands as they are separated.

Instanto Handkerchief Production * ●● J O E

25 B E R G ●●

Tie one end of a piece of black silk thread to the corner of a silk handkerchief. Make a loop at the other end of the thread. This loop can be made of the preferred as it keeps its shape more readily, allowing the thumb to pass through it at the proper time. Roll the silk into a long strip, Figure 70. Then, starting with corner ‘B’, roll the strip into a ball, Figure 71. This ball is concealed under the right lapel of the coot, next to the vest. The weight of the lapel keeps the ball from unrolling. The loop is hung over a button of the vest, Figure 72. All is now in readiness for the production. To produce the silk.

1.

Slip the left thumb through the loop while the right thumb comes up under the thread, Figure 73 The hands are shown empty while in this position See Figure 73. 2. Now the right hand makes a sudden movement forward, and at the same time downward. This action draws the silk from under the lapel with great rapidity, and to the tips of the forefinger and thumb of the right hand, giving the effect that the silk was merely plucked from the air. The silk unrolls so quickly that it is fully opened when it reaches the fingertips, Figure 74. 3. Silks may be produced from the left arm pit, the breast pocket, the side coat pocket, the opening of the vest, the vest pocket or from under the vest. The same general procedure is followed in all of these productions.

Visual Silk Production *

●●● PRINCE

26 MENDES ●●●

of ‘This is The Army’ fame for this exclusive method. Sew or tie the tip of a 12” silk to a rubber band, Figure 75. Pleat the silk into a narrow strip, Figure 76. Finally, roll the strip into a tight packet, Figure 77. To produce the silk, stand with the left shoulder nearest the audience, right palm in view and fingers spread well apart. Reach up into the air as though catching a silk. At the same time bring the second finger down to meet the tip of the thumb, Figure 79. Now SNAP the finger forward. This sudden action causes the silk to fly free of the rubber band and it appears of the fingertips. Practice this a few times in front of a mirror and you will discover its merits!

From the Trooper Pocket

27

While this method may appear to be too obvious to be effective, a trial will prove otherwise. The silk is prepared by the Trap-Fold. It is tucked into the upper inner corner of the trouser pocket, Figure 80. To produce the silk: 1.

2.

The pocket is pulled out and shown to be empty. (The silk remains in the corner undisturbed.) See Figure 81. The pocket is replaced. During this action the thumb

3.

moves upward and dislodges the silk, bringing it down into the pocket, Figure 82. The hand is again shown empty, and the thumb and first finger gracefully enter the pocket, take one corner of the silk, and withdrawing it, bringing it into view.

Methods of Producing a SINGLE SILK ● APPARATUS

METHODS ●

Introduction

1

Chapter Four dealt with methods of producing a single silk without the aid of magical apparatus. This chapter will give suggestions for the production of a silk with the aid of magical paraphernalia. In some instances the apparatus will exist, unknown to the audience. In other instances ordinary materials will be utilized. Again, properties used will appear to be ordinary, but will be gimmicked, unknown to the audience. A number of the pieces of apparatus to be mentioned are standard equipment, and are obtainable from most magical houses. When a particular effect is credited to one dealer, this magical house claims exclusive manufacturing rights for the particular gimmick or apparatus described. Basic principles will be disclosed herein rather than all of the commercial variations. Space will not permit an exhaustive treatment of all commercial offerings, but once the reader knows the basic principles, the method behind most commercial offering will be apparent.

From a Lighted Match*

● ● U.

2 F.

GRANT ● ●

The following is an adaptation of a method suggested by U.E. Grant in his ’50 Methods of Producing a Silk”. A 12” length of black thread is needed. One end of the thread is glued to a corner of a box of safety matches. The other end of the thread is tied to a corner of the silk. The matchbox is placed in the lower left vest pocket. The silk, Envelope Fold, Chapter Three, is either tucked into the upper left vest pocket, Figure I, or is lodged between the vest and coat at a point near the left arm pit, Figure 2. To produce the silk: Standing with the left shoulder nearest to the audience, take the box of matches from the vest pocket with

2.

3.

4.

5.

the right hand. Remove a match from the box with the left hand and strike it, holding the match between the left thumb and first finger. The right hand moves the box slightly to the left so the attached thread falls over the knuckle of the left second finger, Figure 3. The left hand moves sharply out and away from the body, pulling the silk from its hiding place, causing it to appear dangling from the fingers of the left hand. During this action the left thumb and first finger release the match which falls to the floor unnoticed, the sudden movement of the hands extinguishing the flame. See Fig. 4. The right hand carries the box to the left hand where it leaves it, and takes the silk. From the left hand. As the right hand takes away the silk the thread

is broken at the point where it is attached to the silk. 6. The left hand pockets the match box.

From a Finger Jip *

●● HAROLD

R.

RICE ●●

3

This method of producing a silk is my own and appears in print for the first time. A small piece cut from the corner of a silk is glued into a fingertip which is placed on the first finger of the left hand. A silk prepared with the Coil Fold is hidden in the left hip pocket To produce the silk:

1. 2.

3.

4.

5.

6.

7.

8.

Show the hands empty and close the right fist, thumb uppermost. Bring the left hand to the right., The left thumb and first finger enter the top of the hand as though to take a corner of a silk that has materialized therein, Figure 5. Actually, the finger tip that has been on the left first finger is left in the right hand, and as the left hand is taken away, the piece of silk pops into view, creating the illusion that there is a silk in the right hand, Figure 6. Turn the body to the left, right shoulder nearest the audience. All attention is focused on the protruding corner. During this action the left hand goes to the hip pocket and secretly obtains the folded silk, its protruding corner being between the thumb and first finger. The left hand approaches the right. The third and fourth fingers of the right hand open slightly so the left thumb and first finger can enter the bottom of the right fist.

The left finger and thumb leave the corner of the silk in the palm of the right hand, Figure 7, where it is clipped by the right second finger. The tiny corner still remains in view at the top of the right fist. Now the left hand pulls downward, developing the coiled silk it contains, Figure 8. This action, properly executed, creates the impression that the silk is being drawn from the closed right fist.

9. After the silk has been developed, the left hand again approaches the top of the left fist, thumb and first finger going into the top. The corner is pushed into the tip (in one movement), the tip replaced on the left finger, and the corner, of the full silk taken between the thumb and first finger of the left hand. 10. The full silk is now pulled up through the closed right fist and finally displayed with a corner being held in either hand. 11. As the silk is pocketed or laid aside the fingertip is discarded.

From a Paper Cone *

●● A L

4 BAKER ●●

The method about to be described is AL PRODUCTO, on Al Baker exclusive, marketed by Mr. Baker for a number of years. A similar version appeared in a recent book, but no credit was given to the inventor who generously grants me permission to present his original version here. Effect: A silk is produced from a small paper cone formed from a piece of newspaper shown repeatedly on both sides. The silk pops up from the cone when it is snapped with the fingers. Required: 1. A 15” or 18” silk. 2. A piece of newspaper 3” x 4”. 3. A newspaper gimmick. The gimmick is a cone made of newspaper. When ready for use the gimmick measures 1¾ in diameter at the mouth and is 3” high, Figure 12. The gimmick is made as follows: 1. Cut a half circle from a sheet of newspaper, Fig. 9. 2. Apply a thin layer of paste to the shaded area, ‘BCX’, Figure 9. 3. Bring the corner “A” up to a point “X”, Figure 10.

4.

5.

Corner “B” is now brought up to complete the cone, Fig II. If properly formed the cone measures about 1¾” across the open mouth. Finally, clip off the end “C” with a pair of scissors so that the third finger may enter the newly created opening and the cone will stay on the finger without falling off. The finished cone is shown in Figure 12.

Preparation: Push the silk into the large opening of the cone and tuck in the loose ends. Holding several fingers over

the mouth of the cone to prevent the silk from being forced out, insert a finger in the small opening, pushing back any silk that may exist in this end of the core. This small opening must be free to admit the third finger during the presentation of the effect. Lay the loaded cone on the table with the small piece of newspaper over it. Other articles on the table will help conceal the set up. Production: Standing with the right shoulder nearest to the audience, pick up the paper, using both hands. The left hand holds the laded core in place under the piece of newspaper while the third finger of the right hand enters the opening, Figure 13. Once the cone is securely attached to the finger, the hands assume the position shown in Figure 14, the third right finger carrying the loaded cone into the right palm as illustrated. The piece of newspaper is turned over several times, showing both sides in the following manner: bring the index fingers back of the paper and just above the thumbs, Figure 15. Shift the thumbs to position just vacated by the index fingers, Figure 16. The paper is now held by the index and middle fingers of the two hands, and by pushing up with the thumbs, will turn over with no movement of the rest of the hand. By shifting the fingers and thumbs again, the paper can be turned over once more revolving as if on an axis. During the showing of the paper the loaded and out of view by the third finger and the fleshy part of the thumb at the right palm. The left hand now pushes the paper towards the right so that the right edge goes between the first and second fingers of the right hand, and at the same time the third finger of the right hand straightens out, Figure 17, leaving the loaded cone nipped behind the paper with the left thumb, Figure 18. The right hand comes up and carelessly straightens the paper at the right end, thereby deliberately showing this hand empty without calling attention to it. Form the paper into a cone by wrapping it

around the loaded cone, forming it slowly and neatly. Hold the finished cone in the left hand and snap it on its side with the finger and thumb of the right hand which will cause the silk to pop up, Figure 19. Remove the silk slowly, pinching the side of the cone so the “qimmick cone” won’t be pulled into view too. Turn the mouth of the cone to the audience, showing it empty; then crush it and toss it aside.

From an Empty Tube

5

A cardboard or metal tube is shown empty, set on the palm of the hand or over on empty glass, and when lifted, a silk has materialized. The silk, prepared with the Trap-Fold, is held in place just inside of one end of the tube with a bobby pin, Figure 20, or a strip of tissue paper pasted to hold it in place, Figure 21. To produce the silk:

1.

2.

3. 4.

5.

Pick up the tube with either hand so that the thumb is outside and the four fingers inside, covering the silk. Hold the tube so that the spectators can see through it, the cupped fingers concealing the silk, Fig. 22 Set the tube on the palm of the hand, or over an empty glass. Push the silk clear of the bobby pin with the fingers, or break the paper, and the silk will expand. Lift the tube to reveal the silk on the hand or in the glass, Figure 23.

From a Wand

6

Accordion Pleat the silk into a strip about 1½” wide and wrap it around the end of the wand, tucking the end of the strip into the folds, Figure 24. The resulting roll should not be too tight to come off of the end of the ward easily. The wand may be lying on your table, silk roll to the back, or if used as an opener the performer may come on the stage with the wand under the left arm, silk roll concealed under the armpit, Figure 25. To produce the silk:

1.

2. 3. 4.

Show both hands empty, with the right hand, pick up the ward from the table, or reach back under the left arm and grasp the ward in such a way that the silk roll is concealed in the right palm, Figure 26. Turn the right shoulder nearest to the audience, top the open left palm with the free end of the wand Grasp this end of the wand in the left hand, pulling it from the right hand, leaving the silk in the closed right hand, Figure 27. Keeping the right hand closed tap it with the wand. Open it quickly, and the silk will appear in the hand,

5.

expanding with starting effect, Figure 28. This production should be done smartly.. then the illusion is perfect.

From a Match-Box

7

There are a number of methods of producing a silk from a matchbox. One of the simplest is that credited to the famous De Kolta: DE KOLTA METHOD ONE Push the drawer of the matchbox out about half way, and place the silk, loosely rolled, into the space left in one end of the cover, Figure 29. The box rests on the table. To produce the silk;

1.

2. 3. 4.

Pick up the match-box, remove a match and push the drawer back into the box with the fingers of the hard holding the match, automatically loading the silk into the hand holding the box, Figure 30. Strike the match, toss the box onto a table or pocket it, and transfer the match to the hand containing the silk, Figure 31. Extinguish the flame by shaking the hand, and at the same time let the silk develop, the match falling to the floor unnoticed. De Kolta would light a candle with the match and pretend to pinch something from the candle flame, which, being developed between the hands, proved to be a silk..

ANOTHER METHOD The silk rolled or folded by one of the folds already

TWO

described is in the right coat pocket where the closed match-box also rests. 1. The right hard goes to the pocket and gets the box of matches. 2. The drawer is opened and a match taken in the left hand. 3. The box is closed and the match lit. 4. The left hand holds the burning match while the right hand returns the box to the coat pocket and palms the silk. 5. As the hand comes from the pocket, the burning match is transferred to this hand, given a shake, and the silk allowed to develop.

USING A FAKED MATCH-BOX Gimmick a match box as follows: 1. 2. 3. 4. 5.

6.

7.

THREE

Remove the drawer and empty out the matches. Put a layer of glue on the bottom of the drawer, Figure 32. Replace the drawer in the cover and allow the glue to dry. Now the cover and drawer are securely glued together. Using a sharp razor blade, cut a hole through the bottom of the drawer and cover as illustrated in Figure 33. Note that about a 1/8” ledge remains on all sides. Now cut a small hole in one end of the box just large enough to permit inserting several matches, Figure 34. The silk, Trap-Folded, is placed in the box and held in place with a bond of thread tied around the box, Figure 35. To produce the silk, pick up the

table, or take it from the coat pocket, and remove a match from the end of the box.. Strike the match, the fingers holding the box breaking the thread. The silk will fall into the hand holding the box, Figure 36. Toss the box to the table, take the match in the hand concealing the silk, shake out the flame, and allow the silk to expand. ANOTHER FAKED MATCH BOX Another way to gimmick a match box is as follows:

1.

2. 3. 4. 5. 6.

7.

FOUR

Make a four sided false bottom out of cardboard. Figure 37. Note that the sides of the false bottom are just deep enough to hold one layer of matches. Glue the false bottom in place, Figure 38. Cut away half of the bottom of the drawer, Figure 39. The opposite end of the bottom of the cover is now cut away, Figure 40. A layer of matches is placed on the false bottom of the drawer. The silk, rolled and tied with a weak thread, is put into the drawer of the box, Figure 41, and the box closed. As long as the box is closed, the silk cannot

fall out, but as soon as it is opened to take out a match, the silk will fall into the hand holding the box. To produce the silk, pick up the box, open it, and remove a match. As the box is opened, ‘Figure 42’, the silk falls into the hand holding the box. The match is lit and the box tossed aside. While all attention is focused on the hand holding the match, the other hand containing the palmed silk breaks the thread banding the silk. The match is transferred to the hand hiding the silk, the match given a shake to extinguish the flame, and the silk develops as the match is dropped to the floor unnoticed.

A MATCH-BOX LOADER

Professor Edgar

FIVE

This is an adaptation of a clever idea suggested by Professor Edgar in the MAGIC WAND. A special match box made of metal is required. Both the drawer and the cover are gimmicked. Figure 43 shows the special cover. To illustrate the working of a special metal gate that operates inside of the cover, the top, has been removed. Actually the top cannot be separated from the rest of the cover as it is one piece about 2/3 of one side of the cover is cut away, space “A-B’. A metal gate “G” is hinged to the side at “A”. Note that there is a space between the bottom edge of the gate and the bottom of the cover. This space must be wide enough to permit the bottom of the drawer to pass between the gate and the bottom of the cover. Figure 44 shows the special DRAWER. About of one side is bent in to form a lug “L” A curved metal partition “C-D” separates the area housing the silk and the portion housing a few matches.

Figure 45 shows the special match-box assembled minus the top of the cover. Note that if drawer of the match box is pushed inward in the direction of the arrows, the pressure being applied at ‘X”, the lug “L” will force the gote “G” outward toward the opening “A-B”. The dotted lines indicate the direction taken by the gate. As the gate passes “D” it is stopped at point “B” by the side wall of the cover. Before the presentation a silk is folded and placed in the area indicated in Figure 44. Matches are placed in the section indicated in the same figure. To produce the silk, pick up the box in the left hand, Figure 46. The drawer is pushed outward in the direction indicated by the arrow with the right fingers. As the box is opened the hidden gote secretly loads the silk into the left hand. A match is removed and the box closed. The right hand strikes the match on the box and the box closed. The right hand strikes the match on the box and the box is tossed aside. The right hand transfers the match to the left which still contains the silk. The match is given a shake to extinguish the flame, and the silk develops as the match is dropped to the floor unnoticed. BEHIND THE MATCH-BOX

SIX

The silk may be merely folded flat and placed on the bottom of the match-box where it is held in place in by a band of weak thread as shown in Figure 47. The box can be standing in Figure 47. The box can be standing on its end on the table, or be carried in the pocket. To produce the silk, take the box in the left hand and place it in the right as shown in Figure 48. When the left thumb pushes open the drawer of the

box, the thread will break and the silk will fall into the right palm, to be developed as the match is extinguished.

From a Wand in the Pocket*

8

Place a pin through the coat under the lapel, point upward, the point of the pin being inside of the coat. ‘Trap-Fold a silk and impale it on the pin, Figure 49. Place a small wand either in the inside coat pocket or in the right top vest pocket. To produce the silk, show the hands empty. The right hand grasps the coat lapel just over the concealed silk and in a position making it possible for the fingers to encircle the silk. The right hand pulls the coat back from the body sufficiently far enough to allow the left hand to go inside and remove the wand from the pocket. As the wand is taken away, the fingers of the right hand drag the silk off of the pin, Figure 50. The left hand tops the right with the wand, and the silk is displayed as it is allowed to expand.

From the Mysterious Tube * Thayer’s Studio of Magic markets this clever little production in which a piece of paper about 3” x 5” is shown and formed into a tube. One end is closed. Then the thumb and first finger of the right hand reach into the open end and extract a silk.

9

Preparation: Form a paper tube ½” in diameter and 1½” long. Close one end of the tube. Push a small silk into this tube, leaving a small portion of one corner protruding. Close this end of the tube also, Figure 51. When the corner of the silk is pulled the closed end of the tube will open. The ends are closed by twisting them between the fingers. Place the tube in the folds of the coat sleeve inside of the bend of the elbow. To produce the silk: 1.

2.

3.

4.

5.

6

Pick up the 3” x 5” piece of paper, face the audience, and show the paper on both sides. Holding the paper in the left hand, extend the right and show it empty while the left still holding the paper, pulls up the right sleeve. In pulling up the right sleeve the left hand takes the position as show in Figure 52. Transfer the paper to the right hand which pulls up the left sleeve and steals the loaded tube at the bend of the elbow, holding it gripped by the thumb at the back of the paper, Figure 53. The two hands are brought together and the piece of paper formed into a cylinder by rolling it around the aacncealed tube, Fig. 54. Finally, the cylinder is closed at one end … the end opposite the protruding corner of the silk. R h h h h d

From a Fan *

10 ( C H A R L E S

W A L L E R )

Charles Waller suggests this method in his book “FOR MAGICIANS ONLY”. Some preparation of the fan is necessary. Open the fan and cut away part of each fold, Figure 55. When the fan is closed a small pocket is formed in the end of the fan, Figure 56. A balled silk, held together with a loop of florists’ wire, Figure 57, is placed in this tiny pocket, Figure 58. Note that a “thumb 1000” is formed with part of the wire that encircles the silk. The ‘thumb-loop” is in a position making it easy to engage it with the thumb when desired. To produce the silk:

1.

2.

3.

4. 5.

Pick up the closed fan from the table and pas it from hand to hand while pattering. Leave the fan in the right hand which grips it at the top, the thumb going into the wire loop as shown in Figure 59. The left hand draws the fan from the right hand, gripping it at the bottom, leaving the silk in the right palm, Figure 60. The left hand opens the fan gracefully and fans the right fist which has just been closed around the silk. During the fanning the right fingers free the silk from the wire that encircles it

From the Spectrum *

● D A N A R

11 T H E

M A G I C I A N ●

Danar the magician has used this clever production for many years and few have learned his secret. Effect: The performer shows his hands empty, sleeves rolled back to his elbows. He reaches into the air and grasps a handful of “spectrum rays”, which materiolize as a rainbow streamer 6” wide and 6’ long ! Required: A small cloth bag (made of chamois skin and large enough to accommodate the rainbow silk streamer) is needed, Figure 61. A small metal ring is sewn to the closed end of the bag. One end of a 14” length of 000 black silk thread is tied to the ring. A loop of fine black wire formed into a ring about the size of a half dollar is tied to the other end of the silk thread. A small black straight pin is slipped through the knot in the thread at the loop, Figure 62. The silk streamer is folded into accordion pleats and placed in the bag where it should fit snugly. Preparation: Place the loaded bag inside of the right bottom vest pocket, Figure 63, or under the vest of the right side. Run the thread up the cool lapel, push the pin into the lapel, Figure 63, and open the wire lop so that the thumb can be easily inserted. Presentation: 1. Turn back the sleeves, showing the hands empty, and

patter about the spectrum. Reach into the air with the right hand and apparently place the contents of this hand on the palm of the left. As the hand crosses over to the left, the right thumb engages the wire loop, pulls it free from the coat, and places it in the left hand, which closes over it. 2. Gaze at the left hand, the right returning to a natural position just over the load where it engages the thread between the second and third fingers, Figure 64. By extending the left hand the loaded bag is drawn automatically into the right hand unknown to the spectators. Flow the right hand, holding the bag from view, comes up to meet the left hand and turns the bag into position to work out the streamer between the hands. 1.

3. 4.

In presenting this effect, stand with the right shoulder nearest to the audience until the bag is in the right hand. Then turn to face the audience as the streamer is produced, working the silk out of the bag and spreading it between the two hands. The streamer having been produced, the cloth bag can be crumpled and concealed in the hand.

From a Billiard Ball

12

A hollow billiard ball substituted for one of the solid balls used enables the performer to change the ball to a silk in a variety of ways. During a billiard ball routine the hollow ball loaded with a silk is displayed and then placed in the mouth. The hands are shown empty. As the performer reaches into the mouth to remove the ball, the silk is removed instead. During this action the other hand steals and produces a second ball from the silk. This appears to be the ball just vanished in the mouth. Now the ball is vanished, and found back

in the mouth (the hollow ball is brought back into view again). Another method of obtaining a silk from a hollow billiard ball is to place the loaded ball atop the left fist, Figure 65. Bring the right hand directly in front of the billiard ball as though preparing to take it into the right palm. The right hand apparently closes around the ball as the hand forms a fist. Actually the ball sinks Down into the left palm where it is concealed. The right hand is opened and of course the ball is seen to have vanished. The left hand, which has been palming the ball, is closed into a fist. The right hard extracts the silk from the left fist, keeping the ball hidden. The ball can then be secretly disposed of or reproduced from the silk as desired.

From a False Finger * ●

C A R L

13 L Y L E’S

R O UT I N E ●

One of the most popular devices for producing a silk is an extra finger. While this piece of apparatus is described in Hoffmann’s – ‘LATER MAGIC’, and has been on the market for years, the imitation digit available has not always been good, nor has a practical routine been always been good, nor has a practical routine been available. The Sterling Magic Company markets on excellent false finger under the name ‘Slik Silk’, with a nice routine prepared by Carl Lyle which is reproduced here through the courtesy of that concern. Effect: The hands are shown front and back, then brought together, and a silk produced from nowhere! Preparation: Tie a knot in one corner of an 18” silk. With a pencil, stuff the silk into the finger so that the knot is in the position shown in Figure 66. Do not pack the silk

in too tightly. Put the extra finger between the index and middle fingers of the right hand. Presentation: 1. The hands are shown front and back, Figure 67. With the hand in motion the extra finger will not be noticed. 2. Bring the hands together, Figure 68. The extra finger is clipped by the tip of the middle finger and the palm of the left hand. 3. The hands are now drawn apart and as they pass, the knot is clipped by the index and middle finger of the right hand,

4. 5.

6.

7. 8. 9.

Figure 96. There must be no hesitation – just one continuous movement. Draw the hands apart until the silk is free of the left hand, Figure 70. Bring the hands back together so the silk falls into place over the left hand, and the extra finger goes between the fingers of the right hand, Figure 71. The right hand is lowered, Figure 72, and continues its motion by coming up on the other side of the left hand, Figure 73. At the same time turn slightly to the left. The right hand winds the silk around itself, Figure 74. The extra finger is well concealed, Figure 75. The silk is taken into the left hand along with the extra finger. The left hand disposes of the silk and the extra finger by putting them in a pocket or on a table.

Added Suggestions: 1. Practice these moves until they can be done well with a smooth even motion throughout the routine Study the illustrations carefully. 2. After the knot is clipped between the fingers, Figure 69, hold it there until the production is complete. 3. The loaded finger can be stolen from the trouser pocket, or from a special pocket just under the coat tails ( if o full dress suit is worn ). 4. A special pocket inside of the regular coat pocket will hold the loaded finger upright and in position so the hard can slip into it without fumbling. The finger is taken as the hand enters the packet to return something there. 5. If the production is an opener, the performer can come on with the finger in position.

A novel Silk Production * ●

E L

14 B A R T O

●

This is another routine using a false finger. An 18” silk, a 4” square of stiff paper, and a false finger are needed.

Preparation: Tie a knot in one corner of an 18” silk, Figure 76. With a pencil push the silk into the finger so that the knot is in the position shown in Figure 77. Do not pack the silk in too tightly. Roll or slightly curl one edge of the stiff paper so it will conceal the finger when it is placed over it on the table, Figure 78.

Presentation: 1. With your table to your right and working with your left shoulder nearest to the audience, show the hands. 2. Pick up the paper with the thumb and index finger of the right hand. The thumb nips the false finger against the back of the paper, Figure 79. 3. Lay the paper on the left hand, figure 80, holding the hand so the finger points at an angle of 45 degrees to the floor. 4. Carelessly rap the right hand with the paper. The last time the paper comes into contact with the right hand (which is extended palm up) insert the false finger between the index and middle fingers of the right hand, Figure 81. 5. Now turn the paper over once or twice as indicated in Fig. 82, showing both sides. This action allows the right hand to be seen momentarily yet masks the false finger. 6. Replace the paper in the left hand once more leaving the finger, Figure 80. Show both sides of the right hard.

7.

13. 14. 15.

Take the paper from the left hand with the right once more, carrying the finger nipped behind it where it remains unseen by the spectators. 8. Form the paper into a cylinder with the false finger in the centre, Figure 83. Hold the cylinder in the left hand. 9. Snap the paper with the index finger, and the silk will pop up into view, Figure 84. 10. Withdraw the silk and lay it over the left forearm. 11. Look into the cylinder and say, “Perhaps there is another one”. 12. Insert the little finger of the right, hand into the cylinder ( and the false finger ) and with draw the finger with the false finger on it. Allow the paper to unroll and fall to the floor Take the silk from the left forearm with the right hand, then place it in the left, leaving the false finger there under the silk. Lay both silk and false finger aside.

The above series of moves can be done with a pope-false finger, made of paper formed and pasted around a round stick about the size of a finger, and painted with flesh-colored point. The advantages of the paper finger is that the cylinder can be crumpled up and carelessly tossed aside after the silk has been produced.

From a bottomless Bottle

15

Cut the bottom from a bottle of opaque colored glass. The silk to be produced is gathered into a ball, not folded, and tied with a single strong of weak thread. The thread runs through the neck of the bottle and is wedged there by the cock so that the silk ball “hangs” as shown in Figure 85.

Presentation: 1. Explain that the bottle contains, precious gas. The gas, when warmed between the hands, will materialize into a pretty silk. 2. Showing the hands empty, pick up the bottle with the left hard and set it on the palm of the right. 3. Remove the cork with the left hand. This allows the little silken ‘ball’ to drop into the right hand. 4. Grasp the bottle at the neck with the left hand. 5. Pretend to pour some of the precious gas into the cupped right hand, held to screen the silk, Figure 86. 6. Set the bottle on the table 7. Rub the two hands together, and the silk materializes, the thread dropping to the floor unnoticed.

From a Hidden Tube * ●

H A R O L D

16 R.

R I C E

●

This excellent method enables the performer to produce a 27” silk square from the empty hands. Preparation: Sew a flesh-colored tube 1¼” in diameter and 1½” long to one corner of a 27” silk. If the silk is to be used later, sew half a dress snap fastener to the corner of the silk, and solder the remaining half to the tube, Figure 87. Sew a small flesh-colored loop to the other corner of the silk, Figure 88. The ends of the tube are turned in about 1/8” to keep the silk from escaping prematurely, Figure 89. The silk is stuffed into the tube, the loop protruding. A small bead may be sewn to the protruding corner instead of the loop, or a small

knot may be made in the corner. The loaded tube may be held under the edge of the coot with a body clip (which will be explained later) or it can be lying on a table where it can be picked up as some other article is moved or laid down. Presentation: 1. Palm the loaded tube in the right hand, end containing the loop uppermost, Figure 90. 2. With the right shoulder nearest the audience, show the left hand empty, executing the CHANGE-OVER PALM, and show the right hand. 3. Roll the tube back into the right hand, face front, and insert the thumb into the loop. 4. Spread the arms quickly. 5. The silk will appear fully developed between the hands. If it was fastened to the tube with a fastener, unsnap it with the thumb nail, pocket the tube, and use the silk in the next effect.

From a Flash Ball

17

Crumple the silk into a compact ball and wrap it into a small piece of flash paper. Crumple the little parcel and pocket it. After doing the TORN and RESTORED NAPKIN, roll the restored napkin into a small bundle the same size as the pocketed flash paper ball, and carelessly packet the crumpled ball as you take your bow. Withdraw your hand from your pocket, bringing out the flash paper ball. Without calling attention to it, toss the ball into the air and catch it several times, then holding it at the tips of the fingers, light it with a cigarette lighter or a match, and toss it into the air where it will ‘flash’ into a silk.

From a Fan of Playing Cards

18 Glue a small envelope to the back of a playing card, and place a small silk in it, Figure 91. Put a bobby pin over the top vest pocket and slide the card, face out, under the bobby pin as shown in Figure 92. Presentation; In the course of a routine in which you produce fans of cards, steal a few cards from the pack and reach under the coat to produce them in a fan. Place the cards over the faked card clipped to the vest packet, pulling it free and adding it to the palmed cards. Fan the cards and bring them into view. Run the other hand along the top edge of the fan, grasp a corner of the silk in the faked card, withdraw the silk, discard the fan of cards and go into a silk routine.

From a Jambourine

19

Paste a square of paper cut from a duplicate copy of a newspaper over the centre of the front page as shown in Figure 93. Before pasting down all four sides of the square, place a silk, folded flat, in the secret pocket thus formed. The packet should be very flat. Obtain two wooden or metal embroidery hoops at the 5 & 10-cent store.

Presentation: Show the two hoops, then pick up the newspaper. Tear off the front page and show it on both sides. Place the part of the paper containing the pocket over one of the hoops and force the other hoop over the centre to form a tight tambourine, Figure 94. Break the paper and withdraw the silk.

From a Wand Shell

20 The VANISHING WAND, a standard piece of apparatus, affords on excellent means of producing a small silk. For example, the ward is wrapped in a piece of paper, then the parcel tarn in half, and the silk extracted. Figure 96. A 15” silk is tucked into the wand shell with a dowel stick of small diameter or a knitting needle, minus the point, and the tips o the ward put on as usual. See Figure 95.

From a Fake Flower An ordinary boutonniere can be the accessory for producing a silk. The flower must have the centre cut away. And from the centre protrudes the tip of a silk, which runs through the hole in the lapel where it is rolled in a flat roll under the lapel. The flower is pinned or fastened in place. To produce the silk, nip the corner of the silk that protrudes from the flower and extract it from the boutonniere. See Figure 97.

21

From a Sward or Wand

22 Many silk producing wands and swards have been marketed by dealers, all of them variations of the same principle. In the case of ward, which is hollow, a slit runs along the side as shown in Figure 98, and inside the wand is a strong spring, Figure 99, which when expanded extends the full length of the wand. When the spring is compressed, it is locked in place by giving the little nib on the end a slight turn, which engages it in the slot as shown in Figure 100. A half dress snap is sewn to this nib, Figure 101, and the other half to the silk. Some manufacturers use a bent pin and the silk is merely hooked over the pin, but a wand of such construction is not recommended.

Presentation: 1. The silk is rolled into a small ball and one end tucked into the folds; the tightness of the roll can be determined by trial. 2. The wand, with spring compressed and locked in the slot, and with silk attached is placed on the table, Figure 102. 3. Wand is picked up at the end where silk is attached, hand concealing the silk. Wand is waved in the air, and the thumb slips the little nib out of the slot, allowing the spring

4.

to expand and carry the silk to the tip of the wand. At the same time the wand is given a sharp shake, causing the silk to unfold, Figure 103. The silk is removed and used in the next effect.

This same principle has been applied to a steel sword. Some swards have a hollow handle and the silk roll is placed therein, permitting free handling. These swords have a length of thin elastic running inside of the hollow blade. The elastic is stretched from the point of the sword back to the handle, Figure 104. A half dress snap fastener or a little pointed hook is fastened to this end, to which the silk, packed in the handle, is attached. The thumb releases the silk. The elastic draws the silk to the point of the sword under cover of a stabbing movement as if “spitting” or catching a silk from the air at the point of a sward, Figure 105.

P.L. Handkerchief Production Ward *

23

Another popular wand is made from a metal tube, open at one end, painted black, and has chrome plated tips. Inside the wand is a wooden rod or plunger, with a screw attached near one end. The head of the screw passes through a slot in the wand, Figure 106. If the head of the screw is pushed to the other end of the slot, the end of the plunger will become flush with the open end of the wand, Figure 107. To load the silk into the wand, roll it into a compact bundle of the proper diameter to fit into the open

end of the wand snugly while the plunger is in the position shown in Figure 106. The silk must not fit too tightly or some difficulty will be experienced in ejecting it from the wand during the presentation.

Presentation: 1. Pick up the wand with the right hand so that the thumb is on the screw head. 2. Show the left hand empty by tapping the palm a few times with the wand. 3. As it is tapped the last time, close the left hand into a fist over the end of the wand, pushing on the screw head with the right thumb. This action ejects the silk into the left fist. 4. Turn the hand so the palm is up, working the fingers to loosen the bundle, and open the hand. The silk will expand and come into view. 5. If desired, the wand can be placed under the arm, the hands brought together, and the silk developed between them.

From a Paper Cone

24

The performer forms a paper core and spins it on his ward. Withdrawing the wand and tapping the core, a silk appears inside. The secret lies in the construction of the wand which is hollow and has two removable plugs for ends. One of these ends has a bent pin attached to it, Figure 108. To load the wand, the two ends are removed, the centre of the silk placed over a dowel stick with o rounded end, and the silk pushed inside of the ward, Figure 109. The centre of the silk finally reaches the other end of the wand. When the plug with the pin attached is inserted, the centre of the silk is ‘ caught ‘ on

the pin. The remaining plug is inserted in the other end of the wand. Presentation: 1. After the cone is formed, the end of the wand having the bent pin attached is inserted inside, or the cone dropped over that end of the wand and the cone spun around, as preferred. 2. When the cone is taken off or the wand removed, the plug is nipped through the paper and the wand withdrawn, minus this end. This action pulls the silk from inside of the wand, leaving it inside of the cone, Figure 110. 3. When the silk is removed from the cone, the pin is secretly detached and the plug left in the cone. 4. Hoffmann, in LATER MAGIC, suggests using a ring instead of a pin in the plug end, to which the silk is sewn with a weak thread, the thread being broken when the plug is removed.

From a Paper Cylinder

25 This method also depends on a wand.

A sheet of paper is rolled into a cylinder. A rubber band is placed around it, and the cylinder spun on the wand. Tapping the cylinder with the wand (after it has been removed) causes a silk to appear in it. The wand is merely a tube painted black and having white or nickled tips, Figure III. To load the wand, a bent pin is hooked into the centre of the silk, and

the silk pushed into the wand with a dowel stick as shown in Figure 112. Once the silk is inside of the wand the bent pin hangs over the edge. Presentation: 1. After forming a cylinder and snapping a rubber band around it, pass the wand through it and spin the cylinder on the wand. Both ends of the wand are open and it is important that the spectators do not get a glimpse of the silk inside of the wand. Thus, a finger of ether hand covers the ends as the cylinder is spun on the wand, Figure 114. 2. The wand is withdrawn, and the bent pin engages itself over one edge of the cylinder, leaving the silk inside, Figure 115. During this action the left thumb and first finger pinch the cylinder at the point where the pin rests, Figure 116. This relieves the strain on the cylinder.

From a Fake Ruler

26

This method is similar to the method explained in FROM A PAPER CONE. However a much larger silk can be produced. A sheet of paper is shown and formed into a cylinder by rolling it around a flat ruler. Then a silk materializes in the cyclinder. Method: The ruler is hollow, being made of tin and pointed to resemble an ordinary wooden ruler. There is a removable plug at each end, one plug being fitted with

a painted hook. The silk is loaded into the fake ruler by means of a thin dowel stick with a rounded end. Then the silk is attached to the hook on

the plug. Both plugs are then put into place. When the cylinder is formed, the hand holding it grips the plug to which the silk is attached, and when the ruler is removed, the silk remains in the cylinder. The plug is secretly removed from the silk and palmed away when the silk is produced. See Figure 117.

From a Drinking Glass

27

A drinking glass is picked up from the table and shown. The performer suddenly catches a silk in the glass. The effect depends upon a glass which has a tiny hole drilled in the bottom, and a piece of weak thread. The silk, balled into a loose bundle and tied with one end of the thread, rests on a servant, in a well, or behind some object on the table. The end of the thread runs from the silk through the mouth of the glass, through the hole, through an eyelet, and then to the back of the table where it is securely fastened. See Figure 118. Allow sufficient slack to enable you to pick up the glass slack to enable to you to pick up the glass without disturbing the silk in advance of the production.

Method: Pick up the glass and display it. Now give it a sharp upward jerk, with the mouth of the glass tilted slightly to the rear, and the silk will jump into the glass, Figure 119. The thread will break where it is attached to the silk as soon as the little bundle hits the bottom of the

glass, and the silk will expand, filling the glass, Properly done, the illusion of catching the silk is perfect.

From a Bottle

28

Using the principle just described a silk may be produced in a widemouthed bottle having a chrome metal cap, or a screw cap of sufficient depth to conceal a silk bundle. The bundle is tied with a piece of weak thread which runs through the hole in the bottom of the bottle, and the end of the thread is attached to the table or to a metal staple in the floor, Figure 120. The silk, stuffed into the bottle cap, will stay there until dislodged by a jerk. Carrying the bottle forward after the silk appears will break the thread.

From a Glass Stopper

29

A bottle having a wide mouth and a ground glass stopper makes an excellent prop. The stopper must be carefully hollowed out to conceal a silk. After one end of a piece of thread is securely fastened to a silk, the silk is folded into a tiny bundle and inserted in the opening of the stopper. The thread enters the mouth of the bottle and leaves through a hole in the bottom. The other end of the thread is attached to the table or to a metal staple in the floor, Figure 122.

Presentation: The bottle and stopper are as shown in Fig 122 at the opening of the effect. The stopper is placed in the bottle. As the bottle is transparent it can be seen to be empty. The bottle, with stopper in place, is carried forward, and the silk is pulled into view inside of the bottle. The performer continues to carry the bottle forward until the strong is broken.

From a Hark Glass * ●

P E R C Y

30 A B B O T T

●

The Abbott Magic Co. Make a mechanical glass that is most helpful in causing a silk to appear within a glass when desired. The glass is bottomless and has tapered sidewalls. The top of the glass is larger than the bottom, and a metal fake, Figure 123, is inserted into the open bottom. The spring in the fake throws the silk up into the glass when released. Preparation: To load the silk, remove the fake from the glass. Twist one end of the silk around the metal spring ‘X’, Figure 123. Compress the spring, and push the silk down into a compact bundle, close the lid and push any protruding parts of the silk back into the Fake with a playing card, a nail file, or a narrow strip of thin celluloid. Finally, push forward the catch “K-L” that locks “M” through the opening “O” in the lid. Now the fake is inserted into the bottom of the glass and appears as shown in Figure 124. As the fake fits closely it must be inserted with care. Presentation: To produce the silk, pick up the glass holding it at the bottom

by the tips of the fingers. It can be shown quite freely inside and out. The bottom walls of the glass are ground glass and the fake does not show. Push “K” in and “M” will move to the right for enough to permit the lid to fly open. The silk will fly up into the glass, filling it completely, Figure 125. The silk will fly up into the glass, filing it completely, Figure 125. The silk will jump completely out of the glass if one corner is not twisted around end “X” of the spring.

From Body Clips

31

A number of “clips” have been marketed by magic dealers. While these vary in design, they all serve the same general purpose, which is to hold a silk ( prepared by one of the folds ) or a gimmick in an easy – to – get position under the bottom edge of the coat. When the performer drops his hand to his side in a natural position, he can easily steal the silk or gimmick from the clip just under the edge of the coat. BARE HAND SILK PRODUCTION *

Percy Abbott

This clip, an Abbott Exclusive, is made of spring wire as shown in Figure 126. The silk to be produced is wrapped around the outside of the loop “A” and the final end tucked into the folds, holding the little bundle securely, Figure 127.

IRELAND BODY CLIPS *

L. L. Ireland L.L. Ireland supplies two styles of body clips. One is made with a bent loop at the top to be hooked over the belt, Figure 128. The other style, Figure 129, has a safety pin instead of a belt clip, so it can be pinned to the clothing wherever desired. The prongs of these clips are made of music wire covered with rubber, and

can be bent to hold either silk gimmicks or bundles of silk. They are generally fastened to the belt or to the clothing just under the edge of the coat as shown in Figure 130. It is a simple matter to steal the silk or gimmick from the clip. RICE’S FLASHO

**

Harold Rice

This ingenious two-pronged clip, a Silk King Studios Exclusive, is shown in Figures 131 and 132. The prongs can be adjusted by bending to accommodate any size silk, and a spring keeps the prongs or jaws of the clip tightly against the silken bundle so there is no danger of it falling out. These clips are pinned under the edge as described earlier. Best results are obtained by preparing the silks for these clips as follows:

1. Fold it diagonally; Figure 133, and then accordion pleat it into a narrow strip, Figure 134. 2. Starting at end “A”, Figure 135, roll the strip into a tight ball, and tuck the final end “B” under the folds, Figure 136. A tiny knot tied in end “B” will aid in locating this end. 3. Place the little bundle into the clip so that end “B” is furthest away from the body when the clip is in the “steal” position.

When ready to produce the silk, steal is as shown in Figure 137, and palm it, getting knot “B” between the fingers and thumb, Fig. 138. To produce the silk, release the bundle with an upward and outward motion of the hand, holding on to the knot. The silk will flash into view as if caught from the air. While catching one silk, the other hand is busy stealing a silk from another clip, which will be produced immediately following the first.

THE SILK WINDER *

Harold Sterling

A clever metal clip, a Sterling Exclusive, is constructed as shown in Figure 139. To use the SILK WINDER, place corner “A” of a silk on the tube, Figure 140 Wind all but the last two

inches of the silk around the tube. Tie a knot in end “B” of the silk. Press this lost two inches of the silk into the slit in the tube with a toothpick, Figure 141. Finally, slide the silk ball down toward the end of the gimmick as indicated by the arrow. The arrangement looks like Figure 142. Pin the clip to the body just under the edge of the coat. To steal the silk, follow the suggestions given for the other body clips, and holding the tiny knot “B” between the thumb and forefinger, “catch” the silk from the air as described in RICE’S FLASHO.

This winder can be used as a device for rolling silks into a compact bundle for production. Just slide the wound silk from the tube (Figure 142) and place it in the pocket or other convenient place determined by the routine to be used. The silk can be wound so tightly that it can be bounced on the floor like a ball without unwinding, Yet, a flip of the hand causes it to develop instantly. RICE’S NU-CLIP *

Harold R. Rice

This Silk King Studios Exclusive is made from a bicycle “trousers guard” clip sold in bicycle shops. The chip is bent into the shape shown in Figure 143. The two prongs at the ends of the clips must be straightened as illustrated so as not to interfere with the production of the silk. This clip can be used in two ways.

1.

Fold the silk and insert it between the two prongs or arms with the tiny knot ‘A’ of the silk uppermost, Figure 144. With the silk and clip in this position, the tiny knot falls between the thumb and first finger of the hand making the steal the clip is pinned under the coat with a safety pin in the position desired. 2. The silk can be wrapped around the outside of the clip as shown in Figures 145, 146, 147 and 148. End ‘A’ of a silk is placed over the clip as illustrated, Figure 145. The silk is wrapped around the clip until about 1” of end “B” remains, Figure 146. End “B” is placed between the ends of the clip, Figure 147. Finally, the ball of silk is pushed down to one end of the clip, Figure 148. Note that the portion of the silk ‘X’, Figure 147, is pushed inside of the roll so it cannot unroll prematurely, Figure 148. In stealing the silk from the clip, the thumb and first finger obtain the knot, and the palm and remaining three fingers encircle the bundle and draw it off the prongs of the clip, ready to be “caught” from the fingertips.

From ‘Hand’ Gimmicks

32

Thus for the only “unseen assistants” discussed, with the exception of the extra finger, have been body clips, devices pinned or sewn to the performers clothing. Another type of “unseen assistant” to facilitate the production of a silk is a device or gimmick we shall call the “hand gimmick”. Other devices of value for use in producing a silk in a manipulative routine will be discussed in later chapters. ABBOTT’S PUSH-OUT SILK PRODUCTION *

Percy Abbott

This method was first suggested by Hoffmann in his LATER MAGIC. The Abbott gimmick is an improvement over the one described by Hoffmann in that it has a special clip attached, making it possible to steal it from the clothing when needed. The silk gimmick is made of metal, shaped as shown in Figure 149, and painted flesh color. It will hold one or two silks, and is held in the right hand, against the middle fingers, clipped between the top joint and the base of the fingers, Figure 150. Prior to presentation, the silk is accordion pleated and placed in the gimmick; the clip is attached, and then pinned to the clothing at a convenient position. To produce the silk, steal the gimmick, and hold it in the right hand as shown in Figure 150. The right palm is toward the performer. Reach into the air with a “catching” motion, and at the same time push upward on the silk with the right thumb, bringing it into view at the tips of the fingers. Figure 151. The silk is taken from the right hand with the left. The gimmit can be pocketed or laid down under cover of the silk just produced.

MONARCH HANDKERCHIEF PRODUCER This gimmick, designed to facilitate back palming a silk, is described in Hoffmann’s LATER MAGIC. It is made of metal, and consists of two half rings soldered as shown in Figure 152 to a thin flat strip about 1½ long. At the end of the metal strip a hole is drilled, through which a piece of florists wire is twisted to form a loop as illustrated. The gimmick is painted flesh color. The silk is gathered into a tight ball and pushed into the wire loop, then the little device is clipped at the base of the second and third finger by means of the half rings, Figure 153. The second and third finger can throw the little loop-supported ball of silk from the front to the back of the bond in the same manner as a card or coin is shuttled from the front to the back of the hond in the new-toofamiliar “back and front hand palm”. The hands are brought together to produce the silk which is either pushed out of the wire loop, or is drawn out, and the gimmick pocketed or laid down with the silk. SILKS AT THE FINGERTIPS * This Abbott Exclusive is an unusual device for the production of a silk. It is made of metal, as shown in Figure 154, painted flesh color, and can be held by means of the two clips, either at the front or back of the hand, Figure 155. The silk is pleated or folded and held under the rubber band.

Percy Abbott.

If the silk is to be produced with the palm to the audience, the loaded gimmick is clipped on the back of the hand, with the clips between the second and third fingers of the right hand so the little level “L”, Figure 156, rests on the middle of the finger nail.

With the left shoulder toward the audience, extend the right hand, showing the palm empty. Reach into the air, palm still to the audience and bend the hand slightly so the thumb can trip the lever “L”, and the silk will virtually fly into the air, from which you can actually catch it. If the catch is made with the back of the hand to the audience, the loaded silk must be on the inside or palm of the hand, Figure 157. The thumb trips level “L” to release the silk. SILK PRODUCTION SUPREME *

Percy Abbott.

Magicians have long sought a gimmick that would permit the hand to be shown front and back without the necessity of manipulating or shifting the position of the gimmick during this action. The hand box described by Hoffmann in MODERN MAGIC, and the improved “hand box” in LATER MAGIC are both steps in this direction, but the first real achievement of such a device was DR. E. G. Ervin’s handkerchief production device, now offered in an improved form to the fraternity by Percy Abbott as a little silt producer called SILK PRODUCTION SUPREME. This hollow metal gimmick is shaped much like a rubber heel from a man’s shoe, and is completely enclosed except for a small oval shaped opening as shown in Figure 158. It is loaded by pushing the silk in with a pencil and held in the crotch of the thumb and first finger of the right hand. The opening is near the tip of the thumb, the fingers

are curled loosely, and the hand held in a natural position, as shown in Figure 159. The gimmick is used as follows. 1.

The gimmick is between the first finger and thumb of the right hand, Figure 159. The left shoulder is nearest to the audience.

2.

The right hand is shown, palm at right angles to the floor. As the right thumb masks the presence of the gimmick, the hand is seen to be empty.

3.

The back of the hand is shown by one of two methods. This can be accomplished by turning the hand at the wrist with a slight swinging motion as shown in Figure 159 and 160, first showing the palm, and then the back of the hand, and finally the palm again. A second method may be executed by curling the right first finger around the gimmick as

4.

shown in Figure 161 (as seen by the performer looking down on the hand) then swinging the hand from right to left and back, thereby showing it back and front as shown in Figures 162 and 163. The exact motion is a matter of choice with the individual but in any case the body should remain in the same position, viz., the left shoulder

is always nearest to the audience. 5.

Now the performer faces the audience, and raising the first finger of the right hand slightly, allows the gimmick to drop down into the hand as shown in Figure 164. In this position the open end of the gimmick is up, and the corner of the silk can readily be grasped between the thumb and first finger of the right hand. ( A tiny knot in the corner of the silk will aid in locating it).

6.

The hand is moved up and down slightly as the thumb and forefinger work the silk out of the gimmick.

7.

During this production of the silk the left hand is held in line with the waist, close to the body, the back of the hand toward the floor, and the palm slightly cupped.

8.

When all of the silk has been worked out of the gimmick, the waving motion is continued. As the right hand approaches the left, the fake is dropped into the left hand, which catches it, Figure 165, and turns palm in towards the body, hiding the gimmick.

9.

The right hand is shown empty except for the silk, which can be placed over the gimmick in the left hand. Or, the left hand can pocket the gimmick, or drop to the side and dispose of the gimmick later, as all attention is now focused on the silk.

THE IMPORVED HAND BOX The evolution of the “boot-heel” hand box can be followed in Hoffman’s, MODERN MAGIC, MORE MAGIC and LATER MAGIC. The best of such devices is the IMPROVED HAND BOX, described here, and further improved by the addition of a pin or hook, Figure 166. The gimmick, about 2” long and 1½” across the major diameter of its oval shaped section is made of metal. Clips are soldered to both of its flat sides, Figure 166. These clips aid in holding and manipulating the device. A pin or hook is soldered just below one of the clips, as illustrated the silk is loaded into the gimmick which is the

edge of the coat, on the right side. To produce the silk: 1.

While the left hand is being shown empty, thereby engaging the attention of the audience, steal the gimmick by clipping it onto the right hand, between the second and third fingers.

2.

While the right hand is still behind the back, turn so it can be brought into view, palm to the audience.

3.

The left hand having been shown front and back, turn so the left shoulder is nearest to the audience. Bring the right hand up to the position as illustrated in Figure 167.

4.

Pass the palm of the left hand across the palm of the right, Figure 167, continuing over the back of the right hand until it falls into the position shown in Figure 168.

5.

At this point the left clips the gimmick between its second and third fingers, then reversing the action just described in step 4 above, returns to the position illustrated in Figure 169. Now the gimmick is clipped in the palm of the left hand. The right hand is now shown front and back, the tips of the

6.

left fingers brushing across the rights palm and back. 7.

The right hand is now shown front and back. This is done by displaying the palm of the right hand and brushing the tips of the left fingers across the right palm from right to left as shown in Figure 170. Now the right hand is turned over and the back of the hand shown. Again the tips of the left fingers are brushed across the hand as illustrated in Figure 171. As the back of the left hand is always to the audience, the concealed gimmick is never exposed.

8.

Now the performer faces the audience. The right hand approaches the left and nips a corner of the silk. The two hands separate, developing the silk between them, Figure 172.

9.

The gimmick can be transferred to the right hand, and the left again shown empty. Or, the gimmick can be laid down under cover of the silk or hooked to the clothing again, as dictated by the routine used.

BACK HAND PRODUCTION FAKE *

Alan Howell

This excellent gimmick has met with favor whenever shown, and is described in print for the first time. The gimmick, about the size of a halfdollar, is shaped like a watchcase. The bottom of the gimmick is flat, however, and only the top is convex. It will accommodate an 18 “silk. The inside of the gimmick is highly polished, and the outside is flesh colored. Two metal clips with ball – shaped ends are attached to the gimmick so it can be clipped to the back of the hand. A hole in the side of the gimmick permits the silk to be inserted or withdrawn. One half of a dress fastener is soldered to the convex side of the fake. Figure 173 shows the details of the gimmick.

The gimmick is concealed on the inside of the left forearm, snapped to a band of flesh colored elastic warn on the arm like a garter, as shown in Figure 174. The other half of the snap fastener is sewn to this band of elastic. The gimmick is manipulated as follows: 1.

The left coat sleeve is rolled back and the gimmick snapped in place, Figure 174. Then the shirt and coat sleeves are adjusted to their normal positions. This action takes place prior to the actual presentation.

2.

Stand with the left shoulder nearest to the audience, slowly turn back the right coat and shirt sleeves, showing the right hand front and back, fingers wide apart.

3.

Without changing the position of the body, roll up the left coat sleeve, allowing the left to be seen empty. 4. While adjusting the left sleeve, the right fingers steal the gimmick away from the elastic band. The right hand comes away with the palm facing the audience, gimmick on the back of the hand, fingers wide apart. The clips will fall between the fingers at the base of the hand, one between the first and second fingers and one between the third and fourth fingers, Figure 175. The opening is toward the right thumb. 5.

Face the audience and show both palms, fingers wide apart. Up to this point, so far as the spectators are concerned, you have been merely rolling up your shirtsleeves.

The hands came together so the fingers of the left hand fall on the corresponding fingers of the right. This is done in a slow tantalizing manner so the hands can be clearly seen to be empty. 7.

Now the hands are gently waved up and down while still held in the manner just described, and the left first finger and thumb reach over the back of the right hand just over the crotch of the right thumb and first finger and, grasping a corner of the silk, quickly pull it into view through the crotch of the right thumb, Figure 176. It appears to be coming from the palm of the right hand.

8.

The gimmick remains on the back of the right hand during and after the production. Drop the silk over the right hand, covering the gimmick. In taking it away, remove the gimmick under the silk. Either pockets the silk, thus getting rid of the gimmick, or lay both on the table, and a moment later pick up the silk leaving the gimmick behind.

LIGHTENING SILK PRODUCTION *

Percy Abbott

The fake is a flesh colored metal tube closed at one end. Two metal clips are soldered to the walls of the tube, Figure 177. By the aid of these clips it is possible to show both hands empty although one hand contains the fake at all times. The fake will hold one fairly large silk or a number of smaller ones. Presentation: 1.

Place the loaded fake in the palm of the right hand; clip “B” falling between the 2nd, and 3rd. Fingers, Figure 178. Stand with the right shoulder nearest to the audience.

2. Hold the hands as illustrated in Fig. 179 so as to show the palm of the left and the back of the right hand. 3 Bring the right hand directly in front of

4.

5. 6. 7. 8.

9. 10.

Turn to the right, bringing the left shoulder nearest the audience, separating the two hands at the same time. Now the hands are in the position shown in Figure 180. The fake is in the left hand. At this point the audience see the back of the left and the palm of the right.

Reverse these moves to bring the fake back into the palm of the right hand. Close the right hand into a fist. Reach into the top of the fist with the right thumb and forefinger and produce the silk. Open the right hand sufficiently to allow the left hand to clip “A” and steal away the fake. Show the right hand empty. Lay the silk and fake aside.

NIKKO *

Harry

Kellar

Some performers consider this device to be superior to all other similar appliances. It can be used for a graceful production or vanish of a silk. Mr. Kellar said, “ I consider this fake one of the best and most practical things I ever hit upon and it has been a part of my show for many years”. The fake is shown in Figure 181. The tiny knob “A” can be retained in the crotch between the 2nd, and 3rd. Fingers of either hand back or front, at will. In this way the fake can be handled in such a manner that both hands may be shown continuously empty by means

of the CHANGE OVER PALM explained at the beginning of Chapter 4. It is impossible to give a set routine to be followed in order to obtain the maximum of effect with this fake. Its use will vary widely with each performer. Here are two possibilities: First Method: 1.

Obtain the fake from a clip from under the coat or from a table while placing something there.

2.

Manipulate the fake in a manner so as to show all sides of both hands empty.

3.

With the apparatus finally retained in the right palm and with the right shoulder nearest to the audience, pass the tips of the right fingers across the palm of the left, Figure 182. Repeat this business several times.

4.

Approach the left palm once more, and with both hands in the same position, as though preparing to pass the tips of the fingers across the left palm once more.

5.

Just as the right hand falls in front of the left, reach into the fake with the left thumb and first finger and take a corner of the silk, Fig. 183.

6.

Now move the right hand down toward the floor in a sharp, rapid motion. This leaves the produced silk hanging at the fingertips of the left hand.

7.

Place the silk in the palm of the right hand and pocket it along with the fake.

Second Method: 1.

2.

Carry the loaded fake in a clip under the coat. Borrow a white linen handkerchief, taking it with

the left hand. AT the same time steal the fake into the palm of the right hand, Figure 184. 3.

rape the borrowed handkerchief over the right palm, the centre of the handkerchief falling over knob “A”.

4.

Take the handkerchief with the fingers of the left hand, holding to “A” through the folds. Reach under the handkerchief with the right hand and produce the silk, Figure 185. Drop the borrowed handkerchief and fake over the palm of the right hand, which still contains the silk just produced. Show the left hand empty. Take the handker chief into the left hand once more, leaving the fake in the folds of the silk in the fight. Return the borrowed handkerchief.

5.

6.

7.

From Museum Gimmicks

33

The three gimmicks described here have long since been discarded along with many of the products of man’s ingenuity of bygone days. These, like the “false” or “extra finger” described by the good Professor Hoffmann in LATER MAGIC almost apologetically, as then on outmoded device, may, like the ‘extra finger,’ take on a present day popularity – and there by give added proof to the fact that there is indeed “nothing new under the sun”. Professor Hoffmann suggested using a “two-thirds” length extra finger such as shown in Figure 186. This fake was clipped over the middle finger, with a silk inside it, Figure 187,

and yet, when the hand was shown both front and back, there were but five digits visible. The finger was manipulated as follows:

1.

2.

The palm of the right was shown, all fingers together and perfectly straight, the fake being behind the middle finger, Figure 187-A and B.

The hand was turned to the left, palm to the performer’s body, and the middle finger bent into the palm, Figure 188, allowing the fake finger to serve as the middle finger while the spectators see the back of the hand. The other fingers are straight during this action. 3.

The left hand comes over and encircled the false. As the right was withdrawn, the corner of the silk was nipped and pulled from the fake.

4.

The silk was transferred to the left hand and the fake put back in place on the right middle finger 50 the left could be shown empty.

A second style of false or extra finger sold by Hamley Brothers was used by such masters as Maurice. Gorland, Imro Fax, and others. This fake, shown in Figure 189, was also designed to eliminate the ‘sixth’ finger

finger as shown in the illustration.

Still another ‘oldie’ was the ‘false palm’ shown in Figure 192, this fake, made of metal and painted flesh color to match the palm, covered the palm of the right hand, and between it and the real palm a folded silk could be concealed, Figure 193. When the fingers were bent slightly and the hand was in motion, the palm could be shown. When the back of the hand was to the audience and the fingers were straightened, the silk could be drowning out as shown in Figure 194. After the silk was produced, it was placed over the false palm, and then both silk and ‘palm’ taken away.

From a Glass Jumbler • G L E N N

34 G

G R A V A T T •

While an ordinary glass tumbler with a hole drilled through the centre of its bottom can be used. Qravatt recommends using the new celluloid glass sold by most dealers, as it is much easier to make the necessary hole. A large needle or similar instrument is used, Figure 195. Any of the several methods suggested by Gravatt can be used. His favorite method is as follows: Preparation: 1. Tie one end of a length of thread to a corner of a silk. 2. Roll the silk into a compact ball and place it just inside of the coat where it remains out of view. 3. Bring the thread down through the mouth of the glass and out the small hole in the bottom. 4. The other end is tied to a button on the vest. 5. The complete arrangement is shown in Figure 196. Presentation: 1. Walk onto the stage with the empty glass in the right hand 2. Show the glass freely. 3. Thrust the glass forward. This action draws the silk from under the coat into the glass. Gravatt suggests many variations. Instead of placing the balled silk inside of the coat, it can be in a tube, ball, or metal box clipped to the back of the hand, Figure 197.

Brema’s Silk Appearance *

35

The performer displays a small metal tube, which is capped at both ends. The caps are removed and the tube shown to be empty. The caps are put back in place. Upon reopening the tube it is found to contain a silk.

Preparation: While the tube appears to have two ordinary caps, Figure 198, it has but one. Cap “B” has no bottom. In addition, there is on inner fake tube, Fig. 199. Cap “B” slides freely from one end of this fake to the other. A silk sufficiently large enough to wedge inside of the inner tube is loaded in prior to the performance, and the tube copped with “A” and “B”, is placed upright on a table, cap “B” being down, Figure 198.

Presentation: Pick up the tube with the left hand holding it as shown in Figure 200. Note that the inner tube or fake is allowed to

fall down into the palm of the left hand. Cap “A” is removed and shown, Figure 201. Now the tube proper is removed from cap “B” and shown empty, Figure 202. The bottom lid is in full view as it is held in the left hand as illustrated. The tube and cap “A” are returned to ‘B” and the assembled tube taken from the left hand into the right. During this action the thumb and first finger of the right hand grasp the assembly as shown in Figure 203, forcing the inner fake up into the tube proper. The inner tube has a solid bottom; the end “B” can be shown freely. To produce the silk, remove cap “A” and make the production.

Conclusion

36

The chapter just completed has dealt with methods of producing silks – not complete effects. To produce a silk is magic, but to produce it without reason is sheer nonsense. When a silk is produced it should be used in an effect. It is possible to organize a nice production by combining several of the methods just described, and the material herein will be of considerable value to the creative performer.

Non-apparatus Quantity – Productions Introduction

1

Chapters four and five dealt with methods of producing a single silk. This chapter gives suggestions for the production of a quantity of silks without the oid of visible apparatus.

The Redkill Gimmick * •

R E D H I L L

2 T H E

M A G I C I A N

•

A bundle of silks can be held in place with a thread. Many will prefer the special gimmick suggested by Redhill, so I introduce this chapter by explaining it. A wide rubber band, size to be determined by the size of the load, is cut so that it is a long strip. A knot is tied in end “A”. The other end “B” is rounded to a blunt point. About ¼” in from end “B” a hole is punched. This hole is just the right size to admit the rubber bond when rolled into a solid tube. There is a I’ slit adjacent to the hole, See Figure I. The silks are folded and the rubber band stretched around the bundle. The knot is slipped through the slit and comes to rest in the hole, Figure 2. If desired, a wire, or cat-cut loop may be added, making it possible to steal the bundle by inserting a finger in the loop, Figure 3. To free the silks the performer pulls upward on ‘B” and the knot slips through, freeing the silk. The qimmick eliminates the need of breaking threads, forcing silks through wire loops, etc. . .

From a Secret Pocket This old but seldom used method was first described in the German DIE ZAUBERWELT, and later in Hoffmann’s LATER MAGIC. The hands are shown empty, then brought to the front

3

and rubbed together. A blue silk appears, fountaining from the hands. This is placed between the cupped palms and a second silk (red) is produced. The action is again repeated and a third silk (white) materializes. The three can the be used in an effect such as BLENDO (to be explained in a later chapter.) Preparation: But three silks are used, two of which are prepared. The red has a triangular-shaped pocket sewn to a corner “A”, Figure 4. The pocket, made from an extra piece of red silk, is just large enough to accommodate the white silk. The blue silk has two such pockets, one at “A” and the second at the diagonally opposite corner “B”, Figure 5. The “A” pocket in the blue silk must be large enough to accommodate two silks and the “B” pocket must hold three. Prepare the silks as follows. 1. Tuck the white silk into the red pocket in a crumpled (not folded) fashion. 2. Fold red silk on lines “X-X” and “Y-Y”, Figure 6 3. Now the silk appears as shown in Figure 7. 4. Fold the silk once again on lines “O-O” and “P-P” , Figure 7. 5. Now the silk appears as showin in Figure 8. 6. Finally accordian pleat the strip “A-B”, Figure 9.

7.

8. 9. 10.

11. 12.

Tuck the folded red silk into the pocket “A” of the blue silk. ( The white is within the pocket of the blue silk as explained in step one). Starting at corner “A” of the blue silk, Figure 10, roll it towards corner “B”, Figure 11. Finally, tuck the blue silk into its own pocket “B”, Figure 12. Sew a loop of fine cat qut, fine wire thread or horse hair to the apex of cone “B”. This loop is just large enough to admit the performers thumb, Figure 13. A pin is inserted under the right coat lapel, point upward. The cone of silk is impaled on the point of the pin. The loop extends beyond the lapel in readiness for the thumb as illustrated in Figure 14.

Presentation: Standing with the right shoulder nearest to the audience, reach into the air with the left hand as though to catch something. At the same time bring the right hand to the chest, back of hand to audience, thumb in position to engage the loop “l, Figure 14. The left hand brings the invisible material “caught” in it down to the right. The right hand slips its thumb into the loop and with a slight upward movement lifts the silk cone from he pin, carrying it into the palm of the right hand. At this point the two hands are brought together in a cupped fashion.

The silks are produced as follows: 1. The thumb works the blue silk out of its selfcontained pocket while the hands are gently waving up and down as though materializing the silk. More and more of the silk are allowed to come into view. 2. The full silk is finally displayed. The pocket side, held away from the spectators, is masked by the right hand, which holds the silk with the fingers in front and the thumb to the back. The left hand holds an adjacent corner in like fashion. 3. Crumpling the blue silk between the two cupped hands once more, it is brought into a position to permit the thumbs to work out the red silk, which puts in its appearance in much the same fashion as did the blue one. 4. The red silk is displayed in the same manner as the blue silk, the pocket being masked by the right hand. 5. The two silks (red and blue) are now crumpled in the hand and the white silk worked into view.

From the Sleever

4

Several of the currently popular sleeve productions are based on a suggestion made by Hoffmann IN later magic. In fact the original method merits a description here, as future variations will undoubtedly grow out of this earlier suggestion. Effect: A silk is magically produced. The performer strokes it several times and has two silks. These are stroked again and a third silk puts in its appearance. Preparation: The first silk is produced by any of the methods in Chapter Four. The second and third silks are hidden on the body of the performer and are similar in pattern to the first silk. If solid colored silks are used, all three must be the same. Rainbow silks are preferred. A loop of flesh-colored thread, about 6” long, is attached to one “B” f h f h ilk S Fi 15 E h ilk i di

exact length of the folds in determined by the length of the performer’s forearm. A silk is to be secreted in each shirtsleeve, resting at the inside of the arm. One end rests just inside of the cuff and the other is just a little short of reaching the inside of the elbow, Figure 17. The loop “L’ passes across the palm and is looped around the first finger, Figure 17.

Presentation: 1. Produce the first silk as explained in Chapter Four. 2. Hold it below the tip of corner “A” as shown in Figure 18. The arm is bent so that it is parallel with the body, back of hand to the audience. 3. Grasp corner “A” of the first silk between the thumb and first finger of the left hand, taking it at a position just above the right hand. 4. Holding the right hand motion-less, the left hand pulls upward on the silk, drawing it through the right fist, Figure 19. 5. Continue this upward pull until the first silk is dear of the right hand. 6. Open the right fist and bring the silk back into the right palm with the left hand

7

8

9 10

which still holds corner “A” between its thumb and first finger. At the same time pass the first finger of the left hand through the loop “L”, removing it from the first finger of the right, Figure 20. Now repeat the stroking business. This time the silk in the sleeve is pulled out with the first silk, the two passing through the fist as one. Shake out the two silks and display them by holding one in each hand. Finally, pull the two silks just produced through the left fist, producing the third silk by repeating the action necessary to produce the second.

Variation: In the method suggested by Hoffmann, the end of the silk pulled from the sleeve is several inches below that of the visible silk. If the production is made with a “sweep”, this will not be noticed. It is more desirable to eliminate the loop, leaving the tip of the sleeved silk extend out about half an inch. When the visible silk has been pulled through the right fist and is being replaced, step 6, the left thumb and fist finger take corner “B” of the sleeved silk and bring both corners “A” and “B” up to the thumb and first finger of the right hand. The right is about waist high, parallel to the body, and with the back of the wrist to the audience. The move is completely covered while the right hand is in this position. From this point continue as in the earlier method.

From Within the Vert

5

This variation of the Sleeve Production could be used to obtain an additional load after silks are produced from the sleeves Effect: The performer displays a single silk just produced

stroking it several times, it multiples to three or four. Preparation: Several silks of the like size but of different colors are folded diagonally and placed one on top of the other, Figure 21, then rolled into a light roll, Figure 22. The roll is placed diagonally across another silk that rests flat on the table, this open silk being of a color similar to that of the performers vest. Starting at “C”, Figure 23, roll the bundle “A-B” within the flat silk. The first roll of silks is now encased within the last silk, all of them forming a tight roll. Open the middle button of the vest and place the roll around the body, Figure 24, leaving the one corner “X” extends outside of the vest about half an inch. (If the silks are larger than 18” squares, the roll must be accordion pleated or it will extend for around the body, making it difficult to produce, Figure 25.)

Finally tie a small knot in the corner “X” of the outside silk. This will aid in obtaining the bundle when ready to produce it. If the bundle is a small one the silks will pass through the space between two buttons of the vest with ease, Figure 24.

If the silk bundle is bulky, it will be necessary to cut one button away from the vest to allow the necessary space for the passage of the silk. Presentation: The first silk is produced by a method explained in Chapter Four, and should be the same color as the one encasing the roll of nested silks. To produce the silks: 1. Bring the left hand to the front of the body, holding the silk as in Figure 26. 2. The right hand takes the silk at corner “Y’, drawing it up through the left fist. 3. Bring the silk back to the palm of the left hand (left hand has remained motionless), nip corner “X” of the hidden load and place it with corner “Y” of the visible silk. With corners “X” of the hidden load and place it with corner “Y” of the visible silk. With corners “X” and “Y” as one, place them in the left hand as shown in Figure 27. 4. Pull both load and visible silk up through the left fist, the left hand remaining close to the body to hide the load coming from within the vest. 5. Shake the bundle and separate the silks showing that they have multiplied.

From Within The Trourerr •

D R. E.

G.

E R V I N •

6

This excellent effect is credited to Dr. E.G. Ervin. Required: Fold a 12” green silk with a favorite fold. Impale it on a pin with point downward near the bottom right edge of the performer’s coat, Figure 28. Three or four 12” silks of different colors are joined together

at one corner “B” with a piece of thread. About ½” of the unused thread remains. A small black bead or a fairly large knot is attached to the end of the thread, Figure 29. These prepared silks are placed under the left side of the performer’s trousers at a position several inches below his belt, Figure 30. The knot or bead hangs outside of his “fly”. Presentation: Standing with the left shoulder nearest to the audience, ask a spectator (preferably one of Irish descent) to stand and name a color. Before he has an opportunity to reply, acknowledge and proceed to produce a green silk. To do so reach into the air with the left hand as though catching something. At the same time obtain the silk that is under the coat with the right hand, bringing this hand, up past the left hand, and “toss” the silk from the right into the left as they meet momentarily. The left hand open slightly to allow this action and then closes

around the silk. Reach inside the left fist, and after obtaining a convenient corner, pull the silk into view. Hold the silk with corner “B” at a position directly in front of the knotted thread that hangs from the fly, Figure 31. In showing the silk to be “the same color on both sides”, pass the corner “A” held in the left hand in an arc to the right as indicated by the arrows in Figure 31. During this action, take the knot attached to the thread in the fingers of the right hand. Now return the corner “A” to its original position, Figure 31. Drop corner “A” and bring the left hand to a position directly under the right, encircling the green silk. At the same time jerk upward with the right hand, pulling the hidden load from within the fly and up under the green silk. Both the green silk and the load hidden under it pass through the left fist which encircles them so as to cause the green to encircle the load, hiding it from the spectator’s view, Figure 32. Ask someone to name a color without indicating any particular individual. A number of colors will be named at one time. The silks just produced are now displayed as you explain that as more than one color was named it was necessary to produce several to please everyone!

From Verted Cloth Tubes *

• H A R O L D

7 R.

R I C E •

The method to follow is ideal for quantity production after several single silks have been produced. Preparation: Make two black sateen bags about 9” long, each large enough to accommodate 6-18’ silks. These are sewed to the inside of the vest, Figure 33. Place a rubber band around the ends of the 6 silks. Figure 34 forming two bundles. Twist them rope fashion to hold them together, then accordion pleat the bundle, forming a strip about 9” long, Figure 35. Work a bundle into each pocket, using a ruler to aid in the loading. When the bags

are properly loaded the end of the bundle with the rubber band is at the top, resting under the top edge of the vest and just out of sight. The silk should come out of the bags easily.

3 4 5

6

7

Presentation: 1. Produce one or more 18” silks. 2. Hold the corner of the silk between the 1st. and 2nd. Fingers of the right hand, Figure 36. The thumb goes inside of the vest and thumb palms “A” Figure 34, working it into the right palm. During this action the right shoulder is nearest to the audience and the left hand is being shown front and back. Once a firm grip is obtained on the load, the right hand is pulled forward a few inches. Face front. Encircle the visible silks and the load directly below the right hand with the left, at the same time hiding the portion of the silk coming from the vest from view, Fig. 37. Move the right hand upward and to the right, sharply, whipping the visible silk through the left fist, pulling the load from the vest and bag at the same time. Shake out the silks and show that they have multiplied. IN showing the silks, lift the bent in corners fixed with the rubber band. The band will jump free and fall unnoticed to the floor.

8

Transfer the silks to the left hand and repeat the above procedure, this time producing the silks from the bag on the performer’s right.

One To Three *

8 • W.

C.

G A R D N E R •

Effect: A 24” silk is produced and shown back and front. Suddenly two more silks appear, one hanging from each side of the first. Preparation: Sew a black shoe button or bead to corner “A” of each of the two silks to be produced, Figure 38. Accordion pleat the silks, one at a time, Figure 39. Now roll each silk, starting at end “B”, Figure 39. The finished roll is shown in Figure 40. Put one roll in each trouser pocket, Figure 41, leaving the black button hang out where it can be easily obtained.

Presentation: 1. Produce the first silk, using a method described in Chap. 4. 2. Show it front and back. 3. Hold it in front of the body, thumbs to the front, fingers to the back, Figure 42. 4. Clip a button between the 3rd & 4th. Fingers of each hand. 5. Shoot the arms forward in a sharp motion and the silks will come into view, one hanging from each hand.

From a Special Bag *

• J E A N

9 H U G A R D •

The following method appears in Hugard’s SILKEN SORCERY, and was inspired by the original method explained by George Stillwell. Preparation: 1. Cut a 12” black silk into a Greek cross, Figure 44. The dimensions will vary with the size of the load to be used. Hem the silk on all edges. 2. Fold “C” and “D” to the centre, allowing “C” to overlap “D”. About half an inch. Fasten the two flaps together temporarily with a common pin, Figure 45. 3. Fold “B” up so that it also overlaps an inch or so, and fasten it with common pins, Figure 46. This gives a bag with an open end and flap ‘A”. 4. The silks to be produced are folded with the TRAP FOLD and are inserted in the bag through open end “A”. 5. The load should be sufficiently large enough to form a hard bag once it is filled. Then flap “A” is folded into the center and pinned in place, Figure 47. 6. A thread is tied around the package, Figure 48. The pins are now removed. Presentation: Mr. Stillwell carried the bag in a special pocket under

the coat on the left side near the armpit. However, it can be hidden on the body at any one of a number of places, depending upon the particular production the performer has in mind. 1.

2.

3.

Produce a quantity of silks by an earlier method, these silks to be used as a cover to hide the loaded bag. Bring the hand containing the silks to the position of the body on which the silk bag is loaded and steal it, adding it to the silks already produced. During this action all attention is focused on the other hand which is being shown empty as a conclusion of the earlier production. Now bring the load and the visible silks back between the hands, break the thread, and allow the hidden silks to fountain from the hands. AS the production continues the silks drop to the floor or table and the bag being silk, goes along with the others unnoticed.

Variation: The load does not have to be on the body. The bag can be resting on a servant behind a chair. In passing the silks from the right to the left hand, accidentally (?) drop one. Stoop to pick up the silk with the left hand while the right steals the bundle from the servante under cover of several other silks that still remain in the right hand. A loop of cat-gut attached to the thread around the bundle makes it easier to bring the bundle into the hand with the silks, Figure 49.

From a Dress Vert

10

Preparation: This method is recommended for the performer wearing a dress suit. Fold a number of silks after one of the methods suggested in Chapter Three. Tie the bundle with thread and attach a loop of florist’s wire, Figure 50. Place the bundle between the shirt and the top of the vest, Figure 51. Bend the wire loop forward so that it is at right angles to the body. Presentation: The magician’s wand is used with this production. 1. Hold the wand at one end in the right hand, wand pointing upward at an angle of about 45 degrees. 2. Show the left hand empty and drop it in front of the body, back to the audience, and at a position on the same level as the vested load. The hand is several inches in front of the body. 3. Insert the free end of the wand into the loop, inhale deeply, and lift the load from the vest into the left hand, which is in a position to receive it. 4. Grip the load with the left hand and lift it upward and outward, the right hand continuing the upward movement of the wand. 5. The right hand tops the back of the left hand with the wand. 6. Put the wand under either arm. Bringing the hands together, work the silks from the thread, and allow them to develop into view. (Note: When mastered, it appears that the right hand raised the wand and tapped the back of the left hand, which was also raised slightly.)

From a “Fountain” Bag

11

A special bag is used to hold a dozen or more silks. The silks, when released, seem to fountain from the performer’s hands. The bags is stolen under cover of one or more silks produced earlier, and being the same color as one of the silks, is easily disposed of during the production. The Bag: The exact origin of the bag is not known. It has been used by several professionals in various forms. A tube-like bag is needed. It can be made of any material that will stretch. One popular style is made from a piece of material cut from a ladies silk stocking, Figure 53. The cut edges should be hemmed and the material dyed to match the color of one of the silks to be produced. The bottom of the bag is sewed together, Figure 54. A similar style with a flap is shown in Figure 55. Preparation: All the silks to be used are held at corner “A” and their diagonal corners “B” allowed to enter the bag first, Figure 56. Then the “body” of the silks is forced into the bag, which expands to accommodate the load. Continue to force the silks into the bag, until corners “A are reached which enter the bag last. Now the bag is a firm cylinder. Due to the odd shape of the bag and the fact that the material expands the silk will not work out prematurely. If a flap is used, tuck it over the mouth

of the bag. The loaded bag is shown in Figure 57. Some performers cut silks on the bias, thereby getting twice the number of silks in the space required for full silks. Such a silk is shown in Figure 58. Presentation: The exact location of the hidden bag depends upon the individual performer. It can be under the coat, in a secret pocket, vested, resting on a servante, etc. Two or three silks are produced by an earlier method and then the bag is added to them while the silks act as a cover for the steal. To produce the silks merely roll the bag between the palms of the two hands, forcing the contents upward through the opening. The result is a literal fountain of silks, Figure 59. As the production is nearly completed, one hand retains one or two of the silks and the bag is placed aside with them. The production need not be limited to one bag. Once the silks start flowing from the bag several can fall over the back of a chair, a tray held by an assistant, over a table with a black art well, etc., and a second bag can be ‘stolen’ under the cover afforded by picking up some of the dropped silks and moving them to another desired spot. The production should be fast and the silks appear to multiply in an ever-increasing fashion. This is one of the prettiest productions in magic!

From a Wire Loop

12

While a bundle of silks may be obtained by this clever method, it is particularly suitable for obtaining a large single silk after a first silk has been produced by another method. Preparation: According pleat a silk after tying a knot in corner

“A” Figure 60. Bind the bundle with a piece of fine florist’s wire, bringing the ends up to form a loop large enough to admit the thumb, Figure 61. If the production is to be made from a regular vest, the load is placed under the flap to the performer’s right, Figure 62. If a dress suit is worn the load is under the top right side of the vest, Figure 63. In either case the loop extends so that it is easily obtained when desired.

1. 2.

3.

4.

Presentation: Produce the first silk with the left hand. Transfer it to the right hand. The silk is taken so that “B’ is clipped between the first and second fingers, leaving the thumb free, Figure 64. Drop the right hand to the bottom or top of the vest (depending upon where the load is hidden) where the right thumb enters the loop, and carries the load from the vest into the right palm. During the steal reach far to the left with the left hand to catch a second and invisible silk. This action draws attention away from the steal being, made by the right hand. 5. After the load is palmed, move the right hand away from the body and to the left. 6. Bring the left hand to the left as though adding the visible silk to the first. 7. Stroke the visible silk

8.

9.

10.

with the left hand. Start the stroke directly below the right hand, Figure 65. Repeat the stroke, but this time takes the knotted corner “A” of the hidden silk between the thumb and first finger of the left hand. The rest of the fingers still encircle the silk, Figure 66. As the left hand strokes the silk in a downward sweep, the second silk appears beside the first. AS the hidden silk is pulled into view it is necessary to close the right hand into a fist so as to prevent the silk being produced from leaving the right hand completely. Take both silks in the left hand and display them, lowering the right hand, so as to allow the loop of wire to drop to the floor.

From a Special Holder *

13

A quantity of the body clips or holders described in Chapter Four could be used to hold a number of silks ready for a quantity production. This clever ‘home-made” holder was inspired by a suggestion made by Collins Pentz in his CLEVER NEW HANDKERCHIEF TRICKS. Preparation: Cut a piece of stiff wire from a coathanger. Form small loops at both ends. Tie the ends of five or six pieces of strong thread or fishing line to the wire at equal intervals. Tie a large straight pin or a needle to the free end of each of the threads, Figure 67. Two such holders are needed, one for each side of the body.

Attach the holders to the inside of the coot, one on each side. The holders are held in place with two safety pins, the pins passing through the loops. The holders should be located so as to allow the edge of the pins to hang about 2” above the bottom edge of the coat. Roll or fold a number of silks as desired. Push the point of a pin in the center of each silk, Figure 68. Now the silk hang along the bottom edge of the coat just out of sight, Figure 69. Presentation: 1. Reach into the air with the left hand as though to catch something. During this action the left shoulder is nearest to the audience. 2. At the same time drop the right hand to a natural position along the right edge of the coat and steal one of the silks from the holder. 3. As the left hand has failed to catch anything, turn to the right, obtain a corner of the palmed silk, and shake the silk into view. 4. While the right hand is disclosing the silk, steal a silk from the holder on the left side of the body with the left hand. 5. Repeat this action, alternating from left to right, until all of the silks have been produced.

From Varied Locations

14

The reader will probably combine some of my suggestions given in this chapter with those offered in Chapter Four. The following is but one example of a number of possibilities. Effect: After showing the hands empty, the performer produces a silk. This is placed over the right knee while the

ands are again shown empty. Picking up the silk the performer shakes it and several silks materialize. These are counted as they are draped over the left arm. They are again counted and found to have doubled in number. As they are counted they are placed across a chair or table. As they are counted they are placed across a chair or table. The performer then picks them up to count them once more; and this time literally dozens of additional silks fountain from the hands in an ever-increasing fashion. Preparation: Three loads must be prepared in addition to the single silk to be produced at the opening of the effect. Place three silks together, Fig. 70. The bottom silk has a black shoe button or bead sewed to one corner. Starting at “A”, roll the silks into a fairly tight roll, Figure 71. Place the load inside of the right trouser leg, the bead protruding through a slit, Figure 72. The slit is just large enough to permit rapid withdrawal of the roll of silks. Note that the slit is on the seam. The second load is a bundle of silks folded as desired (see Chapter 3) and held in place with thread, wire, or the REDHILL GIMMICK. Place a loop or ring at the top of the bundle. Tuck the bundle into the top of the dress vest, Figure 63. Or under the flap of the regular vest, Figure 62. A third bundle of silks are ether folded in a previously described fashion or loaded into a “fountain” bag. Quite a large load is possible at this stage of the production as the performer has ample silks to cover the steal. There are at least two possible places in which the load

can be concealed. Those wanting a “super” production can conceal a load in both places. One load can be on the back of a chair, impaled on the head of a needle driven into the chair, or a fine finishing nail that has had its head removed and the nail carefully sharpened to a point. Some may prefer to use a “servante” on the back of the chair. The second possibility for a load is in the black art well in the magician’s table. Here the load remains out of view, and yet is easily obtained if a wire loop is attached it to so that the thumb or finger can enter it. Presentation: Produce the first silk by means of any of the methods explained in Chapter 4. The silk should be quite large. Drape it over the right knee, Figure 73, and show both hands empty. Raise the silk, taking hold of the bead through the silk, Figure 74. As the silk is raised, shake it, and the silks just stolen from the trouser’s leg will flutter into view. Count the silks (now four) one at a time, placing them over the left arm, Figure 75.

The right hand moves between the silks and the body to take them back. As it does, engage the right thumb in the loop protruding from the vest and carry the load with it. Add the load to the four silks as they are taken from the left arm. Bring the silks between the hands and roll them into a ball. During this action free the added load of its binding. Now count the silks once more, one at a time, and place them over the chair. When they have all been counted, pick them up once more, the load from the back of the chair being added to those just placed there. Now the silks are rolled between the hands and the “fountain” production follows. If the steal is made from the table, drape the silks over the hidden load and take it in the same manner as the one obtained from the back of the chair.

Production Supreme *

• E

15 D .

W O L F E •

The following effect first appeared in my book EXCLUSIVE MAGIC. It was used by Ed. Wolff in his act for a number of years with considerable success. Effect: The magician, who is telling a story, interrupts himself in surprise and pulls a 12” silk from his right hand. He drops the silk on his table and continues his story. A second silk puts in its appearance, then a third. This is repeated a number of times. Preparation: A number of silks are folded, tied with a thread, and suspended on separate paper clips just above the left edge of the bottom of the coat where they remain out of sight. Prepare the silks as follows: 1. Fold corners “B”,”C”, and “D” to the centre, Figure 76. 2. Fold sides “E-F” and “G-H” (Fig. 76) to the centre, Figure 77.

3.

Repeat step two, folding the two sides to the centre again, Figure 78. 4. Step three may be repeated if desired. 5. Fold side “X” (Figure 78) over on side “Y”, Figure 79. 6. Accordion pleat the strip, Figure 80. 7. Tie the bundle with a piece of thin thread, Figure 82. Fasten the individual bundles under the coat. A paper clip holds the silk. A pin is used to fasten the loaded clip to the coat, Figure 83. An unprepared 12” silk is palmed in the right hand prior to the performance. Presentation: 1. While pattering, steal a silk from under the coat with the fingers of the left hand. The right shoulder is nearest to the audience and the right hand contains the silk that was taken in the hand prior to performing. 2. Open the right hand and disclose the silk therein. 3. Bring the left hand to the right to take away the silk. The left contains the first packet stolen from under the coat. See Figure 84. 4. Take corner “A” between the thumb and first fingers of the left hand and pull the silk from the right hand which is closed in a partial fist to prevent the silk from falling away. 5. Once the silk has been pulled from the right hand, bring the left back to a position directly

over the right palm once more, Figure 85. Note that the hands are in a position to permit the left to lay its secret load in the palm of the right. 6.

Open the left hand sufficiently to allow its packet to fall into the right. AT the same time pull the visible silk through the half closed right palm once more, Figure 86.

7.

Now the left is holding the visible silk with corner “A” between the thumb and first finger, and the right has the packet that was formerly in the left hand.

8.

Drop the right hand to the side where it remains in a natural position while you look in amazement at the silk.

9.

Lay the silk aside and continue to patter.

10.

Turn the right shoulder nearest to the audience and steal another packet in the left hand. In the meantime, work the silk palmed in the right hand free of its thread.

11.

Bring the right hand up in front of the body and discover the silk. Now repeat the foregoing steps starting at number 4. The same business is repeated until all of the silks have been produced. Note that the performer is always “one ahead’ in this routine. Some performers will find the thread about the bundle unnecessary, and will prefer to eliminate it.

12.

From Under the Vert

16

Once a large silk has been produced, it acts as a natural cover for a novel vest steal. Preparation: Tie a bundle of silks with a thread and attach a wire loop large enough to fit loosely over the thumb to the bundle. Place the bundle under the vest, Figure 87.

Presentation: 1. Hold the large silk just produced in front of the body, Figure 88, thumbs to the back of the silk. 2. Insert the left thumb in the loop while in this position. 3. Holding the left hand motionless, carry the right hand to the extreme left to show the back of the silk, Figure 89. Return the hand to its original position. 4. Inhale deeply, and pull the load down from under the vest to the back of the silk. 5. Bring the hands well away from the body and drop the corner of the silk held in the

6.

7.

right hand. Now the silk is held in the left hand, Figure 90. Encircle the silk and the load at a position “X” just below the left hand with the right, taking them from the left hand to the right, Figure 91. Reach into the folds of the visible silk with the free left hand, break the thread, and produce the silks, one at a time, from within the folds of the visible silk.

Double Silk or Streamer Production * • L.

L.

17

I R E L A N D •

At times four or more silks are desired as on initial production. L.L. Ireland in IRELAND WRITES A BOOK suggests one of the cleverest methods ever devised.

Preparation: A flesh colored metal plate, a wide rubber band, and an Ireland body load clip are needed, Figure 92. Place the rubber band around the plate as shown in Figure 93. Tuck one corner “A” of each of two silks under the band on one side of the plate, Figure 94.

Starting at “B”, roll the two silks as one until you come to the plate, Figure 95. Now the silks up on the plate and flatten the roll, Figure 96. Attach two more silks to the other side of the plate and prepare them in the same fashion. Place the plate and the attached silks in a body clip, Figure 97, and pin the holder under the edge of the coot at a convenient place. Preparation: 1. Steal the plate and silks from the clip, holding them in the right hand as illustrated in Figure 98. 2. Shake the hand in a sharp downward motion and at the same time release the pressure of the right thumb on the silks at “B”. The silks unroll and fall into view. 3. Take the silks from the right hand (and the plate) with the left. 4. Arch the fingers of the right hand to relieve the pressure from the second set of silks “A” and shake the hand once more, allowing the silks to fall into view. Additional silks can be obtained from a second plate clipped on the body at another convenient position.

Any Color Called For

18

A novel twist in silk productions is suggested in Brunel White’s ORIGINAL MYSTERIES FOR MAGICIANS. Two metal fakes similar to the one illustrated in Figure 99 are needed. It is divided into 3 equal parts by two metal partitions. A safety pin soldered to the side of the fake is fastened to the inside of the pocket, holding the fake in place. Preparation: Six 12” square solid colored silks of different colors are required.

A silk is tucked into each compartment. The fakes are pinned inside of the trouser pockets, one in each pocket, Figure 100. It is possible to pull the pocket out and show it empty without exposing the metal fakes. Presentation: Pull out both pockets and show them empty, leaving them hang out while both hands are shown empty. Put the pockets back in place. State that you can cause any one of six basic colors to materialize in your pocket in the form of a silk handkerchief. your pocket in the form of a silk handkerchief. Once a color is named, reach into the pocket and produce the desired color from its container. (You have memorized the location of all the colors prior to performing.) Repeat the effect until all six silks have been produced. Show the pockets at will during the presentation. This gives added mystery to the effect.

Continuous Production of Silks at the Finger Tips * •

P A R R I S H

19

•

This effect first appear in DO IT AGAIN and is a very pleasing production. Although the hands are continually shown empty, silks appear in a flash at the finger tips. As many as eight 18” silks may be produced. Six are used in the routine to follow. Preparation: Fold five 18” silks with the NEW FINGER FOLD and the sixth with the HANK BALL FOLD, Chapter 3. Load three silks in each sleeve, the silk prepared with the HANK BALL FOLD going between the other two in the left sleeve. The first silk should be about 4 or 5 inches from

the sleeve opening. Place the bundles on the inside of the sleeve next to the body, Figure 101. use pins with spherical heads as this style will not pull through the fabric. Finally roll the shirt sleeves back above the elbows so they will not interfere with the production, Figure 102.

4.

5.

Presentation: 1. Pull up the right sleeve just a trifle while showing the right hand empty. Pull out the right hand empty. Pull out the pin nearest the right sleeve opening while pulling up the sleeve. 2. Show the left hand to be empty, pulling up the left sleeve a little and removing the lowest pin just as done with the right sleeve. 3. While showing the left hand back and front, cup the right hand and drop it to the side. The silk freed earlier will drop into the hand, Figure 103. Reach behind the left knee with the right hand and produce the first silk. At the same time, lower the left hand and the second silk will fall from the sleeve into the cupped left hand, Figure 104.

6.

Display the first silk at the fingertips of the right hand, the hand being otherwise empty.

7.

Transfer the silk to the left hand and steal the balled silk into the right hand. This is done by clipping the visible silk between the thumb and clipping the visible silk between the thumb and clipping the visible silk between the thumb and first finger of the left hand and then stealing the rolled silk with the three fingers of the right hand, Figure 105.

8.

Show the left hand to be empty except for the visible silks.

9.

Drape this silk over the right forearm.

10.

Produce the second silk at the fingertips of the right hand. Drape this silk over the left forearm.

11.

Show both hands empty.

12.

Take the silk draped over the left forearm with the right hand and lay it over the left shoulder. In taking the silk, pull out the second pin from the left sleeve.

13.

As the silk is thrown over the shoulder, drop the left hand and the silk just released will drop from the left sleeve into the hand.

14.

Take the silk from the right forearm with the left hand (containing a balled silk), pulling out the next pin in doing so, and toss the silk over the right shoulder.

15.

As the silk is thrown over the shoulder drop the right hand and the silk just released will drop from the sleeve into the hand. Produce the third silk at the finger tips of the right hand, transfer this silk to the left hand immediately, and make the exchange as described in step 7 and as illustrated in Figure 105.

16.

17.

The right hand now has the rolled silk that was formerly in the left.

18.

Toss the visible silk over the right forearm with the left hand, and then bring the left hand back to the left again, open palm to the audience, making a grabbing gesture during this action.

19.

Bring up the right hand containing the palmed (HANK BALL FOLD) silk. Grasp the corner of the rolled silk with the left thumb and first finger, Figure 106. Holding the left hand motionless, move the right hand downward quickly leaving the silk exposed to view at the fingertips. 20.

Take the silk with the right hand and place it over the left forearm.

21.

Show both hands empty.

22.

Repeat the moves explained in steps 12 through 15, loading a silk in each hand.

23.

Bring the hands, back to the audience, in front of the body at a position just above the waist.

24.

Hold the hands motion less for a moment, then give them a quick shake, both silks being produced simultaneously!

(During the routine the pins are dropped unnoticed to the floor as they are removed from the sleeve.)

Silk and Coins *

20 • H A R O L D

R.

R I C E •

Parrish’s production inspired the following routine. It differs in that not only are silks produced, but coins as well. Preparation: Six 12” or 15” silks and six half-dollars are needed. Tie a small knot in the corner of each silk. Wrap a silk, accordion fashion, around each coin. This is accomplished as follows: 1.

Lay a coin on top of a silk about ½” from the knot, Figure 107.

2.

Bring the silk up around the coin, Figure 108.

3.

Bring the silk down and around the coin, Figure 109.

4.

Continue to work the silk back and forth as illustrated until it is consumed in the folding process, Fig. 110.

5.

Tie a silk to the coin with a single strand of thread of the same color as the silk, Figure 111.

6.

Load the coins and silks in the same manner as described in the Parrish version, Figures 101 & 102.

Presentation: There is little to add to the Parrish routine. However, once the silks are in the hand they are produced in a different fashion. Once the pin is removed and a silk falls into the cupped hand, produce the silk as follows: 1.

Assuming that a silk is obtained in the right hand, work it into the position shown in Figure 112. The right thumb is on top of the coin. The right thumb is at the performer’s side.

2.

Make a grab in the air with the left hand as though caching something, the left wrist turned to assume the position shown in Figure 113.

3.

Bring the right hand up immediately and take corner “A” of the silk between the thumb and first finger of the left hand, Figure 113.

4.

With the right thumb remaining on the top edge of the coin, and the rest of the right fingers encircling the coin and silk, move the right hand down toward the floor in a sharp movement, materializing the silk being held by its corner in the left hand.

5.

Retain the coin in the right hand without calling attention to its presence.

6.

Thumb palm the coin while all attention is focused on the silk in the left hand.

7.

Encircle the silk with the free fingers of the right hand at a position just below the left hand. Figure 114, and stroke down the silk.

8.

As the right hand nears the extreme tip “8” of the silk, “dethumb palm” the coin and produce it from the tip of the silk.

The principle just described may be used in a routine patterned after Parrish’s or in an entirely different arrangement.

Conclusion

21

The productions given in this chapter are not necessarily complete routines in themselves. Instead, suggestions have been given for obtaining a quantity of silks under various conditions. From this nucleolus the clever performer can create an act to meet his individual requirements and tastes. In addition to the productions suggested herein, famous routines will be offered in a later chapter. These routines are distinguished as being special creations from the minds of outstanding men in magic, and should be considered. When building a routine. By combining information obtained from these complete routines with the suggestions in this chapter, the reader has a wealth of material made available for the first time in any book.

Apparatus Quantity Productions Introduction: A few magicians build their own apparatus, but most performers look to the dealers for their equipment. With this in mind, I will treat this Chapter in two parts….. (1) commercial production apparatus available through dealers, and (2) production apparatus explained in print or given to me for this book, but not marketed at this writing. My primary objective will be to disclose the secrets of the basic principles employed. Space will not permit an exhaustive treatment of many variations, but once the reader knows the basic principles, the secret workings of most effects will be apparent. To give routines for each effect described would be impractical as most commercial products are supplied with explicit instructions. P

A

R

T

O

N

E

Commercial Production Apparatus The Drum Head Tube This ingenious piece of apparatus has been most popular and is offered in various sizes. The outfit consists of a cylinder “A”, and two sealing rings, or bands, “B”, and “C”, Figure 1. The Secret: A bullet shaped fake contains the silks. The fake has a ring that fits over its open end, Figure 2. The silks are placed in the fake, a thin piece of tissue paper placed over the opening, and the ring put in place, Fig. 3.

1

The loaded fake rests behind some convenient object, Figure 4. The cylinder is shown to be empty, and both ends are sealed by a spectator who places a piece of tissue paper over each end and puts the sealing rings back in place, Figure 5. It is possible to show the cylinder still empty by passing a light behind the cylinder, Figure 6. In showing his hands empty the performer sets the cylinder down momentarily behind some object that hides the fake from view, the cylinder going down over the fake, Figure 7. As the cylinder goes down, the pointed tip of the fake breaks through the paper and the fake enters the cylinder, unknown

to the audience. The paper sealing the end of the fake replaces the paper torn in admitting the fake, making it possible to show both ends of the cylinder completely sealed, Figure 8, although the fake is now in place. After both hands have been shown empty, the cylinder is picked up, the paper broken, and the silks produced.

The Phantom Tube *

2

This apparatus is self-contained the outfit consists of a cylinder “A” and two sealing rings “B” and “C” Figure 9. It resembles the DRUM HEAD TUBE

The Secret: Unlike the DRUM HEAD TUBE, the principle involved is based on an optical illusion. A conical shaped inner tube extending from end to end in the regular cylinder is soldered in place, Figure 10. The load of silks is placed in the shaded areas “L”, Figure 11. The tube is shown empty by holding the large end “D” of the cylinder to the audience. The slight tapering of the inner wall gives the spectators no indication that there are actually two walls to the cylinder as long cylinders appear smaller at the far end because of the laws of perspective. The ends of the cylinder are sealed with tissue paper, Figure 12. A light can be passed behind the sealed cylinder, Figure 13. The papercovering end “B” is broken and a production made.

Planton Jube Attachment *

3

The bullet shaped fake used in the DRUM HEAD TUBE will also fit in the large end “D” of the PHANTOM TUBE. This fake is sold by dealers as an extra attachment to give an additional load. The fake, Figure 3, sits behind some convenient object, Figure 4. After half of the first load is produced, the apparatus is placed down over the fake, and the screening object pushed out of the way. The last of the first load is produced and bows are taken acknowledging the applause. As an encore, the tube is picked up, the paper broken at the other end, and the second load produced.

The Ghort Tube *

4

This apparatus is really the same as the PHANTOM BLUE but differs slightly in its inner construction. In Figure 10, the conical shaped inner tube runs to the centre of end ‘E’, while the inner tube of the GHOST TUBE runs back at a sharper angle and touches the wall of end ‘E’ at ‘X, Figure 14. It is handled in the same manner as the PHARTOM TUBE and PHANTOM TUBE ATTACHMENT.

The Genii Tube *

5

This apparatus is similar to the PHANTOM TUBE. However, it consists of two pieces hinged together, making it possible to open the tube to show the inside. The Secret: The outside tube is a perfect cylinder. conical tube. It is round at one end and of

Inside is an odd shaped

a diameter slightly smaller than the outside cylinder. The tube tapers to the other end and becomes oval in shape, Figure 15. The load is in the shaded areas “L”, Figure 16. The tube opens as shown in Figure 17, and the two halves are hinged at “X”.

The tube is shown empty by opening it while held in the position shown in Figure 18. The production is made while the tube is closed; end “B” uppermost, Figure 19.

Satanic Tube *

6 • T H A Y E R

•

This effect employs the same principle as the GENII TUBE. However it is made of wood instead of metal and is rectangular in shape (With Square ends), Figure 20.

The Mystery of the Seven Veilr * • G L E N N

7

G R A V A T T •

Effect: The performer rolls a sheet of newspaper into a cylinder. A spectator is asked to name a color, and then a silk of corresponding color is produced from the newspaper cylinder. This is repeated until seven silks of different colors are produced. The Secret: This effect employs a slight variation of the ‘phantom’ tube principle. A metal cylinder containing a conical inner tube is used as a container for the seven silks. The space between the inner tube and the cylinder is divided into seven compartments, Figure 21.

A sheet of newspaper is glued to the outside of the cylinder. The inside of the inner tube is also lined with newspaper, Figure 22. This makes it possible to show the inside of the newspaper cylinder at anytime during the production, Figure 23. Needless to say once the sheet of newspaper is shown, it is necessary to load the loaded tube into the newspaper. A number of excellent methods will be disclosed in a later chapter.

Bogart Drum Head Tube *

8

Effect: The performer shows a nicked tube and ring. After these are examined he pours a quantity of water into the tube and seals the top with a piece of tissue paper. The sealed tube is placed in a convenient holder, the tissue broken, and a large quantity of silks produced. Finally the tube is removed from the holder and the water poured back into its original container. The Secret: This is merely another version of the DRUM HEAD TUBE. The tube is made of heavy metal, has a solid bottom, open top, and two flanges “A” and “B” near its top, Figure 24-A. The load chamber, Figure 24-B, is of black open mesh metal and is sealed with tissue paper and a metal ring after the silks are inside. The holder, Figure 24-C, contains three spring clips that extend to within ½” of the top edge. The clips hold the fake in place prior to performing. The holder has an arm soldered to it that screws over a threaded upright. After the tube is shown empty, filled about 1/3 full of water, and its top sealed, it is placed in the holder by pushing it up from the bottom, Figure 24-C. As the tube passes up inside

of the holder, the fake breaks though the sealed top and enters the tube. The tube (now containing the loaded fake) continues on its upward path until flange “B”, Figure 24-A, rests over the three clips inside the holder, Figure 25. Here the springs lock the tube in place, and the production is made. Following the production the tube is removed by pulling it up out of the holder, and the water is poured out of the tube (still containing the fake) into a container. The fake, made of open mesh metal, does not interfere with the flow of water.

The Flag Vare

9

This apparatus consists of a metal vase nickled outside and pointed black inside. The performer shows the interior of the vase, turns it upside down, and finally sets it in an upright position on the table, Figure 26. A quantity of water is poured into the vase, yet a mommoth production of silks follows. The silks are dry when produced. The Secret: Inside the vase, Figure 26 is another container similar in shape but smaller in diameter and shorter in length, Figure 27. This is fastened to the interior of the vase at “X”.

The silks are packed into the inner container “B”, A piece of black waterproof cloth or rubber, ”C”, is placed over the

top of the inner container and is held in place with a rubber band “D”. When the performer shows the tube, he gives the spectators a quick flash of its interior. However, it is impossible of or them to see anything inside, as the interior is a dead block. When the water is poured into the vase, it goes between the walls of the inside container and the vase, Figure 28. The cover ‘C’ is pulled aside to release the silks for the production.

Latest Water Tube *

• P E R C Y

10 A B B O T T •

Effect: The performer shows a metal cylinder. To prove that it is empty, he pours in a quantity of water, then pours it out again. A piece of newspaper is placed over the cylinder’s mouth, and held in place with a rubber band. The paper is punctured and a quantity of silks produced.

The Secret: The cylinder has a false bottom “X” about two-thirds the way down from the top. Both the top and bottom of the cylinder are open, Figure 29. A black wooden disc with a hole through its centre, Figure 30, is also required. The silks are loaded into compartment “L”, and a sheet

of black paper is placed over end “B. The wooden disc is forced into the same end to hold the paper in place, Figure 31. The excess paper is trimmed flush to the rim of the cylinder. The tube is sitting in an upright position, Figure 29 at the beginning of the effect. Water is poured through end “A” into compartment “W” and then poured out again. A large sheet of newspaper held in the right hand is freely displayed. The left hand picks up the cylinder, and under cover of the newspaper, turns the cylinder end for end, bringing “B” uppermost, Figure 32. The paper is placed over end “B”, and held in place with a rubber band. The paper is punctured and a quantity of silks produced.

The Break-A-Way-Cabinet

11

A number of production cabinets have load chambers attached to one of the walls of the apparatus. By altering the construction of the cabinet and changing the routine a new (?) effect is born. However, the basic principle remains the same. The secret: The BREAK-A-WAY CABINET is a rectangular box with no top, Figure 33. It is mounted on a metal base. The load chamber is a half cylinder attached to the inside to the back panel. The four sides are hinged to the bottom and are held in place with small latches as illustrated. The cabinet is in the position shown in Figure 33 at the beginning of the effect. Before the production can be made it is necessary to show the box empty. The latches holding the panels in place are opened, and the sides allowed to fall to the position shown in Figure 34. However, the load panel must be lowered before the one at the front (I) or the load chamber will be exposed to view. There are two method of reaching the position shown in Figure 34. It is safer to lower the sides one at

a time in this order : 3 – 1 – 4 –2 . However, it will be found that by letting panel 3 fall just a split second before the rest, the same objective is obtained, and the presentation is much cleaner. When the load panel is in the position shown in Figure 34, the load chamber is inverted. To prevent the load from falling to the floor, two strips of elastic are fastened across the mouth of the chamber, Figure 35. After the inside of the box is shown, the sides are brought up into place, Figure 33,and the production made. The front panel is raised first, then the two sides, and finally the back or load panel.

One Hand Production Cabinet * This production cabinet is also known as the WINDER CABINET and the WONDER BOX. It is rectangular in shape and has front, top, and back doors. The doors are thrown open and the interior freely shown. The front and back doors are closed, and immediately a quantity of silks produced from the top of the cabinet. The box is illustrated in Figure 36 and 37.

12

I

The Secret: There is a revolving panel in the back door “B”. A half cylinder attached to the panel acts as the load chamber for the silks. At the beginning of the effect the doors are closed, and the load chamber is on the outside of the box. The front door “A” is opened to show the interior of the box. The top door “C” is then thrown back. Finally the back door “B” is opened. Now the box is shown in Figure 37. (To make the illustration clearer, the doors have not been opened all the way. The front door, which is opened as far as it will go, hides the load container on the back door, Figure 38.) Now the doors are closed in this order: back, top, and front. The back panel is revolved with the fingertips, Figure 39 and 40, and the container is brought inside of the box. All the sides of the exterior are now shown. The top is thrown open and the production made. The Thayer version is in a handy size making it possible to handle the apparatus with but one hand. Several other sizes are offered by dealers. In the large stage model the cabinet is on legs and coasters so that it can be spun around to show the front and back.

Guug Ho *

13 The performer shows a wooden box that has front and back doors, but no top, Figure 41. The box is shown inside and out, and a silk production follows. The Secret: Here again the load chamber is fastened to a wall of the apparatus. However, this version has a most unique routine that will appeal to many.

The box is constructed as shown in Figure 42. Note that the doors are hinged at opposite sides of the frame. The load chamber is fastened to the inside of the front door. With knob “B” (Figure 41) in the left hand and knob “A” (Figure 42) in the right hand, Figure 43, the performer separates his arms, and the box is shown as illustrated in Figure 44. The box is then closed and a production follows. Variation: The boxes may be held as shown in Figure 45, the knob “A” held in the right hand. The left hand is taken away, and the box opens, Figure 46, showing the interior. Now the

box is closed with the aid of the left hand and a production made.

The Wonder Screen

14 Like the WONDER CABINET, this apparatus has a load chamber attached to one of its walls. It is available in many sizes including one large enough to use in live stock productions (a la Greystoke). The Secret: The apparatus is a three-fold screen, Figure 47. The centre panel “X” has a V-panel, Figure 48. The front and back of the V panel are usually made of wood and the sides of cloth. The cloth makes it possible to fold the screen flat after the production. In some instances the sides are wood instead of cloth. At the beginning of the effect the screen sits on the stage with the load inside of the screen. The apparatus is picked up while in this triangular position and the

outside of the three panels shown. With panels “A” and “B” facing the audience, the screen is tilted back sufficiently for enough to allow the Vpanel to fall to the back of the screen. Now the inside of the screen is shown, Figure 47. The screen is closed into a triangle once more, the Vpanel allowed to fall back inside, and the production made, Figure 49. The V-panel principle is not limited to a screen. It has been used successfully in the lids and bottoms of production boxes.

Another variation is shown in Figure 50. Just before the front panel “A” is opened, the apparatus is tilted back for enough to allow the V-panel “X” to fall back. After the interior is shown, panel “A” is closed, the V-panel tipped back inside, the case shown on the outside, and the production made.

The Oblong Square *

• P E R C Y

15 A B B O T T •

This effect employs a four-fold screen. The load chamber, although V-panel, is part of the apparatus seen by the spectators. One side of the screen is painted a vivid orange and the other side a deep blue so as to distinguish one side from the other. The Secret: The apparatus is made up of four hinged panels. Panel number one, Figure 51, is of the V-type and holds the load. The apparatus is held as shown in Figure 51. Panels three and four

are folded against one and two, Figure 52. The hands change positions, and the screen is opened again, Figure 53. Both sides of the screen have been shown. Now the screen is formed into a triangular enclosure, Figure 54, or a square box, Figure 55, and a production follows.

As a variation, the screen may be held in the position shown in the Figure 56. It is then folded, Figure 57, and panel four taken in the left hand. The apparatus is allowed to fall open, Figure 58, showing the other side of the screen. Finally it is formed into one of two shapes, Figure 54 or 55, and a production made.

The Wonder Box

16 This apparatus is made entirely of metal, and although only 4½” high, it holds six 12” silks. The Secret: The box, Figure 59, has no bottom. The front and back doors are hinged to metal rods at the bottom of the framework. The lid is hinged to a similar rod at the top of the box. The back door “A” has beveled edges “B” in its two long sides, which hold the load chamber “C” in place. The fake has two compartments, holds six 12” silks, and can be used for color changes, as a vanisher, or as a load chamber.

Presentation: The box is held between the tips of the left thumb and second finger, Figure 60, door “A” nearest to the performer. The box should be held at the very finger tips throughout the performance, and it should never rest on the palm of the hand. Few performers use this box properly. The box is tilted backward, and the back door “A” and load chamber “C” drops down toward the performer, Fig. 61. Now it is tilted forward and given an upward jerk’ the front door “D” drops forward and down, and the top door “E” swings upward and forward. The interior is now exposed, Figure 62. The box is tilted toward the body, and the lid drops back into place.

The first finger of the left hand pushes the door “D” up in place, and the little finger of the left hand presses up the back door “A”. All moves must be practiced until the box can be opened or closed in one synchronized movement. After the box has been opened and closed, the left hand swings the lid open, and the right hand produces the silks. After the silks have been produced the box is brought to the position shown in Figure 62, and the silks pushed into the opening, showing that the production completely fills the box. Then the right hand encircles the silks through the opening at the back of the box, pulling them away, and steals the fake under cover of the silks at the same time. The silks and fake are laid aside and the box passed for examination. A second load can be produced if desired. While the box is being examined, the performer palms a rectangular fake filled with silks, Figure 63, and holds it in his left hand. He receives the box is his right hand and sets it in the left, allowing the box to go down over the fake. Now lid “E” is opened, and a second production made.

Break-a-Way Production Box

17

Here is a novel production box that holds a large load although it is shown apparently empty. While several American dealers manufacture this item, it is said that the original model came from England. The Secret: Figure 64 shows the detailed construction of the box. At the beginning of the effect it rests on the palm

of the right hand while in the position shown in Figure 65. The box is tilted back slightly, allowing the back panel “A” to open. The left hand enters through the back of the box and is pushed through it as the right hand is taken away and panels “B” and “C” fall away, Figure 66. Note that the left arm is held at a slight angle with the hand extending above the box. In this way the hand screens the load chamber from view.

The right hand brings “B” and “C” up in place, closing the box, as the left hand is withdrawn. The closed box rests on the right palm while in the position shown in Figure 67, lid “A” is opened, and the production made.

Improved Unbelievable Production Box * • P E R C Y

18

A B B O T T •

This production item, Figure 68, although of the load panel type, employs a new principle. The box is empty at the start of the effect, yet soon over-flows with silks. The Secret: The box is made of wood has no top, and its bottom ”A” is hinged to the back wall, Figure 69. The back wall “B” has a special panel “C” in it, Figure 68. Catch “X” holds the panel in place.

An odd shaped bag “D”, attached to panel “C”, carries the load. At the beginning of the effect the box sits on the table, load to the back, and the open top uppermost. The left hand grasps the back of the box at “X”, and lifts it straight up until the hinged bottom ‘A’ opens to its fullest extent. Then the box is tipped back, enabling the audience to see through it, Figure 69. The hands at either side of the box hide the load from view, and the bottom “A” covers the front view of the load. The right hand grasps the bottom edge of “B” and the box is tipped forward in the action of closing the bottom “A”. The box is now in the same position as it was when resting on the table, but now sits on the palm of the right hand. The catch “X” is tripped, panel “C” falls into the box, Figure 70, and the production made.

The Temple Sareen *

• U.

19 F.

G R A N T •

This 3-fold screen is gaily colored. The back of each panel is pointed orange and has black Chinese characters. The front of each panel is pointed blue and has a Chinese Buddha in black outline. The screen, after being shown back and front, is formed into a triangle, and a production made. The Secret: There is a fourth panel to which is attached a cloth bag which acts as a load chamber, Figure 71. The panels

are hinged together with strips of black tape. One side of the load panel is orange and the other black.

Presentation: There are a number of methods of presenting this effect. I am indebted to Bob Karebach for the one given here. Load the bag with silks prior to the performance. Fold the screen and set it on the table as shown in Figure 72.

Stand behind the screen, grasp the top edge of the front panel I at “X” with the right hand and the centre panel 3 at “Y” with the left hand, Figure 72. Holding the screen in this position and without lifting it from the table, open the screen so it appears as showin in Figure 73. Note that the blue side forces the spectators. Fold panel 2 (Figure 73) back to its original position, following with panel I. Now the screen is back to the position shown in Figure 72. AT this point the blue side of the screen has been shown to the audience. Grasp panel 1 at the middle of its vertical edge with the left hand and panel 4 at the middle of its vertical edge with the right. Move the left hand to the left and the right to the right. This action opens out the screen exposing the orange side to the spectators, Figure 74. Fold panels 1 and 4 back to form a triangle, Figure 75, and make the production. The front and back of the screen may be shown at any time. To show, move panel 1 forward so that it is on a straight line with the centre panel, 3, Figure 76. Grasp hidden panel 2 at the top left corner “X” with the left hand, at the same time place the right index finger between panels 3 and 2 at point “O’, Figure 76. Holding “X” with the left hand, move the right hand to the right, completely reversing panels 1 and 3 as indicated with the dotted lines, Figure 76. When this move is completed the screen appears as showin in Figure 77. Now panels 2 and 1 are folded back to form a triangle once more, Figure 78, and the production continued. The screen is folded flat after the production is made.

The Mirror Box

20

The adage, “its done with mirrors”, is true. A number of currently popular production boxes employ the mirror principle. The Secret: While there are several popular styles and versions of this principle, the method is basically the same. A box is divided by a mirror that runs from its top edge to its bottom back edge. The inside of the box is treated in one of several ways to conceal the edges of the mirror. Figure 79 shows one style of box. Such a box is sold by the Marshall Magic Company, and is known as the PARISIAN CABINET. The interior of the box is decorated with elaborately patterned cloth which cloaks the lines of the mirror. Note that the mirror reflects the bottom of the box. This reflection appears to be the back wall of the box. Figure 80 shows another style wherein the box is wider than it is high. Abbott’s Magic Company offers an elaborate mirror box known as the Neon-istic Silk Fountain, Figure 81. A neon tube runs across to hide the top edge of the mirror. Some boxes have removable mirrors. After the silks are produced they are put back into the box to show the quantity to be overflowing. As the silks are taken out a second time, the mirror is taken out with them, unknown to the audience. Other removable mirrors have a picture pasted to their back, and once the silks have been produced, the box is reversed, and the mirror produced as a picture, Figure 82.

Julian Bush suggests putting knobs on the front of the cabinet, and painting the box to resemble a radio. After the box is shown empty, the performer “dials” various programs. The Lucky Strike program is tuned in and a package of cigarettes produced, the Real Silk program brings silks; the Farm Hour brings carrots, etc. The Lux Radio Theatre is used for the finale and a photograph of a well known movie star (pasted to the back of the mirror) is produced.

The Pivoting Wonder Cabinet *

• H E R M A N

21 H A N S O N •

The Front doors of this novel production cabinet are opened, Figure 81, and the cabinet revolved so as to show it inside and out. The front doors are closed, the two top doors opened, and a large production follows. The Secret: The box employs two mirrors, Figure 82, that Form a “V” inside of the box, Figure 83. The load

rests behind the mirror at “L”. The two mirrors may be stolen from the box under cover of the silks being produced. Variation: The mirrors may be hinged to the back corners of the box at “X”, Figure 84. Under such an arrangement, the two mirror flaps spring back to the sides of the box when it is lifted from the base, Figure 85. Near the end of the production the cabinet is taken from the base, the front doors opened, and the production continued, Figure 86.

The Organ Piper

22

The old but unique organ pipe principle has inspired a number of modern effects. In the original version the performer calls attention to a number of tubes of graduates sizes, Figure 87. Although the tubes are proven empty, a large production follows. The Secret: The tubes have graduated diameters and nest one within the other. With

the exception of the largest tube, all tubes contain suspended loads. The method of suspension varies with the material to be produced. However, the load is usually attached to a wire, which is hooked over the top edge of the tube, Figure 88.

4. 5. 6. 7.

Presentation: 1. Pick up the largest tube 1, and allow the audience to look through it. Set the tube on the floor. 2. Pick up tube 2, and while commenting on its being slightly smaller than 1, drop it inside of the first tube. The hook hangs over the top edge of both tubes, Figure 89. 3. Pick up tube I, leaving tube 2 resting on the floor. This action transfers the load from 2 to 1, unknown to the audience. Sit tube I aside and show tube 2 to be empty. Continue by dropping tube 3 into 2, etc., until all of the tubes are shown empty. At this point all of the tubes except the last one have loads in them. The tubes having been shown empty, make the production.

The Tricky Tuber *

• P A U L

23 S T A D E L M A N •

This effect combines the Organ Pipes and the ‘Phantom’ tube’. Three tubes of different heights and diameters are shown, Figure 90. Each tube is shown empty, yet a production is made from each.

The Secret: The third tube is a phantom tube, the other two are unprepared. In addition, both an ordinary pint and quart milk bottle are needed. These are painted white on the inside so as to appear filled with milk. Silks or streams are loaded into each bottle. The tubes are loaded as showin in Figure 91. Presentation: 1.

Pick up tube I and show it empty.

2.

Drop tube 1 over tube 2.

3.

Pick up tube 2 and show it empty, leaving the quart bottle in tube 1.

4.

Drop tube 2 over tube 3 (phantom tube)

5.

Pick up tube 3 and show it empty, leaving the pint bottle in tube 2.

6.

Place the tubes in a raw and make the production.

7.

Reach into tubes 1 and 2 and produce the bottles of milk.

In the Stadelman version productions are made from all tubes. In the standard version one tube has no load.

The Haunted Chimueyr *

• H A R O L D

24 R.

R I C E

•

This is an improved version of the organ pipes. The tubes are shown, nested one within the other, and the ends sealed with paper. Either end is broken into, and a mammoth silk production follows.

The Secret: While the organ pipes utilized the suspended loads, this version employs a third tube, making a much larger production possible. The third tube, Figure 92, is flanged at one end. Cardboard discs held in place with rubber bands prevent the load from leaving the tube prematurely. A small hole in the center of the discs make it possible to produce the load without disturbing the discs. The rubber bands fall into special “T” slots where they are locked in place, Figure 93. At the beginning of the effect the tubes are as shown in Figure 94. Presentation: 1.

Pick up tube 2; and show it empty.

2.

Place 2 over 1 and 3, and drop it inside of 1.

3.

Remove 1 and show it empty.

4.

Start 1 down over 2, and when it is about half way down, pick up all three tubes with 1 and 2 telescoped in this half way position, flange of 3 still at the bottom, Figure 95.

5.

Holding a palm over each end of the tubes, turn the apparatus so that the tubes are lengthwise, parallel to the floor, and close to

6.

7.

8.

9.

10.

the body. Tubes are still telescoped with 1 half way over 2, Figure 96. Push 1 over 2 until it completely covers it, at the same time turn tubes up in a vertical position with flange of 3 uppermost. Tube 2 will fall free from 1, leaving 3 inside of 1, Figure 97. Catch 2 as it falls out of 1.

Show 2 to be empty once more. Place it on the table. Place 1 and 3 over 2, dropping them in place, nesting all three tubes. Seal the ends with tissue, break the paper, and make the production.

Buddka Tuber *

25 • P E R C Y

A B B O T T •

Here is another version of the organ pipes. Two rectangular wooden tubes are shown empty, yet a mammoth

production follows.

The Secret: There are actually three tubes, two of wood and one of metal. These are pictured in Figure 98. At the beginning of the effect the tubes are in the position shown in Figure 99. Presentation: 1.

Tube 1 sits beside tube 2.

2.

With the thumbs pressing the metal springs to the sides, pick up tube 1 and show it empty.

3.

Place tube 1 down over 2.

4.

Lift tube 1 off of 2, bringing load tube 3 inside of 1. (The lugs in 3 automatically engage the springs in 1).

5.

Show 2 empty and put it on its side on the table.

6.

Place 1 on 2, Figure 100, and produce the silks.

The Transparent Tuber * • K A T T N E R

26 •

S T R O T H E R •

This effect utilizes the organ pipe principle but has a clever improvement. Two seemingly transparent tubes are shown nested, and a production follows. The Secret: The outfit consists of two transparent plastic tubes and a half tube load chamber, Figure 101. The mirror on the fake reflects the interior of the tube housing it, creating the illusion that the back wall of the tube is visible. The vertical stripes on the tubes are slightly wider than the transparent spaces.

Presentation: 1.

The tubes are as showin in Figure 102 at the beginning of the effect.

2.

Pick up the larger tube, show, and I it empty.

3.

Pick up 2, and pass it through 1, leaving the fake in 1.

4.

Nest the two tubes, the stripes coinciding.

5.

With a wand, push a silk through the space in front of the mirror of the load chamber, proving the nested tubes to be still empty. Turn the outside tube so that its stripes cover the transparent spaces of the inner tube, and make the production.

6.

Silk-Ex Tube *

• F.

27 C.

H A E N C H E N •

Haenchen’s tube is designed for producing, vanishing, or exchanging silks. It is unique in that the silks appear visibly immediately after the tube is shown empty. The Secret: Two tubes are used although the audience sees but one. Both tubes have a hole in each of their four sides, Figure 103; the inner or load tube is patterned after the GHOST TUBE, Figure 104. The ends of the outer tube are turned in to prevent the inner tube from dropping out, Figure 105.

Presentation: 1. The tube is as shown in Figure 106 at the opening of the effect. As the inner tube is shorter, the holes do not line up while the apparatus is in this position. 2. Pick up the tube and hold end “A” to the audience. 3. With a palm over each end, hold the tube in a horizontal position

4

5

6

7

8

9

10

and turn it, calling attention to the four holes. Turn the load end of the tube up, making certain that the edge of the tube opposite the load is nearest the audience, Figure 107. Shake the tube slightly, bringing the inner tube down so that the holes line up, Figure 108. The load is exposed through the two back holes nearest the performer, but the audience cannot see this portion of the box. Push the wand or a silk through the inner tube to further prove the tube empty. The article is visible through the two holes as it passes them, Figure 109.

With a palm over each end and with the tube still in a vertical position, wove the tube up and down rapidly, and at the same time give the tube a half turn. The silks now visibly appear through the holes just turned to the audience, Figure 110. Produce the silks through the top of the tube

The Square Circle

28 • D A V E N P O R T •

This is one of the most popular current productions. A number of variations of the basic principle are being offered under different trade names. Effect: A box without top or bottom and with an open front rests on a small base. A metal cylinder is inside of the box, Figure 111. The cylinder is shown empty, yet silks are produced from it at will. The Secret: The effect employs the black art principle. The inside of the box is lined with black velvet or felt. In addition, there is a second cylinder which is covered with the same ‘black material, Figure 112. Under the proper lighting conditions it is impossible to see the cylinder when it rests inside of the box. The silks are within the inner cylinder at all times.

Presentation: 1. The apparatus is shown in Figure 111. The silks are inside of cylinder 1 which in turn is inside of cylinder 2. 2. Pick up the box and show it inside and out. 3. Replace the box on the base. 4. Pick up cylinder 2 and show it. 5. Replace the cylinder, dropping in place over cylinder 1. 6. Make the production.

Improved Round Circle *

• P E R C Y

29 A B B O T T •

Based on the SQUARE CIRCLE principle, this version eliminates the box and uses a metal cylinder. Two tubes, previously shown empty, become filled with silks when they are nested. The Secret: The outfit consists of three metal tubes an a metal plate which acts as a base. The largest tube has two holes in its wall. The middle tube is unprepared. The third and smallest tube is covered with black cloth and has a concave groove running up one side, Figure 113. The metal plate is ordinary.

Presentation: 1. At the beginning of the effect 3 is inside of 1. The middle tube and the plate sit near by, Figure 114. 2. Pick up tube 2 in one hand and take the ward in the other. Show the tube to be empty and then twirl the wand around inside of the tube as further evidence of the tube’s emptiness. 3. Retaining tube 2 in one hand, pass one end of the wand through the top of tube 1, down along the wall, and out through the bottom hole in the sidewall, Figure 115. The groove in tube 3 makes this possible. 4. Set tube 1 (and 3) on the metal plate, lower 2 between tubes 1 and 3, pick up the assembled apparatus, and make the production.

The Enchanted Tube *

• C H A R L E S

30 W A L L E R •

A tube, shown empty, becomes filled with silks. The tube can also be used for color changes or a vanish. The Secret: A section at one end of the tube is hinged against the rest of the tube, Figure 116. This hinged end contains a cloth pocket which is reversible. The silks are loaded into the hinged end of the tube, Figure 117.

Presentation: 1. Pick up the tube in the right hand, Figure 118. 2. Bring the tube into a horizontal position, end toward the audience, at the same time, allow the hinged portion to drop into the right palm, Figure 119. 3. After the tube has been shown empty, swing the top part back on the hinged section, Figure 118. 4. Grasp the tube at the break with the left hand, and make the production with the right.

Pop Silks *

31 • H A R O L D

S T E R L I N G •

A number of beautiful silk productions are made possible through the use of a sheet of newspaper. I am indebted to Harold Sterling for the first of this series. Effect: A newspaper is shown and folded. The performer punctures the centre of the paper and a number of silks; pop into view. The Secret: 1. Obtain two duplicate sheets of news paper. 2. Cut the two outside columns from one of the sheets, Figure 120. 3. Put mucilage on one side of the paper in areas indicated by the shaded lines, Figure 121. 4. Place the uncut sheet on a flat surface, and place a silk in each of the areas, A, B, C and D, Figure 122. 5. Place the prepared sheet, mucilage side down, on top of the sheet containing the four silks, Figure 123. 6. Press the two sheets together and allow the glue to dry.

7. 8. 9. 10.

This gives a double sheet (containing four silks) with a border one column wide down the two sides, Figure 123. Fold the sheet through the middle, Figure 124. Fold the sheet again, Figure 125. The paper, thus prepared, is ready for the presentation.

Presentation: 1. Pick up the folded paper, unfold it and show it on both sides. 2. Refold the paper. 3 Hold it with one hand and snap the fingers against the centre of one side with sufficient force to break the paper. The first silk “pops” into view, Figure 126. 4 Remove the silk and tap the paper again. A second silk “pops” up. 5 Repeat until all four silks have been produced. For a variation, a package of spring flowers could be produced from the lost square instead of a silk.

Silk from Newspaper

32

It is said that this effect originated in England. Effect: Both sides of a sheet of newspaper are freely shown. A hole is torn in the paper at any desired point and a silk extracted. The paper is again shown both front and back, and another silk produced. At least six silks can be produced.

The Secret: The newspaper is unprepared. The effect depends upon the use of a clever gimmick, Figure 127. This metal gimmick with cloth bag attached has metal clips on two sides, making it possible to transfer the fake from hand to hand. The fake is loaded with 6-12” silks. Presentation: 1. Palm the fake in the right hand, Figure 128, holding it in place with the metal clip between the second and third fingers, the bag resting in the right palm. 2. Hold the paper between the thumbs and first fingers, Fig. 129. 3. Take the paper in the left hand as illustrated, Figure 130, bringing the right hand in front of the paper. 4. Pass the right hand down the front of the paper as though smoothing out the sheet, Figure 131. 5. When the right hand reaches the bottom of the sheet, continue up the back of the sheet, Figure 132, Finally arriving at the top and back of the paper. 6. Transfer the fake from the right palm to a position between the left thumb and the back of the paper, Figure 133. Now show the right hand empty. 7. Take the paper with the right hand, clipping the gimmick between the second and third fingers at the back of the hand, Figure 134. 8. Flip the paper and wrist to assume the position shown in Figure 135. 9. Bend the fingers of the right hand, automatically placing the open end of the fake against the back of the paper, Figure 136. 10. With the left hand, break the paper at a point just over the mouth of the fake, and pull out a corner of a silk, continuing until half the silk extends through the paper. 11. Straighten out the fingers of the right hand, there by pulling the balance of the silk free. 12. Grasp the paper at its bottom corner with the left hand, turning the paper over so as to show that the silk is on both sides of the paper. At the same

13.

14.

time the empty right palm is shown without calling attention to it. Return the paper to the left hand once more and repeat the moves outlined, continuing until oil six silks have been produced from the fake through the newspaper at various points. Lay the silks and fake aside, and loss the newspaper into the audience.

Silk-News

33

There are several American versions of the SILKS FROM NEWSPAPER. A metal fake is used, but there is no cloth bag attached. Instead, one end of the fake is closed. One fake is oval, Figure 137, and the other is flat on one side, figure 138. Both styles have a clip soldered to one side. The fake loaded with silks rests on a table clip uppermost. A sheet of newspaper covers the fake, Figure 139.

Presentation: 1. Show both hands empty. 2. Pick up the paper by passing the four fingers of the right hand under it. As the hand goes under the paper, engage the metal clip between the second and third fingers of the right hand, Figure 140. 3. With the left shoulder nearest the audience, take the paper from the right hand into left. Right palm is to the audience and the fake remains out of sight on the back of the hand. 4. Show the paper back and front, and return it to the

5.

6. 7. 8. 9.

10.

right hand, Figure 141. Bend the last three fingers of the right hand into the palm, bringing the open end of the fake flush to the back of the paper, Figure 142. Break the paper with the fingers of the left hand and pull the first silk half way through the paper. Return the right hand to the position shown in Figure 143, automatically pulling the rest of the silk from the fake. Take the paper away from the left hand. Turn the paper over and show the silk penetrating the paper from both sides. Starting with step 4 above, repeat the moves until all of the silks have been produced. Pocket the fake with

Page-O-Silk *

34 • H A R O L D

R.

R I C E •

This exclusive item requires no gimmick and appears in print for the first time. Effect: A page is torn from an unprepared magazine. The page is crumpled into a ball, and when the centre of the paper is torn away, two silks make their appearance. The Secret: Two 12’ solid colored silks of contrasting colors and a magazine are needed. Prepare as follows: 1. Accordion pleat one silk so that ends “A” and “B’ are as shown in Figure 144. 2. Place a corner “C” of the second silk next to “B”, Fig. 145. 3. Wrap the second silk around the first, and tuck end “O” under the bottom of the roll, Figure 146. 4. Put the magazine on the table, open edge to audience. Place the pleated silks under the back edge, Figure 147.

Presentation: 1. Show both hands empty. 2. Pick up the magazine with the left hand, taking the silks into the palm, Figure 148. 3. Show front of the magazine. 4. Grasp the bottom right hand corner of the magazine

5.

6.

7. 8.

9.

with the right hand, Figure 149. Bend the magazine much in the same manner as would be necessary when folding it in half, bringing the front edge up then back toward the closed edge, Figure 150. When this fold is nearly completed, allow the back edge of the magazine to fly free from the left hand, at the same time taking the front edge under the left thumb, Figure 151. Now both back and front of the magazine have been shown. At this point ask a spectator to select a page by stopping you at any point while you slowly leaf through the magazine. Hold the magazine in the position shown in Figure 152, and allow the pages to fall down, one at a time, Figure 153, continuing until the spectator says ‘stop’.

10.

16. 17.

Tear out the selected page with the right hand, still holding the magazine with the left as shown in Figure 153. Show both sides of the page. 11. Bring the torn sheet up in front of the magazine and place it under the left thumb, Figure 154. 12. As the left thumb takes the page, deliberately drop the magazine to the floor, leaving the page in the exact position originally held by the magazine, Figure 155. 13. The silks are still in the left palm where they have remained throughout the above business. 14. With the right hand, quickly crush the paper into a ball, the silks going into the centre. 15. Show the hands again, break the middle of the paper, obtain corner “A” or “B” and produce the first silk, followed by the second. Hold the ball of paper tightly or both silks will be pulled into view as one. Toss the empty ball of paper into the audience.

Silk Carcade *

35 • P E R C Y

A B B O T T •

Effect: A sheet of stiffer formed into a cylinder is unrolled and shown back and front. The cyclinder is again formed, and silks cascade from both ends of the tube. The Secret: The effect depend upon a celluloid cylindrical fake that

has a partition at it’s centre, figure 156. There 12’ silk are loaded into each and of the fake. A sheet of stiff paper a paper clip and an ordinary glass tumbler are also needed. At the beginning of the effect the paper is rolled into a tube and loaded fake held in place with a paper clip, figure 157. The cylinder rests upright in the tumbler.

Presentation: 1. Remove the tube from the tumbler, the 2. 3.

4.

5.

first finger entering the fake and the second resting on the out side, figure 158. Remove the clip. Unroll the paper with the right hand the left moving the fake over into the position shown in figure 159. Grasp a side edpe of the paper near the bottom with the right hand and hold the top edge with the left thumb and first fingerer while the second and third control the fake, figure 160 Bright the bottom edge of the paper, up to a position a few inches above the top fdge of the, figure 161.

6.

7. 8.

9. 10. 11.

12. 13. 14.

Retaining a firm grip on the fake, release the top edge of the paper held in the left hand and take new position shown in figure 162. Now both side of the paper have been shown. Move the left hand across the top edge of the paper and part way down the side (as illustrated with arrows Figure 163) while the right hand support the paper. Roll the paper into a tube, encasing the fake, Figure 164. Replace the paper clip. Hold the tube in the right hand and tap one end of the roll on the palm of the left hand, Figure 165. The first silk appears. Turn the tube end for end and repeat the tapping. A second silk appears. Repeat these moves until all six silks have been produced. Set the paper tube in the tumbler, Figure 166, allowing the fake to fall into the glass, while packing up the silks from the floor. 15. Remove the tube from the tumbler, and unroll the tube, showing it empty. The fake, being transparent, remains unnoticed in the tumbler.

Abbott’r Silk Production Box * • P E R C Y

36 A B B O T T •

A box with thin sides, no top, and a removable bottom is shown. The bottom is replaced and the box becomes filled with silks. The Secret: This production box, although larger, is very similar to the so-called JAP HANDKERCHIEF BOX. (As the load of the latter is limited to three or four small silks, and in as much as an entire chapter will be developed later to routines using it, the Jap Box is not included at this time.) The frame has two hollow walls which contain the silk loads. Metal flaps hold the silks in place until desired, Figure 167. The frame rests on a wooden base. Five 12” silks are held in a bunch from one corner, pleated back and forth several times, and placed inside of a compartment. Five more silks, folded in the some fashion, are loaded into the other compartment. At the beginning of the effect the loaded frame sits on the base.

Presentation: 1. Pick up the frame and base as one and rest the apparatus on the left palm. 2. Remove the frame with the right hand and hold it so the audience can see through it. 3. Push the left hand (still containing the base) through the frame. 4. Leave the frame rest on the left forearm while the right

5. 6.

7. 8. 9. 10.

takes the base. Tap the base on the third, proving the board solid. Return the base to the left hand, and remove the frame from the left forearm by bringing the frame down the arm and over the board. The left hand contains the frame, and the right, the board. With the base resting on the hand, bring the frame down upon it with a thud, releasing the first flap during the action. Release the second flap before all of the silks from the first load are pulled from the apparatus. Put the frame and base aside after all of the silks have been produced.

Productomazia * • S O L O M O N

37 S T E I N •

This effect appeared in Stein’s MAGIC MAESTRO PLEASE, and is marketed by Stuart Robson. Effect: A cylinder containing a quantity of paper confetti is shown. A few particles of the confetti are dropped into a borrowed hot, and a large production of silks and a glass of milk follows. The Secret: A professionally manufactured set may be purchased from Stuart Robson. Stein’s homemade outfit can be constructed as follows: 1. 2. 3. 4.

5.

Obtain a one quart ice cream container, Figure 168. Separate the bottom from the sidewall with a knife, Figure 169. Push the bottom up to within 2” of the top of the container, Figure 170. Fasten it in place with pieces of transparent tape. Cut a hole 1” in diameter near the bottom edge, Figure 171. Obtain a straight walled glass tumbler of a diameter

6. 7.

slightly smaller than that of the cylinder. Paint the inside of the tumbler white to resemble a glass of milk, Figure 172. Load the silks into the glass, and place the cylinder over it. Fill the top part of the cylinder with confetti, and replace the lid of the container, Figure 173.

Presentation: 1. The apparatus rests on the table as shown in Figure 173. 2. Remove the lid, disclosing the confetti. Pick up some of the confetti and allow it to trickle through the fingers back into the container. 3. Pick up the container with the left hand thumb to back. The thumb enters the hole and presses against the glass, holding it in place inside of the container. 4. Take the borrowed hat in the right hand, tilting the opening of the hat towards the performer. 5. Walk back to the stage, bring the cylinder directly over the hat, release the pressure being applied by the left thumb, and allow the glass to fall unobserved into the hat, Figure 174. 6. Set the hat and cylinder side by side

7. 8.

upon the table. Drop a few pinches of confetti into the hat. Reach into the hat and produce the silks and the fake glass of milk.

The Handkerchief Carket

• C H I C A G O

38 M A G I C

C O •

In my opinion, this is one of magic’s prettiest productions. A celluloid box is shown empty, yet silks appear inside of the box at the performer’s desire. Some performers cover the box with a borrowed handkerchief, and when the handkerchief is removed, silks previously vanished reappear in the box. The Secret: The box is constructed as pictured in Figure 175. A most ingenious fake is used. This is a piece of celluloid covered with a natural color photograph of the human palm. A lip at one end of the fake protrudes from the side of the box, Fig. 176. The silk are placed inside of the box, and the fake is passed through the slit, hiding the silks from view, Figure 177. Presentation: 1. Pick up the box with the right hand, the lip of the fake falling across the first finger, Figure 178. 2. Show the box empty. 3. Take the box away with the left hand, leaving the fake on the right palm, Figure 179. The silks expand an fill the box.

Crystal Carket *

• A B B O T T

39 V E R S I O N •

This effect (as seen by the audience) is similar to the HANDKERCHIEF CASKET. However, the secret involved is quite different. The Secret: The box, measuring 3½” on all sides, is shown in Figure 180. It is made from a number of pieces of glass fitted together in the shape of a cube. The pieces of glass are held together with strips of gummed cloth. A sheet of mirrored metal, Figure 180, hinged at ‘X-X’, acts as a flap. The silk load rests between the flap and the back pane of glass, Figure 182. At t the beginning of the effect the box is held so that the flop is nearest to the performer. The simple latch is released, and the flap falls to the bottom of the box, releasing the silks which expand and fill the box.

Creative Silks *

• P E T R I E

40 •

L E W I S •

Effect: A spectator is given two silver rings and a piece of tissue paper, and asked to place the paper between the rings to form a drumhead. Upon taking back the assembled apparatus, the performer breaks the paper drumhead and produces several silks and yards of silk or paper ribbon. The Secret: In addition to the two rings, Figure 183, there is a two-piece fake, Figure 184. The silks are loaded in the top part of the fake, and a roll of ribbon is placed in the bottom half. The loaded fake is hung on a pin-hook, Figure 185, at the back of the trousers just under the bottom edge of the coat.

Presentation: 1. Pass the rings and paper to the spectator who forms a drumhead, Figure 186. 2. Steal the fake into the left hand. 3. Take back the drumhead with the right hand. 4. Place the drumhead over the fake. 5. Break the paper with the right hand and make the production, Figure 187.

Cupr of Plenty*

41 • S T E W A R T

J U D A H •

This production is unique in that it uses seemingly ordinary articles. Effect: Two paper cups are shown. A quantity of water poured into one cup is in turn poured into the other. Then silks are produced from one cup, followed by a shower of serpentine. The Secret: Prepared sets ready for presentation are sold by Silk King Studios. To make your own sets, proceed as follows: 1. Obtain some hot liquid paper cups, Fig. 188. 2. Also obtain a number of good grade hot coffee paper cups. The proper cup will fit about of the way down inside of the hot liquid cup, Figure 189. 3. Tear the coffee cups away from their bottoms, Figure 190. Only the bottoms are needed. 4. Place a coil of serpentine in one of the liquid cups, gluing the end of coil to cup at point “X”, Figure 191. 5. Put a paper clip on the end of the coil of serpentine, Figure 192. The clip will cause the serpentine to fall free when the cup is inverted, Figure 193.

A set consists of one unprepared cup, one prepared with a serpentine streamer, and one bottom torn from a coffee cup. Six 12” silks are also needed. Prior to presentation, the silks are placed in the prepared cap directly on top of the coil of serpentine. The bottom from the cup is pushed down into the cup, covering the silks. Parts of silks that might protrude above the false bottom are forced down with a finger nail file, Figure 194. The two cups are nested, Figure 195, ready for the presentation.

Presentation: For simplicity in explanation, the unprepared cup will be referred to as No. 1 and the loaded cup as No. 2. 1. Pick up 1, and toss it into the air, catch it, and set it upright on the table. 2. Pick up 2, toss it into the air, and catch it with the left hand. 3. Pour a quantity of water into 2. 4. Pick up 1, hold it several inches below 2, and pour the water into 1. 5. Pour the water back into 2 again. Repeat this several times, ending with the water in 1. 6. Set 1 on the table. 7. Reach into the air with the right hand to catch a few invisible “color spots”. 8. At the same time release the false bottom. To do so, hold cup 2 as shown in Figure 196. Press the left thumb and first finger against the outside walls of the cup, rotating the cup in the hand. Continue, releasing and then applying the pressure until the false bottom rises to within on inch of the open mouth of the cup. 9. Continue to drop the invisible “color-spots” into the cup until the false bottom is entirely released. 10. Place one of the “color spots” deep into the cup. In doing so, push on the false bottom at “X”, Figure 197, forcing the bottom to turn on its side, Figure 198. 11. Place the first finger of the left hand across the top edge of the false bottom so it cannot pop up into view of the audience, Figure 199. 12. The silks are now in front of the false bottom. 13. Produce one of the silks, then drop it momentarily over the cup and left hand, Figure 200, while the right hand is shown to be empty. Pick up the silk with the right hand and lay it aside. 14. Procedure a second silk, and drape it over the left hand and cup in the same fashion as was done with the first silk. 15. After showing the right hand, pick up the second silk, stealing the false bottom under it, Figure 201. Lay the silk and bottom aside.

16. 17. 18. 19. 20.

21.

Continue to produce the silks, one at a time, repeating all of the business outlined for the first silk. After the lost silk is produced, reach into the air, catch more ‘color spots”, and drop them into the cup. Invert the cup and the serpentine uncoils, falling to the floor in a pretty, colorful stream! Pull the end of the serpentine free from the cup. Retain the cup in the left hand. Pick up cup ! with the right hand. Bring the cups together, Figure 202, and pretend to pour water from cup 2 into 1. Now separate the cups and openly pour part of the water from 1 into 2. The illusion created infers that here was water in the cup holding the silks. Pour the water from both cups, Figure 203, and toss the cups into the audience.

Fantastic Production *

• U.

42 F.

G R A N T •

Effect: The performer forms a sheet of stiff paper into a come from which he produces a quantity of silks followed by a rabbit. The come can be shown empty at any time during the production. The necessary equipment and instructions are sold by U.F. Grant. The Secret: Although the cone is prepared, the production is from a body load. This production is one of Grant’s best creations. From a piece of stiff paper, a cone is made, Figure 204. Two black cotton bags are made as shown in Figure 205. Pin one bag to the left side of the coat and vest, Figure 206. Pin the other bag to the right side of the coat and vest, in a similar fashion. Put the production items in the bags. Fold the cone as shown in Figure 207, and lay it on the table. Presentation: 1. Roll the sleeves back to your elbows. Both hands are empty.

2. 3. 4. 5.

6. 7.

8.

9.

Pick up the cone and show it ( while folded) back and front. Open up the come, Figure 208, and show the one side. Refold the come, but bring the window to the back, Figure 209. Holding the cone as shown, Figure 210, reach inside and through the window, and steal several items from under the coat. It is not necessary to hold the cone against the body, and it would spoil the effect to do so. Leave several items in the come and produce them one at a time. While producing the items from the cone, turn the body slightly to the right, giving the audience a semi-side view. This dismisses any idea of the items coming from the body. Open out the come. Show it empty. Refold the come, and hold it in the right hand, stealing a load from the right pocket. Continue until all items have been produced, finishing with the rabbit.

The Jantalizing Tube *

• H.

43 R.

H U L S E •

Effect: A cylinder made of wire is placed on a wooden base. A lighted flashlight is shown through the wire to prove the cylinder empty. Suddenly the cylinder becomes filled with silks. The Secret: The cylinder consists of two wire tubes bound together at the ends with metal cup-like rings. The outside tube is painted white and is ¾ larger in diameter than the black inside tube. In addition, a plywood base and a secret load tube are needed, Figure 211. An assistant is also required. At the beginning of the effect the assistant holds the board in one hand and the wire cylinder in the other, Figure 212. The load tube is on the back of the board where it is held in place with a screw.

Presentation: 1. Show the wire cylinder inside and out. 2. Hold the cylinder as shown in Figure 213, and taking the board with the free hand, pass the board in front of the cylinder, allowing the load tube to enter the cylinder. 3. Turn both cylinder and board in an upright position, Figure 214. As the fine mesh wire in the cylinder keeps out most of the light, the black load tube is not visible through the walls of the cylinder. 4. Hold a lighted flashlight inside the cylinder, Figure 214. 5. Make the production.

The Devil’s Newspaper * • U.

44 F.

G R A N T •

Effect: A newspaper, after being shown on both sides, is folded and a quantity of silks are produced from within the folds. The Secret: The effect is made possible by a cloth bag reinforced with cardboard as illustrate in Figure 215. The bag is hinged to the centre fold of the newspaper with double scotch tape hinges, Figure 216. The paper rests on the table, Figure 217, prior to presentation.

Presentation: 1. Raise the paper, showing one side, Figure 218. 2. Turn the paper, Figure 219, showing the second side. Step away from the table. 3. Open the paper, Figure 220, showing the inside. 4. Fold the top half back over the bag, Figure 221. 5. Turn the paper to the new position shown in Figure 222, and make the production.

P

A

Other P r o d o *

R

T

T

Production

W

O

Apparatus 1

• H E R M A N

L.

W E B E R •

Rudy Roxo included this effect in his book MODERN MASTER MAGIC. Effect: The apparatus pictured in Figure 223 is shown empty, yet a quantity of silks is produced from each of the six tubes. The Secret Six metal tubes, Figure 223, soldered together, form the apparatus. The loads remain in tubes “E” and “F” until the production is mode, Figure 224. Presentation: 1. Hold the apparatus as shown in Figure 224. 2. Roll back the shirt and coat sleeve and push the right arm through “A-B”, Figure 225. 3. While the arm is through the tube, grasp “E” with the left hand and spin the apparatus several times, stopping it so that end “E” is uppermost again, Figure 225. 4. Count “one”. 5. Remove the right arm, and with “E-F” as an axis, give the apparatus a

6. 7. 8. 9. 10.

11. 12. 13.

quarter turn to the right, Figure 226. Push the arm through “C-D”. With the arm through the tube, grasp end “E”, spin the apparatus several times, stopping with end “A” uppermost, Fig.227. Count “two”. Remove the arm, and with “E-F” as an axis, give the apparatus a quarter turn toward the audience, Figure 228. Push the arm through “A-B”, (“A-B” actually has been shown twice, but the above moves make it appear that all the apparatus has been shown. With the arm through the tube, grasp end “C” with the left hand and spin the apparatus several times. Count “three”. Proceed to produce the loads, varying the production by inserting the hand in each of the six ends, making it appear that the silks materialized in all parts of the apparatus.

Streamers From Cigarette Pack * • W I L L A R D

2 S.

S M I T H •

Chaplain Smith presented this novel effect at a magical gathering in New York City, and kindly consented to my including it herein. Effect: The performer removes a cigarette from its package only to find the cigarette damaged. Upon reaching for a second cigarette he pulls a silk from the package, followed by a long silk streamer. The Secret: The streamer is loaded up the performer’s sleeve. The cigarette package is specially constructed and contains the smaller silk. Using a regular package as a model, construct a facsimile, using a good grade of stiff cardboard. Cover the cardboard with the wrapper from a genuine package. Cut out holes in the top and bottom of the fake as shown in Figure 229. Join a corner of a 15” silk to a length of 6” wide streamer with a 10” length of strong silk thread, Figure 230. Load the silk into the package through the bottom hole “B”, and insert a damaged cigarette in hole “A”, Figure 231. Run the streamer up the sleeve, down the back under the coat, and after accordion pleating the balance of the streamer, buck the resultant bundle in the left hip pocket, Figure 232.

Presentation: 1. Enter with the package held naturally in the left hand. 2. Standing with the right shoulder nearest to the audience, extract the cigarette from the package. 3. Finding the cigarette broken, toss it to the floor, turning the body to the right. Crush the damaged cigarette in disgust. 4. Reach into the package for a second cigarette, getting the silk instead, Figure 233. 5. Drop corner “C” of the silk, and taking corner “D”, Figure 233, carry the silk forward toward the audience until end “X” of the streamer is pulled to the opening in the top of the package, Figure 234. 6. Bring the hand back to the package, add “X” to “D”, and produce the streamer in a speedy and continuous fashion.

Silk Butterfly Production *

3

Eric. C. Lewis favored me with his version of this popular effect. Effect: After several large silks have been produced, a large silk butterfly in produced from within their folds. The Secret: The butterfly, made from a large piece of silk, Figure 235, is attached to part of the frame of an umbrella. The cover and all but two ribs of the umbrella have been removed, and the handle has

been shortened, Figure 236. The butterfly has a body and head made from a frame of stiff wire covered with silk. Two pieces of elastic are attached to the ribs, causing the butterfly to open automatically upon being produced from a special cloth bag sewed between the folds of a large silk, Figure 237. Prior to presentation, the butterfly, loaded in the bag silk, Figure 238, hangs behind a special stand, Figure 239.

Presentation: 1. Produce several large silk from producing apparatus. 2. Drape the silks over the stand, Figure 239. 3. After the last silk has been produced, take the silks and the butterfly from the stand with the left hand, inserting the left thumb in loop “L”, Figure 238. 4. Carry the silks and the load bag silk forward. 5. Reach down to the lower tips of the silks with the right hand, obtaining the bead “B” of the bag silk, Figure 240.

6.

7.

8.

9.

Stove Pipe Production *

Pull the bag silk down and away; with the right hand, grasping the sides of the butterfly through the other silks with the left hand to prevent premature opening. Shake the bag silk and put it back with the other silks and the hidden butterfly held in the left hand. Remove the left thumb from within the loop, take the bottom of the handle in the right hand, and pull the butterfly from within the silks, taking it to the right. Freed of the left fingers, the butterfly opens immediately.

● H A R O L D

4 R.

R I C E ●

This effect first appeared in my book MY PET EFFECTS Effect: An unprepared sheet of paper is rolled into a cylinder. cylinder is placed upon a tray and a large silk production follows. The Secret: A quantity of small silks are folded within one large silk. The bundle is placed in the center of a special holder, Figure 241, and the dress snaps are united, Figure 242, completely encasing the load. The load is placed in the right sleeve, Figure 243, prior to presentation. Presentation: 1. Display a 12” x 18” sheet of stiff paper.

The

2. 3. 4.

5.

The Cascade of silks

Roll the paper into a cylinder about 4” in diameter. Affix paper clips to the cylinder to prevent it from unrolling, Figure 244. Pass the cylinder over the right arm, leaving it there while both hands are shown empty. Withdraw the cylinder engaging hook “X”, Figure 245. 6. Set the cylinder on an unprepared tray;, reach in and unsnap the hooks, freeing the silks. 7. Make the production.

5

The effect is quite similar to Rice’s STOVE PIPE PRODUCTION. A piece of paper is formed into a cone, Figure 246. Paper clips hold the cone in shape. The cone is passed over the arm and the sleeve load obtained, Figure 247. The load is released while the cone is held over a glass bowl, and the silks shower into the bowl, Figure 248.

See Bee Silks From Magazine

● C L A R E N C E

6 B O R T S ●

Effect: An unprepared magazine is rolled into a tube from which several silks are produced. The Secret: A small metal tube closed at one end and with a spring clip attached, Figure 249, holds the silk load.

Presentation: 1. The fake is palmed in the right hand. 2. Take the borrowed magazine in the left hand. 3. Take the magazine in the right hand, clipping the fake in place, Figure 250. 4. Holding the magazine in the right hand, Figure 250. Flip the pages with the left, showing the inside of the magazine to be innocent. 5. Roll the magazine, the fake going inside, Figure 251 6. Produce the silks. 7. Unroll the magazine, palm off the fake, and toss the magazine into he audience.

The ‘Edgar’ Utility Tube *

7

This effect first appeared in the JINX, This tube will serve in changes and vanishes as well as productions. The tube Figure 252, has a semi-circular container hinged to one side of the tube, Figure 253. This attachment can be manipulated to carry the load inside or out of the tube as desired by merely holding the tube in the position shown in Figure 254. When the fingers press around the cylinder the attachment is forced inside, Figure 255, and the production made.

A small Production **

- S H E R M A N

8 R E P L E Y -

This effect employs the famous slate moves credited to “Doc” Nixon. Effect: Two school slates, one with a 1” hole through its center, are shown, Figure 256. The two slates are put together and upon reaching through the hole, the performer produces 4- 36” silks, Figure 257.

The Secret: Obtain two ordinary school slates and drill a 1” hole through the center of one, Figure 256. Fasten 4-36” silks to one side of the slate with the hole, Figure 258. Presentation: (Hold the slates together as one unless otherwise stated. The slates are always in a vertical position. For convenience in description, the sides of the slates will be referred to as, “A”,”B”,”C” and “D”, although these letters do not appear on the slates. Side “D” contains the silk load. All views are as seen by the spectators.)

1. 2. 3. 4. 5. 6. 7. 8.

9.

Hold the slates in the left hand, figure 259. With a piece of chalk, put a figure 1 in the upper left corner of side “A”. Turn the slates over as one, bringing “C” to the front, Figure 260. Bring the back slate to the front, Figure 261, side “B” to the audience. Put a figure 2 in the upper left corner, Figure 261. Bring the back slate to the front again, Fig. 262, “C” to the audience. Put a figure 3 in the upper left corner, figure 262. At the same time secretly wipe off figure 1 from side “A” with the left fingers. With the two slates as one, turn them over, and make a figure 4 where the figure 1 was originally, Figure 263. Turn the slates over again, bringing “C” to the front. Make the production, producing one silk at a time.

Closed Door Production *

• R O B E R T

9 K.

W E I L L •

This effect first appeared in the JINX. This simple apparatus is best understood by studying the illustrations. A door containing a hole is hinged to a frame which is turn is fastened to a base, Figure 264. The door is unlatched and allowed to swing open. The door is closed, pieces of tissue paper are thumb tacked to the front and back of the door to cover the hole, the paper is broken from both sides, and the production made. The secret rests in the “V” shaped door, Fig. 265, which contains the load, Figure 266. The audience is never aware of the varied thickness of the door when it is opened, Figure 267. The silks are loaded through opening “L”, Figure 266.

Firk Bowl Production

• A F T E R

10 -

J A C K

G W Y N N E •

Effect: The performer produces a fish bowl filled with water and places it on a table. A sheet of paper placed over the mouth of the bowl forms a drumhead. The paper is broken and many years of silk streamer are produced from within the bowl. The Secret: Cut a hole in the bottom of a fish bowl, Figure 268. Cement a hollow ornamental castle or a similar aquarium ornament over the hole, Figure 269. Build a two fold screen, and attach a cloth bag as illustrated in Figure 270. A board prepared as shown in Figure 271 is also needed. Attach a hook to one end of a wand, Figure 272. Finally, obtain a metal ring of a correct diameter to fit over the mouth of the fish bowl. Prior to presentation, load the streamer into the bag and put the board in place, Figure 273.

Presentation: 1. Produce the bowl from the mechanical table. 2. Set the bowl directly over the hole in the board. 3. Fasten the sheet of paper over the mouth of the bowl with the metal ring. 4. Break the paper with the wand, reach through the ornament in the bowl, engage the hook at the end of the wand in the end of the streamer, and pull the silk into the view, Fig 274. 5. Produce the streamer in a rapid manner.

Silks From Newspaper *

• FREDERICK

11 E.

SISSENSTEIN •

This effect first appeared in Stein’s MAGIC MASESTRO PLEASE. Effect: A sheet of newspaper is shown and rolled into a cone. Suddenly the cone becomes filled with silks. The Secret: Place a quantity of silks on one side of a double sheet of newspaper, Fig.275. Paste a duplicate page over the silks, Figure 276. Wrinkle the paper somewhat so as to cloak the slight bulge made by the silks. Presentation: 1. Holding “A” in the left hand and “B” in the right, show the back of the paper. 2. Retaining the same corners and assuming a pose as though reading the paper, turn slowly to the left, bringing your back to the audience. Now the inside of the paper has been shown. 3. Bring the two pages together, “B” falling on top of “A”. 4. Roll the paper into a simple cone, sheet “A” innermost. 5. Reach inside the cone, tear the paper next to the silks, and make the production.

A Magical Crystal Box * • L E N

12 J.

S E W E L L •

This effect first appeared in the JINX. Effect: Two nested boxes are shown, followed by a mammoth silk production. The Secret: The outfit consists of three specially prepared boxes that nest, Figure 277. Box 1 is the largest and 3 the smallest. At the beginning of the effect all three boxes are nested, Fig. 278, the load being in box 3.

Presentation: 1. Lift boxes 2 and 3 out of 1 as one, setting from behind 1, Figure 279. 2. Show both hands empty. 3. Pick up 2 (leaving 3 behind 1) and pass the right arm through it, Figure 280. As the performer’s suit

4. 5

6

is black, the load box cannot be distinguished from it. Put box 2 back over 3. Pick up I which is obviously empty and place it over 2(and 3). Make the production.

Silks and Fan *

• C H A R L E S

13 W A L L E R •

This effect first appeared in Waller’s FOR MAGICIANS ONLY. Effect: An empty hot becomes filled with silks upon being fanned with a simple fan. The Secret: Fold the silks in a small bundle and attach the load to a fan as shown in Figure 281. Close the fan, leaving the load suspended inside of the hat, Figure 282. Presentation: 1. Pick up the fan in the right hand and hold it over the hot so that the load remains hidden therein, Figure 283. Open the fan at this point. 2. Show the other side of the fan by turning the wrist, Figure 284.

3.

4. 5.

6. 7. 8.

Take the fan at “A” with the left hand. Turn the fan over, Figure 285, bringing the load up behind the fan. Pick up the hat with the right hand and show it empty. Put the hat back on the table, and bring the fan in front of the hat, allowing the load to slip back into the hat, Figure 286. Lay the fan on the brim of the hat. Show both hands empty. Pick up the fan again, breaking the thread at the same time. Fan the hat, reach in and break the thread from around the bundle, and produce the silks.

(If the load is made from a borrowed hot, start with the fan and load on a table, Figure 287. Follow the presentation given above, ending with the fan resting on the borrowed hat.)

A Mammoth Final

14

At times it is desirable to conclude a silk act by producing a giant silk or flag. Effect: After a quantity of silks has been produced from a paper cone the paper is shown to be unprepared. The paper is wadded into a ball, and a giant silk is found therein. The Secret: The paper is unprepared. The load is suspended from a wire clip, Figure 288, attached to a wire running around the body, Figure 289. One end of a thread is attached to a clip; the other end is tied to a button on the vest, Figure 290.

Presentation: 1. Show the back and front of the paper. In doing so, engage the right thumb in the thread at a point near the vest button, and move or shift the paper to the right, Figure 291. This action pulls the silk out from under the coat, but the silk is masked from the audience’s view by the paper. 2. Drop one corner of the paper from either hand. 3. Grasp the paper at its center, taking the silk into the paper at the same time. 4. Pull down and out from the body, freeing the silk from the clip. 5. Form the paper into a ball, tear through the paper, and produce the silk.

A Wooden Frame *

• F R E D E R I C K

15 D E M U T H •

Effect: A wooden frame with an ordinary paper window shade attached is held by an assistant, Figure 292. The performer pulls down the shade, covering the opening in the frame. The paper is broken at its center and a mammoth silk production follows. The Secret: The load is suspended from the top of the frame on a thread, Figure 293, but cannot be seen as the assistant holding the frame screens it from view, Figure 294.

Presentation: 1. Pull the shade down and hold it in place with two thumb tacks at “XX”, Figure 295. 2. With the assistant standing at one side and assisting with the frame, Figure 296, break the paper and produce the silks. Replace the torn paper shade before each performance..

Silk From Nowhere *

- N E L S O N

16 C.

H A H N E

This is another production employing a load hidden behind an assistant. Effect: A wooden panel fastened to an upright is spun to show both back and front unprepared, Figure 297. An assistant aids the performer in forming a drum at the center of the panel with paper and rings. The paper is broken, and a mammoth production follows. The Secret: The load is suspended from a thread which is turn is attached to a continues length of thread running between two pulleys off stage, Figure 298. At the beginning of the effect the load is behind the assistant. As he moves to the frame to seal the drum, another assistant who is off stage moves the load to the center of the drum by manipulating the length of thread between the pulleys. As the load and the assistant move together, the load is never seen by the audience. Once the load arrives behind the drum it is sealed inside and the production made.

Jra-Tube *

17 • G E O R G E

P E R G U S O N •

Effect: A cylinder rests on a draped table, Figure 299. The cylinder is shown, the drape removed, and a large production made. The Secret: Figure 300 shows the details of the items used. In addition, a thin but opague 36” square foulard is required. Prior to presentation the loaded tube “B” centered under the opening in the table, and the drape and cylinder “A” are put in place, Figure 299.

Presentation: 1. Pick up cylinder “A”, and show it empty. 2. Replace the cylinder on the table, Figure 299. 3. Reach into cylinder “A” with the left hand to take the center of the drape, gripping the cross-threads of tube “B” through the cloth at the same time. 4. Pull up on the drape (with tube “B” hidden under it) until the bottom of tube “B” is flush with the bottom of cylinder “A”. 5. At this point pass the right hand (which has been holding

6. 7. 8. 9.

cylinder “A” in position) beneath the table, palm up, and cover the opening in the center of the table. Release the threads helds through the cloth with the left hand, but retain the grip on the cloth. Pull the drape up and out of cylinder “A”. The right hand prevents tube “B” from falling into view, Figure 301. Discard the drape, walk forward with the table balanced on the right palm, and produce the silks from the cylinder “A” with the left hand.

The Silken Lady *

• H A R O L D

18 R.

R I C E •

This effect first appeared in Rice’s EXCLUSIVE MAGIC. Effect: Silks are produced from an easel previously shown empty. The silks are placed on a stool in the center of the stage. The stool is hidden from view momentarily by a mammoth silk. When the silk is removed, a lady assistant appears, standing on the stool, dressed in the silks just produced. The Secret: The construction of the easel is shown in Figure 302. In addition, a two-fold screen is needed, Figure 303. The load, fastened with strong black thread, is attached to a metal gimmick, Figure 304. At the beginning of effect the load is attached to one side of the screen, Figure 305, and the two frames of the easel rest against the screen. An ordinary small stool sits in the center of the stage. Two assistants are required; a girl dressed in a costume made from rainbow silks that are duplicates of those to be produced, and a second person who assists the performer. The girl is in the wings at the beginning of the effect.

Presentation: 1. Spin the easel on the upright, showing back and front. 2. Pick up the front frame, place corner “A” on the floor, and spin the frame to show back and front. 3. Take the frame in the right hand in the position shown in Figure 306, and carry the frame to the easel where it is fastened in place. 4. Turn the easel, bringing the open back to the front. 5. Pick up the back frame, place corner “B” on the floor, and spin the frame to show back and front. 6. Take the frame in the right hand in the position shown in Figure 306, and standing behind the screen, bring the frame up in front of the screen. 7. As the hand passes the ring of the gimmick attached to the screen, insert one of the fingers of the right hand in the ring, Figure 307. 8. Continue upwards, carrying the load behind the frame. 9. Fasten the frame in place, allowing the load to drop inside of the easel. 10. Spin the easel several times, stopping it with the paper covered frame at the front. 11. Break the paper and produce the silks. 12. Toss the silks to an assistant who puts them on the stool in the center of the stage. 13. Produce the final silk (6’ x 6’) and hand one corner to the assistant. As the silk is displayed, the assistant steps to the wings, allowing the girl assistant to step behind the silk, Figure 308. 14. Walk across the stage with the silk, shaking it gently. The girl walks along behind it. 15. Continue until the silk hides the stool momentarily. Once the girl is on the stool, raise the silk a few inches so that the legs of the stool are now visible. 16. The girl tucks under her costume the silks that were resting on the stool. 17. Drop the silk, and the Silken lady materializes, Fig. 309.

Breaking Phantom Tube *

• F R A N C I S

19 B.

M A R T I N E A U •

This startling production appears in print for the first time. Effect: A cylinder is divided into two sections, both pieces being shown empty. The apparatus is re-assembled, the ends sealed with tissue paper, and a production follows. The Secret: The construction of this ingenious tube is shown in Figure 310. It resembles two miniature Phantom tubes joined with a metal ring. At the beginning of the effect the two sections are united as shown in Figure 311. Presentation: 1. Pick up the cylinder and allow the spectators to see through ends “W” and “X”. 2. Separate the two sections and show ends “W” and “X” simultaneously, Figure 312. 3. Reverse section “B” and unite the tubes, Figure 313. 4. Hold end “W” to the audience once more. 5. Seal end “Y” of section “B”, Figure 314. 6. Separate the two sections again, and show ends “W” and “X” simultaneously, Figure 315. 7. Reverse section “A” and unite the tubes, Figure 316. 8. Seal end “Z” of section “A”, Figure 317. 9. Break the paper at one end and produce the silks. Repeat with the other end.

Additional Load: A fake, constructed as shown in Figure 318, rests in a special well in the table. As the silks are produced, they are laid on the table parallel to the fake, Figure 319. After all of the silks have been produced, pick up the silks and the fake, Figure 320, and bring them into position to load the fake into one half of the cylinder, Figure 321. Turn the sealed end of the cylinder to the audience, Figure 322, drop the silks held in the other hand,

and pick up the other half of the cylinder. Place this part of the cylinder over the exposed end of the fake. While the fake can be loaded with a quantity of silks, a long streamer makes a most effective production. To produce the streamer, separate the two halves of the cylinder, and move the arms in opposite directions, Figure 323.

Hark Finale

20 • E D M O N D

Y O U N G E R •

While not strictly a production, this flash finale is sensational. No assistants are required, a feature that will appeal to many. Effect: Several silks just produced are placed upon a table when suddenly a huge silk 15’ x 25’ appears at the back of the stage! The Secret: Figure 324 shows the simple working of the effect. The huge silk is folded, and rests within a well or on a servante on the back of the table. The weights rest offstage on shelves, Figure 325. Presentation: 1. Produce several silks and carry them to the table. 2. Take the cards at “X” and “Y” and pull down on the cards, lifting the weights from the shelves. 3. Release the grip on the cards, allowing the weights to fall down toward the floor. The silk will fly into view, Figure 326.

Silks From Tube *

21 • P.

M.

H O L L I S •

This effect first appeared in THE SPHINX. Effect: After the two ends of a cylinder are sealed, the paper at one end is broken and a quantity of silks produced. The Secret: A metal cylinder, a metal tray, and two wooden hoops are needed, Figure 327. Place a piece of paper over the hoop and push it inside of the cylinder, Figure 328, load the silks into end “B”, and seal the end with paper and hoop, Figure 329. Place the cylinder on the tray with end “B” upper most.

Presentation: 1. Bring in the cylinder on the tray. 2. Without showing the inside of the cylinder, seal end “B” with a piece of paper and a rubber band. 3. Pick up the cylinder and hold end “A” to the audience. The paper drum seen inside is taken to be

4. 5. 6.

the piece sealing end “B”, Figure 330. Put the cylinder on the tray, end “A” uppermost. Seal end “A”. Pick up the cylinder, break through the papers on end “B”, and make the production.

A Hat Load

22 • H A R O L D

R.

R I C E

•

Effect : A most effective production can be made from a borrowed hat. The hat, after being shown empty, is placed on the performer’s table and the hands are shown empty. The hat is picked up, and the production beings. The Secret : The hat is unprepared. The silks are folded into a compact bundle and are bound with a piece of thread to which a ring is attached, Figure 331. The load rests on a servante at the back of the table, Figure 332.

Presentation : 1. Borrow a hot ; show it inside and out, and place it on the table and over part of the load, Figure 333. 2. Show the hands empty, and roll the sleeves back and above the elbows. 3. Pick up the hat with the right hand, inserting the middle

4. 5.

finger in the ring attached to load, Figure 334. Turn the brim uppermost, allowing the load to fall inside, Figure 335, 336, and 337. Reach into the hat with the right hand, break the thread, and make the production.

A Suspended Load *

• H A R O L D

23 R.

R I C E •

Effect : A sheet of stiff paper, after being shown on both sides, is rolled into a cylinder. Several silks are produced from within the cylinder. The Secret : The load hangs suspended from a short length of thread attached to one edge of the paper, Figure 338. The paper and the load rest on the table as shown in Figure 339.

Presentation : 1. Take the paper and the load in the left hand, Figure 340, showing one side of the paper. 2. Grasp the right edge in the right hand, Figure 341. 3. With the right hand turn the paper over and show the other side, Figure 342. 4. Roll the paper into a cylinder, break the thread, and make the production.

New Organ Piper *

24 • D I C K

B U F F U M •

Effect : Two sheets of cardboard are shown, and formed into cylinders. The cylinders are nested, and a production made. The Secret : Two rectangular pieces of window decorator’s corrugated cardboard are needed. One is red, and the other white. The load hangs on the back of the red cardboard by a metal hook. At the beginning of the effect the cardboards rest on a chair, Figure 343.

Presentation : 1. Pick up the white cardboard, and place it under the left arm. 2. Pick up the red cardboard, and without showing the back, roll it into a cylinder. 3. Put rubber bands around the ends of the red cylinder. 4. Place the cylinder upright on the table. 5. Roll the white cardboard into a cylinder slightly smaller in diameter than the red one. 6. Place rubber bands around this cylinder also. 7. Show the white cylinder empty. 8. Pick up the red cylinder, and pass the white one up through its bottom and out of its top. This action transfers the load from the red cylinder to the white 9. Show the red cylinder empty. 10. Nest the two cylinders; break the thread, and produce the silks.

Frame and Earel *

• L A R S E N

25 AND

W R I G H T •

Effect : A sheet of paper is thumb-tacked to a wooden frame on an easel, Figure 344. The frame is taken from the easel, the paper is broken, and a quantity of silks is produced. The Secret : The load is suspended from a thread attached to the frame. The load hangs at the back of the easel, Figure 345 Presentation : 1. Call attention to the frame. 2. Tack the paper in place. 3. Lift the frame from the easel, bringing the load behind the paper. 4. Break the paper, and produce.

Something From Nothing *

• A L

26 B A K E R •

Effect : The ends of a metal cylinder are sealed with paper held in place with metal rings. When the paper is broken the cylinder is found to be filled with silks. The Secret : A metal cylinder, two sealing rings, a load chamber, scissors, thread and a sheet of newspaper are needed in addition to the silk load, Figure 346. The load is placed in the chamber, and a piece of newspaper is glued over the open mouth. One end of a length of black thread is attached to the load chamber and the other end to the scissors, Figure 347. The thread is about 4” shorter than the long edge of the newspaper. The load chamber, thus prepared, rests on the table behind several articles, Figure 348.

Presentation : 1. Pick up the cylinder and show it unprepared. 2. Pick up the sheet of newspaper and cover the cylinder at the position shown in Figure 349. 3. Force a sealing ring over the

4.

5. 6.

paper and cylinder. Holding the top edge of the paper with the left hand, show the paper with the open end of the cylinder to the audience, Figure 350. Pick up the scissors with the right hand. Assuming the position shown in Figure 351, turn the paper over, arriving at the position shown in Figure 352. This action draws the load chamber to the illustrated position.

7.

8.

9.

Force the load chamber into the cylinder with the fingers of the left hand while the scissors in the right hand cut away the top half of the newspaper, Figure 353. Note that the thread is also cut in half. Place this half of the news paper over the open end of the cylinder, and force the remaining ring in place. Break the paper at one end of the cylinder and make the production.

(Al Baker uses a table having a special well built in it to house the load chamber, Figure 345. This eliminates the necessity of placing articles on the table to hide the load.)

The Triangular Room *

• J O H N

27 M U L H O L L A N D •

Effect : Four giant cards rest on an easel. Three of the cards are removed and placed in an upright position on a triangular base. The fourth card is placed on top of this “card room” to make a ceiling, Figure 355. When the top card is removed, but performer finds a quantity of silk in the triangular room. The Secret : A fifth card made of fiber board and slightly shorter and narrower than the giant cards carries the load in a “V” shaped compartment, Figure 356. The triangular base, Figure 357 is unprepared. The easel is constructed as shown in Figure 358. Note the metal stops near the top of the easel, Their function will be disclosed later. At the beginning of the effect the four cards and the loaded fake are in the easel, the fake being in the slot behind the cards.

Presentation : 1. Remove the first three cards one by one, show them front and back, and replace them in the easel. 2. Call attention to the triangular base. 3. Remove the first card, and place it an upright position on the base. 4. Repeat with the second card. 5. Take the third card as shown in Figure 359,bringing the loaded fake up behind it. The fourth card will rise part way with the third card, but the metal stops at the top of the easel will prevent the card from leaving the easel. 6. Place the third card and the fake in the triangular base. 7. Remove the fourth card, show it back and front, and place it on top of the three upright cards, Figure 355. 8. Turn the base, remove the top card, and make the production.

SILK king Production Box * • P A U L

28 S T A D E L M A N •

Effect : A box with removable front and top is shown inside and out. The two panels are put in place, and the box becomes filled with silks. The Secret : The construction of the unprepared box is shown in Figure 360. An oriental design is stenciled on both sides of the walls of the box. The top and front panels are interchangeable, being alike in every respect. The load is held on the back of the top panel with a

black thread, Figure 361. As the thread falls across the design on the panel it cannot be seen. The box is assembled as shown in Figure 362. Presentation : 1. Show the outside of the box. 2. With the right hand take the load panel at the back, and carry it up and away from the box. 3. Transfer the panel to the right hand. 4. Lift up and remove the front panel with the right hand. 5. Show the panel on both sides, and transfer it to the left hand, placing it in front of the load panel. 6. With the right hand pick up the box and show it to be empty. 7. Taking the load panel with the right hand, place it in the grooves in the front of the box, load away from the audience. 8. Show the remaining panel on both sides, then place it on top of the box. 9. Lift the top panel break the thread, and make the production. (Note : Properly presented, it appears that at some time during the routine both sides of both panels have been shown.) Another Version : The method of obtaining the load may be varied. Instead of attaching the load to the back of the top panel, suspend a bundle of silks from a thread attached to the panel, Figure 363. Put the panel in place, Figure 364, and everything is ready for the presentation as follows:

1.

Taking the top panel at “X”, lift the panel and give it one complete turn as indicated by the arrows in Figure 365. This action

2. 3. 4.

allows both sides of the panel to be shown while the load is brought into position. Remove the front panel and show it in the same manner as the first. Place the load panel in the front grooves and the remaining panel on top. Lift the top panel, break the thread, and make the production.

Magazine Production *

• F R E D

29 M I N T Z •

This effect first appeared in Hugard’s SILKEN SORCERY. Effect : A magazine in shown in side and out, rolled into a cylinder, and a production of silks is made. The Secret : Carefully remove the cover from a magazine. With a sharp knife, cut away the section of the magazine shown in Figure 366. Glue the edges together at the position indicated with

shaded lines, Figure 367. Replace the cover, and glue it in place. Tuck the silk load into the resultant packet, Figure 368.

Presentation : 1. Pick up the magazine and riffle the pages. 2. Form the magazine into a cylinder, load pocket upper most, Figure 369. 3. Make the production.

Ghost Tube *

30 • L L O Y D

C H A M B E R S •

This effect first appeared in Chamber’s ORIGINAL IDEAS IN MAGIC !

Effect : A tube similar to the standard phantom tube is shown empty, and the ends are covered with paper. The paper is broken and silks are produced. Then the tube is shown from both ends ! The Secret : The cylinder and rings are ordinary, Figure 370. A celluloid fake, Figure 371, is held together momentarily with a rubber band, Figure 372. The fake fits inside of the cylinder, forming a standard phanton tube as explained earlier in this chapter. After the silks are in place the rubber band is removed, Figure 373.

Presentation : 1. Holding end “A” to the audience, Figure 374, show the tube empty. 2. Seal the ends with tissue paper. 3. Break the paper at end “B”, Figure 374, and produce the silks. As the silks are produced the celluloid unrolls and rests against the inner wall of the cylinder. 4. After the silks have been produced, break the paper at “A”, Figure 374, and show the cylinder from both ends.

Harbin’s Production Box *

• R O B E R T

31 H A R B I N •

This effect first appeared in THE SPHINX. Effect : A number of productions depend upon false tops, bottoms, or sides. Harbin’s production box is a typical example. After a bottomless box has been shown inside and out, a wand is pushed through various holes in the box to prove its emptiness. A large silk production follows. The Secret: The construction of the box is best understood by studying Figure 375. One side is hinged to facilitate the removal of the load chamber for loading prior to performing.

Presentation : 1. Insert the first finger of the left hand in the hole “A”, holding the load chamber up against the top of the box, Figure 376. 2. Tilt the box backwards, bringing the open bottom to the audience, Figure 377. 3. With the box in this position, pass the wand through one of the holes, Figure 378.

4.

5.

Turn the box upright once more, Figure 376, allowing the load chamber to drop down in place, Figure 379. Reach through the various holes and produce the silks, Figure 380.

All Production Box *

• G O R D O N

32 M:

H O W A T T •

This effect first appeared in Howatt’s THE TRAVELLING GHOST. Effect : A rectangular box, Figure 381, is opened to show the interior, Figure 382, then closed again. With the two triangular doors at the top of the box acting as handles, Figure 383, the performer produces a

quality of silks from the interior of the box.

The Secret : In this variation each half of the box contains a false corner, Figure 384, which contains the load. The entire box is built of plywood.

Quick Production Tube *

33

This inexpensive production was suggested in THE CONJURORS’ MAGAZINE. Effect : Two thin wooden panels and a metal cylinder are shown. The objects are assembled, and a silk production follows. The Secret : The load hangs suspended from a thread attached to panel “B”, Figure 385. Nothing else is prepared. At the beginning of the effect the apparatus is as shown in Figure 386.

Presentation : 1. Pickup panel “A” and place it under the left arm. 2. Show both sides of panel “B” as indicated by arrows, Figure 387. 3. Lower panel “B” on top of the cylinder, and then show panel “A”. 4. Pick up panel “B”, Figure 388, and add it to panel “A”, while the cylinder is shown, Figure 389. 5. Rest one edge of panels “A” and “B” on the table; release panel “A” and allow it to fall to the table, Figure 390. 6. Place the cylinder on top of panel “A”, then bring panel “B” over the cylinder, Figure 391. The load is lowered into the cylinder as the panel becomes a lid. 7. Lift the assembled apparatus, and turn it over Figure 392. 8. Lift panel “A” break the thread, and follow with the production.

Instantaneous Productions

• H A R O L D

34 R.

R I C E •

A number of productions have been based on a clever principle that makes an instantaneous visible production possible. A currently popular version is Kanter’s FLASH SILK PRODUCTION. Effect : A cabinet with an open front is shown, Figure 393. Upon command, the cabinet becomes filled with silks. The Secret : The silk load is in the back of the cabinet where it is held out of view by a partition acting as a false back to the box, Figure 394. Once the false back is released, the silks shoot forward, filling the box. The partition may be hinged to the bottom of the cabinet, Figure 395, or to the top, Figure 396. A simple catch holds the flap is place until a release is desired. Although the pressure of the silk will force the flap to fall (or raise) when it is released, a strong spring attached to the flap gives superior results, Figure 397. The interior of the box is painted a dead black, thereby adding materially to the deceptiveness of the illusion. The silks are usually loaded through a removable portion at the back of the box

A Novel Production *

• G O R D O N

35 M.

H O W A T T •

This excellent closing number first appeared in Howatt’s TRAVELING GHOST. Effect : A large sheet of newspaper is pressed between two hoops forming a drumhead. This placed in an easel. The paper is broken, and a large silk or flag is produced. The Secret : A metal hook is attached to the larger hoop, Figure 398. The stand for the assembled apparatus is illustrated in Figure 399. The load is attached to one end of a length of thread and a wire lop is attached to the other, Figure 400. Prior to presentation, the load is placed under the coat with the wire loop extending over the performer’s right lapel. Presentation : 1. After showing the hoops and the paper, form a drumhead. 2. Spin the drumhead between the hands to show both sides of the apparatus. 3. On the last turn engage the hook of the larger hoop in the wire loop, Figure 401, drawing the load from the coat to the back of the drumhead. 4. Place the drumhead in the upright; break the paper, and make the production.

VANISHES A number of the methods given for the production of one or more silks may also be used in vanishing handkerchiefs. In addition, there are other methods and apparatus specially designed for the latter purpose. The phase of silk magic has been sadly neglected by those to whom we look for the solution of our problems, and the phrase use your favorite method “certain has been overworked here. While I realize this chapter cannot solve the need of a satisfactory vanish to be used in every situation, I believe that in bringing the better methods together for the first time, I will go far in assisting my readers with this problem. Generally speaking, the method of vanishing a hanker-chief may be classified under two headings… (1) by sleight of hand and (2) by use of mechanical aids. I will consider the former group first.

P

A

R

T

O

N

E

Slight Vanishes A Master Vanish *

• H A R O L D

1 R.

R I C E •

By combining a number of similar vanishes I have arrived at what I consider the perfect sleight of hand method of vanishing a silk 18” square or smaller. Prior to performing 1 tie a small knot in one corner of the silk to be vanished, Figure 1. (The late Charles Leedy placed a small bead or a piece of cork in the corner of the silk before making the tie so as to obtain a more solid knot, Figure 2.)

To vanish the silk: 1. Place the knot on the open palm, Figure 3. 2. Place the first two fingers of the right hand on the knot, and move the right hand in a circular fashion, Figure 4. This will cause part of the silk to roll itself into a tight ball. 3. After about half of the silk has been so formed, shift from the two fingers of the hand to the entire right palm, continuing the circular movement, Figure 5, until all of the silk is rolled into a tight ball which rests between the palms of the two hands. 4. Press the palms tightly together, and make one final rolling movement, pressing the silk into the half cupped palm of the right hand. 5. At the same time quickly close the left fist as though taking the silk, Figure 6, then turn the back of the closed left hand to the audience, Figure 7. 6. With all attention focused on the left hand, drop the right hand to the right side and tuck the silk up under the corner of the vest, Figure 8.

7.

Open the left hand slowly, one finger at a time, and show that the silk has vanished.

If a table with a black-art well is used, place the wand over the well prior to the vanish. Once the silk is in the right hand, reach for the wand, drop the silk into the well, and use the wand to tap the closed left fist before it is opened. In lieu of a blackart well, the wand can rest across the brim of an upturned hat, the silk being dropped into the hat as the wand is taken away.

French Drop Vanish

2

A balled silk may be vanished by using the familiar “French drop” coin sleight. First, roll the ball into a tight ball as follows: 1. Hold the silk as illustrated, Figure 9. 2. Wind the silk tightly around the extreme tips of the first two fingers of the left hand, Figure 10. 3. Slip the tip of the first finger from the ball, leaving the rolled silk on the end of the second finger, Figure 11. 4. Remove the bundle, and tuck end “A’ in the center, Figure 12. (Some performers place a rubber band around the ball to keep it intact.)

With the balled silk on the hand, proceed to vanish as follows: 1. 2. 3. 4. 5. 6. 7.

Hold the silk as shown in Figure 13. Bring the left hand to the right to take the silk, Figure 14. As the left hand is about to take the silk, release it, FIGURE 15. the silk falls into the right palm. Continue to the right with the left hand, closing it around the imaginary silk, Figure 16. All of this action must be continuous. Drop the cupped right hand containing the palmed silk to the side, focusing attention on the closed left fist. With a tossing motion, raise the left hand upward, opening the fingers to show the silk to have vanished in thin air. During this action pocket the palmed silk.

Another Drop Vanish A standard billiard ball vanish may be used to vanish a silk. Ball the silk after the fashion just explained, then place the silk on the right fist, Figure 17. Bring the left hand in front of the silk, Figure 18. Appear to close the left hand around the silk, but allow it to fall into the right hand, Figure 19.

3

Turn the closed left fist to the audience dropping the right hand and palmed silk to the side. Open the left hand to show that the silk has vanished. Dispose of the silk in the meantime.

A Jorr Vanish

4

A clever bit of misdirection may be used in vanishing a silk. After the silk is rolled into a compact bundle, take it in the right hand. Toss the silk into the cupped palm of the left hand, bringing the right hand within a few inches of the left as the silk is released, Figure 20. Taking the silk back into the right band, repeat this tossing and catching business several times. On the last toss, palm the silk in the right hand (as the hands reach the Figure 20 position) instead of releasing it. At the same time repeat the former catching gesture closing the left fist. Carry the closed left hand to the left, following it intently with the eyes, while the right hand drops unnoticed to the side and pockets the palmed silk.

As a variation, proceed to loss the rolled silk from the left hand into the right several times. Then take the silk in the right hand. With the right shoulder nearest the audience, move the left hand for to the left. Focus all attention on the left hand as it is shown back and front. At the same time bring the hand containing the silk to the position shown in Figure 21, and secretly tuck the silk under

the edge of the coat at the lapel. Now bring the hands to the front of the body again, and repeat the tossing business once more. If the action is swift and without hesitations, the simulation of the former tossing action creates a perfect illusion of the silk passing from the right hand to the left once more. Now open the left hand and show the silk to have vanished.

Backkand Vanish A lop of flesh-colored thread attached to a handkerchief ball, Figure 22, makes it relatively easy to pass the fake to the front or back of the hand. Several routines employing the use of such a ball will be given in a later chapter. Hoffmann, first suggested the lop of thread principle in connection with a vanish in LATER MAGIC. A small rubber band with a loop of thread attached, Figure 23, is in a convenient pocket. Roll the silk into a ball, Figure 9-12, and take the rubber band from the pocket. IN putting the band around the balled silk, pass the thread over the right thumb, Figure 24. With the silk in this position, tilt the hand slightly to the right, then give it a slight upward movement, causing the silk to pass to the back of the hand, Figure 25. By reversing the action, the silk can be brought into the right palm. Practice makes it possible to control the silk as just explained, while the front and back of the hand are shown.

5

P

A

R

T

T

W

O

Mechanical Aid Vanishes The Buatier Pull

1

Unquestionably the most universally recognized aid used is the vanishes of a handkerchief is some variation of the original “Buatier pull”, the invention of which is credited to Buatier de Kalta. In his MORE MAGIC, Hoffmann describes the original pull as a cylindrical tin cup, Figure 26, but mentions that a pear-shaped pattern developed later was more desirable. The later is the style offered by most dealers today, Fig. 27, and is known as a “pear pull”. Current pulls are made from a variety of materials including wood, aluminum, plastics, and rubber.

The original pull was designed to go up the sleeve. One end of a length of black silk card was attached to the pull, the card passing up the right sleeve, across the back, and down the opposite sleeve where the other end was fastened to the left wrist, Figure 28. When both arms were hanging at the sides in a natural position, the pull rested just out of sight in the right sleeve. By bending his left arm the performer could slacken the card, allowing the pull to fall conveniently into the right palm ready for the vanish. He tucked the silk into the pull with the fingers of the left hand, shot both arms forward, relaxing his

grip on the pull at the some time. The pull went up the sleeve, and the bands were shown empty.

Buatier used a different set-up for the vanish of a silk while his sleeves were rolled back to the elbows. The same pull was used, but a length of black round elastic was used instead of thread. The pulled was arranged as shown in Figure 29. The pull was brought from under the coat into the right palm while attention was focused or something else, the silk put into the fake, and the pull released to fly back under the coat to rest against the metal ring under the armpit. Hoffmann sewed the hook portion of a hook-and-eye dress fastener to his vest several inches below the armpit, and hooked the pull under it as illustrated, Figure 30. This made the pull more readily accessible.

The Pear Pull

2 W I T H I N

T H E

Few performers use the pear pull in their coat sleeve as it is difficult to obtain the pull when it is needed. Those using this method usually have some aid attached to the pull. For example, a hook soldered to the open end of the pull will hold it just inside of the sleeve, Figure 31.

S L E E V E

A well known performer using a sleeve vanish has one end of a length of thread attached to a ring on his right hand and the other end to the pull in his right sleeve, Figure 32. By engaging the thumb of the left hand under the thread, Figure 33, then moving the left hand forward, the pull is drawn into the right palm, Figure 34.

The end of the thread may be sewed to the edge of the coot sleeve instead of being fastened to the finger ring, Figure 35. As the left hand comes to the right to take the silk, it passes its thumb under the thread, Figure 36, and brings the pull into the right palm as it takes away the silk, Figure 37. The same results may be obtained by placing the silk across the right wrist while the left hand is being shown empty, Figure 38. Then engage the little finger of the left hand in the loop, and bring the pull into the right palm as the silk is carried away in the left hand, Figure 39.

It is quite apparent that once the pull is in the right hand the silk is tucked into the pull with the aid of the left fingers, and then the right hand releases the pull which goes back into the sleeve. However, the left hand should continue the tucking business until the pull is safety out of sight. Then both hands are shown empty.

The Pear Pull

A T T A C H E D

3 T O

T H E

B O D Y

Most performers prefer to attach the pull to some part of the body. Dr. Harlan Tarbell in Volume One of his TARBELL COURSE IN MAGIC * suggests attaching the pull as shown in Figure 40. Once it is in place, the pull is brought into the right vest pocket, Figure 41. When ready to vanish the silk, place it in the vest pocket, tucking a portion of the silk into the pull, Figure 42,then show the hands empty. Reach into the pocket to obtain the silk, and in doing so, insert the tip of the first finger into the pull and remove it from the pocket with the silk, Figure 43. Take the silk in the left hand, removing the first

finger of the right hand from the pull. The pull is then palmed as shown in Figure 44 or 45, as preferred. Frequently performers threat the end of the elastic through the belt loops of the trousers, starting at the loop directly over the right trouser pocket and continuing until the loop over the left trouser pocket is reached, where the end is tied into place, Figure 46. The pull brings at the right loop until needed. As a variation, attach the pull as just explained, but skip the first belt loop and bring the pull down into the top of the right trouser pocket, Figure 47. When ready to vanish the silk, roll it into a ball as shown in Figures 1 through 6. Retain the silk in the left hand, but appear to have it palmed in the right. Put the right hand in the right trouser pocket, and at the same time open the left hand to disclose the presence of the silk. Commenting on the fact that the spectators haven’t watched closely, prepare to vanish the silk again. In bringing the hand from the right pocket, carry the pull with it. Now vanish the silk with the aid of the pull. Once the pull is in the right hand and the silk has been tucked into the pull, allow the pull to slip quietly under the coat at the moment the right hand is near the body. However, the absence of the silk should not be disclosed until both hands are well away from the body. It will be found that by leaning forward slightly as the pull is released,

the opening at the front of the coat will part to allow the pull to fly inside.

The Cloth Pull

4

Not all pulls are of rigid constructions. Some performers contend that a compressible pull made of cloth and reinforced at its opening with two strips of celluloid or spring steel is superior, Figure 48.

By pressing the pull at “A-A”, the mouth of the bag is forced open, Figure 49. When the pressure is released the mouth closes again.

The Thread Pull An ingenious pull can be constructed from a length of strong black silk thread. The thread runs under the performer’s vest as shown in Figure 50. A metal ring is at one end of the thread, and a loop at the other. The loop is now passed down the right sleeve and rests over one of the buttons, Figure 51. When ready to vanish the silk, bring the loop into the right palm, double the silk through the loop, Figure 52, and insert the left thumb

5

in the metal ring. Prepare to toss the silk into the air, and as the right hand is raised, tug downward sharply on the metal ring. The silk goes up the right sleeve.

The Elastic Pull *

• J E A N

6 H U G A R D •

This method was suggested in Hugard’s SIKLEN SORCERY. Remove the coat and arrange a length of elastic as shown in Figure 53. Insert a pocket handkerchief in the loop “L”, and put on the coat, passing the elastic and the handkerchief down the right sleeve. The corners oft eh handkerchief will extend up into view at the right wrist, Figure 54. When ready to vanish the silk, remove the handkerchief from the sleeve, secretly slipping the lop over the right thumb. Wipe the hands with the handkerchief before putting it in the hip pocket. Place the silk to be vanished in the loop. Rub the silk between the hands, then allow the elastic to carry the silk up the sleeve while the rubbing business is continued. Now show the hands empty.

The Edgar Pull * • W I T H

A F R E D

7 R I C K A R D I M P R O V E ME N T •

This ingenious apparatus, Figure 55, is fixed to the vest as shown in Figure 56. Then the card runs across the performer’s back and down his right coat sleeve, Figure 57. The catgut loop is either engaged by the right thumb or is held just out of view by a small hook sewed just inside of the right sleeve.

To vanish the silk, take it by its center in the fingers of the right hand while standing with the right shoulder nearest the audience. Work the silk into the catgut loop. While attention is focused on the silk, reach under the bottom edge of the cat and take the wooden cylinder in the left hand. Pull downward smartly on the cylinder, and the silk vanishes instantly. As a variation, the silk, after being encircled with the catgut loop, can be placed in a glass held in the right hand. When the wooden cylinder is pulled the silk suddenly vanishes from the glass.

The Kennard Pull

• F R A N K

8 K E N N A R D

•

Few magicians that have tried this relatively unknown pull use any other method to vanish a handkerchief. The details of the pull are shown in Figure 58. In addition, a hook-and-eye dress fastener is required, Figure 59.

Sew the eye portion of the set at “E” and the hook portion, book end downward, just inside of the left trouser pocket at “H”, Figure 60. After fastening the strap around the left arm just above the left elbow, pass the ring end of the card through the eye “E”, Figure 61. It is necessary to remove the ring to do so. The catqut loop at the other end of the card hangs over the bottom on the cuff or the right shirt sleeve. When ready to vanish the silk, transfer the catgut loop from the bottom to the right thumb. With the right shoulder nearest the audience, take the silk in the right hand. At the same time reach under the coat, obtain the ring, and bring it down into the left pocket where it is hung over hook “H”. This draws the silk card taut. To vanish the silk, proceed as follows: 1.

2.

Hold the silk as shown in Figure 62. Add corner “B” to corner “A’ in the left hand.

3. 4. 5. 6. 7.

Take center “C” in the right hand. Repeat this folding process twice. Slip the loop from the right thumb to the center of the folded silk, Figure 63. Release the portion of the silk held in the left hand, Figure 64. With the right shoulder nearest to the audience, shoot both hands upward in a forward movement, drawing the silk up the right sleeve.

As a variation, Kennard used a glass cylinder in connection with the vanish. At the place where the silk is in the loop, step 6 above, pick up a glass cylinder with the left hand. Work the silk into the center of the cylinder with the fingers of the right hand, Figure 65. Then, with a palm over each end, shoot the arms forward, causing the pull to draw the silk out of the cylinder and up into the right sleeve, Figure 66.

The Glass Trick *

9 • R O Y

B E N S O N •

This improved version of the Kennard vanish of a silk from a glass cylinder first appeared in OUR MYSTERIES. Effect : Following a free selection of one of two 18” silks, the performer places the selected silk well down inside of a highball glass. ( For convenience of discription, let us assume that the silks are red and blue, and the selected one is red.) The remaining (blue) silk is then placed in the glass on top of the red silk. The performer places one hand over the mouth of the glass and the other over the bottom. Both silks can be seen through the side of the glass. Then, upon command, the red silk vanishes even though the blue silk is still wedged in the mouth of the glass and both hands are in their original position. The Secret: The pull is relatively simple, consisting of merely a length of brained silk card with 1” loops at each end, Figure 67. The length of card will vary with each individual. Assume the position shown in Figure 68. in determining the correct length of the card. With the pull in place, pass one end of each silk through the loop in the right hand, Figure 69.

Presentation : 1. Enter with the silks in the right hand as shown in Figure 69. 2. Following a free selection, in this case the red silk, take the bottom of the remaining (blue) silk in the fingers of the left hand, then raise the right arm, pulling the blue silk free, leaving the red silk in the right hand. The loop remains around the red silk. 3. Drape the blue silk over the right arm, Figure 70. 4. Take the top corner of the red silk in the left hand and pull upward until the loop is in the center of the silk, Figure 71. 5. Take the glass in the left hand. 6. Drop the red silk into the glass, the ends of the silk entering first. 7. Push the silk down until it occupies the bottom half of the glass. 8. Transfer the glass to the right hand. 9. Take the blue silk in the left hand and push the silk into the glass and on top of the red silk. 10. Take the glass between the two palms, Figure 72. Pressure against the glass is applied with the fingers rather than the heels of the palms. 11. Move the heel of the right palm away from the glass about ½” when ready to vanish the red silk. 12. Give the arms a slight forward movement and the red silk is jerked past the blue and up the right sleeve. 13. Strange as it may seem, the blue silk remains wedged in the mouth of the glass. If the above is not used as an opener, the loop in the right hand can be retained at a convenient place until needed by using one of the methods described earlier in the chapter.

Virible Glass and Silk Vanish * • J O E

10 B E R G •

This effect first appeared in Berg’s HERE’S NEW MAGIC ! Effect : A small glass is shown and examined if desired. A silk is pushed into it. Held at the finger tips, the glass and silk vanish ! The Secret : Berg’s vanish makes use of a rubber suction cup fastened to one end of a length of elastic, Figure 73. One end of the elastic is pinned to the shirt or coat sleeve, and the suction cup rests under the coat near the lapel where it is held in place over a hook or bent pin, Figure 74. If the cup were released, it would snap back under the right armpit, Figure75. The center of the suction cup is moistened just before performing. Presentation : After showing the silk, hand it to a spectator. In going to a table for the glass, get the cup in the right hand. Give the cup to the spectator, asking him to place the silk inside. Take the glass and silk back between the two hands and secretly place the suction cup against the side of the glass, Figure 76. Hold the glass between the tips of the fingers of both hands, extend both arms, and as the glass is released it vanishes, carrying the silk with it under the coat.

The Greer’r Gadget *

• G R E E R

11 M A R E C H A L •

Don’t dismiss this “gadget” until you have given it a fair trial. The details of the gadget are shown in Figure 77. The pull is in the right sleeve with the card running up the sleeve, across the performer’s back, and down the left to the wrist where the strap is fastened in place, Figure 78. When the performer stands in the position shown in Figure 78 the pull remains out of sight just inside of the right sleeve. When the left arm is bent, the pull drops into the right palm, Figure 79. As the silks to be vanished are permanently attached to the pull, Greer’s gadget cannot be used as a vanisher alone. Due to the mechanics of the gadget, it is necessary to produce the silks first. One or more 15” silks are attached to the metal part of the pull at “A”, Figure 80, and then pass through the ring.

When the silk is out of the pull the cloth cylinder is collapsed, Figure 80. When the cloth cylinder is made taut, the silk is drawn inside, Figure 81. A number of uses for the gadget are suggested, the most popular being the production of one or more silks, followed by their vanish. To produce a silk: 1. With the loaded gadget in place, Figure 78, raise the left arm and catch an invisible silk in the left hand. This action drops the pull into the right palm, Figure 79. 2. Once the metal part of the pull is palmed, bring the right hand to the left. 3. Stroke the invisible silk supposedly dangling from the fingers of the left hand with the right hand, Repeat. 4. The last time the silk is stroked, take corner “B” of the silk between the left thumb and first finger, encircle the silk with the fingers of the right hand, and then bring the right hand downward, bringing the silk into view, Figure 82. If done properly, it appears that the invisible silk has been made visible by the stroking business carried on with the right hand. The action must be perfectly timed, swift and deliberate, and the left hand must be held motionless. 5. Drop the corner of the silk held in the left hand. THREE VANISHES (Regardless of the vanish used, the metal portion of the pull is always retained in the right hand until the cloth cylinder is drawn taut and the silk is inside, Figure 81. Then the metal portion is allowed to be pulled up the sleeve.)

First Vanish: With the silk in the position explained in step 5 above, appear to toss the silk into the air as the arms are extended. The silk, once it is inside the cloth cylinder, goes up the sleeve. Second Vanish : Tuck the silk into the closed right fist by poking it in several times much in the same manner followed in getting silk into a pear pull. After several pokes, extend the arms to draw the pull and silk up the right sleeve. Third Vanish : Tuck the silk into the closed left fist, at the same time extending the arms to draw the silk into the cloth Cylinder and up the right sleeve. Qreer’s gadget as used in connection with BLENDO will be explained in a later chapter.

The Hark Pull

12

Few performers own the relatively expensive flash pull. The few in existence are owned by professional or collectors. The pull consists of four parts: a shell of heavy spun brass, Figure 83; a spring mechanism encased in a metal cylinder. Figure 84; a metal disc soldered to the large end of the shell, Figure 85; a detachable key, Figure 86. By inserting the key in the opening at

“X” it is possible to turn the cylinder several times, thereby coiling the spring mechanism encased in the cylinder. Once the spring is tight, the cylinder is pulled about 1/16” toward the key end of the pull, engaging the tiny prong on the end of the cylinder in the small hole in the metal disc, Figure 87. The cylinder cannot unwind as long as it remains locked in this position. The key is then removed and the pull is ready for use. The elastic attached to the pull is fastened to the body after one of the several plans given earlier in this chapter for the standard pear pull. To vanish the silk, get the pull in the right hand. Place the center of the silk in the opening in the pull, then press inward on the protruding key socket of the cylinder, Figure 88, thereby disengaging the prong which allows the spring to recoil. The pin soldered to the cylinder engages the center of the silk and pulls the silk inside of the pull in a flash, winding it tightly around the cylinder, Finally, the pull is released and the elastic draws it out of view, leaving the right hand empty. The same encased spring mechanism is used in mechanical “silk to egg” and “silk to billiard ball” apparatus. The

Joseph Automatic Silk Gun, Figure 89, uses a similar mechanism. The silk is laid across the gun at the opening, and when the trigger is pulled, the silk is engaged by a pin which takes the silk inside of the gun where it is wound around the cylinder.

Goy’s Vanirk *

13 • M.

G O Y •

By attaching a piece of tissue paper of matching color to the corner of a silk with rubber cement, Figure 90, a clever vanish is made possible. In addition to the silk, a standard pear pull is also required. Display the silk while getting the pull into the right hand. Starting with corner “B”, buck the silk into the pull until corner “A” is reached. Take the tissue paper by the corner between the first finger and thumb, Figure 91, and release pull. Roll the tissue into a small ball, and drop it to the floor unnoticed, and open the right hand to show that the silk has vanished.

Walrk’s Vanish *

14 • R U S S

W A L S H

•

Russ Walsh favored me by releasing this exclusive for my publication. The vanisher consists of a length of black fish line. A small battery clip is attached to one end, and a small ball or ring to the other, Figure 92. The vanisher is arranged on the body as shown in Figure 93. While displaying the silk in the right hand, get the battery clip in the left. Throw the silk over the left palm. Under cover of the silk open the clip and snap it to the center of the silk. With attention focused on the silk, encircle the right lapel with the right hand, getting the ball from the vest pocket. Turn the left shoulder nearest to the audience, make a tossing motion with the left hand, and pull down sharply on the ball with the right. The silk is pulled up under the coat.

Vanirking Handkerchief Ward **

15

A specially constructed wand is often used to vanish a handkerchief. After forming a sheet of paper into a cornucopia, the performer pushes a silk into the cone with a wand. When the paper is unrolled the handkerchief has vanished. While several variations of this special ward are available, the style described by Dr. Harlan Tarbell in Volume Two of his TARBELL COURSE IN MAGIC is most popular. This wand consists of a hollow

tube which is closed at one end, Figure 94, and a metal rod, Figure 95, which slips in and out of the tube, Figure 96.

Presentation : 1. Pick up the paper and form it into a cornucopia. 2. Place the wand inside of the cornucopia as if to assist in the formation of the cone. 3. Grip end “A” of the rod through the paper with the left hand, Figure 97. 4. Remove the wand with the right hand, leaving the rod inside of the cone, Figure 98. 5. Place the center of the silk over tip “B” of the rod, Figure 99. 6. Place the open end of the wand over tip “B” of the rod. 7. Push down on the wand, thereby causing the silk and rod to enter the wand, Figure 100. 8. After silk and rod are in the wand, remove the wand and lay it aside. 9. Unroll the paper and show that the silk has vanished.

Vanishing and Reproduction Ward *

16

A wand that makes it possible to reproduce the silk after it has been vanished is made by Petrie-Lewis. The wand is illustrated in Figure 101. No. 1 is a tube open at both ends. No.2 is a metal plug that fits in one end of the tube. No. 3 is a small stud that fits over one end of the metal rod No.4. A metal plug at one end of the rod fits in the tube. Part “A” of the plugs fits snugly inside of the tube, while part “B” extends beyond the ends.

This ward has many uses. For example, a cornucopia is formed. A silk placed in the cone is secretly taken away inside of the wand as illustrated in Figures 97-100. The mouth of the (now empty) cone is folded over and the cornucopia handed to a spectator. A second cone is formed and then spun on the wand to show the cone empty. As the wand is withdrawn in the silk is secretly loaded in the cone. The mouth of the second cone is folded over and the (now loaded) cornucopia handed to a second spectator. Now the performer commands the silk to pass from the first cone to the second, and when the spectators open the cones they find that the performers wishes have been realized.

The rod is loaded into the first cone and the silk stolen away exactly as explained in the working of the Tarbell Vanishing Word, Figure 102. Then the word is turned end for end when it is placed in the second cone. The right hand grips plug “X” through the paper. At this point in the routine the center of the silk is wedged between the inside of plug “X” and the stud, Figure 103, and when the wand is removed from the cone while the right hand grips plug “X”, the silk is pulled out of the tube and is left in the cone, Figure 104.

Ultra Handkerchief Wand *

17

We are indebted to Petrie – Lewis for another wand used is the vanish of a silk. The details of the wand are shown in Figure 105. Note that a portion of a silk is fastened to the wooden plunger. By moving the protruding stud it is possible to bring the silk in or out of the wand at will.

The wand is used in connection with the first effect in this Chapter. THE MASTER VANISH. After showing the silk, roll it into a ball between the bands and then palm it in the right as shown in Figure 3-7. The spectators believe the silk to be in the left hand. With the silk palmed in the right hand, reach for the wand while focusing attention on the closed but empty left fist. In picking up the wand, drop the silk in a servante or behind some object on the table. Push the end of the wand into the closed left hand,

at the same time forcing out the part of the silk in the wand. Open the hand slightly to disclose the silk, Figure 106. Withdraw the wand, pulling the bit of silk back into the wand as the left hand is closed again. Make several passes over the left fist with the wand, then open the hand to show that the silk has vanished, Figure 107. (Needless to say, the bit of silk in the wand is the some color as that of the silk to be vanished.)

Ruler Vanish

18

A hollow metal ruler, Figure 108, operates in the same manner as the VANISHING HANDKERCHIEF WAND, Figures 97-100. The ruler, having a larger capacity than the wand, will vanish a larger silk.

Paper Bag Vanish A brown kraft paper bag makes an excellent vanisher for a silk. John Braun favored me with a model of the one he uses, to enable me to describe it herein. Obtain some no. 5 kraft paper bags from a grocer. With scissors and paste at hand, make each prepared bag as follows : 1. Cut away the portion of the bag as shown in Figure 109. 2. Apply paste to the shaded areas, Figure 110. 3. While the paste is still wet,

19

4.

place the prepared paper aside of an ordinary bad. Figure 111, forming a pocket in one side of the bag. Allow the paste to dry.

The finished bag, Figure 112, lies flat on the table prior to the vanish. When ready to vanish the silk, pick up the folded bag, inserting the thumb in the top of the pocket, Figure 113. Shake the bag sharply, causing a gust of air to enter and open it, Figure 114. Apparently place the silk inside of the bag while actually putting it in the pocket. Fill the bag with air by blowing into it, then twist the mouth of the bag shut to prevent the air from escaping, Figure 115. Strike the bottom of the bag sharply and the bag will break, revealing the empty interior, Figure 116. The silk remains undisturbed in the pocket in the other side of the bag. Some performers blow away the bottom of the bag with a blank cartridge pistol.

Single Paper Cone *

• H A R L A N

20 T A R B E L L •

The paper cone has always been a favorite aid in the vanish of a silk. However, too few magicians know the proper method of constructing and using this magical item. Dr. Harlan Tarbell in Volume Two of his TARBELL COURSE IN MAGIC has explained several practical methods of making and using the cone, and I am grateful to Louis Tannen, the publisher, for his permission to include them in my encyclopedia. Effect : A sheet of paper, after being shown, is formed into a cone. A silk is placed in the cone, and when the paper is opened the silk has vanished.

The Secret: 1. Obtain two 15” squares of heavy kraft paper or printer’s cover stock. 2. Place the two sheets together one on top of the other, Figure 117. 3. With the two sheets as one, fold them on the diagonal, Figure 118. 4. Open the sheets again, Figure 119. 5. Fold in one corner, Figure 120, to about ¼” of the diagonal line. 6. Open the sheets again, Figure 121. 7. Using rubber cement, paste the two sheets together, applying the cement to the shaded areas, Figure 127. 8. Allow the cement to dry before continuing. 9. When dry, fold in one corner, Figure 123. 10. Fold again, Figure 124. 11. Finally fold up the bottom corner, Figure 125, forming a flat cone. Open the mouth of the cone and you will have two compartments, “A” and “B”, Figure 126, with a paper wall “W” separating them. By pushing “W” to the right, compartment “A” is open, Figure 127. If “W” is pushed to the left, compartment “B” is open, Figure 128. Compartment “A” is the secret pocket between the two sheets of paper. Before performing flatten the cone again and fold in the top, Figure 132 Presentation : 1. Pick up the cone and hold it as illustrated, Figure 130. 2. Open the paper and show it, Figure 131. 3. Turn the paper over and show the back, Figure 132.

5. 6. 7. 8. 9.

Tilt the mouth of the cone away from the audience. Insert the left thumb into compartment “A”, forming the cone as shown in Fig. 127. Put the silk in compartment “A”, Figure 133, then push the silk well down in the cone. Fold in the top of the cone, Figure 130. Open the the paper and show that the silk has vanished, Figures 131 and 132.

Two-Way Paper Cone * ●

H A R L A N

21 T A R B E L L

●

Dr. Tarbell has designed a “two-way” cone that may be used for the vanish, production, or changing the color of a silk. It is similar the to the SINGLE PAPER CONE, but has two pockets instead of one. Two sheets of paper are cemented together at the points indicated with shaded lines, Figure 134. Then the paper is folded as shown in Figure 134. Then the paper is folded as shown in Figures 123, 124 and 125. However, the completed cone has three compartments, “A”, “B”, and “C”, Figure 135. Compartments “A” and “C” are secret pockets while “B” is the center of the cone. Several routines will be suggested upon studying the finished cone. Silks placed in “A” and “C” will appear to have vanished when the paper is opened. If a silk is placed in each of the three compartments, the two in the secret pockets will vanish, leaving the lone silk in the legitimate compartment “B”

Royal Paper Cone * ●

22 H A R L A N

T A R B E L L

●

This simple vanish is a Tarbell favorite. A sheet of paper, Figure 136, is a creased on the dotted line, Figure 137. Paste is applied to the shaded area, Figure 138, and the triangle pasted in place, Figure 139, forming a pocket “P”. Prior to presentation the paper is folded into a flat cone, Figures 140, 141 and 142. The silk to be vanished is eventually placed in the pocket.

Newspaper Cone *

23

Jean Hugard Suggests a nice method of making an impromptu cone from on ordinary newspaper in SILKEN SORCERY. Roll a twelve or more paper newspaper into a cone, Figure 143. Press the cone flat, Figure 144, then fold down the top corners, Figure 145. Fold back all but one of the corners, Figure 146. Insert the fingers in the pocket to open out the cone, Figure 147. Show the inside of the cone, then drop the silk inside. Open out the paper and the silk appears to have vanished although it is hidden inside of the newspaper, Figure 148.

Mirror Glass

24

This mechanical aid has long been recognized as Standard magical apparatus, and can be used to exchange silks or cause them to appear as well a to vanish them. The glass, due to its design, is most deceptive. It usually is octagonal in shape, Figure 149, and is divided by a removable insert, Figure 150. Due to the shape of the glass the person in front of it believes he can see through even though the insert is in place. Thus, objects placed behind the insert, Fig. 151 cannot be seen. Performers are not in accord as to just what materials should be used for the insert. Some mirror glasses are equipped with a chrome plated metal insert which reflects the front walls of the glass, but there is always the danger of the metal insert “talking” when the glass is handled and the metal comes in contact with the glass. Other glasses are equipped with an insert made of black composition material that remains silent when inside the glass; However, a glass so equipped, must be held against a dark background to complete the illusion. Still other glasses are equipped with inserts that are black on one side and chrome on the other. The black side is nearest to audience when the silk is placed in the glass, then the glass is turned (as will be explained later) and the chrome side brought to the front when the silk has vanished.

The principle of the mirror glass should be obvious by this time. The mechanics necessitate showing a glass containing an insert to be empty. A silk placed in the glass (in front of the insert). The glass is then given a half turn to carry the silk to the back, and the silk has supposedly vanished from the glass. Usually some type of covering is placed over the glass to hide the silk while the glass is being given the necessary half turn. A linen handkerchief, a cylinder made from an ordinary sheet of paper, or a metal cylinder often supplied with the glass may be used. I use the following method of turning the glass: 1. Set the glass on the right palm, Figure 152. 2. Place the silk in the glass and in front of the insert, Figure 153. 3. Bring the linen handkerchief up in front of the glass to cover it, Figure 154. 4. As the handkerchief is draped over the glass, turn the right arm to the right, thereby automatically bringing the back of the glass to the audience, Figure 155. 5. Remove the handkerchief to show that the silk has vanished, Figure 156.

Some mirror glasses come equipped with a half cylinder celluloid fake that fits in front of the insert, Figure 157. White the insert is primarily intended to make it possible to pour liquids in the glass while it contains silks, this fake can be used to remove a vanished silk from the glass. With the fake in place, Figure 157, follow the first four steps just given above, the only difference being that the silk is in the fake rather than in the glass. When the handkerchief is removed, step five, the left fingers pinch the fake and insert through the handkerchief, Figure 158, carrying the fake, insert and silk away under the handkerchief. Now the glass is empty and may be passed for examination if desired.

The Turn Table Stand *

25

Some dealers manufacture a stand that will give the mirror glass the necessary half-turn. ‘Such a stand is made by Thayer’s Studio of Magic. The mirror glass rests on the stand. After a silk is placed in the glass, Figure 159, a cylinder hides the glass from view, Figure 160. When the cylinder is removed the silk has vanished, Figure 161. The details of the stand are shown in Figure 162. A wooden disk which has two threads attached to its side, Figure 163, rests in the center of the stand. The threads emerge from the side of the

stand through two holes, Figure 162. By pulling an thread “A”, the wooden disc is caused to turn until the end of card “B” is flush with the walls of the stand. When the glass rests on the disc it is turned as the proper card is pulled. The cylinder, which is larger in diameter than the disc, does not turn as it rests on the stand proper.

The Bottomless Glass The bottomless glass, a standard piece of apparatus, is frequently used in connection with an effect whereby a silk is vanished. The better grade bottomless glasses have a small lip around the bottom, Figure 164, which will keep the silk inside of the glass until its release is required.

26

To vanish a silk: 1. Fold the silk and place a rubber band around it. 2. Retain the silk in the left hand. 3. Take the glass in the right hand. 4. Drop the silk into the glass. 5. Cover the glass with a linen handkerchief. 6. Take the covered glass into the left hand, leaving the silk fall into the right, Figure 165. 7. Set the glass on a table. 8. Pull away the handkerchief with the right hand which still has the silk palmed. 9. Pocket the handkerchief and the silk while calling attention to the empty glass.

A Silk Vanishes *

27 ●

U.

F.

G R A N T

●

In his TRICKS WITH A BOTTOMLESS GLASS, U.F. Grant suggests a vanish employing a bottomless glass. A length of elastic (attached to the body as in one of the methods given earlier in this chapter) has a hook attached to its free end. The hook is obtained in the right hand and the glass is placed over it, Figure 166. The silk is now pushed down into the glass where it is engaged by the hook. The glass is tossed into the air, allowing the elastic to pull the silk out through the bottom of the glass and out of sight. The empty glass is caught as it falls and is then shown to be empty.

The Utility Tube

28 ●

C

O

N

R

A

D

I

●

This unique apparatus, invented by Conradi and popularized by the Petrie-Lewis Manufacturing Co., may be used to cause a silk to vanish, appear, or change color at will. The outfit consists of a transparent cylinder divided lengthwise by a metal reflector. Figure 166. Chrome plated bands of metal are at each end of the cylinder. In addition, four strips of plated metal running lengthwise and spaced equidistant are attached to the cylinder. Two of these strips hide the edges of the metal reflector.

To vanish a silk, place the silk in the cylinder and in front of the reflector. Take the apparatus as shown in Figure 167. Give the cylinder a half turn while it is held in this position, carrying the silk to the back, and the silk appears to have vanished. Due to the metal reflector, the audience believes it can see through the cylinder.

Triple Hank Vanish ●

29 E L L I S

S T A N Y O N

●

Effect: After showing an empty cylindrical transparent vase and an unprepared paper cover, Figure 168, the performer places one or more silks into the vase. Then he places the cover over

the base and commands the silks to vanish. When the cover is removed the silks are gone.

The Secret: In addition to the vase and cover, a transparent celluloid cylinder that fits inside of the vase is needed. Unknown to the audience, the celluloid insert is inside of the vase at the beginning of the effect. The silks are placed in the vase (and the insert) and the cover put in place. When the cover is removed the insert is taken away with it, Figure 169, leaving the vase empty. If a servante is available, the loaded insert can be dropped into it, making it possible to show the cover empty.

The Elusive Handkerchief A subtle vanish is made possible through the use of a metal finger tip which has a piece of silk (of a color matching that of the silk to be vanished) glued there in, Figure 170. Once the basic principle is understood, a number of clever routines will present themselves to the reader.

30

With the finger tip (the attached piece of silk is inside of the finger tip) in the right trouser pocket, proceed as follows: 1. Take the silk to be vanished as shown in Figure 171. 2. Roll the silk into a small ball between the hands, Figure 172. 3. Pretend to take the silk in the left hand, but palm it in the right, Figure 173. 4. Turn the right shoulder nearest to the audience, and make a deliberate move to the right trouser pocket, Figure 174, while gazing at the left hand which supposedly contains the silk. 5. As the right hand enters the pocket, push the silk up into the upper inner corner with the thumb, Figure 175. Then get finger tip on the first finger of the right hand. 6. At this point patter about the fact that some believe the silk to be in the right pocket although it is (?) in the left hand.

7. Prove that the right pocket is empty by pulling it into view, Figure 176. The silk in the upper right hand corner of the pocket will not show. 8. Replace the pocket, then insert the right thumb and first finger in the top of the closed left fist as if to get a corner of the silk, Figure 177.

9. Leave the fingertip therein, pulling the corner of the piece of silk into view, Figure 178. 10. Now proceed to tuck the silk back into the fist, (actually into the finger tip) using the first finger of the right hand to do so. 11. After all of the silk is therein, insert the right first finger into the fingertip and withdraw it from the left fist. 12. Now open the left fist and show that the silk has vanished.

Bare Hand Vanish* ●

31 F R A N K

C H A P M A N

●

Chapman uses a clever variation of the ELUSIVE HANDKERCHIEF in this original vanish. All that is seeded is the silk to be vanished and the prepared fingertip. These rest on the table, Figure 179.

To vanish the silk: Take the silk and finger tip in the left hand, Figure 180. The protruding piece of silk appears to be the corner of the full silk.

1. Take the lower end of the silk in the right hand, Figure 181. 2. Bring the hands parallel to the floor, then twist the silk several times, rope fashion. 3. Return the hands to the position shown in Figure 181. 4. With the right hand roll or bunch the silk upward, continuing until both hands come together. 5. Pretend to leave the silk in the left hand, but palm it out into the right. As the piece of silk in the fingertip still protrudes from the top of the left fist, the spectators believe the silk to be in the left hand. 6. Go to the right pocket to get a coin, and leave the silk in the pocket. 7. Touch the protruding silk tip with the coin. 8. Tuck the tip of silk into the left fist and fingertip with the fist finger of the right hand. 9. Steal the fingertip on the first finger of the right hand. 10. Open both bonds to show that the silk has vanished.

The Changing Bag

32 This piece of utility apparatus, Figure 182, can be used in the vanish, appearance and exchange of handkerchiefs. The bag is made of heavy velvet, and is lined with black cloth. Inside is a second black cloth bag sewed to a wire form, Figure 183, which is hidden in the metal ring at the top of the outside bag and extends back into the handle. By turning the handle, the

wire form can be turned to the left, Figure 184, or to the right, Figure 185, opening compartment “A” or “B” of the bag as desired. Thus, if a silk were dropped into compartment “A” Figure 186, and the handle turned, the silk would disappear as compartment “A” closes and “B” opens, Figure 187. The bag is always shown empty by turning it inside out, Figure 188.

Dr. Harlan Tarbell in Volume One of his TARBELL COURSE IN MAGIC * explains the proper method of handling the changing bag when opening or closing one of the compartments. Hold the bag as shown in Figure 189, then turn the bag and handle in opposite directions, Figure 190. Note that the mouth of the bag is always away from the audience.

With a Changing Bag * ●

D A L E

33 W I L L I A M S

●

As space will not permit me to list the many vanish variations made possible with the Changing Bag. I give but one with the hope that it will suggest others to my readers. Assume that you have two silks, one red and one green. One selected by a spectator is to vanish. Show the bag empty, place the red silk in compartment “A”, and turn the handle, then deposit the green silk in compartment “B”. With the silks in the bag, ask a spectator to select a color. If he names red, merely reach into the bag, withdraw the green silk from “B”. If green is selected, turn the handle, closing “B” and opening “A”, and remove the red silk. After the silk has been removed, turn the bag inside out to prove that the selected silk has vanished.

The Nickel Tube ●

P R O F E S S O R

34 H O F F M A N N●

A number of popular vanishes are based on a principle first disclosed by Hoffmann in his LATER MAGIC. A plated tube which has two metal caps and a special flesh colored metal cup with a flanged lip are needed, Figure 191. While spectators examine the tube and caps, palm the cup, Figure192. Take the tube in the left hand and then transfer it to the right by passing it up into the hand as shown in Figure 193,loading in the cup. Put the bottom cap in place, then tuck the silk

well down into the cup. Take the tube into the left hand by pulling it down through the right hand, leaving the loaded cup in the right hand, Figure 194. Go to the right coat pocket for the remaining cap which was placed there for convenience after it was examined earlier, and leave the loaded cup in the pocket. Put the cap in place, then hand the closed tube to a spectator. He opens it upon request, and finds that the silk has vanished.

The Improved Nickel Tube ●A F T E R

P R O F E S S O R

Effect: A silk is placed into a tube and caps are placed on the open ends. The silk is in full view until both ends are caped. Yet, when the tube is opened, the silk has vanished. The Secret : The apparatus, Figure 195, is a piece of precision-made apparatus. Tube “A” contains a second and slightly shorter tube “B” which is pointed flesh color. Cap “C” is ordinary, but cap “D” is hollow. A machin

35 H O F F M A N N●

ed metal cup “E” fits snugly into the opening in “D” A piece of silk matching that to be vanished is glued in the cup “E”. At the beginning of the effect the apparatus is assembled a shown in Figure 196. A cap in each coat pocket. Presentation : 1. With “E” at the bottom, take the tube in the left hand, keeping the piece of silk hidden from the spectator’s view. 2. Push the silk well down in tube “B”. 3. Taking the tube in the right hand, turn the tube to bring cup “E” in view of the audience, explaining that as the cylinder is hollow, the silk can be sent at both ends, Figure 197. 4. Bring the apparatus to the position shown in Figure 198, then allow tube “B” to slide secretly into the right hand. 5. Take the tube “A” in the left hand, leaving “B” in the right. 6. Reach into the coat pocket for cop “C”, and leave “B” therein. 7. Place the cap on the bottom of tube “A’, the fake silk still in view. 8. Now obtain cap “D” and place it on tube “A”. Apply sufficient pressure to lock cup “E” securely in cap “D”. 9. Allow a spectator to remove the caps, and the silk has vanished. Abbott’s Magic Company offers a version of this effect, which is known as the IMPROVED HANDKERCHIEF CASETTE, a Brema product.

Nickel Tube With Pull ●

P R O F E S S O R

36 H O F F M A N N ●

Here is still a third version of the nickel tube as explained by Hoffman. In addition to a tube and two caps, a pull that fits inside of the tube is needed, Figure 199. The pull is attached to the body after one of the methods explained in this chapter. While the tube is being examined, get the pull in the right band. Take the tube in the left hand, then transfer it to the right, allowing the pull to enter the tube, Figure 200. Tuck the silk into the tube and pull, then put a cap on the end of the tube. As you reach for a second cap, allow the pull to leave the tube and

go up the sleeve. Put the remaining cap in place. When the caps are removed by a spectator, the silk has vanished.

Prerto Hank Vanisrer *

37

Now let us consider a few contemporary tube vanishes. A very popular one is offered by almost every dealer under one of several trade names. For example, Holders sell this item as the PRESO HANK VANISH. Abbotts offer a similar outfit known as the VANISHING SILK TUBE. Briefly, a small metal tube is introduced and a silk placed therein. The tube is tossed into the air, and the silk vanishes. The secret rests in the use of a second tube with a sharp hook attach

ed, Figure 201. This tube fits loosely in the first. To perform, pick up the apparatus with the left hand, the first finger covering the hook, Figure 202. Place the silk in the tube, then transfer the tube to the right hand. Bring the left arm across in front of the tube while reaching for a ward on a nearby table. As the left arm momentarily masks the tube, hand the fake on the left coat sleeve, Figure 203. Tap the now empty tube with the wand, toss the tube into the air, then catch it as it falls. Toss the tube to the audience.

Some performers vary the vanish by engaging the hook in the trousers instead of the sleeve.

Selective Hank Vanish *

●

38 H A E N C H E N

●

This Haenchen effect is a version of the PRESTO HANK VANISH. Effect : A glass tumbler is shown and covered with a metal cylinder. Several silks are placed inside of the glass, then the cylinder

is removed. A silk selected earlier has vanished from the glass. The Secret: In addition to the glass and the cylinder, a transparent celluloid fake is required, Figure 204. At the beginning of the effect the fake is inside of the glass, Figure 205.

Presentation : Show the glass, then cover it with the cylinder. Place the silks, one by one, in the glass. The selected one goes into the fake. Remove the cylinder, carrying the fake with it, Figure 206. If a black art well is handy, set the cylinder over it and allow the fake to fall into the well. Now remove the remaining silks to show that the selected silk has vanished.

Close-Up Silk Vanish * ●

P E R C Y

39 A B B O T T

The apparatus consists of a tube and a loose fitting flesh colored tube with an end which matches the tube, Fig. 207. After showing the tube, hold it as shown in Figure 208. Insert the silk, then raise the fingers,

●

Figure 209,leaving the fake in the right palm. Take away the empty tube with the left hand while reaching for a wand with the right. The fake is disposed of as the wand is taken. Run the wand through the tube to show that the silk has vanished.

The Triple Tube Vanish * ●

J O H N

40 B R A U N

Effect: Three tubes, each of a different diameter, height, and color are shown. They are nested and set on a china plate, Figure 210. One or more silks are placed in the tallest tube. Commanding the silks to vanish, the performer lifts the tubes, one by one, and shows them to be empty.

The Secret: In addition to the three tubes and plate there is a velvet covered metal fake, Figure 211. A table with a black art well is also needed. With the hook of the fake in place over the top rim of the tallest tube, the three cylinders are nested and resting on the plate at the beginning of the effect, Figure 210.

●

Presentation : 1. Lift off No. 3, show it empty, then set it aside. 2. Lift off No. 3, taking the fake with it. 3. Show No. 1, empty. Set it back on the plate. 4. Slip No. 2 down over No. 1, leaving the fake in No. 1. 5. Slip No. 3 down over Nos. 1 and 2. 6. Tuck the silks into No. 1 and the hidden fake. 7. Lift off No. 3 and set it down without showing it. 8. Lift off No. 2, bringing the fake with it. 9. Set No. 2 over a black art well, disloge the hook, and allow the fake to drop into the well. 10. Carry the plate forward with No. 1 on it. Show No. 1 and the plate, the silks having vanished. 11. Pick up tubes 2 and 3 and show them freely.

Wonder Cylinder * ●

P E R C Y

41 A B B O T T

●

Effect : A cylinder open at both ends is freely shown, and then six 12’ silks are placed inside. About 4” of the corners of the silks remain in full view. Upon command the silks vanish instantly, and the cylinder, is shown empty. The Secret : This clever vanish employs an adaptation of the Phantom Tube principle. Corners of six silks and a small metal hook are attached to a length of elastic, Figure 212, which in turn is fastened

to the wall of the inner tube, Figure 213.

Presentation: 1. Show the tube empty. 2. Bunch up the silks to be vanished and lay them over the top of the cylinder. 3. Push a portion of the silks into the compartment of the cylinder, pull the fake corners up into view, and engage the hook over the edge of the cylinder, Figure 214. 4. Now push all of the silks well down inside of the compartment. 5. Hold the cylinder as shown in Figure 215, release the hook, and the corners will draw down inside of the cylinder.

Twentieth Century Pirtol Vanish * ●

P E R C Y

42 A B B O T T

A silk is placed in a metal tube, and the tube placed on the barrel of a gun, Figure 216. After the gun is fired the tube is removed and shown empty.

This ingenious device is simple in construction. The secret lies in the metal tube. A flesh colored fake hidden inside of the tube receives the silk, Figure 217. When the tube is placed over the barrel of the pistol, Figure 218, the fake is automatically loaded into the hand. While attention is focused on the firing of the pistol, the fake is packeted.

Pirtol Funnel Abbotts and other dealers manufacture a standard funnel used for a silk vanish, Figure 219. While the spectators believe the silk is loaded into the funnel which fits over the barrel of the pistol, it actually goes into the fake which is stolen away before the pistol is fired.

43

Comedy Vanishing Hank ●

H A R O L D

44 R.

R I C E

●

The repeat vanish of a handkerchief, an effect originally presented by England’s Oswald Williams, has been popular with many magicians. Although there are a number of variations which will be given later, the effect is basically the same. The performer removes a silk from a convenient pocket. The silk is tucked into the fist and when the hand is opened, the silk has vanished. The silk is found back in the performer’s pocket again. This action is repeated several times, always with the same result. A popular magical patter story has been associated with the repeat silk vanish. The performer tells a story about seeing a certain magician doing a trick (performing the trick as he tells the story). He goes to a merchant and asks him if he has this particular trick (repeating the trick). The merchant replies by asking him if he means the trick where a silk placed in the hand vanishes (repeating the trick again). The magician replies in the affirmative (repeating the trick again). The merchant says he regrets that he doesn’t have the trick (repeating it again), so the performer tells the spectators that he will never know how the trick is done (repeating it again as he says so).

The Secret : Tie a small knot in one corner of an 18” Silk, and fasten a short length of black thread to the corner diagonally opposite, Figure 220. Prepare an ordinary pear pull as illustrated in Figure 221. Attach the silk to the pull, Figure 222. Finally, fasten the assembled apparatus under the coat, Figure 223.

Presentation : 1. Grasping the coot lapel with the left hand, reach under the coat for the silk with the right, getting corner “A” from the pull, Figure 224. 2. Pull the silk through the first and second fingers of the left hand as it comes into view. 3. As corner ‘B’ comes into the fingers of the left hand, drop corner “A”, Figure 225. 4. Now take corner “B” in the right hand, carrying the silk to the right until the pull is brought into the left palm, Fig. 226. 5. Tuck the silk into the pull, corner “B” going inside first. 6. Release the pull and the silk goes back under the coat. 7. Repeat the first six steps until the patter is completed.

Repeat Handkerchief Vanish * ●

H A R L A N

45 T A R B E L L

●

Dr. Tarbell gives his version of the vanishing handkerchief effect in Volume One of the TARBELL COURSE IN MAGIC. The effect is basically the some as the standard routine, but at the conclusion the silk changes into an egg! The Secret : Attach a silk to a pull as illustrated in Figure 227, then tuck the silk into the pull, Figure 228. Place the pull in the vest pocket. Make a small hole in the corner of the pocket. Run the elastic through the hole, around the waist and under the vest, and up to a point in the center of your back where the pin is attached, Figure 2249.

Drill a small hole in a hollow egg, Figure 230, and sew a second silk to the egg, Figure 231. Tuck the silk into the egg. And place it in a special small pocket attached to the inside of the coat, Figure 232.

Presentation: The same patter given for the COMEDY VANISHING HANK is used in this Tarbell version. Pull the silk into view with the right hand, bringing the pull into the left palm, Figure 233. Display the silk, Figure 234, then tuck it into the left fist and the pull, Figure 235. Release the pull which carries the silk back into the vest pocket. Repeat this several times as governed by the accompanying patter.

At the conclusion of the effect change the patter, and state that you were successful in purchasing the effect, then announce that you will now present it for the first time (although you have already repeated it several times). Reach under the coat to obtain the silk, secretly push the pull into the vest pocket, then grasp the shoe button attached to the silk in the egg. Pull the silk into view with the right hand and palm the egg in the left. Tuck the silk into the egg, Figure 235, then disclose the fact that the effect failed, for the silk, instead of vanishing, has changed into an egg! Some performers prefer a hollow lemon to the egg.

Warlock’s Repeat Silk Vanish

46

. P E T E R W A R L O C K . This is a popular English version of the REPEAT SILK VANISH.

Effect : Taking a silk from a convenient packet, the performer tucks the silk into the left fist from which it vanishes. The silk is found in a second and different pocket. The silk is vanished again, only to reappear in a third pocket. This action is repeated several times. The Secret : Unlike the earlier versions, this effect employs a different silk for each vanish desired, and a special wand of ingenious design, Figure 236. In addition, an individual fake is needed for each silk, Figure 237. Prior to presentation a silk and a fake are placed in each of a number of pockets.

Presentation : 1. Place the wand under the left arm, opening away from the body, Figure 238. 2. Take the first silk with the right hand, inserting the tip of the second finger in the open end of the fake, Figure 239. 3. Show the left hand empty. 4. Bring the right hand behind the left palm, extend the right second finger, and leave the fake in the left palm, Figure 240. 5. Form the left hand into a fist around the palmed fake. 6. Tuck the silk into the fist and fake. 7. As the lost of the silk goes into the fake, insert the tip of the second finger of the right hand into the fake, Figure 241, then steal the fake into the right hand. 8. Holding the fake as shown in Figure 242, reach across

9. 10. 11. 12. 13. 14. 15.

the body with the right hand to take the wand. As the right hand closes around the wand, drop the fake into opening in the side of the wand. Take away the wand, tilting it so that the fake will slide down inside to end “A”. Tap the closed left hand with the wand. Open the hand and show that the silk has vanished. Replace the wand under the left arm, Figure 238. Take a second silk from another packet, palming the second fake, Figure 239. Repeat the above routine until all silks have been produced and vanished.

WARLOCK’S VARIATION : While all of the silks can be of like color, Warlock uses a different color for each silk without apparent knowledge of this fact. This variation is more puzzling and

humorous than the routine using silks of the same color. Warlock’s patter is varied to fit his presentation. For example, “I saw a magician take a red handkerchief from his coat pocket , tuck it into his left fist, tap it with his wand, and it vanished ! Then the blue silk reappeared in his breast pocket. I told the magician I thought his best trick was where to took a blue silk from his breast pocket, tucked it into this left fist, tapped it with the wand, and it vanished, the green silk then reappeared in the trousers pocket. He said, Oh, you mean the trick where I take the green silk …. (etc.), and pull the yellow silk from my vest pocket”. The patter is continued until all of the silks have been produced and vanished.

Vanishing and Reappearing Silk*

47

Here is still another version of the REPEAT SILK VANISH, this one supposedly having originated in England. The Secret : The routine is basically the same as the others described earlier. However, the gimmick used is quite different. A 12” silk is fastened with a small tack to a wooden plunger, Figure 243. The plunger slides freely end to end in a metal tube, Figure 244. The ends of the tube are turned in to prevent the plunger from escaping. The silk, outside of, but attached to the gimmick, is in the right trouser pocket.

Presentation : 1. Reach into the right pocket and obtain the silk and gimmick, Figure 245. 2. Bring the left hand between the gimmick and the right palm, Figure 246. 3. Form the left hand into a fist around the silk as the right hand moves away, Figure 247. 4. Force the silk into the metal tube with the right fingers, Figure 248. 5. After all of the silk is in the tube, steal the gimmick away with the right thumb and second finger, Figure 249. 6. With the gimmick palmed, open the left hand and show the silk gone. 7. Place the right hand in the right trouser pocket to obtain the silk. 8. Bring the silk into view again, Figure 245. 9. Repeat the effect as often as required by the patter, Effect no. 43.

(When the silk is in the gimmick, Step 7, the apparatus is as shown in Figure 250.

To force the silk from the gimmick, merely press end “K” inside of the tube. Now the apparatus is ready for Step 8.)

Improved Vanishing and Reappearing Silk* ●

A D E

D U V A L

48 ●

While the effect is the same as that of the English version, the improvement found in the gimmick opens new manipulative possibilities. The wooden plunger resembles an elongated collar button, Figure 251. The knob “K” protrudes from the end of the tube when the plunger is inside, Figure 252. The silk, outside of, but attached to the gimmick, is in the right trouser pocket.

Presentation : 1. Reach into the right pocket and obtain the silk and gimmick, Figure 253. 2. Bring the left hand between the gimmick and the right palm, Figure 254. 3. Form the left hand into a fist around the silk as the right hand moves away, Figure 255. 4. Force the silk into the metal tube with

5.

6. 7.

8.

Give the silk a final tuck with the first finger of the left hand, Figure 256, bringing the right thumb under the knob “K” at the same time, Figure 257. Clip the knob “K” at the base of the right thumb, Figure 258. Finally, carry the gimmick away in the right hand, Figure 259. Now complete the routine as explained in Effect No. 46.

Rice’s Repeat Silk Vanish *

● H A R O L D

49 R.

R I C E ●

Here is still another version of the REPEAT SILK VANISH. The gimmick is a metal tube with a small hole drilled near one end, Figure 260. One corner of the silk is sewed to the gimmick through the hole, Figure 261. The silk, outside of, but attached to the gimmick, is in the right coat pocket.

Presentation : 1. Place the left hand against the outside of the right pocket, pressing against the gimmick, Figure 262. 2. Reach inside of the coat pocket with the right hand and obtain end “A” of the silk, pulling it into view. 3. Now bring the left hand up to the opening of the pocket so that as the silk is entirely withdrawn the gimmick will automatically fall into the left palm, Figure 263. 4. Released end “A” of the silk while the left fist closes around the gimmick, Fig. 264. 5. Tuck the silk into the fist and immi k

hand and repeat the above 6 steps in accordance with the patter given in Effect No. 43.

New Repeating Hank Vanish ● B E R T

50 D O U G L A S ●

Douglas given still another version of this effect in his MASTER CLUB TRICKS. The effect of showing several silks and then vanishing them one at a time is the same, and the usual patter referred to earlier is used. The Secret : Four or five 15” duplicate silks have individual celluloid or card board tubes attached to them, Figure 266. In addition, a celluloid fake, Figure 267, holds the breast pocket open to give the performer a body servante, Figure 268. The silks are loaded in the left sleeve, Figure 269.

Presentation : 1. Reach under the coat with the right hand and pull one of the silks into view, palming the attached fake, Figure 270. 2. Show the left hand empty while the right holds the silk as illustrated, Figure 271. 3. Transfer the silk and fake to the left hand. 4. Tuck the silk into the fake with the right fingers. 5. Steal the fake in the right hand, Figure 272. 6. Keep the left fist closed. 7. Pull back the left sleeve by taking it near the shoulder with the right hand, thereby brining the fake over the pocket servante. 8. Drop the fake in the pocket servante while focusing attention on the closed left fist. 9. Open the left fist and show that the silk has vanished. 10. Reach under the coat and reproduce the silk (actually a second one). 11. Continue the first ten steps until all silks have been produced and vanished

Improved Hand-Box

51

Before closing this chapter I want to point out that a number of vanishers are now museum pieces. However, not all of them are obsolete. This is particularly true of the “hand-box”, first described by Hoffmann

disposed of by attaching it to the trousers or sleeve with the pin, Figure 275.

Changes It is not always necessary to vanish a silk in order to dispose of it. At times it is more desirable to change the silk into some other article which, if desired, can be used in the effect to follow. Also there are times when just the opposite action is desired – that of changing some article into a silk.

Handkerchief to Billiard Ball *

1

In Volume 2 of his TARBELL COURSE IN MAGIC. Dr Harlan Tarbell describes two clever methods of changing a silk into a billiard ball. A hollow billiard ball, Figure 1, and a silk are needed. FIRST METHOD : 1. Palm the ball, opening outward, in the right hand, and hold the silk by a corner with the left fingers, Figure 2. 2. Bring the hands together, and starting with the center of the silk, work the handkerchief into the ball with the left fingers, Figure 3. 3. When the silk is in the ball, take it in the left hand, Figure 4, displaying the ball as the empty right hand is shown.

SECOND METHOD : ( This method is said to be Cardini’s favorite. ) 1. 2. 3. 4.

5. 6. 7.

8.

Palm the ball in the left hand, Figure 5. Drape the center of the silk over the left hand. Tuck the center of the silk into the ball with the first finger of the right hand, Figure 6. With the right shoulder nearest the audience, and with both hands extended to the left, place the palm of the right hand over the silk and ball. Roll the right hand around and around, pressing against the silk and the opening of the ball, Figure 7. This action works the silk into the ball, Figure 8. With the silk in the ball, work it into the position shown in Figure 9, then tuck in any exposed portions of the silk with the first finger of the left hand. Display the ball to the audience with the left hand, Figure 10, as the right hand is shown empty.

Other Changes

2

It should be obvious that the performer is not restricted to a billiard ball, Hollow wooden lemons, eggs, golf balls, and watches may be used, Figure 11. Regardless of the object used in the changes, use one of the two methods given in detail at the beginning of this chapter.

Silk to Rose *

3

Max Holden offers an artificial rose which receives the silk during the change. The rose is made from a ping pang ball. About ¼ of the ball is cut away, Figure 12, and a collar button is glued to the bottom of the ball, Figure 13. Leaves cut from green silk are glued around the ball, Figure 14, and the apparatus is ready for the presentation.

Presentation : 1. Clip the rose between the left fingers, holding the silk as illustrated in Figure 15. 2. Tuck the silk, center first, into the rose, using the first finger of the right hand. Leave the four corners of the silk extend into view, forming the petals of the flower. 3. Show the rose, Figure 16, and place it in your lapel button hole.

Martineau’s Cigarette to Silk * • F R A N C I S

B.

4 M A R T I N E A U •

There are a number of methods of changing a cigarette to a silk. Although the effect to the audience is the same, the methods vary considerably. In the Martineau version, a 12” silk and a large thumb tip are needed. Place end “A” of a silk along the side of the thumb tip, Figure 17, then pleat the silk around the end of the thumb tip until about 4” of end “B” remains,

wrap end “B” tightly around the silk and thumb tip, Figure 19, tucking end “B” within the roll, Figure 20. Place this bundle in the left trouser pocket, under the left flap of the vest or in a body holder at the left side of the coat. Presentation : 1. Borrow or produce a lighted cigarette. 2. Steal the silk bundle with the left hand while the right is busy with the cigarette. 3. Form the left fist around the bundle, opening of the thumb tip uppermost. 4. Place the cigarette in the top of the fist, crushing it into the thumb tip. 5. Steal the tip away with the right thumb and second finger, leaving the silk in the left fist. 6. Pull up the left coat sleeve with the right hand, dropping the thumb tip secretly into the breast coat pocket as the hand passes it. 7. Obtain end “A” of the silk between the right thumb and first finger, spread the hands, and develop the silk.

Walrk’s Cigarette to Silk *

• R U S S

5 W A L S H

In the Walsh version, the silk is attached to a standard cigarette vanisher. The male portion of a dress snap is soldered to the vanisher, Figure 21. A small piece of tin forming a lip is soldered to the female portion

•

corner “B” of the silk, Figure 23.

Preparation : 1. Place end “A” of the silk along the vanisher, Figure 24. 2. Pleat all but about 1” of the silk along the vanisher, Figure 25 3. Bring end “B” around the bundle once, then snap “B” to the vanisher, Figure 26. 4. Fasten the vanisher to the body, using one of the several methods suggested for attaching a pear pull in Chapter Eight. Presentation: 1. Get the pull in the left hand while the right is busy with the cigarette. 2. Push the cigarette into the pull with the right finger, using the right thumb to disengage the snap fastener. The metal lip on the portion of the fastener sewed to the silk simplifies the release. 3. Push the pull right through the middle of the silk bundle. The pull goes up under the coat and leaves the silk in the left hand. 4. Open the left hand and allow the silk to expand into view.

Another Martineau Cigarette to Silk * F R A N C I S

B.

M A R T I N E A U

This exceptionally clean version uses a standard cigarette vanisher. Preparation : 1. Cut a slot across a cigarette pull, Figure 27. 2. Accordion pleat a silk and tie it in place with a thread, Figure 28. 3. Fix the pull to the left side of the body, Chapter Eight. 4. Place a box of matches in the left trouser pocket. Presentation : 1. Place a borrowed cigarette between the lips. 2. Get matches from the left trouser pocket; light the cigarette; return the matches to the pocket. 3. Obtain the pull as the left hand leaves the pocket. 4. Place the cigarette into the pull, the lighted cigarette burning through the thread which passes through the pull. 5. Get tip “A” of the silk between the thumb and first finger of the left hand. 6. Release the pull, allowing the silk to fall into view, Figure 29.

6

Firefly

7 • B E R L A N D •

In this version the effect is self contained. A cigarette vanisher with a length of ribbon attached ( Figure 30) is sewed to one corner of a silk, Figure 31, and then the silk is joined along the hems for several inches, Figure 32, thereby preventing the vanisher from coming into view.

Presentation : 1. Slip the silk back on the vanisher until the open end is exposed, Figure 33. 2. Wrap the silk around the vanisher, Figure 34. 3. Tuck the remaining end in the folds, Figure 35. 4. Place the prepared silk and a box of matches in the left trouser pocket. Presentation : 1. Borrow a cigarette. 2. Remove the box of matches and light the cigarette. 3. Return the matches to the pocket.

4.

5. 6.

In removing the hand from the pocket, bring out the prepared silk, palmed as shown in Figure 36. Note that the opening is uppermost. Tuck the lighted cigarette into the top of the left fist. Obtain corner “A” at the bottom of the fist and pull down, Figure 37, brining the silk into view.

Robron’s Cigarette to Silk *

• S T U A R T

8 R O B S O N •

Robson’s version is an adaptation of FIREFLY. A dummy lit cigarette attached to a length of silk thread is suspended inside of a silk formed into a cone, Figure 38. Preparation : 1. Bring the cigarette down through the opening, Figure 39. 2. Roll the silk up to the cigarette, Figure 40. 3. Starting with “A”, roll the silk to the cigarette, Figure 41. Presentation : 1. Palm the silk, end “A” between the left thumb and first finger, and the cigarette between the first and second fingers, Fig. 42.

1. 2. 3.

Show the cigarette freely, put it between the lips, etc. Retaining a firm grip on corner “A”, release the cigarette as you shake the silk downward sharply. The cigarette goes inside of the silk as it unrolls.

Ireland’s Cigarette to Silk* • L.

L.

9 I R E L A N D •

In this version a rubber band and a piece of stiff wire formed as shown in Figure 43 are needed in addition to the standard pull and the silk. Preparation : 1. Fold the silk diagonally, Fig. 44. 2. Fold it again, Figure 45.

3.

Bring corner “B” up into the folded strip, Figure 46. 4. Roll the silk, Figure 47. Note the position of end “A”. 5. Place the rolled silk against the side of the pull, Figure 48. 6. Hold the silk in place with the rubber band. To do so : (1) Place the band under the pull and silk, Figure 49. (2) Pass end “L” of the band through the end “M”, Figure 50. (3) Insert the end of the wire through “L”, Figure 51. (4) Note that the silk is on the side opposite the wire gimmick. 7. Pass the elastic on the vanisher through the left belt loop and around the back until all the slack is consumed. 8. Fasten the safety pin on the end of the elastic to the trousers. 9. Fasten the safety pin attached to the wire gimmick to the trousers just below the left belt loop, Figure 52. 10. Place a box of matches in the left trouser pocket.

Presentation: 1. Borrow a cigarette. 2. Obtain the matches, light the cigarette, then return the matches to the pocket. 3. Circle the vanisher and silk with the left hand as the right is busy with the cigarette. 4. Bring the pull forward. This action causes the wire gimmick to pull out of the rubber band which falls to the floor, leaving the silk in the hand, free of the pull. 5. Place the cigarette into the pull. Release it, leaving only the silk in the left hand. 6. Reach up under the bottom of the closed left fist with the right hand, obtain corner “A” of the silk, and pull the silk into view.

Spaulding’s Cigarette to Silk *

10

• S P A U L D I N G •

In this excellent method a thumb tip is used. Presentation: 1. Place the thumb tip on the left thumb. 2. Accordion pleat the silk and place it in the left sleeve, Fig. 53.

Presentation: 1. Show both hands empty. 2. Form the left hand into a fist, leaving the thumb tip therein, Figure 54.

3. 4. 5.

6.

7.

Take the cigarette in the right hand, bringing the hands to the position shown in Figure 55. Place the cigarette in the thumb tip. Insert the right thumb in the thumb tip, bringing the right first and second fingers into position to obtain corner “A” of the sleeved silk, Figure 56. Withdraw the right thumb, bringing the corner of the silk up through the left fist, Figure 57. Extend the arms sharply in opposite directions, bringing the silk into view between the hands in a flash, Figure 58.

Martineau’s Bouguet to Silk * F R A N C I S

B.

11 M A R T I N E A U •

Effect: One or more feather flower bouquets are produced and placed upright in holders. Performer picks up the bouquets, one by one, and they change into 36” silks. Preparation: 1. The center flower of each bought is constructed around a metal tube, Figure 59. 2. Each silk is prepared as shown in Figure 60. 3. Form the silk into a long narrow strip by folding it back on itself, Figure 61. 4. Now roll the silk strip, Fig. 62.

5. 6.

Place the silk, loop uppermost, in the tube in the center of the flower, Figure 63. Snap the end of the thread to the bottom of the bouquet Figure 64.

Presentation : 1. Produce the bouquet, then set it upright in a convenient holder. 2. Pick up the bouquet by the loop, give it a shake, and the silk will unfold, the bouquet being safely hidden with the folds, Figure 65.

Walrk’s Cane to silk*

• R U S S

12 W A L S H •

Effect: The performer enters with his walking stick. Taking an end of the cane in each hand, the performer causes the cane to change visibly into a 36” silk.

Preparation: The now internationally famous Walsh cane consists of a length of flat metal spring, extended, and which, when it collapses, coils tightly ground a metal ferrule to which half of a dress snap is soldered, Figure 66. A metal cap for the cane, Figure 67, and a 36” silk with half as a dress snap soldered to it, Figure 68, are also needed. With the silk snapped in place, Figure 69, prepare the cane as follows :

3. 4.

1. Hold the ferrule in the left hand. 2. Pull out about one foot of the spring with the right hand, spring with the right hand, twisting the spring to the right to tighten, Figure 70. Continue until the cane is fully extended, repeating the twisting action. Place the cap in place, Figure 71.

Presentation 1. Take the cane in the left hand, gripping it by the cap at the top.

2. 3. 4. 5. 6. 7. 8. 9. 10.

Grasp the cane firmly just under the left hand with the right. Carry the cane away in the right hand, secretly pulling off the metal cap in the left hand. Prove the cane solid by tapping the ferrule end on the floor while the left hand secretly pockets the cap. Hold the cane as shown in Figure 72. Relax the grip of the right hand, bringing the right hand down to the left as indicated by the arrow, Figure 72. The cane remains collapsed in the left hand as the silk shoots into view. Jerk the silk free from the cane with the right hand, then display the silk, Figure 73, retaining the palmed cane in the left hand. Drop the cane in the folds of the silk as it is rolled up and laid aside. If the silk is to be used in the next effect, pocket the cone under cover of a turn of the silk to the left.

NOTE: Forty clever routines with the Walsh cane are explained in Francis B. Martineau’s book WALSH CARE ROUTINES, a “must” for every cane worker.

Cane to Two Silks *

• G E O R G E

13 D A V E N P O R T •

In this version, credited to Davenport of London, the cane vanishes, leaving the performer with a silk in each hand. Two 18” or 24” silks are used. Preparation: 1. Snap the first silk to cane, Figure 74. 2. Open the cane fully, completely enclosing the silk. 3. Push the second silk into the cane with a long blunt dowel stick, beginning with one corner of the silk and continuing until only about 1” protrudes from the opening, Figure 75. 4. Fasten the tip of the second silk to the inside of the knob with a small piece of adhesive tape, Figure 76.

Presentation : 1. After displaying the cane as explained in No. 12, CANE TO SILK, bring the cane to a horizontal position in front of the body, Figure 77, remove the knob, and palm it in the right hand. 2. Press in on the ferrule with the little finger of the left hand, at the same time relaxing slightly the grip of the left first three fingers.

3.

4.

Move the hands together as indicated by the arrows in Figure 77, continuing until the hands are about 18” apart. Then release the grip of the right hand. Allow the cane to shoot into the left hand, leaving the two silks exposed, Figure 78.

Lane to Three Silks *

• F R A N C I S

14 B.

M A R T I N E A U •

In effects requiring three different colored silks, one of the following changes is recommended. FIRST M7ETHOD: Tie the three silks together, as in Figure 79. Snap end “A” to the cane, leaving end “B” protruding. Vanish the cane as shown in Figure 72 so as to cause the silks to shoot up into the air as shown in Figure 77, leaving a string of silks between the hands, Figure 80.

SECOND METHOD Tie the silks together with one knot Figure 81. Snap “A” to the cane, leaving end “B” protruding. Use the “horizontal” vanish

illustrated in Figure 77, leaving the silks between both hands in the position shown in Figure 82.

Silk to Lane *

• F R A N C I S

15 B.

M A R T I N E A U •

This is just the reverse of Russ Walsh’s came to silk effect. An 18” or 24” silk visibly changes to a black, nickel tipped cane. Presentation : 1. Hold the palmed cone, snap fastened uppermost, in the left hand and the palmed knob in the right, Figure 83. 2. With the right hand, pick up the silk and tuck the corner with the snap fastener into the top of the left fist, joining the two parts of the fastener. 3. Rotate the left hand, bringing the silk and cane into the position shown in Figure 84. 4. Grasp the ferrule of the cane, Figure 84, and withdraw the cane which engulfs the silk,

5.

6.

Figure 85. Swing the end of the cane held in the right hand downward and forward, then move the right hand up and slip the knob in place. Toss the cane into the air, the catch it, displaying its genuineness.

Cane to Streamer *

• R U S S

16 W A L S H •

Russ Walsh suggests this variation to his CANE TO SILK. Preparation : 1. Prepare the cane and knob as shown in Figure 86. 2. Attach a 12” x 8” streamer as shown in Figure 87. Threads join the streamer, cane and knob, Figure 88. 3. Open the cane slowly, tucking the silk inside so as not to twist the silk.

Presentation : 1. Hold the cane parallel to the floor and out in front of the body, Figure 89. 2. Merely loosen the knob, letting the cane fly to the left hand. Retain the knob in the right hand, Figure 90.

Lane to Silk * • D R.

17 Z I N A

B.

B E N N E T T •

I am grateful to Dr. Bennett for this exclusive. Effect : The performer, after displaying a cane and a green silk, place the silk over the cane, Figure 91. Suddenly, the cane vanishes, leaving the silk in the left hand. Then the green silk changes to red. Required : A Russ Walsh Cane and a Tarbell Single Color Changing Silk. Presentation : 1. Remove the knob from the cane, then drop the silk over the cane, Figure 91.

2. 3.

4.

5. 6.

Allow the cane to collapse, catching the silk, Figure 92. Bring the right hand up as though to stroke the silk, allowing the cane to fall behind the silk into the right hand, Figure 93. Change the silk from green to red. (The construction of this silk will be given in a later Chapter.) Take the red silk in the right hand. Deposit the silk and cane in the breast coat pocket.

The Silk Warm *

• E L L I S

18 S T A N Y O N •

This old time favorite, credited to Stanyon has been currently popularized by the Sterling Magic Co. Effect: A silk, when tossed into the air, changes into a “silk worm”.

Preparation ; The apparatus, Figure 94 is assembled as shown in Figure 95. One corner of a 12” silk is tied to the silk worm, Figure 96.

Presentation : 1. Take the silk worm in the right hand, Figure 97. 2. Take corner “B” of the silk in the left hand, Figure 98. 3. Withdraw the nail, Figure 99. 4. Assume the position shown in Figure 98. 5. Toss the silk worm into the air, Figure 100, and the silk goes inside of the expanding spring body.

NOTE : This effect is also sold as SNAKE TO SILK, one or more silks changing into a spring snake similar to the “silk warm”.

Pipe To Silk *

19 • J O E

B E R G •

Effect : The performer concludes a cigarette production by producing a pipe which he places between his lips. Suddenly the pipe changes to a silk. Preparation: 1. Prepare the silk and pipe as shown in Figure 101. 2. Pull the pipe from within the silk, Figure 102. 3. Accordion pleat the silk into a small flat bundle, Figure 103. 4. Place the silk against the pipe, Figure 104. 5. Hold the silk in place and add the bobby pin to the stem as shown in Figure 105. 6. Pin the apparatus to the lining of the coat, Figure 106.

Presentation : 1. As the last cigarette is produced, insert the right thumb in the loop, Figure 107. 2. Reach under the coat and firmly grip both silk and pipe, Figure 108. 3. Retain smoke in the mouth as the left hand removes and discards the cigarette. 4. Raise the right hand and produce the pipe, Figure 109. 5. Place the pipe in the mouth and exhale previously retained smoke. 6. Take the pipe from mouth. 7. Release the pipe; shake the hand down sharply, allowing the pipe to go inside of the visible silk. Stroke the silk with the free hand to guide the pipe into the silk if necessary. 8. Place the silk and pipe in the pocket.

Balls To Silks *

20 • F R E D

C U L P I T T •

Effect : Four billiard balls of different colors, dropped into a glass tube suddenly change into four silks of corresponding colors.

Preparation: A ledge is built into the black arm well of a table, Figure 110. The silks, rolled into the balls and joined at diagonal corners, Figure 111, are placed inside of the well as shown in Figure 112.

Presentation : 1. With the apparatus arranged as shown in Figure 112, drop the balls into the glass tube. 2. Grasp the tube with both hands, hiding the balls from view. 3. Move the tube forward, allowing the balls to fall into the well. 4. Continuing, lift the tube upwards, pulling the silks from the well up into the tube. 5. Slide the hands to the end of the tube disclosing the silks. 6. Snap the thread while carrying the tube from the table, then remove the silks and use them in the next effect.

Silk From Playing Cards *

• J E A N

21 H U G A R D •

This effect which appeared in SILKEN SORCERY is a nice

method of changing from cards to silks. Effect: Following a card routine, two of the cards are formed into a cylinder from which a silk is produced. Preparation : Attach a length of thread to a rolled silk, Figure 113. Tie a bent pin to the other end of the thread. Place the silk in the breast coat pocket, leaving the point of the pin hang over the edge of the pocket, Figure 114.

Presentation : 1. Take a card in each hand. 2. Accidentally (?) drop the card held in the right hand. 3. While stooping down to pick up the card, bring the left hand into position to engage its top under the point of the pin, Figure 115. 4. Carry the silk out of the pocket and behind the card, Figure 116. 5. Place the two cards together, then bend them to form a tube, Figure 117. 6. Holding the tube in the left hand, produce the silk with the thumb and first finger of the right hand, Figure118. 7. Discard the cards and go into a silk routine.

Card To Silk *

22 • J E A N

H U G A R D •

Effect : A playing card held in the performer’s hand changes into a silk. Preparation : 1. Prepare the silk, Coil Fold, Chapter Three. 2. Place the silk behind an empty card case, Figure 119.

Presentation : 1. Completing a card trick, pick up the card case and silk. 2. Place the cards in the case. 3. Remove a card, sliding the silk behind it, Figure 120. 4. Toss the case to the table. 5. Show the right hand empty. 6. Take the card and silk into the right hand. 7. Back palm the card, nipping the corner of the silk in the crotch of the right thumb at the same time, allowing the motion of the back palming action to shake the silk into view, Figure 121. 8. Grasp the lower corner of the silk with the left fingers and take away the silk as the card is front palmed under cover of a turn to the left. 9. Pocket the card as the silk is displayed.

Billiard Ball Jo Silk *

• J E A N

23 H U G A R D •

A novel use of the billiard ball shell is disclosed in SILKEN SORCERY. Preparation : Vest a small silk prepared with the Coil Fold, Chapter Three.

Presentation : 1. Show the billiard ball shell as a ball with the left hand while the right steals the vested silk. 2. Place the shell over the silk palmed in the right hand. 3. Turn to the right to display the ball, Figure 122. 4. Grip the corner of the silk between the second and third fingers. 5. Back palm the shell, shacking the silk into view at the same time, Figure 123.

Thread To Silk *

24

Effect : One of five or six spools of thread of different colors is freely selected. A length of thread is removed from the spool, rolled into a ball, and then changed into a silk of matching color. Preparation : The spools used (Figure 124) are hollow, each housing a tightly

rolled silk. The color of each silk matches a few layers of thread on the spool, Figure 125. Presentation : 1. Pick up the freely selected spool in the right hand, allowing the silk to fall into the hand, Figure 126. 2. Remove a length of thread and hold it in the left hand while the right returns the spool to the table. 3. Roll the thread into a ball between the left fingers. 4. Drop the thread ball into the right hand containing the palmed silk. 5. Develop the silk between both hands, allowing the ball of thread to drop unnoticed to the floor. VARIATION : In SILKEN SORCERY Jean Hugard suggests having a metal fake made for the inside of the spool, Figure 127. The left hand carries away the spool, leaving the fake containing the silk in the right hand, Figure 128. The thread is pushed up into the bottom part of the closed right fist and the silk with drawn from the top, Figure 129. The fake is pocketed as the left hand shows the silk.

Silkworm To Silk *

• C O L L I N S

25 P E N T Z

•

Effect : An imaginary silkworm is powdered with powder of a color freely selected by a spectator. Suddenly the invisible worm changes into a silk colored to match the selected powder. Secret : A number of bottomless bottles contain powders of various colors. Figure 130. Each contains a silk of a color matching the powder in its bottle and is fastened with a piece of thread with cat-gut loop attached, Figure 131. Presentation : 1. Display the invisible silk-worm. 2. Place it in the palm of the left hand. 3. Pick up the freely selected bottle, putting the right thumb in the loop, Figure 132. 4. Pour a small amount of the powder in the left palm. 5. Replace the bottle on the table, retaining the silk in the right hand. 6. Bring the hands together, work the silk free of the thread and develop the silk.

Silk To Streamer *

26

The principle used in STRETCHING A ROPE, combined with a holder recommended by Al Saal and known as “My helpmate” can be applied to a very effective silk to streamer effect. Effect: A silk 6” x 2” is changed into a streamer 6” x 50” by a mysterious stretching process. Required: A cloth bag folded as shown in Figure 133, and sewed as in Figure 134; a 6” x 2” rainbow silk and a 6” x 50” silk streamer.

Preparation : Place the streamer, snake fashion, in the bag, Figure 135. Pin the loaded bag to the back of the vest at an angle, then pass one end of the streamer down the sleeve, Figure 136.

Presentation : 1. Thumb palm the end of the streamer, Figure 137. 2. Produce the small silk, Chapter Four or Five. 3. Display the silk, holding one end in each hand, Figure 138. 4. Approach the right hand with the left to take end “B”, but take end “C” instead. 5. Pull ends “A and “C” to the left, Figure 139. 6. Drop end “A”, Figure 140. 7. Continue to pull the streamer from the sleeve ”,stretching” the silk. 8. When the knot in the end of the streamer is reached, Figure 141, the change is completed. 9. Roll the streamer and silk into one as a ball.

Hark Cigarette To Silk *

• B O B

27 H A N K O •

Effect : A cigarette, when lit, changes into a colored silk. Preparation : The cigarette: 1. Cut a ⅝” length from a cigarette, Figure 142. 2. Form a cylinder from a 2” x 2” piece of flash paper, then insert the piece of cigarette in one end, Figure 143. 3. Place a ¼” wide ring of stiff paper in the other end of the flash paper cigarette, Figure 144. The Silk : 1. Wrap a loop of weak thread around an accordion pleated silk, the thread passing through one end of a safety pin, Figure 145. 2. Pin the silk inside of the right trouser pocket, Figure 146. With the silk in place, put a box of matches in the right trouser pocket and the fake cigarette in a cigarette case in the inside breast pocket. Presentation : 1. Take the case from the pocket, remove the fake cigarette, then return the case to the pocket. 2. Remove the box of matches and light the extreme tip of the tobacco end of the fake cigarette. 3. Return the box to the pocket, stealing the silk as the hand

4. 5.

is withdrawn. The silk should be palmed, end “A” being thumb palmed. The action of removing the silk automatically breaks the thread. Remove the cigarette from the mouth with the right hand which has the silk palmed, Figure147. With the proper timing, the cigarette will “flash” as the silk is shaken into view.

Silks To Serpentine *

• H O F F M A N N •

Effect : A silk worked between the performer’s palms changes into a long serpentine streamer. Required : A special pull, coil of paper, and a wooden peg, Figure 148.

28

Preparation : 1. Glue the inside end of the coil in the slit in the peg, Figure 149. Place the peg in the hole in the end of the pull, Figure 150. Fasten the pull in place s explained in Chapter Eight.

Presentation : 1. Get the pull into the left hand. 2. Work the silk into the large opening in the pull. 3. The silk forces the wooden peg up and out of the pull, causing the serpentine to shoot forward. 4. Keep the hands in motion as the serpentine flows into view. 5. Release the pull and show the hands empty.

TRANSPOSITIONS At times it is desirable to reproduce a silk previously vanished, cause a silk to leave one place and to appear in another, or to have two or more silks change places. Unless a method of vanishing the silk is given, one of those explained in Chapter Eight should be used. Many uses will be found for the choice effects I have assembled for this chapter.

Mercury Silk *

1 • M A G I N I •

A vanished silk reappears an a ribbon held by an assistant. Preparation : 1. Prepare a ribbon as shown in Figure 1. 2. Attach a length of elastic and a small ring, Figure 2. 3. Fix on oval ring to the end of the elastic, Figure 3. 4. Pass one corner of a silk through the oval ring, then tie a knot, Figure 4. 5. Roll the silk, Figure 5. 6. Insert the little fingers in the loops and take the silk in the left hand, Figure 6.

Presentation : Magician : Vanish a duplicate of the prepared silk. Assistant : Turn the hands, fingers to the floor, and release the silk, Figure 7.

The Hank That Flew *

• T E D

2 N N E M A N N •

A silk vanishes from a glass and reappears in a second glass. Required : A mirror glass; an ordinary glass to match; two silks; two metal cylinders, Figure 8. Preparation : Tie a length of weak thread around on accordion plated silk. Tie the head of a bent pin to the thread, Figure 9. Apparatus

is arranged as shown in Figure 10.

3.

4. 5. 6. 7. 8.

9.

Presentation : 1. Show cylinder No. 1 empty. 2. Pass cylinder up over mirror glass, engaging pin or cylinder, Figure 11. Holding the ordinary glass in one hand, place cylinder No. 1 over it, breaking the thread to allow the silk to fall into the glass, Figure 12. Give the loaded, covered ordinary glass to a spectator to hold above his head. Show cylinder No. 2 empty. Place the second silk in the front part of the mirror glass. Cover the mirror glass with cylinder No. 2, giving the covered glass a half turn as it is raised above your head. Command the silk to pass to the spectator’s glass. Have the spectator remove the cylinder, exposing the silk.

10.

Remove the cylinder from the mirror glass, showing that the silk is no longer there.

Silks and Cupr *

3 • J O E

B E R G •

Effect : Two empty paper cups are brought together and a silk appears in one of them. The two cups, brim to brim, are handed to a spectator after the silk is removed. The silk is vanished, only to reappear in the cups held by the spectator. Preparation : Insert a tooth pick in one corner of the hem of each of two silks, Figure 13. Accordion fold each silk, Figure 14, and place a silk in the bottom of each cup, Figure 15. The tooth pick holds the silks in place. Sit the cups, thus prepared, upright, side by side on the table.

Presentation : 1. Show the insides of the cups. 2. Drop one cup inside of the other and show the free hand empty. 3. Withdraw the inner cup, squeezing its base through the walls of the outer cup, releasing the silk, Figure 16. 4. Bring the cups mouth to mouth, Figure 17,and show the free hand empty. 5. Remove the top cup and drop the lower one into it, Figure 18.

6. 7. 8. 9. 10. 11.

Produce the silk. Squeeze the cups to release the second silk. Place the cups mouth to mouth and hand them to a spectator to hold. Vanish the first silk. Separate the cups and discover the second silk, supposedly the one just vanished. Toss the cups into the audience, pocketing the gimmicked silk.

Oriental Mats *

• P E R C Y

4 A B B O T T •

Effect : Two oriental mats are shown. A silk attached to one mot is removed and is placed inside of the second. When the mats are reopened the silk is back in its original position. Preparation : This mechanical effect requires two mats prepared as follows: Mat No. 1. One mat is placed on top of another, Figure 19. The two are glued together as indicated in Figure 20,forming a pocket, Figure 21.

Mat No. 2. Two mats are glued together, Figure 22,and half of another mot is added and glued, Figure 23, forming a mot with a flap, Figure 24. The design on top of flap coincides with that of the mat. Place a corner of a silk under a bamboo strip at the top of Mat No. 2, Figure 25. Raise the flap and place a second silk in place, Figure 26. Both mats are as shown in Figure 27 prior to presentation.

Presentation : 1. Pick up mat No. 2. Hold the bottom of the flap against the top edge of the mot, and allow the mot to open, showing the silk, Figure 28. 2. Remove the silk. 3. Fold the mat and lay it on the table. 4. Pick up mat No. 1 and allow it to open. 5. Fold up the mat and insert the silk in the pocket in pretense of placing it inside of the mat. 6. Allow mat No. 1 to open, showing that the silk has vanished. 7. Pick up mat No. 2, and allow it to open, showing the silk, Figure 29.

The Goblin Tube *

5 • P E T R I E •

Effect: A cylinder is sealed a la drum head on both ends by a spectator. A freely selected silk is vanished by the performer. Upon opening one end of the cylinder the performer finds the vanished silk therein. Required: The cylinder two sealing rings, an extra long thumb tip, two squares of tissue, and a quantity of 12” silks of assorted solid colors, Figure 30.

Presentation : 1. Allow any spectator to seal both ends of the cylinder with tissue paper. 2. Pick up the selected silk and thumb fake with the left hand, Figure 31. 3. Alternating with thumb and first finger, work the silk into the fake with the right hand, Figure 32. 4. The last time the thumb goes into the fake it should carry it away, leaving the left fist empty. 5. Open both hands, tips of thumbs pointed to audience, Figure 33. 6. Take the sealed cylinder from spectator with the left hand. 7. Bring the cylinder and fake into the position shown in Figure 34. 8. Push the thumb fake through the paper and into the tube, leaving the fake there in, Figure 35.

9.

Withdraw the thumb, bringing a corner of the silk into view. 10. Pull the silk from the tube with the first and second fingers, Figure 36. 11. Hold the silk in front of the cylinder, Figure 37.

12. 13.

Bring the silk down over the cylinder, then insert the thumb and bring away the fake, Figure 38. Hand the cylinder for examination and pocket the silk and thumb fake.

The Depression Trick *

6 • M O R R O W •

Effect : A small purse is examined and held by a spectator. A silk is vanished and found inside of the purse. Required An ordinary purse, a long thumb tip, and a 12” silk. Preparation : Place the thumb fake and silk side by side inside of the purse, Figure 39. Presentation : 1. Pick up the purse in the left hand and open it with the right. 2. With the mouth of purse facing you, insert the right thumb

3.

4. 5.

6. 7.

8.

9. 10.

11. 12. 13. 14. 15. 16.

into the fake. Take an available corner of the silk between the right thumb and first finger and pull the silk from the purse, Figure 40. Pas the purse to a spectator to examine and retain. Leave the thumb tip in the left hands as the hands come together, Figure 41. Tuck the silk into the left hand and thumb fake. Withdraw the R. hand, carrying away the fake on the right thumb. Keep the left fist closed as though it contained the silk. Take the purse in the right hand, right thumb to back of purse, Figure 42. Toss the silk invisibly from the left hand into the purse. Open the purse with the left hand, mouth of purse away from the audience. Reach into the purse with the right thumb and first finger. Grip the thumb fake through the purse with the left fingers. Withdraw the silk with the right finger. Insert the right thumb into the fake carrying it away. Toss the purse into the audience. Pocket the silk and the thumb tip.

Selecto Silko *

• F R A N K

7 C H A P M A N •

Effect : Three unprepared envelopes are numbered, sealed, and placed in front of three ordinary tumbles containing three silks of different colors, Figure 43. One silk is freely chosen and vanished. The silk reappears in any envelope specified by a spectator.

Preparation : In addition to the silks, envelopes, and three tumblers, on extra long thumb tip is needed. Place a silk in each of the tumblers and the thumb tip in the match pocket of the right coat pocket. Presentation : 1. Pass the envelopes to be numbered and sealed. 2. Call attention to the silks in the tumblers. 3. Place an envelop in front of each tumbler. 4. Remove the silks and have one freely selected. 5. Pocket the other two silks, getting the fake in the right palm as the hand is removed. 6. Tuck the selected silk into the right fist and thumb tip. 7. Withdraw the thumb tip on the left thumb, keeping the right fist closed. 8. Have one of the envelopes selected. 9. Take the selected envelope in the left hand and open the right, tossing the invisible (?) silk into the sealed envelope. 10. Tear off the end of the envelop with the right hand, Figure 44.

11. 12.

13.

14.

Blow into the end of the envelope. Transfer the envelope to the right hand, insert the left thumb and first finger inside. Pinch the thumb tip through the envelope as the left fingers withdraw the silk, Figure 45. Crumple the envelope containing the tip and toss it aside.

Repeat-It *

8 • P E R C Y

A B B O T T •

Effect : Two tumblers and two metal covers are displayed. A silk is taken from the first tumbler, placed in the second, and covered. Upon removal of the cover the silk has vanished and reappears back in the first tumbler. The performer repeats the effect three times, but at the end of the routine the effect goes “sour”, for the performer finds a lemon in place of the silk ! Required : Two metal covers, two tumblers, one celluloid insert with a mirror partition, and a second celluloid insert slightly shorter in height, Figure 46. Note the celluloid fabs fastened to the inserts to aid in manipulating them in presentation. Three 12” silks of the same color are also needed.

Preparation : For ease in explanation, I will refer to the shorter insert and tumbler as No. 1, and the mirror insert and the second tumbler as No. 2. Tumbler No. 1 Place a lemon in the insert. Then tuck one silk in on top of the lemon, followed by a second silk. Place the third silk in the bottom of the tumbler, bringing the corners of the silk up along the side of the tumbler. Place the prepared insert into the tumbler, Figure 47. If correctly assembled, the third silk hides the insert from the spectator’s view, Figure 48. Tumbler No. 2 Place the insert with the mirror in the second tumbler. Covers. Place a cover over each tumbler. Presentation : The First Transposition : 1. Remove the cover from No. 2 and show it empty. 2. Replace the cover. 3. Remove the cover again, carrying away the insert with the aid of the tab, Figure 49. 4. Sit the cover and insert on the table. 5. Show the glass, then return it to the table and cover it with the cover and insert. 6. Remove the cover from No. 1, show it, replace it over the glass, remove it with the insert, using moves given for No. 2. 7. Pick up the tumbler No. 1, remove the silk, show the tumbler empty, replace the silk, place the tumbler back on the table, and replace the cover and insert. The corners of the silk in the glass must again hide the insert, Figure 48. 8. Remove the cover From No. 2. 9. Remove the top silk from insert No. 1 through the top of the tube.

10. 11. 12.

13. 14.

Place the silk in No. 2 so that part of the silk is front of the mirror and part is in back of it, Figure 50. Replace the cover on No. 2. Insert a wand in the top of tube No. 2 and force the silk down behind the mirror, drawing all of the silk from the front of the mirror to the back as well, Figure 51. Tap the cover of No. 2 with the wand, remove the cover, and show the tumbler to be empty. Remove the cover and insert from No. 1, showing the silk is back again.

The Second Transposition : 1. Replace the cover and insert over No. 1, then withdraw the second silk from the insert through the top of tube No. 1. 2. Repeat above steps 10 through 14. The Third Transposition (With Lemon Finish) : (Now two of the silks are behind the mirror in tumbler No. 2, and the third silk is visible in the bottom of tumbler No. 1.) 1. Remove the silk from tumbler No. 1. 2. Replace the cover and insert No. 1. As the silk has been removed, the insert now rests on the bottom of the glass. 3. Repeat steps 10 through 13, stopping before tumbler No. 1 is exposed. 4. Now remove cover No. 1, expecting to find the silk, but disclosing the lemon. 5. Patter, saying, “Evidently my trick went ‘sour’, for instead of

6.

the silk I find I have a lemon !” Roll the lemon out on the table, pick it up, and toss it into the audience.

Vanirking Silk Effect *

• R.

9 C.

B U F F •

It gives me considerable pleasure to present Buff’s excellent, effect, created exclusively for this encyclopedia. Effect : A marked 15” silk which has just vanished reappears under a borrowed hat. Preparation : A 15” silk, a 2” corner from a duplicate silk, a gummed sticker, and a borrowed hot are needed, Figure 52. Place the duplicate corner on corner “A of the silk, Figure 53. Presentation : 1. Place the borrowed hat, brim up, on a table. 2. Pick up the silk and corner in the left hand, Figure 54. 3. Ask a spectator to initial the gummed sticker. 4. Hold the silk as shown in Figure 55 while the spectator attaches the sticker to end “B” of the silk. 5. Bring end “B” up against the silk in the palm of the left hand, Figure 56. 6. Roll the silk between the palms until it becomes a small ball, Figure 57.

7.

8.

9. 10. 11.

12.

13.

14.

Continue until corner “A” is pulled down into the palms, leaving the fake corner “X” remaining in view above the left thumb. Now steal the rolled silk into the right palm, closing the left fist at the same time, creating the illusion that the silk remains in the left. Corner “X” still remains in view. ( See No. 1, A Master Vanish, Chapter Eight.) Pick up the hot with the right hand, Figure 58. Turn the hat over, brim down. Hold the hot about a foot above the table; release the silk, dropping the hat at the same time, Figure 59. Push the visible corner “X” well down into the crotch of the left thumb with the first finger of the right hand, Figure 60. Open the left hand, keeping the small compressed corner of silk hidden from view, Fig. 61. Pick up the hat with the right hand, disclosing the marked silk.

Parre-Parre Silks *

10

The apparatus for this excellent effect is a collector’s item. The Hornmann Magic Company was among the first to manufacture the effect. Effect : Two cylinders and two metal holders stands are shown, Figure 62. A silk placed in the first cylinder travels invisibly to the second cylinder. If desired, the silk may be caused to pass back to the first cylinder again. Preparation: The effect is entirely mechanical and is based upon apparatus of ingenious construction. The outfit consists of two metal stands, two metal cylinders, and two metal fakes flanged out on one end in on the other, Figure 63. In addition, two duplicate silks are needed. At the beginning of the effect the apparatus is arranged as shown in Figure 64. NOTE If the cylinder is pushed through the stand to the right, the fake will remain in the stand; if pushed through the stand to the left, the fake will remain in the cylinder. Presentation : (The fake in each set is in either its cylinder or holder at all times. To show a cylinder empty when it container the fake,

pass the cylinder through the holder first, Figure 65, leaving the fake there in. To show a holder empty when it containers the fake, pass the the cylinder through the holder to carry away the fake, Figure66, before showing the holder.)

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.

14.

Show holder No. 2 empty. Pass cylinder No. 2 through its holder, then show the cylinder empty. Place cylinder No. 2 back in holder No. 2. Show cylinder No. 1 empty. Pass cylinder No. 1 through its holder, carrying away the fake. Show holder No. 1 empty. Apparatus is now as shown in Figure 67. Place a silk in top of cylinder and fake No. 1. Place cylinder No. 1 in its holder. Apparatus is now as shown in Figure 62. Command silk to pass from No. 1 to No. 2. Remove cylinder and fake No. 2 from its stand and withdraw the silk. Remove cylinder No. 1, leaving fake No. 1 in stand No. 1. Show cylinder No. 1 empty.

A Flark Affair *

• W I L F R E D

11 G.

J O N S O N •

This idea was suggested in the Magic Wand. Effect : A silk vanished and reproduced, then vanished again, and appear in a glass goblet previously covered with a cone of flash paper. Preparation : Attach a loop of silk card to the elastic on a pull, Figure 68. With the loop over the right arm, pas the elastic across the back and under the vest, bringing the pull through the left arm hole of the vest, Figure 69. Fasten a special band of cloth matching the material of your suit. (Figure 70) around the right leg just above the knee, Figure71. A 12” silk is tucked under the band as illustrated. A second silk is folded and attached to a corner of a square of flash paper, Figure72. In addition, a third silk and a glass goblet are needed. The third silk is in the vest packet directly beneath the pull.

Presentation : 1. Pick up the flash paper, palming the attached silk, Figure 73. 2. Show both sides of the paper. 3. Form the paper into a cone, Figure 74, holding it in shape by twisting its apex, Figure 75. 4. Place the cone over the mouth of a glass, Figure 76. 5. Reach under the coat with the right hand and remove the pull and silk, transferring them to the left hand as they come into view, Figure 77. 6. Tuck the silk into the pull with the right fingers. 7. Free the pull and show that the silk has vanished. 8. Produce the second silk from behind the right leg. 9. Vanish the silk ( see Chapter Eight, Vanishes). 10. Reach for it behind the right leg, but instead of producing the silk, strike the match on the sandpaper, producing the lighted match. 11. Touch the tip of the cone with the match. 12. As the cone flares up, dropping the silk into the goblet, reach in and break the tissue band immediately, allowing the expanding silk to fill the glass. Variation : Paul Rosini suggests taping a silk to a square of flash paper with a narrow strip of flash paper. If the paper is of good quality, it will not harm

the silk when ignited. With the paper thus prepared, Figure 78, the come is formed as shown in Figure 79. If this method is used, the silk will fill the glass without assistance when the cone is ignited.

Right and Left *

12

The true origin of this effect is difficult to confirm although mention is made of Hoffmann and Adrian Plate by several authors. Hoffmann in his LATER MAGIC claims no credit, advising that it is of German origin. Effect : Two glass test tubes are shown. A red silk is placed in one, a green in the other. Upon command the silks change places. Preparation : Pass a length of strong fine black thread through two holes drilled in the ends of two test tubes, Figure 80. If the silks are to be independent of the tubes, form two open slip knots at the ends of the thread, Figure 81. Otherwise, place the silks in the slip knots in advance of performing and draw the loops up somewhat, Figure 82.

Presentation : 1. Standing behind point “X”, display the silks, then work them into the loops, Figure 82. 2. Tighten the slip knots around the silks.

3. 4. 5. 6. 7.

Show the tubes after placing the silks on the table in front of them. Starting with the corners, place the red silk in tube No. 2. Starting with the corners, place the green silk in tube No. 1. Holding a tube in each hand, call attention to the colors of the silks in each tube. With the mouths of the tubes pointing to the audience, move the hands quickly apart, causing the silks to change places instantly.

Color Changing Hanks *

13

A slightly different version of RIGHT AND LEFT is described in THE BOY’S BOOK OF CONJURING. Two glass cylinders replace the test tubes. At the opening of the effect the cylinders, cards and silks are as shown in Figure 83.

Presentation : 1. Show the silks, then replace them in their original positions on the table. 2. Pick up the cylinders and show them. 3. Place the green silk in Cylinder No. 1. and the red silk in No. 2, Fig. 84. 4. Pull the silks through the cylinders and place the green silk in No. 2 and the red silk in No. 1, Figure 85. 5. Holding a cylinder in each hand, move the hands quickly apart, causing the silks to change places instantly, Figure 86.

The Flying Handkerchiefs * • T.

N E L S O N

14 D O W N S •

Henry Ridgely Evans credits this effect to T. Nelson Downs. Effect : A silk placed in one tumbler vanishes and appears in another. Preparation : Two tumblers are needed. Drill a small hole in the bottom of one, and cement one end of a two foot length of silk card to the bottom of the other. Pass the card through he hole in the second tumbler and attach a swivel snap to the free end of the card, Fig. 87. Fasten one end of a length of strong elastic to the left wrist. Pass the elastic up the sleeve, across the back, and down the right sleeve where it terminates in a loop large enough o accommodate a silk, Figure 90. Attach a 3” long loop of thread to the center of a silk, Figure 88. Place the silk in the left sleeve, leaving about 1” of the loop exposed, Figure 89. (Figure 90, shows complete set up.) Presentation : 1. Produce a duplicate of the sleeved silk (Chapter Four or Five). 2. Work the silk into the loop in the end of the elastic pull taken from the right sleeve. 3. Place the silk in tumbler No. 2. 4. Meanwhile, attach the snap in the loop of the thread fastened

5. 6.

to the silk in the left sleeve. At this point the apparatus is as shown in Figure 91. Extend the arms, allowing the one silk to be pulled up the sleeve while the second silk is pulled from the sleeve into the tumbler.

Double Flash Silk Mystery *

• P E R C Y

15 A B B O T T •

This is a modern adaptation of RIGHT AND LEFT. Effect : Two silks removed from two glass tumblers and place din a tall glass cylinder vanish, only to reappear back in the tumblers. Required: Two tumblers with small holes drilled in their walls ; a glass cylinder, a celluloid insert for the cylinder, a metal cover for the cylinder, and 4-12” silks, Figure 92. Preparation ; Tack one end of the threads passing through the holes in the tumblers to the back of the table, and tie the other ends around the center of the silks, Figure 93. Place the celluloid insert in the cylinder, and the silks tied with thread behind the table. Finally, place the duplicate silks in the tumblers. The apparatus thus prepared, is

as illustrated in Figure 94.

Presentation 1. 2. 3. 4.

; Remove the silks from the tumblers. Place the silks inside of the insert in the glass cylinder. Cover the cylinder with the metal cover. Remove the cover and insert from the cylinder. As the celluloid expands, it fits snugly against the inside wall of the cover where it remains. 5. Toss the cover into the air, catching it as it falls. 6. Call attention to the empty cylinder. 7. Pick up the tumblers, one in each hand, and walk forward with them. This action draws the silks from behind the table into the tumblers.

The Metamorphasis *

• M E S S R S .

16 H A M L E Y •

The workings of a number of currently popular effects are based on the secret employed in an ingenious piece of apparatus invented by the Hamley Brothers. Effect: A silk is placed in a metal cylinder which is capped at both ends. A flag is vanished. When the cylinder is opened the silk has vanished and the flag is found instead.

Preparation ; The apparatus consists of a cylinder, two metal caps, and a metal fake flanged out at one end and closed at the other, Figure 95. Place the flag in the bottom half of the cylinder and the fake in the top, then replace the caps, Figure 96.

Presentation : 1. Remove the top cap and put it in the coat pocket. 2. Insert the silk in the top of the cylinder and the fake. 3. Transfer the cylinder to the other hand, stealing away the fake, Figure 97. 4. Go the coat pocket for the cap, leaving the fake and silk there in. 5. Cap the top of the cylinder and hand it to a spectator to hold. 6. Vanish a duplicate of the flag ( Chapter Eight). 7. Allow the spectator to open the cylinder and discover the flag. 8. The vanished silk can reproduced from the pocket if desired.

The Nested Enveloper *

17

• H O F F M A N N •

Effect : Two spectators inspect and seal two sets of three envelopes of graduated sizes, Figure 98. The outside envelopes are initiated and the sets displayed on two easels. A red and a green silk are produced and vanished. The envelopes are opened, and a silk is found in each No. 3 envelope.

Preparation : In addition to the two sets of envelopes, duplicates of No. 2 and No. 3 envelopes are needed. A green silk is in one of the No. 3 envelopes and a red one in the other. The envelopes are then sealed and placed into No. 2 envelopes. Two special easels are also needed, Figure 99. The backs are slotted to accommodate the loaded envelopes which are in place at the beginning of the effect, Figure 100. Presentation : 1. Pass a set of envelopes to each of two spectators. 2. Have the envelopes sealed and nested. 3. Have each spectator initial his No. 1 envelope. 4. Place a set of nested envelopes on each of the easels.

5. 6. 7. 8. 9. 10. 11. 12.

Produce the red and green silks ( Chapter Four or Five). Vanish the silks ( Chapter Eight). Remove one set of envelopes from an easel, stealing the load set from the rear, Figure 101. Holding the set and the load as shown in Figure 102, tear away the top of the No. 1 envelope. Squeeze the No. 1 envelope so as to admit the thumb, Figure 103. Appearing to be removing the inner set of envelopes, actually pull the load from the rear up into view, Figure104. Discard the apparently empty No. 1 envelope, then open the other two, one at a time, disclosing the first silk. Repeat step 7 through II, producing the second silk.

The Homing Silk *

18

This version of the NESTED ENVELOPES has been described in several books, including Hugard’s SILKEN SORCERY. Effect : Three nested envelopes sealed and placed against on empty playing card case are opened, and a previously vanished silk is found in the innermost envelope.

Preparation : Cut away the top and back of a card case, Figure 105. Glue the bottom of the case to a heavy lead base, Figure 106. Five envelopes (Figure 107) and two duplicate 12” silks are also needed.

Place one of the silks in a No. 3 envelope; this is sealed and placed inside of a No. 2 envelope which is then sealed. Stand the load inside of the card case,

Presentation : 1. Pass the three unprepared envelopes for examination. 2. Have a spectator inspect, seal and nest the envelopes, one inside of the other. 3. Place the nested envelopes against the front of the card case, Figure 109. 4. Vanish the remaining 12” silk ( Chapter Eight). 5. Pick up the nest of envelopes, carrying the hidden load with it, Figure 110. 6. Tear off the top of the largest envelope, Figure 111.

7. 8. 9. 10.

Insert the right thumb in the opening, Figure 112. Pull the load up into view, Figure 113. Drop the large envelope and its contents on the table, carrying the two nested envelopes forward. Ask a spectator to open the two envelopes, disclosing the silk.

Simple Silk Sorcery *

• O S W A L D

19 R A E •

Effect : Four envelopes marked and sealed by spectators are displayed on an easel, Figure 114. One of four silks is selected, and the four are placed in a paper cone. One of the four envelopes is named, and the remaining three are removed from the easel. The selected envelope is opened and the selected silk is found therein. The cone is opened and but three silks are found therein, the fourth having vanished. Preparation : The easel has a strip of elastic across its back, Figure 115. Four envelopes, smaller than the ones marked by the spectators, are loaded

with 12” silks, one to the envelope, and are placed on the back of the easel, Figure 116. A double cone (Chapter Eight) and duplicates of the silks in the hidden envelopes are also needed. Presentation : 1. Pas the envelopes to spectators to make and seal. 2. Place the envelopes on the front of the easel, Figure 114. 3. Display the silks and have one selected. 4. Place the four silks in the cone, the selected silk going into the pocket. 5. Remove envelopes from the easel. 6. Have any one of the envelopes freely selected, then discard the rest. 7. Place the selected envelope on the easel in a position directly in front of the envelope containing the selected silk, Figure 117. 8. Pass the silk invisibly from the cone held by a spectator to the remaining envelope on the easel. 9. Remove the envelope, taking the one containing the selected silk with it, Figure 118. 10. Tear away the tops of the envelopes, Figure 119. 11. Pull the silk from the back envelope, Figure 120.

Selecto – O *

20 • H A E N C H E N •

Effect : Four numbered envelopes rest on a metal pyramid-shaped easel. The envelopes, numbered one to four, are examined, then returned to the easel. Four differently colored silks are displayed. A silk and a numbered envelope are freely selected. The silks are placed in a glass tumbler and covered. Upon command the selected silk leaves the glass and is found in the chosen envelope on the easel. Required : In addition to the easel, four numbered envelopes, four silks, and glass tumbler and metal cover, Figure 121, four smaller envelopes, four duplicate silks, and a celluloid fake, Figure 122, are needed. A cross section of the easel is shown in Figure 123.

Preparation : A small envelope loaded with a silk is placed inside of the easel behind each of the numbered envelopes, and the celluloid fake is clipped over the edge of the glass, Figure 124.

5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.

16.

Presentation : 1. Show the easel; give it quarter turns four times to display the four envelopes. 2. Have one the four silks selected. 3. Remove the numbered envelopes from the easel and have one selected. 4. Replace the envelopes on the easel, placing the selected one in front of the hidden envelope containing the duplicate of the selected silk. Place two silks in the glass in front of the fake. Insert the selected silk in the fake in the glass. Push the fourth silk in the glass. Turn the glass to display all of the silks. Place the glass over the well in the pyramid. Cover the glass with the cylinder. Command the selected silk to leave the glass and to pass into the selected envelope. Pick up the cylinder and insert with the right hand while the left picks up the glass. Sit the cylinder on the pyramid again, allowing the fake to drop into the well. Show that the selected silk has vanished from the glass. Take the selected envelope from the easel, carrying the loaded one from within the easel along behind it. Raise the flap of the numbered envelope as though to remove a silk from inside, taking the duplicate silk from the second envelope, Figure 125.

Simple Silk Production Board * • L E N

21 S E W E L L •

Effect : Silks removed from an easel and then vanished reappear back on the easel. Preparation : The effect depends upon the ingenious construction of the easel, Figure 126. Tack three silks to the front of the easel, Figure 127. Tack three duplicates to the back, Figure 128. Roll or fold the silks (Chapter Three) and fasten the ends of the elastic with the needle, Figure 129. Presentation : 1. Remove the three silks from the front of the easel. 2. Vanish the silks (Chapter Eight). 3. Pull the thread which turns the board over as the elastic ends are released. 4. The three duplicate silks fall into view.

The Decapitated Knot

• F R E D

22 C U L P I T T •

Effect : A knot tied in one end of a silk is cut away, then vanished, only to reappear on the silk again. Preparation : A triangular piece of silk, Figure 130, is tied in a knot, Figure 131. Thumb palm the silk fake, Figure 132. An unprepared silk is also needed. Presentation : 1. Hold the unprepared silk at one corner with the left fingers. 2. Place silk in right hand as illustrated, Figure 133. 3. Tie a knot in the top of the silk, a portion of the fake being included in the knot, Figure 134. 4. Transfer the silk to the left hand, taking the silk as shown in Figure 135. 5. Turn to the left to pick up the scissors from a table, bringing the silk in the position shown in Figure 136. 6. Cut off the fake knot. 7. Crumple the silk without exposing the real knot, and lay the silk

on a table. 8. Pick up the fake knot just cut away. 9. Vanish the knot, using the “French drop” method. 10. Flip the silk into the air, catching it as it falls, and display the knot now back in the silk. (This effect can also be done with a borrowed linen handkerchief.)

Silk Production Move *

• E R N E S T

23 C A S T R O •

Effect : A vanished silk reappears within the folds of a borrowed linen handkerchief. Preparation : Cut a small hole in the right trouser leg on the seam just above the knee. Fasten a small black cork or bead to one end of a silk. Place the silk inside of the trouser leg, cork protruding through the hole, Figure 137. An unprepared duplicate of the gimmicked silk is also needed. Presentation : 1. Vanish the silk, (Chapter Eight). 2. Borrow a linen handkerchief, holding it as shown in Figure 138. 3. Show the handkerchief on both sides. 4. Resume the Figure 138 position. 5. Take the cork between the first and second fingers of the right hand.

6.

7.

Raise the right hand while lowering the left, holding the linen handkerchief taut, Figure 139,bringing the silk from the trouser leg into the handkerchief. Release the cork and shake the silk into view.

The Diminishing Silk *

• E R I C

24 L E W I S •

Effect : This is strictly an “M.C.” gag. The performer enters, carrying a 24” silk. He ‘waves’ to the spectators with the silk which slowly and visibly changes into a 9” silk as he continues waving and pattering. Preparation : A strong pull such as illustrated in Chapter Fifteen, Reel Magic, and a 24” and a 9” silk of like color are needed. Attach the pull under the coat and bring the cord up the back and down the right. Sleeve Figure 140. Fasten a corner of the 24” silk to the end of the card. Enter, holding the silks as shown in Figure 141.

Presentation : 1. Merely control the release on the reel through the coat with the left hand, allowing the larger silk to pass up the right sleeve. 2. As the last of the silk goes up the sleeve, Figure 142, release one corner of the smaller silk. 3. Display the small silk.

The Traveling Silks *

• W I L L I A M

25 L A R S E N •

Effect : Four of ten silks vanish, then reappear inside of a paper napkin. Preparation : Ten silks are needed…. 2 each of red, green, blue, yellow and orange. Fold a red, green blue and yellow silk into a small bundle (Chapter Three) and wrap them securely in a white paper napkin. Place the prepared bundle behind some object with the second napkin placed over it, Figure 143. Twist an orange, blue, red and yellow silk ropewise, one at a time, then lay them one on the other. Now, double the silks in half, bringing eight ends together. Place the orange silk on the table, then place the folded silks on top of it, Figure 144. Finally, place the green silk on top, Figure 145. Ten playing card, ace through ten, are also needed.

Presentation : 1. Grasp the bundle of silks at their middle, allowing the taps to fall to the front of the hand, the two full silks to the back, Figure 146. 2. Count the silks, one at a time, dropping the tips over the thumb, Figure 147. 3. Bundle the silks into a ball and drop them into a hat. 4. Pick up the napkin, show it, then replace it, Figure 143. 5. Hand the cards to a spectator to shuffle. 6. Pick up the napkin and the silk load and roll them into a ball. 7. Take the cars back, them force the four spot. ( See Encyclopedia of Card Tricks ). 8. Order four silks to leave the hot and pass to the napkin bundle. 9. Remove the silks from the hot and count them. 10. Disclose the four silks in the center of the napkin.

The Little Green Bag *

• E R I C

26 W I L L I A M S •

Effect : A red silk is placed in a green bag. Upon command, the bag changes from green to red and the silk from red to green. Preparation : The secret lies in the construction of the bag. The bag consists of two red and two green cloth bags, all made of thin opaque material, Figure 148. Place a red bag inside of each green bag, then stitch them together, forming two bags which are green on the outside and red inside,

Figure 149. Now place the bags together and stitch the edges to form one bag, Figure 150.

Stiffen two of the top edges with a strip of whalebone or thin spring metal, Figure 151. Finally, bind the top edges of the compartments with a ½” wide strip of black cloth tape, ¾” to each side, Figure 152. Place a green silk in one of the red compartments and have a red silk handy.

Presentation : 1. Place the left hand in the center (green) compartment and display the bag, Figure 153. 2. Take the bag with the right hand as shown in Figure 154, then withdraw the left hand and assume the new position illustrated. 3. Using the free fingers of both hands, work the bag inside out, the right hand going inside the bag immediately to force to corners in place, Figure 153. 4. Reverse the steps just given, bringing the bag back as it was prior to Step No. 1. 5. Display the red silk, then place it in the center (green) compartment. 6. Insert the thumbs in the red compartment containing the green silk, Figure 155. 7. Turn the bottom of the bag to the audience, Figure 156. 8. Using the free fingers of both hands, gather up the bag in the fingers. The red opening faces the performer and is unseen by the spectators, Figure 157. 9. When the bag is gathered up, quickly turn it inside out by thrusting the bag through its mouth with the right fingers, turning the mouth of the bag to the audience at the same time. 10. The red bag comes into view and the green silk drops out.

11.

Place the thumbs in the center (now red) compartment and turn the bag inside out, proving the bag to be red both inside and out.

NOTE : Eric Lewis uses a flap slate. Prior to performing write ‘red bag and green silk’ an the slate with corresponding colors. Put the flap over the lettering. When introducing the effect, write ‘green bag and red silk” on the outside of the flap with chalks of corresponding colors. Lay the slate aside. At the conclusion of the effect, the flap is left on the table and the front of the slate, when displayed, reads “red bag and green silk.”

The J.G. Bag Trick *

• J U D A H

27 A N D

G R A N T •

This is an American version of the LITTLE GREEN BAG. Effect : A red silk is placed in a green bag. Upon command, the bag changes from green to red and the silk from red to green. Preparation : Again, the secret rests in the construction of the bag. The outfit consists of green, red, and black bags, Figure 158, sewed together, Figure 159, and bound across the top edge with strips of 1½” black cloth tape, ¾” to each side of the material, Figure 160.

With the green bag out, place a green silk in the red compartment. A red silk is also needed. Presentation : 1. Take the bag in the position shown in Figure 161,the double portion of the bag nearest the performer. 2. Show the front and back of the bag. 3. Place one hand inside, extending the fingers into the corners, Figure 162, and turn the bag inside out. Now the outside of the bag is black. 4. Turn back part of the top of the bag, forming a “cuff”, so that the spectators can see the inside is green, Figure 163. 5. Put the red silk inside with the right hand, unroll the “cuff” then turn the bag to bring the double portion nearest the audience. 6. Insert the left thumb between the red portion of the bag, Figure 164. 7. Reach into the red section and remove the green silk. 8. Turn red section of bag outside. (The bag may also be used as a “changing bag” to force numbers, change the colors of silks, etc.)

The Magicolor Tube *

• H E N R I

28 R E N A U D •

Effect : A red silk is tucked into an empty green tube which is then rolled in a sheet of newspaper. The tube, when slid out of the paper cylinder, is seen to be red, while the silk, when removed from the tube, is green. Preparation : A red ghost or phantom tube (Chapter Seven) with the load compartment divided into two compartments (Figure 165), and two 18” silks are needed. Roll a strip of green enameled paper around the tube to form a loose fitting cylinder, and add two small bits of magician’s wax to the paper, Figure 166. Load a green silk into one of the compartments, and have a sheet of

newspaper available.

6.

Presentation : 1. Show the tube empty ( Chapter Seven). 2. Pick up the red silk and tuck it into the empty compartment is the green tube. 3. Roll the tube in a sheet of newspaper, leaving the ends open. 4. Press the newspaper against the dabs of wax. 5. Slide the tube out of the paper cylinder (green shell remaining fastened to the inside of the paper cylinder.) Display the red tube, produce the green silk, then show the tube empty.

The Red and White Box Mystery *

29

Effect : A white silk placed in a red box becomes red as the box changes to white. Preparation : The secret rests in the box. A hinged flap red on one side and white on the other is attached to a box with three white sides and one red. A flap inside of the box and hinged to the bottom drops to an angle of 45 degrees, and when in place, is fastened with a simple metal latch. Details of the box’s construction are shown in Figure 167. A red and a white 12” silk are also needed.

At the beginning of the effect the box is as shown in Figure 168. Presentation : 1. Hold the box on the left hand as shown in Figure 168. 2. Show the white silk, then drop it into the compartment inside of the box. 3. Close the lock flap, leaving the red silk inside the box. 4. Bring the right hand to the front and left of the box, Figure 169. 5. Turn the box slightly with the left hand so that the right palm presses against the edge of the flap and, just as in the playing card color-change, causes the flap to turn completely over, thus bringing the white sides into view, Figure 170. 6. Show the box white on oil sides, then remove the

red silk and show the inside of the box.

Balls and Silks *

• S T E W A R T

30 J U D A H •

I am grateful to Stewart Judah for this Silk King Studios exclusive which appears in print for the first time. Effect : A red, a white, and a blue billiard ball and three silks of corresponding colors are shown. The white ball is wrapped in the red silk, the blue ball in the white silk, the red ball in the blue silk, and the silks placed in glass goblets, Figure 171. When the silks are removed from the glasses, Figure 172, the colors of the balls match those of their corresponding silks !

The Secret : The effect is accomplished through a simple switch. In addition to the three 1½” billiard balls and three 18” silks, a duplicate red ball is required. The duplicate ball is palmed, Figure 173, at the beginning of the effect. Presentation : 1. With the red silk acting as a background, toss the while ball up into the air, then catch it, Figure 174. 2. Throw the silk over the right hand, then turn the palm up, Figure 175. 3. Take the red ball through the silk with the left hand, Figure 176.

4. 5. 6. 7. 8.

9.

Stroke down the silk with the right hand, which has the white ball palmed, Figure 177. Drop the silk into the tumbler with the right hand, Figure 178. Repeat these moves with the other two silks and balls, making the necessary switch under the silk each time, Figure176. Now each tumbler has a silk and ball of corresponding color, unknown to the audience. Pocket the remaining red ball while attention is called to the silks, balls and goblets. Pull the silks from the tumblers, Figure 172, disclosing the balls in the proper goblets to match the silks of corresponding colors

Transpo-Silko *

• S T E W A R T

31 J U D A H •

Effect : Two black tubes are shown. One is banded in green ; the other in red. A silk of corresponding color is placed in each tube, and the silks are commanded to change places. Upon blowing through each tube a silk of the opposite color files into the air. The Secret : Two black plastic tubes of thin walls are banded with a color, Figure 173. Loose bands of opposite colors and slightly wider rest over the bands permanently fastened to the tubes, Figure 174. A the beginning of the effect the apparatus is as shown in Figure 175.

Presentation : 1. Hold the tube as shown in Figure 176. 2. Pull the silk from the tube, then show the tube empty. 3. Replace the silk, using a wand, tucking the silk ends well inside of the tube. 4. Set the tube upright in a tumbler. 5. Repeat the first three steps given above with the green tube. 6. Hold the tube as shown in Fig. 177

1.

2.

3.

4. 5.

6. 7. 8. 9. 10.

11.

Take the red tube with the right hand and add this tube to the one in the left, Figure 178. Grasp both tubes at their tops with the right hand and pull upwards, the left thumb pressing against the colored bonds. The outer bands are automatically slipped down the tubes, Figure 179. Remove the tube to the right with the left hand by continuing to carry it upwards until it clears the left hand. Set the tube upright in the tumbler. Pull the remaining tube up and out of the left hand with the right.

Slowly close the left hand on the outer paper bands, crushing them, while attention is called to the tube held in the right hand. Transfer the tube from the right hand to the left, assuming the position shown in Figure 180. Place the tube to the mouth and blow through the tube. A silk of color opposite to the band flies into the air ! Repeat the blowing process with the remaining tube and silk. Pass the tubes for examination. Pick up the silks and pocket them along with the paper bands.

The Flying Silk *

• J I M M Y

32 F L O W E R S •

Effect : A vanished silk reappears lied to a ward suspended on an easel, Figure 191. The Secret : In addition to the easel and wand, Figure 181, a 12” silk and a prepared duplicate 12” silk are needed. The prepared silk has a narrow strip of thin flat tin (covered with silk of a matching color) sewed to its center, Figure 182. Tie the silk into a single knot, Figure 183, then wrap the ends of the silk loosely around the knot, Figure 184. Finally bend the metal slightly, Figure 185, and place the prepared silk under a sheet of newspaper, Figure 186.

Presentation : 1. Display the wand and stand. 2. Place the wand on the stand, Figure 181. 3. Pick up the paper and silk, Figure 187, then

4.

5. 6. 7. 8.

9.

10.

show both sides of the paper. Place the paper over the wand, the right hand pressing the silk knot around the wand’s center, Figure 188. Press the curved metal until the silk is held in place, Figure 189. Display the duplicate silk, then tie a knot in its center. Vanish the silk (Chapter Eight). Spin one end of the wand, causing the ends of the hidden silk to fall from around the knot, Figure 190. Withdraw the paper and display the silk tied around the wand, Figure 191. Pick up the wand, slide off the knotted silk, then untie the knot.

Chameleon Colors *

• H A R O L D

33 R.

R I C E •

Effect : A green silk is placed in an envelope marked with a green spot, and a red silk is placed in an envelop marked with a red spot. When the envelopes are opened by a spectator the silks have changed places. The Secret : This mechanical effect relies upon a very subtle transposition of the colored spots. Two * 10 heavy kraft envelopes, a tube of rubber cement, a I” red paper disc, a I” green paper disc, a 12” red silk, and a 12” green silk are needed. Preparation ; 1. Coat the backs of the colored discs with rubber cement. 2. Lay the envelopes side by side as shown in Figure 192. 3. Apply a thin ¾” circle of cement to the envelopes at “A”, Figure 193. 4. Apply a thin ⅛” circle of cement to the envelopes at “B” Figure 194. 5. Allow all cement applications to dry thoroughly. 6. Put the discs in place, Figure 195, coated sides up. 7. With a pocket handkerchief over one finger, press the discs firmly against the

envelopes until the discs adhere, Figure 196. The envelopes are now ready for the presentation.

8.

Presentation : 1. Pick up the envelopes and display them, Figure 197. 2. Lay the red envelope aside. 3. With the back of the envelope to the audience, place the green silk in the green envelope, working the silk to one end, Figure 198. 4. Turn the front of the envelope to the audience, displaying the green disc, and bringing the flap to the lips. 5. Moisten the flap, then seal the envelope. 6. Lay the envelope aside. 7. Pick up the red silk and the red envelope and display them. 8. Put the silk is one end of the envelope as shown in Figure 198. Now for the important move ! 9.

10.

Pick up the sealed green envelope and place it under the red one, envelopes face to face, Figure 199,colored discs lining up with the ¾” circles of cement on opposite envelopes. With envelopes in this position, bring them up to the lips and moisten the open flap of the red envelope.

11.

12.

13. 14. 15.

16.

17.

Hold the two envelopes as one with the left hand while the thumb and first finger of the right press the moistened flap in place, Figure 200. Continue down the right end of the envelopes with the right hand, pressing the two envelopes together firmly to assure permanent union of the two discs and the ¾” cement circles, Figure 201. Pick off the top envelope and display both spots, Figure 197. The colored discs have now changed places, unknown to the audience. Explain that it would be impossible for the spectators to tell the green one from the red one if the spots were not in view. However, you now defy them to follow the red one even though the colored spots are in view at all times. Hold the envelopes as in Figure 202, do a simple “mixing”, then ask a spectator to indicate the envelope containing the red silk. Hand the envelope with the red spot to him and have him open it, disclosing the green silk !

Conclusion : This effect has been my pet for years, and it has fooled magicians and laymen alike. Do not discard it because of its simplicity of method. I consider it well worth more than the price asked for this complete volume. It is obvious that many variations are possible. For example the envelopes may be initialed at the beginning of the effect. A borrowed bill can be substituted for one of the silks. By using three envelopes, two red and one green, a 3” card monte” routine can be used.

The Handkerchief Pedestal *

34

This ingenious piece of apparatus has many uses. For example, a vanished silk may be caused to reappear inside of a covered glass tumbler. A bottomless glass, paper or a metal cylinder, and the pedestal are needed. The base, Figure 203, has a wooden plunger in its center. A duplicate of the vanished silk is folded and placed in the opening above the plunger, Figure 204.

Presentation : 1. Show the base, cylinder, glass and silk. 2. Cover the glass with the cylinder. 3. Place the covered glass on the base. 4. Vanish the silk (Chapter Eight). 5. Pick up the base, pushing up the protruding button, Figure 205, causing the plunger to force the silk into the glass through its bottom. 6. Remove the cylinder, disclosing the silk in the glass, Figure 206.

Any Color Called For *

• J O E

35 B E R G •

Effect : A glass covered ered with a pocket handkerchief is placed on a small pedestal. A freely selected silk is vanished and caused to re-appear in the covered glass. The Secret : In addition to a bottomless glass, a color changing tube, a pedestal, (Figure 207) and five or six different colored 12” silks are needed. The color changing tube is inside of the pedestal at the opening of the effect. Presentation : 1. Take the pedestal in the left hand and the glass in the right. 2. Place the glass on the pedestal, then cover with a handkerchief. 3. Transfer the apparatus to the right hand, allowing the color changing tube to fall into the left palm. 4. Place the apparatus on a table. 5. Allow a spectator to freely select any colored silk. 6. Push the silk into the left fist and the color changing tube. 7. Steal the tube into the right hand (Chapter Thirteen, VOLUME-2) 8. Place the now empty but closed left hand into a paper bag or your pocket as though depositing the silk there in. 9. Pick up the still covered pedestal with the left hand and transfer it to the right, the loaded color changing tube going into the bottom of the pedestal. 10. Push a finger up into the tube, forcing the silk up out of the tube and into the bottomless glass. A lip at the top of the pedestal prevents the tube from passing into the glass, Figure 207. 11. Remove the linen handkerchief, showing the silk to be in the glass. 12. Tear the paper bag into bits, showing that the silk is no longer there.

Silks and Bags *

36 • M A G I N I •

Effect : Three paper bags are shown, then threaded on a length of ribbon. Three silks are vanished. When the bags are torn away, the silks appear on the ribbon. The Secret : Duplicate silks are between double walls on one side of the bags. To make the gimmicked bag, glue one side cut from a duplicate bag to the inside of all ordinary bag, the duplicate silk going between the walls, Figure 208.

Presentation : 1. Show the gimmicked bags inside and out. 2. With a needle threaded on a ribbon, string the bags on the ribbon by piercing the bags and a corner of the silks, Figure 209. 3. Vanish the three duplicate silks (Chapter Eight). 4. Tear away the bags, disclosing the silks, Figure 210.

Silks and Bag Trick *

• P E R C Y

37 A B B O T T •

Effect : A paper bag is threaded on a length of ribbon. Three silks are vanished. When the bag is torn away the silks appear tied to the ribbon. The Secret : A paper bag with a silt in two sides, two red, two white and two blue silks, a rubber band and two duplicate lengths of ribbon are needed. 1. 2. 3. 4. 5.

6.

7.

Tie three of the silks to the ribbon, Figure 211. Draw the silks up together, Figure 212. Pleat the silks into a small bundle, Figure 213. Pleat one end of the ribbon, Figure 214. Pleat the remaining end of the ribbon and place it on top of the first pleated end, Figure 215. Hold the assembled bundle in place with a rubber bond, Figure 216. Place the bundle under the three duplicate silks on a table.

Presentation : 1. Pass the empty bag for examination. 2. Pick up the three silks and the bundle and drop item into the bag. 3. Place the bag on the table. 4. Show the ribbon. 5. Remove the three silks from the bag, leaving the bundle behind. 6. Place the unprepared ribbon in the bottom of the bag. 7. Reach into the bag to bring the ends of the ribbon through the slits. 8. Instead, bring the ends of the prepared ribbon through, Fig. 217. 9. As the top ribbon is pulled through the slit the rubber band automatically slides off the bundle of silks. 10. Close the top of the bag and have two spectators hold the ends of the ribbon, Figure 218. 11. Vanish the three duplicate silks. (Chapter Eight) 12. Tear the bag away, disclosing the silks tied on the ribbon, Figure 219.

Silk Transposition *

• M A R K

38 J A C O B S •

Effect : Four paper bags are threaded on a length of black tape. Four silks of different colors are introduced and one dropped into each bag. Any color is freely selected, and the corresponding bag is then torn from the tap. The selected silk is found tied securely to the tope. The other bags and silks are removed and shown. The Secret : Each silk has a small knot tied in one corner. To each knot attach a ¼” x 1” length of transparent Scotch Mending Tape, Figure 220.

Presentation : 1. Display the bags and tape. 2. Thread the bags on the tape, Figure 221. 3. Display the silks without disclosing the knot, holding the silks as shown in Figure 222. 4. In dropping the silks into their corresponding bags, press the gummed portion of the Scotch Tape around the black tape, Figure 223. 5. Have a spectator freely select a color. 6. Grasp the corresponding bag below the silk and pull the bag away, Figure 224. 7. Pull away the remaining bags, grasping both bag and silk, Figure 225. A sharp pull will free the silk from the gummed Scotch Tape. 8. If the silks are shown again, conceal their knots in the hand, Figure 222.

Rapid Transit Silks *

● E D W A R D

39 B A G S H A W E ●

This effect is sold by Thayers as Bagshawe’s FLIGHT OF THE COLORS. Effect : Six silks of different colors are suspended from a stand, Figure 226. Three are removed, and a sheet of newspaper is placed over the stand, concealing the remaining three silks. The first three silks are vanished, and when the paper is removed, they are back in their original places. The secret : This secret rests in the construction of the stand. The crossbar at the top of the stand consists of an outer tube with a slot along the bottom and a moveable rod inside of the tube, Figure 227. The tube has six clips, Figure 228, soldered to the front of the bottom slot. Three clips are soldered to the rod. Nine silks are used, three of which are slightly smaller. When the apparatus is properly assembled, it is as shown in Figure 229.

Note that the three smaller silks are behind three larger and different colored silks. Weights are sewed in the bottom corners of the silks to prevent them from blowing about, Figure 230.

Presentation : 1. Remove silks No. 1, 3 and 5, Figure 226. 2. Place a newspaper over the stand to hide the remaining silks from view. 3. Push the stud on the rod (Figure 227) to the left, carrying the smaller silks from behind silks 2, 4 and 6, to positions 1, 3 and 5, Figure 231. The newspaper hides this action. 4. Vanish the first three silks, Chapter Eight. 5. Remove the newspaper, showing six silks in place, Figure 226.

Flight of the Colors*

● F R A N C I S

40 B.

M A R T I N E A U ●

Effect : Six silks are tied at equal intervals along a care, each silk having a knot tied in its center. A folded sheet of newspaper is placed over the silks. Reaching under the newspaper, the performer removes three of the silks. The knots are untied, then the silks are vanished. When the newspaper is removed, the three silks, minus their knots, are back in their original position among the three knotted silks.

The Secret : Six small screw eyes are placed at equal intervals along the cane, Figure 227. The corners of six 15” silks of different colors are fastened to the screw eyes, Figure 228. Duplicates of silks 2, 4 and 6 are needed.

Pleat the lower end of silk No. 2 back and forth along the silk’s center, forming a bundle 1” x 1½” Figure 229. Tie a single knot in the center of the duplicate of No. 2 silk. Work the pleated bundle of the silk attached to the cone into the knot of the duplicate silk at “Y”, Figure 230. Then tuck corner “A” of the bottom silk into the

pleats of the top silk at “X”. Properly assembled the two silks will appear as shown in Figure 231. Prepare silks 4 & 6 with their duplicates in the same manner. Finally, tie genuine single knots in silks 1, 3 and 5.

Presentation : 1. Have an assistant hold the cane by both ends. 2. Call attention to the knots in the six silks, then hide the silks from view with a folded newspaper. 3. Reach under the lower end of the newspaper, take corner “B” (Figure 231) of silk No. 2 and pull the lower silk into view, Figure 232. The top silk now unfolds, and drops into place.

6.

7.

4. Repeat with silks 4 and 6. 5. Untie the three knots in the silks. Vanish the silks, Chapter Eight. Remove the paper and display the silks, Figure 233.

Nic’s Napkins *

● S T A N L E Y

41 C O L L I N S ●

Few transpositions are as effective as this unusual effect. Effect : Six silks of different colors banded with napkin rings of matching colors are displayed. The rings are removed and stacked. The silks are placed in an empty paper bag or borrowed hot. A selected silk vanishes from the bag and reappears inside the stacked napkin rings. The Secret : The plastic napkin rings used are shown in Figure 234. A metal tube closed at one end and covered with a piece of blue silk to resemble a folded and rolled silk is needed, Figure 235. Five silks of colors other than blue, and a duplicate of one of the colors ( for example, green) are needed. Fold then roll the green silk, Figure 236, and place it inside of the fake, rolling the silk so it fits loosely in the fake. Place the blue ring around the fake. Now fold and roll the other five silks to a size duplicating that of the blue fake, Figure 236, then put the rings of corresponding colors around them.

Presentation : 1. Call attention to the silks and their matching rings. 2. Place one (other than blue) of the silks upright on the table. 3. Slide the ring down to the table, then carry the silk away, leaving the ring behind. 4. Place a second rolled silk over this ring. 5. Slide the second ring down on top of the first, carrying the silk away, Figure 237. 6. Repeat with the remaining rings, leaving the blue fake until last. 7. Repeat with the blue fake and ring, allowing the green silk to secretly side down inside of the stocked rings, Figure 238. 8. Unroll one or two of the silks to display them. 9. Roll the displayed silks again. 10. Show the unprepared paper bag. 11. Drop one of the rolled silks into the bag. 12. Now drop the blue fake inside, open end uppermost. 13. Drop the green silk inside of the bag and into the fake. If all of the silk doesn’t go inside of the fake, don’t hesitate. Continue to push more o fit into the fake as other silks are dropped into the bag. 14. Drop the remaining silks, one by one, into the bag. 15. Force the green silk on the spectator making a color selection. (The Force follows on Page 468.) 16. Remove the silks from the bag, showing that the green silk has vanished. 17. Disclose the green silk inside of the rings as they are removed,

one by one. The Force : Collins recommends a “forcing frame” to be used in connection with the effect. Beads of colors duplicating those of the silks are strung on two wires in a frame, Figure 239. The ends of the stand are secretly marked 1 , 2 , 3 and 4 as illustrated.

With this stands it is possible to force the green bead to appear at any number between one and sixteen inclusive by turning the frame to the correct position. If 1,5, 11 or 15 is called, place the stand in position 1, Figure 240. For 2, 6, 12 or 16, use position 2, Figure 241. Use position 3, Figure 242, for 3, 7, 9 or 13, and position 4, Figure 243, for 4,8,10 or 14. The shaded beads in Figure 240-243 are green.

Opening With a Bang * ●

C H R I S T O P H E R

42 C H A R L E S

●

Effect : The performer holds a silk in his right hand and a balloon in his left. The balloon bursts, the silk leaves his right hand and reappears in his left. The Secret : The silk is attached to a pull, Chapter Eight. Two un-inflated balloons are needed. A duplicate silk is loaded inside of one of the balloons. Presentation : 1. Holding the silk in your right hand, pick up the unprepared balloon in your left. 2. Inflate the balloon. 3. Count “one, two”, then secretly puncture the balloon by scratching it with a sharp finger nail. 4. Appear to be disappointed but not discouraged. 5. Inflate the loaded balloon. 6. Count “ one, two, three “, Bang ! 7. On “three” allow the silk to go up the sleeve, puncturing the balloon at the same time. 8. Catch the duplicate silk in the left hand as the right is shown empty.

Card and Silk *

● A N T H O N Y

43 R O S S ●

Effect : The corner of a selected card is given to a spectator, the card wrapped in a white silk, and the card and silk placed in a metal box. When the box is opened, the card, minus its corner, is blank, and the picture of the card is imprinted on the silk. The Secret : A Roterberg card box, Figure 244, a court card silk, a white silk, a forcing deck of court cards, and a blank card with back to match that of the forcing deck is needed. Tear off and retain a corner of the blank card. Wrap the card in the court card silk and place both in the bottom of the card box. Close the inner tray of the box. Presentation : 1. Force a court card. 2. Tear a corner from the court card. 3. Exchange the corner for that from the blank card and give it to a spectator. 4. Wrap the court card in the white silk. 5. Place the silk and car in the top of the card box. 6. Close the box, then give it to a spectator. 7. Have the spectator open the box and remove the blank card and the court card silk. 8. Have the spectator see that the corner fits the blank card.

Hank the Hermit *

● L O R N E

44 De

B L O I S ●

This clever routine first appeared in the JINX. Effect : An initialed silk is vanished only to reappear in the performer’s pocket. The effect is repeated and the initials verified. The Secret : Two 12” red silks, and two No. 217 Dennison Index Tabs, a handkerchief pull and a pencil are needed. Write “Hank” and any three initials on one of the tabs. Attach the tab to a corner of silk No. 1. Starting at the opposite diagonal corner, roll silk No. 1 to the tab, Figure 245. Place the rolled silk in the upper inside corner of the right trousers pocket. Roll silk No. 2ina like manner and place it in the bottom of the some packet. Figure 246. Attach the pull to the left side of the body, Chapter Eight. Place the pencil in the breast coat pocket. Presentation : 1. Remove silk No. 2 from the bottom of the packet, pulling the pocket out to prove it empty. 2. Replace the pocket, pushing silk No. 1 to the bottom of the pocket with the right thumb. 3. Have a spectator write “Hank” and his initials on the second tab. 4. Attach the tab to the corner of No. 2 silk. 5. Drape the silk over the left hand. 6. Roll the silk between the palms, retaining it in the right

7. 8.

9. 10.

11. 12. 13. 14. 15. 16. 17.

hand as explained in A MASTER VANISH, Part One Chapter Eight. Slowly open the left hand to show that silk No. 2 has vanished. Pull back your coat with the right hand, Figure 247, and ask a second spectator to remove the silk (NO. 1) FROM THE RIGHT TROUSERS POCKET. Take the silk in your left, and show the pocket empty with the right. While displaying silk No. 1, deliberately place silk No. 2 in the top inner corner of the right trousers pocket as the pocket is replaced. Agree to repeat the effect. Lay silk No. 1 on the table while rolling up your sleeves. Turn to the table, left side away from the audience. Pick up the silk in the right hand, and take the pull in your left. Tuck silk No. 1 into the pull. Release the pull, then show the hands empty. Pull back the coat again with the right hand and allow the first spectator to remove silk No. 2 from the trousers pocket and verify his initials.

Match-Ot *

45 ● S T E W A R T

J U D A H ●

This subtle Judah creation has long been a favorite with me. Effect : A box filled with safety matches is displayed. A silk is then placed in a square of paper. Upon command the silk and matches change places !

The Secret : An empty match box , 2 – 12” silks, a “double” square (folded) paper, ten safety matches and a match fake are required. To a 1” x 1¼” piece of stiff cardboard glue eight 1¼” lengths of safety matches, the heads extending beyond the cardboard, Figure 248. Atttach a corner of one of the silks to the back of the fake with a piece of tape, Figure 249.

Fold two 10” squares of heavy craft paper as shown in Figure 250. Then glue them together, face to face, Fig. 251. Open one side of the now double packet and place the ten matches in the center, Figure 252. Refold the square and place it in the outside breast coat pocket, empty side of the pocket out. Place the silk and attached fake in the match box drawer, fake on top, Figure 253.

Put the lid part way on the box, hiding the silk from view, Figure 254. Add a full length match in the right side of the drawer, Figure 255, then close the box nearly shut.

Presentation : 1. Pick up the match box. Open the drawer part way, tilting the box slightly so the fake matches may be seen. 2. Withdraw the full length match, close the box, then strike the match. 3. Blow out the match, then place the box in a glass tumbler. 4. Take the paper from the pocket and open the empty side. 5. Show the silk, then place it in the center of the paper. 6. Refold the paper, then reverse it as it is placed in the breast pocket, bringing the matches to the front. 7. Pick up the match box and push the drawer out part way, the silk end to the audience, Figure 256. The lettering on the match box lid should be your guide throughout the effects as to which end to open. 8. Slowly pull the silk from the box with the left hand,

9. 10.

11.

12. 13. 14.

15.

continuing until of the silk is out of the box, Figure 257. At this point clamp the silk to the right first finger with the right thumb, Figure 158. Now go under the right hand with the left and take the box away, Figure 259.

Shake out the silk to show that there are no matches concealed in its folds, then toss the empty box into the audience. Pocket the silk with the fake attached. Take the paper from the pocket and open it slowly, flap by flap. Holding the paper horizontally with the left hand, allow the matches to fall into the right. Crumple the paper and toss it aside, then throw the matches to the audience.

Silks and Sunshade *

46

The exact origin of this effect is not known. Early mention is made of it by Professor Ellis Stanyon in his NEW HANDKERCHIEF TRICKS. Currently popular versions are Thayer’s MILADY’S PARASOL and Abbott’s MUTILATED PARASOL. Effect : A fancy mat, a lady’s handbag and a parasol are shown. The parasol is rolled in the mat. A number of colored silks are produced. The handbag is shown empty, then the silks are deposited therein. Upon command the parasol cover is found in the handbag. The parasol, when removed from the mat, is minus its cover and the silks are hanging from its ribs. The parasol is replaced in the mat and the cover in the handbag. A change is again commanded and silks and parasol cover are back in their original positions. FIRST VERSION : The Secret : Two parasosl, a mat, six 12” silks, and a lady’s handbag are needed 1. 2. 3.

4.

Remove the cover from one of the parasols. Cut the silks on the bias, then hem the cut edges. Fold back one end of the mat and sew it to form a pocket, Figure 260. Tie one set of half silks to the tips of the ribs of the coverless parasol, Figure 261.

5.

6.

Sew a division of lining material inside of the handbag, forming two inside pockets, Figure 262. Place the cover of the parasol in one side of the handbag, and the coverless parasol in the pocket of the mat, Figure 263.

Presentation : 1. Open the parasol, close it, then roll it in the mat. 2. Tilt the mat immediately, allowing the handle of the coverless parasol to fall into view, Figure 264. 3. Hand the mat to a spectator to hold. 4. Turn the handbag inside out, holding the loaded side closed, then turn the bag right side out again. 5. Drop the silks, one by one, into the empty pocket of the bag, then hand the bag to a spectator to hold. 6. Command a change to take place. 7. Ask the spectator to pull the parasol out as you hold the mat. 8. Lay the rolled mat aside and open and display the coverless parasol, Figure 261. 9. Take the handbag from the spectator, remove and display the cover, then turn the handbag inside out.

10.

11. 12. 13.

Close the coverless parasol, replace it in its pocket in the rolled mat. Tilt the mat to allow the handle of the unprepared parasol to fall into view, then hand the mat to the spectator again. Replace the cover in the empty pocket of the handbag, then hand the bag to a second spectator to hold. Command a Second change, then remove the unprepared parasol and silks and display them. Unroll mat and open handbag, showing both to be empty.

SECOND VERSION Although the effect to the audience is the same, most sets sold by magic dealers are patterned after the Second Version, as it is self contained. The Secret : Only one parasol is used. It consists of a parasol minus its cover, Figure 265, which fits inside of a shell having ribs and cover, Figure 266. The two parts, when assembled, are as in Figure 267. No special mat is required, and some performers use a newspaper instead of the mat.

Presentation : Present the effect as explained in the First Version. However, both ends of the parasol should be in view when rolled into the mat, Figure 268. In withdrawing the skeleton frame with the silks attached, grip the mat firmly, Figure 269, holding the shell and cover inside of the mat.

Sunshade Blendo *

47 ●

K O L M A R

●

This is another version of the SILKS AND SUNSHADE. Effect : A parasol is shown, then wrapped in a mat. Seven silks visibly change into the cover of the parasol. The parasol is removed from the mat, and the silks are found tied to the tips of the ribs, the cover having vanished. The Secret : The mechanical parasol explained in the Second Version, Figures 265267, and a Blendo patterned after the cover of the parasol are needed. The cover of the parasol is made from o silk that is a duplicate of the two used in the Blendo. Presentation : 1. Roll the parasol in the mat. 2. Introduce the seven half silks, tie them together, then change them into a large 36” Blendo (as explained in Chapter Nineteen, Volume Two). 3. Remove the skeleton parasol from the mat, and show the silks attached.

Fan and Flags

48

This is still another version of the SILKS AND SUNSHADE effect. FIRST VERSION * Effect : A large fan is shown, Figure 270, then wrapped in a piece of paper, Figure 271. Seven 4” x 6” flags are produced, then dropped into a cloth bag. When the fan is removed its cover is gone and a flag hangs at the tip of each rib of the fan, Figure 272. The cover is discovered in the bag.

The Secret : The cover, Figure 273,fits over the ribs of the fan. A flag is attached to the tip of each rib, Figure 274. A” changing bag” and a duplicate set of flags are also needed. Load a duplicate cover in the changing bag.

Presentation : 1. Roll the fan in a sheet of heavy paper, Figure 271. 2. Produce the flags, ( Chapter Six), then drop them into the changing bag. 3. Withdraw the fan from the rolled paper, leaving the silk cover inside. 4. Produce the cover from the changing bag (Chapter Eight). SECOND VERSION If it is desirable to restore the fan to its original state at the end of the effect, a different version must be used. The Secret : An ordinary fan, a skeleton for with flags attached, a duplicate set of seven flags, a rectangular sheet of paper with a long pocket in one end, Figure 275, and a single cone, Page 320, are used. TO PREPARE - PLACE THE SKELETON FAN WITH PLAGS IN

Presentation : THE LONG POCKET AND A DUPLlCATE COVER IN THE POCKET OF THE PAPER CONE. 1. Show the ordinary fan. 2. Place the fan over the pocket, Figure 276, and roll the paper into a cylinder. 3. Form the cone, then force the flags between the walls of the cone and inside pocket. 4. Bring out the skeleton fan with flags. 5. Produce the cover from the pocket in the cone. 6. Replace the skeleton fan in the long pocket. 7. Put the cover back in the pocket of the cone. 8. Unroll the paper, showing the ordinary fan. 9. Unroll the cone, disclosing the flags.

Changing of the Colors * ● B E R T

D O U G L A S

49 &

A R N O L D

B E L A I S ●

The Effect : A silk French flag on a Flagstaff is shown, wrapped in a sheet of paper, and handed to a spectator to hold. A silk American flag is shown, then placed in an empty metal case. Upon command the flags change places. The Secret : Fasten an American Flag securely to a Flagstaff, Figure277. Make a wide hem in one end of a French Flag. Roll the American Flag tightly around the staff, then insert the Flag and staff into the hem of the French Flag, Figure 278.

The metal container, Holden’s WONDERFUL HANDKERCHIEF CASE, is a tube with a division at its middle and two metal caps for ends, Figure 279. Place a duplicate French Flag in one end of the case, then replace the cap. ( A paper cone, Chapter Eight, may be used instead of the metal case.)

Presentation : 1. Show the French Flag on the staff. 2. Roll the staff in a sheet of paper, Figure 280, handle protruding, then give it to a spectator to hold. 3. Place the American Flag in the empty end of the metal container, then replace the lid. 4. Reverse the case as you hand it to a second spectator. 5. Take the flag and paper cylinder from the first spectator. 6. Pull the flagstaff from the paper cylinder with the right hand, clipping the end of the hem of the French Flag with the fingertips of the left hand, leaving the French Flag inside of the paper cylinder. Crumple the paper and toss it aside. 7. Allow the American Flag to unroll as it is pulled from the cylinder. 8. Open the metal container and produce the missing French Flag.

The Spectral Seamstress * ● C H A R L E S

50 T.

J O R D A N ●

Effect : Spools of red, green and orange thread, and an 18” silk are shown. The while silk is tied around the center of a freely selected spool and both placed in a paper bag held by a spectator. When the spool is removed the thread has left the spool and is found embroidered across the center of the silk, spelling out the name of a previously selected playing card. The Secret : Three large wooden spools (industrial type) and four 18” silks are needed. Embroider the name of a playing card with red thread across one

silk, Figure 281, with green thread across another, and with orange thread across a third. The wooden spools, Figure 282, have metal covers around which several layers of thread matching that used on the silks have been wound, Figure 283.

Starting with one corner of a prepared silk, wrap a prepared silk tightly around a spool holding it in place with a small rubber band. Slip the metal cover of corresponding color in place Figure 284. Repeat with the other two silks and spools. A 15” length of strong card with a needle at one end and a button at the other, Figure 285, a deck of cards, and a paper bag are also needed. Presentation : 1. Have a spool freely selected. 2. Wrap the 18” white silk around the center of the spool, then hold the silk in place with a rubber band. 3. Thread the spool on the cord, then lower it into a paper bag, Figure 286, leaving one end of the card protruding.

4.

5.

6.

7.

8.

Close the mouth of the bag around the card and have a spectator hold the bag and card, Figure 287. Force the playing card corresponding to the lettering on the silk. (See the ENCYCLOPEDIA OF CARD TRICKS.) Grasp the spool through the bottom of the bag, Figure 288, and have the spectator pull upwards on the card. As he does, the shell and ordinary 18” silk are pulled from the spool and remain in the bag. Allow the spectator to open the silk, discovering the name of the selected card thereon, Figure 281.

The Utility Tube

51

The ingenious magician can devise many excellent silk transpositions by using the Utility Tube described in Chapter Eight, page 330

The Jumping Silk * ● R.

52 D.

S P R A K E R

J.

R. ●

Effect : A white silk is placed above two red silks in a glass cylinder, Figure 289. The cylinder is covered with a cardboard tube. The white silk is commanded to penetrate the red silks, but the tube is removed too soon, and the white silk has just passed the first red silk, Figure 290. The cylinder is covered again, and when removed,

the white silk is at the bottom as originally planned, Figure 291.

The Secret : Load the back of the Utility Tube with three silks as shown in Figure 292. One white and two red silks, and a cardboard or metal tube which fits loosely over the glass cylinder are also needed. Presentation : 1. Holding the cylinder on the left palm, place the three silks in the cylinder, one by one, Figure 293. 2. Cover the cylinder with the cardboard tube. 3. Clip the top of the cylinder and tube with the thumb and first finger of the right hand, then turn and sit the outfit on the table. This action automatically gives the apparatus a half turn, bringing the back of the cylinder to the front. 4. Remove the cylinder, and in surprise, find the silks in the position shown in Figure 290.

5.

6. 7.

8. 9.

10.

Pick up the cylinder and holding it in a horizontal position, Figure 294, remove the two red silks from the ends, calling attention to the white silk in the center. Replace the red silks, Figure 294. Now turn the tube end for end, and sit it upright on the left palm, bringing the white silk in the back compartment to the bottom, Figure 295.

Put the cover over the cylinder. Clipping the cylinder and cover with the thumb and first finger of the right hand, sit the outfit on the table again, giving the apparatus a half turn once more. Remove the cover and find the successful passage of the white silk to the bottom of the cylinder, Figure 291.

The Three Little Pigr * ● R.

D.

53 S P R A K E R

J.

R. ●

Effect : In this clever routine the “big bad walf” appears, then chases the “three little pigs” in and out of their “huts”. Needless to say, he is never quite successful and finally fades away in shame.

The Secret : Three Mirror Glasses or Utility Tubes, pages 325 and 330 of Chapter Eight, three covers, and two red, three yellow, four green, and three black 12” silks are needed. Prepare the glasses as shown in Figure 296. Tie the three remaining red, yellow and green silks into a string, then place them in the inside coat pocket. The third black silk is prepare to be produced later.

Presentation : 1. Call attention to the three little pigs ( red, yellow and green silks in the glasses). 2. Produce the walf (black silk), Chapter Four. 3. Put walf (black) in hut (glass No.1) with first pig (green). 4. Cover all three glasses, giving No. 1 a secret half turn. 5. Remove cover from No. 1, and find walf (black) but pig (green) is gone, Figure 297.

6. 7. 8. 9. 10. 11.

Produce two pigs (green and yellow bed together) from No. 2. Remove cover from No. 2. Put two pigs (green and yellow) back in No. 2. Put wolf (black) in hut (No. 2) with the two pigs. Cover glass No. 2, giving it a secret half turn. Remove cover from No. 2, and find walf (black) but pigs (green and yellow) are gone, Figure 298.

12. 13. 14. 15. 16. 17.

Produce three pigs (green, yellow and red tied together). Remove cover No. 3. Put the three pigs (green, yellow and red ) back in No. 3. Put wolf (black) in hut (No. 3) with the three pigs. Cover glass No. 3, giving it a secret half turn. Remove the cover from No. 3, and find the wolf (black) and pigs (green, yellow and red ) have vanished, Figure 299.

18.

Produce the three pigs (green, yellow and red ) from the

inside coat pocket. The wolf (black) has vanished just as mysteriously as he appeared at the beginning of the effect.

Comedy Transposition *

● H A R O L D

54 R.

R I C E ●

As the popular SUN AND MOON trick uses cambric handkerchiefs, it cannot be included here as a silk effect. However, this favorite of mine, inspired by the former effect, should appeal to silk performers. Effect : Two red silks are given to one boy and two green to another. The silks are commanded to change places. However, but one red and one green pass, leaving each boy with a red and a green silk. A second effort completes the effect successfully. The Secret : Cut two 12” red and two 12” green silks on the bias, then hem the cut edges, giving eight half silks, Figure 300. From four bundles as shown in Figure 301. Note that two of the bundles are red on the outside and two are green. Place bundle No. 2 in the right coat pocket and No. 3 in the left.

FOLDING ILLUSTRATIONS FOR EACH BUNDLE BUNDLE NO. 1_____ RED IN RED BUNDLE NO. 2_____ GREN IN RED BUNDLE NO. 3_____ RED IN GREEN BUNDLE NO. 4_____GREEN IN GREEN Presentation : 1. Invite two boys from the audience to sit on two chairs on the platform. 2. Remove the rubber bands and give bundle No. 1 (red) to the first boy and bundle No. 4 (green) to the second. 3. Roll the first bundle (red) and replace the rubber band. 4. Instruct the boy to hold the bundle high above his head, at the same time getting bundle No. 2 in the right hand. 5. Showing dissatisfaction with the manner in which the bundle is being held, take it from the boy in the left hand, then add it to the one palmed in the right, Figure 302. Now take the two silks in the left hand and hold them high in the air, Figure 303. The two bundles appear as one. 6. Place the bundles in the right palm again, turning them over as you do so, bringing bundle No. 2 on top, Figure 304.

7.

8.

9.

10. 11.

12.

13.

14. 15.

16.

17.

Take bundle No. 2 as No. 1, Figure 305, and give it to the boy to hold, dropping the right hand against the right hip where No. 1 is held out of view, Figure 306. Replace No. 1 in the right pocket as you walk across the stage to the second boy. Repeat steps 3 through 7 with the second boy in a similar manner, switching No. 4 for No. 3. Secretly place No. 4 in the left coat pocket. Standing between the boys, tell them to hold the bundles high, then to count “1-2-3” together. On “3” stop the boys, explaining you are standing between them and that your body might interfere with the passage of the silks. Have each boy unroll his silks to find that each has a red and green silk. During this business get No. 4 in your left palm. Return to the first boy and reroll his silks, bringing the green silk to the outside. Make the switch as illustrated in Figure 302 through 306, the hands used being the reverse to those illustrated. Give the first boy bundle No. 4, and pocket No. 2 as you return

18. 19.

20. 21.

22. 23.

to the second boy. Reroll the second boy’s silks, bringing the red silk to the outside. Palm No. 1 in the right hand, then make the switch as illustrated in Figures 302 through 306. Give the second boy bundle No. 1. Ask the boys to hold their bundles high in the air, then command the silks to pass. As the boys unroll their silks, pocket bundle No. 3. The first boy now has two green silks and the second boy has two red.

The Absconding Queen

● R O Y

55 C L I F F O R D ●

Effect: A metal frame, a giant playing card (Queen of Hearts), and an 18” white silk are shown, Figure 307. The card is placed on the frame, then the silk is pushed through the holes in the center of the card and frame, Figure 308.

As the silk passes through the holes a design appears upon it, Figure 309,and when the silk finally emerges from the other side it has a picture of the Queen of Hearts imprinted upon it, Figure 310. The playing card is now blank, Figure 311. The Secret : An ordinary white 18” silk, a Queen of Hearts card silk, a Queen of Hearts jumbo playing card, the bock of which has been painted dead black to match the black metal frame, a blank jumbo card, and the stand are needed. The two cards have holes in their centers which line up with the hole in the center of the frame. The frame is hollow and loaded with the Queen of Hearts Silk, Figure 312. Presentation : 1. Display the printed and blank cards as one, then put them on the easel between the metal clips, back of blank card out, Figure 308. 2. Turn the frame with the edge to the audience, Figure 309, then place a corner of the white silk through the hole in the frame and loop “A”. 3. Grip the small buttons “B’ and “C”, then pull away

4.

from the frame. The white silk is pulled inside of the frame as the printed silk emerges. Remove the blank card from the frame, leaving the printed card in place. As the back of the printed card is black, it cannot be distinguished from the easel.

With a Card Silk *

56 ● R.

G A Y T O N ●

Effect : A selected playing card is sealed in an enveloped and a white 18 “ silk is placed in a paper cone. Upon command the face of the card passes to the cone and is found imprinted on the silk. The Secret : A dozen kraft envelopes slightly larger than a playing card, a deck of playing cards, a blank playing card with back to match ordinary deck, an 18” white silk, a card silk picturing the card to be forced, and a single paper cone (as explained on page 320) are needed. Cut away the Flap From one of the envelopes. Drop the blank card in an ordinary enveloped. Lay the envelope and card on top of the pocket of envelopes, Figure 313, place the flapless envelope on top, Figure 314, then close the flap, Figure 315. Put the card silk inside of the cone.

Presentation : 1. Show the white silk, then place it in the pocket of the cone. 2. Force the card matching the card silk ( See Encyclopedia of card tricks.) 3. Pick up the packet of envelopes, open the flap, and insert the selected card in the flapless envelope Figure 316. 4. Close the flap, then have a spectator initial it. 5. Raise the flap, then taking it in the right hand, pull the envelope away, Figure 317, leaving the flapless envelope on the top of the packet. 6. Seal the envelope, then hand it to the spectator who initialed it to hold. 7. Command the change to take place, then remove the silk from the cone. 8. Have the spectator open the initialed envelope to find the blank card.

Ching Soo Fire Cracker *

57

Effect : The fuse of a giant fire cracker is lit, then the cracker is placed in a previously examined nickeled case and a cover put in place. A spectator holds the case while the performer vanishes a silk American Flag. Upon opening the case the flag is found therein and the missing cracker is discovered hanging on the spectator’s back. The Secret : A hollow metal fire cracker with a silk American Flag inside sits upright on the table in the lid of the metal case, Figure 318. A short length of powder fuse taken from an ordinary fire cracker is forced in a small hole in the top of the metal cracker. A solid wooden fire cracker with a pin clip attached rests under a 16” x 24” Flag on the table, Figure 319.

Presentation : 1. Light the fuse, then hurriedly force the open end of the case down over the cracker, Figure 320. 2. Pick up the flag with the duplicate cracker under it, Figure 321. 3. Drape the flag momentarily over the spectator’s shoulder, leaving the cracker hocked to the back of his coat, Figure 322. 4. Vanish the Flag, Chapter Eight. 5. Open the case and discover the Flag. The hollow metal fire cracker fits tightly inside of the case and will not fall out. 6. In hunting for the fire cracker turn the spectator’s back to the audience, then discover the cracker much to the surprise of the assistant and to the amusement of the audience.

Note – Mephisto’s Fire Cracker , Another P & L exclusive, is worked in the same manner. However, a special plunger arrangement within the fire cracker hung an the boy’s back causes a cap in the base of the cracker to explode as it is handed to the boy at the conclusion of the effect.

Sailin’ Silks

58

This clever effect was given to me by my good friend, the late Caryl Fleming, and is the result of the combined efforts of the Mystic 13 of Los Angeles of which he was a member. Effect : A green silk and an envelope are given to one spectator and a red silk and envelope to a second. The spectators place the silks in their respective envelopes and seal the flaps. Next the colors of the silks are written in pencil on each envelope. Yet, upon command, the silks change places. Required : A large thumb tip with a corner of a green silk glued inside. The tip and a pencil are in the right coat pocket. Presentation : 1. Pass the silks and envelopes into the audience, then have the spectators place the silks in the envelope and seal the flaps in place. 2. Take the sealed envelopes back, then mix them up, secretly following the red silk. 3. Appear confused as to the location of the two colored silks. 4. Holding the envelopes in the left hand, reach in the right pocket for the pencil, getting the thumb tip on the right thumb. 5. Tear off one corner of the envelope containing the red silk. 6. Place the right thumb in the opening, leaving the thumb tip which is held in place by the left fingers, Figure 323.

7. 8. 9. 10. 11. 12. 13.

Pull the corner of the piece of green silk into view, display it, then work it back into the thumb tip. Steal away the tip on the right thumb, then fold over the torn corner. Write “Green” in large letters across the envelope. Pick up the second envelope and write “Red” on it. Put the pencil back in the pocket, getting rid of the thumb tip. Command the red and green silks to change places. Hand the envelopes back to the spectators and have them open them to verify the transposition.

The Transpo Silk *

● G O R D O N

59 M.

H O W A T T ●

Effect : In the course of a production a silk vanishes from the performer’s hand and reappears tied to the center of the upright on the table. The Secret : Drill a small hole in the center of the upright, Figure 324. Fasten one end of a length of elastic to the bottom of the upright, pass the other end up the inside and out thought the hole. Tie a I” metal curtain ring, to the end of the elastic, Figure 325. Pass a silk

through the ring, then tie the silk loosely around the upright, Figure 326. Drill a second hole in the upright just a few inches above the bottom edge of the drape, Figure 326. Pull the silk up the upright and hold it in place by passing a nail through the metal ring and into the hole in the upright, Figure 327. To the head of the nail attach a length of thread. Pass the thread through the drape near the top, then tie a small button to the free end of the thread, Figure 328. Lay a wand, the button, and a duplicate silk on the table top.

Presentation : 1. Vanish the silk, Chapter Eight. 2. Take the wand in the right hand and the button in the left. 3. Make a tossing motion toward the table, stepping back and pulling on the thread at the same time. 4. The silk will be snapped into view as the nail leaves the metal ring.

The Silks of Trian Foo Lum * ● G O R D O N

60 M.

H O W A T T ●

Here is an excellent effect for the magician to build in his workshop. Effect : A Buddhist who keeps his silk scarves in a bag finds they have disappeared. As he takes a candle to his garden gate, Figure 329, there is a puff of smoke, and the silks appear in a flash tied to the rod suspended in the gate-way, Figure 330.

The Secret: The ends of the rod are false and the center of the rod slides up and down the hollow framework, which is open on the inside. Attached to the ends of the rods is a second rod hidden under the base and around which the silks are tied, Figure 331. When the flash paper

in a small box in the front of the base is ignited with the candle, Figure 330, two threads are burned through and the assembly shown in Figure 331 flies up, the rod with the silks taking the place of the first one which in turn goes up into the top of the gateway.

Figure 332 is a section of the upright in which “A”, Figure 331, slides. Figure 333 shows how “A” and the top rod are joined. Figure 334 shows the base and the trap door through which the second rod with the silks emerges. Figure 335 shows the stops that prevent the trap doors mounted on strong spring hinges from falling too far inward. Figure 336 shows the elastic which pulls the rods and assembly “A” upwards.

Figure 337 shows the release mechanism. One is located at the base of each upright shown in Figure 332. The threads from the releases run to the metal container, Figure 330, where they pass over the flash paper and are tied to a small screw eye. Presentation : 1. Vanish the silks in a changing bag, Chapter Eight. 2. Light the flash paper with the candle, and the apparatus will then operate itself.

Rice’s Rapid Transposition * ● H A R O L D

61 R.

R I C E ●

Effect : A paper cone is given to each of two boys. A red silk is dropped into the first cone and a green in the second. Upon command the silks change places. The silks are then vanished. When the cones are opened the silks are back again.

The Secret : 1. Make three cones from heavy kraft paper, Figure 338. 2. Place a 12” red silk in the pocket of the first cone and a 12” green silk in the pocket of the second. Lay the third cone aside.

Presentation : 1. Unfold the first cone and show it empty. 2. Refold it, pocket panel to the back, Figure 339. 3. Drop the green silk into opening “A”, Figure 339. 4. Squeeze the cone to open the pocket, Figure 340, then hand the cone to the first boy, instructing him to hold it high above his head. 5. Repeat with the second boy. 6. Command the silks to change places. 7. Remove the silks from the pockets, then take the two cones. 8. Give a cone to each boy, this time giving cone No. 1 to boy No. 2. 9. Unfold the third cone, then refold it, pocket panel to the back, Figure 339. 10. Drop the green and red silks into the pocket of the third cone. 11. Open the third cone and discover the silks are missing. 12. Open the first boy’s cone and find the green silk, then open the second boys cone and find the red silk.

Smart Silk *

62 ● R A Y M O N D

B E E B E ●

Effect : A silk placed in one trouser pocket vanishes, then reappears in the other. In repeating the effect the performer apparently “misses”, and he appears to be using two silks. However, following the sucker gag, he proves but one silk is used. The Secret : Three silks of the same color are needed. Remove the side trouser pockets of your trousers and sew them inside of two new and larger pockets, Figure 341. Then have the double pockets sewn back into the opening on either side of the trousers. Fold silk No. 1 and place it in the bottom of the left pocket,

then pass silk No. 2. across the back of the body under the trousers, one end resting in the top of the left pocket and the other end in the top of the right pocket, Figure 342

Presentation : 1. Pull out both (original) pockets. 2. Replace the right pocket. 3. Display silk No. 3, roll it into a loose ball, then put it in the right (new) pocket. 4. Replace the left pocket. 5. Command the transposition to take place. 6. Pull out the right (original) pocket and show it empty, leaving it in view. 7. Remove silk No. 1 from the left (new) pocket. 8. State that the effect may be done in reverse. 9. Replace the silk in the left (new) pocket, then replace the right pocket. 10. Command a transposition to take place. 11. Draw out the left (original) pocket and show it empty, leaving it in view. 12. This time obtain corner “A’ of silk No. 2 from the top of the right (new) pocket and pull a few inches of it into view without disturbing the remainder of the silk which stretches across to the left pocket. 13. Explain that you will now pass the silk from the right to the left instantaneously. 14. Holding corner “A” in the right hand, replace the left pocket with the left hand. 15. Replace most of the end of silk No. 2 in the right pocket but accidentally (?) leave a part of the corner in view. 16. Obtain corner “B” of silk No. 2 from the top of the left (new) pocket and pull a few inches of it into view. 17. Now, unknown (?) to the performer, silks hang from both pockets. The spectators immediately claim that two silks are being used. 18. Play the “sucker” business for all that it is worth, appear a bit chagrined, holding a corner in each hand, Figure 343. 19. Now slowly pull the silk to the right until almost all of the part in the left hand is in the left pocket, then reverse

20.

21.

the action, puling it to the left. Repeal this strange business several times, then release one corner and pull the silk entirely free of the body, bowing in complete triumph. Pull out both (original) pockets to show them empty.

The Ghost Ring *

● L A R S E N

63 A N D

W R I G H T ●

This effect appeared in Volume Three of the TARBELL COURSE IN MAGIC. Effect : A vanished brass ring, reappears threaded on a silk previously tied in a loop and dropped into a borrowed hat, Figure 344. The Secret : An 18” silk and two I” brass curtain rings are needed. Thread one of the rings on the silk and tie the two diagonal corners with a square knot, Figure 344.

Now pull out the other two corners of the silk, forcing the ring around the knot, Figure 345. Fold the silk over the ring and the knot, Figure 346. Attach a pull to the second ring, Figure 347.

Presentation : 1. Hold the silk as shown in Figure 348. 2. Tie a false knot, Figure 349, with corners “A” and “B”. 3. Now the silk is as shown in Figure 350. 4. Drop the silk into a borrowed hat. 5. Using both hands, quickly pull the false knot apart and unfold the silk so it will be as shown in Figure 344. 6. Pick up the second ring, fasten it to the pull, Figure 347, then vanish it, Chapter Eight. 7. Remove the silk from the hat and display the ring threaded thereon.

A Wand and Silk Routine * ● D

R.

64 E.

G.

E R V I N ●

Effect : A silk is produced, then vanished. A wand is produced from a coin purse, wrapped in paper, then vanished. The silk reappears in its place. The wand is found in the performer’s coat pocket. The Secret : A shell wand, a regular wand, two 15” silks, a small coin purse and a piece of newspaper are needed. Load the shell wand with a silk, Effect No. 20 Chapter Five, then place the wand in the lower left vest pocket, Figure 351. Cut a slit in the bottom of the coin purse, Figure 352, then put the purse in the left coat pocket. Place the duplicate wand in the inside coat pocket. Presentation : 1. Produce the 15” silk, Chapter Four. 2. Vanish the silk, Chapter Eight. 3. Take the coin purse in the left hand, open it with the right, then holding the purse close to the body, reach through the slit and pull the shell wand through the open purse, Figure 353. 4. Wrap the shell wand in newspaper. 5. Break the paper and the wand at the middle of the roll, and produce the silk. 6. Crumple the paper containing the shell and toss it aside. 7. Produce the wand from the inside coat pocket.

Matches and Silk Routine *

● R U D Y

65 R O X O ●

Effect : A silk produced from a puff of smoke suddenly disappears and is found in a previously shown match box. The matches appear in the hand that formerly held the silk.

The Secret : A special pull, Figure 354, and a faked match box, Figure 355, are needed. In addition, two 12” silks are needed. Fasten the pull to the right side of the body, Chapter Eight. Place a silk in the drawer of the match box, close the box half way, then place a second silk in the empty part of the cover, Figure 356. Place the box in the right coat pocket.

Presentation : 1. Place a cigarette between the lips, then take the match box from the packet with the left hand. 2. Take the full match from the box with the right hand, giving a glimpse of the dummy matches glued to the false bottom. 3. Close the box with the left hand, forcing the silk from the lid into the left hand. 4. Strike the match on the box, then place the box on the table, turning it over as you do so. Light the cigarette. 5. Blow smoke on the left fist, open it, then show the silk. 6. While displaying the silk, get the pull in the right hand.

7.

8.

9.

Push the silk into the pull, clip the match heads at the base of the right thumb and first finger, then release the pull, retaining the matches. Open the hand, showing the silk gone and the matches in its place. Open the match box and produce the silk.

The Wandering Handkerchief * ● H A R L A N

66 T A R B E L L ●

Any number of transpositions can be done by using the well known “top-of-the pocket” dodge. Here is a clever routine given by Dr. Tarbell in Volume One of the TARBELL COURSE IN MAGIC. Effect : A red silk passes from one pocket to the other, unknots itself, then finally changes color. The Secret : Two 12” red and one 12” blue silks are needed. Roll a red silk (No. 1) and place it in the top of your left trouser pocket, Figure 357. Place the blue silk in your left back pocket. The second red silk (No. 2) is to be produced later. Presentation : 1. Invite a boy from the audience to assist, then turn the trouser pockets inside out, Figure 358. Silk No. 1 is not disturbed, Figure 359. 2. Put both pockets back in place. As the left pocket goes in push the left thumb into the upper corner of the pocket and force the hidden silk down into the bottom of the pocket.

3. 4.

5. 6. 7. 8. 9.

10. 11. 12. 13. 14. 15.

16.

17.

Produce silk No. 2, Chapter Four. Bunch up silk No. 2 and place it in the upper corner of the right pocket with the thumb, Figure 360. Command the silk to pass to the left pocket. Turn the right pocket inside out, leaving it out. Have the boy produce the No. 1 silk from the left pocket. Turn the left pocket inside out. Put both pockets back in place. As the right goes in , push the thumb into the upper corner and force the No. 1 silk down into the bottom of the pocket. Place silk No. 1 in the left pocket and into the upper inner corner. Command the silk to pass to the right pocket. Turn the left pocket inside out to show that the silk has gone. Have the boy remove the No. 2 silk from the right pocket. Turn the right pocket inside out. Put both pockets back in place again, and as you do, force the No. 1 silk down into the bottom of the left pocket. Put silk No. 2 in the top of the right pocket again. Command the silk to pass to the left pocket.

18. 19. 20. 21. 22. 23. 24. 25. 26. 27.

28. 29. 30. 31.

Show the right pocket empty, leaving it out. Have the boy produce the silk No. 1 from the left pocket. Show the left pocket empty. Ask the boy to tie a knot in silk No. 1. As you display the knotted silk, replace the right pocket, forcing silk No. 2 to the bottom of the pocket. Take silk No. 2 in the right hand, then place it in the upper inner corner of the right pocket. Command the knot to vanish then have the boy remove Silk No. 1 from the bottom of the right pocket. While displaying Silk No. 1, reach in the left back pocket with the left hand and palm away the blue silk. Put the blue silk in the upper inner corner of the left pocket as you put the left pocket back in place. Show both pockets empty again, then put them back in place. As the left goes in, force the blue silk to the bottom of the pocket. Place silk No. 1 in the upper inner corner of the left pocket. Have the boy blow on the left pocket. As the boy removes the blue silk from the left pocket, say “You blew (blue) too hard !” Show the left pocket empty again.

Color Blind *

● S I L V E R S T E I N

67 A N D

D A R T ●

Effect : A sealed tube containing a red silk is handed to one spectator and a second tube containing a green silk is given to another. Upon command the silks change places. The Secret : The metal cylinders have metal inserts in one end, Figure

361, that remain in the caps when they are removed, Figure 362. A piece of green silk is glued in one cap and a piece of red in the other. The tubes are as shown in Figure 363 at the beginning of the effect.

Presentation : 1. Place a red silk in tube No. 1, and a green in No. 2. 2. Put the caps on the top ends. 3. Turn over both tubes, Figure 364, allowing the spectators to see the protruding pieces of silk. 4. Cap the No. 2 tube (containing green silk) as you call attention to the visible red piece. 5. Hand the capped tube to a spectator. 6. Repeat with the No. 2 (red) tube. 7. Command the silks to change places. 8. Remove the cap from the No. 2 tube (metal insert staying in lid) and show the green silk. 9. Repeat with tube No. 1, showing the red silk. 10. Hand the two unprepared caps, a silk and a tube to one spectator while pocketing the two caps containing the inserts. 11. If desired, two additional unprepared caps may be brought from the pocket and these handed to a second spectator along with the other tube and silk.

Silk Mystery *

68 ● D E V L I N ●

Effect : Six silks are draped over a spider’s web held by an assistant, Figure 365. The performer places the silks in an empty metal container, then commands the silks to pass back to the web. The Secret: The metal container, Figure 366, is unprepared. The web, Figure 367, has a folding servante across its top at the back, Figure 368, and a weighted flap on its front, Figure 369, which has a spider and a web painted on it. The six silks that reappear are pinned to the spider’s legs, Figure 370. The silks are carefully folded and the flap brought up into place, Figure 371. The prepared web, Figure 365, is held by the assistant at the beginning of the effect.

Six silks duplicating those pinned to the spider are prepared as shown in Figure 372. These silks are resting over the stick at the top of the web, Figure 365.

Presentation: 1. Show the tube empty. 2. Hold the tube in the left hand and one of the silks in the right. 3. Allow the fake attached to the silk to drop into the tube, Figure 373. 4. The lip at the top edge of the fake prevents it from going too deep into the tube. 5. Work the silk into the fake with the first and second fingers of the right hand. 6. Using the left hand as a cover momentarily, steal the fake out of the tube, Figure 374. 7. As you take a second silk from the web, drop the fake into the servante at the back. 8. Repeat with the other five silks, one by one. 9. Cap the (empty) tube. 10. Holding the tube between you and the web, fire a pistol. 11. The assistant drops the front flap at the same time, disclosing the spider and the silks. 12. Allow a spectator to open the empty tube. U

T h e

U

E n d

of

V o l u m e

O n e