Rice's Encyclopedia of Silk Magic Vol 3 by Harold R. Rice

COPYRIGHT - 1962 BY HAROLD R RICE COPYRIGHT IN CANADA AND IN ALL COUNTRIES SUBSCRIBE TO THE BERDE CONVEATION

ALL RIGHTS

RESERVED

NO PART OF THIS BOOK MAY BE REPRODUCED IN ANY FORM WITHOUT PERMITIO IN WRITING FROM THE PUBLISHER THE MANUFACTURING RIGHTS FOR THE DEVICES DESCRIBED OR ILLUSTRRTED HERE IN ARE RESERVED BV THOSE CREDITED EITH THE EFFECTS DESCRIBED

PRINTED IN THE UNITED STATES OF AMERICASECOND PRINTING 1974 THIRD PRINTING 1986

C O N T E N T S

Dedication...........

CHAPTER EIGHTEEN Sympathetic Silks......

III

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CHAPTER NINETEEN Blendo Effects.......

1161

CHAPTER TWENTY "Naughty" Silks

1217

CHAPTER TWENTY-ONE Silks And Eggs.....

1315

CHAPTER TWENTY-TWO Soup Plates And Silks

CHAPTER TWENTY-THREE Silks and Candles

CHAPTER TWENTY-FOUR *Openers .......

1355

1385

1421

CHAPTER TWENTY-FIVE Jap Hank Box……

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Sympathetic Silks

Origin

1

Few magical effects can be credited solely to one individual. This applies to the origin of the SYMPATHETIC SILKS. Magician’s Tricks: How They Are Done, written by Hatton and Plate in 1910, introduces the effect under the heading THE MYSTERIOUS KNOTS. But the authors do not claim credit for the effect. Later, in his Magic Of The hands, Edward Victor states he included the original effect, SYMPATHETIC SILKS, in his act at St. George’s Hall in London in 1913, thanks to the cooperation of Victor’s friend, G. W. Hunter.

Original Effect

2

Originally, three silks, apparently separate, when tossed into the air, fell tied together. Tossed into the air again, the silks come down separately. This was the effect as explained by Hatfon-Plate. Since then many variations have been introduced. But basically, the effect is the same as presented by Victor. HARLAN TARBELL Effect: Three of six silks shown separately are placed on a chair. The other three are knotted together, then placed on a second chair. As a sympathetic bond between the two sets of silks, the first set ties itself because the performer tied the second st. And the three separate silks are now found tied together. Required: Six 24”red silks. To acquaint you with the essence of the effect, I will start with the method given by Tarbell in his famous course. Here the routine has been reduced to its simplest form. * COURTESY – LOUIS TANNEN

Preparation: Tie the three silks together (Figure-1) with square knots, Figures 2-7. Pick up the silks at corners A, B and C, knots to the rear. Add the three remaining silks (D, E and F) as indicated in Figure 8. Lay silks in this order on a table.

Presentation: 1. Pick up the silks in your left hand. 2. To prove the silks to be separate without saying so, take single silks ”D” and E in your hand, Figure 9, shake them, and then add them to those in your left hand. 3. Now count the silks, passing them from left to right, one by one. Keep your hands close enough together to avoid exposing the knots, Figures 10 to 11. 4. When the sixth silk is shown, carry it to the left and shake it. Then add it to the five in your right hand. 5. Take the knotted three silks (A.B.C), roll them into a loose ball, Figure -12, and place them on a chair. 6. Now join tow of the single silks with a FADE-AWAY DOUBLE KNOT, Figures 13-16. The silks appear to be securely tied, Figure 17. 7. Add the remaining single silk with the same type of knot, Figure 18. 8. Starting with the button silk, roll the silks into a ball, Figure 12. As each knot is reached, secretly give it a slight pull and it will release. 9. Place these silks on a second chair. 10. Go to the first set, obtain corner “X”. Figure -1, and pick up the silks, displaying the chain, Figure -18. 11. Untie the silks and place them back on the seat of the chair. 12. Return to the second set which are not untied. Pick them up, one at a time, and display them free of knots.

Basic Elements of Effect

4

As you have noted by this time, you are confronted with tow problems:

1. a method of showing the silks to be separate although three are joined.

2. a method of secretly removing the knots from the silks tied in the spectators’ presence.

I will treat the more popular methods of accomplishing each. Then I will give you some complete famous presentations.

The Sympathetic Silks Stand*

5 JOE

BERG

The three silks tied prior to performing can be proven to be separate mechanically or by use of slight-of –hand. I will explain the mechanical methods first. If the P and L stand conceived by Joe Berg is used, the three separate silks are on a side table and the three knotted silks on the T stand. Figure 19. Three silks are joined with square knots (Figures 2-7)., then placed across the rear of the top bar of the stand as in Figure -20. Then the “A” Corners of the silks are brought to the front, Figure 21. In the presentation the three separate silks are picked up, joined with knots of your choice (as will be explained later), then laid aside. Then the three separate () silks on the stand are shown. To do so, step to the rear of the stand, take corners “C-B-C” in one hand, life up on the silks, pulling them out of the clips and free of the stand, then lay them aside. Continue with the effect, using the routine of your choice. Victor’s Stand In his book, MAGIC OF THE HANDS, Victor explains a portable stand, Figure -22. Six silks are tied loosely to the stand with a single knot, Figure -23. Three of these are joined with square knots, Fig. 24, but all appear to be single, Figure- 23. Call attention to the six single silks, table silks 2, 4, and 6 between the thumb and first fingers t “X”, Figure 24, pull up sharply, and the three (knotted) silks will pull free of the stand. Now proceed with your favorite routine. *COURTESY – PETRIE –LEWIS MANUFCTURING CO.

Uniting the Colors

7 EDWARD

BAGSHAWE

In No. 76, Chapter 17, I explained the Bagshawe 20th Century Tray. The knots of 3-knotted silks, Figure -1, can be hidden in the tray as illustrated in Figure -450 of Chapter 17. Thus the silks appear to be separate although knotted.

Sympathetic Silk Methods *

8

PERCY ABBOTT Percy abbott suggests draping the tied silks over a chair, Figure 25, or over a table, Figure 2, knots on the back or, the tow knots can be hidden between the center pages of a boot , Figure 27.

Weber’s Method **

HERMAN

L.

WEBER

9

Across the back of a metal tray, fasten a strip of elastic, Figure 28. Tuck the knots between the three silks (Figure 1) under the elastic, Figure 29. Over these, drape three unprepared silks. Lean the tray against some object. To present, remove the three single silks, knot them, then lay the silks aside. Display the remaining silks, Figure 29-B. Take the tray in your left hand, Figure 30, then take the three silks at the corners “X-X-X”, Figure 29-A, and life them free of the tray, Figure 30.

Sten’s Method***

10 CARL

STEN

* COURTESY –ABBOTT MAGIC COMPANY ** COURTESY – SILK KING STUDIOS *** COURTESY – THE BAT

Here is the answer for the nite-club performer working completely surrounded. Knot three 24’ purple silks, Figure I. Slip six small rubber bands over a cane. Tuck the corner of each of three 24’ yellow silks and a corner of each of the knotted purple silks under the rubber bands, Figure 31, and you are set. Place the cane and silks on two newspapers and roll them up to and around the cane, Figure 32. Tie the rolled cylinder with a ribbon, Figure 33. To present, remove the ribbon, unroll the papers, and toss on to your right, the other to your left. Now display six separate (?) silks fastened to the cane, Figure 31. Pull the three purple silks free of the can; lay them aside. Remove the three yellow silks, then lay the cane aside. Proceed , tying knots between the yellow silks, then passing the knots between the purples.

A Chair Display*

11 HARLAN

TARBELL

Sew very small rings to corners A, B, C, D, E and F of six silks, Figure 36. Drive six small brads part way into the top of a chair, Figure 34. Knot three silks, Figure 1, then hang the silks in place, Figure 35. Now add the three single silk, Figure 36. To present, take corners “C-B-A”, and jerk down sharply, Figure 37. Lay these silks (knotted) aside, then continue with your favorite routine.

False Counts

12

Some performers prefer to pick up all six silks, three of with were previously knotted together, Figure I, then to prove them to be separate by counting them from one hand to the other. For example, one method was given in No. 3, TARBELL’S SYMPATHETIC SILKS. In the false count, usually several silks are secretly exchanged for others already counted. Thus, the set of six must be made up of all one color, or tow each of three different colors. Here are several of the more popular methods of doing the false count.

Hugards’ Count JEAN HUGARD Three silks are joined together, Figure I. All six are on a table. * COURTESY – LOUIS TANNEN

13

To present, pick up a single silk, and place it in the left hand, Figure 38. Now take the three knotted silks, and ad them to the left hand, Figure 39. Close the first, gripping the corners of the four silks between the thumb and first finger. Finally, add the remaining two single silks, the top corners going under the thumb, Figure 40. To count, take one of the two single silks (5) at “X”, Figure 40, and run the right hand down to the button tip of the silk, pull the silk away, Figure 40 and count “one”. Repeat with the second single silk () and count “two”. Hold the silk as shown in Figure 42. Now for the switch: Place the tow silks back in the left hand in their original position, Figure 40, then take the three knotted silks (2-3-4), and carry them away with the count of “three”, Figure 43. Go back to the left hand, and take a fourth (1) silk between the right thumb and first finger, and count “four”, Figure 44. Repeat, taking the remaining single silks (5 and 6) one by one, separating the hands each time, and count “five” and “six”.

The silks are now in the right hand, Figure 45. Take the three single silks, and place them over the right arm. Grasping the three knotted silks at their centers with the left hand, lay them aside. Now, proceed to knot the single, and continue with your favorite routine.

Tarbell’s Count *

HARLAN

TARBELL

14

Place the knotted silks “A-B-C” under the left thumb and the three singles as in Figure 46, then bring all of the corners under the thumb, Figure 47. To count take “F” in the right hand and count “one, Figure 48. Take “E”, adding it to “F”, shake both silks, Figure 48, count “two”. Approach the left hand to get a third silk. Instead replace “E” and “F” in their original position, Figure 49. Then take “A-B-C” in your right hand, Figure 50, swing to the right, and count “three”. Place the three (knotted) silks on a chair. Then continue, counting the three single silks “four”, “five” and “six”. Proceed with your favorite routine.

Rice’s Count *

15 HAROLD

R.

RICE

Because the exchange is automatic, my method should appeal to many. Hold the silks as in Figure 51. Now, with left palm to the floor, and the right palm facing the performer, take the first single silk (1) as in Figure 52. Note that because the left first and second fingers are slightly spread apart, Figure 53, the tips of the knotted silks automatically fall between them each time the left hand approaches the right hand to take a single silk, Figure 52. Carry the first silk to the left, and count “one”, Figure 54. Repeat in exactly the same way for the second single silk. Then for the exchange. Approach the right hand to take the third single silk. When you reach Figure 52 position, leave the single silk, carry away the three knotted silks, Figure 55, and count “three”. As the position of the left hand has never changed up to this point, the switch is automatic. Lay the three (knotted) silks aside. Now, without changing the position of the left hand, continue, taking the three single silks, one at a time, into the left hand. Knot the three silks, then proceed with your favorite routine.

Combinations

16

Some performers combine both the mechanical and sleight-ofhand methods in introducing the six silks to the audience. Thus consider combining a 5-11 method with a 12-15 method.

Upsetting the knots

17

Thus far we have considered the methods of showing six silks separate, even though three were tied prior to performance. Now we will take up the knots tied in the spectator’s presence. For these must be secretly disposed of during the routine. In the Tarbell version (Effect No.3), the knots are easily removed as they are a combination of a twist and a single knot. Let us now consider other knots and their secret releases.

The Square Knot

18

Most performers prefer the square knot. It is tied as already explained, Figures 2-7. After the knot “X” is formed, take the one silk in the right hand at “Y” and the tip “R” of the same silk in the left hand, Figure 7. Pretending to be tightening the knot, pull the tip “R” to the left, upsetting the knot, Figure 5. Note that tip “R” now merely passes thru the knot “X” instead of being a part of it. The various methods of getting rid of the knot will be treated later in effects using the square knots.

Nu-Way Double Knot*

19 HARLAN

TARBELL

With the left hand holding corner “B” of one silk across *COURTESY –LOUIS TANNEN

and on top of corner ”A” of another, Figure 57. Take “A” in the right, Figure 58, and bring it over and own around the left first finger, Figure 59, then under and up around corner “B” Figure 60. Bring ends “A” and “B” up on either side of the silk encircling left finger, Figure 1, then tie a single knot, Figure 62. As the knot tightens, remove the left first finger, leaving the small bight of silk in the knot. The right fingers ass is in holding the bight in the knot as the finger is removed. Spectators may pull on “A” and “B” without disturbing the knot if you hold the silks at “X” and “Y” below the knot, Figure 63. To release the knot, take the silks at “X” and “Y” in either hand, and pull sharply in opposite directions.

Quick Release Double Knot * HARLAN

20 TARBELL

Here is a double knot that can be upset like the square knot in Figure 56. Loop “A” over and under “B”, forming a single knot, Figure 64. Place your second finger of your left hand on top of the knot, Figure 5. Bring “A” toward you, Figure 66, then tie a single knot, Figure 67. Holding the silks in Figure 68 position, pull “B” above and below the knot to tighten it. Now “B” passes thru knot “x, Figure 69. To release the knot, take knot “x” in the left hand, and the other silk in the right hand at “Y” now pull end “B” thru the knot.

Slydini Knot

21 This knot, tied slightly different from the QUICK RELEASE KNOT, is credited to Slydini. Tie a double knot as illustrated in Figure 70-73/ At this point reverse the positions of corners ”A” and “B”. The knot is now as shown in Figure 74. Holding the silks as shown in Figure 75, pull “A” and “X” while holding “B” loosely. This upsets the knot, which is then exactly the same as the one shown in Figure 69. To release the knot, take a silk at “Y” in each hand, and pull in opposite direction, Figure 69.

Proudlocks’s Version

22 EDWARD PROUDLOCK

Proudlock’s version is a favorite with many performers. Effect: Six silks are shown, then there are placed on a chair. The remaining three are knotted and place in another chair. * COURTESY –LOUIS TANNEN

The first three are now fond to be tied, too. The knots are united, then the silks are laid aside. Now the Second set is found to be united! The second set is tied with a single knot, then paced aside. Now the first set is found to be tied with a single know too. The six silks are tossed into the air, and they fall o the floor, free of knots. Again the six silks are tossed into the air. When they fall the six are found to be joined with a single knot. Once more the silks are tossed into the air. They fall to the performer’s hand, then to the floor, completely separate! Required: Six 36’ silks (2 each green, yellow, and purple); a small Bulldog clip, a fan, and a quantity of No. 8 small flesh colored rubber bands. Two chairs are also needed, Figure 7. Preparation: Join a green, a yellow, and a purple (Figure 1) with square knots, Figure 2-7. Bring corners “A-B-C” together, Figure 1, then hold them together with the spring clip, Figure 77. Place the silks over the back of the chair to the right as in Figure 78. Place tow rubber bands just below the fingernail of second finger of the right hand, Figure 79. Finally, place the fan on the chair to the right, Figure 76. Presentation: DISPLAYING THE SILKS 1. Pick up the single green silk in your right hand, then transfer it to the left in the Figure 80 position. 2. Now wrap the corner around the second finger, Figure 81. 3. Take the three knotted silks in the right hand, then place the silks in the left hand in Fig. 82 position. (To make the drawings clearer, the green silk isn’t shown in figures 82 and 83.)

4. 5. 6.

7.

Holding the clip in the right fingers weave the corners of the three silks thru the left fingers, Figure 83. Secretly remove the clip, palm it, turn slightly to the right, then drop the clip in your right coat pocket. Pick up the single purple silk, displaying it with the right hand. then place it between the left thumb and first finger. Repeat with the remaining single yellow silk, Figure 84-.

THE FALSE COUNT 8. Starting with the single yellow silk, take it directly below the left bond at "X" with Your right, run your hand down the silk to the lower corner, then

raise the silk to the figure 85 position. 9. Release the corner in the left hand, carry the yellow away with your right, and count “one”. 10. Approach the left and take the separate purple at “X”, Figure 85, carry it away in the right, Figure 86, then count “two”. 11. Now, for the switch. Once again approach the left hand. Place the single yellow and purple between the left thumb and the first finger, which already hold the single green. At the same time, take the top corners of the three knotted silks, with the first and second fingers of the right hand, Figure 87. 12. Carry the three knotted silks away, and count “three”. 13. Knotted silks in Figure 88 position, take a single yellow silk between the thumb and first finger of the right hand, and count “four”. 14. Repeat with the purple, and count “five”. 15. Now only the green remains in the left hand, Figure 81. Display it, allowing the corner to untwist from the finger. 16. Add the green to the other silks in your right hand. 17. Take the three separate silks from between the right thumb and first finger, and lay them over the right arm, Figure 89. 18. Take the three knotted silks in the left hand directly below the right, move down the silks to their centers “X”, Figure 89, fold the silks in half, releasing the corners in the right hand, then place the folded silks beside the fan on the seat of the chair at the right, Figure 76. 19. Go the left chair, then remove the three silks from the right arm, and place the silks on the seat of the chair. KNOTTTING THE SILKS 20. Pick up the yellow and purple silks, then tie a corner of each with a square knot, Figures 2-7. Display the knot, Figure 90. Then, appearing to be tightening the knot, upset the square knot, Figure 91.The corner of the yellow silk passes thru the purple knot, Figure 91.

The corner of the yellow silk passes thru the purple knot, figure 56. 21. Display the silks, Figure 92, drop the purple from the left hand, then tie the remaining green to the corner of the yellow skin in the right hand, Fig 2-7. 22. Now upset the second square knot, Figure 91, being certain that the yellow corner passes thru the green knot, Figure 139. RELEASING THE KNOTS 23. Display the silks, Figure 93, then take them in the right hand in Figure 94 position. 24. Grasp the three silks in your left hand about 3 inches below the knots, Figure 95. 25. Gripping the yellow silk firmly, lower the right hand behind the left, pulling the yellow silk free of the upset square knots, Figure 96. 26. Then fold the top portion of the two silks in the left hand over the right palm, Figure 97. 27. Take the bundle of three silks in your left hand, Fig. 98, positing to the three silks on the chair at the right with your right hand, then lay the silks on the seat of the chair at the left. PASSING THE KNOTS 28. Go to the chair to the right, take the fan in your left hand, and fan the silks slowly. 29. Take a corner of the purple silk in your right hand, life it slowly, and the three silks are found knotted! 30. Hand the silks to a spectator, requesting him to unite the knots. 31. Spectator busy with the knots, secretly get the rubber band s on the second finger of your right hand around the first finger too, Figure 99. 32. Now secretly slip your right thumb under bands, Fig. 100. 33. Take two of the spectator’s silks in your right hand, then the remaining silk in your left. 34. Bring the hands together, Figure 101, adding the third silk to the right hand.

Silk to the right hand. 35. Life the center of the silks with the left hand, Figure 102. 36. Allow the rubber bands to slip off of the right, fingers and thumb onto the three silks, Figure 103. 37. Lower your right hand, fold the silks, Figure 104, then place them on the seat of the chair to the right. 38. Fan the silks on the chair to the left, pick up the silks, and show them to be separate again. PASSING THE SINGLE KNOTS 39. Holding the separate silks as in Figure 10, tie the yellow silk around the green and purple, Figures 106-109. Tighten the “fake” knot, Figure 110, then display it, Figure 111, the tips of green and purple silks resting on the floor. 40. Now, holding a corner of the yellow silk, lower the knot to the stage. As you do, slowly move your hand counterclockwise. Note that the knot slowly dissolves! At the point where the knot almost disintegrates, drop the yellow silk so it falls on top of the other two silks. 41. Return to the three silks on the chair to the right. Pick put the silks and display them knotted, Fig. 112.

42.

Actually they were joined with rubber bands earlier, Figure 103. 42. Take the silks in the left hand, Figure 113, transfer the fake knot to the right hand, secretly slip the bands off of the silks and on the second finger of your right hand. 43. Fold the silks, Figure 114, toss them into the air, and allow them to fall separately to the stage. 44. Pick up the silks one by one by the corner with the right hand, then transfer the three to your left. 45. Once again secretly get the rubber bands around your first and second fingers, Figure 99. 46. Go to the three knotted (?) silks on the floor. With your right hand pick up a corner of the yellow silk, turning it counterclockwise to be certain the knot has dissolved. 47. Add this silk to the set of three silks in your left hand. Repeat with each of the two remaining silks on the floor. KNOTTING ALL SIX SILKS 48. As the lost silk is picked up, insert the right thumb under the rubber bands too. 49. Transfer the six silks from the left hand to the right Figure 101. 50. Holding the silks in Figure 115 position, lower the right hand, Figure 102, allowing the bands to slip over the silks, Figure 103. 51. Fold the silks, Figure 104, then bow, the presentation supposedly concluded. 52. Then, suddenly toss the silks into the air and allow them to fall to the stage. 53. Pick up the silks showing them knotted again, Fig. 11. UNKNOTTING ALL SIX SILKS 54. Take the six silks in Figure 117 position, pull on the silks in opposite directions (secretly causing the rubber band to fly free of the silks), fold the silks

Figure 114; toss them into the air, catching them as a ball before they unfold. 55. Shake the silks, allowing them to fall separately to the floor.

Four silks routine

23

AL B A K E K. Al Baker has long contended an effect should be as simple and as direct as possible. His Sympathetic Silks routine employs but four silks. Effect: A knot tied between two silks passes to two single silks. Required: Four 24" silks (2 yellow and 2 blue), Preparation: Join a yellow to a blue with a square knot, Figures 2-7. silks and two singles on your table.

Place these two

Presentation: 1. Pick up the tied set "A-B" with your right hand, then place it in your left, Figure 118. 2. Add the two singles, "C-D', Figure 119. THE FALSE COUNT 3. Take the single yellow silk “D” between your right thumb and first finger, corry it to the right and count “One”. 4. During this action change the silks in your left hand to Figure 120 position. To do so, first encircle the blue silk “C” with the third and fourth fingers, then pass the second, third, and fourth fingers behind the knotted silks “A-B”, bringing the silks to the front. The thumb is free. 5. Now approach the left hand to take the second single blue silk “C”, Figure 121. As you do, take the knotted set “A-B” between the first and second fingers of the right hand, and leave yellow “D” between the thumb and first finger of your left hand. Separate the hands, Figure 122, as your turn to the right, and count “two”. 6. Toss the bottom tips of the knotted silks upward and over the right wrist, Figure 123, releasing the corners “A-B”, and

wrist at “X”. 7. Take the single yellow silk “D” in the right hand, and count “three”, Figure 124. 8. Turn to the left, display the blue silk remaining in the left hand, and count “four”. 9. Take the single yellow “D” in the left hand with single blue “C”, then toss the two silks over the left wrist, Figure 125. THE FORCE 10.

At this point you see the famous “spectator’s choice” force. Ask a spectator to choose a set of silks. Regardless of the set he designates, you intend to use the singles over your left wrist. If he selects this set, say “than you. I will now join your set with a knot”. Should he name other set, thank him and say, “I will now knot the set which remains.”

KNOTTING THE SILKS 11. 12.

13.

14. 15.

Place the corner of the blue silk “C” over a corner of the yellow, “D”. Figure 12. Holding the silks in Figure 127 position, bring the yellow corner under the blue, Figure 128, then up in front of the blue, Figure 129. Figure 130 gives another view of the positions of the corners. Holding the corners in Figure 129 position, tie a single knot, Figure 131. Note that all of the first part of the knot dissolves as the single knot is tied. Now drape the knotted silks over the back of the left hand, Figure 132. Secretly pull gently on the silks at “X-X”, and the two corners will reverse, but remain twisted together. PASSING THE KNOTS

16. 17.

Turn the left palm upwards, shaking the silks free. They separate as they fall to the floor. Take a free corner of the two knotted silks on the right wrist, and shake the knot into view, Figure 17.

Two Silk Routines* AL

24 BAKER

A two silk sympathetic silks routine is also credited to Al Baker. Effect: Two separate silks are found to be joined together with a square knot. Required: Two 24’ silks (a red and a blue), and a prepared table, Figure 133. Preparation: Tie a corner of one silk to a corner of the other with a square knot, Figures 2-7. The silks are now as in Figure 134. Place the silks on your table, the knot going into the loose portion of the table drape, Figure 135. Presentation: 5. Call attention to the two separate (?) silks, Figure 135. 6. Take corner “A”, then “B”, in the left hand, Figure 136. 7. Take the silks just above the table in your right hand, Figure 137. Pull the silks up thru the right hand, roll them into a ball, then lay them on a table, keeping corner “E” or “F” (Figure 134) available. 8. Pass an invisible knot to the silks.

5. Take corner “E” (or “F”) and display the knotted silks, Fig. 17. ALTERNATE METHOD If you prefer, the knots can be placed under a piece of cloth or cardboard tacked to the table, Figure 138. Present the effect above, Steps 1-5. Clark’s Sympathetic Silks * KEITH

25 CLARK

Clark’s Sympathetic Silks as part of his SILKS SUPREME is a masterpiece and will be explained in a later chapter. However, his method of disposing of the upset square knot, Fig. 56, is of useful I am including it here. We are at the point in the routine where the square knots just tied in the three silks have been secretly upset, Figure 56. It is always important that the two diagonal corners of the center silk pass straight thru the upset knots, Figure 139. Holding the silks as in Figure 140, take the center silk between the right thumb and first finger at “x”, Figure 141. Place the knot in the folds of the silk in the left hand at point “Z”, Figure 140. As you do, secretly slide the knot off the silk. Just as the knot is eliminated, pinch the corners thru the silk at “Z” with the left hand so they cannot fall into view.

Repeat with the remaining knot, taking it at “Y”, Figure 140. All three silks now in the left hand (an supposedly still knotted together) are placed aside and you continue with the effect. Furst’s Sympathetic Silks *

25

ARNOLD FURST Some routines use silks all the same color. Effect: Six red silks are shown separately. One set of three is laid aside. The remaining set is knotted together, Figure 1. One of the tow knots is passed to the first set which is now displayed. Then the second knot is passed just as mysteriously. The condition of both sets is shown after each knot is passed. Required: Six 24” red silks; a quantity of rubber bands. Preparation: Join two of the silks with a square knot, Figure 134. Place a rubber band around the first joint of the left first finger, Figure 142. Presentation: 1. Take the silks in Figure 143 position. 2. Approach the right hand with the left as shown, Fig. 53. 3. Take the first single, Figure 143, between the left thumb * COURTESY - GENII

4. and first finger, (No.15 Rice’s Count), carry it away to the left and count “one”. 4. Approach the right again to obtain a second silk, Figure 53. This time take the knotted two (Nos.2 and 3, Figure 143) between the left first and second fingers, leaving the first silk (No. 1, Figure 143) between the right thumb and first finger. 5. Carry the two knotted silks away to the left, and count “two”. 6. Approach the right again, taking the first silk (No. 1, Figure 143) back again, Figure 144, carries it to the left, and count “three”. 7. Roll the three into a ball, then place them on a chair to the right. 8. Count the remaining three, one by one, taking them in the left from the right much like the first three. 9. Join the last three (4,5 and 6) with square knots, Figure 2-7, upsetting the knots, Figure 56. 10. Display the knotted silks, Figure 140. Secretly slip off knot “X”, Figure 140. (Keith Clark No. 25) then roll the silks into a ball, and place them on a chair to the left.

PASSING THE FIRST KNOT 11. Patter about passing the knots, one a t a time from the silks at the left to the singles (?) at the right. 12. Pretend to take an invisible knot in both hands, then toss it to the single (?) silks at the right. While doing so, use the right hand to secretly get the rubber band over the left thumb and first finger, Figure 145. 13. Pick up the first set from the right chair, and show two silks knotted, one single, Figure 146. The single silk in the left hand is held as in Figure 147. 14. Now add corner “Y” (of second silk) to corner “X” (of first silk) in the left hand and display the knot, Figure 148. 15. Go to the chair to deposit the silks. As you do, secretly slip the rubber band off the fingers on to the corner “X-Y”, Figure 149. 16. Pick up the three silks from the left chair and show one knot missing, Figure 146. 17. Roll the silks, secretly slipping the last knot “Y”, Figure 140, (Keith Clark), then place the silks on the left chair again. PASSING THE SECOND KNOT 18. Again pretend to take an invisible knot from the silks at the left and toss it to the right. 19. Display the knotted silks taken from the right chair, Figure 150. 20. Now pick up the three separate silks from the left chair, toss them into the air, allowing them to fall free to the floor.

1.

Bellman’s Method

27 DAN

BELLMAN

The effect is just the reverse of Furst’s routine. Effect: The performer explains three separate silks placed on a chair are “in sympathy” with three duplicates he holds. To illustrate, he ties his three, and the other set becomes tied. He removes one knot, and a knot disappears from the other set, he unties his last knot, and the three silks in the other set are single again! Required: Six 24” silks (2 each green, orange, and purple). Preparation: Join one set (Figure 1), tying the orange between the green and purple with square knots (Figures 2-7), then upset them, Figures 56 and 139. Place a chair to the left and one to the right of your table (which is in the center of the stage). Place the three knotted silks on your table. On top of these place the single purple, then the orange, and finally the green, Figure 151. Presentation: 1. Stand behind your table, left palm up, and about 12” above corners ”A”, Figure 152. Using the right hand, place a corner of the single green silk between the left third and fourth fingers; then a corner of the orange between the second and third; finally, the single purple, and the set of three knotted silks between the first and second fingers, Figure 153. 2. Now, place the left thumb between the corner of the single purple and the set of three, turn the palm in toward your body, Figure 154, and walk to the

3.

3.

4.

5. 6.

front of your table. Take the green silk between the thumb and first finger of the right hand, Figure 155, carry the silk to the right, and count “one”. Silk in right hand is now in Figure 156 position. Now toss the silk to the left, and withdraw the first finger, and silk falls over the second finger, Figure 157. Finally, bring the first finger down on top of the silk and sec finger, releasing the corner held by the right thumb, Figure 158.

7. Now approach the left hand and take the second (orange) silk between the thumb and first finger, Fig 159. 8. Carry the orange silk to the right and count “two”. 9. Now repeat Figures 156-157-158, getting the orange silk in the same position as the green, Figure 160. THE SWITCH 10. Approach the left hand to obtain a third silk. Instead, clip the single green and orange between the left second and third fingers, taking the three knotted silks between the right thumb and first finger, Figure 161. 11. Carry the three knotted silks to the right, Figure 162, can count “three”. 12. Place the three knotted silks on the chair to the right. 13. Count the remaining three silks, one at a time, handling them exactly as you did the singles, Figures 155-158, counting “four, five, and six”. 14. Tie the three silks, Figure 1, with square knots, Figures 2-7, then secretly upset the knots, Figures 56 and 139. Be certain that the fake knots are within ½ “of the end of the silks. ONE HAND RELEASE 15. Drape the silks over the left hand with the right, displaying the knots, Figures 163. 16. Now lay the silks on the chair to the left, secretly slipping the knot joining the green and orange silks. To do so, change left thumb and fingers to Figure 164 position, close the three fingers as you raise the thumb and first finger, Figure 165. You have slipped the knot with one hand! IN SYMPATHY 17. To your audience you have three single silks on the chair to the right, three knotted silks on the chair to your left.

2.

18. Now you announce the set at the right has secretly knotted itself “in sympathy” with the set at the left. 19. Grasping a corner of the purple silk in your right hand, flip the string of silks into the air, catching the orange (center) silk in your right hand, displaying the knots. 20. Untie the green silk, then drape the set over the left hand as in Figure 166, displaying the remaining knot.

21. Place the silks back on the chair at the right. As you do, secretly slip the knot as in Fig. 164-165. A KNOT IS MISSING 22. Now carry on your experiment. A knot has been removed from the three silks just displayed and placed on the right chair. 23. Go the left chair, take a corner of the green silk, and gently pick up the silk to show it to be separate from the knotted orange and purple. 24. Untie the orange and purple, and lay the three separate silks on your table. 25. Still “in sympathy”, pick up the silks on the chair at the right. These too are now separate!

One Hand Method*

28 PRINCE

WENDES

This effect closely guarded by Jack Mendes (of ‘This is the Army’ fame) for over 15 years, was given to me for my exclusive use in this volume. Effect: A knot passes from tow silks to two others. Required: Four 18” silks (2 red and 2 green). Preparation: Tie a loose “loop” knot in a red silk, Figure 167-A. Place the four silks side by side on your table. Presentation: Pick up on unprepared red silk in one hand, an *COURTESY SILK KING STUDIOS

2. 3. 4. 5. 6. 7.

8.

unprepared green in the other, holding them on in Figure 168. Tie the silks with a square knot, Figures 2-7, then upset the knot, Figure 56. Get rid of the knot as you lay the two silks aside, using one of the several methods explained earlier in this chapter. Now take the remaining green silk in the right hand in Figure 168 position, and the prepared red as in Figure 169. Place the green silk in the left hand, secretly threading the green tip up thru the red loop, Figure 170. Encircle the two silks with your right hand, and casually pull down on the red silk to tighten the knot, Figure 171. Toss the silks into the air and catch them as they fall, knotted together. Pick up the first tow silks and show the knot has vanished.

Note: A similar version has been marketed by W. C. Stubbledfield. Prior to presentation, a toothpick was secretly placed in the folds of the top corner of the green silk, Fig. 167-B, to stiffen the corner, making it easier to pass the green corner thru the red knot, Fig. 170

. Coleman’s Routine *

29 WALTER

COLEMAN

Effect: Knots joining three silks pass to a second set of three single silks. Required: Six 24” silks (two each of red, white and blue) Preparation: Tie a white silk between a red and a blue with square knots, Figures 2-7, then upset the knots, Figures 56 and 139. Place the knotted set, Figure 1, on the table. Near these places the unprepared set. Presentation: THE COUNT 1. Place the knotted silks in the let hand as in Figure 172, then add the three single silks, Figure 173, corners spaced for easy access. 2. Take the first single silk directly below the let thumb with two fingers and the thumb of the right hand, Figure 74. 3. Palm to audience, carry the silk to the right and display it as you count “one”, Figures 175 and 176. 4. Repeat, adding a second silk to the first, Fig. 174. 5. Carry the silk to the right, Figure 174, and count “two”. 6. Approach the left hand again to take a third silk. As you do, pass the right second finger between he set of knotted silks and left palm, Figure 177. 7. Leave the two single silks deep in the crotch of the left thumb, then carry the three knotted silks to the right, Figure 178, counting “three”.

* COURTESY SILK KING STUDIOS

8. As you do, place the thumb on the silks at “X”, figure 178, and bring the first finger behind the corners of the silks, Figure 179. Thus the three silks end up in the same position as the singles, Figure 176. 9. Lay the three (knotted) silks aside.

10. Now count the remaining three silks, one at a time, “four, five and six”, taking each as in Figures 174-176. TIEING THE KNOTS 11. Tie the single red and white silks together with the QUICK RELEASE KNOT, Figure 64-68, the white silk passing thru the red knot, Figure 69. 12. Repeat tieing the blue to the white, Figure 1, the silks now in Figure 139 position. THE RELEASE 13. Display the silks as in Figure 180. 14. Then take them in Figure 181 position. 15. Now drop the center silk, Figure 182. 16. Palm up, place the left hand behind the silks a few inches below the right hand, Figure 183, then bring the silks up to mask the right hand, Fig. 184. 17. Gripping the silks firmly with the left thumb and first two fingers, Figure 184, pull down on the knots between the right thumb and first and second fingers, Figure 181. 18. The knots are released, Figure 185. 19. Lay the set aside. CONCLUSION 20. Conclude as usual, passing the knots from one set of silk to the other.

Rice’s E-Z METHOD *

30

HAROLD R. RICE Effect: Knots pass from three silks to three others. Required: Six 24” silks (2 each, red, yellow and blue) Preparation: Tie a yellow silk between a red and a blue with square knots (Figure2 2-7), then upset them, Figures 56 and 139. Presentation: 1. After counting the silks (No. 15 Rice’s Count), lay the previously knotted set aside.

2.

3.

4.

5. 6.

Tie a yellow silk between the red and the blue, using the No. 19 NU-WAY KNOT, Figures 57-69. When completed, the silks are as in Figure 186. Taking a knot between the crotch of the first and second fingers, palms to the audience, display the silks, Figure 187. Note the position of the tips of the yellow silk. Place the thumbs firmly on the yellow tips, Figure 188, then move the arms sharply to the left and right. The tension on the center silk pulls the knots apart. Turn the palms in as you bring the knots together, Figure 189, and lay the three (now untied) silks aside. Complete the routine as explained earlier in the chapter.

The Phantom Knots * JOE

31

BERG

Effect: Knots tied between three silks pass between three single silks. Required: Six 24” Silks (2 each, purple, orange, and green). Preparation: The assistants’ right coat sleeve is prepared as shown in Fig. 190. Tie an orange silk between a purple and a green with square knots. Figures 2-7, then upset them, Figure 56 & 139. Place the set over the assistant’s right arm, knots hidden in the slit, Figure 191. Drape the remaining silks over his left arm, Figure 192. Note: If you work without an assistant, prepare your own coat and present this as an opening effect. Presentation: 1. Assistant enters with arms in front of body, displaying the back of the silks, (Figure 191). 2. Remove the single silks by taking corner “a”, then “B” and ”C”, lifting the silks as one off the assistant arm. 3. Knot the three silks as explained in your favorite of the methods explained earlier, then lay the silks aside. 4. Take corners “A-B-C” of the knotted set and lift them as one, pulling knots free of slit, lay this set aside. 5. Complete the routine as explained earlier. * COURTESY – BERG’S STUDIO OF MAGIC

Sympathetic silk effect BOB Effect: Knots pass from others.

32 HANKO

three

silks to

three

Required: Six 18"silks, all the same color. Preparation: Prepare three silks with upset square knots, Figures 56 and 139. Presentation: Open as usual, continuing to the point where the second set of three silks is to be knotted. Hanko's method differs. 1. Join the three silks with FADEAWAY DOUBLE KNOTS, Figure 13 -16. 2. Take corner "A" of an end silk in your left hand, Figure 193, then corner'B” of the center silk in your right, Figure 194.

3. 4. 5. 6.

Drop corner 'A", Figure 195, and grasp the silks firmly with the left hand just below the knots, Fig. 196. Now pull sharply in opposite directions with both hands and the knots will become free. Quickly drop "B" which will hide loose corners, Fig. 197. Lay the silks aside and conclude the effect as explained in an earlier method.

Lopilato’s Sympathetic Silks* TONY

33 LOPILATO

If you use assistants, this stage version is very colorful. Effect: Two sets of 3 silks are displayed. Knots are then tied in one set. The second set mysteriously tied itself “in sympathy” with the first knotted set. Then when one set is untied, the second unties itself, again “in sympathy” with the other. Required: Six 24” silks each a different solid color. Two 3/8” thick plywood boards, one slotted as in Fig. 198. Preparation: Tie three of the silks together with upset square knots, Figures 56 and 139. Then insert the knots, Figure 199, in the secret slot, Figure 200. Place the remaining three single silks over the second (unprepared) panel, Figure 201. *COURTESY – LOUIS TANNEN

Presentation: 1. Assistant, holding the panel, enter on either side of the stage. 2. After the assistants show the panels back and front, step to the prepared set and pick up corner “A” of one silk Figure 202. 3. Take corner “A” of the center silk in the right hand and add it to the corner held in the left hand. 4. Repeat with corner “a” of the third silk. 5. Holding the silks in Figure 203 position, stroke down with the right hand as the left lifts the silks up, pulling the knots from inside the panel. 6. Drape the silks over the panel, saying “three silks”. 7. Repeat with the second set of three silks. 8. Now take two of the single silks and tie them together with one of the false knots explained earlier. Then add the third silk, Figure 199. 9. Secretly remove the knots (as explained earlier), and drape the three silks over their panel. 10. Review, stating three separate silks are on one panel and three just joined on the other. 11. Now, the untied (?) set, “in sympathy” with the second, become knotted. 12. Taking corner “C”, Figure 199, display the silks, Figure 18.

13.

13. Untie the three silks, then drape them over their panel, Figure 201. 14. Explain that the silks are again “in sympathy” and that the previously knotted set has now untied itself. 15. Whip the untied silks, one by one, from their panel, showing them to be separated. 16. Drape the three silks over their panel, Figure 201, and dismiss the assistants as you bow to the audience. Note: If assistants aren’t used, panels can be attached to swivel uprights, Figure 204.

Snappy Knotting Silks * TONY

34 LOPILATO Effect: Two silks placed separately on a table join themselves with a knot, Figure 17. Required: Two 18” silks; tow small magnetic bard. Preparation: Tie a knot with a magnet inside of it in one corner of each silk, Figure 205. Presentation: 1. Display one silk, fold it diagonally, Figure 206, then lay it on the table, knot up.

*COURTESY – LOUIS TANNEN

2. Display the second silk, fold it diagonally, Figure 206 then place it on top of the first silk, the knots touching each other, Figure 207. 3. Taking a corner diagonally opposite a knot, pick up the joined silks, Figure 17, and display them the knots held together by the magnets, Figure 208.

Sympathetic Knots *

35 LOUIS

TANNEN

This novel variation was graciously given to me by Louis for exclusive use in this volume. Effect: A knot tied in three silks visibly dissolved and reappears in a second set of three silks. Required: Six 24” silks, each a different solid color, 2 small rubber bands. Preparation: Place the bands over two fingers of the right hand, Fig. 99. *COURTESY – LOUIS TANNEN

Presentation: 1. Pick up three silks one by one with the left hand, and place them over the right arm, Figure 89. 2. While reaching for a fourth silk with the left hand, insert the right thumb under the rubber bands, Figure 100. 3. Place the second three silks in the right hand one by one, Fig. 101. 4. Lift the center of the silks with the left hand, Figure 102. 5. Allow the bands to slip on to the three silks, Figure 103. 6. Lower the right hand, fold the silks, Figure 104, then place them on the table. 7. Remove the three silks from the left arm, take the tips in either hand, then twirl the silks tightly around each other, rope fashion, Figure 209. (Also, see Figures 4-6, Page 853, Chapter 15, Volume 2.) 8. Take corners “A” in your left hand, Figure 210. 9. Place corners “B” under your left thumb, Figure 211. 10. Reach thru the large loop with the right hand and take corners “A”, Figure 211, as the second finger of the left hand closes over ends “B” at “X”, Figure 212. 11. Pull ends “A” thru the loop, Figure 211. 12. At the same time turn the left second finger to the left,

forming a small loop around it, Figure 213. (See Dissolvo, Pages 562-564, Chapter II, Volume 02) 13. Continue to pull ends “A” to the right until the large loop reduces to a slipknot. Figure 214, withdrawing the left second finger as the knot tightens. 14. Display the knot, Figure 215. 15. Now to pass the knot to the set of supposedly separate silks on the table. Merely pull ends “A” and “B” in opposite direction, and blow on the knot as it dissolves. 16. Pick up the three silks from the table and display their knot, Figure 112.

Grant’s Sympathetic Silks* U.

36 F.

GRANT

Effect No. 47 in Chapter 17 of Volume 2 explains Grant’s 20th Century. By adding three more silks of the same color, Grant goes into Sympathetic Silks after presenting his 20th Century. Join the three extra silks with square knots, Figure 1. After displaying the three 20th Century Silks, Figure 273, Chapter 17, untie the knots and add the silks to the knotted silks on the table. Now pick up the six silks, do a false count, then present one of the Sympathetic Silk routines given in this chapter. *COURTESY – GRANT’S STUDIO OF MAGIC

Helpful Hints

37

A few excellent suggestions that may be incorporated to “dress up” your favorite Sympathetic Silks routine follow.

Variegated flourish *

38 In his routine Keith Clark uses patterned rather than solid colored silks. The routine used will dictate the type used, but when possible a diagonal pattern, Figure 216, is recommended.

A Graceful Flourish *

39 ERIC

C.

LEWIS

After knotting two silks together, display them as in Figure 217, then toss them into the air slightly to one side, Figure 218. The silks will follow an arc above your head, Figure 219. Then turn to the left as the silks fall in reverse order, Figure 220, catching the tip as they fall, Figure 221. Now tie the third silk to the two previously knotted and continue with your routine.

*COURTESY – SILK KING STUDIOS

Sympathetic Rose *

40 FOO

LING

YU

If you use a lady assistant, this if for you! Effect: Assistant enters, holding a beautiful (silk) rose, Figure 222. The stem and stamen of the flower drop to the floor and there are six silks, Figure 223, in correct position for the assistant to present her favorite Sympathetic Silk routine! Required: Six 24” orange or cerise silks, a round costume jewelry pin (stamen), and a covered dowel stick with artificial leaves attached (stem), Figure 228. Preparation: After knotting three silks, take the six in the left hand, Figure 223. Take the centers of silks 1 and 2 and place them between the 2nd and 3rd fingers of the left hand. Now bring the bottom tips up and place them between the same fingers, allowing 3” of the tips to protrude upwards, Figure 224. Place the center of the remaining single silk between the same fingers. Next bring its bottom tip up and place it between the same fingers, 3” of the tip protruding downward, Figure 225. Now, take the lower portion of the three tied silks up behind the left hand, then take the silks between the left second and third fingers just below the knots. Finally, place the tips of these three silks between the same fingers, allowing about 3” of tips to protrude. Tuck the tips in under the folds of the silks, adjusting the loops to resemble rose petals, Fig 226. Add the stamen, Figure 227, then the stem, Figure 228. *COURTESY – CONJUROR’S MAGAZINE

Presentation: 1. Display the rose, Figure 222. 2. Separate the hands, allowing the stem and stamen to fall to the floor. 3. At the same time, release the corners held by the 2nd and 3rd fingers of the left hand. 4. As the silks fall into position, Figure 223, turn the left hand into the body to hide the knots. 5. Present your favorite Sympathetic Silks routine.

Bobo’s Timely Tips *

41 J.

B.

BOBO

In the hands of a master performer, an ordinary routine becomes a superior production. To realize perfection the clever performer refines the smallest detail. Such is the case with Bobo’s Sympathetic Silks routine. Starting with the standard routine, he has added refinements that make his presentation a masterpiece. He has graciously given me (for exclusive use here) tips that every performer should appreciate! (1) HIDING THE KNOTS To prevent the knots from showing during the count, tuck the knots within the folds of the silks, Fig 229, bring “A” in front of the knots, Figure 230, then “B” around the three silks, Figure 231. (2) TABLE ARRANGEMENT If the two sets of silks are placed on your table as in Figure 232, it is easier to pick them up quickly in their correct order. (3) PICKING UP THE SILKS Bobo holds his silks in his left hand rather than his right. Step behind the table, take corners “Z” (Figure -232) in the right hand and place them in the left hand, Figure 233. Now place the upper (loose) set in place, Figure 233. Then lift all six silks up, and carry them forward and away from the table. (4) THE COUNT As you patter, push the tip of the inner single silk deep in the crotch of the thumb, Figure 233. The switch during the false count can then be done without *COURTESY – SILK KING STUDIOS

hesitation or fumbling. Also, carry the count thru “six” instead of placing the first set aside at the count of “three” as recommended in other routines. Separate the sets after the count of “six”, then lay the knotted set aside. This leaves the three single silks in your hands, ready to tie at he knots.

Bobo’s Pattern *

41

J. B. BOBO Working in a light vein, Bobo’s choice patter, and comedy bits injected by his lovely wife who assists always make a hit with his lyceum audiences. *COURTESY – SILK KING STUDIOS

INTRODUCTION “For this mystery! use six, silk, scarves, Six silk…. No, silk, silk… (tug on your collar and repeat slowly) six, silk, scarves.” “That is difficult to say, especially fast. During my last performance I got my tongue twisted around my eye-tooth and I couldn’t see what I was saying. Anyway, I really have six, silk, scarves. I don’t want you to think I would try to fool you. You don’t, do you? I will count them just to be sure. On-two-threefour-five-six.” TIEING THE KNOTS “Six silks, I now place three on this table, and the other three go on that table. But first I shall tie this (second) set together. And I have found the best way to tie anything… is by using. (Pause) a knot! (Tie two together). I don’t have to do this for a living… I could starve to death. I make good money doing this though… not much, but good.” RELEASING THE KNOTS While getting the knots in position for the secret release, say “I shall place the first knot here. Now I place the second beside the first…. Just to keep it company.” (Secretly release the knots and lay the set aside.) PASSING THE KNOTS Pointing to the first set, “Here we have three separate scarves. While over here (pointing) are the three I just tied together. I shall now cause the knots to leave this set and fly thru the air to that set.” (Pick up an invisible) knot and toss it to the first set. At the same time have an off stage assistant blow a toy slide whistle which operates like a slide trombone.) “My! I must have thrown it too hard!” Picking up the second invisible knot, say “This is the second knot. Isn’t it cute?” (Throw it just as the

first, but follow it to a spot on the floor.) “Oh, I missed.” (Search for the knot on the floor. Then the assistant blows the whistle again.) “Oh, here it is. “(Walk over, pick up the invisible knot, and, now but tow feet away from the silks, toss the knot as the whistle blows again, but this time in a different tone.) This business is quite funny. Walk to the first set and say “These scarves should be tied. And that set (pointing) should now be, untied, I’ll check.” (Pick up one loose silk.). “Spirits!” (Pick up a second silk.) Spirits of Ammonia!” (Pick up the third, then toss all three silks to the assistant who just enters.) Walk to the second table, take the proper corner, and slowly pull the knotted silks from the table. Then, as a final flourish, toss them into the air into the hands of the assistant.

Bobo’s Repeat *

43 J.

B.

BOBO

As a repeat, Bobo goes into the Albenice Serpent Silk effect, saying, “For the benefit of those who did not understand, I will do it again. How many did not understand? (OH!) The rest of you understand, of course! Instead of using three scarves, this time I will use only one. “ Bobo uses a Pand L wrist reel (see Figure 1, Page 853, Volume 2.) and points out that to get the full force of the reel, it should be held as in Figure 234 instead of as in Figure 235. Figure 236 shows silks at the beginning of the effect. *COURTESY – SILK KING STUDIOS

Presentation: Pick up the folded serpent silk, Figure 237; allow silk to unfold and fall, Figure 238; twist the silk rope fashion; form the loop; Figure 239; then tie a loose knot with the silk in a horizontal position, Figure 240. (Full details will be found in – No. 3, Volume 2.) Bobo injects comedy as follows: 1. Holding the silk in the right hand, and pointing to the knot with the left, look at the audience as you allow the knot to untie. 2. Turn your attention to the silk to find the knot has disappeared. 3. Shrug your shoulders, and again tie the knot. 4. This time watch the silk. Nothing happens. 5. Make mysterious passes over knot, but to no avail. 6. Look helplessly back at audience. 7. Allow the silk to untie, and then turn back just in time to see the end of the silk pass thru the knot. 8. Jump back in surprise, then bow to a nice hand from the audience!

The Mohammedan*

44 D R.

CHANG

For comedy Sympathetic Silks, Sherman Ripley (Dr. Chang ) suggest using two boys from the audience. Referring to the silks as beautiful oriental prayer rugs, and the male assistants as beautiful Mohammedan girls, create comedy situations to your individual taste. Each boy wears a veil and a hat, Fig. 241. The hats are paper turbans or fezzes obtainable at 5 and 10 cent stores; the veils, 12” silks with rubber elastic attached, Fig 242. *COURTESY - GENII

Visible Sympathetic Silks * FRANCIS

45 B.

M A R T I N E AU

Three separate silks displayed on a cane (Fig 243) are shown and laid aside. Then the cane changes into a string of three silks knotted together. The knots vanish and reappear between the first three silks. Required: Walsh, Vanishing cane; set (6) of 18” sympathetic silks; 2- ½ “diameter pierced lead fish sinkers; strong black nylon thread. Three silks, Figure 244, are in the cane. Preparation: Prepare the three remaining silks as in Figure 245. The colors are in the same order as those of the set in the can. Sew the lead weights to the two silks at a point about 1 ½ “from a corner, Figure 245. Tie a length of thread at point “A”, Figure 245, pass it thru the hole in the weight, Figure 246, then tie it to the second silk at point “B”. Continue the thread diagonally across the second silk, thru the second sinker, then tie it to the third silk at point “C”, attach a small ring “X” to the top of the set, Fig. 245. Point the sinkers to match the colors of the silks to which they are sewn. The thread should be just long enough to allow the silks to join into a seemingly knotted string when held at corner “X”, Figure 245. Slide the sinkers up the thread until the silks are in Figure 247 position, then drape the silks over the cane as in Figure 243. Presentation: 1. Display the three separate silks, Figure 243. 2. Either pick them up one by one and display them, Figure 247, or tilt the cane to allow them to slide off onto a chair, Figure 243. *COURTESY - SILK KING STUDIOS

3. Vanish the cane, Page 376, Volume 1, then display the three knotted silks, Figure 244. 4. Display the genuine knots, then upset them, Fig. 56. 5. Take the silks in Figure 180 position, then secretly dispose of the knots, Figure 181-185. 6. Blow on the knots, passing them invisibly to the first set. 7. Display the separate silks to show knots have vanished, then lay them aside. 8. Taking the ring corner in the right hand, flip the second set into the air. The sinkers slide down the thread, and the silks appear to be tied together, Figure 245. Note: If a cane isn’t used, the prepared silks, Figure 243, can be placed over a chair or a T stands. The second (knotted) set can be produced by any convenient method, a number of which are suggested in Volume 1.

Martineau’s Repeat * FRANCIS

46 B.

MARTINEAU

If your routine requires the disposal of the gimmicked set of silks, place a third set of three silks in a Changing Bag, Page 334, Volume 1. After displaying the separate silks (Step 7, No. 45), secretly knot them with a rubber band, Figures 99-103, before laying them aside. After displaying the knotted set (Step 8, No. 45), drop the silks in opposite directions, and the knot vanishes. You now have 6 separate silks which can be examined and used in the next part of your routine.

Silk Sympathy

47 EDWARD

BAGSHAWE

Effect: A dozen silks of different solid colors are dropped one at a time into a borrowed hat. Two knots are then tied in a variegated silk. Next a spectator selects one of several cards which have combinations of three different colors printed on them, Figure 248. The knots in the variegated silks vanish, and reappear between the three selected silks now produced from the hat, Figure 249. Required: A dozen solid colored 12” silks, each of a different color; a 24” variegated silk; a quantity of 3” x 5” cards; two lead weights; black nylon thread; small button. *COURTESY – SILK KING STUDIOS

Preparation: Prepare three silks to be knotted as in Figure 250. Print assorted color combinations of three silks on each card, no two alike, Figure 248. Push the silks up on the thread so they are apart, Figure 251. Place the separated prepared silks beside the others on the table. Presentation: 1. Pick up all twelve small silks in the left hand. Take two or three into the right, one at a time, then drop them into a borrowed hat. Repeat until you arrive at the prepared three. 2. As these silks can be shown separate (Figure 251), transfer them singularly to the right hand, then drop them into the hat. 3. Continue as above with the remaining silks. 4. Near one end of 24” variegated silk, tie a false knot, Fig. 209-215. 5. Near the other end tie a second false knot. 6. Force the card reading RED-YELLOW-GREEN, using Changing Bag. 7. Cause the fake knots to vanish, Figure 215. 8. Taking the green silk at button “X”, produce the knotted string of three silks, Figure 249. 9. Show the remaining silks in the hat to be separate.

As U Like It *

48 STUART

JUDAH

This silks the first of two effects using a principle explained in Frederick Montague’s Westminister Wizardy. Effect: Three solid colored silks tied in a chain in advance by the performer are in the exact order of those freely arranged and tied by any spectator, Figure 252. Required: Six solid color 18” silks (two red, two yellow, two blue), and rubber bands. Preparation: 1. Join one set of three silks into a circle by tying diagonal corners with square knots, Fig. 253,254 & 257. 2. Upset each knot, Figure 255, so that a tip of a different color passes thru each knot, Figure 256. 3. Now place the knots side-by-side, red, yellow, and blue tips carefully placed at the tops of the knots, Figure 258. 4. Next, fold the silks at their middles along “M-M”, Figure 258, and bring the silk-up behind the knots, Figure 259. 5. Finally, place a fairly large rubber band around the bundle just below the knots, Figure 260. 6. Without knotting the remaining *COURTESY – SILK KING STUDIOS

three silks, form them into a similar bundle, and place a rubber band around them, Figure 261. Presentation: 1. Explain, that because of unusual mental powers, you already know that a yet to be selected spectator will do! 2. Show your already knotted bundle (No.1), then given bundle No. 2 to any spectator. 3. Ask the spectator to knot the three silks in a chain in any order he wishes, pointing out that there are nine different possibilities! 4. After he does, ask him to hold his chain in the Figure 252 position. 5. As he does, not the color of his top and bottom silks. (let us say the top one is red, the bottom blue). 6. Pick up your bundle, and remove the rubber band. As you do, place your left thumb on the blue knot,

and pinch the red silk under the rubber band at “X” Figure 260. As you pull the band down from the silks, you will pull the red corner the upset square knot. 7. Now take the red corner in your hand and drop the knotted chain into view, Figure 252. 8. Your set matches those tied by and held by the spectator! Note! The corner pulled out of a knot, Figure 260 (X-Y-Z) will be determined by the colors of the spectators to and bottom silks. For example, if his chain is yellow, blue, and red, you would pinch the yellow silk under the band at “Y”, Figure 260, and pull the yellow corner thru the red knot (Figure 258), then take the free yellow corner, and drop the silks into view.

Silks Do As You Do* OSCAR

49 W E I G L E,

Effect: A spectator tied three solid colored silks in a chain while the performed ties a duplicate set. Upon examination both sets are in the same color order! Then after the spectator unties his, the knots vanish from the performers set. Required: Six solid color 18” silks (2 each, red, yellow, and blue). No advance preparation is required.

*COURTESY – HOLDEN’S MAGIC SHOP

J R.

Presentation: 1. Tell a spectator to tie his set of three into any order he chooses while you turn your back and tie yours. But explain that because of an unexplainable power, you will force him to tie his in any order you decide to tie yours! 2. Turn your back, then tie your three silks into a circle Figures 253-257. 3. Place the knots in the right hand, Figure 262, then face the audience. 4. Observe the colors of the silks at the send s of the spectator’s chain. 5. Reach into the right palm to apparently get a free corner. Instead, release the knot as explained in Effect No. 48, grasp the correct colored corner, then let the silks fall into view, Figure 252.

Untying Sympathy * JAMES

50 DOUGLAS

Effect: As a spectator unties a knot in his silk, the knots in other silks vanish ‘in sympathy’. Required: Three 18” silks (red, green, and blue); an opera hat. Preparation: Nothing is prepared in advance. Presentation: 1. Strings open the empty hat and place it on the table. 2. Display the silks, the lay two aside. *COURTESY - PENTAGRAM

3. Taking the blue silk, twist it rope fashion, then tie a false knot in its center, Figures 210- 215 (Also see Figures 128-131, Page 730, Volume 2). 4. Display the knotted silk, Figure 263. 5. Cover the knot with the right hand as though tightening it, Figure 264, actually pulling down on the knot to release it. 6. Drop corner “A”, Figure 265, then place the knot (?) in the hat, Figure 266. 7. Taking the red silk, repeat steps 36, but tie a genuine knot, which remains in the center of the silk. 8. Now take the green silk, tie a fake knot, then place the silk in the hat, steps 3-6. 9. The silk are as in Figure 276. 10. Ask a spectator to select a color. Usually red is chosen. If it is, hold the hat high and have spectator remove the knotted silk. 11. Ask spectator to slowly untied the knot. 12. Then, withdraw remaining silks from the hat, showing the knots have vanished. Note: If red is not chosen, ask a second spectator to chose a color. Then tell a third spectator his is the remaining silk. Casually turn to the spectator who chose red and Sympathetic Silks “what color was your silk?” He says, “red”, Now, continue, steps 10-12.

My Silken Princess *

51 H A R O L D R.

RICE

Effect: Aided by the magic touch of a beautiful silken ‘princes’, a freely selected color card becomes the same color as a second freely selected card! Required: A prepared desk of giant cards; 418” (orange, blue, red, and green); an easel to hold five cards. Secret: Twelve cards have ‘double backs’ (back design printed on both sides), Figure 268. Forty cards have duplicate color fronts and backs and white corners, Figure 269. Ten are orange, ten blue, ten red, and ten green. Preparation: Mix the 40 color cards thoroughly. Place the double backs to the rear of the pack, Figure 270. Presentation: 1. Pick up the deck, showing the back without calling attention to same. 2. Turn front of deck to audience. 3. Fan the front portion of the deck, displaying about a dozen color cards, Figure 271. *COURTESY – SILK KING STUDIOS

4. Remove one each, orange, blue, red and green. 5. Place deck on table. 6. Fan the four color cards, being careful not to expose their backs. 7. Place the cards side by side on the easel, Fig. 272. 8. Display the four silks, then drape them over their corresponding color cards, Figure 273. 9. Pick up the deck, then remove about 15 cards from the back (3 color cards and 12 double back cards). Do not fan them! 10. Turn the back of the cards to the audience, asking some spectator to stop you at a card of his choice. 11. Slowly pass the cards one at a time from one hand to the other until stopped. (Should you reach the last (10th) double backed card, stop and start all over again, assuming the spectator didn’t understand.) 12. When card (double back) is selected, place it on the easel, Figure 274, pointing out that the audience does not knot its color. 13. Now have three spectators freely select three of the four colors, removing the corresponding silks and cards from the easel! 14. One card with the silk and the double back card remain, Figure 275. Let us say the card and silk are green. 15. Now, remove the (green) silk, then drape it over the double back card, Figure 276, calling upon the beautiful silken princess to cause the card to become the same color (green). Note! Stress the freely selected card could be any one of four colors, and that the remaining green was by free choice! 16. Finally, place the (double back) card and silk in front of the green card, Figure 277. State both cards, in sympathy with the silk, are not green! 17. Remove the green silk and hold it in the left hand. 18. Take the two cards as one from the easel, using the right hand, thumb to back, fingers on the front, Figure 278.

1.

NOW FOR THE IMPORTANT MOVE 19. Turn the cards over, at the same time sliding the color card to the right with the thumb, exposing part of the double back card, Figure 279. 20. Now turn the cards over again, this time gliding the color card to the left, Figure 280. 21. To the spectators, you have shown fronts and back of TWO green cards, brought together in sympathy by my beautiful princess!

The Traveling Knots * Effect: Two knots joining three silks pass to a rope while in a paper bag. Required: Three 18” silks, length of soft rope, and a paper bag. Nothing is prepared. Presentation: 1. Show the bag empty, then place it on a table. 2. Join the silks with square knots, Figure 2-7. 3. Display the knotted silks, Figure 93. *COURTESY– CONJUROR’S MAGAZINE

52

4. 5. 6. 7. 8. 9. 10. 11. 12.

Secretly release the knots, Figure 93-98. Place the knotted (?) silks in the paper bag, Fig. 281. Display the rope, Figure 282. Coil the rope, Figure 283, dropping the loop over the left fingers, Figure 284. Repeat, forming a second coil, dropping it over the left fingers with the first loop. Reach thru the coils with the right hand, take end “A”, and bring it thru the loops, Figure 285. Drop the coiled rope into the bag, end “a” of rope protruding, Figure 286. Command the knots to pass from silks to rope. Display the silks and rope, Figure 287.

Passe – Passe Knot * GEORGE

53 JOHNSTONE

Effect: A silk knotted to a rope, Figure 289, visibly passes to another, Figure 290. Required: Two one yard lengths of rope, a common pin (coated with rubber cement to eliminate its sheen), an 18” silk. Preparation: Before presenting, insert the pin diagonally thru the center of one rope, Figure 288. Presentation: 1. With spectator holding the unprepared rope taut vertically, tie the silk around the rope with a fake knot, Figures 134140, Volume 2. 2. Now pass the second rope (with pin) behind the first, Figure 289, secretly engaging the pin in the back of the knot. 3. Lift up on the rope and the silk passes from the first rope to the second Figure 290. Note: If you want to pass the knotted silk back to the first rope, prepare both ropes with pins, and have your assistant, instead of a spectator, hold the first rope. *COURTESY – THE SPHINX

20th Century – Sympathetic Silks * U. F.

54

GRANT

Present Grant’s 20 Century (Volume 2, pages 996-97). After displaying the chain of three silks, secretly dispose of the fake square knots, Figures 92-97, then toss the silks into the air and catch them as they fall singly to the floor. To these, add three more silks obtained from your table. (These were secretly knotted prior to performing, Figure 199). You now have six silks ready for the false count and one of several standard Sympathetic Silks routines given earlier in this chapter. Comedy Sympathetic Silks **

55

JULIAN

GRESHAM

Effect: The knots in three silks placed in a bag pass to three separate silks in a second bag. Required: Twelve 18” silks (4 each, red, white and blue); 2 changing bags. The construction and working of a Changing Bag are shown in Figures 182-190, pages 334-335, Volume I. (If preferred, P and L Comedy Changing Bag, Fig. 291, may be used.

* COURTESY U.F. GRANT * * COURTESY CONJUROR’S MAGAZINE

Preparation: Place a red, white, and blue silk in each compartment (A and B) of the first bag. In the second, place three separate silks in one side (C), and the last red, white and blue, knotted, together, in the other (D) Figure 292. Compartments “A” and “C” are open. Presentation: 1. Select a boy and girl assistant from the audience. 2. Have the boy remove the three single silks from compartment “A” of the first bag. 3. Turn the bag inside out to prove it empty. (If zipper bag is used, allow the boy to run his hand thru the bag and wave at the audience.) 4. Have the boy tie the red; white and blue silks in a chain with square knots, then drop them into compartment “A” of the bag. 5. Secretly turn the hand, closing compartment “A” then have the boy hold the bag high above his head. 6. Repeat steps 2 and 3 with the girl, using the second bag. However, the silks are returned to compartment “C” without knotting them. 7. Secretly turn the handle, closing compartment “C” then have the girl hold the bag high above her head. 8. Command the knots to pass from the first bag to the second. 9. Permit the assistant to remove the silks, proving the miracle has happened.

Chameleon Knots *

56 ROBERT

HARBIN

Effect: Knots in tow silks change color, then vanish! Required: Two 24” silks (a red and a green); tow fake knots, Fig. 294. Preparation: Over two metal rings, Figure 293, form two fake knots, one of red silk, one of green, Figure 294. Next, tie a slipknot at the centers of the silks, Figures 210-215. (Also see Figures 128-131, Page 730, Volume 2) Slip the fake knots in place, Figure 295. Presentation: 1. Display the silks with (slip) knots at their centers, Figure 295. (NOTE: A slip knot tightens if stroked from one end; dissolves if stroked from the other, Figure 296.) 2. Secretly encircle the fake knots with the right hand, then slide them down over the slip knots, Figure 297. *COURTESY – ABRACADABRA

3. Display the silks, knots having changed places, Figure 298. 4. Now take corners ”B” in the right hand, reversing the ends of the silks. 5. Stroke down the silks with the left hand. 6. When you reach the centers the slip knots dissolve. 7. Continue to the bottom tips of the silks, carrying the fake knots in your left hand, Figure 299. 8. Turn to the left, Figure 300, and secretly pocket the fake knots as you show the knots have disappeared.

Satan’s Silks *

57 Effect: Two looped silks separate while two other looped silks link together. Required: Four 18” silks (2 white, a red, and a blue), and 2 felt hats. Preparation: Tie each silk into a

* COURTESY – CONJUROR’S MAGAZINE

loop, Figure 301. Link the red and white Figures 302,303,304 and 306. Presentation: 1. Display the separate blue and white loops, draping them over the left hand Figure 302. 2. Then take them in both hands, Figure 303, secretly linking them together, Figure 304, just as they are dropped into an empty hat, Figure 305. All this is done in one motion. 3. Press the left thumb against the center of the white silk as the right pull the blue, Figure 305, until the knots are tight, Figure 306. Now the silks are pushed out of view deep in the hat. 4. Display the knotted red and white silks, Figure 306. Then taking the knots, pull the silks slightly apart, Figure 307, as you drop them into the second empty hat. 5. Command the silks to reverse conditions. 6. Holding the second hat as in Figure 308, remove the now freed red silk and toss it into the air. 7. Repeat with the freed white silk. 8. Go to the first hat and produce the blue and white, securely joined together!

20th Century Sympathy * LEN

58 BELCHER

Effect: A silk vanishes and reappears tied between two others on an easel. Then the knots vanish. Required: Six 18” silks (two each red, yellow and blue); 24 black silk; wooden easel, Figure 309; paper cone, Page 320, Volume I. Preparation: Tie a red, yellow, and blue silk in a chain with square knots, Figure 1 thru 7, then upset the knots, Figure 56. Place the remaining yellow silk behind the easel just below the center hole, Figure 310. PART ONE Presentation: 1. Take the five 18” silks in the right hand as in Fig. 311. 2. Using “Rice’s Count”, Effect No. 15, show the single red and blue, then switch to the three (secretly) knotted silks as the yellow is added. 3. Lay the three aside; show the remaining (single) red and blue, then lay them aside. 4. Carrying the (knotted) three silks behind the easel, push the centers of the red and blue silks thru the end holes, Figure 312. 5. Now push the center of the single yellow thru the middle hole, Figure 313. 6. Form the paper cone, Page 320, Volume I. 7. Place the single red and blue in the cone’s compartments “B”. 8. Withdraw the single yellow silk from the center hole and place it in cone’s compartment “A”. *COURTESY - ABRACADABRA

9. Lay cone aside but in full view. 10. Cover the center hole with the black silk, Figure 314. 11. Open the cone and show the yellow silk has vanished, Page 320, Volume I. 12. Prepare to remove the black silk from the easel. With one hand go behind the easel and push the center of the knotted yellow silk thru the hole. At the same time pinch the center of the yellow thru the black silk with the other hand. Now draw the black silk away, releasing the pinched yellow silk after it is well thru the hole, Figure 315. 13. Show the vanished yellow silk back in its place, Figure 315. PART TWO 14. Knot, then secretly release the single red and blue silks, using one of the methods given earlier in this chapter. 15. Command the 3 silks in the easel to knot themselves “in sympathy”. Remove the silks, and the red, yellow, and blue are knotted! 16. Replace the three silks in their holes, back to front, secretly releasing the knots. Silks now appear as shown in Figure 315. 17. Now command the knot (secretly released, Step 14) between the red and blue silks to vanish, then show the silks to be separate. 18. Close by removing the 3 silks from the easel, now separate, in “sympathy” with the first two!

The Traveling Knot *

59 L.

L.

IRELAND

A knot travels from the performer’s silk to one held by a spectator. This effect is explained on pages 728-31 Volume 2. *COURTESY – IRELAND MAGIC CO.

Twin Sympathy*

60 OSCAR

W E I G L E,

J R.

Effect: This is a clever story about twin brothers who marry twin sister. Two silks repeatedly tie and untie themselves in sympathy with two others. Required: Three prepared paper cones, (either No. 20 or 21, Chapter 8, Volume I); two glass tumblers; 4-18” red and 2-18” white silks. Preparation: Place a red silk in the compartment of two of the three paper cones. Presentation: 1. Display the twin brothers (red silk ), the twin sisters (white silks), and their future home (tow cones containing red silks ). 2. Marry a red and a white by tieing a square knot, (Figures 1-7). Then secretly upset the knot (Fig. 56). Now place the set in their love next (cone), secretly separating the silks once they go inside. Place cone in a tumbler. 3. Repeat with second set, but do NOT separate the silks. 4. The second set quarrels, and the red silk separates and leaves his wife. Reach into the cone (secret compartment) and bring out the (duplicate) red silk, which is ‘free‘ of his wife (white silk). 5. Still mad, he returns to his house. (Replace the red silk in its cones secret compartment). 6. Now second set, also twins, and in sympathy with the first, quarrel and separate! (Turn first cone upside down, allowing free red and white to fall to floor.) *COURTESY – HOLDEN’S MAGIC SHOP

15. But they soon make up. (Tie the first set again, upset knot, replace in cone, secretly separating the silks again.) 16. Now, advise silks in second cone have also made up and have joined together in sympathy. (Remove knotted silks and display them.) 17. But now they are quarrelling again. Watch! Hold the silks as in Figure 316, then blow upon the knot, commanding it to visibly dissolve. (Pull corners “A” and “B” in opposite directions and silks will separate.)

7. This time the husband leaves the wife! (Toss red silk over your shoulder, then drop single white silk in its second cone.) And, a second quarrel for other couple. 8. Turn first cone upside down, and the two silks (tied at step 7) have separated. 9. Drop the two separate silks, in the first cone, only to have the husband leave in a huff! (Reach into the cone and remove the duplicate red silk from the secret compartment). 10. The brothers decide to rent an apartment of their own. Introduce the third cone and show it empty. 11. Place the two red silks in the cone (secret compartment). 12. But soon they decide this is not the life for them, and vacate. (Show third cone empty, crush, and toss aside.) 13. Red silks (husbands) are not back with the white ones (wives)! (Remove the red and white from the first cone and display them. Remove the white from second cone and red (from compartment) and display them. 14. And they lived happily ever after (as you knot the four silks together at one corner)!

In – A –Bag *

61 HAROLD R. RICE

This effect Bagshawe’s “Flying MYSTERIES

was inspired by Knot” in NOVEL

Effect: A knot in a tri-colored silk vanishes and appears in one of three silks in a paper bag, Figure 322. The effect is repeated until knots are in all three silks. Required: A tri-colored (red, yellow, and green), 24” silk; 6-12” solids (2 each, red, yellow, and green); a 25 pound kraft grocery bag; 3 small lead weights. Preparation: Fold a red, a yellow, and a green silk diagonally, then sew each as shown in Figure 317. Now drop a lead weight in each bag and sew it in corner “B”, Figure 318. Tie a small knot in the centers of each of the remaining 12” solids, then drop the silks inside their bags of matching colors, Figure 319, leaving a corner protruding. Presentation: 1. Show the bag empty and place it on the seat of a chair. *COURTESY – SILK KING STUDIOS

2. Pick up a prepared 12”, Figure 320, display it, Figure 321, then lower it into the bag, leaving 3” or 4” of corner “C” hanging outside of the bag in full view, Figure 322. 3. Display the 24” tri-colored silk, and request a spectator to select a color. 4. Tie a dissolving knot in the silks center, Fig. 209-215. 5. Now state you will visibly pass the knot to the 12” silk of selected color in the bag. 6. Holding the 24” silk as in Figure 215, pull corners “A” and “B” in opposite directions and the knot will dissolve. 7. Bring the two unselected 12” silks together, & take bag with the left hand, as the right takes a corner of the selected silk, Figure 323. 8. Holding the selected silk over the center of the bag, give the silk a slight downward shake, releasing the “bag silk” which fall inside the bag, Figure 324. 9. Toss the knotted selected silk to a spectator who examines the knot. 10. Remove the remaining 2-12” silks and show them free of knots, Figure 321, then replace them in the bag, Figure 325. 11. Repeat steps 3-8, passing a second knot to a second selected 12” silk. 12. For the last 12” silk, show it free of knots, then replace it in the bag, tip in view. Now allow, “silk bag” to fall off silk as you close the top of bag around silk, Figure 326. 13. Have spectator hold silk and bag, Figure 327. 14. Repeat steps 3-8, then have spectator pull knotted silk thru neck of closed bag, Figure 328.

Birds of Burma

62 CLIFFORD

LESTA

Based on IN A BAG, this is a wonderful effect. Effect: Three Birds of Burma (silks) are stolen (removed) from their perch (display stand), their legs tied (silks knotted), then place in a cage (Silk Cabby). Yet the silks vanish and reappear back on their perch! Required: Six sold color 18: silks (2 each of 3 different colors); a special stand, Figure 329; a foulard, Fig. 330; and a Silk Cabby, page 806, Volume 2, painted to resemble a cage. Preparation: Sew 3 different silks into bag, Figure 317. Thumb tack a corner of each of the three remaining silks to the wooden bar under the elastic, Figure 331. Then tie a single knot in each of the silks tacked to the bar. Now slip a bag over a silk of corresponding color and tuck the top corner under the elastic, Figure 332. Finally, put the foulard in place, Figure2 333-334. Note about 3” of the bottom of the bag are in view, Fig. 335. Presentation: 1. Show perch (easel) with foulard

1.

2. 3. 4.

5.

6.

in place, Figure 334. Remove foulard and show Birds of Burma (3 silks), Figure 336. Replace the foulard, Figure 334. “At sundown”, remove the birds (silk bags) from their perch. (Take a bag of “X”, fig 334, and pull down sharply. Repeat with silks “y” and “Z”.) Knot each silk at its center (as in Figure 337), place them in the Silk Cabby, then vanish them (Page 806, Volume 2). Remove the foulard, and show the knotted silks back on their perch, Figure 337.

Switch –Over Silks * SID

MILLER

63 AND SOL

HIRSH

Effect: A yellow silk tied to a blue suddenly becomes tied to a green silk. Required: Three 18” silks (yellow, blue, and green). Preparation: Nothing is prepared in advance. Presentation: 1. Tie a corner of the blue silk to the yellow, Figures 2-7, then upset the square knot, Figure 56. The silks are now as in Figure 338. 2. Display the three silks, Figure 339. 3. Bring green corner “B” behind blue corner “A” Figure 340, holding the silks as in Figure 341. 4. As you patter, secretly twist the blue corner around the green, Figure 342. 5. Then, taking the knot in the right hand, Figure 343, pull the blue silk free of the knot. 6. At the same time the knot slides to the right, joining yellow and green corners, Figure 344. 7. Toss the knotted yellow and green silks into the air, showing them joined!

* COURTESY – LOUIS TANNEN

Magnetic Sympathetic Silks * R I N K,

THE

64 DUTCH

MAGICIAN

Effect: Knots pass several times from two silks to two others. Required: Four 24” diagonal pattern silks, two green and two red, Figures 1 and 2, Chapter 20 , Volume 3; also, a pair of small magnets. Preparation: Tie one magnet in the corner of a red silk and the other in the corner of a green, Figure 205. *COURTESY – THE GEN

Presentation: 1. Take the silks in the left hand in the order shown in Figure 345. 2. Transfer the silks to the right hand, one a time, as you count “one, two, three, four silks”, Figure 346. (Be careful not to expose the knots containing the magnets.) 3. Take the red and green with the left hand and drape them over the right arm (or a chair if you prefer). 4. Take the prepared red in the left hand, keeping the magnet knots hidden as your display the two silks, Figure 347. 5. Take the prepared green in your left hand (secretly joining the magnet), Figure 348, then lay the two silks aside without exposing the knots. 6. Take the red and green silks from your right arm and tie them with No. 19 TARBEL NU-WAY KNOT, Fig 57-63. 7. Allow a spectator to pull tightly on ends “A-B”, Fig. 63. 8. Secretly separate the silks as you lay them aside. 9. Command the knots to pass from one set to the other. 10. Show the first set (with magnets) is now knotted. 11. Pretend to untie the knots (pull magnets apart_ and lay the silks aside, far enough apart to prevent the magnets from joining again. 12. NOW FOR A SURPRISE FINISH! Pick up the silks one at a time with the left hand (without showing magnetic knots) and transfer them to the right in Figure 349 order. The magnets join, holding all four silks together, the single thickness unprepared two being between the magnets. To the audience you merely put four separate silks in your left hand. 13. Display the silks magically knotted, Figure 350. 14. Grasp a magnet in each hand, blow upon the knot, then move hands apart. 15. Two silks fall to the floor, leaving one in each hand, magnets palmed, Figure 351.

Upset Square Knot *

65 DICK

DU

BOIS

The following knot used by Dick Du Bois for years has fooled many who have seen it. I recommend this knot for PROUDLOCK’S routine, Effect NO. 22. Actually Dick ties a square knot that, when completed, is already upset, Figure 352-356 show how knot is formed. Method: 1. Pick up the silk in your right hand, Figure 357. 2. Take a second silk in your left hand, then place it in your right, Figure 352 and 358. 3. Take end “B” between the left thumb and first finger, Fig. 359. 4. Bring “B” to the left, Figures 353 and 360. 5. Place left second finger on top of loop “X”, Figure 360. 6. Now take “A” between left thumb and first finger and “B” between right thumb and first finger. 7. Bring “B” thru the loop containing the left first finger, Figures 354 and 355. 8. Remove left finger as knot forms, Figure 362. 9. You have tied an upset square knot, Figure 356. NOTE: The second silk is straight all the time. The knot consists of two loops in the first silk, which are formed around the second.

Du Bois Variation *

66 HAROLD

R.

RICE

As variation I form the second loop of the Du Bois knot differently. Tie the first loop as show, Figures 357-360. Then pass end “B” under “A” instead of over it. Now tie a second knot as illustrated in Figure 363. The finished knot is handled the same as the upset square knot. *COURTESY – SILK KING STUDIO

Knotriump *

67 HEN

FETSCH

This knot is employed in Fetsch’s comedy routine, “Monkey Sees, Monkey Does.” Effect: Two silks become knotted, then unknotted, “in sympathy” with performer’s set. Then the four refuse to separate until inclined to do so! Required: Four 18” or 24” silks (two green and two red). Preparation: Knot a red and green silk together with Fetsch’s Knotriump tie Figures, 365-371. Presentation: 1. Take the four silks in your left hand, knot under thumb, Figure 364. 2. Count the silks (using method No. 13, 14, 15 or 23), then tuck two (knotted set) into your breast pocket. 3. Wrap ends “A” and “B” of the remaining two silks around the first two fingers of left hand, Figure 365. 4. Take the ends at “X”, Figure 365, with the right thumb and first finger, then carry them to Figure 366 position. This forms a loop held by the left thumb and first tow fingers. 5. Bring ends “A” and “B” to the left, then reach thru the loop and clip the silks between the left first and second fingers at “X”, Figure 367. 6. Aided by the left thumb, pull “X” thru the loop, Figure 369. The loose slip knot just formed appears as shown in Figure 369. *COURTESY – GENE GORDON

7. Hold the silks taut with the right hand as you pull the loop to the left to tighten the knot, Figure 370. 8. A tight slip knot is formed, fir 371. 9. Now take center of a silk in each hand pull sharply in opposite directions to prove the knot is genuine (?), Figure 372. 10. Toss knotted set over your right shoulder, Figure 373. 11. Withdraw silks from pocket and show they secretly knotted themselves “in sympathy”. Prove knot genuine, Figure 372. 12. Take the knotted silks in the left hand, Figure 374, knot above thumb. 13. Pull down sharply on the silks several times with right hand to further prove that knot is genuine. 14. Now pull knot below thumb and out of view, Figure 375. A sharp downward pull will secretly release the knot, Figure 376. 15. Finally replace supposedly knotted (just released) set back in your breast pocket. 16. Now state that you can cause the knots to disappear just as easily. 17. Take the set from your shoulder, prove knot is still secure (Figure 372 and 374), secretly release the knot )Figure 375 and 376), then toss the knotted silks (?) into the air. 18. Catch them as they fall, then show them separated. 19. Remove the set from your breast pocket, and they too are separate! 20. As a finale, take all four silks as one, then tie them with the Knotriumph knot. 21. Toss the silks into the air. Catch them as they fall, expecting them to be separated. 22. The silks are still knotted. 23. Repeat the toss and catch without expected results. 24. Admitting failure, take the silks in your left hand, show the knot (then secretly release it, Figures 374-375), and lay them aside. 25. As an after thought, go back to the silks and find them separate again!!

Knotted Silks* MURPHY

68 AND

HAMILTON

Effect: Just as a spectator is about to duplicate a knot tied by the performer, the knot visibly vanishes. Required: Two 18” silks, a red and a green. Presentation: 1. Invite a spectator to assist. 2. Tie a Nu-way Knot with corners “A” and “B” of the silks, Fig. 5763 3. Allow spectator to pull corners “A” and “B” sharply in opposite directions to prove knot genuine (?). 4. Drop “A” and “B” and take “C” in one hand, “D” in the other, Fig. 377. 5. Step to spectator and ask him to duplicate your square knot (?) with corners “”C” and “D”. 6. As you do, move your hands sharply in opposite directions. The knot dissolves, Fig. 378! Variation: After the first knot (Figures 63 and 379) is tied, throw end ”C” up over and down behind the knot, Fig. 380. Now allow the spectator to tie a single knot with ends “A” and “B” as you hold the silks at “X” and “y”. After spectator ties his knot, take ends “C” and “D”, Figures 377, separate hands, and your and spectators knots dissolve, Figure 378. COURTESY – M.U.M.

Blendo Effects Origin*

1 H.

R.

RICE

Frank Ductor’s “Perfection Flag Trick” wherein 3-18” silks change into a 24”x 36” American Flag, was the “father” of the currently popular “Blendo”. This chapter will present leading versions and popular adaptations.

Basic Principle *

2 H.

R.

RICE

Excepting for slight variations in construction, standard version require a double flag (or foulard) assembled as follows: 1. Sew two duplicate flags together on all sides excepting at points “A, B and C”, Figure 1. 2. Sew the end of a 5” length of 1” wide blue ribbon with fastener attached, Figure 2, inside the bad, closing corner “C”, Figure 3. 3. To the top corner of the bag, sew tow 8” lengths of catgut formed into loops, Figure 4. 4. Now, sew an 8” length of whalebone inside opening “A”, forming an oval, to stiffen the opening thru which the silks will eventually pass, Figure 4. 5. Finally, attach a metal ring to a 3” length of 1” blue ribbon. Sew the free end to a blue 18” silk, Figure 5.

*COURTESY – SILK KING STUDIO

Tarbell’s Perfection Flag Trick * ALTER

FRANK

3 DUCROT

This is Ducrot’s routine as explained by H. Tarbell. Effect: Three single silks change into an American Flag, Fig. 17. Required: A 24”x 36” flag Blendo, Figure 4, 3-18” silks, red, white and blue. The blue silk is prepared as in Figure 5. Preparation: Reach thru the opening “B”, Figure 4, obtain fastener, and pull it thru opening “A”, Figure 6. Then tuck in the left side of the flag evenly, Figure 7. This action doubled the Blendo half within itself. Now fold the bag in half again, but this time outside instead of inside. (Study Figure 7 and 8 carefully) Repeat the last fold again, ending with a long strip about 41/2” wide, Figure 9. Starting at the button, roll up the flag, then hold it in place with a band of tissue paper, Figure 10. Snap the Blendo’s fastener, Figure 2, into the ring, Figure 5. Now Blendo and blue silk are in Figure 11. Drape the blue silk around the Blendo, Figure 12 Place the prepared silks on a table with the red and white silks. Presentation: 1. After displaying the white and prepared blue silks, Figure 13, take them in the left hand as the right displays the red. 2. Tie the top corners of the 3 silks into a single knot, Fig 14. 3. Now, holding the silks as in Figure 15, insert the thumbs into the catgut loops. 4. Extend the hands in the opposite directions. *COURTESY – LOUIS TANNEN

5. Tissue paper breaks, flag unfolds, and the three silks are pulled inside the flag Blendo, Figure 1. 6. Display the flag, Figure 17.

Contemporary Versions*

4 H.

R.

RICE

A number of currently popular versions of Blendo vary only slightly in construction from No.3, PERFECTION FLAG TRICK. Accordingly, only the differences will be given in the several versions to follow. In each instance refer to No3.for details.

Rice’s Blendo*

5 H.

R.

RICE

Many magicians prefer a 36” square variegated or picture silk to the flag Blendo. In this version 2-36” silks are sewed together and prepared as in Figure 18. (Note how they vary from the Figure 1 Ducrot construction). In addition, 3-18” “solid color silks matching the colors of the Blendo are needed. Preparation: Fold the 36” Blendo as shown in Figure 6-9. Fold the bottom end of the silk up about 2/3 of the length, Figure 19. Now fold again to within 6” of the top of the strip, Figure 20. Next, fold the lower corners, Figure 21, then roll the strip to the top, Figure 22. Now side the large whale bone ring down over the roll for enough to hold it in a tight roll, Figure 23 finally, place the Blendo under a solid silk, Figure 24. Presentation: 1. Display the 3 silks, then knot them and corner “F” of the ribbon, Figures 13-14. Assembled silks are not as in Figure 25. 2. Drape the three solids over the back of the left hand, secretly taking the Blendo in your left hand, end of ribbon in right, Figure 2. 3. Push the knot inside of the Blendo with the left thumb, Figure 26. *COURTESY – SILK STUDIO

4.

At the same time extend your arms in opposite directions, causing the Blendo to unfold and open as the 3 solids go inside, Figure 27.

Preknotted Blendo*

6 HAROLD

R.

RICE

Some performers feel it unnecessary to show the three solid colored silks separately first. In such version, the silks are knotted to the Blendo ribbon in advance of the presentation, Figure 25. To perform, pick up the silks, Figure 2, and change them to the Blendo, Figure 27.

Improved Blendo*

7 HARRY

BAKER

Baker’s version varies slightly in construction and handling. Required: Special Blendo, Figure 28, and 3-18: silks (red, yellow & blue). Preparation: The 36” Blendo is constructed as shown in Figure 28. Sew a dress snap to the blue silk, Figure 29, then sew corner “A” to the end of the Blendo ribbon, Figure 30. Fold the Blendo (Figures 6-9), Figure 31. Then fold and roll the strip (Figures 19-23), Figure 32. Finally, drape the sold silk around the Blendo and snap the fastener together, *COURTESY – SILK KING STUDIOS ** COURTESY – BAKER’S MAGIC SHOP

Figure 33. Place it with the red and yellow silk. Presentation: 1. Take the 3 silks in the left hand, Figure 34. 2. Take tip of red silk in right hand, Figure 35. 3. Cary silk to right, Figure 36, flip it and count “one”. 4. Repeat, taking the blue (loaded) silk, Figure 37, and count “two”. 5. Immediately move left hand and silk to the left, Figure 38, and count “three”.

6. Now tie (as one) the corners of the silks in the right hand to the corner of the silk in the left with a square knot. 7. Holding tip of yellow silk in left hand, Figure 30, turn silks around to show all sides. 8. Reach inside the blue silk with right hand, encircling Blendo, Figure 40. 9. Holding whalebone firmly with thumb and second finger, press silk down thru whalebone. Third and fourth fingers catch Blendo silk so it can’t unfold. 10. At the same time drop the knot, Figure 41, and reach under the blue silk and take the small ring in your left hand, Figure 42. 11. Holding the whalebone and ring as in Figure 42, separate your hands, releasing load held by the right third and fourth fingers. 12. Blendo unfolds as 18” silks go inside, Figure 27.

A Flask Blendo Opener * ARNOLD

8 FURST

In this “opener” version the three solid change into a Blendo without being knotted together. Required: Special 3” Blendo, Figures 18 and 43, and 3-18” solids. Preparation: With the exception of a 2 ½ “ slit in the ribbon, Figure 43, the Blendo is the same as Rices, Fig. 18. Fold the Blendo, Figures 6-9, then fold and roll the strip, Figures 19-23. The assembled Blendo is now as in Figure 44. Presentation:

OFF STAGE

Take the Blendo in the left hand, Figure 45, then drap the bundle, letting it hang from the ring on your finger. Now take the end of slit ribbon “F” between the left thumb and first finger, Fig. 46. Carefully pull 1 ½” of the tips of the 18: solids up thru the slit in the ribbon, Figure 47. ON STAGE 1. Enter with the silks and hidden Blendo *COURTEY IRVING DESFOR

1. 2.

3. 4.

in the left hand, Figure 47. Take the bottom tips the silks in the right hand, Figure 48, then drop them one at a time to show three separate silks. Put the top tips of the silks upward about 5 or 6 inches, Figure 49, then let them fall forward one at a time toward the audience, Figure 50. Push part of the three silks into the center of the left hand, actually loosening the Blendo. Take end “E” of the ribbon, pull, Figure 51, and then Blendo appears, Figure 27.

Another Flash Blendo ARNOLD FURST If Flash Blendo is not an opener, slight variations in constructions and presentations are necessary. Preparation: At step shown in 44, sew a corner of one of the solids to tip “F”, Figure 52. Now fold the silk around the Blendo, Figures 53 and 54, turn it over, and lay it on the table. Finally, place the two remaining silks on top of the prepared one.

Presentation: 1. Take a silk in the right hand, display it, then transfer it to the left. 2. Repeat with the second silk. 3. With two silks still in the left hand, take the third silk (and Blendo, Fig. 45) in the same hand, Figure 55. 4. Reach thru the silk in the ribbon and clip the top corners of the single silks, Figure 56. 5. Quickly pull the corners thru the slit, Figure 57. 6. Continue to pull the silks until they are half way thru the slit, Figure 58. (NOTE! By holding the left fist rather tightly around the Blendo, part of the attached silk will be drawn up out of the left first.) 7. With silks now as in Figure 50, complete the Blendo, Figure 51.

2.

Blendo-Modus Operandi * R.

10 C.

BUFF

Without knowledge of the Arnold Furst method (No. 9), Buff cuts a small slit in the double ribbon inside the Blendo, then sews a 1” brass ring into the slit, Figure 59. Fold the Blendo, Figures 6-9, then fold and roll the strip, Figures 19-23. Assembled Blendo is now as in Figure 44 with ring (Figure 59) sewed in the slit. Place prepared Blendo on table. Presentation: 1. Produce a solid silk, Chapter 4, Volume I, then drop it over the out-of-view Blendo. 2. Repeat it with two more solid silks. 3. Pick up the silks and Blendo, working the corners of the silks thru the ring. 4. Pull the silks thru the ring until the centers are reached, Figures 57 and 58. 5. Silks in Fig. 50 position, complete the Blendo, Fig. 51.

Berg’s Ribbon Blendo** JOE

BERG

Effect: Ignited paper changes into colored ribbons, then a rainbow silk. Required: A special 18” Blendo, Figure 60, tissue paper, and a book of matches.

*COURTESY – THE MODERN MAGI ** COURTESY –BERG’S STUDIO OF MAGIC

11

Preparation: Reach thru flexible ring, obtain ribbons, and pull them thru ring opening, Figure 61. Then, as explained in Effect No. 3, fold the Blendo as shown in Figures 61-64. (Also Figures 6-9 and 1923.) Finally, slide the flexible ring over the Blendo, Figure 65. Fold the ribbons in half, Figure 66, wind them around the Blendo, then tape the ends of the ribbons, Figure 67. Place Blendo in left trouser pocket, catgut loop ”A” uppermost, then a book of matches. Presentation: 1. Show tissue paper, crumple it, and hold in left hand as right goes into pocket for matches. 2. Not finding matches, transfer paper and to right hand and remove matches from left pocket with left hand. 3. Remove match, light paper, and place matches back in left pocket. 4. Secretly engage loop “A”

5. 6. 7.

8.

over left thumb, Fig. 68, palming Blendo as you remove left hand from pocket. Transfer burning paper to left thumb and first finger, Fig. 69. Rub both hands together to put out fire. At same time release ribbons and allow them to fall into view, Figure 79. Insert right thumb into loop “B”, separate hands, and ribbons vanish as Blendo materializes, Figure 27.

Rice’s Silks to Flag * HAROLD

12 R.

Effect: Three silks change into an American Flag. Required: A special 12”x 18” Flag Blendo, Figure 71. Red, white and Blue 12” solid silks.. Preparation: Sew one corner of each of the 12” silk at corner “A” inside the flag Blendo, Figure 72. Holding tips “B” of the silks, push the Blendo back to corner

*COURTESY – SILK KING STUDIOS

RICE

3.

“A”, Figure 73. Pleat the flag into a small packet and hold it in place with thread, Figure 74. Presentation: 1. Palming Blendo, pick up silks and display them Figure 75. 2. Drop silk corners “B”, and take small ring in right hand. 3. Pull sharply to the right, silks going inside Blendo as thread breaks. 4. Display Blendo, Figure 17.

Thayer’s Mew Blendo* FLOYD

13 THAYER

Although the effect is the same, Thayer’s Blendo differ in construction. Preparation: To two 24”x36” flags, sew two triangular pieces of solid red silk, Figure 76. Now, with red silk inside, sew the two flags together along the dotted lines, Figure 77. Add blue and red buttons, Figure 77. Next, turn the Blendo inside out, red triangle to the outside, Figure 78. To tip “X” sew 2” of red ribbon. Finally, sew centers of blue and white 18” silks to red ribbon, Figure 79. Take the three silks at point “X”, Figures 79-80, and fold red Blendo to half up behind blue and white silks, Figure 81. Lay assembled Blendo on the table.

Presentation: 1. Pick up Blendo in left hand, Figure 82, displaying the red, white and blue silks. 2. Take button “R” in the right hand, clip button “B” under the left thumb, spread arms and release the Blendo. 3. Blendo drops over silks and flags is displayed, Fig. 83. * COURTESY – SILK KING STUDIOS

Mendes Blendo*

14 PRINCE

MENDES

I am grateful to Prince Mendes for exclusive publication rights on this effect he presented so beautifully in “This is The Army”. Effect: Three 18” silks change into a 24”x36” American Flag. Required: In addition to 3-18” solid silks, a special flag Blendo is required. Place a 1” blue ring with loop of ½”wide blue ribbon “L” attached, Figure 84, between two flags, and sew them together on three sides, Figure 85. Now sew a 1” red ring attached to 1” of red ribbon to the upper open corner of the Blendo, Figure 86. Also needed is a 1/2 “ wide black twill tape with dress snap attached, Figure 87. Preparation: Pull the blue loop thru the opening, Figure 88, until Blendo forms a narrow strip, blue and red rings coming together, loop uppermost, Figure 89. With Blendo in Figure 90 position, accordion pleat into a tight bundle, Figure 91, then *COURTESY – SILK KING STUDIO

fasten the twill tape around it, Figure 92. Place in left hip pocket, Figure 93. Presentation: 1. Pick up three 18” silks in right hand, then transfer them one at a time to the left, holding them as in Figure 94. 2. Accidentally (?) drop one to the floor. 3. Stoop to pick it up with the right hand as the left holding the other two silks steals the Blendo, Fig. 95. 4. Add third 18” silk to two in left hand. 5. Twist ends of 3-18” silks together and with both hands work them thru the loop, Figure 9. 6. Break dress snap tape with right thumb, Figure 97. Note both thumbs are free and fingers of both hands cup Blendo and silks. 7. Insert forefingers in rings, Figure 98, and extend arms in opposite directions, developing the Blendo.

Holden’s Blendo*

15 MAX

HOLDEN

This version employs Blendo of different construction. Construction: To a yard square Art silk, sew rings at the top corners, Figure 99. Then at “P” attach a 4” square pocket whose mouth is held open with a flexible wire or spring, Fig. 100. Preparation: Fold Blendo as shown in Figure2 101-107, then place in under your vest, Figure 6, Page 60, Volume I. Three 18” silks are on a table. Presentation: 1. Pick up the three solids with the left hand. 2. Transfer one to the right, taking it as in Figure 108. 3. Repeat with the second silk. 4. As you take the third, accidentally (?) drop it on the floor. 5. As you stoop to pick it up, Fig. 95, steal the Blendo from under your vest, Fig. 6-10, Pages 60-61 Volume I. 6. Blendo in the right hand, Fig. 109, add the third silk to first tow. 7. Take the bottom tips of silk in left hand and carry them up and into the bag of the Blendo. 8. With an up and down movement, use both hands to work the silks into the pocket, corners going in first. 9. Take one of the rings in the left hand, extend arms in opposite directions, and display the Blendo as it unfolds, Figure 27. Note: always fold the Blendo after each presentation, ready for your next performance. *COURTESY – HOLDEN’S MAGIC STUDIO

White’s Blendo*

16 RALPH

L.

WHITE

I am grateful to Mr. White for this exclusive, appearing here in print for the first time. It is an excellent opening effect. Construction: To a single 36” silk with catgut and rings attached, Fig. 111, sew a triangular piece of matching silk, Figure 112. Preparation: Fold the Blendo, Figures 113-119. Then place Blendo in left sleeve, Figure 120. In addition, place 3-12” solid silks on a table. Presentation: 1. Pick up the 3-12” silks with the right hand. 2. Transfer them to the left, working them thru the catgut loop, Figure 121. 3. Now pull the folded Blendo from the sleeve, holding it in the cupped hands, Figure 122. 4. Take red ring in the right hand, the white ring in the left, and extend the hands in opposite directions, developing the Blendo, Figure 27.

* COURTESY SILK KING STUDIOS

Silk to Flags *

17 RICHARD

LINDAHL

On page 673, Chapter 12, Volume 2, I explain my Tiple Color Change wherein 3-18” white silks change into 3-18” colored silks. By substituting 3-12”x18” flags of different nations from the 3 white silks, you can change three colored silks into three flags.

* COURTESY -GENII

Blending Of The Colors * D R.

MILTON BRIDGES

Effect: Three solid colored silk change into an American Flag. Required: A 12”x18” flag and 3-12” silks (red, white and blue). Preparation: Keeping corners “A-B” nearest you, Figure 123, fold the flag into a square, Figures 123-127. Tuck the flag under your vest, blue side next to your body, Fig. 128. Place the 3-12” silks on a table. Presentation: 7. Pick up the red silk with the right hand, shake the silk, then transfer it to your left. 8. Repeat with the white silk. 1. Pick up the blue silk, Figure 129, and as you shake it, steal the flag under cover of the red and white silks, Fig. 130-131. 2. Flag is now behind red and white silk, Fig. 132. 3. Add the blue silk to the red and white. 4. With the right hand, gather up the silks and crumple them, Figure 133. 5. Take corners “A and B” of the flag between the thumb and first finger of each and, Figure 134, and display the flag, Fig. 135. 6. Show other side of the flag, Figure 136, drape it over the right hand, Figure 137, *COURTESY –LOUIS TANNEN

18

then take the flag and hidden silks in the left hand and lay them aside.

Hanks And Flag *

19 T. J.

PETERS

Some excellent effects, long forgotten, appeared over 40 years ago. This one was in the November 1903 Sphinx! Effect: Three silks magically produced, change into a flag. Required: Three 12” silks (red, white and blue), a 12”x18” flag, and a hollow wand. Preparation: Place the white and blue silks in your trouser pockets, Figure 138, and the flag in the hollow wand, Figure 139. The wand is on your table.

*COURTESY – THE SPHINX

Presentation: 1. Produce the red silk from a gimmick, Pages 123-139, Vol. I. 2. Display the silk, Figure 140, drop right corner, and show your right hand as the left holding the red and silk drops over the corner of the white, Figure 141. 3. Steal the white silk behind the red, shake and show the two silks. 4. Repeat with the blue silk. 5. Roll the three silks for “Master Vanish”, Pages 290-292, Volume I, reach to the table for the wand with your right hand and leave the rolled silks there, attention focused on the closed left hand. 6. Tuck end of wand, Figure 139, into your left hand, clip flag, and withdraw the wand rapidly, Figure 142. Flag comes into view.

Modern Blendo*

20 VERNON

COOK

Effect: Three 18” solid colored silks change into a 36” Symphony Silk. Required: Three 18” solids, a 3” pattern silk, a special pull, Figure 143, and a metal ring. Preparation: Prepare a pull from strong nylon cord, Figure 143. Length of cord will vary with each performer. Sew small buttons at corner “A-B” of the 36” silk, Figure 144. Fold the silk as in Figures 123-127. After * COURTESY - GENNI

placing a rubber band around the silk, Figure 145, put the packet in your left coat pocket. Remove our coat and put the pull in place, Figure 146. Replace your coat and fasten the battery clip to the edge of your coat sleeve. Place ring on left thumb, Figure 147. Presentation: 1. Pick up the 3-18” silks one at a time with the left hand, draping them over the right forearm. 2. Take the tips of the silks in the left hand, Figure 148, but just before you do, secretly unfasten the clip and bring it down into the right hand. 3. Secretly remove the ring from the left thumb, and with both hands work the ring down over the silks to their centers. 4. Now hold silks in Figure 149 position. 5. Now reach into both coat pockets with both hands for “magic powder”, stealing the folded Blendo in the left hand. 6. Bring both hands together immediately, then fasten the clip to the ring, Figure 150. 7. Take a bead of the Blendo between each thumb and first finger. Then, separate the hands, thrusting them forward at the same time. 8. Blendo unfolds and the three silks go up the sleeve, Figure 27.

Blendo Routine *

21 JOE

HOM

Effect: Three silks, magically produced, change into a flag. Required: Three 12” silks (red, white and blue), a 24”x 36” flag, Figure 151, a prepared pull, Figure 152, a 1”x5” piece of flexible plastic, and a hank ball. Preparation: Fold the flag as shown in Figures 123-125, until 1 ½” wide. Now fold 5” of the strip up, Figure 153, then roll tightly into a

*COURTESY – LINKING RING

CHECK

bundle and hold in place with a rubber band, Figure 154. Place the plastic strip at the top of the breast coat pocket to hold it open, Figure 155. Fasten the pull under your coat, Figure 156. Load 3-12” silks into the hank ball and place it in a holder at the bottom edge of the right side of your coat. Tuck rolled flag in top of trousers, behind belt buckle, Fig. 157. Presentation: 1. With left side to audience, steal hand ball in the right hand. 2. Turn to right and show left hand empty. 3. Produce the 12” silks, one at a time, from empty left hand as shown in Figure2 23 and 25, Pages 66 and 67, Volume I. 4. Now pull up left sleeve at shoulder with right hand secretly dropping hank ball in open breast pocket, Figure 155. 5. Count 12” silks and place them one by one on left forearm. 6. As you drop second silk, steal pull from left sleeve and bring it into left palm, Figure 158. 7. Now tuck three silks into left fist (holding pull). 8. Show right hand empty as left releases pull. 9. Turn to left, calling attention to closed left first. 10. As you do, bring right hand to rest over the belt buckle. 11. Open left hand slowly, silks having vanished. 12. At same time life flag up into right hand, Figure 159. 13. Bring hands together; take bead in left hand, and separate hands. 14. Flag appears, Figure 17.

Nu-Blent * JOHN PENROSE Effect: An opening effect with 3-18” silks changing into a 24” Symphony silk. Required: Three 12” solids, a 24” Symphony silk, a pull, and a rubber band. Preparation: Fold the 24” square as shown in Figures 160-165, then roll the pocket, separate corners “A” and “B” and hold everything in place with a rubber band, Figure 166. Put the *COURTESY – ABRACADABRA

22

Benson Pull in place, Figures 67-68, Page 306, Volume 1. Pull the tips of the 12” silks thru the loop in the right hand, Figure 69, Page 306, Volume 1. Palm the Blendo in the left hand, Figure 167. Presentation: 15. Enter and bow. 16. Take the bottom tips of 12” silks in left hand, drop tips one at a time, counting them. 17. Take top tips of 12” silks at “Y”, Figure 168, and pull upward until loop of pull is around their centers. 18. Bring hands together; take corner “A” of Symphony Silk in crotch of left thumb and corner “B” between right thumb and first finger. 19. Shoot arms out and away from body, releasing pull. 20. Blendo materializes as12” silk go up your sleeve, Figure 27.

Booth Blendo *

23 JOHN

BOOTH

Effect: Two solid colored silks change into a Butterfly Blendo, Figure 27. Required: Two 12” solid color silks, a 24” Butterfly silk with buttons attached, Figure 169, a hollow billiard ball, Page 105, and a body clip, Page 124, Volume I. Preparation: Fold the Blendo as illustrated in Figures 169-179. It is important that the pleated strip, Figures 171-173, is about 2” wide. The illustrations are for a 24” silk. (A 36” size will require additional accordion

*COURTESY – KANTER’S MAGIC SHOP

pleats at steps shown in Figures 171-173 to get a 2” wide strip, Figure 174.) To the pocket inside the right side of your coat sew a 1/2 “ wide loop of black elastic. This holds the Figure 179 rolled Blendo until needed, Figure 180. Next load the two 12” silks into the billiard ball and place in the body clip, Page 124, Volume 1. Presentation: 3. Closing your cigarette routine, secretly steal the billiard ball from the clip and produce it from a cloud of smoke. 4. Vanish the ball, produce the two 12” silks from it, Page 106, then reproduce the ball. Silks, folded in half, are in the left hand, ball in right. 5. Turn to left, and place the ball on the table with your right hand. 6. At the same time steal the rolled Blendo in the left hand behind the two 12” silks. 7. Show the hands empty except for the two silks which you now crumple between both hands. (The Blendo is hidden behind the 12” silks.) 6. Take a button between the thumb and forefinger at each hand. 1. With a downward and outward motion, extend your arms, developing the Blendo, Figure 127. 2. Lay Blendo and palmed 12” silks aside.

The Mystic Ribbons * HARLAN

24 TARBELL

In 1900 Stanyon explained this effect in NEW HANDKERCHIEF TRICKS NO. 4. Twenty years later Gilbert included it in his HANDKERCHIEF TRICKS. In 1942, Pop Jeudevine’s version was published in the LINKING RING. Hugard included it in SILKEN SORCERY, and the Tarbell version appeared in Volume 3 of his course in 1943. Effect: Three ignited strips of tissue paper change into three ribbons which in turn change into a Butterfly Blendo, Figure 191. Required: Three 1”x 12” strips of tissue paper, three 1”x10” silk ribbons, and a 36” square Butterfly silk, Figure 182. A large safety match box, a “Bull Dog” clip, Figure 181, and two Preparation: Sew the small ring to corners “A-B” of the butterfly, Figure 182. Fold the silks as shown in Figures 169-179. Sew “C” of the clip to your vest at “X”, Figure 183. Place folded silk in clip, Figure 183. Now attach ends of ribbons to the large ring, Figure 184. Accordion pleat the ribbons, Figure 185, then place them in * COURTESY – LOUIS TANNEN

the end of the lid of the open match box, Fig 186. Placed loaded matchbox and tissue paper strips on your table. Presentation: 1. Pick up and display the paper strips, placing them in your left hand. 2. Take the matchbox in the right hand and place it in your left, Figure 187. 3. Take a match with your right hand, then close box, secretly forcing ribbons into your right palm. 4. Strike match on box, and toss box aside. 5. At same time get ring over right thumb, Figure 188. 6. Light tissues; throw match aside, then toss burning papers into air. 7. Reach into falling ashes with right hand, releasing ribbons, Fig. 189. 8. At some time steal folded butterfly in left hand, Figure 189.

Burgette’s Blendo *

25

BURGETTE Effect: Three silks change into an Art Silk Blendo. Required: A cord pull, 3-12” solid color silks, and a 36” Art silk. Preparation: Prepare a pull of proper length from nylon fishing cord, then attach the 12” silks to the free end, Figure 192. Fold the 36” silk, Figures 169-179. Put the pull in place, Figure 193. Blendo is hidden by the 3-12” silks, Fig. 194. Presentation: 1. Walk on stage and show three 12” silks. 2. Toss silks into air (actually extend arms to pull silks up right sleeve). Fig. 195. 3. At same time take one bead of Blendo in right hand and shake into view, Figure 196. 4. Display the Blendo, Figure 191. *COURTESY – SILK KING STUDIOS

Blendo and Flowers *

26 Effect: Two silks change into a Blendo from which a bouquet is produced. Required: Two 18” silks, a prepared 36” silk, Figure 197, a pull, Figure 198; and a bouquet of feather flowers. Preparation: Fold the 36” silk and load it as shown in Figures 48-51, Pages 76-77, Volume I, Put the pull and feather flowers in position, Figure 199. Presentation: 1. Walk forward with 2-18” silks in your left hand. 2. Secretly spread the catgut loop between right thumb and first two fingers. 3. Place the silks in the loop, Figures 6364, Page 305, Volume. 1. 4. Engage your thumbs in the thread of the 36” silk, then extend your arms. 5. The 18” silks go up your sleeve and the blendo unfolds. 6. Now drape the Blendo over your arms and steal the feather flowers, Figure 200.

*COURTESY – CONJUROR’S MAGAZINE

New Blendo *

27 DARRELL

HAMMER

Effect: Three silks change into a Blendo. Required: Three 12” silks, a 24” pattern silk, and a sleeve pull, Figure 201. Preparation: Cut a ½” long slit near one corner in each 12” silk, Figure 202. Accordion fold the 24” silk, Page 38-39, Volume I. Put pull and Blendo in place, Figure 203. Presentation: 1. Pick up three silks in right hand. 2. Transfer them one at a time to left. 3. As hands come together, secretly obtain hook in sleeve and place it between right thumb and first finger. 4. Now transfer the silks to the right hand again, secretly slipping holes over end of hook, Figure 204. 5. Stroke silks with left hand several times. 6. Secretly clip end of Blendo in left sleeve between right thumb and first finger as you stroke silks again. 7. At some time-release pull, Figure 205. 8. Allow pull to slowly take silks up right sleeve as you stroke the silks again, Figure 205. 9. When Blendo is entirely out of left sleeve, display it, Figure 191.

* COURTESY -TOPS

Silk Gloves *

28 HEN FETSCH Effect: Performer’s gloves change into a Rabbit in Hat Art Silk. Required: A prepared 36” Art Silk, Figure 206, and a pair of white cotton gloves. Preparation: Sew a length of cotton tape with white bone rings attached to top edge of Art silk, Figure 206. Then sew a glove to the tape at each end of silk, Fig. 207. Starting at the left, Figure 207, accordion pleat the silk along the taped edge in 2” widths. Properly pleated, the silk is between the gloves, Figure 208. Now, starting at the button, pleat the silk with 2” folds until it forms a 2”x 2” packet between the gloves, Figure 209. A rubber band holds all in place until presentation. Presentation: 1. Display gloves in left hand, Fig. 210. 2. Flick fingers of glove with right hand. 3. Take a ring in each hand as you crumple gloves between your hands. 4. Spread arms apart and Blendo is developed, Figure 206. NOTE: A shooting device attached to a glove or confetti distributed thru the folds of the silk will add much to the finish to the effect. * COURTESY –M.U.M.

Color Blend *

29

MILBOURNE

CHRISTOPHER

Effect: Three small silks change into a 24” pattern silk. Required: Three 12” silks, a 24” design silk, and several rubber bands. Preparation: Accordion fold the 24” silk, Page 51, Volume I. Then place a rubber band around it. Place the silk and several rubber bands in your right trouser pocket. Put the 3-12” silks on your table. Presentation: 1. Show the 3-12” silks, Accordion pleat them, Page 51, Volume I, 2. Hold the bundle in your left hand, reach in your trouser pocket with the right to get a rubber band. 3. Palm the 24” silk as you bring the rubber band into view, Figure 211. 4. Place the band around the 3 silks in the left hand, Figure 212. 5. Bring hands together momentarily, pressing the bundles tightly together, Figure 213. 6. Take the two bundles as one in the left hand and display them, Fig. 214. 7. Pass them to the right hand and show the left empty. * COURTESY – THE SPHINX

8. Take the rainbow silk back in the left hand, keeping the others palmed in your right. 9. Reach into your right trouser pocket again for another rubber band, leaving the palmed silks behind. 10. Place the second band around the rainbow silk, toss silk into the air, then catch it. 11. Remove bands, then display the Blendo!

Color Blending *

C. E.

KNILLE

30

Effect: Four 18” silks change into a 36” silk. Required: Four 18”silks, a 36” pattern silk, and a prepared bag, Figure 215. Preparation: In the wide hem of an 8” circle of flesh colored silk, thread a length of elastic, Figure 214. Draw up the elastic, forming the cloth disc into a bag, with a mouth about ½” in diameter, Figure 215. Tuck the 36: silk into the bag. Place the loaded bad and 4-18” silks on the table. Presentation: 1. Pick up and display three of the 18” silks, one at a time. 2. Palm the bag as you pick up and display the last silk. 3. Roll the 18” silks into a ball. 4. Turn the bad inside out over them, Figure 216. *COURTESY – M.U.M.

5. This releases the 36” silk as the 18” silks go into the bag, Figure 217. 6. Palm the bag, reach for your wand, leaving bad in your black art well. 7. Tap the silk with the wand, open silk, and show that the 4-18” silks have blended into a 36”pattern silk.

Greer’s Blendo *

31 GREER

MARECHAL

Effect: Several 15” silks produced magically change into a 36” silk. Required: Greer’s “Gadget”, Page 309, Volume I, loaded with 15” silks a 36” Rice’s Art Silk. Preparation: Fold the 36: silk, Page 43, Volume I, and place it in a holder, Page 124, Volume I. Place the “gadget” in place, Figure 78, Page 309, Volume I. Presentation: 1. Steal the 36” silk in your left hand. 2. Produce the 15” silks, Page 30, Volume I. 3. Bring your hands together, ball up the silks, then extend your arms to carry the 15” silks into the pull. 4. At the same time expose the 36” palmed silk. 5. Toss the silk into the air, developing the 36” Blendo.

* COURTESY – THE PHOENIX

Blendette *

32 P AT E G A N S

Effect: Spectator caps a bottle after placing 3 solid colored 6” silks therein. When he opens the bottle it now contains a 12” varigated sill. Required: Silks dyed as in Figure 218, two small plastic pill bottles, Figure 219, and a small wand. Preparation: Roll the 12” silk, Figure 220, and insert it in a bottle, Figure 221. Cap bottle and place it and a wand in your right coat pocket. Place the other bottle (without a cap), and the 3-6 silks on your table. Presentation: 1. Display the empty bottle, then give it to a spectator. 2. Hand spectator the 6” silks, one at a time, in this order.. red, yellow, green, having him push each silk into the bottle as he receives it. 3. Reach in right coat pocket, removing cap from bottle, finger palm bottle, and bring bottle and cap out of pocket, Figure 222. 4. Place cap on your table, keeping bottle palmed. 5. Take spectators bottle and display it containing silks, Figure 223. 6. Use right 3rd finger to push silks well down into spectator’s bottle, Figure 224. 7. Bend your 3rd finger and extend the 2nd, secretly exchanging the bottles, Figure 225. 8. Place bottle on table next to cap, and go to right pocket with right hand for wand, leaving spectator’s bottle in pocket. *COURTESY – MAJOR MAGIC CO.

1.

9. Have spectator cap bottle; pass wand over it; then remove 12” silk Blendo.

2.

Rice’s Patriotic Blendo *

33

HAROLD

R.

RICE

Effect: Three glasses are shown. Into the first go 3 red silks, in the second 3 white, and in the last 3 blue. Upon command the silks rearrange themselves. Each glass contains a red, a white and a blue silk, knotted together in a chain, Figure 226. Required: Three minor glasses, Figure 150, Page 325, Volume I, and 18-12” or 18” silks, 6 each, red, white, and blue. Preparation: Tie a red, a white, and a blue silk together, Figure 228. Repeat until you have three chains of three. Now wrap the first set inside its red silk, Figure 227, the second set inside its white, and the third set in its blue. Next, insert a set behind

*COURTESY – SILK KING STUDIOS

the mirror of each glass, Figure 228. Finally, place the glasses on your table, empty sides to the audiences. Presentation: 1. Show 3 red silks; knot them together; place them in the empty side of the first glass. 2. Holding the glass in left hand, transfer it to your right, thereby giving glass a half turn, then set glass (with redwhite-blue chain to front) on the table. 3. Repeat steps 1 and 2 with white silks and second glass. 4. Repeat steps 1 and 2 with blue silks and third glass. 5. Now command silks to rearrange into red-white-blue chains and produce them from the glasses, Fig. 229.

Rice’s mismade Blendo *

34

HAROLD

R.

RICE

Effect: Red and white silks, placed in a blue silk change into an American Flag minus a blue field of stars, Figure 230. The mismade flag and blue silks, when rolled together, change into an American Flag, Figure 231. Required: A small size Mismade Flag set (3-12” silks, 12”x18” mismade and 12”x18” flag). Page 824, Volume 2; an ideal Color Change tube, Page 700, Volume 2; and three rubber bands.

* COURTESY – SILK KING STUDIOS

Preparation: Load the mismade flag into the color change tube. Fold the flag into a packet with the blue field inside, then put a rubber band around it. Put the flag at 2 rubber bands in your coat pocket, and the 3-12” silks and loaded tube on table. Presentation: 1. Pick up the blue silk (and palm the tube) in your right hand. 2. Place the blue silk over your left fist. 3. Make a pocket in the silk with right first finger, leaving tube in the pocket, Figure 494, Page 656, Volume 2. 4. Put the red silk in pocket (and tube) in blue silk, Figure 495, Page 656, Volume 2. 5. Repeat with the white silk. This forces the mismade flag into the blue silk. 6. Steal the tube, Figure 14, Page 703, Volume 2. 7. Withdraw the mismade flag from the blue silk and silks it, Figure 230. 8. Place the blue silk in the mismade flag, then fold it into a bundle like the one in your coat pocket. 9. Now use steps 3-9 of No. 29, Christopher’s COLOR BLEND to exchange the mismade flag and blue silk for the perfect flag. 10. Remove the rubber bands and display the American flag, Figure 231.

Jack Rose *

35 ED

MASSEY

Effect: Solid color silks “mixed” in a cocktail shaker “blend” into a varicolored silk. Required: A metal cocktail shaker, Figure 232, with fake, Figure 233,

a cocktail glass, a towel, 5-12” (red, green blue, orange, and yellow) silks, and a 36” silk made up of the five colors. Preparation: Crumple the 36” silk and place it in the bottom of the shaker, then put the fake in place on top. Presentation: 3. With towel over your left arm, show the inside of the shaker. 4. Mix a “Jack Rose” drink by placing 12” silks one by one into the fake of the shaker as follows : a. green for mint b. orange for orange c. yellow for lemon d. red for cherry e. blue for ice 5. Bring the shaker next to the towel and engage the hook, stealing out the fake, Fig. 234. 6. Set shaker on table, wipe hands on tower, and toss it (and fake) aside. 1. Put the lid on the shaker, then shake it, to mix the silks. 2. Remove the lid and pour the 36” “blended” silk into the glass, Figure 235.

Nu Type Silk Blend * B A F F I N I’

36 BILL

A daring move makes this mystery possible! Effect: Three 12” solid colored silks change into a 24” varicolored silk. * COURTESY – CONJURORS’ MAGAZINE

1.

Required: A prepared newspaper, Figure 237, a 24” varicolored silk, and 3-12” solid colored silks. Preparation: Glue tow sheets of newspaper together with the 24” silk between as shown in Figure 236. Slit the corner double page, Fig. 231. Presentation: 1. Show the newspapers on both sides and lay it aside. 2. Show the 3-12” silks and knot them together, Figure 238. 3. Holding paper as in Figure 239, place the silks in the paper. 4. After left hand is inside paper, secretly slip the knot up thru the slit, Fig. 240. 5. Holding paper close to body, withdraw the left hand and take paper from the right. 6. At the same time steal the silks from the paper with right, then tuck them into a vest pocket, Figure 241. 7. Now tear the paper into bits and produce the 24” varicolored silk, Fig. 242.

A Silken mixup *

37 VERNON

COOK

Effect: Three silks, red, white and blue, magically produced, are placed in an empty glass cylinder. The cylinder is covered with a metal tube that is somewhat shorter. The blue silk, now removed from the cylinder, becomes two. These two silks are used to cover two empty glasses. The cover is removed from the cylinder and there is an American flag. Then the red and white silks are found in the glasses covered with the blue silks. * COURTESY - GENII

Required: A utility tube (Page 333, Volume I) and a shorter cover Figure 243; two mirror glasses (Page 325, Volume I); a tray; a hank ball (Page 295, Volume 1); two body clips (Page 124. Vol. I); a 16”x 24” American flag; and eight 18” silks (2 each, red, white and blue). Preparation: Load the American flag into the back of the utility tube, Figure 243, and a red and a white silk into the back of the mirror glasses, Figure 244. Place a red, white and a blue silk in the hank ball which goes into a body clip. Coil fold the last blue silk, Page 35, Volume I, and place it in a body clip. Put both clips in place under your coat, Page 124, Volume I. Presentation: 1. Steal the hank ball, do change over, and produce the 3-18” silks one by one. 2. Tuck silks in coat pocket, leaving the ball therein, Figure 245. 3. Display empty (?) utility tube. 4. Place red, white and blue silks in the tube, then cover it with the metal tube, part of the blue silk still in veiw, Figure 246. 5. Remove the silk from covered utility tube with your right hand, giving tube ½ turn as you set it on the table again. 6. Steal second blue silk from clip with your left hand. 7. Display the silk, stroke it, materializing the second silk, Figure 19 and 20, Page 65, Volume I. 8. Drape a blue silk over each empty (?) glass, secretly giving each glass a ½ turn. 9. Lift cover and discover American flag in the utility tube. 10. Life blue silks and find the missing red and white silks in the two glasses, Figure 247.

“Naughty” Silks PART ONE

Introduction

1

Silks Required

2

Magicians were interested in silk knots as early as 1900. Knot effects appeared in such books as Professor Ellis Stanyons NEW HANDKERCHIEF TRICKS. However, it was not until the early 1930’s that Louis Gerber of Cincinnati, Ohio presented professionally a colorful silk act based on a related series of knot effects. In 1937 I purchased his sixteen knot routine and published it as “NAUGHTY SILKS”. By 1941 I had routined sufficient additional knot effects to publish “MORE NAUGHTY SILKS”, a 30 minute continuous act employing but one silk to present nearly 60 knot effects. None of Gerber’s and few of my knots are original. However, credit is claimed for the sequence and variations which make the continuous act possible. Origin of many of the knots has been claimed by more than one person, and frequently the only difference has been in the name given to a particular knot. So, rather than innocently give undue credits, no attempt has been made to give origins of the knots used in this routine. The first two parts of this chapter contain my MORE NAUGHTY SILKS act. The third portion of the chapter is devoted to additional effects which might be added to the original routine.

Most of the effects require but one diagonal pattern silk, Figure 1. Deluxe effects require two or more silks, usually one of each of the silks shown in Figure 1 and 2, Gerber recommended a 30” silk for his routine. However, this is not a standard size and is not readily available. In most instances a 24” square will suffice. In a few instances a 27” silk is better. (Some magicians cut a 36” square down to the recommended 30”.)

Rolling The Silk

3 To obtain maximum effect, the silk must be properly rolled or twisted in ropelike fashion. Magicians, even professionals, have ruined a beautiful knot routine by using a silk improperly rolled. Incorrect Method: If the silk is held horizontally, Figure 3, and rolled by twirling both ends, Figure 4, a ropelike silk, Figure 5, is the result. However, if after knotted one end is released, the silk will untwist

Correct Method: Hold the silk taut at a 45 degree angle, Figure 7. Now, twirl the silk with the right hand, holding the left perfectly still, Figure 8. Continue, silk taut at all times, until the silk is twisted into a tight rope. Now, when knotted, it remains rolled, Figure 9.

The Snap Knot Presentation: 1. With knot secretly palmed in your right hand, twist the silk, Figs 7 and 8. 2. Hold tips “A” and “B” in your right hand, Figure 11. 3. Toss the silk to the right, releasing “B”, Figure 12. 4. Bring tips into right hand again, Figure 11. 5. Repeat toss of end “B” Fig. 12. 6. Again bring tips into right hand, Fig. 11. 7. Toss silk to right again, this time releasing end “A”. 8. Knot appears in end of silk, Fig. 13.

5

The Fastest Knot Effect: Knot is removed, rolled silk displayed, hands brought together, then extended, and a knot appears in the center of the silk, Figure 16. Method: 1. Take rolled silk in Figure 14 position, first and second fingers spread as shown. 2. Bring hands together rapidly, take ends “A” and “B”, Fig. 15, then separate hands again, Figure 16. 3. Display knot in center of silk, Figure 16.

5

The Aerial Knot

6 Effect: Knot is removed and the rolled silk displayed. Now a new knot tied in the center of the silk suddenly dissolved in the air. Method: 1. Take end “A” in the left hand, Figure 17. 2. Place corner “B” under left thumb, Figure 18. 3. Reach thru loop in silk with right hand and take corner “A”, Fig. 19. 4. Pull “A” down and thru loop of silk to the right, Figure 20. 5. At the same time lower the left 2nd finger over the silk at “X”, Figure 21, twist the finger counter clockwise back to the left, carrying the loop of silk formed around the finger with it, Figure 22.

6. Pull the silk in opposite directions to form a knot, left 2nd finger still in the loop of silk, Figure 23. 7. Withdraw the finger and take the silk in Figure 24 position. 8. Now “toss” knot into air (as you pull silk in opposite directions) and knot dissolves, Figure 25.

Houdini Knot

7 Effect: A knot tied in the center of the rolled silk dissolves. Method: 1. Take corner “B” between the left thumb and first finger, Figure 26. 2. Bring end “A” up over back of hand and across your second finger, Fig. 27. 3. Reach thru loop “L” with right hand and clip silk at point “X” with thumb and first finger, Fig. 28. 4. Pull “X” thru large loop, Figure 29.

5. Now take “A” and “X” as one between the fingers of your right hand, Figure 30, as you allow the loop “L” to fall off of the left hand, Figure 31. 6. Pull end “B” to the left and “A” and “X” to the right to draw loop “L” into a knot. 7. Just as the knot forms, release “X” from under the right thumb. The result is a fake knot, Figure 24. 8. Now “toss” knot into the air (as you pull “A-B” in opposite directions) and it disappears, Figure 25.

The Unknottable Silk

8 Effect: A knot tied in a rolled silk fails to form. Method: 1. Holding the silk as in Figure 32, tie a loose knot near ends “A” and “B”, Figure 33. 2. Now pinch the silk at “X”, Figure 33, between the left thumb and first finger, Figure 34. 3. Extend arms in opposite directions, release end “B”, and knot fails to form in silk, Figure 35.

Knot Caught In the Air

9

Effect: When rolled silk is tossed into the air a knot appear at its center. Method: 1. Take the rolled silk in the right hand, Figure 36. 2. Turn palm to audience, Figure 37, forming a loop “C” around the hand. 3. Suddenly lower the right hand sharply to take end “B”, then raise the hand sharply again. This action will snap end ”B” up to meet the descending right hand. 4. Take “B” between the right first and second fingers, Figure 38. 5. As the right hand is raised sharply, let loop “C” drop down over end “B”. At the same time release all but end “B” of the silk. A loose knot now forms in the center of the silk. 6. Continue to raise the right

hand, tossing the silk into the air, Figure 39. 7. As the silk falls, catch it by one end with the right hand, Figure 40. This sudden halt in the silks fall causes the knot to tighten. 8. To the spectators it appears that the knot was tied in the silk while it was in the air. Note: For another version see Effect Note: 40.

Hunter’s Bow Knot

10

Effect: The knot is removed from the silk. Then the silk is held as in Figure 41, hands brought together, separated, and a bow knot appears in the silk, Figure 45. Method: 1. First untie the knot in the silk. 2. Roll silk, then display it, Figure 41. 3. Bring hands together, Figures 42, 43 and 44. 4. Pull hands apart and silk contains a bow knot, Figure 45. 5. Display the bow knot, Figure 46.

School Boy Knot

11 Effect: Performer explains that boys have trouble with the bows in their shoe laces… that if the ends slip thru the loops, a hard knot results when the ends are pulled. Performer demonstrates, then removes the knot by magic! Method: 1. Display the bow knot, Figure 47. 2. Hold silk as in Figure 48, reach thru the loops, take ends “A” and “B”, Fig. 49, and

pull them thru the loops, Figure 50. 3. Now take silk at extreme tips and display silk, Figure 51. 4. Pull on the ends in opposite directions, slowly forming a (fake) knot. 5. Separate arms sharply and knot disappears, Figure 35.

Height of The Quadruple Knot

12

Effect: Four knot tied in a rolled silk dissolve instantly, Figure 57. Method: 1. Tie a loose knot in the center of silk, Figure 52. 2. Above the first tie a second loose knot, Figure 53. 3. Study the double knot and illustrations carefully. Properly tied, you have a large two loop loose square knot. 4. Now bring end “B” thru

the bottom (first) loop, forming a third knot, Figure 54. 5. Continuing, bring end “B” up thru the top (second) loop, forming a fourth knot, Figure 55. 6. Holding the ends of the silk, pull sharply in opposite directions, Figure 56, and the knots dissolve instantly, Figure 57. Note: If you wish the knot to dissolve slowly in a most mysterious manner, pull SLOWLY on the ends, Figure 56.

Close-Up On Blow-Away Knot

13

Effect: Performer ties a seemingly genuine knot with tow ends of the rolled silk, Figure 61. Spectator “blows” on the knot, and the knot “goes”, Figure 62. Method: 1. Cross ends “A” over “B”, Figure 58. 2. Then twist “B” around “A”, forming first half of the knot, Figure 59. 3. Not tie a single knot on top of the first half, Figure 60. 4. Holding the silk below the knot, Figure 61, have a spectator pull on both ends to tighten the knot. 5. Ask spectator to “blow” on the knot. When he does, pull hands in opposite directions and knot visibly dissolves, Figure 62.

The Spirit Knot

14

Effect: A square knot dissolves while held by a spectator, Figure 65. Method: (Do not roll the silk rope fashion for this effect.) 1. With tow diagonal corners tie a square knot, Figure 2-7, Chapter 18, SYMPATHETIC SILKS. 2. Now secretly upset the knot, Effect Note:. 18, Fig. 56, Chapter 18. 3. As you place the upset knot, Figure 63, in the silks center, Figure 64, secretly slide knot “X” off the end of the silk. 4. Have spectator hold the knot (?) thru the silk, Figure 65. (Actually he is merely holding twist “X” of Fig. 63.) 5. Withdraw your right hand, then tell spectator to drop silk. 6. Catch the silk as it falls on the floor, showing knot is gone, Figure 66.

Spook Knot

15

Effect: A Knot tied in one corner of the silk suddenly becomes alive, rises and falls to answer questions, etc., Figure 71. Method: 1. Tie a knot about 2” from the end of a corner of the silk, Figure 67. 2. Hold silk in Figure 68 position, secretly hiding the left thumb in the folds of the silk just below the knot, Figure 69. 3. Release the knot, and it stands erect, Figure 70. 4. Knot now rises and falls (once for yes, two for Note), Figure 71. To cause this action, merely raise and lower the thumb, pressing the silk tightly against the inside of the first finger.

Solid Thru Solid

16

Effect: A silk wound around performer’s leg (or arm) twice penetrates it, Figure 80. Method: 1. Place the center “X” of the rolled silk in front of your

leg, Figure 72. 1. Bring the silk to the back, around, then to the front of the leg, Figure 73. Then pull sharply on ends “A-B” to prove silk cannot penetrate the leg. 2. Remove the silk from around the leg, then asume Figure 72, position again. 3. Bring rolled silk around leg, Figure 74. 4. Next take a bite of “A” with the right fingers, Figure 75, and pull it to the right under “B”, Figure 76. 5. Now bring “A-B” to the front again, Figure 77. 6. Finally take “A-B” in the right hand, Figure 78. 7. Properly done, the “bite” at the back of the leg is as shown in Figure 79. 8. Now taking silk as in Figure 80, pull it thru (?) the leg, Figure 81.

Silk Thru Wrist

17 Effect: Two loops penetrate the performer’s left writs, Figure 89. Method: 1. Knot the two ends of the rolled silk to form a loop. 2. Drape the looped silk over the left wrist, Figure 82. 3. Take the silk in the right palm, Figure 83, then close the right first around the silk, Figure 84. 4. Now carry the silk in toward the body, Figures 84 and 85, then up to the left arm, Figures 85 and 86. 5. Carry the silk outward, Figure 86, open the right palm Figure 87, and drop the second loop over the left wrist, Figure 88. 6. Take the knot in the right hand and pull upward gently. 7. The silk penetrates the left wrist, Figure 89.

The Double Figure Eight

17 Effect: After untying the knot, performer takes diagonal ends of the rolled silk in either hand, Figure 90, brings hands together, then separates them. The silk now contains two knots, Figure 95. Method: 1. Take the rolled silk in Figure 90 position, palms to audience. 2. Turn hands in and under silk, Figures 90 and 91, palms now to performer. 3. Turn hands in again until they rest on the silk, Figures 91 and 92. 4. At Figure 92 position reach down sharply and take ends “A” and “B” at “X” between first and second fingers

of both hands, Figures 92 and 93. 5. Bring hands together, Figure 94, palms toward you. Allow the loops to drop off both hands, then separate hands again as knots form in the silk, Figure 95. Note: Francis Utley suggests an interesting variation of this effect. When you reach Figure 93 position, take end “A” in your right hand and end “B” in your left. Now proceed as explained earlier. Instead of two separate knots, Figure 95, you will have two knots knotted together!

Four-In-Hand Knot

19 Effect: Performer unties the tow knots, then states he will repeat the effect. The moves are repeated but a regulation four-in-hand knot results, Figure 98! Method: 1. After untying the two knots, repeat effect No. 18 until you reach Figure 94 position.

2. Now bring the hands together so that the right hand can take end “A” and add it to “B”. 3. Holding “A-B” firmly, move the left hand to the life, Figure 96. 4. At the same time pull the ends thru the right loop as you allow it to drop off of the right hand, Figure 97. 5. Tighten the knot, Figure 98. 6. Drop the loop over your head and display the fourin-hand knot, Figure 99. 7. Remove the knot by holding it in the left hand as you pull end “A” with the right, Figure 100.

Knot On Wrist

20 FIRST

METHOD

Effect: Without letting go of either end, performer “tosses” a genuine knot around his right wrist, Figure 104. Method: 1. Hold the rolled silk as in Figure 101. 2. With the left hand toss a loop in the silk, Figure 102. 3. As the loop travels to the right, thrust the right hand thru it, Figure 103. 4. Separate hands, drowning knot up tight, then drop ends. Silk is knotted around right wrist, Figure 104.

Knot On Wrist

21 SECOND

METHOD

Effect: Without letting go of either end, performer forms a genuine knot around his right wrist, Figure 104. Method: 1. Hold the rolled silk as in Figure 62.

2. Drape the center of the silk over the left wrist, Fig. 105. 3. Carry end “B” thru the loop, Figure 105, with the right hand, Figure 106. 4. Now bring end “A” back out of the loop, Figure 107. 5. Separate the hands, tightening the knot around the wrist. 6. Drop the ends and display the knot, Figure 104.

The Hangman’s Loop

22 Effect: The rolled silk, looped several times around the spectator’s arm, Figure 113, penetrates upon command, Figure 115. Method: 1. Drape the center of the rolled silk over a spectator’s extended arm, Figure 108. 2. Cross end “A” over end “B” under the spectator’s wrist, Figure 109. 3. Bring the ends up and cross “A” over “B” on the spectators extended

arm, Figure 110. 4. Have spectator place a right finger on the point “A” crosses “B”, Figure 111. 5. Bring ends around spectator’s finger, end “A” over “B”, Figure 112. 6. Take ends under spectator’s wrist again, crossing end “A” over “B”, Figure 113. 7. Finally bring ends up and around spectator’s arm again, then tie a double knot with ends “A” and “B” under spectator’s right hand, Figure 114. 8. Take knot in your right hand as you grasp spectator’s left hand with your left. 9. Ask spectator to remove his right finger from knot as you command silk to penetrate his arm. 10. Pull upward sharply and silk penetrates (?) spectator’s arm, Figure 115.

Another Solid Thru Solid

23 Effect: A rolled silk wrapped around a broomstick several times, then covered by a spectator’s hand, penetrates the broomstick but not the hand, Figure 122. Method: 1. After untying the knot, wrap the silk around a broomstick (held by two spectators) twice, Figure 116. 2. Next have a spectator circle the broomstick with his right hand, lacking the silk around it, Figure 117. 3. Now bring ends “A” and “B” around the broomstick once more. However, secretly reverse the direction of the twists, Figure 118 and 119. 4. Bring “A” and “B” together, Figure 120, and tie a knot on top of spectator’s fist, Figure 121. 5. Have spectator release grip on broomstick as you pull sharply upward on ends of silk. 6. The silk penetrates (?) the broomstick and encircles spectator’s hand, Fig. 122.

Knot That Is Not

24 FIRST

METHOD Effect: A knot tied performer is not a knot!

by

the

Method: 1 Holding the rolled silk as in Figure 123, form a loop with the right hand, figure 124. 2 Place the left thumb on the point the loop gosses end “A” Figure 125. 3 Now bring end ‘A’ thru the loop Figure 126. 4 Pull end ‘A’ with the right hand until the loop becomes

5 6

7

8

smaller, resembling a loose knot. Transfer the small loop (fake knot) to the right hand Fig.121 Form a fist with the right hand around the loop, Figure 128. Take corner ‘A’ in the left hand and appear to slip the knot down the silk, Figure 129 Remove the right hand from the silk and show knot (?) has disappeaed, Figure 130

Knot That is not

25 SECOND

METHOD Effect: A knot tied by performer is not a knot!

the

Method: 1 Hold end ‘A’ in the right hand, figure 131. 2 Drape the center of the silk over the left hand, figure 132. Close the left fingers, 3

4

5 6

forming a loop in the silk figure 133. Place the loop under end ‘A’ held by the right thumb, figure 134. Reach thru the loop with the left fingers, take end ‘A’ and pull it thru the loop, Figure 135. Now continue as in the first version, No. 25, shorting with step 5, but using hand opposite to those shown in figures 127 – 130.

Knot That is not

26 THIRD METHOD Effect: A knot formed around the perfomer’s wrist is not a knot. Method: 1 Drope the rolled silk over the left wrist, figure 136. 2 Bring end “B” thru the loop, figure 137. 3 Separate the hand quickle, and the knot is not, figure 138.

Knot That is not

27 FOURTH

METHOD Effect: A knot formed around the performer’s wrist is not a knot! Method: 1 Drape the rolled silk over the left wrist, Figure 139. 2 Bring end ‘B’ thru the loop, Figure 140. 3 Separate the hand quickly and the knot is not, Fig. 130.

The Impossible Knot

28 FIRST METHOD

You have given four demonstrations of how difficult it is to tie a knot when desired now you perform impossibility! Effect: Performer does the impossible by tying a knot in a rolled silk without letting go of exchanging ends! Method: 1 Hold the rolled silk as in Figure 141. 2 With end ‘B’ form a loop over the left arm, fig. 142. 3 Then without letting go of either end, pass the

right hand and end ‘B’ back thru the loop, around and back out again as shown by Figures 143 and 1443 4 Now silk and hands are in Figure 145 position, Note that both thumbs are up. Call attention to knot (?) ‘K’ formed in center of the taut silk. 5 Next, turn both hands down toward the floor to allow the loops to fall off of the wrists, Fig. 146. 6 At the same time secretly close the right fingers around silk at ‘X’, figure 146, and release end ‘B’ Figure 147. 7 As loops fall, extend arms in apposite directions to tighten knot formed in center of silk, Figure 148. Note: Following a pause at Step 4, Steps 5, 6, 7 are carried out as one continuous action without hesitation at any point.

The Impossible Knot

29 SECOND

METHOD

Effect: To further prove are not exchanged, performer identifies one end of the rolled silk by tying a knot in it. Holding the marked end in his left hand, he repeats No. 28, THE IMPOSSIBLE KNOT. At the Finish the marked end is still in his left hand. Method: 1 Tie a knot in end ‘A’ Figure 141. 2 Repeat Effect No. 28 3 Show marked end ‘A’ still in your left hand!

The Impossible Knot

30 THIRD

METHOD

Effect: Performer patiently teaches several spectators step by step how (?) to tie the ‘impossible knot’. Yet none is oble to accomplish the feat!

Required: In addition to the performer’s silk, one is required for each spectator participating in the less. Method: After each participant masters how to roll his silk, Fig. 7-8. Repeat Steps 1-4, Figures 141-45, Effect No. 28. Stop after each step to soc that each spectator has done it correctly.

2. Now check to see that all silks, including your own, appear as n figure 145 3. Next, instruct each spectator to loss the loops off his wrists as he drops his bonds downward, Figure 146, then to pull on the ends of the silk to form a knot, Figure 148. 4. You do the same, but secretly include Figure 141, step 6, No.28 5. The result you have a knot the others do not Fig.149!

The impossible Knot

31 FOURTH

METHOD Effect: To further dispell doubts of fairness, performer places silk around his wrists agains, then allows the knot to form while a spectator holds the ends.

Method: 1 2 3

4

Repeat steps 1-4, Figures 141-145, Effect No.28. Face spectator, silk as in Figure 145. Now have spectator take end ‘B’ (from your right hand) in his left hand end ‘A’ (From your left) in his right hand, Figure 150. This automatically changes ends of the silk. As you drop the loops off of your wrists, have the spectator extend his hands in opposite directions, forming a knot as in Figure 149.

The Impossible Knot

32 FIFTH

METHOD

Effect: To further prove that all is fair, the performer terms the loops around his wrists, then transfers them to the spectator’s. Now spectator ties the knot successfully, Figure 148.

Method: 1 Repeat Steps 1-4, Figures 141-145, Effect No. 28. 2 Face Spectator, 3 With Silk in Figure 145 position have spectator take end ‘B’ in his left hand and end ‘A’ in his right. Loops still remain around your wrists, Figure 150. 4 Still facing spectator, bring your hands up to his, then slip the loops from your left wrist on to his right end the loop form your right on to his left wrist. Again you have automatically reversed ends of the silk. 5 Have spectator remain ends but drop loops off of his wrists, extend arms in opposite; directions, and tie a knot, Figure 148.

The Impossible Knot

SIXTH MEHOD

33

Effect: Performer again proves the knot is tied without letting go of either end by tying it while ends of silk are tied to his thumbs, Figure 151. Method: 1. Have a spectator tie an end around each of your thumbs, figure 151. 2. Repeat Steps 1-4, Figures 141-145, Effect No.28. 3. Have the Spectator untie the knots around your thumbs, then hold the ends on in Figure 150. 4. Drop loops off your wrists and knot forms in center of Silk held by spectator Figure 148.

The impossible Knot

SEVENTH METHOD

34

Effect: Thus for each time performer presents THE IMPOSSIBLE KNOT he has a genuine knot he must untie before presenting another version. He repeats the effect but this time he merely blows upon the knot and it dissolves into the air! Method: 1 Repeat Steps 1-4, Figures 141-145, Effects No. 28. 2 Now drop loop ‘L’ off of left wrist, Figure 152. 3 Pull end ‘A’ to the left until loop ‘L’ forms a slip knot at the center of the silk Figure 153. 4 Without hesitating drop ‘M’ off of the right wrist, Figure 154. Then pull end ‘B’ to the right until a tight slip knot forms in the center of the silk, Figure 155. 5 Blow upon the knot as your pull the ends in opposite directions. The knot dissolves, Figure 156.

The Impossible Knot

EIGHT

METHOD

35

Effect: Furthering his impossible feats, without letting go of either end performer now ties a knot around a bracelet threaded on the rolted silk, Figure 158. Method: 1 Thread a borrowed solid bracelet on the rolled silk, Figure 157. 2 Repeat Steps 1-6, Figures 141147, Effect No. 28 3 As loops fall, extend arms in opposite directions; A knot appears tied around the bracelet, Figure 158.

The Impossible Knot

NINTH

METHOD

36

Effects: As a fitting finale, performer repeats the bracelet version (Effect No. 35). This time the knot around the bracelet dissolves, Figure. 160. Method: 1 Thread a borrowed bracelet on the rolled silk, Figure 157. 2 Now repeat Effect No. 34. 3 After the slip knot forms around the bracelet, Figure 159, continue to pull on both ends of the silk…the result is shown in Figure 160.

The Puzzle Knot Effect: It is possible to tie a knot WITHOUT letting go of the ends. Performer proceeds to demonstrate. Method: 1 Lay the twisted silk on a table, Figure 161 2 Fold your arms and stand over the silk, Figure 162. 3 Take end ‘A’ in your left hand, and end ‘B’ in your right, Figure 163 4 Now draw the arms apart and a knot results, Figure 148.

Stretching a Silk

FIRST

METHOD

38

Effects: Performer finds silk too small for his next effects so he stretches it! Method:

1

2

Take ‘A’ and ‘B’ between left and right first and second fingers, Figure 164. Bring ‘C’ and ‘D’ up under left and right thumbs, Figure 165.

3 4 5

Now twist silk ropewise When silk begins to tighten, secretly release corners ‘A’ and ‘D’, still holding diagonal corners ‘C’ and ‘B’ . Alternating, pull and twist the silk by degrees until it seemingly stretches to an incredible length, Figure 166.

Stretching a Silk

39 SECOND

Effect: The effect is the same as the No. 38 Method: 1 Hold silk by diagonal corners at a 45-degree angle, Figure 167. 2 Release corner ‘D’ takes silk at ‘X’ Figure 167, silk to ‘Y’ rapidly with the right hand several times, Figure 168. When you reach Figure 167 3 position the third time, keep the right fist around the silk

METHOD

at ‘Y’ and carry it up to ‘X’ again. This forms on accordion pleat of silk in the right hand, Figure 169. 4. Continue to stroke the silk, but complete the move with a pleat of silk secretly held in the right hand, figure 170. 5. Now twirl and pull the silk as in effect No.38, allowing silk to stretch by pulling the pleat by degrees from the right hand.

Another One Hand Knot

40 Effect: A knot suddenly appears in the centre of a rolled silk held in performer’s right hand (Although the effect is the same as No. 9, the method is different.) Method: 1 Take rolled silk in Figure 171 position. 2 Reach in and down toward the wrist with the second and third fingers and take end ‘A’ Figure 172. 3 Bring fingers tack to their original position, forming loop in the silk, Figure 173 4 Drop loop ‘X’ over end ‘A’ and off the wrist to form knot, Figure 174. (All moves are done in one

rapid continuous motion) Note if desired, when you reach Figure 173 position, toss silk into the air after loop ‘X’ falls over end ‘A’. Then catch silk as it falls and display knot, Figure 174.

The Rolling Knot

41

Effect: A knot tied in the center of the silk travels to the bottom tip then drops off into space. ! Method: 1. Repeat the first five steps of Effect No. 9. Figure 36-36. 2. Now instead of tossing the silk into the air, bold it at tip ‘B’ allowing the large loop ‘L’ to foil at least half way down the silk, Figure 175. 3. Shake the silk gently and the loop will move down toward tip ‘A’, Figure 76, then actually drop off the end, Figure 177 Note: The loop gets smaller as it travels down the silk. If it becomes a knot before it reaches tip ‘A’, then loop ‘L’ Figure 175, wasn’t large enough to travel the distance or was formed too high on the silk.

Another knot that is Knot

42

Effect: A knot tied in the centre of the silk vanishes while two spectators hold the ends, Figure 179.

Method: 1 Tie the knot in Effect No. 24, figures 123-128, but in the centre of the silk rather than near end ‘A’ 2 Have one spectator hold end ‘A’ and another end ‘B’ while your right hand still covers the (fake) knot, Figure 178. 3 Ask spectators to pull on the silk. 4 Remove your right hand and show knot has vanished, Figure 179.

Another aerial knot

43

Effect: Performer repeats Effect No. 42, but this time allows spectator assistants to actually see the knot before it disappears, Figure 179. Method: 1 Tie a tight AERIAL KNOT, Figures 17-24. 2 Cover the knot with your right hand as spectators takes ends ‘A’ and ‘B’, figure 178. 3 As spectators pull, the knot dissolves, Figure 179.

Miller’s Boy Scout knot Effect: Magician displays the silk, Figure 180 then, in one

44

quick move ties the standard knot used by boy scouts in their ‘neckerchiefs’, Figure 184 Method: 1 Take rolted silk in Figure 36 position, but with end ‘A’ much shorter, Figure 180. 2 How take end ‘B’ Figures 37 and 38, but at a point to make ‘A’ and ‘B’ the same length, Figure 181. 3 Next, take ends ‘A-B’ in the left hand figure 182. 4 Raise the right hand to allow loop ‘L’ to fall off of the hand and down the silk toward ends ‘A-B’, Figure 183. At the same time pull point ‘X’ (Figure 182) thru the loop, Figure 183 5 Separate the arms in opposite to form a Boy Scout Knot, Figure 184. 6 Place loop over your head and adjust the knot, Figure 185.

Jung Pin Soo Knot

45

Effect: A knot in the center of the silk vanishes upon command.

Method:

1. 2. 3. 4.

Note: This is nothing more than No.6, The AERIAL KNOT however; in the hands of a master like Jung Pin Soo (Al Whitely) it is a miracle! Tie an AERIAL KNOT near end ‘B’ Figures 17.24 Take the loose knot tightly between your left thumb and first finger, Figures 186. Appear to tighten knot by pulling up on end ‘B’ (actually pulling it apart), Figure 187. Release end ‘B’, below upon the knot release folds of take knot, and it dissolves, Figures 188.

Thru The Chair

46 Effect: A silk Wrapped and knotted twice around the top bar of a chair penetrates it, Figure 195. Method:

1

2

Place the rolled silk under the top bar of the back of a chair, about 1/3 of the silk to the back, Figure 189 Cross the ends at the top,

3.

4.

5. 6.

‘A’ over ‘B’ Figure 190. Appear to tie a single knot in the silk. Actually, reach thru loop ‘L’ with the right hand and bring a ‘tight’ of ‘A’ thru the loop, figure 191. Now bring ‘A’ to the front of the chair, down around, and up the back of the chair, Figure 192-193 Tie a knot at the top of the bar with ends ‘A’ and ‘B’ Figure 194. Pull up sharply on ‘A’ and ‘B’ and silk loops penetrate the chair, figure 195.

Thru the Wrist

47 Effect: A silk wrapped and tied around a lady spectator’s wrist several times penetrates it, Figure 196. Method: The method is the same as that used in Effect No.46, and is known as A: Baker’s SILK THRU THE WRIST. Also see No. 21, DISSOLVO, Page 562 Vol.2, for an alternate method.

THRU THE RING

48

Effect: A knotted silk penetrates a Linking Ring held by a spectator, Figure 197. Method: The same as the explained in Effect No. 47

Thru The Neck

one

49 Effect: A knotted silk penetrates the performer’s neck Figure 203 Method: The method is the same as that given for Effect No. 46. 1. Place the rolled silk

2. 3. 4.

5. 6.

around your neck, Figure 198, end ‘A’ considerably longer than ‘B’ Take end ‘B’ at ‘X’ with right thumb arm first finger and end ‘A’ at ‘Y’ with your left hand, Figure 1993 Carry ‘X’ as a ‘bight’ to the right and up behind your neck, Figure 200, keeping ‘A’ taut. Bring ‘A’ under ‘B’ and around the neck, right to left, figure 201. Tie a single knot under your arm with ends ‘A-B’ Figure 201 Pull sharply and silk “penetrates” the neck, Fig 203.

Pick It Up

50

Effect: Performer slowly and deliberately teachers any spectator how to tie a knot in a silk. Yet when he tries the spectator always fails! Method: 1 Place the rolled silk in a “U” shape on a table on the floor, Figure 204. 2 Take end “A” in your right hand, raise the silk and place your left wrist under it, Figure 205. 3 Raise your left wrist about 4’ above the table then move the wrist up to point ‘X’ Figure 206. 4 Now Carry Point ‘X’ of the silk on the left wrist back toward corner ‘B’. At the same time pull end ‘A’ taut and to the right, Figure 207 Note! During steps 2,3 and 4, left wrist and figures remain motionless and exactly as shown in Figure 205, All action is done with entire left arm! 5 Stop sharply directly over corner ‘B’ and take it between the left thumb and first finger, Figure, Figure 208 (Note that ‘X’ is to the left of end ‘B’) 6 Holding ‘B’ firmly, carry it rapidly to the left and thru loop ‘X’ Figure 209 7 Separate hands sharply and a knot is formed Figure 210 IMPORTANT! The spectator invariably falls because he always takes end ‘B’ to the left rather than the right of end ‘A’, Figure 208. He is unaware of this because your left hand (Figure 207) covers from view the critical part of end ‘A’ SUGGESTION! Who pays the check? Show this effect to a friend. Before he tries, wager that if he fails he pays the check. He will if you don’t have a silk, use your and his neckties instead!

Visible Multiplying Knot

51

Effect: A Single knot tied in the center of a silk visibly becomes two! Method: 1 Take the rolled silk in the left hand as shown in Figure 211. 2 Place loop ‘L’ over the left wrist Figure 212. 3 Reach Thru loop ‘Y’ and take loop ‘X’ in the right hand, palm down, Figure 213. 4 Holding ‘X’ turn your right hand to the right, bringing palm up and forming a loop in the silk, Figure 214. 5 Open the fist and take end ‘B’ between the right first and second fingers, Figure 215. 6 Release ‘B’ from the left fingers as you pull it thru the loop ‘X’ which was around the right fingers, thereby forming a knot ‘X’, Figure 216. 7 Now raise the left arm and allow loop ‘L’ to fall off, Figure 217. Then, without stopping, pull ‘B’ thru loop ‘Y’ Figure 218. 8 Timed properly, loop ‘Y’ will become a send knot, which completely encases the first knot ‘X’, figures 218 and 219. 9 Now display the single (actually double) knot, Figure 219. 10 Give the silk a sharp shop and the knots will separate, forming a second knot, figure 220.

More Multiplying Knots

Effect: A single knot in the centre of a silk, figure 219, becomes two, figure 220. (The effect is the same as No.51, but differs in method.) Method:

1 2

Take the rolled silk as in Figure 221. Form a loop in the silk with the right hand,

52

3

4

5 6

Figure 222, then places the loop ‘X’ under the left thumb, Figure 223. Take the centre of the silk with the right hand again as in figure 221, form a second loop ‘Y’ figure 224, and place it under the left thumb and on top of the first loop ‘X’ figure 225. Pull end ‘A’ thru ‘X’ then ‘Y’ figure 226, forming a loose knot similar to that in figure 219. Holding the silk as in Figure 219, display the knot. Shake the silk sharply and a second knot will appear, Figure 220.

Threading The Needle

53 FIRST METHOD Effect: Performer attempts to form knot by threading the end of the silk thru a loop and fails Method: 1 Hold the rolled silk in your left hand as in figure 227. 2 Take the silk at ‘x’ with the right hand, figure 227, and form a loop figure 228. 3 Close the left fist around the loop, figure 229. 4 Thread end ‘A’ of the silk thru loop ‘X’ figure 230. and even though a knot is expected, Figure 231, none is formed!

1

Threading the needle

54

SECOND

METHOD

Effect: Performer’s second attempt to tie a knot is successful, figure 234. Method: 1 Hold the rolled silk in left hand as in figure 227. 2 Form loop, figure 228 3 Then place end ’A’ on top of ‘B’ Figure 232. 4 How thread end ‘B’ (instead of ‘A’ as in first version) thru loop, Figure 233. Extend arms and you tie a knot, Figure 234 ! 5

Threading The Needle THIRD

55 METHOD

Effect: As a spectator may suspect ends ‘A’ and ‘B’ were switched (true), performer ties a small knot in end ‘B’ to identify it, then repeats the effects successfully, calling attention to the fact that at no time is end ‘B’ ever touched!

Method: 1 After tying a small knot in end ‘B’, hold the silk in your left hand as shown in Figure 227. 2 Then form the loop, Figures 235,236 and 237. (Compare figure 237 with figure 228. Note that loop is reversed in Figure 237.) 3 Now thread ‘A’ thru loop ‘X’ Figures 229 and 230. 4 Extend your arms and you have a knot in the silk Figure 234!

Threading The Needle FOURTH

56 METHOD

Effect: As a finale, performer teaches (?) spectator to “thread the needle”, but spectator fails on very attempt! Required: Two Silks, one for performer and one for spectator. Presentation: PART ONE 1. Take the spectator step by step thru the first method (No. 53) as you work with him. When it is time to form the knot, pass end ‘B’ thru the loop 2. of your silk (as explained in Second Method No. 54) while he uses end ‘A’ of his.

3. You get a knot and the spectator does not. 4. Report this routine with the spectator several times. PART TWO 5. By this time spectator knows how to form the loop but can’t get a knot. Now for a switch 6. To assure him both of you use the same end to the cad the loop, tie a knot in end of ‘B’ Figure 235, and have spectator do the same with his silk. 7. Now with spectator still doing the first Method (No.53), do the third method (No.55). 8. Again you get a knot and spectator fails!

P A R T

The Second Silk

T W O

57

Thus for you have worked with a single silk. Now you are ready for a few deluxe effects requiring two silks. The second silk has been worn as a rose on your coat lapel. Remove the “rose” and develop it into a silk (For details, see SPIRAL FOLD, pages 39-40, Volume 1.)

Fastest knot in world

58

Effect: Performer and spectator lock their silks, figure 238. Suddenly performer’s silk is tied around spectator’s Figure 239. Method: 1 Have spectator loop his silk around yours Figure 238. 2 Holding your silk as in Figure 14, tie No.5, THE FASTEST KNOT. Now your silk is tied around the spectator’s Figure 239. 3

Double Knot In Air

59 Effect: Performer holds a silk in each hand, figure 240, tosses them into the air, and catches then as they fall to the floor. A knot is in the center of each silk, Figure 241. Method:

1

2

Hold a silk in each hand as in Figures 36 and 240. Repeat Effect No. 9,

3

KNOT CAUGHT IN THE AIR, Figures 36-40. Display a knot in each silk, Figure 241.

(Variation: Try tying one silk as if Effect No: 9 as you tie the other at the some time as in effect No. 40 Figures 131174)

Passe – Passe

60

Effect: A knot passes from one silk to another Figure 242-243 Method: 1 Tie No.6. AERIAL KNOT, in one silk and take it in left hand. 2 With the other silk in your right, display the silks figure 242 3 Shake silk in the left hand, at the same time tying either knot No. 9 or No. 40 with your right in the silk in that hand. 4 Knot appears to have passed from left hand silk to the one in your right, Figure 243.

Solid Thru Solid

61

Effect: Two silks knotted together, Figure 239, penetrate as the knot dissolves, figure 245. Method: 1 Loop your silk thru the spectator’s figure 238. 2 Now have spectator drop the ends of his silk while you tie No.11, SCHOOL BOY KNOT, Figures 41-51. Silks appear as in figures 244. 3 Next toss end ‘Y’ over end ‘A’ (Figure 244) and have spectator take ends ‘X’ and ‘Y’ again as you pull on ‘A-B’ to draw bow up into a knot, Figure 239 4 Spectator and performer pulls on silks sharply in opposite direction. The knot dissolves and the silks penetrate, Figure 245.

Deluxe Spirit Knot

62

This is Effect No. 14, THE SPIRIT KNOT. Instead of knotting two corners of one silk, Figures 63, knot the corner of one silk to a corner of the second slip the knot as you cover it with one of the silks and hand it to a spectator to nod. At the finish one silk drops to the float when spectator releases his hold on the twisted ends, figure 246.

Loop the Loop

63

Effect: A silk looped thru a second silk and tied around the performer’s leg, penetrates both, Figure 249. Method: 4 Tie one silk in a loop, then have a spectator hold it in front of your leg, Figure 247. 5 With the second silk, tie No. 16, SOLID THRU SOLID. Figures 72-80 lacing the first silk to leg, Figure 248. 1

2 3

Now knot the ends of the second silk, Figure 248 Pull Your (the second) silk sharply to the right as the spectator pulls his to your left. The looped silks penetrate your leg and each other figure 249.

Gliding Lover’s Knots

64

Effect: Two knots tied in two silks, Figure 259, glide to the centre to become one, Figure 260. Method: 1. Take the silks between your hands as in figure 250.

2. With the silks as one, tie two single knots, one in each end with each end with each hand, figure 251-258. 3. Pull on ends ‘A’ and ‘D’ and knots ‘C’ and ‘B’ move to the center of the silks, Figure 259. 4. Finally, the knots join each other as one, Figure 260.

One Hand Knot With Two Silks FIRST

65 VERSION

Effect: Two Silks held in hand are suddenly knotted together, Figure 263. Method: 1 Take the first rolled silk in your right hand as in Figure 261. 2 Add the second rolled silk, Figures 36 and 261. 3 Tie the KNOT CAUGHT IN AIR, Figures 36 – 40. 4 The center of the first silk is in the knot of tie second. Figure 263.

One Hand Knot With Two Silks

66 SECOND

METHOD

Effect: Two silks as one are suddenly knotted together, Fig. 265 Method: 1 Hold 2 rolled silks as one, Figure 264. 2 Tie KNOT CAUGHT

3

IN AIR. Figure 36-40 The two silks are knotted together, Figure 265 (Variation: Use knot No. 40 instead of No. 9, Figures 171-174)

Varnishing Spectators

67 Effect: Performer ties a number of knots in a silk, each to represent a spectator selected from the audience. Yet, upon command, all the knots dissolve in full view. Required: Two Silks, both alike. Preparation: Tie a small silk knot in the center of one silk, Figure 266 Tie a second then a third. Continue until the silk contains seven slip knots tied on top of each other, Figure 267. Place the knotted silk in your right coat

Presentation: 1. Display the (second) rolled silk, Figure 268. 2. After selecting a spectator, tie a genuine single knot in the center of the silk Figure 269. This represents the chosen spectator. 3. Tuck the silk in your right coat pocket (on top of the prepared silk) while you select a second spectator. 4. Spectator selected, take the silk from your pocket and tie or allow a spectator to tie a second single knot on top of the first. 5. Pocket the silk again. 6. Repeat the selected spectator-knot business until seven knots have been tied. 7. Select an eighth spectator. 8. This time brings the prepared slip knot silk into view and leave the genuine knotted silk behind. 9. Tie a genuine single knot on top of the seven slip knots, but keep the tip of your fourth left finger under the knot so it can be readily untied, figure 270. 10. Secretly free last knot as you take end ‘A’ in your right hand and retain ‘B’ in your left. (To free knot, merely raise the finger that is under it.) 11. Pull sharply on ‘A’ and ‘B’ and knots will dissolve, figure 268.

P A R T

T H R E E

Additional effects The balance of this chapter will be devoted to other knot effects, many of which can be added to my original routine.

68

Unknotable Hank*

69 WILL BLYTH

Effect: Performer fails to tie a knot. Method: 1 Form a large loose knot in the rolled silk, Fig.271. 2 Place left thumb under silk at point “B”, Figure 272 3 Release ‘A’ as you take ‘B’ between left thumb and first finger. 4 At the same time extend your arms in the opposite directions. The expected knot is not there, Figure 268. 5

A knot at last**

70 HAROLD

R.

RICE

Effect: After several failures performer finally ties a knot! Method: 1 Attempt to tie a knot several times but fail (No.27, * COURTESY – HANDKERCHIEF MAGIC ** COURTESY – SILK KING STUDIOS

* COURTESY – HOLDEN’S MAGIS SHOP

Figure 275, palmed in your right hand, display the rolled silk, Figure 26. 2. Now tie knot No.11, 24 or 45. 3. Display the knot (fake) in the center of the silk, Figure 56. 4. Stroke the silk (releasing the knot), Figure 129. 5. Continue down the silk and display the removable knot that apparently left the silk, Figure 276. Note: For another version see Effect No. 82.

Knot In Reverse*

72 HAROLD

R.

RICE

The fake knot principle can be used in reverse. Effect: A knot appears tied in the center of the silk. Method: 1. At a convenient point in the routine secretly slip the removable knot, Fig. 275, over one end of the rolled silk where it is palmed until needed, Fig. 277. 2. Now do a “knot failure” effect such as No.7,8,24 or 26 3. Holding the silk as in figure 277, shake it sharply. 4. The fake knot slides down into view, figure 278. *

COURTESY – SILK KING STUDIOS

Silks Three The Legs STANLEY

73 COLLINS

This deluxe version of No.16, SOLID THRU SOLID, never has been adequately illustrated to be readily understood. May my attempt be the exception! Effect: One silk is tied around the left leg, another around the right, figure 284. As one silk penetrates a leg, the second jumps from one leg to the other, Figure 285. Required: A yellow and a green silk, preferably 36” square. Method: 1 Sit on a chair. 2 Wrap the rolled green silk around left leg, fig, 279. 3 Place the rolled yellow silk under end ‘A’ and across the left leg, Figure 280. 4 Pass ‘C’ and ‘D’ under the left leg and tie the fake knot, Figures 74-80. 5 Before tying a knot with ‘C-D’, Figure 282. pass ‘B’ under ‘C’, Figure 281. 6 Bring the legs together, then drape end ‘B’ over the right leg, Figure 282. 7 Pass end ‘A’ under the left leg, then tie another fake knot, figures 74-80. 8 The silks now appear as in Figure 283. 9 Tie a knot with ‘A – B’ Figure 284. 10 Now take knot ‘C-D’ in left hand and pull upwards sharply. 11 The yellow silk penetrates the left leg and the green silk jumps from the right leg to the left Figure 285

Chair Release*

74 HARLAN

TARBELL

Effect: A silk tied around the top rung of a chair penetrates it, Figure 291. Method: 1 Place the center of a rolled silk under the top rung of a chair, figure 286. 2 Now tie a bow knot in the silk, Figures 287-89. 3 Bring end ‘B’ under the rung and to the left to join end ‘A’, Figure 290. 4 Pull sharply on ‘A-B’ and silk penetrates chair, Figure 291.

Hank Thru Wrist*

AL BAKER

75

Effect: A silk penetrates a spectator’s wrist, Figure 297. Method: (This is merely an adaptation ofNo.6- THE AERIAL KNOT.) 1. Bring the silk around the spectator’s wrist to tie the knot, Fig 17,18.19&292. 2. Reach thru loop ‘L’, Figure 292, take end ‘A’ in your right hand, and bring it thru the loop. At the same time form the small loop in the silk at the side of the spectator’s wrist with the left fingers, Fig. 21,22,293 and 294. 3. Pass end ‘A’ to the left, under then, up and around the wrist, Figure 295. 4. Tie ends. “A-B’ into a knot, Fig. 296. 5. Pull up sharply on the knot and the silk penetrates the spectator’s wrist, figure 297.

Double Dissolving Silk Release* EDWIN

76 TABOR

This deluxe version of Al Baker’s HANK THRU WRIST appeared in Volume III of the Tarbell Course. Effect: A silk wrapped and tied around a cane twice penetrates it. Requires: A 36” Silk. Method: 1. Tie No. 6 – THE AERIAL KNOT (Fig. 17-22) around a came held by two spectators, figures 298-303. 2. Now instead of knotting ends ‘A’ around the came once more, left to right, Figure 304. 3. Next tie another Aerial Knot, Figure 298-303 4. Then knot the ends, Figure 296. 5. Pull up sharply on the knot and silk penetrates the came, figure 297.

*COURTESY – LOUIS TENNEN

Knot Transposition*

77 S.

LEO HOROWITZ Effect: A knot passes from performer’s silk to one held by a spectator. Performer repeats the effect to show “how it is done.” Required: Two 24” silks, Figures 1 and 2, and a 36” foulard. Method: 1 Have a spectator hold foulard in figure 305 position. 2 Bring a rolled silk up to the foulard, Figure 305. 3 Request spectator to drop foulard over your silk. 4 As he does secretly tie the FASTES KNOT, figures 14-16, and 306-07 5 Have spectator hold ends ‘A’ and ‘B’ of silk, Figures 307. 6 Now takes second rolled silk and tie the AERIAL KNOT, fig 17-24. 7 Vanish the knot, remove the foulard, and disclose the knot in the spectator’s silk, Fig 16. As spectator unties knot in his silk, 8 take your silk in figure 36 position and secretly tie the KNOT CAUGHT IN AIR (figure 36-40) as you toss silk over your shoulder.

9 10

Take spectator’s silk, tie AERIAL KNOT. ( Figure 17-24) then vanish the knot. Remove the second silk from your shoulder and display the knot!

Boy To Rabbit*

78 FETAQUE

SANDERS

Effects: Magician “changes” a boy into a rabbit! Required: Two 36” silks. Preparation: Loop the silks into a hat along with others to be produces.

*COURTESY - GENII

Presentation: 1 Produce the first silk from the hat held by a boy, Figure 308. 2 Drape the silk over the boy’s head, Figure 309, then produce the second silk. 3 Holding the silk by its diagonal corners, place it under the boy’s chin figure 310. 4 Knot the silk above the boys head, Then hold two ends of the silk up to form the rabbit’s ears, Fig. 311.

Novell Vanishing Knot* ANTHONY

79 LOPILATO

Effects: A knot tied in a silk dissolves upon command. Method: 1 Hold a rolled 24” silk as in figure 312. 2 Pass the right thumb and first finger under the center of the silk, Figure 313, take the silk at “X”, and form a loop in the center of the silk, Figure 314. 3 Drop the loop over ends “A-B”, Figure 315. 4 Take “A-B” in your right hand, Figure 316. 5 Take “A” in one hand “B” in the other, and hold the silk horizontally, Figure 317 and display the knot. (If preferred, the silk may be held vertically.) *COURTESY - GENII

6

Pull slowly on the ends and the knot will dissolve, Figure231.

Note: (If loop “L” Figure 316, is pushed downward with the left hand during Step 4, a tighter fake knot will be formed.)

Another Snap Knot*

80 MITCHELL DYSZEL

Effect: A knot suddenly appears at the extreme diagonal corner of a silk! Method: 1 Take the rolled silk in Figure 318 position. Note that about 1/3 of the silk extends beyond the right hand. 2 Turn the right hand over clockwise, bringing palm toward you as you form a loop around your first three fingers, figure 319. 3 Holding silk tout, toss end ‘B’ over center of silk figure 320. Now take end ‘A’ between the right first and second 4 *COURTESY – THE JINX

fingers, Figure 321. 5 Give the silk an outward snapping toss, releasing everything but end ‘A’ 6 The result is a knot in end ‘B’, Figure 13. NOTE: (If after doing Effect No. 4, THE SNAP KNOT, you are asked to repeat it, you can do so by using this method)

New Vanishing Knot*

81 JOHN

THORNTON

Effect: A knot tied in a silk vanishes! Method: 1 Take the rolled silk as in Figure 322. 2 Transfer corner “A” to the right hand, Figure 323. Raise the right third finger, Figure 324, At the same time 3 encircle the finger once with the silk, using the left hand to assist. *COURTESY ABRACADABRA

4

5 6

7

Drop the silk encircled third finger back into its original position, Figure 325. Reach thru the loop with the left hand and take corner “B”, figure 325. Pull “B” thru the loop, Figure 326

Continue to pull on end “B” until it forms a knot around third and fourth fingers of the right hand, Figure 327. 8 As the knot tightens, withdraw the little finger. 9 Almost simultaneously, withdraw the third finger carrying the loop (formed in step3) with it 10 Properly executed, you have tied a slip knot around a bight in the silk.

11 Pull ends ‘A’ and ‘B’ in opposite directions and the knot vanished, Figure 231.

The “Phantom” Knot*

82

Effect: A knot tied in the center of a silk vanishes, then reappears. A double knot is tied and this disappears too! Required: A “removable” knot, figure 275, and a 24” diagonal pattern silk are needed. Method: (This effect is a deluxe version of Effect No.71.) 1 Present No. 71, REMOVABLE KNOT, but at the conclusion instead of showing the removable knot keep it. 2 Tell spectators the knot is now in your right hand and that you will place it back on the silk. 3 Thread corner “A” of the rolled silk up thru the removable knot, Figure 322. 4 Now draw the right hand down to the center of the silk, figure 129. 5 Remove your right hand and display the knot, Fig. 323. 6 Next, tie another Aerial Knot on top of the removable knot, forming what appears to be a double knot. 7 Encircle the double knot with your right hand. 8 Pass the hand down over end “B” then display the removable knot, Figure 276. 9 Place the silk over your left arm at the elbow. 10 Holding the removable knot between right thumb and first finger, pretend to take knot in left hand. Instead, execute the FRENCH DROP, Page 292, Volume I keeping the knot in your right hand. 11 Take the silk from your left arm, flip it over the *COURTESY KANTERS MAGIC SHOP & THAYER’S STUDIO OF MAGIC

close left fist, open your hand, and show that the knot has vanished, Figure324. 12 Pocket the silk and the fake knot. Note: Some may prefer to have their hands free until after the fake knot is tied in then center of the silk. To accomplish this, place the removable knot in your right pocket. After you tie the fake knot, hold the silk at tip “A” in the left hand as the right steals the removable knot from your right pocket, now proceed as explained above

Deluxe impossible knot*

85 L.

L.

IRELAND

When doing No. 28, THE IMPOSSIBLE KNOT, a novel twist is to have a knot tied in the silk in advance and unknown to the audience. Palm this portion of the silk in your left hand Figure 325. Now tie knot No.28, Figures 141-148. When it forms, pull the part from the left hand as well and you have two knots, Figure 329

Quick Knot Silks**

84 TONY

LOPILATO

Effect: Two looped silks suddenly become tied together, Fig. 333. *COURTESY IRELAND MAGIC CO ** COURTESY LOUIS TANNEN

Method: This effect is a deluxe version of No.5 THE FASTEST KNOT. 1 Tie two 24” silks into loops as in Figure 330. 2 Take a silk in each hand and display them, Figure 331. 3 Show how one silk will pass thru the other by passing one thru the other. 4 Now bring the two silks together and take the silks as shown in Figure 332. 5 Separate the hands quickly and the silk loops are knotted together, figure 333.

The Switchover Knot*

85 SID

MILLER

Effects: An orange silk tied to a blue suddenly becomes knotted to a green one. Method: 1 Tie the blue and orange silks together with a square knot, then upset it, Chapter 18, Figures 2-7, and 56. 2 Silks now appear as shown in Figure 334. 3 Take the silks in your left hand as figure 335 illustrates. 4 Shown the separate green silk, then place one of its corners on the blue one. Figures 336-337 to the audience you have added a single green silk to the knotted orange and blue. 5 While pattering, secretly roll the blue corner around the green tip. Figure 338. 6 Now take the silks in figure 339 position holding knot between right thumb and first finger.

7

Pull the blue silk sharply to the left with the left hand and the green silk becomes knotted to the orange, Figure 34.

Note: The orange silk can be knotted to the blue again by merely repeating the steps above.

Single Knot Release *

86 JIMMY HERPICK

This and the next two knot penetration appeared in volume 6 of the Tarbell Course in Magic. Effect: A 24” knotted silk penetrates a 5’ length of rope. Method: 1 Have 2 spectators hold the rope loosely between them. *CORTESY LOUIS TANNEN

1 Place the rolled silk over the center of the rope, the longer end “A” nearest you, Figure 341. 2 Facing the silk bring end “A” up, behind, and to the left of “B”, Figure 342. 3 Pass your right hand thru the loop, from right to left, rising the center of the silk several inches above the rope, Figure 343 4 Now take point “X” of end “A” between the right thumb and first finger, figure 343 5 Next place the freed left first finger behind “B” figure 344 6 Pull “B” above the rope and “A” thru the loop, forming a loose knot, figure 345. as the knot forms it secretly encircles a small loop of the loosely held rope, fig.346. (Note: If necessary, use the left forefinger to form the loop in the rope as the knot tightens around it, Figure 345.) 7The knotted silk around the loop in the rope now appears as shown in figure 347. 8Have spectators pull rope taut as you lift up on end “A” the silk

The Handkerchief Knot* R OGER

87 MIDDLESWART

Effect: A 24” knotted silk penetrates a rope. Method: 1 Have two spectators hold the rope firmly between them. 2 Place the center of the rolled silk over the rope, Figure 349 3 Bring end “C” up to the left, and under the left thumb, figure 350. The first two fingers of the left hand form loop “B” in the silk 4 Now encircle bight “A” (formed in the silk with the left first finger) with end “C”, Figure 351. 5 Now bring “C” up thru loop “B” to form a single *COURTESY LOUIS TANNEN

knot, Figure 352. 6 Finally, pull down on “C” until the knot tightens around bight “A”, Figure 353, then withdraw the left first finger. 7 The knot around bight “A” is as shown in Figures 354 and 355. 8 Now pass end “C” to the front of the rope with the right hand, then above it, as you pull down on “D” with your left, figure 356.

Triple Hank Release*

88

HARLAN

TARBELL

Effect: Three silk knotted together penetrate each other! Required: Three solid color 24“silk (red, yellow, and green). Method:

1

*COURTESY LOUIS TANNEN

Around the rolled red and yellow silks held at diagonal corners by two spectators, tie my DISSOLVE knot with the green silk, Figures 134140, Chapter II. Volume 2

3

Have one spectator tie a loose double knot around the green silk with the ends of the red. 4 Have the second spectator repeat with the yellow silk 5Now performer and two spectators hold ends of their respective silks, figure 359. 6Pull on your silk to free time command spectators to pull sharply on time command spectators to pull sharply on the ends of their silks. 7 The three silks penetrate each other, each remaining knotted, figure 360

Knot Effect Variation * TAN

89 HOCK

CHUAN

Effect: A 24” silk knotted to a rope penetrates it, Figure 348. Method: 1 Have two spectators hold a 5” length of rope loosely between them. 2 Drape end “A” of the rolled silk over the rope, figure 361. Note the left first and second fingers clip the silk at point “X”. 3 Bring “B” to the left, over end “A” then thru the loop just formed, figure 362.Note that the left first and second fingers still clip silk at point “X”. *COURTESY GENII

4With “X” in the left hand and “B” in your right, pull on the ends in opposite directions to form a loose knot in the silk. As the knot forms it automatically encircles a bight in the rope, figure346. 5Have spectators pull sharply on the rope and the knotted silk comes free figure 348.

Ideal Solid Thru Solid* GLENN

90 GRAVATT Effect: A knotted silk penetrates a solid bracelet. Method: 1 Thread the bracelet on the center of a rolled 36” silk, Fig.363 2 Now tie a large loose single knot in the silk figure 364. 3 Next appear to tie a

*COURTESY GENII

second knot. Actually your pass end “A” thru the bracelet then thru the loop as shown in Figure 365. 4Tighten the knot somewhat, then tie a 2nd single knot with ends “A” and “B”, Figure 366. 5Have a spectator hold the ends of the silk. Now reach up into the folds of the knots and remove the bracelet, figure 367.

Ring on*

91 LARRY

BECKER

Effects: A finger ring knotted in the center of an 18” silk vanishes and reappears on the performer’s finger Fig. 381. Method: 1 Have a spectator thread your finger ring on the center of the rolled silk then tie a single knot around the ring, figure 368. 2 Call attention to the fact that the trapped ring can only be released by untying the knot. 3 Take the silk, untie the knot, then display the ring, figure 369 4 Now tie a loose knot around the ring, figure 370-372 *COURTESY GENII

1

2

3

Transfer the silk to your right hand, then with the left draw downward on the knot as if to tighten it, figure 373. The knot moves down, leaving the ring above the knot. Move the left hand and hidden ring upward as the right hand pulls down to make the knot tight, Fig. 374 Continue until end “A” is pulled thru the secretly

palmed ring, Figure375. 4 Show the right hand empty, then the left, by passing the silk from one hand to the other fig.376-77. 5 As the silk is taken into the right hand. Take the ting between your right thumb and first finger, figure 377 6 Now place the silk in your left hand. As you do so, secretly slip the ring over the 3rd finger of the left hand, Figures 378-79 7 Pull silk from left hand, figure 380, then show ring back on left finger again figure 381.

Rope and Silk Penetration* HENRY

92 HOLAVA

Effect: A 24” silk tied around the center of a 5’ length of rope, figure 389, penetrates it figure 392. Method: 1. Drape the center of the rope over the left hand,

Figure 382 2. Bring “B” up behind the left hand and across “A” fig 383. then to the front of the hand again, Figure 384 3. Now pass “B” under “A” right to left, Figure 385. 4. Next, bring “A” over the palm, Figure 386 5. Loop “B” over the palm, Figure 3873 6. Finally pass the silk under the ropes, Figures 388. 7. Have a spectator tie a right single knot in the silk with end “X” and “Y”, Figure 389 8. Close your fist around the knot and pull on the ends of the rope so no loops are visible, figure 390.

1 2

Now turn your fist over, Figure 391 Have a spectator pull on the ends of the rope. The rope penetrates your hand, leaving the knotted silk in your hand, figure 392

Silk and Ring*

93 JOHN

THORNTON

Effects: A knotted silk penetrates a ring as the knot dissolves. Method: 1 Thread a 6”diameter embroidery hoop to the center of a rolled 24” silk, Figure 393 2 Place end “A” between the right thumb and first finger, figure 394. 3 Raise the right fourth finger, then pass it around the silk, figures 395, forming a bight around the finger, figure 396. 4 Now pull end “B” through the ring as shown in figure 397 5 Draw the middle finger clear of the silk as the false knot tightens, Figure 398. *COURTESY ABRACADABRA

6

7 8

The result is a slip knot tied around the ring. Have a spectator pull ends “A” and “B” as you hold the ring. The knot dissolves as the ring is released from the silk, Figure 400.

Hank In *

94

Effect: A linking ring passed up the left arm, Figure 403, becomes locked in a silk, Figure 404. Method: 1 With a linking ring over your right arm, display a 24” silk held at diagonal corners, Figure 401. 2 Place corner “B” in the left hand with corner “A” figure 405, as you display the ring Figure 402. 3 Now place the ring below the silk, then pass it up over it and left arm, figure 403 4 Prepare to bring the ring back down over the left arm and silk again, when you reach figure 405 position place your left

second fingers, figure 406. ring will pass between ends, “A” and “B” figure 407. 6 Finally assume new finger position at end “A” figure 408. 7 All of this action takes place as your right hand brings ring from figure 403 to figure 404 position.

Quick – Pent *

95 LARRY

BECKER

Effect: A 24” red silk knotted around a 24” green silk penetrates it, Figure 413. Method: 1 Tie a loose single knot in the center of the red silk, figure 409, then have a spectator hold ends “A” and “B”. 2 Thread a green silk thru the loose knot to a point just to the right of corners “X” and “Y” figure 410.

*COURTESY - GENII

3. Have spectator tighten red knot slightly. Note corners “X” and “Y” fall below the knot, figure 411. 4. Now tie a loose knot in the green silk with ends “C” and “D” figure 411 5. Tell spectator to hold ends “A” and “B” tightly 6. As you do secretly take “X” and “Y” as

1. Release “C” and “D” as you pull “X” and “Y” sharply in opposite directions. 2. Spectator holds knotted red silk as your green one penetrates it with dissolved, figure 413.

Silks and Eggs Introduction

1

Both real and faked eggs are used in silk magic. Professor Hoffmann attributes the use of a hollow egg (mode of zinc metal and painted while) with on oval opening on one side to colonel stodare. * Such eggs, regardless of material, have been known as stodare eggs ever since.

Kling Klang No. 1*

2 C O L O N EL

Effect: An egg placed in a covered goblet and a silk held by, the performer change places ! Required: A goblet: 2-18” red silks: a 24: green silk with blown egg shell attached to its center, figure I; a stodare egg, Figure 2 Preparation: Attach the blown egg to the center of the large silk with 6” of thread fig, 1. Trap fold one of the red silks, page 34, volume I place the folded silk under the blown egg.

*PAGE 260 MODERN MAGIC

STODARE

Tuck one corner of the remaining red silk in the hole of the hollow egg, figure 3 place everything on the table beside the goblet, Fig. 4 Presentation: 1 Take blown egg and silk in right hand and goblet in left, Fig 5 2 Toss egg and hidden folded silk into goblet as large green silk covers the glass figure 6 3 Shake goblet so egg will strike against it, the sound proving egg is still there, place goblet on table. 4 Pick up silk (and fake egg) in left hand, figure 7 and display silk. 5 Bring hands together, then wave them up and down slowly as you work the silk into the egg. 6 The silk grows smaller and smaller, then disappears. 7 Display the egg. Thumb over hole. Figure 8 8 Place egg on table then lift silk from goblet figure 9, blown egg secretly falling in folds of silk. 9 Vanished silk has replaced the i h bl !

Kling Lang No. 2 GEORGE

3 DE

LAWRENCE

Although worked differently, this effect is the same as stodare’s original version Required: A solid wooden egg: an 18” red silk; a bottomless glass, page 328volume 1 and a paper cylinder to cover the glass. Presentation: 1 Display the glass, then drop the fake egg therein, Figure 10. 2 Cover the glass, with the paper cylinder, figure II 3 Now take the glass in the right hand and set it on the table. As you do, secretly allow the egg to fall into the left hand, figure 12 4 Display the silk, then tuck it into the closed left fist and behind the wooden egg where it is easily palmed. 5 Force the egg up into view as the left fingers remain cupped around the palmed silk figure 13 6 Take the egg in the right hand and place it on the table. 7 Pick up the covered goblet with the right

hand, then set it on the left hand, palmed silk going into the bottom of glass 1 Lift cover and show silk in glass, figure 14

Kling klang No.3

4 AL

BAKER

Al Baker called his version of stodare’s kling klana “Baker’s Egg and Glass Trick Required: A goblet, a bottomless glass and disc, a wooden egg, an 18” red silk and a pocket handkerchief. Preparation: Place the apparatus on table as shown in Figure 15. Presentation: 1 Pick up egg with left hand them transfer it to the right. 2 Take glass at its bottom with your left hand. Then turn hand so glass sits upright on the flat outstretched palm with disc under glass. 3 Drop egg into glass, figure 10 egg rests on ledge at bottom of glass. 4 Take glass with right hand, leaving disc in left show egg in glass.

10 11 12 13

14 15

16 17

5

6 7

8 9

Pick up and display silk with left hand. Replace silk on table, leaving disc behind. Return glass to your outstretched left hand. Now cover the glass with your pocket handkerchief, fig 16. Place palm of right hand on top of covered glass, figure 17, then shake glass. Spectators hear sound of egg inside glass. Egg falls thru bottom of glass into left palm. Palm egg as right hand carries dropped glass away, figure 18 and places it back on goblet. Pick up silk with right hand then transfer it to left. Crumble silk slightly unit it conceals egg, then show left palm, figure 19

Bring hands together and work silk into compact ball behind egg. Show egg, figure 13. Place egg on table retaining palmed silk. Take covered glass with right hand. Place left hand under hank, forcing palmed silk up thru

18

19 20

bottom of glass, figure 17. Shake glass several times to prove egg has left glass. Remove hank, show silk in glass, figure 20 Remove silk, toss it into air, catch it, then return it to glass.

Cling Clang 20TH Century*

H E N

F ETSCH

5

Effect: An egg, then two silks knotted together, are placed in a glass. A third silk, tucked into performer’s fist, changes into an egg. Egg in glass disappears, and the vanished silk reappears, tied between the original two silks. Required: A stodare egg, figure 2; a set of 18” 20th century rainbow silks, Page 941, Volume 2; a bottomless glass with disc, figure 21. Preparation: Prepare the bag and a rainbow silk, figures 14-16 page 941. Place everything on the table, figure 21. Presentation: 1. Take the loaded bag silk in one hand, the unprepared solid in

1 2 3 4 5 6 7 8

your other, then join the two with a knot, figure 17, page 941. Volume 2 Tuck the knot in your breast coat pocket, Figure 22. Take egg in right hand as you turn glass upright on table with your left. Pick up glass (leaving disc on table) and drop egg into it. Take knotted silks from pocket and tuck them into glass. Egg secretly falls into left palm, figure 23. Take glass containing silks with right hand and set it on the table. Take duplicate rainbow in right hand and tuck it into left fist (and hollow egg,) Figure 24. Open left fist and display egg, thumb over hole, fig 25. Pull silks from glass, and show vanished silk knotted between the two solids, figure 26

Egg, Glass, and Hank *

6 E L

B A R T O

Effect: A glass containing an egg is placed in a borrowed hat. A silk vanishes and changes places with the egg. The egg is laid aside, then the glass containing the silk removed from the hat. Now the magician performs a real miracle. He passes the egg then the glass invisibly back into the borrowed hat! Required: Two tables, one with two black art wells, Figure 31-2-18 red silks; 2 duplicate glasses; a real egg; a stodare egg, Figure 2; a prepared double hank. The double hank consists of two 24” cotton bandana hanks sewed together with a ring the size of the top of a glass inside, Figure 30. To prepare, place one of the hanks, Fig. 27, on top of the other. Sew the two hanks together on three sides, Fig. 28. Now stitch a “V” in the hanks, Figure 29, drop the ring thru the opening, Fig. 30, then sew the opening “A-B” shut. (Note the “V” allows the ring to fall to the exact center of double hank, Fig.30.)

* COURTESY LINKING RING

Preparation: The double hank rests on a chair. Place a silk in one of the glasses. Then drop the glass in the rear well, figure 31. The stodare egg goes in your right cool pocket. The other glass, silk, and egg are on the table, Figure 32. Presentation: 1 Borrow a hat, then show it empty, holding it by the brim at the rear with the left hand, figure 33 2 Pick up the red silk and tuck a corner in the right pocket and into the hole in the pocketed egg, Fig 33 3 Show genuine egg, drop it into the glass, then pick up glass with right hand, figure33 4 Rest hot an table momentarily and steal glass and silk from well with left first and second fingers. 5 Lift hat and load in glass, figure 34, as you turn hat over, brim uppermost. At the same time put glass and egg back on table with right hand. 6 Place loaded hat on second table. 7 Pick up glass and egg and carry them over to the upturned empty (?) hat. 8 Place the glass inside the hat next to the second glass containing the silk figure 35. 9 Return to the center of the stage. 10 Remove silk (and stadore egg) from pocket with right hand, palming egg. (figure 7, but with right hand.) 11 Display the silk and state you will try to make it change places with the egg in the hat. 12 Tuck silk into egg, then display egg. (figure 25 and 26 but right hand.) 13 Place egg, hole down, in front of well in table, Fig. 31 14 Hands empty walk over to hot and remove and show glass containing silk. 15 Remove silk, display it, then lay it aside Set glass on table just in front of rear well. Now 16 apparently pick up egg from table, actually rolling it into its well, make a tossing motion toward hat,

then open empty hands. 17 Pick up double hank and cover glass, holding it with your left hand, reach under hank with your right hand and gently drop glass into well, figure 36 18 Take one corner of hank with right hand, toss hank toward hat, and glass has vanished 19 Remove glass and egg from hat, figure 35. Break egg into glass 20 Return hat to spectator.

Kling Klang Konfetti *

7

H A R O L D F. P U F F Effect: A silk changes into an egg. The secret disclosed, performer drops hollow egg containing silk into paper tube resting an glass box. Silk visibly penetrates box. Now empty egg is crushed and air becomes filled with confetti, figure 42 Required: Stodare egg; real egg drained then filled with confetti and hole closed; crystal casket, page 233, Volume 1 and a stand; fan; and paper tube prepared as shown in figure 37. Preparation: Roll a sheet of heavy paper into a tube, glue the edge, then divide the tube at its middle with a rubber band or a strong thread, figure 37. place the confetti filled egg in the bottom of the tube figure 38. Load one of the silks in the secret compartment of the crystal casket volume 1 page 233 Figure 82. Place the second silk inside the casket. Set the casket on its stand. Figure 39. Finally, drop stodare egg into your right coat pocket. Presentation: 1 Show casket, remove silk, put it in your coat pocket, Figure 33, then place the box back on its base. 2 Pick up tube (with egg hidden inside) and place it on top of the casket, Figure 40. 3 Remove silk (and egg) from coat pocket; display silk; figure 7, then push silk into fist (and egg) fig. 24 4 Display egg, figure 25 5 Agree to explain how the effect was done 6 Remove silk from egg, then repeat steps 3 & 4 above 7 Pick up casket and tube and drop stodare egg into top of tube. *COURTESY M.U.M

8

9 10 11

As egg falls into tube, release catch on casket so silk will appear, apparently penetrating box. Stodare egg rests on rubber band, Figure 41. Lift tube and reveal egg (filled with confetti). Take egg in right hand, set box aside, then take fan in left Crush egg shell and fan confetti as it flutters gracefully to the floor, figure 42.

Modernized Egg, Glass, and Hank * HARLAN

8 TARBELL

Effect: A silk hank changes place with an egg previously placed in a tumble and covered with a linen hank. Required: A straight walled, glass tumble, a real egg, an 18” red silk hank, and a large linen hank. Preparation: Place glass, egg, and linen hank on a table, and the red silk in your pocket. Presentation: 1 Take egg in your right hand and display it. 2 Pick up glass with your left hand, then place the egg in the glass. Set egg and glass back on table. 3 Pick up linen hank with your right hank with your left. 4 Pick up glass and egg with your right hand. 5 Bring hank in front of glass momentarily, Figure 43 6 Prepare to drape hank over glass. As you do, secretly

* COURTESY LOUIS TANNEN

1 2

3 4 5 6 7

Now cover inverted glass with hank, figure 45. Take top of inverted glass thru hank with left hand. At some time palm off the egg in your right hand and withdraw it, figure 46. Place covered inverted glass on table, figure 47. Egg still palmed, pick up and display red silk, fig. 48 Drop corner held in right hand, silk hanging by corner from left, figure 49 Take corner ‘X” (Figure 49) of silk in right hand and release corner held in left hand. Now place left hand around silk just below right, Figure 50,

8 9 10 11 12 13 14

15 16 17 18 19 20

21 22

Remove right hand and point to silk with index finger, Figure 51. Bring right hand to left and push egg into left palm, Figure 52. Take ‘X’ in right hand, Figure 53, then pull silk up and clear of left hand, leaving egg behind, Fig. 54. Without calling attention to them, both hands have been shown empty during action covered by steps 10-16. Bring hands together, then with left fingertips and thumb, roll silk into right palm, Figure 55. Push tightly balled silk into right palm, figure 56. Now bring egg to left fingertips and display it, figure 57. Point to egg with first finger of right hand, silk palmed, Figure 58. Show egg freely then place it on table. Pick up covered glass with your left hand. Place right hand under thank and push red silk into inverted glass, figure 59. Allow glass to rest on your right hand as you take corner of hank closest to you in your left, figure 60 Lift hank but still screen glass from view, fig 61. Pivot glass to left while held between right thumb and first finger. Glass hank on table, take glass in left hand, then remove and display red silk. Drop hank on table take glass in left hand then remove and display red silk. Note: Tarbell suggest using a blue silk instead of an egg as an interesting variation. In this modified version a red silk changes place with a blue one. Use the 28 steps above to accomplish this effect.

1

Silk to Egg *

9 HAROLD

R. R I C E

Effect: A after changing a silk into an egg, the performer explains that the egg is hollow and the silk inside. Then he repeats the effect to show exactly how it was done. This time the egg is a real one and the silk has vanished! Required: A stodare egg; a genuine egg; an 18” silk; a glass Preparation: Tuck a corner of the silk in the hole in the Stodare egg, then place them on the table, Figure 3. Place the real egg in your left coat pocket. Presentation: 1 Pick up silk, palming egg in your right hand. 2 Display silk, Figure 48. 3 Now perform steps II – 16 (Figure 48-54) of tarbell’s version, effect no 8. 4 At this point egg is in left hand, silk in right, Fig 54 5 Tuck center ‘X’ of silk into hollow egg, Figure 7. 6 Using first finger of right hand, push the silk into the egg, Figure 24. 7 After silk in inside, reach into your pocket for some “woofle dust”, sprinkle it on the closed left fist, then roll egg into view and display it, Figure 25. 8 Offer to disclose the secret, then turn egg over and expose hole. 9 Remove silk from egg and place it on table. 10 Place hollow egg in left pocket (with real egg). 11 Explain that when you picked up silk with your right hand you secretly (?) obtained hollow egg *COURTESY SILK KING STUDIOS

2

12.

13. 14.

15.

16.

17.

18. 19. 20.

from pocket with your left. Pick up silk with your right hand as you remove the stodare and real eggs from your left, figure 63 (Note that hollow egg is in view, real egg secretly palmed.) Tuck center of silk into hollow egg, Figure 7, then push the silk into the egg, figure 24. Now hold cupped right hand, palm up, about six inches below the left, Figure 64.

Approach the left hand with the right to toss the fake egg into it. As you do, turn left hand palm down, releasing the real egg, figure 65 As the real egg falls into the right palm, the left thumb rolls the fake egg into the left palm and out of view, Figure 66. Close right fist around real egg as you reach into left pocket for more “woofle dust” (See Step No. 7) Leave the hollow egg and silk therein. Sprinkle imaginary dust on closed right fist. Open fist, show egg, then discover it has no hole. Break egg on rim of glass, then drop contents and shell therein!

Silk – N – Egg *

10 HAROLD

R. R I C E

This long favorite of mine has fooled some professionals! Effect: Instead of a silk changing into an egg, in my version a silk and a fake egg change places. Performer repeats the effect, but this time the egg proves to be genuine! Required: A stodare egg; two 18” silks; clear glass tumble; a real egg. Preparation: Place the real egg in your right trouser pocket, then place a silk on top of the egg. Now place a corner of the second silk in the hollow egg, Fig. 3, and put both an table. Presentation: 1 Without removing corner from egg, pick up silk (egg palmed) and display it, fig 67 2 Pull silk thru left hand twice, right hand containing fake egg passing over left palm each time, Figure 68. 3 The third time drop the egg into the left hand, close left fingers around the egg, take *COURTESY SILK KING STUDIOS

4

silk at “A” with right thumb and first finger, Figure 69, and pull the silk across the top of the fake egg. 4 Silk now hides egg, figure 70. 5 Show right hand empty. 6 Pick up the silk from over the egg, then tuck a corner in the hole, figure 24. Continue until about 1/3 of the silk is in the egg, figure 7. 7 Now bring right hand up between egg and left palm, figure 71, then transfer silk and egg to the right hand, Figure 72 8 Show the left hand emtpy. 9 Continue to tuck the silk into the egg until all of it is inside. 10 Now explain that silk is supposed to be in the right hand. 11 Hold left cupped hand, palm up, about six inches below the right. Then, visibly toss the egg into the left hand, Fig 73 12 Explain that silk traveled invisible into the right trouser pocket and an egg traveled invisibly from the pocket into with your hand. 13 Hiding hole, exhibit egg in your left hand as you extract silk from pocket with your right, figure 74. Now drape silk over your left arm. 14 Now you offer to explain (?) how the effect was accomplished. State you actually use two silks. Where is the other?

15 16 17

18 19

20 21 22

In the egg. It is a fake! Pull about half of the silk from the egg which swings in a circle, Figure 75. Withdraw all of the silk from the egg, then add the silk to the other still draped over your left arm. Holding fake egg in left hand, take one of the silks into your right. Unassisted, wad the silk into a ball with your right hand, then openly place the silk in your right trouser pocket again. As you withdraw your right hand from the pocket, secretly palm the real egg. Transfer the fake egg to your right hand where it remains in view just above the palmed real egg figure 76. Lower left arm and allow silk to slide down arm into your palm. Tuck silk into exposed hollow egg with your left fingers. Now repeat the “toss” of the egg from the right hand into the left as explained in Step II. However, allow the real egg to drop visibly into the left as the right rolls

23

23 Showing egg in left hand, say “here is the hollow egg”, (and going the right hand, leaving palmed fake egg there in as you remove duplicate silk) “but here is the silk!” figure 74. 24 Tuck part of the silk into coat pocket, then transfer egg to right hand. 25. Pick up glass, break egg on rim at point “X” Figure 78 them allow contents and shell and to fall into glass.

Eggs- traordinary Eggs-Planation *

11

HARLAN TARBELL Effect: A silk changes into a hollow egg. When performer repeats the effect the egg becomes real! Required: A stodare egg, an 18” silk, a door key, a real egg, and a glass tumbler. Preparation: Place the hollow egg and key in your right trouser pocket. The real egg goes into your left coat pocket. Presentation: 1 Display the silk, stating that it will vanish before the spectators’ eyes! 2 With a corner of silk between your palms and

23

1 2 3 4 5

6

7 8

9 10 11 12 13 14 15

16

the rest hanging over the back of the left hand, Figure 79, start moving your right hand clock wise in a circular motion, Figure 80. Continue this action, Figures 81-84, until all of the silk is formed into a small ball. Close your left hand around the silk, then turn back of hand of audience, Figure 85. At the same time close right hand and bring it away from the left as though it contained the silk, figure 86. Starting at the extended left hand, obviously place the right in your trouser pocket, figure 87 Explain that clever (?) misdirection led spectators to believe you placed silk in your pocket. Instead it is still in your left hand. Open left hand and display silk. At the same time bring palmed fake egg out of pocket in cupped right hand, Figure 88 Proceed to vanish (?) silk again, tucking it into the palmed hollow egg, Figure 89 Close left hand around egg, show right hand empty then go to right trouser pocket to get the “magic” key, Figure 87. Touch left hand with key several times, figure 90. Then turn hand over and show that silk changed itself into an egg, Figure 91. Now to explain (?) how this miracle was accomplished. “First, you need a magic key”. (Place key in your right trouser pocket.) “Next, you need an egg.” (Show egg as you casually place your left hand unnoticed into your pocket, Figure92.) “A hollow egg!” (Turn egg over and expose the hole, Figure 93.) “Here you hide the silk,” (Palm real egg in left hand, remove hand from pocket, and draw silk out of fake egg, Figure 94.) Display hollow egg and silk, Figure 95.

1

6

7

1 2 3

4 5

“Keep egg hidden as you work silk into a ball between your palms”. Bring hands together, figure 96, then tuck silk into

Palm hollow egg in right hand, figure 98. Move right hand away from left, Figure 99. Reach into right trouser pocket to obtain key. As you do, tuck hollow egg into upper corner of pocket with right thumb. Then remove key as you turn pocket inside out to show it empty, figure 100. Tap egg several times with key, Figure 90. Replace key and the pocket at the same time.

8 9

Turn hand over and show egg, figure 101. “The marvelous thing is that the egg is now real!” (Break egg and deposit shell and contents into glass, figure 102.)

Egg and Hank Routine * U. F.

12

GRANT

Grant’s method of this classic effect differs at the point where the real egg s obtained. Presentation: 1 Using a 12” silk instead of an 18”, present the first nine steps of effect No. 9, Silk To Egg. 2 3 4

5 6 7 8

As you explain that the hollow egg was originally hidden in your left pocket, openly place it there is again. Now remove the real egg. Spectators believe if to be the fake one. With your left side toward the audience, use both hands to form the silk into a small ball then “thumb palm” it in your left hand. Display the real egg which to the spectator is the fake with silk inside. Figure 103 Break the egg on the edge of the glass, then drop the contents and shell inside. Set the glass aside. Reach in your hip pocket with your right hand for a linen hank. Wipe your hands, then pocket hank and silk.

*COURTESY U. F. GRANT

No – gimmick Silk To Egg*

13 U. F.

GRANT

This clean cut version employs pure sleight – of – hand. Effect: A silk changes into an egg. Performer discloses that egg is hollow (?) with silk inside. He repeats the effect and egg becomes a real one! Required: A 12” red silk; a real egg with a red tissue paper disc glued to one side, Figure 104; a glass tumbler. Preparation: Put egg in right trouser pocket. Tuck silk in tumbler which rests on your table. Presentation: 1 Right shoulder nearest audience, take silk and roll it between hands into a small ball. 2 Retain silk in partially closed left hand as you place closed right into your right trouser pocket. 3 Spectators claim you pocketed silk. Open left hand to show silk still there. 4 Palm egg and withdraw right hand from pocket. 5 Change silk into egg, Figure 49-57 6 Now to explain “how it was done”. 7 State egg is hollow and contains silk. 8 Holding egg in left hand, show hole (actually tissue disc, Figure 104.) *COURTESY LIKING RING

9 10 11 12 13 14

Place egg in right hand and pretend to pull silk from within egg, Figure 105. Tuck silk into right fist and egg (?) again, actually thumb palming silk as before. Take egg into left hand and show it, tissue disc exposed. Now for the climax. Break egg into glass. Egg is a real one! Reach into right rear trouser pocket to obtain hank. Wipe hands in hank, leaving palmed silk therein as your replace hank in pocket.

Revamped

14 JOSEPH

OVETTE

In his SILK CREATIONS, Ovette gives a novel finish for the standard silk to egg routine. Required: In addition to the 18” red silk employs in the routine (Effect No.9), a duplicate is loaded under performer’s coat collar. Ovette suggests painting a red spot on the egg (rather than the tissue disc used by Grant in Effect No.13) Presentation: 1 Present Effect No.9 until the real egg is displayed, step No. 19. 2 Roll egg over and expose the red spot, supposedly the silk in the egg. 3 Now break the egg into the glass. Silk is gone. 4 Produce the missing silk from under your coat collar.

Stodare Egg and Hank*

15 JACK

LEDAIR

Some may prefer Ledair’s method of handling the Stodare egg and silk in the part of the standard routine where the silk changes into an (hollow) egg. Presentation: 1 Present the fist 8 steps of No.11, Figures 79-88 2 Take silk and egg as shown in Figure 106. 3 With the left hand take corner “A” over in front of the right hand, Figure 107. 4 Now drape “A” over the right forearm, Figure 108. 5 Release corner “A” left hand still out of view behind silk. 6 Move left hand, palm up, to the left until it is just below the right. 7 Drop the palmed stodare egg into the left hand, Figure 109. 8 Left hand still hidden, move it and the palmed egg to the center of the silk. 9 Drape silk over left hand and egg (hole uppermost), then tuck silk into egg, Figure 110. 10 After silk is inside, show egg, Figure 111. 11 Now complete effect, using balance of one of several routine explained earlier.

*COURTESY ABRACADABRA

I’ve got your money*

16

GORDON JAMES BELL Performer explains a friend paid him a dollar to see a good trick. Then he offers to repeat the effect if a spectator will loan him a dollar bill with the understanding that if the audience feels the trick is worth a dollar the performer may keep it. Effect: Performer places a borrowed dollar in a glass, followed by an egg. A silk vanished and an egg appears in the performer’s hands. The missing silk is found in the glass. In spite of audience applause, the dollar is returned to the spectator Required: An egg, a 12” red silk, and a bottomless glass. *COURTESY ABRACADABRA

No preparation is necessary. Presentation: 1 Borrow a dollar bill, then place it in the glass as shown in Figure 112. Explain that as this is “borrowed” money you prefer to keep it where the owner can see it at all times! 2 Holding glass in the left hand, drop the egg into glass, Figure 113 3 Lift glass with right hand, leaving egg in palm, Figure 114. 4 Set glass on table. 5 Pick up silk and change it into an egg, figure 54-57 6 With silk palmed in right hand, lay egg aside. Then take glass in left hand and set it over the palmed silk. Figure 115. 7 Reach into the glass and produce silk, figure 116 8 Return bill to spectator.

Thumb Egg Tips*

17

CLARENCE

T. L I T T L E

Here is a novel variation of the silk to egg routine. Required: Stodare egg; real egg with paper disc, Figure 104; 18” red silk; thumb tip with corner of red silk attached, Figure 170, page 331, volume! Preparation: The thumb tip and real egg are in the left coat pocket. Presentation: 1 Present the first 8 steps of effect no. 9 Egg with hole exposed is in your left hand. 2 Openly place egg and left hand into left coat pocket as you relate some funny patter. 3 Get thumb tip on left thumb, then bring out the real egg. 4 Casually show red spot on egg, then get egg and thumb tip into figure 117 position as you show right hand empty. 5 Pull tip of silk up into view, figure 118. 6 Push silk back into tip, then steal tip onto right thumb. Expose red sport on egg again, then break egg into tumble, 7 Figure 102. ALTERNATE METHOD: Start with thumb tip on right thumb where it remains until step no. 4

*COURTESY LIKING RING

Hank Spider *

18 BARNEY

LEDERMAN

Effect: A white silk is produced from a hole in the center of a paper napkin. The napkin is a crumpled into a ball tossed into the air, and it changes into a white egg. Preparation: Attach a clip (Figure 166, page 132, volume I) or a catgut loop (Figure 22, page 295, Volume!) to a side of a stodare egg. Place 18” white silk inside egg, then the egg under the napkin which rests on a table. Method: 1 Pick up egg and napkin in left hand, getting clip or loop in place. 2 Take napkin in right hand. 3 With aid of clip or loop, show left hand empty. 4 Take napkin in left hand again, then tear hole in center of napkin. 5 Pull white silk (From egg) thru hole in napkin. 6 Lay silk aside, take napkin in right hand, then show left empty again (using standard clip or loop moves) 7 Crumble napkin between hands (Forcing it into egg) then toss it (egg) into the air. 8 Catch egg and show it.

Note: A regular Stodare egg may be used instead of one prepared with clip or loop. Merely use the moves shown in figures 49-54 to hide the egg when the napkin is shown. *COURTESY LINKING RING

A B C 20th Century*

19 A.

N.

ROSSI

Effect: Two silks knotted together are layed aside. An egg is placed in a linen handkerchief. A rainbow silk vanished from performer’s hands, and the egg from the hank appears in its place. The silk reappears tied between the two solid silks. Required: An 18”20th Century (Chapter 17); a double hank, figure 119; a stodare egg. Figure 2; a real egg: a glass. Preparation: Make a double hank by sewing two linen hanks together as shown in Figure 1416, page 941, volume 2. Presentation: 1. Knot the two silks together, then place them around your neck, Fig 1718, page 941.

2. Bring four corners of double hank together, show real egg, then drop it inside the hank thru open corners “A” Figure 120. Place hank and egg aside but in full view. 3. Pick up and show duplicate rainbow silk (and stodare egg.) then change it into and egg (using one of the methods explained earlier in this chapter). *COURTESY GENII

4. Break egg into glass. 5. Open out double hank to show egg has vanished. 6. Whip silks from around neck and display vanished silk knotted between them, Figure 21, page 942 Note: As a deluxe variation, use a REPEAT 20th CENTURY, Effect No.17, Page 953, volume 2. You also need a second stodare egg. Perform the first six steps, then offer to repeat the effect. 1 Remove the rainbow from between the two solids and place it momentarily on a table and over the second stodare egg. 2 Knot the solids together again, then place them around your neck page 941, volume 2. 3 Pick up silk (and Egg) and change it into an egg. Lay egg aside without bothering to break it (If a Conley egg is used – Effect No. 21-it can be broken at this point). 4 Show rainbow knotted between solids again, figure 21, page 942

Silk Gone Mad*

20 G O R D O N M’ K E N N E Y

For those entertaining in the home of a friend here is a novel finish for silk – to egg routines. Effect: After silk changes into an egg, performer finds the missing silk in a light bulb taken from a lamp in his host’s home! Secret: Performer has secretly placed a prepared light bulb containing a duplicate silk in the lamp in advance of his performance.

*COURTESU THE JINX

Preparation: Hold the metal base of a light bulb over a gas flame for a minute. Then twist the base loose with a pair of pliers. Remove the fine wires, insert the duplicate silk in the bulb, reheat the cap, and replace it Presentation: 1 Change a silk into an egg. 2 Break the egg 3 Call attention to unlighted bulb in lamp. 4 Have host remove bulb and carefully break it with a hammer. There is the missing silk!

No Switch Egg*

21 JIM CONLEY

About 10 years ago conley introduced an ingenious take egg which eliminated sleights and switches in silk to egg routines. His egg was made of metal, painted white, copies marketed as “EGGS POSURE” are mode of white plastic The egg consists of three parts, ---- two halves of a “liquid tight” fit, and a wooden yolk painted yellow, figure 121. The large end of the take contains either the unbroken yolk and white of a real egg, or the imitation yolk (wooden disc) and some glycerin. The conley egg can be used for most of the effect in this chapter. At the conclusion of the routine a switch for a real egg is not necessary. *COURTESY –KANTER MAGIC SHOP

Merely hold the Conley egg at each end with your fingers, hole containing silk away from the audience. Tap center of egg on rim of glass several times as you twist egg to separate halves. Drop contents into glass and place halves aside as you reach for a linen hank on which to wipe your hands.

The Invisible Hen The old and seldom performed effect is quite effective if performed properly. Gilbert first explained it in 1909 in HANK TRICKS FOR BOYS, Blyth in 1922 in his HANKMAGIC, and Neil in 1937 in his MODERN CONJURER. Effect: A quantity of eggs are produced one at a time from a silk hank and dropped into a borrowed hat. Then all of the eggs suddenly disappear. Required: A double weight 18” silk with a blown or celluloid egg attached to it with a thread, figure 122; a real egg. Presentation: 1 Palm the real egg, go into the audience and borrow a hat then load the real egg into the hat as you return to the stage Place the hat brim up, 2

22

3 4

5

6

an a table. Display the silk, figure 123. Bring corners “A” and “B together in the left hand, figure 124. Take corners “C” and “D” in the right hand and assume fig. 125 position. Now allow egg to appear and fall visibly into the hat. Either of two method may be used.

FIRST METHOD: Raise the right hand and egg will roll out of silk into hat, figure 126. SECOND METHOD: Drop corners “A-B”, and take “C” in your right hand, allowing egg to fall into view and the hat, Figure 127. 7

8

9

Drop “C-D” over front of hat and “A-B” into it, Figure 128. Reach into hat, remove real egg, then present it as a gift to a spectator. Take corners “A” and “B once more, then assume figure 123 position.

10 11

12 13

Repeat steps 3-7 until the desired numbers of eggs have been produced. Lay silk (and egg) aside. Carry hat to footlights and toss it to the spectator in the audience. Usually everyone expects to be showered with eggs, but off course the hat is empty!

Soup Plate and silks Introduction

1

Buatier De Kolta was the first to perform a “Soup Plate and Handerchiefs” effect. Variations of this classic routine were offered later by Servais LeRoy, Eugene Laurent and David Devant.

Basic Effect

2

The basic effect is to cause one or more silks to appear or disappear from under a soup plate or from between two soup plate. Most methods using prepared plates are self contained. When ordinary plates are used simple sleights are necessary. Routines with ordinary plates will be explained first.

Soup Plate and Hanks * HARLAN

3 TARBELL

This popular version has appeared in print many times. For example, Ellis Stanyons explains it in MAGIC in 1902; C. Lang Neil in MODERN CONJURER IN 1915; A. C. Gilbert in HANK TRICKS in 1920; Joseph Ovette in SILK CREATIONS in 1931; and Harlan Tarbell in his TARBELL COURSE in 1927 and again in 1942. Effect: Two vanished silks reappear under an inverted soup plate resting on a chair. * COURTESY – LOUIS TANNEN

Required: A prepared newspaper; a soup plate; 4-12” silks (2 red and 2 green); a chair. Preparation: Fold a double sheet of newspaper (Figure 1) in half, Figure 2. Fold it again, Figure 3, then give the packet a quarter turn to the right to bring the open edges “X-X” uppermost, Figure 4. Cut a 3 ½” slit thru the top two pages, Figure 5. Paste these first two pages together just below the slit, Figure 6. Next paste the second and third pages together as indicated with shaded lines, Figure 7. You may have a packet in the paper with is to hold two silks.

Mystic Silks *

4 H.

C. E N S L O W

Effect: A vanished silk reappears under an inverted soup plate. Required: A soup plate; 2-18” duplicate silks; a newspaper; a table. Preparation: Trap fold one silk, Page 34, Volume I. Place it on the table, then the newspaper, and finally the inverted plate, Figure 20. Presentatation: 1. Pick up silk, paper, and plate, Figure 14. 2. Take plate in right hand, Figure 21, and show it on both sides. 3. Replace plate under left thumb, Figure 14. 4. Now take paper in right hand and show it on both sides. 5. Place paper on table. 6. Place inverted plate (containing silk) on the paper. 7. Vanish the duplicate silk, Chapter 8, Volume I. 8. Life plate and reveal silk under it.

Hanks and Soup Plates ** MDLLE

5 PATRICE

Effect: Two vanished silk reappear under an inverted soup plate. * COUTESY – GENII ** COURTESY – MODERN CONJURER

Required: A soup plate; 4-12” silks (2 red and 2 green); a newspaper; a table and a chair. Preparation: Trap fold a red and a green silk, Page 48, Volume 1, then place them under the back edge of the plate resting mouth up on the table, Figure 22. Lay the remaining silks in view beside the plate and the newspaper over the back of the chair. Presentation: 1. Pick up the paper, show it on both sides, then lay it on the seat of the chair. 2. Pick up plate with left hand, fingers holding silks under rim, and show mouth of plate, Figure 23. 3. Take plate at bottom of rim with right hand, Figure 24, then turn plate up and over quickly to show back. During this action left hand never moves! 4. Left takes rim of plate again which now has bottom toward audience. Silks are inside plate, Figure 25. 5. Place inverted plate containing silks on newspaper. 6. Vanish two duplicate silks, Chapter 8, Volume 1. 7. Life plates and silks reappear, Volume 19.

Plate and Silk *

6 BYRON

CHURCHILL

Effect: A vanished silk reappears under an inverted soup plate. Required: A soup plate; 2-18” duplicate silks; a newspaper; a silk clip, Figure 26; a table. Preparation: Link two paper clips, Figure 26. Trap fold a silk, Page 48, Volume I. Place the silk between the loops of the bottom clip, Fig. 27. Then hang the loaded clip to the back of the table with a thumb tack, Fig. 28. Place paper on table; then place plate on paper. Presentation: 1. Show plate freely, then place it face down on the table (rim falling over silk, Figure 29) as you pick up paper. 2. Unfold and show paper. Refold paper, then retain it in your right hand. 3. Reach for plate with your left, thumb on top, first finger underneath. Remaining fingers palm silk, Figure 30. 4. Pull plate toward rear and off of table, allowing it to swing down to hide palmed silk, Fig. 31. 5. Place folded paper on table, then inverted plate, silk going under plate, Figure 32. * COURTESY – THE JINX

6. Display and vanish duplicate silk, Chapter 8, Vol. 1. 7. Life plate and display silk under it.

Under a Soup Plate *

7 L E N J. S E W E L L

Effect: A vanished silk reappears under an inverted soup plate. Required: A prepared soup plate, Figure 33; 2-18” duplicate silks; a sheet of plate glass; a table. Preparation: Attach a thread fastened to a pin to the back of the plate with scotch tape, Figure 33. Trap fold a silk (Page 48, Volume 1) and impale it on the pin, Figure 34. Place * COURTESY - ABRACADABRA

plate glass and prepared soup plate on your table, Fig. 35. Presentation: 1. Lift plate with right hand to show front of plate (Note thread passes over first finger and silk rests in right palm, Figure 36). 2. Spin plate once, right to left, to show back of plate. (Silk automatically swings itself over edge of revolving plate and remains out of sight, Figure 37). 3. Lift plate with right hand as left picks up plate glass, show both sides then replace it on the table. 4. Lower plate on glass, mouth down, putting silk free of pin, Figure 38. 5. Display and vanish duplicate silk, Chapter 8, Vol. 1. 6. Lift plate and display silk under it.

Two Plates and Hanks * This is the first of a series of effects using two soup plates. Effect: Two vanishes silks reappear between two plates, Fig. 47. Required: Four 12” silks (2 red and 2 blue); two soup plates. * COURTESY – LOUIS TANNEN

8

Preparation: Accordion pleat a red and blue silk together, Figure 8. Place silks, under edger of nested but inverted plates resting at back of table, Figure 39 and 40. Duplicate silks rest near by. Presentation: 1. Pick up plates and palm silks with left hand, Figure 41. 2. With right hand take top plate “B” and show both sides of it, Figure 42. 3. Replace top plate “B” on lower one “A” again, Fig. 43. 4. Take away bottom plate “A” and show both sides of it, Figure 44. Silks are still palmed in left hand.

5. Place plate “A” on table, mouth up. 6. Now place inverted plate “B” on top of “A”, silks still palmed, Figure 45. 7. When plates come together release silks which will expand between them, Figure 46. 8. Pick up duplicate silks, display, then vanish them, Chapter 8, Volume I. 9. Separate plates and show silks between them, Figure 47.

Silks And Soup Plates * JEAN

HUGARD

Effect: Two silks pass visibly then invisibly between two soup plates, Figure 47. Required: Four 12” silks (2red and 2 blue); two soup plates, preferably rimless style.

*COURTESY –HOLDEN’S MAGIC SHOP

9

Preparation: Accordion pleat a red and blue silk together, Figure 8. Bond the silk packet with a narrow strip of colored tissue paper, Figure 48. Tie a loop of strong black nylon thread under the paper band, Figure 49. Now sew the other end of the thread to a corner of one of the remaining silks, Figure 50. Place gimmicked and unprepared silks beside nested soup plates on table, Figure 51.

Presentation: 1. Pick up plates, one in each hand, show them freely, Figure 42, then place them mouth to mouth on table, Figure 52. 2. Display the silks, one in each hand, Figure 53. 3. Take both silks in your right hand, Figure 54. 4. Explain that you will pass the silks visibly between the two plates.

9. After explaining the difficulty (?) of a visible transposition, merely walk to the table, lift the top plate with your left hand, then lower the silks into the other with your right, dropping corners “A” and “B” over the outside of the plate, Figure 55. 10. Place the plates mouth to mouth again, corners “A” and “B” protruding, Figure 56. 11. State with considerable pride (?) that you have accomplished the most difficult feat (?) of passing the silks visibly between the two plates! 12. As spectators laugh, hold plates tightly together with your left hand, as you withdraw the silks with your right, Figure 57.

5. This action causes loop of thread to break the paper tissue band, (Figure 49(, allowing packet of silks to expand between plates. 6. Place secretly loaded plates, Figure 52, back on the table. 7. Show the silks, then vanish them, Chapter 8, Volume 1. 8. Separate plates and show vanishes silks between them, Figure 47.

Vested Silks And Plates * JEAN

10 HUGARD

The effect is the same as the Tarbell version, Effect No. 8. However, instead of hiding the silks under the plates (Figures 39 and 40), Hugard “vest” them Page 60, Volume 1. Assume the silks are under the left side of the vest. Show both hands empty, then pick up the plates with your right hand as you steal the silks with your left, Figure 6-10, Pages 60-61, Volume 1. Transfer the plates to your left hand, covering the palmed silks, then show right hand empty again. Now do the Tarbell presentation, starting with Step No. 2, Effect Note. 8

Beneath A Soup Plate

11

PROFESSOR HOFFMANN Adequately illustrated for the first time, masterpiece should realize the popularity it deserves.

now

this

Effect: A vanishes silk reappears between two soup plates, Figure 47. Required: Two duplicate 18: sum two soup plates with wide rims. Preparation: Trap fold one silk, Page 34, Volume 1. Vest the silk, Page 60, Volume 1. Nest the plates and place them on a table. * COURTESY – HOLDEN’S MAGIC SHOP

Presentation: 1. Pick up the first plate with the let hand and show it front and back as you steal the vested silk in the right hand, Figures 610, Pages 60-61, Volume 1. 2. Transfer the plate to the right hand, palmed silk hidden under the rim, Figure 58. 3. Pick up second plate with left hand, Figure 59, and show it front and back. 4. Bring plates together in a horizontal position, mouth to mouth, Figure 60, then start to set them on the table. 5. Detect suspicion on part of spectators and separate plates again. Now for the KEY move! 6. Assisted by the left hand, slide the top plate to the right, taking its rim in the right hand, Figure 61. The palmed silk is automatically transferred from under the rim of the BOTTOM plate to under that of the TO ONE!

1. Show both plates to be empty again. Silk is hidden from view by fingers of right hand. 2. Bring plates together once more, letting the palmed silk fall between them f I 62. 3. Place plates on table. 4. Vanish the duplicate silk, Chapter 8, Volume 1. 5. Separate plates and show vanished silk beteen them, Figure 41.

Silks Between *

12 ARTURU

In this more recent version, the effect is the same as Hoffman’s No. 11. However, the plates are handled in a slightly different manner. Required: Two duplicate 18: silks, two plastic soup plates of dime store variety, preferably of different colors. Preparation: Trap fold one silk (Page 34, Volume 1) and place it beneath the * COURTESY - ABRACADABRA

nested plates with rest, mouth up, at the back of your table, Fig. 63. Presentation: 1. Pick up silk and plates in right hand, Figure 64. 2. Take the front plate “A” in the left hand, Figure 65. 3. Toss plate in air, then catch it as it fall. 4. Replace plate “A” in front of plate “B”, Figure 65, left first fingers separating the plates. 5. Pull back plate “B” down and clear of plate “B” with left hand, Figure 66. Silk is now behind “A”. 6. Spin plate “B” in the air, then catch it.

7. Now bring plates together, mouth-to-mouth, in thumb right hand, Figure 67. 8. Stop to explain that this effect was a “hit” at some nightclub whose name you forget (?) 9. Take bottom plate “A”

1.

10.

in the left hand again (this automatically loads silk inside of plate “B”, Figure 68), and “read” name of local club from bottom of plate. Spectators laugh. Bring plates together again, silk now between them Figure 69. Set plates aside.

11. 12.

Vanish duplicate silk, Chapter 8, Volume 1. Separate plates and show silk between them, Fig. 47.

Prepared plates

13

First I will describe several of the more poplar styles of prepared plates to acquaint the reader with the various types of construction.

Thayer Soup Plate The plate, made of enameled metal, is shown in Figure 70. It has a false bottom, Figure 71. One side is painted to match the design on the plate. The other has a disc of printed newspaper glued to it. A silk is placed

14

1.

2.

in the bottom of the plate. Then the false bottom is added and locked in place with a pin which passes thru an eyelet attached to the false bottom, Figure 72. When the loaded plate rests upside down on newspaper, Figure 17, the pin is pulled, releasing the false bottom and the silk.

Abbott Soup Plate *

15

This plate is made of metal, is chrome plated, and has a false bottom Figure 73. A lug attached to the false bottom, Figure 74, passes thru a small off center hole in the bottom of the plate, Figure 75. After a silk is placed in the plate the false bottom is dropped into position. The lug is forced thru hole in plate, then false bottom pushed to centre to lock lug in place. Loaded plate is placed upside down on newspaper, Figure 17. Performer merely pushes lug off center again to release false bottom and silk.

Goldstone Soup Plate

16

Goldstone’s plate is similar to the Abbott version. However, instead of a lug, the false bottom has a loop of soft wire attached to it, Figure 76. After one or two silks are placed in the plate the false

* COURTESY – ABBOTT MAGIC CO.

bottom is dropped into place, and the wire loop passes thru a small hole in the bottom of the plate, Figure 76-77. Finally a small pin (attached to a length of nylon thread with a small black button tied to the other end) is passed thru the wire loop, Figure 77. Loaded plate is placed upside down on a newspaper, Figure 17. To release the silks, performer merely pulls pin out of the wire loop.

Rice’s Soup Plate *

17

A visit to the dime store will be rewarding. Obtain two plastic plates of the same color but of different diameters. From the bottom of the larger plate cut a disc slightly larger than the bottom of the other plate. Glue a circle of newspaper to the underside of the disc. Properly made, you have a plastic soup plate with a false bottom which will hold the hidden silks, Figure 78. Newspaper Method WILL GOLDSTON Gold suggests a decidedly different method of loading a silk into a plate. A newspaper, reinforced with * COURTESY – SILK KING STUDIOS

thin cardboard, contains a trap, Figure 79. The silk is under the trap, Figure 80. A pin attached to the trap slides in a slit in the reinforced paper, Figure 79. After showing an ordinary plate, performer places it mouth down, on the paper, Figure 81. As he does, the plate pushes the pin forward, forces the trap open, and releases the silk, Figure 81.

Magic With Plates * CARLOS

19 H.

COLOMBI

Effect: Two soup plates (each with a 1” hole in its bottom) are shown. Three colored silks are produced, then placed between the plates which are brought together mouth-to-mouth and their rims clamped together with several spring clips, Figure 86. The silks are pulled one by one thru the holes, then vanished. The plates are separated, and silks have returned. Required: Two prepared plates, Figure 83; six 18” silks (2 each, *COURTESY – LINKING RING

red, yellow, and green); a “Stung” silk, Figure 85; several spring clips. Preparation: Two plastic soup plates and two discs of corresponding colors are needed. All four have 1” holes in their centers, Figure 82. Glue a disc in each plate about 3/8” from its bottom, Figure 83. Place a green and a yellow silk in the double bottom of one plate, Figure 84. Twist a corner of the red and the “Stung” silk together, Figure 119, Page 52, Volume 1, then load them in the double bottom of the second plate, Figure 85. Presentation: 1. Show plates, then place them mouth to mouth, Fig. 52. 2. Produce the red, yellow, and green silks, Chapter 6, Volume. 1. 3. Separate the plates, and place the silks between them. 4. Close plates again. Fig. 46. 5. Hold rims of plates together with several spring clips, Figure 88. 6. Reach thru hole in bottom of plate and produce yellow silk, Figure 87. 7. Vanish silk, Chapter 8, Vol. 1.

1.

1. Repeat with green silk. 2. Produce red silk, Figure 88. As it emerges red corner of “Stung” silk will come into view, Fig. 88. 3. Spectators believe something has gone amiss. 4. Produce “Stung” silk and display it. 5. Vanish red and “Stung” silks, Chapter 8, Volume 1. 6. Remove clips, then show silks back between plates, Figure 47. Note : Some may consider the effect to be more logical if the “Stung gag is eliminated.

Plate and Flying Silks *

20

WILFRID JONSON Effect: A red silk produced, followed by a green one which appears knotted to the red. Then the knot vanishes and the silks separate. A soup plate is shown and placed on a chair. The silks vanish, one by one, then reappear under the plate. Required: Four 18” silks (2 red and 2 green); a prepared soup plate (one explained in effects 14-17); a newspaper. Preparation: Join red and green silk with an upset square knot,

Chapter 18, Figure 2-7. Then roll the green silk within the red, Volume 2, Chapter 17, Figures 412-418. Roll the resulting strip, Figure 89, into a ball, Figure 90, which is held secure with a length of catgut, Figure 91. Hide the silk load in a convenient place, Pages 68-69, Volume 1. Place the remaining red and green silks in the prepared plate. Presentation: 1. Obtain the silk bundle; produce the red silk, Pages 68-69, Volume 1. 2. Display the silk, Figure 89, then take corner “X” in the right hand. 3. Shake the red silk, and the green appears, Figure 419, Page 1030, Volume 2. 4. Blow on the knot and it dissolves (merely pull silks in opposite direction), Figure 92. 5. Place a newspaper on the chair, Figure 11. 6. Show plate, then place it on the newspaper, releasing false bottom to free silk bottom to free silk load, Figure 17. 7. Vanish red and green silks, Chapter 8, Volume 1. 8. Lift plate and show silks, Figure 19.

Flying Hank and Plates G E O R G E DE L A W R E N C E Effect: A silk vanishes from under one plate and reappears under another. Required: Two china soup plates with false bottoms; two 18” red silks; two newspaper; two chairs. Preparation: Make two discs out of enameled or glazed cardboard of the some luster as the china plates. Glue a circle of newspaper to the bottom side of each disc. When in place discs leave a space in the bottom of the plates, Figure 78. Place a silk in the secret compartment of one plate, Figure 93. Place the disc for the second bowl on one of the newspaper, newsprint side up, Figure 94. Tuck the remaining silk in your coat pocket. Presentation: 1. Pick up a newspaper, show it front and back, then place it on a chair, Figure 11. 2. Show loaded plate, then place it mouth down on the newspaper. the disc

21

3. 4. 5. 6. 7. 8. 9. 10.

falls free, releasing the silk, Figure 17 Pick up second paper and disc, holding them as one, show paper, then place it on second chair. Take duplicate silk from pocket, and roll it into a ball. Holding silk in right hand, take second plate in your left. Toss plate into air, then catch it. Place silk on disc resting on newspaper, then place plate, mouth down, over silk and disc, Fig. 95. Lift plate several inches with both hands, then secretly force silk and disc up into bottom of plate, Figure 96. Place loaded plate back on newspaper, Fig. 17. Lift first plate, and silk appears under it, Figure 97. Lift second plate, and silk has vanishes, Figure 97.

Colorful Silk and Plate * WILLIAM

22 LARSEN

The late Bill Larsen gave me this exclusive in 1944. * COURTESY – GENII MAGAZINE

In the standard routine a silk vanishes and is found under a soup plate. Bill vanished a red silk, but found a green one under the plate. Then he changed it to red. To present this effective variation, use a green to red single color change, pages 662-663, Volume 2, for the silk found under the plate.

Phoenix Silk *

23 SID

LORRAINE

Effect: A vanishes silk appears in the ashes of a newspaper turned in a soup plate. Required: A newspaper cone, Page 324, Volume 1; a wide brim soup plate; 212” red silks, 3”x 3” square of black tissue paper.

Preparation: Take one silk at its center, then roll it from center out into a tight ball, Figure 97. Wrap balled silk in black tissue paper, then seal it with a strip of scotch tape, Figure 98. With * COURTESY THE SPHINX

dab of glue, paste load under rim of plate, Fig 99. Presentation: 1. Show newspaper and form a cone Page 324, Volume 1. 2. Place silk in cone and vanish it. 3. Open out paper and show it, explaining silk become part of the paper. 4. To illustrate, tear off and 8: square of the newspaper. 5. Holding paper in your left hand, ignite it. 6. As paper burns, take plate in your right hand and show it empty, Figure 100. 7. Drop burning paper in plate, then set it on the table. 8. Hold hands over flame as though warming them, in this way showing them empty again. 9. As flames die down, take plate in right hand, stealing silk, Figure 101. 10. Transfer plate to the left hand. 11. Reach into plate with right hand, leaving silk therein, and bringing out a pinch of ashes. 12. Allow ashes to trickle into plate, Figure 102. 13. Dip into plate again with

right hand for more ashes. 14. This time bring out quantity of ashes and silk wrapped in black tissue. 15. Place plate on table. 16. With both hands break tissue and allow it and ashes to fall back into plate as silk is developed, Figure 103.

1.

Silks and Candles

Introduction

1 H. R. R I C E

Fire, like the rabbit, is associated with the magician’s mysteries. Thus silk and candle magic appeals to many

Flying Hank and Candle HATTON

2 AND

Effect: A vanished silk reappears tied around the centre of a candle, Figure 8. Required: A candle in a candlestick, a short straight pin; 2-12 “red” silks, a vanishing hank wand, Pages 314-315, Volume I,; an 18” square of paper, a prepared brass fake, Figure 4; a linen hank. Preparation: Push the pin thru the candle, Figure 1, at its center, Figure 2. Paint the pin white or coat it with wax. Cover a 1” length of brass tubing (which fits loosely over the candle) with a piece of red

PLATE

silk, Figure 3. Tie a 12” red silk around the covered tubing, Figure 4. Tuck corners “A” and “B” into the top of the tubing, Figure 5. Place the fake under one corner of the linen hank. All props are conveniently arranged as your table.

Presentation: 1. Display the candle in the candlestick, Figure 1. Light candle, then extinguish the flame. 2. Pick up the linen hank, palming fake in your right hand. 3. Show hank on both sides, then drape it over the candle. As you do, get fake under center of hank in Figures 6 and 7 position, thumbs on top of hank. Be careful to keep the fake upright in Figure 5 position. 4. Under cover of hank, push fake over tip of candle, forcing silk corners “A” and “B” out of fake. Fake slides

1.

5.

6. 7. 8. 9.

down the candle until it reaches the pin. From the paper into a cornucopia, drop the duplicate 12” silk inside, and secretly vanish it with the wand, Page 314-315, Volume I. Close the top of the cornucopia and give it to a spectator to hold. Command silk to pass to candle. Remove linen hand and show silk tied to center of candle, Figure 8. Unroll cornucopia to prove it is empty.

Knotted Hanks

3 COLLINS

PENTZ

This delux version of the Hatton and Plate effect appeared in Pentz’s CLEVER NEW HANK TRICKS. Effect: Two of three silks knotted together and placed in a cone reappear tied around a lighted candle. The third remains in the cone. Required: A straight candle in a candlestick, Figure 9; a faked candle (shell), Figure 10; a cylinder slightly shorter than the candle; 6-12” silks (2 each, red, white, and blue) ; a Two-Way Paper Cone, Page 332, Volume I. Preparation: Tie a red and blue silk to the fake candle, Figure 11.

Place cylinder over fake, Figure 12. Note that disc’s diameter is slightly larger than that of the cylinder. Place a white silk in one side of the cone, Page 332, Volume 1. Presentation: 1. Knot the red, white, and blue silks together, and place them in the empty side of the cone, Page 322, Volume I. 2. Hand the cone to a spectator to hold. 3. Light the candle. 4. Take disc, fake candle, and cylinder at “X-X” in both hands and lower them over the burning candle, Figure 13. 5. Command silks to pass from cone to candle. 6. Life cylinder (leaving fake and silks) and the red and blue silks are found tied around the lighted candle, Figure 14. 7. Turn cone upside down and allow single white silk to fall to the floor, Figure 15.

VARIATION: If desired, white silk may vanish instead of appearing in the cone. In this version use but one white silk which is part of the chain of three knotted and placed in the cone.

Silk And Flame *

4 HARLAN TARBELL

Effect: A silk, produced from a candle’s flame, vanishes. The candle, wrapped in paper, vanishes. The silk appears in its place. The lighted candle is found in the performer’s pocket!

Required: Two 8” candles, ¾” in diameter; a candlestick; two sheets of white enameled paper; a small box of sulphur matches; 218”red silks; a hand pull; 18” square newspaper; 2”x 3 ½” piece of sandpaper. Preparation: FAKE CANDLE Wrap a sheet of enameled paper around a candle, then glue

the edge. Slip the paper shell off of the candle. Insert one of the silks in the shell. Cut 1” lengths from the top and bottom of the real candle and insert them in the ends of the loaded shell. The result is a fake candle containing a silk, Figure 16. Place the fake candle in its holder, Figure 17. REAPPEARING CANDLE Cover the remaining candle with enameled paper. Then cut off the exposed wick, pierce its top with a pin, and insert a match in the hole, about ½” of the match exposed, Figure 18. Prepare a special packet on the left inside of your coat to hold the reappearing candle, Fig. 19. Pin the piece of sandpaper inside your coat just in front of the pocket, Figure 19.

MATCHBOX AND SILK Fold the remaining silk (Chapter 3, Volume I) and place it in the cover of the partially opened matchbox, Figure 20. HANK PULL Attach the pull to your vest as shown in Figure 21, then place the pull in your right vest pocket, Figure 22.

Arrangement: Candle in candlestick, loaded matchbox, and square of newspaper are on your table. Presentation: 1. Take matchbox in left hand, Figure 23, remove a match with your right, strike match, and light candle. 2. Place right hand over box as you close it with your left, forcing silk into right palm, Figure 24. 3. Replace box on table. 4. Drop right hand containing palmed silk to your side as you reach into the candle flame with your left. 5. Now bring your right hand over the flame, Figure 25, allow silk to expand, Figure 26, and drop into view, Figure 27. 6. Display silk, then tuck part of it into your right vest pocket (and the pull), Figure 28. 7. Remove still burning candle from candlestick. 8. Strike each end of candle on table to prove it solid (?), then wrap it in newspaper which extinguishes flame. 9. Twist ends of paper and hand wrapped candle to a spectator to hold, Figure 29. 10. Remove silk (and pull) from vest pocket with your right hand, inserting tip of second finger into pull to do so, Figure 30. 11. Take the silk in left hand, palming pull in right as in Figure 31 or 27. 12. Stroke silk several times with thumb and first two fingers of right hand. 13. Take silk at its center and work it into the pull, Figure 33. 14. Pretend to take silk in left hand as you release pull, Figure 34. 15. Command silk to pass “invisibly” into packet held by spectator. Open hands to show silk has vanished, Figure 35. 16. Take rolled newspaper from spectator, break it at its

center, and produce the missing (?) silk, Fig. 36. 17. Crush paper and toss it aside. 18. Reach inside coat pocket, obtain candle, strike match head on the sandpaper, and produce lighted candle, Figure 37. 19. Place candle in candlestick, Figure 17.

Candle, Silk, And Tube * HARLAN TARBELL This is another version of the effect just explained. Effect: A silk is produced from the flame of a candle. Then the silk and candle change places. Required: Two candles; a candlestick; two sheets of white enameled paper; a box of matches; 2-18” red silks; a hank pull; 18” square of newspaper; cardboard tub. *COURTESY – LOUIS TANNEN

5

Preparation: Cover one candle with enameled paper, Figure 38. Then make a candle shell by forming it over the candle just covered. Remove the shell, Figure 39. Cut a ½ “ length from the top of the second candle and insert it in the top of the shell, Figure 40. Now force the silk up inside the shell and tight against the candle, Figure 41. Place candle in candlestick, then cover it with fake candle, Fig. 43. Finally, make a cardboard tube the same length as the candle shown in Figure 38. When this is placed over the candle and loaded shell, Figure 43, the top of the fake candle remains in view, Figure 44.

Load the remaining silk in the matchbox, Fig. 20, and fix the pull in place, Figures 21 and 22. The assembled candle covered with fake and tube, Figure 44, is on table. Presentation: 1. Produce silk from flame, then tuck it in your vest pocket with pull, Steps 1-6, Effect No. 4.

1. Take fake candle (loaded candle shell) at “X”, Figure 44, and life it up and out of the cardboard tube, Figure 45. (Real candle remains in holder.) 2. Wrap candle in newspaper for spectator to hold, Figure 29. 3. Vanish silk, Figures 30-35. 4. Break rolled newspaper open and produce missing (?) silk, Figure 36. 5. Lift cardboard tube and show candle back in holder, Figure 46. 6. Light candle.

The Repeat Candle *

6 PERCY ABBOTT

Effect: Performer presents the standard silk and candle transposition, then reports the effect! Required: A candlestick, Figure 9; a fake candle (A) containing an 18” red silk, Figure 16; another fake candle “B” containing an 18” red silk and a real candle, Figures 43; a 3” cylinder 2” longer than the Fig. 43 fake candle; an 18” red silk in a matchbox, Figure 20; a pull, *COURTESY – ABBOTT MAGIC CO.

Figures 21 and 22; two 18” squares of newspaper. Preparation: Place the the cylinder and the candlestick. loaded matchbox 47.

Figure 46 candle inside the Figure 43 candle in The apparatus and the are on your table, Figure

Presentation: 1. Present steps 1-6, Figures 23-28, Effect No.4. 2. Pick up cylinder and candle “A”, Figure 48, and quickly lower them over lighted candle “B”, Figure 49. 3. Blow out candle “B”. 4. Without removing cylinder reach inside and bring out candle “A”. (To spectator this is candle “B”.) 5. Wrap candle “A” in newspaper and give it to a spectator to hold, Figure 29. 6. Vanish silk, then find it in rolled newspaper held by the spectator, steps 10-16, Figures 30-36, Effect No. 4. 7. Lift cylinder and find candle “B” back in candlestick. 8. Offer to repeat the effect. 9. Cover candle “B” again. 10. Now present the routine as explained in Effect No. 5. NOTE: As the pull was used to vanish the first red silk, another method must be used for the repeat vanish. Select one from Chapter 8, Volume 1.

Silk From Candle * JEAN

7 HUGARD

Effect: A silk is produced from the flame of a candle, Figure 56. Required: A metal cup, painted white, Figure 50, which fits the cavity of a candlestick, a candle of correct diameter; a 12” red silk.

Preparation: “Diagonal-accordion fold” the (Pages 38-39, Volume I). Place it in the Figure 51, the cup on the bottom of candle, Fig. 52, and the candle in candlestick, Fig. 53.

silk cup, the the

Presentation: 1. Show hands empty, then light candle. 2. Take candle in right hand where it and the metal cap meet and lift it from the holder, Figure 54. * COURTESY – HOLDEN’S MAGIC SHOP

1.

3. Pass left hand over flame. 4. Transfer candle to left hand and pass right hand over flame. 5. Now take candle in right hand about 1” below flame, leaving metal cup in left. 6. Bring hands together, Figure 55, and press protruding corner “A” of silk against candle. 7. Move left hand up and to the left sharply pulling silk into view, Figure 56. Release corner “A” after silk is out of metal cup. 8. Lay silk and cup aside as candle is placed back in holder.

Silk And Candle Transmigration * GEORGE POULLEAU This is an excellent conclusion to Effect No. &. Effect: A silk is produced from a candle flame. The silk and candle vanish, then reappear in unexpected placed. Required: In addition to the apparatus needed for Effect No. 7, the following are required: A metal tube about 2”longer than the Fig. 52 candle and capped at each end, Fig. 57; a 12” red silk; a candle fake, Fig. 58; a reappearing candle and * COURTESY –HOLDEN’S MAGIC SHOP

8

sandpaper pad, Figures 18-19; a wand; and a black art table. Preparation: Fold duplicate silk, Pages 38-39, Volume 1, tuck it into one end of the metal tube, then add the candle fake, Figure 59. Attach pull to body, Figures 21 and 22. Place reappearing candle and sandpaper pad in place, Figure 19. Tube and caps are on a table containing a black art well.

Presentation: 1. Produce silk from flame of candle, Effect No. 7. 2. Blow out candle, then tuck part of silk into your right trouser pocket, leaving Figure 51 cup fall therein, Figure 60. 3. Take candle in left hand and tube in right, Figure 61. Lower tube over candle, forcing candle fake into view at top, Figure 62.

4. Holding tube in Figure 62 position, left little finger keeping candle inside, step to table to obtain a cap. 5. Allow candle to slip out of tube and into well, Fig. 63. 6. Place a cap on the bottom of the tube. 7. Pick up a second cap with the right hand. 8. As you approach top of tube, insert right thumb in catgut loop, Figure 64. 9. Lift out candle fake, then put cap on tube. Suspended candle fake is in right palm. 10. Reach in right pocket with right hand for silk, leaving candle fake behind. 11. Show silk, then tuck it in vest pocket over pull, Figure 28. 12. Give capped tube to a spectator to hold. 13. Take silk (and pull) and vanish it, Figures 30-35. 14. Ask spectator to remove caps from tube. Candle has vanished. 15. Hand him wand which he passes thru tube. The vanished (?) silk emerges. 16. Reach under coat and produce lighted candle, Figure 37.

A Question of Color * GEORGE

9 LORIMER

Effect: A white candle covered with a red silk visibly becomes red as the silk changes to white, Figure 76. Required: 2-12” silks (red & white); a prepared candle & candlestick. * COURTESY – THE MAGIC MONTHLY

Preparation: Near the top of a 9” length of 3/8” tubing painted red drill a hole thru its wall, Figure 64. Attach small sharp painted hooks to the center and one end of a 9” length of black elastic, Figure 65. Attach the free end of the elastic to the bottom of the tube, then pass the elastic up thru it, Figure 66. In the inside bottom of a heavy brass 6” candlestick with a ½” diameter hollow stem, Figure 67, drop some solder. Before it hardens, lower the red tubing into it, Fig. 68. Be certain, tube is centered. Next drill a small hole near the top of a 4” length of 7/16” tubing painted white, Fig. 69. Attach a small piece of wax containing a wick to the top edge of the white tubing, Figure 79. Now pull the elastic up over the white tubing as it is lowered over the red, Figure 71. Line up the small holes in the tubes and insert a pin thru them, Figure 72. Now Trap Fold (Page 34, Volume I) the white silk. Stretch the elastic and fasten hook “B” to the center of the silk, Figure 73. Place the silk under the candlestick, Fig. 74.

Presentation: 1. Call attention to the white candle in the candlestick, then light the candle, Figure 70. 2. Produce a red silk, Chapter 4, Volume 1. 3. Blow out the candle, then drape the red silk over the white candle, Figure 75. Secretly engage hook “A” to the silk. 4. Secretly pull the pin out of the tubes thru the red silk, Figure 76, holding the tube in place over red. 5. As you life candlestick, release white tube. White tube drops into candlestick, and elastic pulls red silk inside red tubing. 6. Now candle is red and silk white, Figure 77.

Candle And Silks Routine *

10

J. C. W A L T E R Effect: An orange and a purple silk are produced from a candle’s flame. The silks are placed in paper cones and the candle wrapped in newspaper. The orange silk passes from one cone to the other, the purple silk passes into the newspaper cylinder, and the candle is found under the performer’s coat! Required: A fake candle (containing a 12” purple silk, Figure 16) in a candlestick, Figure 17; a reappearing candle, Figure 18; a matchbox containing a 12” orange silk, Figure 20; two Tarbell Two-Way Paper Cones, Pages 322, Volume I; two additional 12” silks (orange and purple). Preparation: Place an orange silk in a pocket of one of the paper cones, Page 322, Volume I. Coil fold the purple silk, Page 35, Vol. 1, and place it in the folds of the coat at your left elbow, Page 59, Volume I. Load the reappearing candle and sandpaper under your coat, Figure 21. The balance of the apparatus is on your table. Presentation: 1. Show candle in candlestick, Figure 17. 2. Pick up matchbox, Figure 20. Obtain match, light candle, steal orange silk as you close box, then produce silk from candle flame, Figures 23-27. 3. Lay orange silk aside. 4. Draw up right sleeve and show hand empty. 5. Now pull up left sleeve and steal purple silk, Page 59, Volume I. * COURTESY – THE BAT

6. Produce purple silk from flame, Figures 25-27. 7. Lay purple silk aside. 8. Show empty cone, place orange silk inside, and give it to a separate to hold. 9. Show second cone (containing orange silk) empty (?) and place purple silk in empty pocket. Give cone to a second spectator. 10. Command orange silk to leave first cone. Show cone empty. 11. Open second cone and find orange silk there in place of the purple cone. 12. Wrap candle in newspaper, Figure 29, break it at the middle, and produce purple silk, Figure 36. Candle has vanished (?) 13. Reach under coat and produce lighted candle, Fig. 37. Alchemistry *

11

Effect: A silk freely (?) selected by a spectator changes to wine, then the wine changes back into a silk!

Required: The apparatus needed is shown in Figures 78 and 79. The following are on the Figure 78 table: A 5”x9”x5” box containing fifteen -12” assorted solid colored silks (two red ones are on top); a lid for the *COURTESY –ABRACADABRA

1.

box which serves as a tray; a plastic tumbler 4: high ; a paper cylinder 8 ½” high. Behind the box is a duplicate plastic tumbler about half full of red wine and out of view of the audience. The following are on the Figure 79 table: A candle in a gimmicked candlestick containing a red silk with a small hole in it, Figure 80; a bottomless 4” plastic tumbler; a paper cylinder 8 ½ “ high with a 4” plastic tumbler glued inside its top half, Figure 81.

Presentation: 1. Stand behind Figure 78 table and pick up box and hidden tumbler of wine with the right hand. Tip box forward slightly so spectators may see silks inside, Figure 82. 2. Remove silks with left hand, show box empty, then replace silks. 3. Return box of silks and glass to table. Push box a few inches forward to clear the tumbler of wine. 4. Take cylinder in right hand and empty tumbler in left. Show both empty. 5. Set cylinder behind box and over tumbler of wine. Place the empty tumbler back in its original position. 6. Take box of silks to a spectator and hurriedly ask him to select one. (Due to your haste, he invariably will take one of the two reds on top.)

7. Place box of silks back on table and the selected red silk in the tumbler. 8. Put lid on box, then place tumbler containing silk on top of it. 9. Pick up cylinder (containing tumbler of wine) Figure 83, and place it over tumbler containing silk, Figure 84. 10. Raise cylinder and its two tumblers as you remove box lid which serves as a tray. 11. Move lid forward and tilt it slightly as you allow the tumbler containing the silk to secretly drop out the cylinder into the box of silks, Figure 85. 12. Set cylinder containing glass of wine on lid, Fig. 86. 13. Go to second table (Figure 79) and hold tray over candle’s flame. Remove cylinder and show red silk has changed to red wine, Figure 87.

14. 15. 16. 17. 18.

Lay lid and cylinder aside. Take a sip of wine, then set tumbler aside. Blow out candle, remove it from holder, and lay it aside. Show (bottomless) tumbler and place it on candlestick. Show second cylinder empty. (This is possible as plastic tumbler in it is transparent, Figure 81.) 19. Cover tumbler on candlestick with cylinder, Fig. 88. 20. Press lever “A” to force silk from candlestick into bottomless tumbler, Figures 80 and 88. 21. Pour wine into top of cylinder and fixed tumbler, Figure 89. 22. Lift cylinder and find red silk in tumbler, Figure 90. 23. Remove silk and find small hole in it, Figure 91. 24. Why hole? Part of the red silk is missing because you drank some of the wine!

A New Candle And Hank OSWALD

12 RAE

This effect appeared in the book CIGAM. Effect: A silk vanishes from a burning paper tube and is found inside a freely selected candle. Required: Four or five thick candles and candlesticks of the correct size; an ideal color change tube, Figure 2, Page 700, Volume 2, a 12” red silk; a sheet of flash paper with writing thereon; a letter size envelope; a box of matches. Preparation: With a knife hollow out the bottom half of each candle, Figure 92. Place the candles in their holders. Fold the flash paper “letter”, then place it the envelope and your inside coat pocket. Place the ideal color change tube in your right trouser pocket. Silk and matchbox are in your table. Presentation: 1. Pick up matchbox and light candles with a match. 2. Pocket matchbox and steal color change tube. 3. Remove letter from pocket, take flash paper “letter”, and form a paper cylinder around the palmed color change tube. Place silk in cylinder (and tube), then steal tube, Chapter 13, Volume 2.

4. Twist ends of cylinder, Fig. 29. 5. Allow a spectator to freely select any candle. 6. Hold cylinder over flame of selected candle and it goes up in a flash, Figure 93. 7. Blow out candle, take it from holder with left hand, then transfer it to the right. 8. As right receives the candle it secretly pushes the tube inside, Figure 94. 9. After tube is inside, hold candle so it can be seen that hands are free of anything. 10. Break candle (it will break at the top of the tube) and produce the missing silk, Fig. 95. Note: If desired each candle may be loaded with a 12” red silk. This make it unnecessary to pas the color change tube into the candle. Pocket the tube after it is stolen with the silk from the cylinder, Step No. 3.

Candle Smoke

13 ED MASSEY

This effect appeared in ORIGINAL MAGIC. Effect: A silk wrapped in paper is burned over a candle flame. The candle is wrapped in paper. The paper is broken at its center and in place of the candle is the missing silk. The paper in unrolled and the candle is found intact.

Required: A fake candle, Figure 96 ; a candlestick ; a sheet of flash paper ; a piece of newspaper; two 12” red silks, an ideal color change tube; a box of matches. Preparation: Load a silk inside the fake candle, then place the candle in the candlestick. Put the color change tube in your right trouser pocket. The flash paper, newspaper, other silk, and matchbox are on the table.

Presentation: 3. Pick up matchbox and light candle. 4. Pocket matchbox and steal color change tube. 5. Form flash paper into a cylinder around color change tube. Place silk in the cylinder (and tube), then steal tube, Ch.13. Vol. 2. 6. Twist ends of cylinder, Figure 29. 7. Hold cylinder over flame of candle and it goes up in a flash, Figure 93.

1. Pick up newspaper, leaving color change tube on table. 2. Blow out candle, take it from holder, then roll it in piece of newspaper.

8.

Fold cylinder at its center, tear small hole in the paper, and extract silk from hole “X”, Figure 97. 9. Straighten out cylinder, unroll paper, and show candle in one piece, thumb over hole “X”, Figure 98. 10. Put candle back in holder. 11. Light candle with match.

Tricks With Hanks

14 ELLIS

STANYON

This effect appeared in Stanyon’s MAGIC Effect: A silk produced from a candle flame vanishes then reappears in the performer’s collar. Placed in spectator’s pocket, the silk reappears in the performer’s hand, then travels back into spectator’s pocket! Required: Two 12” red silks, a matchbox, a candle and candlestick; a wand. Preparation: Trap fold the silks (Page 34, Volume 1). Place one in the cover of the matchbox, Figure 20. Tuck the second in your collar, Figure 99. Place the candle in the candlestick, loaded matchbox and wand on your table. Presentation: 1. Light candle with match from matchbox, then produce the first silk from the flame, Fig. 23-27. 2. Roll silk into a ball, take it in your left (?) hand, tap the hand with your wand, and the silk vanishes. (Master Vanish, Pages 290-291, Volume 1.)

7.

Produce silk from your collar (Figure 99) with your right hand which still contains the first silk Figure 100. 8. Ball second silk, then display the two as one, Figure 503, Page 1048, Volume II. 9. Place silk(s) in breast pocket of spectator’s coat. 10. State you can cause silk to pass “visible” or “invisibly” back into your hand.

3. “Visibly?” Merely walk over to spectator and remove a silk from his pocket. (Leave second silk behind.)

4. After laughter say you will pass the silk “invisibly” back into the spectator’s pocket. 5. Repeat the Master Vanish, Page 290-291, Volume I. 6. Remove silk from spectator’s pocket with your left hand, transfer it to your right, then lay it and the palmed silk aside.

With a Candle *

15 EDDIE

CLEVER

Effect: A silk is produced from a candle flame and laid aside. Next a tube is formed by wrapping the candle in a sheet of white paper. Now the candle is removed and the empty tube laid aside. Then the candle is wrapped in a sheet of red paper. The silk is vanished, the red tube broken, and the silk is found to be in place of the candle. The candle is found in the previously *COURTESY - GENII

empty white tube. Candle is put back in white tube and silk is vanished a second time. The white tube is broken and the silk has replaced the candle again. Lighted candle is produced from under performer’s coat. Required: A prepared candle; a candlestick; 3-12” red silks; a matchbox; a sheet of white paper; two sheets of red paper; a table with a well; a rubber band. Preparation: Prepare a special candle with real candle and silk inside, Figures 38-41. Place it in its holder, Figure 42. Place a folded silk in the center of the two sheets of red paper, Figure 101, then glue the sheets together, Figure 102. Load the remaining silk in the matchbox cover, Figure 20. Presentation: 1. Light candle with a match from matchbox, then produce the first silk from flame, Figures 23-27. 2. Roll candle in white paper to form cylinder, Fig 103. 3. Shake candle out of cylinder, leaving shell with silk inside, Figure 104. Lay candle aside. 4. Twist ends of white cylinder and lay it aside. 5. Now wrap candle in (double) red paper. 6. Reach for a rubber band on the table, allowing candle to slide out of the tube and into black art well, Figure 105. 7. Place rubber band around (empty) red cylinder. 8. Place red cylinder in candle holder. 9. Vanish silk produced from flame earlier, Chapter 8, Volume I. 10. Tear red cylinder at its center and find silk, Figure 36, candle vanishes. 11. Untwist wick end of white cylinder and allow most of candle (shell with silk) to fall into view, Figure 106. 12. Push candle back into cylinder, then twist open

13. 14. 15. 16.

end and lay aside. Vanish second silk, Chapter 8, Volume 1. Break white cylinder at its center and find silk in place of candle, Figure 36. Vanish silk for the third time, Chapter 8, Volume 1 Reach under coat and produce lighted candle, Fig. 37.

Problems In Silk And Wax MAX

16 STERLING

This effect appeared in PROBLEMS IN MYSTERY and was presented at the Apollo Theatre, Berne, Switzerland. Effect: Performer displays a candle and puts it in a candlestick. Then he produces a silk, places it in a paper cone, and hands it to a spectator. Matches vanish

from a match box and the silk is found in their place. The paper cone contains the missing matches. A series of mysteries follow. Silk is vanished and reappears in performer’s mouth. Vanished again, silk is found under performer’s knee. Suddenly silk multiplies, colored silks flowing from performer’s hands to the floor. Picking up one silk performer produces a quantity of large silk from it. Large silks are laid aside. Displaying the silk produced at the opening of his routine, performer vanishes it again. Then he takes candle from candlestick, breaks it in half, and there is the wandering silk! Next the large silks are used for a series of knot effects. In conclusion, the silks are knotted together, then blown apart. The silks float to the floor as performer retires. Required: A candle and candlestick; a box of matches; a match fake; Figure 108; a Two-Way paper cone, Page 322, Volume I; twenty-five 12” silks (at least 8 green); 5 or 6 -24” silks (one green); finger tip with piece of green silk, Figure 170, Page 331, Volume I; two body clips, Page 124, Volume I; rubber band. Preparation: Hollow out half of the candle, Figure 92, insert a 12” green silk in the hole, then seal the end with paper and wax, Figure 107. Remove matches from box, them place them

one side of the cone. Take the matches from the second box, cut all but one of the in half, then glue the head ends into a solid black, Figure 108. Accordion pleat a 12” green silk, then place it, the match block fake, and the full length match into the drawer of the box, Figure 109. Finger-fold a 12” green silk, Pages 40-41, Volume I and vest it (Pages 60-61, Volume 1). Now bring the centers of the remaining twenty-two 12” silks together with the green silks on the outside, Figure 110. Starting at them centers, roll the silks into a tight ball. Secure the bundle with a rubber band, Figure 11. All silks in the bundle appear to be green. Put bundle in body clip and attach it under the left edge of your coat. With the green silk on the outside, Coil-Fold the 24” silks (Pages 49-50, Volume 1). When completed all silks in the bundle appear to be green. Place this bundle in the second body clip and attach it under left edge of coat. Place candle and candlestick, cone, fingertip, and loaded matchbox on your table. Presentation: 1. Casually show hands empty. 2. Remove candle from holder with your left hand. At same time obtain green silk from vest (Figure2 4-10, Page 61, Vol. 1) in right hand. 3. Transfer candle to right hand, which contains silk, Figure 112.

4. Show left hand empty, then take candle again. 5. Produce silk, Figure 113. 6. Place candle in holder and the silk on the table. 7. Pick up paper cone, show it empty (?), place silk inside (in empty pocket), and give it to a spectator to hold. 8. Obtain matchbox from table, open box sufficiently to casually show matches, remove full match, turn box on side to strike match, an allow match block fake to fall into your right hand, Figure 114. 9. Close box, strike match, then hand box to spectator holding cone as you advance to the candle. The match goes out. 10. Take cone from spectator and ask him to light the candle. He opens box and finds green silk therein. 11. Open the cone and pour out the missing matches. 12. Ask spectator to light candle with one of the matches as you crumble cone and toss it and the palmed match block aside. 13. Take green silk from box, roll it between your hands, pretend to take it in your left (Figures 307, Page 291, Volume I), show silk gone, then produce it from your mouth with your right hand. 14. Vanish silk again, using French Drip, Figures 9-16, Pages 292-293,

15. 16.

17.

18.

19. 20.

21.

Volume 1, then produce it from under your right knee as you steal the load of 12” silks from under your coat with your left, Figure 115. Toss 12” green silk over palmed load of silks, Fig. 116. Using left thumb, release rubber band from around silk bundle under cover of green silk. Open hand and allow silks to slowly expand and flutter to floor, Figure 117. Bow to acknowledge applause, then stop to pick up the green and several other 12” silks from the floor. As you do, steal the load of 24” silks in your left hand, Figure 115. Toss the 12” silks over the load in your left hand, Figure 116. Obtain free corners of 24” silks, shake bundle sharply, and the large silks fall into view as 12” silks flutter to the floor again, Figure 118. Lay 24” silks on table and obtain finger tip.

22. Pick up 12” green silk from the floor, then vanish it, Page 331333, Volume I. 23. Remove candle from candlestick, break candle, and produce the 12” green silk. DELUXE FINISH NO. 1 Return to table, obtain one or two 24” silks, and present a series of knot effects selected from Chapter 20. DELUXE FINISH NO 2. Return to table, pick up the 24” silks (Several may have been knotted together prior to performance) and present a sympathetic silk routine selected from Chapter 18.

“OPENERS” Introduction

1

The items in this chapter are recommended as “openers” for obvious reason. Either the effects (1) employs cumbersome body loads or gimmicks that should be disposed of as soon as possible, or (2) is best suited as an opening effect.

Air Mail Silk Production * BILL

2 CHAUDET

Effect: After showing his hands empty performer reaches into the air and seizes a silk as it materializes. Required: A silk of a desired size. Preparation: Prepare the silk (Envelope-Fold, Pages 36-37, Volume I), then place it in the folds of your coat sleeve at the left elbow, Figure 3, Page 59, Volume I. Presentation: 1. Enter, face spectators, then show hands empty. 2. Grasp right coat sleeve above elbow and pull sleeve up several inches. *COURTESY –CONJUROR’S MAGAZINE

3. Repeat with the left sleeve without disturbing the hidden silk. 4. Show hands empty once more. 5. Now extend arms quickly in a forward motion. This throws the silk from the sleeve into the air, Figure 1. 6. As the silk makes its sudden appearance, catch it at the fingertips, Figure 2. Note: Practice this effect before a mirror. When properly performed the sudden appearance of the silk is most startling.

Double Silk Production * PERCY ABBOTT Effect: Performer reaches into air and catches a silk, followed by another. Required: A “double silk” fake, Figure 3. The flesh colored metal gimmick is open at end “A” and partially closed at end “B”. Two 12” silks. Preparation: Load 12” silks, one at a time, into open end “A” of the fake. Take fake in right hand, nibs between fingers, and “B” toward the wrist, Figure 4. * COURTESY – ABBOTT MAGIC CO.

3

Presentation: 7. Enter arms to your sides. Bow, then turn to the left. 8. Reach forward with the right hand, inserting thumb into end “B” Figure 5, forcing first silk into view at the tips of your right fingers, Figure 2.

1. 2. 3. 4. 5. 6.

Take silk in your left hand. Reach in air and produce second silk in the same manner. Add silk to first in your hand. Leave fake on right thumb much like a thumb tip. Drape silk over right thumb and fake, Fig. 6. Casually show right palm, then lay silks and fake aside.

Snappy Barehand Silk Production* 4 LOUIS TANNEN Effect: Performer shows hands empty, reaches into air, and catches a silk at his fingertips. Required: A clever gimmick, Figure 7, that actually * COURTESY – LOUIS TANNEN

places the silk in your hand, Figure 12; a silk of any size up to 36” Preparation: Roll the silk tightly around a pencil, Figure 8. Place 2” of the end of the silk thru eyelet in fake, Figure 9, fold end down, then roll balled silk up over it, Figure 10. Slip curved metal plate under your watchband, fold spring catapult and silk back, then pull coat sleeve down over assembled apparatus, Figure 11.

Presentation: 1. Step on to stage, bow, then show both hands empty. 2. Reach forward with right hand to catch a silk, but without success. 3. Repeat with the left. As coat sleeve moves up the arm the silk catapults into the left hand, Figure 12.

1.

Silk Stretch *

5 HAROLD

BEAUMONT

Effect: An 18” silk is stretched to 36”! Required: An 18” and a 36” silk of the same pattern. To one corner of the 36” silk attach a 6” catgut loop, Figure 13. Preparation: Roll the 36” silk , Figures 7-9, Chapter 20. Place the silk in left coat sleeve and loop over left thumb, Figure 14. Presentation: 1. Display 18” silk. 2. “Stretch” it several times, Effect No. 39, Chapter 20. 3. Accordion pleat silk and hold it in right * COURTESY – THE BAT

hand, corner “A” remaining in view, Figure 15. 4. Bring hands together to take “A” in left hand. Instead, take “B” in right fingers and pull part of 36” silk fro left sleeve, Figure 16. 5. Continue stretching process until 36” silk is produced. 6. Keeping 18” silk palmed, display 36”, Figure 17.

Instant Color Change *

6 ROSS BAGLEY

Effect: Performer enters with a green silk in one hand a tumbler in the other. He explains you must watch carefully at all times. To illustrate, he drops the green silk into the tumbler and it changes to red! Required: Two 18” silks (a green and a red); a length of black elastic; a tumbler. Preparation: With one end of the elastic tied around the left wrist, bring the other up the sleeve, over the shoulders, and down the right sleeve, Figure 28, Page * COURTESY - GENII

296, Volume 1. Tie the other end to two diagonal corners of the green silk, Figure 18. Wind a corner of the red silk around the right first finger several time, Figure 19, then ball the balance of the silk in the right hand, Figure 20. Finally, place the green silk in place, Figure 21, and close the fist. Green corner “A” hides red corner “X” from view, Figure 22.

Presentation: 1. Enter, silk(s) in right hand, tumbler in left, hands close together. 2. Patter, calling attention to a green silk and a glass. 3. Move glass upward and to the left.

4.

Now bring right hand up to put the silk in it. As you do, release the green silk (which goes up your sleeve) and drop the red silk into the glass, Figure 23. 5. Call attention to the color change.

Mini-Cone Production * L E N J. S E W E L L Effect: Entering, performer produces a red and a green silk from an empty paper cone. One silk, freely selected, is replaced in the cone, the other tucked into a pocket. The silks visibly change color. Required: A long thumb tip (Page 406, Volume 1); 3-12” silks (2 red and a green); a 12” red-green single color change silk (Page 662, Volume 2); a 4” square of paper. Preparation: Place a red and a green silk in the thumb tip, the other red silk in the top of the left trouser pocket, Figure 357, Page 514, Volume 1, and the color change silk (red out) in the right pocket, Fig. 360, Page 515, Volume 1, * COURTESY - ABRACADABRA

7

Presentation: 1. Loaded tip on thumb, enter with paper in the right hand, Figure 24. 2. Take corner “X” in your left hand and form the paper into a cone around the thumb tip, Figure 25. 3. Take cone containing thumb tip in left hand as right thumb is withdrawn, Figure 26. 4. Produce two silks, one at a time, from the cone, then tuck them into a convenient coat pocket. 5. Insert right thumb into cone and thumb tip, unroll paper, and show it, Figure 24. 6. Lay paper and thumb tip aside. 7. Show trouser pockets empty (although loaded), Fig. 358, Page 514, Volume 1. 8. Place the red silk in the right pocket(containing single color change) and the green silk in the left pocket (containing the duplicate red silk). 9. Show hands empty, then supposedly pull part of each silk back into view. However, part of the single color change is pulled out of the red pocket instead of the red silk. See Figure 27. 10. Request spectator to

select a color. Using “magician’s choice” force, take red (color change) silk from right pocket and push green silk inside of left pocket and out of view. 11. Form paper into a cone again, tuck ring of color change up inside, Figure 28, tear off tip of cone, and make visible color change thru cone, Figure 29. 12. Show green silk. 13. Reach in left pocket and find former green has changed to red. VARIATION: Instead of a cone at step II, color change may be thru a cylinder, Page 665, Volume 2.

See-Thru Folder *

8 I A N H. A D A I R

Effect: Performer enters and displays a transparent folder. Suddenly silks to be used in the first effect appear therein. Required: Several silks and prepared folder, Fig. 30.

a

Preparation: Construct a 12” x 12” folder with a 3 ½” x 12” flap from stiff cardboard as illustrated in Fig. 30. bind it on all sides with colored scotch tape. Its two windows are thick cellophane. Fold the several * COURTESY - ABRACADABRA

silks to be produces and place them under the flap. Presentation: 1. Enter, holding loaded folder as in Figure 31. 2. Drop back panel, Figure 32. 3. Turn folder over to show inside of panels, Figure 33. 4. Reverse steps, ending with folder in its

5. 6. 7. 8. 9.

original position, Figure 31. Remove right first finger, allowing panels to close, Figure 34. Apply pressure to prevent silks from falling out of flap. Support bottom of folder with left hand and reduce pressure at top. Shake folder sharply and silks will appear in the windows, Figure 35. Remove silks, then show all sides of folder again. Use silks for first effect.

Atomic Silk *

9 PETER WARLOCK

Effect: Ashes of burning paper change into a silk

tissue

Required: A thin waxed taped, a 4” x 6” piece of thin red tissue paper; a candle and candlestick; an ash tray; a 12” red silk. Preparation: Coil Fold the silk, Figures 612, Page 35, Vol.1. Attach with a thread, Fig. 36. Place tissue paper on ash tray. Everything is on your table, Figure 37. *COURTESY –PENTAGRAM

Presentation: 1. Enter, bow, then light the candle. 2. Show hands empty, then take tissue at extreme ends between both hands. 3. Crease paper in lengthwise, open it at right angles, Figure 38, then return it to the ash tray. 4. Take taper (and silk) in right hand, silk next to palm. 5. Light end of taper over candle flame. 6. Ignite corners “A-A” of tissue with taper. 7. As tissue burns, take taper in left hand, leaving silk in right, corner “B” under right thumb. 8. Blow out taper and place it on tube. 9. When flame reaches end “B” of tissue ashes rise into air. 10. As ashes rise shoulder high, extend right hand to catch them. 11. Allow silk to fall (don’t shake it) into view, Figure 39.

Silks on Rope *

10 SCOTTY LANG

Effect: Five silks appear knotted on a rope threaded thru two hole in an empty paper bag, Figure 47. * COURTESY – LINKING RING

Required: A No. 20 Kraft bag; 6” of soft rope; 5-12” assorted solid colored silks. Preparation: In the bottom of the bag cut two 1 ¼” round holes 7” apart. Perforate the bottom between the holes, Figure 40. Knot the silks about 1” apart at the center of the rope, Figure 47. Load the silks and center of rope in your left coat sleeve, Figure 41.

Presentation: 1. Enter with bag in right hand and rope in left, Figure 42. (It appears center of rope is in left hand. Actually it is up left sleeve). 2. Show bag empty, Figure 43. 3. Lower ends of rope into bag, then thru holes, end “A” first, Figure 44. 4. Use left hand to assist passing remaining end “B”

5.

6. 7. 8.

thru second hole. Thus left hand enters bad innocently. As soon as both ends are thru hole, left hand stilling bag, release right hand grip on bag and take the rupee below holes, Fig. 45. Pull sharply on rope to pull it thru holes (and silks from left sleeve). At same time allow mouth of bag to fall downward. After silks are in bag, remove the left hand from same. Now everything is held in the right hand, Figure 46.

9. Rip bag away with free left hand, drop bag to floor, take ends of rope between hands, and

display silks, Figure 47. 9. If an assistant is used, have her hold ends of rope between her hands while you remove the bag, Figure 48.

The Mixture – Not “As Before”! * LEH

BELCHER

Effect: Four silks, shown separately, become knotted together, Figure 61. Required: Five 18” silks (three white and two black) and a prepared 18” black double silk (silk bag), Figure 50. Preparation: From a flexible wire clip from a pipe cleaner, dyed back, Figure 49. Sew the clip in one corner and an oval rigid metal ring in a diagonally opposite corner of a bag made from two 18” black silks, Figure 50. Tie bag, two white, and a black together. Fig. 51.

* COURTESY -ABRACADABRA

11

Fold the chain in two, Figure 52. Next, fold silks 2 and 3 diagonally, Figure 53. Accordion pleat these two silks into a long horizontal strip, Figure 54. Then pleat the strip right to left, Figure 55, forming a small packet of silks. Carry the bag silk to the right, Figure 56, then pull the clip out thru the metal ring, Fig. 57. This brings the compressed bag back against the silk packet again. Bend the clip back and around the packet of silks, Figure 58. Finally, arrange the black bag and clipped packet behind the white silk so packet, clip, and ring are not exposed, Figure 59.

Presentation: 1. Enter, prepared set of four silks in left hand and two remaining silks (black and white) in your right. 2. Do the Al Baker FALSE COUNT, Effect No. 23, Chapter 18. 3. Take both sets in your right hand. 4. As though assisting with the left hand, each to the rear of the silks, bend clip from around packet it holds and pinch it around the centers of the two single silks, Figure 60. 5. With left hand holding bundle so it can’t fall into view, use a free finger to push clip back thru oval ring. 6. Palming packet of silks, take a firm grip on knotted end of bag with left fingers as you release top corners “XXXX” (Figure 59) and take ring in right. 7. Move right hand sharply to right, taking ring with it. 8. After clipped silks are safely inside the bag, release silk packet

held in left. 9. Chain of four knotted silks fall into view, Fig. 61.

Transposition Extraordinary * OKITO Effect: A red silk placed in a decanter and a yellow silk held by the performer change places instantaneously. Required: Prepared decanter, table, and 18” red and yellow silks; a special pull; 2-18” silks (red and yellow). Preparation: Sew a small red silk pocket in one corner of red silk, Figure 62. Attach a 5” black thread to a corner of a yellow silk and black bead to the end of the thread, Figure 63. To one side of a black cloth pull, Figure 48, Page 301, Volume I, sew a 3/8” wide strip of black elastic, Figure 64. Cut out one of the lower facets of a glass decanter, Figure 65. Drill a hole in the center of the glass top a table, and attach a small pulley at its base, Fig. 66. Then pass a strong black nylon * COURTESY - GENII

12

thread thru the stem of the table. With one end of the thread off stage, pass the other end thru the hole in the decanter, out thru the neck, then attach it to the corner “X” of the prepared red silk, Figure 67. Tuck the prepared yellow silk (Figure 63) into the pocket of the red silk, Figure 68, and place both on the table beside decanter, Figure 69. Replace stopper. Now fold the unprepared red silk and place it under the elastic on the side of the pull (Figure 64). Then attach the pull to your vest, Figures 40-41, Page 299, Volume 1. Place remaining unprepared yellow silk on table beside decanter. Presentation: 1. Enter, bow, take stopper out of decanter, and place

6.

7. 1. 2. 3. 4. 5.

prepared red silk inside, leaving bead attached to hidden yellow silk outside. At same time off stage assistant pulls on thread slightly to draw it taut. Replace stopper, Figure 70. Display unprepared yellow silk, then tuck it into vest pocket containing pull, Figure 42, Page 299, Volume I. Show hand empty. Take yellow silk (and pull) from pocket, then tuck it into pull. Get corner of red silk (attached to pull) and bring silk into view as pull is released, Figure 71. At the same time assistant off stage gives thread a sharp pull. Red silk disappears into table stem as yellow silk leaves pocket and appears in decanter, Figure 72.

Turning the Tables *

13

WM LARSEN Why not carry on your black art well as you open your act? Here are three clever suggestions advanced by W M Larsen Sr. * COURTESY - GENNI

1. TOP COAT WELL Enter informally, wearing top coat and muffler. Tuck muffler in side pocket of coat, then casually toss it over the back of a chair. Now you have a ready-made black art well, Figure 73.

2. ATTACHE WELL Enter with attaché case (containing props) and place it on a chair seta or piano bench. Open the case and a previously prepared bag in the lid serves as a black art well, Figure 74.

3. HAT WELL Enter and place your soft of top hat (depending upon dress) upon a chair. Your black art well is ready, Figure 75.

Spectacular Opening *

14

H A R O L D R. R I C E Effect: Performer enters with cape, top hat, and cane. Cane changes to a silk; silks are produced from the empty hat; one or two mammoth flags on staffs are produced from under cape. Required: A Walsh vanishing cane containing a 24” silk; load of silks attached to the cape; one or more flags on staffs hidden under coat. Preparation: Sew a small ring to each corner of an 18” pattern silk, Figure 76. Fasten a small hook to inside of cape. Fold the silks to be produced into a compact bundle, Chapter 3, Volume 1. Place the bundle in the center of the Figure 76 prepared silk, then bring the four rings together and place them over the hook in the cape. Load the 24” silk in the Walsh vanishing cane, Pages 376-377, Volume 1. Sew a large flag to the eyelets of a collapsible flagstaff. Collapse staff, flag falling into pleats, Figure 77. Place staff and flag on a table, Figure 78. Starting at free end of pleated flag up to staff, Figure 80. If desired, a narrow strip of tissue paper may be banded around flag and staff * COURTESY – SILK KING STUDIOS

to hold everything in place. Place staff under coat, end of staff in vest pocket, Figure 81.

1. 2. 3. 4. 5.

6. 7.

Presentation: 8. Enter, cape over left arm, cane in left hand. Remove top hat and show it empty. Then bring it behind cape and under silk bundle to secretly load silks into hat. Place loaded hat on table, then toss cape over a chair back. Change cane to silk, Pages 377-378, Volume 1. Drape silk over top hat and drop collapsed cane therein. Show hands empty, reach into hat, and reproduce silks. Pick up cape and drape it over left arm and shoulder. Steal flag and staff from under coat with free

right hand. 9. With a throwing motion whip staff outward and to the right so it will open and lock in place. 10. Flag falls into view as performer waves staff in the air, Figure 82. DELUXE VERSION: Two flags and staffs may be used. Prepare one flag and staff as in Figures 77-80, and the second as in Figures 77-79. Place both side by side, Figure 83. Now roll the second flag, around both staffs. Paste a strip of tissue around the bundle to keep flags from unrolling. Place ends of both staffs in left vest pocket, Figure 81. To produce, steal both staffs in right hand under cover of cape, then take one staff in left hand. Spread arms apart as cape falls to floor. Display two flags on staffs, one in each hand, Figure 84.

Flash Opener *

15 LARRY BECKER Although strong enough to be an opener, this effect could follow Effect No. 14. Effect: A lit candle changes into a silk, which in turn changes into a cane. Required: A Haskell Vanishing Candle, an 18” white tipped black silk, and a Walsh Appearing Cane. Preparation: Tuck all but one corner of the silk into the candle, then attach the remaining corner to the cane, Figure 85. Presentation: 1. Pick up candle and cane with both hands, Fig. 86. 2. Remove holder with left hand and set it aside. 3. Extinguish flame with left fingers, Figure 87. 4. Release right hand grip on candle, allowing it to collapse and fly into left hand,

5.

6.

Turn to right, drop collapsed candle in left coat pocket, as you swing silk in an arc, Figure 89. Release cane and silk changes to cane, Figure 90.

Magnetized hank *

Effect: Performer enters, shows hands empty, then "magnetized " silk to adhere to his left palm, Figure 93.

16

causes

a

Required: A straight pin and an 18"silk. Preparation: Stick, the pin thru the calloused portion of the left palm, figure 91 * COURTESY GENII

Presentation: 1. Enter, show hands empty, then produce a silk (Chapter 4, Volume 1). 2. Silk in right hand, rub one corner on left sleeve to "magnetize" it. 3. Left palm away from audience, stick corner of silk on point of pm, Fiq.92. 4. Now turn palm to floor and silk remains suspended, Figure 93. 5. Return left hand to Figure 92 position, remove silk, and show both hands empty.

Miracle Silks * FRANCIS

17 B.

MAETINFAU

Effect: Performer enters, hands empty, and reaches into the air and produces a silk. When draped over his palm the silk remains suspended in mid-air. Then the silk vanishes. Required. An 18 silk and a rubber band. *COURTESY SILK KING STUDIO

Preparation: 1. Roll silk diagonally, Figure 94. 2. Starting at corner "A" accordion pleat the silk to within 5" of end "6", Figure 95. 3. Now wrap all but 1" of end" B" around the accordion pleated bundle, Figure 96. 4. Stretch rubber band around left thumb and little finger, Figure 97. 5. Tuck silk bundle under both strands of rubber band, then bring end "B" bad over the first strand and under the second, Figure 98. Presentation: The routine consists of three parts. 1. THE PRODUCTION 1. Enter to center of stage. 2. Left shoulder nearest audience, fingers widespread, show palm of right hand and back of left, Figure 99. 3. Reach into air with right to catch (?) a silk. 4. Failing to do so, drop right hand to your side and reach into the air with your left, Figure 100. 5. As left hand moves upward, curve first finger back and engage

silk, Figure 101. 6. Now straighten the finger. Loop of rubber band is automatically transferred from thumb to finger, Figure 102. 7. This action releases silk, which falls into view, Figure 103. 8. Take corner "A" in right hand and pull silk free of left and rubber bond. 9 Display silk. II.

THE LEVITATION 10. While showing silk secretly reverse steps 5 and 6, thereby transferring band back to fig. 97 position. 11. Draw silk over left palm several times, the last time you do, secretly thread the silk under both strands of the band, Figure 104. 12. Form finders of left hand into a fist around center of silk, Figure 105.

13. Now turn fist so bock of hand is uppermost. 14. Slowly open finders and silk adheres (?) to the palm, Figure 106. 15. Move hand back and forth to float silk thru the air.

III. 16. 17. 18.

THE VANISH Close fingers of left hand around silk again, Figure 105. Take corner "A" and pull the silk free of the left hand. Now spread silk over upturned left palm and elastic, Figure 107. 19. Starting with the corners, form the silk into a compact ball, Figure 108. 20. Continuing, tuck the bundle of silk under the rubber strands. 21. As the right fingers enter the left palm for the last time, pretend to take the balled silk from the left palm. At the same time turn back of left palm toward audience, fingers spread well apart, Figure 109. 22. Call attention to closed right fist, Figure 110, then command silk to vanish. 23. Open right fist and show silk has vanished. 24. During this action encircle left edge of vest

just above top button with fingers of the left hand, working silk free of rubber band. Leave silk under vest, Figure 111.

16.

Allow band to foil to the Floor as you show empty left

Glass and silk routine *

18 T. N O R D N E S

Effect: A 12" green silk vanishes and reappears in the center of a 24" white silk. Then the white silk vanishes and is found in the performers opera hat. Required: Two tables, one with a black art well; 2-24" white and 2-12" green silks; an opera - hat with flap, Figure 112; a 9" x 12" sheet of paper; a metal tube with one end and outside covered with matching stiff paper; a paper clip; a magic wand; a glass tumbler. Preparation: Clip open end of metal tube to a 12" edge of the paper which is then rolled into a cylinder and placed in the tumbler Fig. 157, Page 227, Volume 1. Set the loaded tumbler on the table containing the well, Figure 113. Trap fold one 12" green silk and one 24 white silk, Page 34, Vol. 1. Place the folded white silk under side "A" of the Flap in the hah, Figure 112. Pull up the left coat

* Courtesy GENII

Sleeve momentarily, then tuck the folded green silk under the cuff, Figure 114. Lay the other green silk on the well table Figure 113. Finally, tuck the remaining white silk in the coat breast pocket. Presentation: 1. Enter with hat and wand. 2. Show hat empty, then place it brim up on the unprepared table. 3. Lay the wand on top of the hat, Figure 115. 4. Walk between tables; show hands empty. 5. Step to well table remove paper cylinder, lay it aside then pick up empty glass tumbler. 6. Show glass empty, then set it on the other table. 7. Pull up left sleeve, remove white silk from pocket, then drape silk over left arm and hidden green silk), Figure 116. 8. Show right hand empty then take white silk at its center directly over the cuff inserting right thumb and first finger thru

1. silk into cuff. 9. Remove white silk (and green silk) Figure 117, and tuck, it in the tumbler center first, Fig. 118. 10. Pick up green silk, roll it between your hands, pretend to take it in your left, palming it in your right, Page 291, Vol. 1. 11. Reach for wand with right hand letting silk fall into hat. 12. Top left hand with wand, open hand, and show silk has vanished. Lay wand over well in prepared table. 13. Remove white silk from tumbler and find vanished (?) green silk in its center. 14. Lay green silk aside. 15. Pick up paper cylinder, open it, show paperback and front, then roll it into a cylinder again, Figures -158-164, Pages 227- 228, Volume 1. 16. Tuck white silk into cylinder (and tube) Figure 119. 17. Force tube free of

18.

19. 20. 21. 22.

clip, allowing tube to fall down thru cylinder into right palm. Take cylinder in left hand, leaving tube in right Figure 120. Reach for wand, dropping tube in well. Tap cylinder with ward. Lay ward aside. Raise cylinder to lips and blow thru it in direction of the hat.

23. Unroll cylinder. White silk has vanished. 24. Peach in hat flip flap over (to cover green silk) and produce missing (?) white silk from hat. 25. Show hat empty.

Dual Silk Production *

19

GLENN GRAVATT Effect: A silk produced from an unprepared newspaper multiplies. Required: Two 18 "silks (a red and a blue); a folded sheet of newspaper (approximately 13'/2”x 21'/2" when opened) from the magazine section of a Sunday paper; a small lead weight a pencil; a rubber band.

Preparation: Sew or tie the weight in a corner of the red silk, Figure 121. Place the silk against the pencil held in the left hand, Figure 122. (One inch of prepared corner "A" extends above pencil), then wind the silk around the pencil. Alternate to the left then the right of corner "A", Figure 123, until all of the silk, is consumed. Silk should be flat (not twisted or rolled) as it is wound round the pencil. Tuck remaining end "B" of the silk in a fold of the resulting ball, then remove the bundle from the pencil, Figure 124. (For similar folds, see COIL FOLD and FINGER FOLD, Chapter 3, Volume 1.) Accordion pleat the blue silk, Pages 38-39, Volume I. Place the rubber band around the left wrist, then tuck blue silk under the band, Figure 125. Drop the rolled red silk down your right coat sleeve. Place the folded newspaper on a table.

Presentation: 1. Enter picking up newspaper in left hand, open it out, and show paper back and front, Figure 126. 2. Extend left arm forward and upward. This action draws coat sleeve back to bring silk in position for production, yet hidden from view by the paper. 3. Break a hole in front of paper with right hand, reach thru hole, and produce the blue silk, Figure 127. 4. Lower left hand and raise left elbow 50 sleeve is away from back of paper before all of silk is pulled thru the hole. 5. Pull balance of silk thru hole, then lay paper aside. 6. Display silk in left hand as you lower right hand to your side. Weighted silk ball drops into right hand, Figure 128. 7. Turn to right, bring right hand up to left, then stroke blue silk several times. 8. Secretly take weighted tip of rolled red silk

9. 10.

between left thumb and first finger. As right hand strokes blue silk again, red silk appears, Fig. 129. Separate silks and display them, one in each hand.

NOTE: For other silk and newspaper effects see Nos. 31,32 and 33, Chapter 7, Volume 1.

an opening trick * Effect: Three silks produced from an empty box vanish, reappear knotted together, then change into wine. Required: A prepared box and cube Figures 130-132; a mirror glass, Figure 133; a goblet; Five 18"silks (a blue, 2 red, 2 white); a pull; a hank ball; a rubber band. Preparation: The box, Figure 130, will receive a bottomless cube, Figure 131. In turn, the *COURTESY THE JINX

20

cube will hold a mirror-box fake, Figure 132. (Seepage 204, Volume 1) "New Style" mirror glass is Fluted plastic tumbler which contains pleated metal center and a celluloid insert that will hold liquid, Fig.133. Knot a red a white, and a blue silk in a chain, then tuck the red and white silks in the hank ball, Figure 134. Place the loaded ball and the remaining red and white silks in compartment "A" behind the mirror, Figure 132. Fill celluloid rear compartment of mirror glass with a red wine, Figure 133. Attach elastic of the pull to your body, Pages 299-300, Volume 1, then place the pull in your left trouser pocket. Place the rubber band in your left coat pocket. Set box, cube (loaded with mirror box), mirror glass (wine to rear) and goblet on table, Figure 135.

Presentation: 1. Enter, pick up box, open both doors, and show box to be empty. 2. Doors still open, pick up cube (containing mirrored fake) and drop it thru top door into box. This is further proof (?) that the box is absolutely empty. 3. Doors still open, remove cube thru top door (leaving mirrored fake in box). You have loaded the box right before the spectators 'eyes’ 4. Close the front then the top door of the box. 5. Set box back on table. 6. Open top door, produce red, then white, and finally blue (hank ball palmed) silk, Fig. 136.

7. Lay three silks aside, ball hidden under ends, Figure 137. 8. Place box aside. 9. Show hands empty, pick up red silk roll it between both hands, take it in your right, but pretend to hold it in your closed left, Page 291, Volume I. 10. Deliberately place left fist in left trouser pocket and (secretly) obtain the pull, fig.138. 11. Look at audience, then pocketed left hand. Glance at audience again, then smilingly

16. 17. 18. 19. 20. 21.

22. 23.

24.

shake head " no" Look ah closed right fist, Figure 158, open fingers, and show red silk therein. Bring left hand (and palmed pall) from left pocket. Bring hands together, then work red silk into left fist and pull. With pull in left fist, pick up white silk with right. Tuck white silk into fist (and pull). Reach for remaining blue silk. As you do, release pull, which goes back, under coat, keep left fist closed as though to contain the red and white silks. Pick up blue silk (and hank ball) with right hand, transfer silk (and ball) to left, and tuck silk into fist (and ball). Using standard billiard ball" change over " move (Pages 136 137, Volume 1) , show silks have vanished and both hands are empty. Bring hands together and "produce” the silks just vanished from the palmed ball. They are found to be knotted together, Figure 139.

12. Say " to another world they went alone from that other world they return united." 13. Bundle silks in right hand, reach in coat pocket with left (leaving palmed ball in pocket) and bring out rubber band. 14. Place band around silks, then take banded bundle in left hand. 15. Reach for mirror glass with right, keeping

empty side of glass to audience empty side of glass to audience. 25. Drop silks into glass, red silk to front (as it is same color as Wine). 26. Reach across right hand with left to pick up goblet, Figure 140. 27. As you do, under cover of left arm use right Fingers to work wine portion of glass to front. 28. Goblet in left hand, glasses in right, show silks have changed to wine. 29. Pour most of the wine into goblet, set glass on table, then drink the wine as you toast the audience, Figure 141.

Spectacular flask opening * JEAN

21 HUGARD

Effect:

Performer enters, produces a lighted match, then ignites three strips of tissue paper. From the ashes performer produces three long silk ribbons. Suddenly the ribbons change into a large silk foulard. From the foulard performer produces a gailydecorated silk umbrella. A striking opener! * Courtesy Hugards Magic Monthly

Required: Three 4"x 8"pieces of white tissue; three 1 ½ 'x 12' flashy silk ribbons; a 6'x 6' butterfly silk; a small short handled umbrella covered with gaily colored silk a quantity of '½' x 3' colored silk ribbons; a lighted match fake. Preparation: Accordion pleat the tissues lengthwise then twist each at one end, Fig. 142, forming three white fans. Sew a length of stiff wire in one end of a 4"x 5"piece of black sateen, Figure 143. Now sew one end of each of the three 12' ribbons to the sateen, Figure 144. Starting at the free ends, roll the ribbons into the sateen, Figure 145.

Sew a button to the top two corners of the large silk. Then accordion pleat the silk (either SQUARE ACCORDION FOLD pages 37-38,or E'Z-FOLD, pages 45-47.Chapter 3,Vol.1). Attach the colored ribbons to the ribs of the

umbrella and a metal ring to the tip of its shaft, Fig. 146. Place the pleated silk under the right edge of your vest, Pages 60-61, Volume I. Load the closed umbrella; handle down, in your left trouser leg and under your vest, Figure 147. Attach the match fake under your right lapel. Finally, tuck the rolled ribbons under your left arm pit Figure 147.

Presentation: 1. Enter with left arm in front of body to hide load, Figure 148. Left hand contains tissue fans, Figure 149. 2. Bow, seize match from holder with

7. 8. 9. 10.

11.

12. 13. 14. 15.

right hand, and produce lighted match. Lgnite tissue fans. As they burn transfer the fans to your right hand. With left hand pull up right sleeve, grasping it just below the right armpit. Take burning tissues in left hand again. Then, with right hand pull up left sleeve in exactly the same manner, obtaining the rolled ribbons from under the left arm pit. Bring hands together, extinguish flame, take wire end of roll of ribbons in right hand, swing both hands to right, then release roll causing ribbons to fly outward and upward to the left, Figure 150. As the ribbons appear, reach under vest with right hand and steal silts, Figure 150. Bring hands together. Gather in the ribbons quickly with the right hand, forming them over the left fingers in foot long loops. Just as you reach the ends of the ribbons, take a button of the silk in each hand, then move hands in opposite directions.

3. AS the silk begins to open, Figure 151,engage the right thumb in the ring of the vested umbrella. 4. Mow separate hands sharply. This action pulls umbrella from the vest. 5. Umbrella hangs from right thumb behind silk, Figure 152. 6. Bring hands together so left hand can hold umbrella behind silk momentarily until

16.

right thumb is free of ring Figure 153. Take firm grip on handle of umbrella with right hand, give umbrella a sharp twist than a shake and umbrella will open figure 154.

Show opener in silks*

22 ROY

COTTEE

Effect: Two 18"silks produced from a paper tube become four. Sympathetic silks follow, then the four silks change into a 36" square. Required: A " false finger" paper fake, Figure 155; a 6" square *COURTESY LIKENING RIND

of brown kraft paper; 4-18" half silks, Figure 156; a 36" pattern silk of colors to match the 18" silks, Figure 157; 3 assorted rubber bands (Nos. 6, 9, and 14); a wine glass. Preparation: Make the fake from a 3 ½ "x 6"piece of brown kraft paper rolled into a tube with one end crumpled and the other notched like a false finger, Figure 155. Load two of the half silks, one at a time, into the paper fake twisting a corner of each together. Place the two remaining half silks in your right sleeve, then tuck 1" of their tips under the No. 14 rubber band around your right wrist, Figure 158 Fold the 36" Silk, Figures 169-179, Chapter 19, place the No. 9 rubber band around the bundle, then put it in

your right coat pocket. Place the No. 6 rubber band around your left index finger. The glass rests on your table. Put the false Finger between the second and third fingers of your right hand; take the 6" Paper Square in the same hand, Figure 159, and you are ready to per Form. Presentation: 1. Enter bristly and bow. 2. Take 6" square from right hand with left, show paper quickly on both sides, then roll it around the false finger as you form a paper cone (ala Al Baker, Pages 91-94,Vol. 1). 3. Tap cone and silks appear. 4. Crumple cone (and false finger) and toss it aside. 5. Right shoulder nearest audience, and holding the two silks shoulder high in your left hand, stroke them several times with your right, 6. As you prepare to stroke the silks for the third time, raise right hand a little higher than before. This action pulls right coat sleeve up your arm, and corners of sleeved silks become available, Figure 158. 7. With left thumb acid first finger grasp corners of two sleeved silks, Figure 161, add them to the two in the left hand. then execute the downward stroke a third time. This adds the twosleeved silks to the two in the left hand. 8. Stroke the four silks (as two) once or twice

9. 10. 11.

12. 13.

14. 15.

16.

More then face audience, and count the silks. The two are now four! Hold two of the silks in your left hand and two in your right. Place the two right hand silks in your right coat pocket. Under cover of remaining two silks held in left hand and using right hand to assist, get the small No. 6 rubber band around your left thumb and index finger (similar to Figure 147,Chapter 18). Take a silk between thumb and index finger of each hand. Hold hands about two feet apart and display the silks. Now take right hand silk in left hand- at same time allow rubber band to slip off fingers and on to silks, forming a fake knot, Figure 149, Chapter 18.

Place (knotted) silks in the glass, free corners hanging over sides. Remove two silks from left coat pocket, join them with a FADE-AWAY knot, Figures 13-16, Chapter 18, then place them around your neck, knot to back, Fig. 18, Page 941, Vol. 1. Pause, point to silks in glass, then to those

17.

18.

19. 20.

21.

22. 23. 24.

around your neck. Take tips of silks around neck in each hand, Figure 20,Page 942, Volume 2, and pull down sharply. Silks separate, knot gone, Figure 162. Put the untied silks in your right coat pocket. Pull other two silks from glass and show them knotted (rubber band) together, Figure 163. Holding the two knotted silks in your left hand, reach into right pocket for the remaining two, secretly palming the 36" silk as well. Quickly roll the 18" silks into a ball, 36" silk hidden behind them. Present the John Booth version of Blendo, Effect Mo. 23,Pages 1195-96. Roll displayed 36" silk around the palmed 18" silks, toss the bundle aside, and bow.

another opener *

23 J EA N

HUGARD

Effect: A silk, vanished and reproduced three or four times, changes color each time. Required: Five 15" silks (2 yellow, one each red, white, and blue); 2" squares of red, white, and blue tissue *COURTESY HOLDEN MAGIC SHOP

paper to match colors of silks; a pear shaped pull. Preparation: Trap fold a white, a blue, and a yellow silk (Page 34, Volume 1). Wrap the white silk in a red tissue and tuck it under the left side of your vest. Place the blue silk wrapped in a white tissue at the back of your right trouser cuff. Put the yellow silk wrapped in a blue tissue at the back of your coat collar. Now trap fold the remaining yellow and red silks. Put the yellow silk in the top of your left sock and the red silk in the folds of your left coat sleeve at the elbow. Silks in place, Figure 164, you are ready to perform an outstanding routine.

Presentation: 1. Enter, bow, pull up sleeves, and produce the red silk, Page 59.Volume 1. 2. Vanishes silk (MASTER VANISH, Pages 290-291, Volume 1), retaining silk in right hand. 3. Using right hand to assist, produce (?) vanished red silk (red tissue packet) from under left side of vest with left head as you vest the silk palmed in your right. 4. Crumple packet in left hand, then, develop white silk as you squeeze red tissue into a small ball. 5. Take silk in right hand as you drop left to

6.

7. 8. 9. 10.

your side allowing tissue paper to fall unnoticed to the floor. Vanish white silk (MASTER VANISH) then take the white tissue packet from trousers cuff, leaving palmed white silk in its place. Crumple packet, changing white to blue, disposing of tissue as before. Repeating the moves above, vanish blue silk, recover it from your coat collar, then change it to a yellow silk. Vanish the yellow silk with a pull, Pages 299-300.Volume 1. Produce the yellow silk from your left sock.

Flash silk appearance *

24

KARSON Effect: Performer enters, holding a wand between his right and left hands. Suddenly a silk appears tied to the center of the wand. Silk is untied and used in next effect. Required: A special hollow wand (brass), Figure 165; an 18"silk. Preparation: A length of elastic is inside one half of the hollow wand. One end is passed thru a hole in an end of the wand and knobbed. The other passes thru a hole at the centre of the wand and is tied into a small loop, Figure 165. Pass comer "A" of the silk thru the loop, Figure 166, then tie the corner loosely around the *COURTESY LOUIS TANNEN

wand, Figure 167. Slowly stretch the elastic, bringing the silk and loop to the left end of the wand. Encircle end of wand with left hand, then with right tuck all of the silk out of view in the left palm. Presentation: 1. Enter holding wand as in Figure 169. 2. Release silk from within left hand without releasing hold on wand. 3. Loop carries silk swiftly to center of wand, Figure 170. Silk will appear to stand erect above wand, then will drop in place, Fig. 167. 4. Untie silk, lay wand aside, and present next Silk effect.

Rainbow silk appear*

25

LEONA RDO Effect: As performer passes a large goblet from hand to hand it becomes filled with silks, Figure 175. Required: A large goblet with a thick stem. A hole is drilled thru the stem, Figure 171. Also needed are a length of catgut, a small button and 4 -12"silks. Preparation: Pass the catgut thru the hole in the goblet. Tie the centers of the four silks to one end and fasten the small button to the other, Figure 172. Place silks under the left arm, tumbler held in left hand and about a foot away from the body, Fig. 173. Presentation: 1. Enter, bow, and display the empty goblet, Figure 175. 2. Bring goblet a little closer to body, allowing button to fall into left hand. *COURTESY LOUIS TANNEN

3. Take goblet in right hand, keeping button in left, Figure 174.

4. Holding left hand and button close to body extend right with goblet forward sharply. 5. Silks fly into goblet with great speed, Fig. 175.

Dove Streamer *

26

RICKI DUNN

Effect: Performer enters, tosses a silk streamer into the air, then produces a dove from within its folds. Required: A 6"x 12'rainbow streamer with a cloth pocket attached near one end, Fig. 176; a dove. Preparation: Place dove, head first, into the pocket, then *COURTESY LOUIS TANNEN

snap the bag shut. Starting at the other end, roll the streamer toward the dove. Place streamer on table, rolled portion to the front, Figure 177. Presentation: 1. Enter, bow, then pick up streamer, short portion hanging down, Figure 178. 2. Toss streamer into air, Figure 179. 3. Wave banner, then gather it together with both hands. 4. Under cover of silk open snaps then push bag as though to turn it inside out forcing dove out and into view, Figure 180.

Silken bombshell

27

MARCONICK This is the first of four original opening silk effects created by the Dutch magician Marconick and distributed in the United States by Louis Tannen. * Effect Performer enters, holding an open mesh plastic basket full of solid colored silks. He removes several, then tosses the basket into the air. The silks vanish, Figure 188. Required: A hinged plastic vegetable basket with two handles, Figure 181. A body pull and a retriever cord, Figure 182. A short cloth tape with centers of four 18"silks sewed to one end and a bone ring to the other, Figure 183. Three unprepared 18"silks. Preparation: THE BASKET Open the basket, Figure 181. Place the three unprepared silks in left side "A" of the basket. Pull all *COURTESY TANNENS MAGIC SHOP

corners of the silks thru various openings in the sides of the basket, causing it to appear filled to overflowing, Figure 184. Next load the four prepared silks in the right side "B" (Figure 181) in a similar fashion, pulling all corners thru openings in the sides of the basket. Finally, close the basket, ring end of Figure 183 tape extending outside, Figure 185. THE PULL Remove your coat, snap the end of the pull thru the loop of the "retriever cord" put the pull in place, Figure 186, then replace your coat. Just before you are ready to perform, pull down on the "retriever cord," bringing the snap end of pull into your right palm. Remove "retriever cord," then fasten snap thru ring sticking out of basket. Holding arms close to body, Figure 187,

basket held in right hand with side "B" nearest audience, prepare to enter. Presentation: 8. Enter carrying basket of silks, Figure 187. 9. Advise you will vanish the silks before the spectators' very eyes. 1. 2. 3. 4.

5.

6.

Remove the three unprepared silks, pulling them one at a time thru the holes in the basket. State this method is too slow. Drop two of the silks on a table, then tie the third loosely thru the handles of the basket as if to hold it shut. Holding basket in front of you (Figure 187), count to five, then toss the bosket high into the air (as one throws a basketball), Figure 186. This action pulls the silks out of the basket and up your right sleeve at an amazing speed. Their flight cannot possibly be followed. Catch the falling basket, untie the silk from around the handles, then pass the basket for examination.

Prisoner silk

28 M A R C O N I C K.

Effect: 7. Performer enters, takes two silks from his pocket, then ties them together with a knot. Displaying the knotted silks in one hand, performer

removes a third silk from his pocket and tosses it toward the first two. The third silk visibly becomes imprisoned between the other two, Figure 209. Required: Three “24" silks (one each red, yellow, and blue), and a length of thin but strong transparent catgut or nylon thread. Preparation; First, sew the ends of a length of catgut to the yellow silk as shown in Figure 189. When diagonal corners "A" and "B" are pulled to stretch the silk taut, the catgut becomes taut. Then be single knots in corners "A" and “B" directly over the ends of the catgut, Figure 190. Now prepare the silk as follows, being careful never to twist the catgut loop. 1. 2. 3. 4.

5. 6.

Fold the yellow silk diagonally catgut to bottom, Figure 191. Fold corners "A" and "B" in 3 ½" toward the center, Figure 192. Fold the sides in again resulting in Figure 193. Now fold the silks in half, right to left, Figure 194, forming a long strip of silk A" wide. Without disturbing the folded silk strip, open or separate the catgut loop, Figure 195. Starting at top corner "X", roll- fold (Fig. |96) the long strip until it becomes a 3" x 4" packet, Figure 197.

7.

8.

9. 10.

Now tie the blue silk to the bottom loop of the catgut at point "Y" with a single knot, leaving 2" of the blue corner above the knot, Figure 198. Starting at bottom corner (diagonally opposite corners tied to thread) of blue silk, " roll-fold " the silk upward into a packet, similar to the yellow one, Figure 199. Place a postcard or a letter in your inside coat pocket, Figure 200. This acts as a divider or partition. Taking the folded yellow silk in one hand and

the blue in the other and being careful not to twist the catgut loop, place both silks in the divided pocket (Figure 200), one on each side of the card, Figure 201. Knot up, the blue silk is next to the body. 11. Carefully tuck the catgut loop down between the card and blue silk. 12. "Roll - fold" the red silk and place it in the outside breast pocket of your coat, Figure 200.

Presentation: 1. Enter, show hands empty, then reach into inside coat pocket with left hand and bring out the rolled blue silk, fingers hiding knot. 2. Allow silk to unroll and fall into view. 3. Transfer silk to right hand, knot still hidden from view, figure 202. 4. Take red silk from outside breast coat pocket with left hand. Allow silk to unroll so it is held by top corner. 5. Display red silk in left, blue in right, Figure 203. 6. Pretend to join the top red and blue corners with a single knot. Instead, tie the red corner around the tip of the blue corner and

the single strand of catgut on the right, Figures 204 -207,

7. 8.

9.

10.

11.

Show the Figure 207 knot. Now take the diagonally opposite corner of the red silk in your right hand, drop the knot, then display the two silks, Figure 208. Place your left foot on the lower tip of the blue silk, Fig. 208. Remove the folded yellow silk from your inside coat pocket with your left hand. Display the silk, still folded, and

12.

13.

held within a foot of the knot(s) in the other two silks. Now toss the yellow silk toward the knot(s). At the same time pull upward on the red silk with the right hand. The two knotted silks part, the red knot slides up the thread, the yellow Silk opens out quickly and becomes knotted (?) between the other two, Figure 209.

TAMNEN VERSION * Lou Tannen places the yellow silk in his shirt pocket (vest pocket if a vest is worn). This eliminates need for a card to separate the silks (Figure 200) and the possibility of the catgut strands becoming twisted. AS an added precaution, Lou fastens a small pin to his shirt (or vest) over which he hangs one of the catgut strands, Figure 210.

*COURTESY LOUIS TENNEN

Flying silks

20 MARCONICK

Effect: Two silks knotted together defy the law of gravity, rise from performers hands, and float upwards, Figure 222.

Required: Two 18" silks (a red and a prepared blue"); a flexible wire gimmick, Figure 211. Preparation: Construct a gimmick about 18" long from a piece of strong but soft copper wire, Figure 211. Fold the blue silk diagonally, then sew it as shown in Figure 212. Insert ring or loop end of gimmick thru opening "Y" and allow it to come out at "X", Figure 213. Now pull corner "X" up thru ring, Figure 214, then force the ring down over the outside of the silk as far as it will go (about 6"), Figure 215.

Place the red and blue silks (coil end of gimmick down) in your inside coat pocket (or if you prefer, on your table).

Presentation: 1. Enter and take the silks from your pocket, red silk in right hand, prepared blue in left (ring hidden by fingers), Figure 216. 2. Place red silk in front of blue take both silks in left hand, Fig. 217. 3. With the free right hand tie the two top corners together with a single knot. (The ring of the gimmick becomes part of the knot.) 4. Holding the knot between the right thumb and first finger, run the left hand down the silks. This action removes any slight bends there may be in the wire. 5. As left hand reaches bottom of silts secretly insert left thumb into coil end of gimmick, Fig. 218. 6. Pretend to balance the silks upright on the left palm, then release knot held by right hand, Fig. 219.

7. 8. 9. 10.

11.

12.

Now extend thumb upwards and lower fingers, creating illusion that silks float above your left hand, figure 220. Lower right hand and "cup" hands around silks, Figure 221. Move hands upward," fluttering" the fingers, causing the silks to rise and vibrate, seemingly coming to life, Figure 222. When silks are high in the air, take a side of a silk in each hand, move hands apart slightly so silks separate just below the knot, then pull silks downward to Figure 221 position. Continue routine as desired. Silks could float upward again, to the left, to the right then back down up again, this time going around above your head (as you turn completely around), etc. To conclude, bring silks back to Figure 218 position, fold silks (and gimmick) into a loose bundle, then place them in your pocket or on a table.

NOTE: The bare mechanics of the effect are given. Experiment in front of a mirror to develop an effective routine of various moves.

Fountain of silks

30 MARCONICK

Effect: Performer causes a "fountain of silks "to materialize from the center of a silk draped over his right hand, Fig.237 Required: Four 12"silks of different colors, on 18"silk, and a fake constructed from a 1½ "ping pong ball (Fig. 223-224), Preparation: With a sharp knife cutaway the top of a ping pong ball to obtain on opening 1 "in diameter, Figure 223, then cut a small "X" in the bottom of the ball, Figure 224. Pass a corner of the silk thru the openings in the ball, Figure 225. Tie a small knot in the tip of the silk, then pull the knot down inside of the ball, Figure 226. Place the 4 -12"silks in a pile, one on top of the other, pin wheel fashion, Figure 227. Form the left hand into a loose Fist, drape the assembled silks over it, then push a rather shallow well into the center of the silks, Figure 228. Starting with corner "A" (Figure 227), trap-fold (Page 34, Volume 1) the top silk, placing "A" in the well, then " B ", "C" etc. Continue clockwise until all of the corners are in the center of the silks. (If preferred, the trap-fold bundle con be prepared by laying the pile of silks on a table, then folded while still there.) Now force the bundle of silks into the opening in the pingpong ball, Figure 229, where it is held until needed later (Figure 230). When ready to perform take the loaded ball and 18" silk in the left hand as shown in Figure 231.

Presentation: 1. Enter, 18" silk in view, Figure 231. 2. Take corner "A" in your right hand, Fig. 232, and show 18’ silk on both sides.

3.

4.

5.

6.

7.

Drop corner "A", then place back of right hand against center of 18" silk, Figure 233. Push center of 18" silk forward and upward. At the same time lower your left hand and turn palm up, Figure 234. Lower right hand, palm down, then thru the center of the 18" silk pull the 12 "silks out of the palmed ball. Fig. 235. Pinch the load thru the 18"silk, turn right hand over again, palm up, and move it forward, Figure 236. Release the pressure on the bundle of 12" silks very slowly, at the time shaking or rocking the right hand back and forth.

8.

9.

10.

11.

As you do, silks will slowly unfold, one by one, as they come into view, Figure 237. When the last 12" silk has appeared, transfer them and the 18" silk to the left hand, which still palms the ball. Take the 12" silks back into the right hand one at a time, 18" silk and ball remaining in left, (Figure 231). Bow, then lay silks (and ball) aside.

VARIATION: If 12" silks are not to be used in another effect, it is desirable to sew their centers together tightly at "X", Figure 221. Also a small bead sewed to their centers (Figure 238) mates it easier to pull the load from the ball (Figure 235).

Fetsch openers *

31

Hen Fetsch considered the following three effects the best of his "opening" silk creations. He gave these to me for this chapter several years before his untimely death. * Courtesy silk king studios

Lightning production

32 HEN FETSCH

Effect: As performer extends his empty hands forward a appears at the fingertips of each hand, Fig. 246.

24" silk

Required: Two 24" silks; a gimmick made from two ½ bone rings and a length OF strong nylon thread, Figure 239. Preparation: Tie the silks to the rings with single knots, Figure 240. Accordion pleat each silk to within 9" of the rings, Figure 241. Then wind the remaining silk around the folds, Figure 242. Finally, place a rolled silk under each armpit. Allow the connecting thread to hang loosely across the front of your coat, Figure 243. Presentation: 1. Enter, your left thumb hooked under the thread, Figure 244. 2. Bow, and hook right thumb under thread. 3. Raise hands, turn palms to audience, and show hands empty, Figure 245. 4. Move hands forward and slightly apart, bringing silks into sudden view. 5. A silk appears in each hand, Figure 246.

Curtain to finale

33 HEN FETCH

Effect: Performer produces two feather bouquets and a 36" picture silk from an empty cone, Figure 256. Required: Two feather bouquets and a sleeve holder a 36" butterfly silk; a sheet of newspaper.

Preparation: Tie (or sew) the top corners of the silk to the rings of the feather bouquets, Figure 247. Place bouquet "A" on top of "B", Figure 248. Now accordion pleat the silk into a 3" x 36"strip, Figure 149, then, a packet about 3"x 3" Figure 250. Place the packet above the rings, then bind the silk and bouquets together with a strip of tissue paper, Figure 251. Place the bouquets and silks in a holder

in your left sleeve, Figure 252. The newspaper rests on a table.

Presentation: 1. Enter, pick up paper, show it on both sides, then form it into a large cone with the right hand, left assisting. 2. Insert left hand in cone as it is formed, Figure 253, raising left sleeve as you do. 3. Grip rings of bouquets thru cone with fingers of right hand, then withdraw left arm, leaving load in cone, Figure 254. 4. Holding cone upright, tear away its tip, exposing the two rings, Figure 255. 5. Take a ring in each hand, twirl cone to cause it to unroll and as paper falls to floor, produce bouquets and butterfly silk, Fig. 256.

Grand poppers

34

HEN

FETSCH

A Christopher-Fetsch idea titled "Popper" appeared in an early issue of the PHOENIX. Briefly, a folded silk is hidden in the crook of the performers right arm, Figure 257. When he extends his arm forward sharply, the silk ball is thrown straight up into the air, Figure 258, where it is caught at the performers fingertips as it unfolds, Figure 259. Following careful practice and with correct timing, this simple effect becomes a miracle! The following are silk effects Hen developed, each employing the" popper" principle. The only variation is in the fold used for a particular effect. If the silk is to appear at the fingertips as though caught in mid air, the Trap-Fold (Page 34, Vol. 1) is used. The looser the fold, the quicker the silk will unfold when tossed into the air. In effects where the silk must remain folded until produced from the hand (rather than the air), the Coil - Fold (Page 35 Volume 1") is employed. The variation of fold to be used is left to the discretion of the performer.

(1) POPPER SILK In " Popper "the silk ball is caught in the air at the finger tips of the right hand (Figures 257-259). To some it is more deceptive to catch the silk with the left after released from the crook of the right (as in effect Mo. 2 of this Chapter). (2) THREE SILK POPPER Effect: Three 15" silks are produced from the air. Preparation-. Fold two silks, then place them in the creases of your coat at the crooks of the left and right arms. Wrap the third silk around a large thumb tip and palm it in the left hand. Presentation -. 1. Enter with the lit cigarette between your lips. 2. Produce silk hidden in right arm (Figures 258 - 259), then tuck it in your right coat pocket. 3. Retaining a puff of smoke, place cigarette in thumb tip, then steal tip on right thumb, leaving silk in left hand. 4. Blow smoke on closed left fist, open fist, and produce silk, cigarette having vanished. 5. Tuck silk in right coat pocket. 6. Now obtain third silk from left sleeve ala "popper" method. 7. Add silk to first two, show hands empty, and bow to applause.

NOTE: For a deluxe routine, go into Blendo after the three silks are produced. Of the Blendo methods given in Chapter 19, Blending of the Colors (Pages 1186-87) and John Booth Blendo (Pages 1195 96) are recommended for use here.

(3) POPPER

BLENDO

Effect: Three 12" silks change into a 36" art silk. Preparation: Tie three 12 "silks in a chain, fold (Accordion-Fold, Pages 51 - 52, Volume 1) and conceal them in the crook of your right arm. Figure 257. Trap or Coil-Fold a 36"picture silk and conceal it m the crook of your left arm.

Presentation: 1. Enter with cigarette between your lips. 2. Produce the string of 12" silks, ala "popper" method. 3. Taking silks between hands, roll them into a ball. 4. Pretend to take ball of silks in left hand, actually retaining it in your right, Figures 80-85, Page 1339. 5. Take cigarette from lips with your right hand. 6. Blow smoke on closed left fist. 7. Produce 36” silk in left hand ala" popper" method. The 12" silks have changed (?) into a 36" square!

(4) POPPER COLOR CHANGE Effect: A blue silk changes to red. Preparation: Fold a red and blue 12 " silk. Place the blue in the crook of the left arm and the red in the right. Presentation: 1. Produce the blue silk ala "popper "method. 2. Roll silk between hands and pretend to take it in the right hand, actually retaining it in your left, figures 80-85, Page 1339. 3. Reach into the air with right hand (ala' popper' method) and obtain red silk. 4. Display silk. It appears that the blue silk changes to red.

(5) POPPER EXPANDING SILK Effect: An 18" picture silk is produced then changes (expands) to a full 36". Method: The effect employs the same method as that given for POPPER COLOR CHANGE.

(6) POPPER CARD SILK Effect. A picture of a card selected appears on an 18 "silk. Required: A forcing deck; an 18" card silk to match; an 18"blank cord silk. Preparation: Coil-Fold the card silk and place it in the crook of your right arm. Presentation: 1. Force the card that matches the hidden card silk 2. Show blank card silk. 3. Roll silk between hands and pretend to take it in the right hand, actually retaining it in the left, Figures 80-85, Page 1339. 4. Obtain card silk, ala "popper" method. 5. Open silt and show picture of selected (forced) card. (7) POPPER CIGARETTE TO SILK Effect: A cigarette changes to a silk. Preparation: Fold the silk and place it in the crook of the left arm. Place thumb tip on right thumb. Presentation: 1. Enter, smoking cigarette. 2. Show hands empty.

a

3. 4. 5. 6. 7.

Place left thumb in left fist, leaving thumb-tip therein. Place cigarette in thumb tip. Steal tip on right thumb. Obtain silk ala "popper " method. Open left hand and show cigarette has changed to a silk. (8) POPPER FLASH SILK

Effect: A silk is produced from a flash of fire. Preparation: Trap- Fold a 36"silk and place it in the crook of your left arm. Roll a sheet of flash paper into a small ball and palm it under your left thumb. Presentation: 1. Enter smoking cigarette. 2. Take the cigarette in your right hand. 3. Lgnite the flash paper tossing it into the air 4. Produce the 36" silk at left fingertips (from flame) ala "popper" method. (9) POPPER SILK TO FLOWERS Effect: A silk produced then tossed into the air changes into a bouquet of Flowers. Preparation: Place a folded 18"silk in the crooke of the left arm and a compressed spring flower bouquet in the right.

Presentation: 2. Produce the silk with left hand ala "popper" method. 3. Roll silk between hands and pretend to take it in the right Hand, actually retaining it in the left, Figures 80-85,Page 1339. 4. Produce flower bouquet with right hand ala "popper" method. It appears that silk changes to flowers. 1.

Transfer flowers to left hand and place flowers and palmed silk aside as you bow to audience.

Cigarette and holden to silk SAM

Effect; A cigarette and holder change to a Figure 270. Required: A prepared 15" silk containing a gimmicked cigarette holder, Figure 264 Attach a 1" length of catgut or nylon thread to the mouthpiece of the holder, Figure 260. Now slip a 3" length of painted metal tubing (flanged in at one end) over the

35 BEPLAND

holder, Figure 261. The tube will slide freely back and forth along the holder, Figure 262. Place a cigarette in the holder and tie the free end of the catgut into a 2" loop, Figure 263. Finally, place the gimmicked holder in a silk, which is folded diagonally, and sew at the points indicated in Figure 264. Preparation: Place the left thumb thru the catgut loop, Figure 265. Now pull the mouthpiece of the holder thru opening "A" of the prepared silk, Figure 266, then gather the

silk along the holder until end of cigarette passes thru diagonal corner "B", Figure 267. Continue to gather the silk along the holder and cigarette until it is tightly pleated together, Figure 268. Finally, accordion pleat the resulting compressed strip of silk into a small packet, and tuck it in the left hand, Figure 269. Presentation: 1. Enter smoking cigarette in holder, (held in left hand) Figure 269. 2. Remove holder from mouth, retaining puff of smoke. 3. Blow smoke at ignited end of cigarette. 4. With a downward motion drop holder, cigarette, and palmed silk. 5. Cigarette and holder go inside of silk, as it appears, Figure 270. NOTE: The silk should be used in the next effect to justify its appearance. Either produce coins cigarettes, or billiard balls from it, or use it as part of a Blendo or Sympathetic Silk effect. (Also see Pages 365-74, Vol. 1.)

Jap Hank Box Introduction

1

Neither the exact origin nor the originator of the Jap Hank Box has been determined. However, in 1937, Glenn Gravatt disclosed in his book JAP BOX TRICKS that the effect appeared in the early catalogs of Le Roy, Mart in ka, Roterberg, and Hornmann. In this chapter I will give you an early conception of the effect. Then 1 will treat the several types of boxes currently available. Finally, I will explain a number of choice routines employing a Jap Honk Box*.

The new Inexhaustible Box

2

ELLIS STANYON Stanyon's 1911 explanation of the box known today as the Jap Hank Box was among the first to appear in print. Effect: From an empty box with removable bottom and no top performer produces a quantity of silks. The Secret: No sleights are employed in this self-contained effect. A 5"x 8"x 5½” mahogany box, Figure 1, has a removable bottom or troy and a secret compartment in one of its sides. A hinged flap keeps the load hidden in the secret compartment, Figure 1. A hole in the bottom, Figure 3, permits performer to manipulate the flap with a finger. *SEE FOOTNOTE – PAGE 1542

Preparation: Fold singularly a quantity of silks of desirable size and place them in the secret comportment. Close the flop and place the box on a table, flap side down so the compartment will remain closed, Figure 4. Presentation: 1. Pick up the box with right thumb and first finger, and the bottom with the left fingers, Figure 5. 2. Display the apparatus, then set the box on its base, secretly inserting left middle finger in hole in tray, Figure 6.

3. Release right hand grip on flap, shifting control of this compartment to the left middle finger inside box which now holds flap closed. (By raising or lowering fingers, trap door will open or close. Always hold trap side nearest you when opening or closing the flap, Figure 7.) 4. Release flap, and silks will expand and fill box. 5. Produce the silks one at a time with free right hand. Lay silks aside. 6. Close the flap with the left finger, take box in right hand, and show box and its base, Figure 5.

Current models

1. 2. 3. 4.

The Jap Box is currently available in four styles: Standard Single Flap Standard Double Flap Locked Single Flap Locked Double Flap

3

Early models, designed as a production box had a quantity of silks held in a hollow side by a hinged flap, Figure 2. To increase the size of the load, later models had two hollow sides. These models had two flaps and two holes in the base, Figure 8. Either model is available today. In 1932 Floyd Thayer placed a spring catch in the top edge or molding of the hollow side, which "locked " the flap in place until released. Two catches were used for the double flop models. With the lock feature the box could be handled freely without fear of the flap opening prematurely. The style of spring catch employed varies with the manufacturer. Figure 9 shows the type used by Owen Brothers of California.

Do it yourself box* L E N

4 A

B E L C H E R

To construct a Jap Box, obtain some “ ¼ " square strips and some 5 'wide and “1/16 " thick lengths of balsa wood. Then proceed as follows: To make the sides of the box, cut two pieces of wood 5"x 7"x 1/16", Figure 10. 2. Now glue “1/4” square strips along the edges of the sides, Figure 11. 3. To make the ends of the box, cut two pieces 5"x 6" x 1/16". 4. Glue the ends to the sides, Figure 12. 5. Now glue '1/4" square strips along the edges of the ends, Figure 13. 6. Cut two panels to fit inside of each end, then glue them in place, Figure 14. 7. Now for the flaps that ore to be hinged to each side to form the load chambers. Cut two 1/16" thick panels the same length as the inside of the box, but 1/16" shorter in depth. 8. Glue a strip of 3/4"wide strong cloth tape along one long edge of each flap, Figure 15. 9. Next glue the flaps in place so that their top edges are flush with the top of the box, Figure 16. 10. Now glue 3/8"wide and 1/8" thick strips (fillets) on the top and bottom edges of the box. These strips hide the tape hinges and the edges of the flaps. 11. A simple "push pull locking device can be added. Merely push a pin thru center of the top strip over each flap. Then bend the pointed ends of the pins to form right angles, Figure 17. 1.

*COURTESY ABRACADABRA

Finally the bottom. Cut a panel 1/2 longer and wider than the box. Drill two finger holes in the panel. Then glue four 1/4" x 1/4 strips on the edges, Figure 18. 13. Paint or stain the box inside and out. 12.

NOTE: Some performers glue 1/4" x 1/4" strips near the inside edges of the flaps to give them additional reinforcement, Figure 19.

Devants Routin

5 D A V I D

D E Y A N T

Effect: A silk, produced from an empty box, vanishes when returned to box. Production and vanish are repeated several times. Then silk travels to performers empty pocket. Placed back in box, silk multiplies, filling box to over flowing. Required: A single flap Jap Box, Figure 20, and a quantity of silks of assorted Sizes, colors, and designs.

Preparation: Place an 18” red silk in compartment "A", Figure 22, then close the flap, Figure 20. Trap or Clock- Fold the remaining silks (Pages 46-50, Volume 1), the outside silk being red. Place the silk bundle in the top of the left trouser pocket, Figure 357, Page 514, Volume 1. Presentation: 1. Pick up box and its base and show both freely, Figure 5. 2. Assemble apparatus, taking it in left hand, then insert middle finger thru the hole in the base, Fig. 6. 3. Allow flap to open Figures 7 and 22, reach into box, and produce red silk. 4. Shake silk, toss it into air, and catch it as it falls. 5. Drop silk between flap and secret compartment, Fig. 22, then close flap, Figure 20. 6. Disassemble box and show it empty, Figure 5. 7. Repeat steps 1 thru 5 several times. 8. Now show left trouser pocket empty, Figure 359, Page 515, Volume 1.

14. Show silk has vanished from box, Figure 5. 15. Reach into left trouser pocket and produce red silk (bundle). Palm most of the bundle so it appears to be just the red silk, Figure 25. 9. Display silk (bundle) quietly, then drop it into box. 10. Reach into box, release load, then produces red silk, leaving other silks behind. 11. Display silk, start to drop it into box (as though to vanish it again), then lay it aside on table instead. 12. Produce silks, one at a time, and place them on the table.

13. Show box empty, Fig. 4

NOTE: If a second production such as a mammoth 6’art silk, is desired, prior to performing fold and hide the large silk on the body, Chapter 4 or 6,Vol. 1. After the last silk is produced from the box, pick up the silks from the table as you place the box aside. Carelessly (?) drop a silk to the floor. Stoop to pick up the silk, steal the body load (Chapter 4 or 6, Volume 1), and develop the large silk as a finale.

Holmes Production

6

D O N A L D H O L M E S As the routines are similar, Holmes' effect probably was influenced by the earlier Devant version. Effect: A silk found in an empty box vanishes, appears in the performer's pocket, vanishes then reappears in the box. Silk vanishes again and is found in a glass of milk. Silk is placed back in box, and then withdrawn, is found knotted to the end of a string of silks of assorted colors. Required: A single flap Jap Box, Figure 20; 4 -18"red silks; 10-18" silks of assorted colors; a Hank Pedestal, Page 455, Volume 1; a faked glass, Figure 26, a pitcher of milk. Preparation: Place a red silk in compartment "A", Figure 22. Then close the flap, Figure 20. Trap-fold (Page 34, Volume 1) a red silk and place it in the base of the pedestal. Trap-fold another red silk and place it in the top of the left trouser pocket, Figure 357, page 514, Volume 1. Knot the remaining red and the 10 -18 " silks at diagonal corners. Accordion Foid (Page 51. Volume 1) the string of silks, the outside silk being the red one. Place the silk bundle under the left side of your vest. Presentation: 1. Present the first 9 steps of Effect No.5. 2. Produce the vanished silk from the (top of) left trouser pocket.

3. 4. 5. 6. 7. 8. 9. 10. 11.

12. 13. 14. 15. 16. 17.

Fold silk and replace it in the (top of) left trouser pocket. Open flap (Fig.22) and produce silk from box. Show left trouser pocket empty (Figure 359, Page 515, Volume 1). Place box and silk aside, then take glass from pedestal and show it. Pour milk in outer chamber of glass. Return glass to pedestal. Secretly force silk from pedestal base into glass, Page 455, Volume 1. Pick up box again, drop silk inside (Compartment "A", Figure 22), then show silk has vanished, Figure 5. Assemble box; hold it in left hand (this time using thumb to hold flap closed) and close to your body, Figure 27. Show right hand empty, then produce silk from glass of milk, Figure 28. At the same time bring box against body and steal vested load with the free left fingers, Figure 29. (Thumb holds flap closed. ) Hold load against outside of box as you bring left hand slightly forward and away from body, Figure 30. After displaying silk produced from milk, drop it over the hidden load behind box, Figure 31. Pick up glass with free hand and drink, milk. Now turn left hand to bring red silk (and hidden load) into view as you set glass back on pedestal. Take red silk (and load) in right hand and toss it (and load) into box. Reach into box as though to remove red silk again. Instead, release load and produce string of silks, Figure 32. If you wish to show box empty again, hide red silk that remains

in box behind flap “A” Figures 20 and 22.

Marinos Hank Box Routine* 7 EDWAKD

MARINO

Nearly fifteen years ago Ed. Morino gave me his routine for this volume. It has appeared in print since then. However, I do not feel it has ever been adequately explained or illustrated for the reader to fully appreciate this wonderful "sucker "routine. Effect: After causing a silk to pass back and forth between a box and his pocket in a manner which does not appear to be a mystery to the audience, performer repeats the routine in a lightning - like manner that fools everyone! Required: A single flap Jap Box, Figure 20, and 2-18"red silks.

Preparation: Place one silk in compartment "A", Figure 22, then close the flap, Figure 20. Put the other silk in your right trouser pocket. Presentation: 1. Display box, Figure 5, assemble it, then hold it in your left hand. 2. Explain that you will

1.

3.

need a silk for the effect, which you will place in your pocket. (Reach into air with obviously empty right hand, catch an "invisible" silk, form hand into a fist, and place hand in right trouser pocket, Figure 33. Do not show pocket empty before you do so. ) Now state that you will cause the silk to pass from the pocket to the box. Demonstrating, remove right fist from pocket and quickly place the closed hand in the box, Figure 34. (Spectators laugh knowingly, for they believe you used this crude move to get a pocketed silk into the box.) 3.

4.

5.

Disregarding laughter, open fist and remove hand from box, Figure 35. Now make" magic passes" between pocket and box with open right hand. Laughter increases. Thus far they haven't (?} been fooled. Release flap "A", Figure 21, and with apparent triumph, produce silk, from box, Figure 36. Say," Oh, what a wonderful trick! (Spectators aren't impressed.)

1.

10.

11. 12.

13.

14.

15.

16.

7.

8.

9.

State it is even more difficult to pass the silk back into your pocket. Place silk and hand back in box, Figure 34. Secretly place silk behind flap, Figure 22, then close it, Figure 20. Hand remains in box. Now for the difficult (?) pass of silk from box to packet. Close fist, then remove closed hand from box, Figure 37. Spectators cry, it’s in your hand. " Apparently trapped, put closed hand back in box, Figure 34, then bring it out, open it, and snow hand empty, Figure 35. They shout, "You left it in the box!" Put hand back in box, Figure 34, close fist, bring out closed hand Figure 37, and without comment quickly shove closed fist in pocket, Figure 33. Now, with a sigh of relief, tip box to show it empty, right hand still in pocket.

Say, "No, here it is back in my pocket." Remove silk and show it, Figure 36. Although you haven't impressed the audience, register delight in what you consider a deep mystery, skillfully performed. Now become generous (?) and state you will show the spectators how it was done. This brings more laughter, but proceed. Patter, " The box really has nothing to do with

the trick. Any wooden box will do. The secret is in the handkerchief. You must obtain one made of pure silk, any color, just so it is red. Roll the hank into a ball, put it in your trouser pocket, and you are ready to perform the mystery. 17. Now go thru the entire routine again. Very slowly, explaining each detail, as though letting the audience in on a deep dark secret. However, m this repeat performance actually use the silk from your trouser pocket and the crude method the spectators thought you used the first time. (The other silk remains in compartment "A", Figure 20, and is never disturbed at any time during this "explanation " bit.) 18. At the conclusion of your "explanation "you are where you first started --one silk behind flap and the other in your right pocket. Spectators are now convinced that you have but one silk and an ordinary box. 19. Now for the real finish. State "When performing one must do everything quickly or the audience will learn your secret. Now, watch me closely! " 20.

Starting in Figure 33 position, bring closed fist out of right pocket, make a tossing motion toward the box without coming anywhere near it, Figure 39, open hand, drop flap "A", reach into box with open hand, and produce silk, Figure 36. Continuing with the same rapid speed. Return silk to box and behind flap, close flap, bring closed fist From box, make a tossing motion toward

pocket without coming near it, Figure 39, open hand , reach in pocket, and produce silk, Fig.38. 21. Show box empty and bow to well deserve applause!!! NOTE: If desired, the "explanation" bit may be shortened by stopping at the point where you put the silk from pocket in box. Fold silk and openly place it bock in the pocket as you present the balance of the routine, Steps 19-21. VARlATION Some performers may prefer to have one red silk in view on a table instead of in the pocket at the beginning of the Marino routine. If so, openly pick up silk and place it in your pocket at Step 2. Then continue as explained. In this version it appears even more obvious to the spectator that the silk is stolen from the pocket and placed in the box.

Wright’s Radio Box

8

L A R S E N A N D W R I G H T The following routine is the combined efforts of T. Page Wright and William Larsen. Effect: Performer shows an advanced electronic device resembling a radio that transmits and receives objects. In the demonstration to follow a silk handkerchief materializes, passes in and out of the box thru a hole in its base, changes size and color, vanishes and reappears at the performers command.

Required: A single flap Jap Box; 2-18" (red and yellow) silks, and a 12" (red) silk. If desired the box may be decorated to resemble a radio. Preparation: Load the 18" red silk behind flap "A", Figure 10. Trap- Fold (Page 34, Volume 1) the 18"yellow silk and place it in the upper corner of your right trouser pocket (Figure 80, Page 86,Volume 1). Put the 12" red silk in your left trouser pocket. Presentation: 1. Potter about the supernatural powers of the electronic device in your possession. Caution the audience that the box is so supersensitive the slightest interference upsets its delicate mechanism and you then lose control of its actions. Under such conditions anything could happen! 2. Display the box, Figure 5, calling attention to the "sending and receiving" hole in its base. Assemble box and hold it in your left hand, Fig.6. 3. Tune in set to receive an object. (Release flap, Figure 7.) "Ah! A silk handkerchief. " (Produce 18" red silk. Figure 36.) 4. Explain that box can also transmit. Drape silk over box and show right trouser pocket empty (Figure 81, Page 86 , Volume 1 ). 5. Drop 18" red silk behind flap "A", Figure 22, close flap, Figure 20, and disassemble box, Figure 5, to show silk has vanished. 6. Reassemble box, take it in your right hand, then pull a corner of the 12"red silk (from left pocket) into view. As you showed right, not left pocket empty audience laughs. 7. Acknowledge your mistake (?), but caution audience that the vibrations of their laughter

2.

8. 9. 10.

11.

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can throw the delicate instrument off. Put corner of 12" red silk back into the left pocket (and into its upper corner, Figure 357, Page 514, Volume 1). Now to "send" the silk back into box. Show left pocket empty (Figure 359,Page 515, Volume 1). Silk has gone. Look into box but don't show it inside. "Yes, it is (?) back again. " Mow to transmit it to the right pocket. Make magic pass, Figure 39. To prove silk left box, show it empty, Figure 5. (This brings more laughter, as box was never shown to contain silk at step 10.) Reach into right pocket and produce yellow silk. More laughter. Explain that constant laughter has “completely ruined” your wonderful experiment and' silence is necessary" if you are to set things right. Furthermore, as the mechanism no longer operates correctly, it will be necessary to proceed manually. Take the yellow silk, and pass it up into the box thru the hole in its base, Figure 40. (Allow flap to fall open.)

3. Reach into top of box to remove yellow silk. Now it is red, Figure 41!

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(Yellow silk, is between open flap and base, Figure 42.) Tuck, part of red silk back in box and look, pulled. Now pull part of yellow down thru hole in base, Figure 43."Things are really fouled up!" Push balance of red back into box; remove yellow Silk thru bottom, close flap, and show box empty again. Ask audience to be calm (who is upset ???), to cooperate, to be sympathetic and you will try once again. Show left pocket empty. Open flap; drop yellow silk, into box (and compartment "A"). Close flap, and show silk gone, box empty, Figure 5. " Success!"

14. Reach into left pocket and pull part of 12"red Silk into view. "Ah, the silk is red again. " 15. Tuck silk into pocket. Now to pass it backs into the box. 16. Reach into box, release flap, and pull part of 18" red silk, into view. Stop production and reach into left pocket to show it empty. 17. Pull out part of 12" red silk again, Figure 44. 18. Amazed, stop to study the situation. Then pull all of the 12" red from pocket and say, "Ah.' Only part of the red silk passed into the box." 19. Tuck 12" red silk back into upper corner of left

1.

pocket, show pocket empty, then pull full 18"red from box. Show box empty. VARIATION: As a different finish, after Step 24 allows flop to fall open, look into box discover; then produce the yellow silk. Say " Look! My electronic box was operating properly after all. I tuned in the wrong beam at the beginning and received two silks instead of one a red, and a yellow. "(5 now two silks, then empty box.)

Medley Of Surprises *

9

GLENN GRAVATT

Effect: A green silk produced from an empty box passes to performer’s pocket, then bock into the box. Passed back to the pocket, the green silk changes to red, then passes back to box again. Now performer admits he is using two silks, a red and a green. These are knotted together, then dropped into the box. The red vanishes and reappears in performers pocket. Placed in the box with the green again, the silks multiply, filling box to overflowing. Required: A single flap Jap Box, 6-18"silks (four red, two green); 12-12" Silks of assorted solid colors.

*COURTESY - GENII

Preparation: Trap fold a red and two green silks separately (Page 34, Volume 1), then load them into compartment "A", Figure 22, a green on top of a green and a red, Fig. 45. Trap-Fold another red and place it in the upper corner of the right trouser pocket, Page 86, Volume I. Knot the 11-12" silks into a string, then wrap them in an 18" red, Envelope Accordion - Fold, Pages 54-55,Volume 1. Place the packet in the right coat pocket. Finally tuck the last 18" red silk on top of the packet hidden in your coat pocket.

Presentation: 1. Show box, Figure 5. Assemble box and hold it in left hand, Figure 6. Allow flap to open, Figure 7. 2. Produce green silk from top of load, Fig. 36 and 45. 3. Close flap and show box empty, Figure 5. 4. Drape green silk over top edge of box, Fig. 46. 5. Show right trouser pocket empty, then secretly push red silk to bottom of pocket, Page 86, Volume 1. 6. Ball green silk and place it in (top of) empty (?) pocket, Page 86, Volume 1. 7. Now pass (?) green silk from pocket to box. 8. Release flap and produce (second) green silk,

Figures 36 and 45. 16. Close flap and show box empty, Figure 5. 17. Now stole you will pass green silk back into pocket. 18. Open flap, fold green silk, place it in compartment, then close flap. Show box empty. 19. Looking at audience (rather than pocket), reach into right pocket and produce red silk. 20. Hearing laughter, glance at silk and notice it is red. Appear amazed, then regain composure. Drape red silk over box, Figure 46,and explain the color of the silk is immaterial.

9. Show right pocket empty, then secretly push green silk to bottom of pocket, Page 86, Vol. 1. 10. Ball red silk and place it in (top of) empty (?) pocket, Page 86, Volume 1. 11. Show box empty, Figure 5, release flap, produce red silk from compartment, close flap, then drape silk over edge of box, Fig. 46. 12. Now sheepishly admit you ore using two silks -- two red ones. 13. Reach into pocket for red silk, but remove a green one. The plot thickens. 14. Show box empty again. 15. Ask a spectator to join the red and green silks with a light knot.

26. While this is being done, tilt mouth of box toward you, open flap half way, and secretly transfer green silk from compartment to the bottom of the box, Figure 47. Leave flap open, but bring box upright again. 27. Take knotted silks from spectator and drop them in box (compartment), Figure 48,and close flap. 28. Remove bottom, and show single green silk resting on the base, Figure 49. 29. Allow green silk to fall to floor as you show box empty, Figure 5. Silks have unknotted and the red silk has vanished.

21. Assemble box and take it in your left hand, Figure 6. Pick up green silk and drop it in the box. 22. 'Where is the red silk? Here in my coat pocket!" Reach into your coat pocket, palm load, and bring it out under cover of the open red silk, which has been resting over it, Figure 50. 23. Show red silk and drop it and palmed load into box. 24. Bow as though routine is finished. 25. Notice something in box. Reach in and produce string of silks, Figure 32.

Hanky Panky Routine *

10

L WEBER Herman Weber showed me his famous Hanky Panky "routine nearly twenty years ago. It has been a favorite of mine ever since. HERMAN

Effect: Two 18" silks appear in an empty four-sided box while spinning on the performers wand. The silks are removed and a base added to the empty box. A production follows. A silk passes between the box and performer's pocket several times. Then the empty box becomes full to overflowing and a large production completes the act.

Required: A single flap Jap Box; 3 18" silks (two red and a green); a wand; a 36 "art silk; a strip of tissue paper; 24 large silks of assorted patterns and at least 24 "square, 20-12" solid color silks; a 24"x36" silk flag; a length of black florist wire; a table with black art well. Servante and hollow upright, Figure 51.

•courtesy silk king studios.

Preparation: 3. Trap - Fold a red and a green 18" silk (Page 34, Volume 1), then load them in compartment "A", Figure 22. Place the loaded box on the table, flap to rear, wand holding flap shut, Figure 52. 4. Trap- Fold the remaining 18" red silk and place it in the top of the right trouser pocket, Page 86, Volume 1. 5. Trap- Fold the 36"art silk, twist one end of the florist wire around it, Figure 53, then drop the load in the well about 2"of the other end the wire ex tending above the table, Figure 54.

1. Fold the two dozen large silks into a compact bundle, (Chapter 3, Volume 1) Wrap the strip of tissue around the bundle, then place it on the servante, Figure 55. 2. Form two strings of 12" silks by knotting ten silks at their diagonal corners for each string. The silk at the end of one string is red. Tuck the string in the upright of the table, the silk at the top being the red one, Figure 56. Accordion -pleat the other string

of silks (Pages 51-52, Volume 1), then place the bundle under the vest, the tip of the end silk protruding, Figure 57. 6. Now fold the flag and tuck it under the right Side of your vest, Figure 57. 7. Finally, place base on table next to loaded box. Presentation: 1. Pick up box, wand inside and pressed against flap. Show box empty. 2. Holding an end of wand in each hand, spin box on wand. 3. As box stops spinning the side opposite the flap comes to rest on the wand and flap opens, releasing silks, which pop into view, Figure 58. 4. Remove the 2-18" silks, close flap, and place Silks, wand, and box on table. 5. Pick up base of box, show it, then place it back on table, flange side down, end of wire passing up thru hole in base, Figure 59. Secretly bend end of wire down against base of box, Fig.60. 6. Take box in left hand and base in right. As base is lifted from table it pulls 36"silk, from

7.

well to back of base, Figure 61. Show box empty, bring it behind base, put it in place, Fig. 62, then turn box and base upright, Figure 63. Set the

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8. 9.

box on the table directly in front of the large load on the servante. Reach in box with hands, break wire, and produce the large 36" silk. Display the silk by draping it over the right arm. At the same time boldly lift the load from the servante with the left hand and drop it into the box, Figure 64.The 36"silk hides this action. Pick up loaded box with the left hand and walk away from table to a chair and lay 36"silk aside. Now some distance away from the table (where load was just obtained), reach into box, break tissue, and produce the 24- silks one at a time but in rapid succession. Lay silks aside.

At this point box is empty again. Place the 18" red silk produced earlier (Step 4) behind flap "A", Figure 20, after showing box empty. Then present portions of one of the routines given earlier in this chapter where a silk passes back and forth between box and trouser pocket. End the routine at the place where silk is supposedly in your pocket and the box is empty. Place box on table so that hole in base is directly over string of silks hidden in the upright. Secretly reach thru hole and pull first silk (red) of string

15. 16.

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up into box but still out of view. Pass (?) red silk from pocket into box. Reach into box with left hand and pull part of red silk of string into view. Spectators believe this to be the red silk just used in the passé - passé routine. Now produce the string of 12" silks, right hand holding box steady, and figure 65. Drape silks loosely in left hand. Pick up box, show it empty, then set it on the left palm and silks, Figure 66. Bring left hand close to body, secretly obtain corner of second string of vested silks, Figure 57, and thread it thru hole in base of box. First string of silks is a perfect cover to hide this steal. Reach into box with right hand and produce second string of silks, Figure67. The load actually comes from the vest, thru the hole in the base, and out the top of the box, Figure 68. Gather second string of silks in loose ball in right hand, Figure 69, then

22.

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24. 25.

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bring them close to body where flag is vested. Using balled string of silks as a cover, steal flag from under vest (Figure 57) with right hand, Pages 60-61, Volume 1. Pass right hand in front of box to drape second string of silks over left forearm. As you do, secretly drop flag into box, Figure 70. Flag loaded in box; show right hand empty, Fig. 71. Take empty (?) box in right hand and lay two strings of silks aside. Show left hand empty. Allow flap to fall, covering flag resting inside box on its base.1 Tip top of open box toward audience so they

28.

29.

can see box is empty (?). Flap hides Flag and appears to be the bottom of the box, Figure 72. Now put Finger thru hole in base and push flap up to close it. Flag suddenly appears, expands and fills the box, Figure 73. Remove flag from box, open it out, and bow to audience.

NOTE: If audience is given a hurried view of the inside of the box at Step. 27, they will not notice that the flap (supposedly the bottom) has no hole in it. However, as an extra precaution, a circle of white paper the same size as the hole can be pasted to the inside of the flap, Figure 74. This adds to the illusion. The Pkantom Silk *

11

E D W A R D J. F A N L E Y Effect: A red silk produced from an empty box changes to blue, back to red then vanishes. Required: A single flap Jap Box; 1 -18" silks (red and blue). Preparation: Trap- Fold the blue silk (Page 34, Volume 1), and wedge it in the bottom of compartment "A", Figure 12. Drop the red silk loosely on top of the blue, then close the flap, Figure 20. Place loaded box and base on the table, Figure 4. Presentation: 1. Display the box and its base, Figure 5. 2. Place box on base. Holding flap closed with

* COURTESY - THAYERS STUDIO OF MAGIC

fore finger, Figure 6, tip box so spectators can see it is still empty. 6. Bring box upright, release flap, Figure 7,and allow it to fall open about one inch. Open and dose flap rapidly until red silk flutters up into view at top of box. 7. Pull red silk from box with right Hand as left finger closes flap. 8. Drape silk over left arm, lift box from base with right show box, then return it to its base. 9. Take silk from left arm by one corner, and with a swirling motion, lower it into the box. (The circular motion forms the silt? into a rope like coil on the bottom of the box.) 10. Now allow flap to fall completely open covering the red silk, and exposing the blue. 11. Reach into box; fully open the blue silk, pushing any exposed portion of the red under the flap covering it. 12. Tip box forward toward audience and produce the blue silk that now fills the box. Give spectators a hurried glimpse of the bottom (actually flap) of the empty (?) box. 3.

4.

5.

Bring box upright, flap still open, and lower blue silk into box (and Compartment "A”) with the some swirling motion. Reach into box, push any exposed portion of blue silk into its compartment, close flap, and fluff up the red silk to fill box. Raise box from its

12. 13. 14. 15.

base with the right hand and show red silk resting on base, Figure 75. Still holding box take red silk from base with two fingers and drape silk over left arm. Show box and base again. Assemble box release flap, and lower red silk with a swirling motion into compartment" A" with blue silk. Close flap, disassemble box and show silk has vanished, Figure 5.

as a utility box

12 H A R O L D

K

R I C E

The Jap Box*is also an excellent piece of utility apparatus. It can be utilized in dozens of effects explained in this and the first two volumes of my encyclopedia. Here are a few suggested uses.

• • • • • • • • •

FOR PRODUCTIONS (Chapter 7, Volume I) FOR VANISHES (Chapter 8, Volume I) FOR TRANSPOSITIONS (Chapter 10, Volume I) FOR PENETRATIONS (Chapter II, Volume II) FOR COLOR CHANGES (Chapters 12 and l3. Vol. II) FOR SILK DYEING (Chapter 14, Volume II) FOR 20th CENTURY EFFECTS (Chapter 17, Volume II), FOR SYMPATHETIC SILKS EFFECTS (Chapter 18, Vol. III) FOR BLENDO EFFECTS (Chapter 19, Volume III)

*see footnote page 1542

Jap Box Disguised

13

A number of pieces of apparatus are merely Jap Boxes in disguise. By decorating the exterior, changing dimensions, adding a top, or altering the construction, Jap Boxes become "new "effects. For example, Irelands "The Dream House* Davenport's "The Demon Goblin Greenhouse", Abbotts " The Castle of Dreams ", Leafs "The Cottage Laundry ", Grant's "The Little Silk House” and Ireland's "A Romance in Silk" incorporate variations of the Jap Box principle. Each of these novel boxes employs a clever routine or a patter story worthy of further consideration.

NOTE: To serve as many of my readers as possible, I used the single –flap box for routines herein. However: inmost instances the double-Hap style can be used to advantage.