I L L U S I O N S E C R E T S

BY

U . F . G R A N T

C O N T E N T S

The Book of L i f e

The Man wit hout a Head

The R a j a h ' s Tent I l l u s i o n

The Human X-Ray

The G i r l i n The B a l l o o n I l l u s i o n

Chen L e e ' s S c r e e n I l l u s i o n

Chen Lee1a Laundry Bag I l l u s i o n

The Dancing S l i p p e r s

Two on a Park Bench

W i t c h ' s Broom and Rope I l l u s i o n

O y e t t e ' s Sawing Through a G i r l

The S e n s a t i o n a l Buss Saw I l l u s i o n

The Big P r o d u c t i o n

The Bes t Pack ing Box Escape

E l e c t r i c L igh t B u l b s Through G i r l .

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THE BOOK OF LIFE.

A Cabinet about s i x f e e t h i g h , two f e e t wide and one f o o t deep made i n t h e form of a book a s on next page i 3 shown- T h i s h a s a f r o n t and r e a r door , a l s o a second door made of a framework c o v e r e d

% w i t h paner t o r e p r e s e n t t h e f i r s t i n s i d e page of a "book. o

s .s H T h e r e i s a l s o a s l i d i ng compartmerrt t h a t s l i d e s f rom t h e i n s i d e % W; of t h e book out a way a t t h e bound edge of t h e book a s shown b y > -J t h e d o t t e d l i n e s t h i 3 compartment r u n s i n g r o o v e s a t t a c h e d t o t h e g 8 p lat form-s' o g z At t h e s t a r t , compartment i s on i n s i d e of t h e "book and p l a t f o r m 2 2 i s wheeled i n on t h e s t a g e and shown a l l a r o u n d - An a s s i s t a n t i s a 2 c o n c e a l e d i n t h e "book on t h e i n s i d e of t h e s l i d i n g compartment s o f r o n t door i s opened- As soon a s i t i s opened, t h e ^ u a s s i s t a n t s l i d e s t h e compartment out and s t e p s i n t o i t - Next t h e

| j f i r s t i n s i d e page i s opened and f o l l o w i n g t h a t t h e b a c k cover

$ i t h t h e d o o r s opened wide t h e e n t i r e p l a t f o r m i s swung a r o u n d showing a l l s i d e s . How back cover i s c l o s e d , t h e n i n s i d e page As soon a s t h i s i s c l o s e d , a s s i s t a n t s l i d e s compartment b a c k i r r to t h e "book and s t e p s i n . Now f r o n t cover i s c l o s e d -

Front cover i a immedia t e ly re-opened and p e r f o r m e r f i r e s a sho t and a s s i s t a n t comes t e a r i n g through, paper of t h e f i r s t i n s i&egage

T h i s can b e made i n t g a ve ry n o v e l i l l u s i o n such a s h a v i n g on t h e cover of t h e book " L i t t l e Red R i d i n g HoodM, t h e n p r o d u c e a s s i s t a n t a s M t t l e fied R i d i n g Hood

Using t h e above t i t l e you c a n u s e i l l u s t r a t e d s i l k s t o p r o d u c e f rom t h e book b e f o r e t h e g i r l s t e p s f o r w a r d . Each s i l k one of t h e c h a r a c t e r s of t h e s t o r y i l l u s t r a t e d on i t - As you punch a s m a l l h o l e i n t h e p a p e r , a s s i s t a n t p l a c e s a s i l k a t h o l e which you draw out a s you t e l l t h e s t o r y and a t t h e f i n i s h out s t e p s L i t t l e Red R i d i n g Hood h e r s l e f .

Good t o i n t r o d u c e Magic . F i ^ few pages a r e of famous Magic ians*

T h i s i 3 t h e c lub p e r f o r m e r s method of t h e sword C a b i n e t - P e r -fo rmer shows a s m a l l c a b i n e t t h a t ha s a neck s t o c k a t b o t t o m Rear h a l f of s t o c k i s s l i d out and box p l a c e d over a mans head Then neck s t o c k i s s l i d i n h o l d i n g box t i g h t l y a r o u n d mans h e a a Bck ha s s e v e r a l s l i t 3 i n i t and i n t h e s e you i n s e r t long k n i f e b l a d e s a s p i c t u r e d b e l o w . Then a po l e i s pushed t h r o u g h and down t h e c e n t r e of t h e box f rom t h e t o p , a p p a r e n t l y r i g h t through- t h e c e n t r e of t h e mans head- How you say you w i l l show them t h e "Man who Lost His Head". A f r o n t door of t h e box i s -opened down ai;d t h e mans head i s s e e n t o b e m i s s i n g * J u s t a number of swords f i l l i n g t h e . e n t i r e c e n t r e i n t e r i o r of t h e box and t h e p o l e down t h r o u g h t h e c e n t r e a r e s een -

Box i s made deep enough so t h a t t h e mans head w i l l b e a l i t t l e t o " the r e a r of t h e b o x . Two m i r r o r s h i n g e d a t t h e r e a r t o t h e s i d e s of t h e box , t h e b a c k s of t h e m i r r o r s a r e c o v e r e d w i t h t h e same m a t e r i a l a s . i n s i d e of t h e b o x . At s t a r t t h e s e a r e f o l d e d up next t o t h e s i d e s p f b o x . A f t e r p l a c i n g t h e box over man s s head , you open s m a l l t o p cover t o s e e how he i s g e t t i n g a l o n g and t h e n swing m i r r o r s over t o c e n t r e of box so t h e y come t o g e t h e r a t t h e c e n t r e a t a 4 5 - d e g r e e a n g l e . ETow t h r o u g h t h e s l o t s i n box , i n s e r t long k n i f e b l a d e s and when t h e p o l e i s pushed down i n t o t o p of box , t h e p o l e comes out i n f r o n t of t h e two f r o n t edges of t h e m i r r o r s hiding- them perfectly

When t h e f r o n t cover i s opened, t h e m i r r o r s h i d e t h e mans head, and r e f l e c t t h e swords , g i v i n g t h e i l l u s i o n t h a t you a r e s e e i n g t h e swords coning t h r o u g h t h e back of t h e box and t h e e n t i r e i n t e r i o r . T h i s i s a m a r v e l l o u s e f f e c t f o r any c lub p e r f o r m e r . At t h e f i n i s h you c l o s e up t h e f r o n t , remove t h e p o l e and swords , t h e n remove t h e box f rom t h e mans head

THE RAJAH'S TENT ILLUSION,

T h i s w i l l proballjty p rove t o be one of t h e most b a f f l i n g i l l u s i o n s ever t o b e b rough t o u t . The w r i t e r made up a s m a l l one f o r t h e p r o d u c t i o n of l i v e s t o c k j and i t was uncanny how d e c e p t i v e i t was

We do not g i v e d imens ions on t h i s e i t h e r a s any s i z e may b e used and f o r one p e r s o n or a s many a s d e s i r e d * A t e n t (on a p l a t f o r m ) of some l i g h t canvas m a t e r i a l or s h e e t i n g a s p i c t u r e d beloxv w i t h a p o l e down t h r o u g h t h e c e n t r e w i t h a f l a g on t o p of t h e pole* Two m i r r o r s r u n from t h e c e n t r e of t h e p o l e t o t h e r e a r of t e n t a t a 45 -degree an g l e .

The m i r r o r s a r e h inged so t h e y may f o l d over a g a i n s t t h e s i d e s of t h e t e n t a t t h e f i n i s h , t h e b a c k s of t h e m i r r o r s b e i n g cove red w i t h same m a t e r i a l a s t e n t i s made of* With t h e m i r r o r s i n p o s i t i o n you have a s s i s t a n t h i d d e n i n t e n t b e h i n d m i r r o r . Cabine t i s wheeled i n and f l a p s of same opened up and i n t e r i o r a p p e a r s empty t h a n k s t o m i r r o r s * Now wheel t e n t and show same on a l l s i d e s * Now t o prove t h e r e a r e no doub le w a l l s , l i g h t s a r e p l a c e d a round same i n t h e p o s i t i o n s shown i n t h e drawing and t u r n e d on and t h a n k s t o t h e m i r r o r s and t h e way t h e l i g h t s a r e a r r a n g e d t h e i l l u s i o n w i l l b e t h a t t h e e n t i r e t e n t i s t r a n s p a r e n t and t h a t t h e a u d i e n c e s e e t h e l i g h t i n t h e r e a r a s w e l l a s t h o s e on t h e s i de s*

Now a l l t h a t r ema ins i s t o c l o s e t h e f l a p s of t h e t e n t * A s s i s t a n t t h e n pushes t h e m i r r o r s over t o s i d e of c a b i n e t and when you open f l a p s of t e n t , t h e r e ' s t h e Queen of Sheba s i t t i n g i n t h e t e n t e a t i n g a b a s k e t of g r a p e s or what ha-ve you*

Thi3 i s a m a r v e l l o u s i l l u s i o n and we h i g h l y recommend i t * N Good a s t h e "Gypsy For tune T e n t " w i t h Q u e s t i o n s p l a c e d i n t h e

empty ( ? ) t e n t and v o i c e answers , f i n a l l y Gypsy emerges .

O -/ I 1

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o ^ L / n

THE HU1SHN X -RAY

A t h r e e - f o l d , s c r e e n about s i x f e e t h i g h , each p a n e l c o v e r e d w i t h a w h i t e c l o t h or l i g h t canvas i s r e q u i r e d . A l s o a s m a l l two f o l d s c r e e n about f o u r f e e t h i g h w i t h c l o t h p a n e l s and two h o l e s cu t out and a shee t of window g l a s s i n each h o l e as~ p i c t u r e d .

The e n t i r e o u t f i t shou ld b e p a i n t e d i n w h i t e so a s t o appea r a3 h o s p i t a l equ ipmen t . P e r f o r m e r i n t r o d u c e s h i s l a d y a s s i s t a n t s t a t i n g how he w i l l d e m o n s t r a t e h i s l a t e s t Human X-Ray He a l l o w s a commit tee t c s t e p f o r w a r d a n d . examine e v e r y t h i n g u s e d . The young l a d y s t e p s i n t o t h e t h r e e f o l d s c r e e n f o l d e d t o form a t h r e e s i d e s c a b i n e t and t h e two f o l d s c r e e n i s p l a c e d i n f r o n t of he r s t i l l he r head and f e e t a r e v i s i b l e a t a l l t i m e s .

New t h r e e ' l i g h t s are p lacea around the outs ide screen. These should be on standards and at least 75 watt lamps. These are a l l hooked t o a 110 c i r c u i t along a few buzzers t o make the e f f e c t more spectacular . It i s a l s o a good idea t o have a fourth l ight over t o one s ide , say a red one..,/ith a flashar "button.

When t h e p e r f o r m e r s a y s "Watch" he t u r n s on t h e l i g h t s t h e b u z z e r s s t a r t and t h e l a d y ' s body becomes i n v i s i b l e b e h i n d t h e g l a s s open ings of t h e s m a l l s c r e e n . She h a s on a da rk d r e s s and s t a n d i n g c l o s e t o t h e g l a s s i n t h e s c r e e n i t c a u s e s t h e g l a s s t o a c t a s a m i r r o r r e f l e c t i n g t h e two l i g h t s a t each s i d e of t h e l a r g e s c r e e n and a u d i e n c e b e l i e v e t h e y s e e t h e l i g h t b e h i n d t h e s c r e e n -

P e r f o r m e r can r u n one hand up ana down t h e s i d e of t h e s c r e e n a t t h e same t i m e t h e o t h e r hand up and down t h e back of t h e s c r e e n , t h e r e f l e c t i o n of t h e hand from t h e s i d e g i v e s t h e a u d i e n c e t h e i l l u s i o n t h a t t h e y a r e s e e i n g h i s hand r u n up and down b e h i n d t h e s c r e e n .

The t r i p l e e f f e c t of t h e young l a d y ' s body b e i n g i n v i s i b l e , . t h e b u z z e r s and t h e r e d l i g h t a t one s i d e f l a s h i n g on and o f f makes t h i s a very s p e c t a t u l a r i l l u s i o n .

T h i s c l e v e r i l l u s i o n i s "by Ralph White of S p r i n g f i e l d , Mass-

Pe r fo rmer wheels i n a l a r g e c a b i n e t , shows i t a l l a round opens i t and shows i t empty- How he p l a c e s a b a l l o o n , showing i t f i r s t , on t h e f l o o r of t h e c a b i n e t y a t t a c h e s a b i c y c l e pump t o i t and blows up t h e b a l l o o n u n t i l i t f i l l s t h e e n t i r e i n t e r i o r of t h e c a b i n e t - Then he c l o s e s t h e doors of t h e cab ine t and f i r e s a t same say ing he w i l l c ause t h e b a l l o o n t o van i sh - But on opening t h e f r o n t door of c a b i n e t b a l l o o n i s s t i l l t h e r e . I n d i s g u s t he f i r e s p o i n t b l a n k a t b a l l o o n and i t b u r s t s and s t a n d i n g i n t h e c e n t r e of same i s a g i r l .

The back door of c a b i n e t has a f a k e swinging p a n e l . At s t a r t g i r l i s on t h e i n s i d e of c a b i n e t - I t i s wheeled i n on a p l a t f o r m which i s a l i t t l e l a r g e r t h a n t h e c a b i n e t so t h e r e i s a l edge a l l a round . Cabinet i s wheeled and shown on a l l s i d e s t h e n l e f t f r o n t f a c i n g a u d i e n c e , t h e n g i r l goes t h r o u g h f a k e p a n e l t o back of c a b i n e t . Front door i s opened and she s t e p s over b e h i n d f r o n t d o o r . Then t h e back door i s opened- Eront and back doors come t o g e t h e r a s shown on next page . G i r l i s h idden i n t h e r e and e n t i r e c a b i n e t i s a g a i n swung a l l a round showing a l l sides- Back door i s c l o s e d g i r l goes t o back of cab i ne t

The l a r g e b a l l o o n s can b e made up f o r you by Tony Sarg a t about f i f t y c e n t s each, or any b a l l o o n m a n u f a c t u r e r w i l l supp ly you w i t h them. A f t e r b a l l o o n i s blown up g i r l s t e p s i n " t h r o u g h p a n e l b e h i n d t h e b a l l o o n a f t e r f r o n door i s c l o s e d How when t h e per former , f i r e s a t t h e b a l l o o n t h e g i r l pushes a p i n i n i t a t t h e same t i m e push ing s l i g h t l y f o rwa rd and a s t h e b a l l o o n b u r s t s , t h e o p t i c a l e f f e c t i s t h a t t h e g i r l i s r i g h t i n t h e c e n t r e , making t h e i l l u s i o n a very b a f f l i n g a s w e l l a s nove l one.

For t h e c lub pe r fo rmer , a l a r g e c a b i n e t i s not n e c e s s a r y , s imply a t h r e e f o l d s c r e e n b e i n g p l a c e d a round t h e b a l l o o n a s you blow i t up- Behind t h e s c r e e n i s t h e g i r l . She s t e p s t h r o u g h a s l i t i n a p a n e l of t h e s c r e e n . T h i s s l i t does not show a s t h e c l o t h p a n e l s of t h e s c r e e n a r e p l e a t e d . And t h e b a l l o o n does not have t o b e covered a t ant t i m e a s i t i s l a r g e enough t o h i d e g i r l a s she comes t h r o u g h t h e s c r e e n b e h i n d same.

Make t h i s a double p l a t f o r m w i t h g i r l i n , i n p l a c e of c a b i n e t Or have costumes on c h a i r , t h e y s e l e c t one, g i r l i s b e h i n d c h a i r and s k i p s b e h i n d b a l l o o n a s i t i s i n f l a t e d - G i r l a p p e a r s i n s e l e c t e d ( f o r c e d ) costume-

T h i s i s two-f o l d s c r e e n about s ix f e e t h igh- These a r e on t h e p l a t f o r m "or " on t h e f l o o r a s shown i n t h e f i r s t s k e t c h . Behind "A " i s h idden a g i r l a s s i s t a n t . She i s h o l d i n g a l a r g e g l o b u l a r f i s h bowl f u l l of water and g o l d f i s h . Hanging from her s h o u l d e r s w i t h s t r a p s a r e b a g s xxzxitixstxgxx c o n t a i n i n g s i l k s , l i v e s t o c k , e t c .

The e n t i r e s e c r e t of t h i s e f f e c t depends on smooth w e l l - t i m e d moves t h e r e f o r e i t should b e r e h e a r s e d w e l l b e f o r e p r e s e n t i n g i t b e f o r e an a u d i e n c e .

Per fo rmer p i c k s up s c r e e n HB" and f o l d s i t f l a t , t h e n opens i t out so t h e edge of "B" j u s t o v e r l a p s i n f r o n t of . .edge of "A* At t h e same t i m e (when "B" i s i n t h i s new p o s i t i o n ) t h e g i r l s k i p s from b e h i n d "A" and i n t o "B" a t t h e same t i m e p e r f o r m e r , moves "Bn s l i g h t l y f o r w a r d . I f t h i s i s worked i n a smooth n a t u r a l manner t h e a u d i e n c e w i l l never n o t i c e t h e s c r e e n s come t o g e t h e r .

Hew nA" s c r e e n i s p i cked up and f o l d e d f l a t and p l a c e d i n back of "B*1 forming two i n t o a squa re c a b i n e t .

Pe r fo rmer s t e p s up on a smal l s t o o l ana r e a c h e s i n t o p of s c r e e n s and g i r l s e c r e t l y hands him t h e s i l k s e t c , t h a t he p roduces f rom t o p of s c r e e n . Then he f i r e s a shot and g i r l r e l e a s e s b i r d s which f l y up out of s c reens . And f o r the b i g f i n i s h , the screens are parted r e v e a l i n g t h e g i r l .

Also u s e i t f o r Spook Shows t o produce a Spook.

Here i s a good doub le exchange i l l u s i o n t h a t c an "be worked under most any c o n d i t i o n s and p a c k s i n a s u i t c a s e w i t h t h e r e s t of t h e c lub p e r f o r m e r ' s a c t .

The bag i s made of any t y p e of haevy w h i t e c l o t h t o r e p r e s e n t a l a u n d r y bag - I t has s e v e r a l h o l e s a round t h e t o p edge w i t h a c o r d or w h i t e t a p e r u n n i n g t h r o u g h t h e h o l e s a s shown i n t h e s k e t c h on t h e next p a g e . Note i t i s n e c e c s a r y . t o have c e h t r e of t h e co rd or t a p e on t h e i n s i d e off t h e bag a t one end a s shown i n t h e s k e t c h . The on ly o t h e r . i tem u s e d i s a l a r g e u n p r e p a r e d s h e e t .

Have a man s t e p up from t h e a u i i e n c e and examine t h e b a g . Then p l a c e your g i r l a s s i s t a n t i n t h e b a g . As uou s t a r t t o draw up t h e s t r i n g s of t h e b a g , t h e a s s i s t a n t i n s i d e t h e bag t a k e s h o l d of t h e c o r d i n t h e c e n t r e and p u l l s some of i t down i n t h e bag a s shown i n t h e s k e t c h . A few t r i a l s w i l l show you t h e l e n g t h ' o f draw s t r i n g t o u s e and t h e amount a s s i s t a n t will need, t o draw i n . Now let the commit t ec aa n tie ends of cord and s e a l the k n o t s , then have him r e t u r n t o h i s s e a t .

Hew p i ck "p t h e shee t and show same. How h o l d t h e shee t up i n f r o n t of y o u r s e l f and t h e b a g so a u d i e n c e can s e e your f a c e and h e a d . As you do a s s i s t a n t r e l e a s e s h o l d of t h e s t r i n g opens mouth of bag w i t h t h e a i d of t h i s s l a c k cord " s t e p s out of bag l e a v i n g open bag on t h e . f l o o r . As a s s i s t a n t , aoes t h i s which on ly t a k e s about two seconds you ask a u d i e n c e t o t i m e t h e young l a d y ' s e s c a p e . A s s i s t a n t s t e p s over under cover of t h e shee t and a s you a p p a r e n t l y p u l l s h e e t up i n f r o n t of your f a c e and head , a s s i s t a n t r e a l l y does t h e same and moves f o r w a r d w i t h you . As she does you s t e p i n t o bag and p u l l same over your head t h e n p u l l i n on c o r d t i e i n g y o u r s e l f i n t o bag

Suddenly a s s i s t a n t d rops shee t t o t h e f l o o r r e v e a l i n g h e r s e l f and on u n t i e i n g t h e bag you a r e f o u b d i n t h e bag i n p l a c e of t h e a s s i s t a n t making an i d e a l d o u b l e - e x c h a n g e .vi th a s u r p r i s e a s you l e a d t h e a u d i e n c e t o b e l i e v e i t kvas only, t o b e a s e scape t r i c k

Have c l o t h you h o l d up on a / . t o p . T h i s c o n c e a l s b e t t e r .

J shape s t i c k a t

shown ..aMT^pacedr'in1-'a~smlT^pen""front'" c a b i n e t and t h e music s t a r t s t o p l a y a t a p "dance. The"~*t1,;o~fcB'lppers~i come t o l i f e and do a r e g u l a r t a p dance k e e p i n g t i m e w i t h t h e music

A smal 1 c a b i n e t on t h e t a b l e next t o t h e backd rop w i t h two h o l e s i n r e a r of box a s p i c t u r e d . I n s i d e of bcsc i s cove red w i t h b l a c k v e l v e t . Behind d rop on a s t e p l a d d e r i s a s s i s t a n t w i t h he r f e e t t h r o u g h two h o l e s i n drop and i n t o t h e b o x . She h a s on b l a c k s t o c k i n g s which w i l l not chow i n b l a c k - l i n e d box g i v i n g a r e g u l a r "b lack-a r t e f f e c t . '

How a l l t h a t r e m a i n s a r e two s l i p p e r s t h a t w i l l f i r t h e g i r l p a i n t e d w h i t e w i t h b l a c k on t h e i n s i d e . As you p l a c e t h e s l i p p e r s i n t h e box , t h e g i r l s l i p s her f e e t i n t o tiiein a n a . a t t h e p r o p e r t i m e s t a r t s t o d a n c e . Owing t o t h e b l a c k - a r t e f f e c t j u s t t h e s l i p p e r s show, m a k i n g - t h e s t u n t very e f f e c t i ve . .

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A l l that i s required i s any bench and two f a l s e f ee t with legs which can be borrowed or purchased from almost any department s t o r e . These are on the f l o o r in front o f the bench, a i t h a cord running from t h e i r t ops t o the handle o f the umbrella as p i c tured below.

A man ass is tant s i t s on bench b e s i d e these holding the umbrella Af ter curta in goes up he moves t h e umbrella a l i t t l e back and f o r t h as i f t?/o persons were behind same, then takes one o f h i s hands and t w i s t s i t back over h i s own neck so i t appears as i f a g i r l lias her arm around h i s neck. This can be seen from one s ide o f the umbrella He a l s o s h i f t s the fake l egs a l i t t l e so i t w i l l appear as i f g i r l moved a l i t t l e c l o s e r t o her boy f r i e n d e t c .

Now when magician p u l l s the umbrella away he rather scoops the fake l egs into same, the cord attached t o them swings them down in to the umbrella which i s held as p i c tured be low.

You w i l l f ind t h i s a very novel and entertaining i l l u s i o n and that i s inexpensive* A l l you have t o o&rcy i s a fdke oair and an umbrella. Cord t o umbrella i s not necessary-nicks up legs and drops them in umbrella. B e t t e r .

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In t h i s e f f e c t i v e s e m i - i l l u s i o n , t h e pe r fo rmer t i e s h i s g i r l a s s i s t a n t t o t h e hand le of a broom from head t o f o o t , t h e n p u l l s t h e rope r i g h t thzmugh t h e broom and t h e g i r l .

Another v a r i a t i o n i s t o u s e w h i t e t a p e i n p l a c e of r ope wrapping t h e g i r l t o t h e broom i n a s o r t of "Mummy" f a s h i o n , t h e n t o p u l l t h e t a p e r i g h t t h r o u g h t h e broom and t h e g i r l .

Per former i n t r o d u c e s h i s a s s i s t a n t or used anyone from t h e a u d i e n c e He s t a n d s a broom a g a i n s t a s s i s t a n t s back and t h i s broom unknown t o aud i ence has a smal l l o o s e peg i n same near t h e c e n t r e of t h e h a n d l e . How per fo rmer t a k e s a long s i n g l e l e n g t h of rope and s t a r t s winding i t a round t h e g i r l and t h e broom s t a r t i n g a t t h e l eg3 a s i n t h e drawing wi th t h e c e n t r e of t h e r o p e a t t h e r e a r .

The en l a rged drawing of t h e r o p e and broom h a n d l e show you e x a c t l y how t h e r o p e i s wound a round t h e broom and t h e g i r l . The l a r g e drawing of t h e g i r l shows how i t a p p e a r s t o t h e a u d i e n c e . I n t h e d e t a i l e d drawing one h a l f of t h e rope i s shown i n a l i n e d t o n e . T h i s h a l f of t h e rope we h a l l t h e TOP HALF. T h i s t o p h a l f has t o b e kep t on t o p of t h e o t h e r rope i n a l l c r o s s overs t o make t h e t r i c k work- Also no te t h e number of t u r n s i n t h e drawings Th i s shows t h e exact number of t i m e s t h e r o p e i s wound around t h e pe r son and t h e broom.

W h e n y o u c o m e t o t h e p e g c r o s s t h e r o p e "buck a s s h o w n i n t h e drawing and c o n t i n u e t o k e e p t h e s u a e o f t h e rox>e o n top**, o n a l l c r o s s o v e r s . Also no te t h e r e a r e axansaxtoex t h e same number of c r o s s overs above t h e n a i l a s be low. T h i s i s a b s o l u t e l y n e c a s s a r y : t o m a k e t h e t r i c k work. At t h e f i n i s h , when t h e r o p e i s a t t h e t o p and r e a r , t i e t h e two ends t o g e t h e r f i r m l y .

S wing g i r l and broom s ideways . As you do, s e c r e t l y p u l l out t h e peg but hand s t a y s t h e r e h o l d i n g t h e looped r o p e i n p o s i t i o n Ot?aer hand t a k e s r o p e a t t i e d ends and j u s t . . a s i t s t a r t s t o p u l l t h e r o p e o t h e r band l e t s go of c e n t r e loop i n back and t h e r o p e w i l l p u l l r i g h t t h r o u g h t h e g i r l and broom.

By f o l l o w i n g t h e drawings c l o s e l y and a few r e h e a r s a l s , you w i l l be a b l e t o do t h e t i e i n g i n a good snappy-appea r ing Banner

I n p a l c e of p i n , g i r l s hands a r e a round back of broom. She h o l d s r o p e s a t t u r n b a c k c e n t r e p o s i t i o n .

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S e c r e t . A common Pack ing c a s e can "be u s e d w i t h h o l e cu t a t one end f o r he r f e e t and a h o l e a t t h e o t h e r end f o r he r h e a d . The saw t o b e u s e d i s one of t h e long nar row t y p e not a wide b l a d e .

I n working t h e t r i c k , t h e l a d y i s l a i d i n t h e box w i t h h e r f e e t s t i c k i n g out one end and h e r h e a d t h e o t h e r . Then t h e sawing p r o c e e d s . When t h e saw r e a c h e s t h e m i d d l e of t h e box , p e r f o r m e r p r e t e n d s t o ove rhea r some one say t h e y a r e f a k e f e e t , e t c * so box i s swung a round f e e t f a c i n g a u d i e n c e and l ady w i g g l e s he r t o e s e t c . How box i s swung a r o u n d so h e r head f a c e s a u d i e n c e and s he t a l k s , s m i l e s , moves e y e l i d s . Whi le t h i s i s g o i n g on she p u l l s i n he r f e e t , i n and u n d e r , t h e n over t h e saw and out t h u g u g h t h e h o l e s a g a i n . T h i s saw i s now under he r a 3 p i c t u r e d b e l o w .

Once more t h e box i s swung a round so f e e t and head a r e b o t h v i s i b l e and t h e sawing c o n t i n u e s u n t i l saw i s p a s s e d r i g h t t h r o u g h t he box and d r o p s t o t h e f l o o r . And t h e young l a d y i s unharmed.

A r e g u l a r pack ing c a s e i s i d e a l a s i t does not need t o b e t o o long and s h o u l d b e h i g h enough f o r t h e g i r l t o have space t o b r i n g he r 1 egs back and over t h e saw. A f t e r g e t t i n g a p a c k i n g f rom any m erchanfc n a i l t h e bo t tom of same t o two saw h o r s e s so a s t o have space i n t h e c e n t r e f o r t h e saw t o drop t h r o u g h and down t o t h e f l o o r .

T h i s i s by f a r t h e most s i m p l e , most p r a c t i c a l a n a moat " b a f f l i n g method f o r sawing a woman i n h a l f t h a t h a s ever b e e n t h o u g h t out Good now w i t h a c a r d b o a r d p a c k i n g c a s e box and b i g k n i f e .

T h i s i s t h e l a t e s t and most s e nsatiVnaTiTmethod o f ~ s a . w i n g ^ a ^ o i n a n ^ i n h a l f . The e f f e c t i s a young l ady i s i n t r o d u c e d and p l a c e d on a p l ank and a "buzz saw i s s e e n t o p a s s t h r o u g h he r body i n f u l l view -of t h e a u d i e n c e .

The g i r l who endures t h i s o r d e a l , unknown t o th a u d i e n c e h a s a s p e c i a l c o r s e t on. T h i s i s c o n s t r u c t e d of m e t a l w i t h % wide

ansis&xsfcXKjpx l e a t h e r s t r a p s a s p i c t u r e d on t h e next p a g e . At t h e r e a r i t h a s an i n n e r and o u t e r w a l l ( n o t e d o t t e d l i n e s show i n n e r w a l l which f i t s down t h e c u r v e of g i r l ' s b a c k t h e s l o t a l s o a l i t t l e wider t h a n shown i n t h e drawing ) Nov? i f t h e g i r l p l a c e s t h i s c o r s e t a f f a i r on a n d draws t h e b e l t s up t i g h t l y i t b e n d s h e r back i n and s tomach o u t , b u t b e l t s h o l d s tomach i n . T h e r e i s a s p a c e of about Ai i n c h e s b e t w e e n t h e i n n e r and o u t e r w a l l of c o r s e t a t t h e s l o t .

Over t h e s l o t a p i e c e of heavy c a r d b o a r d i s f a s t e n e d and c u r l e d a r o u n d and over t h i s i s g l u e d a p i e c e of r i b b o n . Over t h i s g i r l wears a l o o s e f i t t i n g d r e s s , d r e s s i s open a t s e c t i o n where t h e s l o t i s , t h e n r i b b o n t o match t h a t g l u e d on c o r s e t i s on o u t s i d e of dres3 f rom s i d e s a r o u n d t o f r o n t , so t h e one g l u e d on c o r s e t w i l l appear a s 3ame r i b b o n r u n n i n g a l l a round t h e g i r l *

Any p o r t a b l e t y p e of r i g g i n g may be used t o p l a c e a p l a n k on and g i r l l i e s on t h e p l ank a s shown. How have a s m a l l motor b u i l t on a s k e l e t o n framework w i t h two arms out and t h e saw b l a d e a t t a c h e d , t o t h e arm w i t h "belt r u n n i n g "back t o mo to r . The saw "blade s h o u l d b e about e i g h t i n c h e s i n d i a m e t e r a n d t h i s i s s e t so t h a t i t w i l l go f o u r i nches i n t o t h e g i r l s c o r s e t . T h i s g i v e s c l e a r a n c e of h a l f an i n c h .

The saw and motor u p r i g h t s a r e on a t r a c k a f f a i r , so t h e y c a n b e pushed s lowly f o r w a r d and r i g h t t h r o u g h t h e g i r l . The n o i s e of t h e saw go ing t h r o u g h t h e heavy c a r d b o a r d on c o r s e t and r i p p i n g t h e r i b b o n g l u e d t o i t makes t h e e f f e c t v e r y s t a r t l i n g and r e a l i s t i c

T h i s i s a n i l l u s i o n t h a t c an b e made s m a l l and p o r t a b l e and c r e a t e a s e n s a t i o n f o r any t y p e of program or o u t d o o r a t t r a c t i o n .

Also gimmick c a n b e so g i r l l a y s on back amd s i n k s i n couch e t c .

produce"Tour" or more per sons, s t i l l t h e apparatus packs "small and i3" very^light-0r--it-*can-he-Tiiade for the-, production of one person only. Performer wheels i n a p l a t f o r m w i t h an archway upon i t . Each s i d e of t h e archway i s a fancy l a t t i c e work w i th a few f l o w e r s upon i t In o the r words i t i s a r e g u l a r gateway t o a graden a s p i c t u r e d "below. In t h e c e n t r e f l a t on t h e f l o o r i s a bag arrangement so when a r i b b o n i s p u l l e d , t h e bag i s p u l l e d up forming a c a b i n e t Bag a t t h e r e a r has a l o n g s l i t i n i t .

Bight s i d e of l a t t i c e work beh ind same, t h r e e q u a r f e f c r a of t h e way i s a f a k e back drop, t h a t i s c l o t h m a t e r i a l same co lo r a s t h e baok drop so t h a t anyone may be ebhind t h i s or s e v e r a l pe r sons s t i l l i t w i l l appear t o aud ience t h a t t h e y a r e s e e i n g r i g h t t h r o u g h same*

In p r e s en t ing same per fo rmer s t e p s b e h i n d l e f t s i d e so t h e y can s e e r i g h t t h rough l a t t i c e work and s t a n d s i n archway w i t h h i s hanas up beh ind t h e l a t t i c e work a t each s i d e and t h e y see h s i hands beh ind t h e l a t t i c e work. This a g a i n shows t h e y a r e t r a n s p a r e n t wi thout c a l l i n g a t t e n t i o n t o t h e f a c t *

Now a l l t h a t remains i s t o p u l l bag up . As soon a s you do, a concealed a s s i s t a n t sneaks i n t o s l i t a t r e a r of bag . Then you drop bag and t h e r e ' s a p e r s o n . T h i s i s r e p e a t e d u n t i l you produce a s many as d e s i r e d . Can a l s o be used f o r the exchange of p e r s o n s . P l a c e a man i n t h e r e and he i s changed t o a g i r l . e t c .

With two men of t h e same b u i l d you can work a b e a u t i f u l change a c t w i t h t h i s o u t f i t . For t h a t m a t t e r t h i s o u t f i t i s s u i t a b l e f o r almost arty- t y p e of e f f e c t you may want t o work up e i t h e r s m a l l or l a r g e . For s p e c i a l shows use c r epe paper , back drop and c r epe paper f ake d r o p .

I t m BEST PACKING-BOS" ECAPE

T h i s i s t h e me t h o d t h a t was used "by Henry Jacques former escape a r t i s t and Magic ian . A method used by him f o r y e a r s and found t o oe t h e most p r a c t i c a l f o r a l l - r o u n d o c c a s i o n s . I t i s b e s t t o have a b l u e p r i n t ma de up and . s eve ra l c o p i e s made showing t h e d imens ions d e s i r e d and t h e method of c o n s t r u c t i o n same. These a r e sen t ahead t o t h e t h e a t r e manager and he t u r n s t h e p r i n t over t o a l o c a l concern t o b u i l d t h e b o s . When you a r r i v e , t h e l o c a l concern f u r n i s h e s t h e box and you escape f rom i t . . A lo t of p u b l i c i t y and no expense .

The box may b e any s i z e d e s i r e d . F i r s t a framework i s made a s p i c t u r e d be low. Then b o a r d s a r e screwed t o t h i s framework a l l a round same except where t h e t o p i s l e f t open. Boards a r e screwed on w i t h long screws of t h e c o r r e c t l e n g t h f o r t h i c k n e s s of b o a r d s and framework. A f t e r box i s d e l i v e r e d and b e f o r e t h e show you remove t h e long screws from two of t h e b o a r d s and r e p l a c e w i t h screws j u s t long enough t o ho ld t h e b o a r d s i n p l a c e .

Now t h e committee screws t h e cover on t h e box w i t h you on t h e i n s i d e . When bccc i s covered you t a k e a sma l l p i n c h b a r which you have concea led on your p e r s o n and p r y o f f t h e two b o a r d s w i t h t h e sho r t screws i n . Get out of t h e box and r e s c r e w t h e b o a r d s back i n t o p l a c e w i t h t h e r e g u l a r long sc rews . Then s t e p out of t h e c a b i n e t a f r e e man.

Now a t t h e f i n i s h , the "bos; w i l l again stand a thorough. ex.amina.tion and t h e b u i l d e r s may t a k e t h e box back and s tudy it over a s much, a s t h e y wish ana w i l l never f i n d out j u s t how you made your m a r v e l l o u s e scape .

J P t J I P l V A n J . V X I J L M J U U M t U

T h i s works on p r a c t i c a l l y t h e same p r i n c i p l e a s S e l b i t ' s Cane I l l u s i o n bu t i s more s p e c t a c u l a r w i t h t h e l i g h t e d e l e c t r i c l i g h t b u l b s

Cabinet i s made of t h e c o r r e c t s i z e f o r your a s s i s t a n t t o j u s t s t a n d i n c o m f o r t a b l y , w i t h twerr ty-one h o l e s i n t h e coyer a s i l l u s t r a t e d - Now on a s k e l e t o n framework mount t w e n t y - o n e l i g h t b u l b s , t h e long narrow t y p e , which a r e u sed i n show c a s e s - These a r e a l l w i r e d t o g e t h e r w i t h a l i n e go ing t h r o u g h t o a 110-volt c i r c u i t . T h i s i s p l a c e d i n t h e "box and a pul3y r u n f rom same t o t h e f r o n t of bccc t o a h a n d l e on t h e o u t s i d e of t h e c a b i n e t .

A commit tee s t e p s on s t a g e and examines e v e r y t h i n g u s e d Now a s s i s t a n t s t e p s i n t o c a b i n e t and f r o n t door i s c l o s e d and l o c k e d . The hand on t h e o u t s i d e of c a b i n e t i s s lowly t u r n e d b r i n g i n g t i e r s of l i g h t b u l b s fo rward u n t i l they come r i g h t t h r o u g h t h e c o r r e s p o n d i n g h o l e s t h r o u g h t h e cover of t h e c a b i n e t .

I n o the r words , t h e b u l b s a p p a r e n t l y p a s s r i g h t t h r o u g h t h e g i r l s b o d y . But a f t e r door i s c l o s e d a l l she does i s t u r n s ideways and t h e b u l b s go r i g h t by h e r and out t h r o u g h t h e f r o n t . A f t e r t h i s t h e b u l b s a r e r u n back a g a i n and once more f r o n t door i s opened and t h e r e ' s t h e g i r l a s i n t h e f i r s t s k e t c h .

For a d d i t i o n u s e s p i k e s f o r Sp ikes Through G i r l .

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