| Consider Steve Shepard's production of a large punch | | | | bowl from the table and holds it beneath the foulard. |
| bowl. The bowl itself is on a stand. On top of the bowl | | | | The magician seems to change his mind, looks about |
| is a round wood disc that is about the same diameter | | | | him for a better place but finally plunks down the bowl, |
| as the bowl. The "table" drape is attached to this disc, | | | | water spilling and plopping on the floor pulling away the |
| and, to the spectator, the stand looks like an ordinary | | | | foulard. |
| draped one. All of this is quite similar to the usual large | | | | Since the "loaded" table has the same appearance |
| bowl production except that the stand is telescopic. | | | | with or without the bowl, the use of the table for the |
| The weight of the bowl of liquid pushes the real table | | | | necessary secret hiding place is valid. This idea may |
| top, also equipped with a duplicate drape, downwards | | | | be varied for the production of many other objects, |
| a distance equal to the height of the bowl. If the filled | | | | even a small radio, or a clock, or a lunch box. Another |
| bowl should be lifted from the table momentarily, the | | | | variation in the use of this idea is exemplified when a |
| real top would spring up into place and lock itself in this | | | | detachable or attachable portion of the object to be |
| position. Then the tabletop would support the weight of | | | | produced is revealed in lieu of the entire thing, after |
| the bowl of liquid. Of course, the appearance of the | | | | which the remainder of the object, constituting its |
| table, with top depressed and bowl "loaded" is the | | | | major portion, is secured from a secret hiding place |
| same as the aspect of the table after the bowl is | | | | when the spectators' vigilance has been relaxed. |
| removed, except that the real table top is somewhat | | | | All magic tricks are achieved with misdirection. This |
| less in diameter than the outside dimension of the bowl. | | | | kind of "off-beat" misdirection is produced by |
| In operation, however, the magician pretends to catch | | | | convincing the spectator with the situation that the |
| the bowl beneath the foulard. His uplifted and curved | | | | effect has been achieved and timing for any dirty |
| left forearm simulates the bowl. The performer looks | | | | work has passed. At this moment, the alertness is |
| about him for a place to deposit the bowl. He sees the | | | | down and the real dirty work can been done safely |
| "table," which is loaded with the bowl, rushes to it and | | | | under less or no attention. |
| starts to put down the bowl. Meanwhile he lifts the real | | | | |