buku Sulap

The spectator picks a number and a card, the magician reveals both in this fooler
by Doug Edwards.
CARD THOUGHT
By Doug Edwards
Volumes can be written about tricks and routines based on a red/black
separation of the cards. They'd range from the banal to the sophisticated.
Obviously, you are past the stage of the banal, and sometimes the too
sophisticated can be an audience bore. Well, this one is certainly not banal; I
don't know how sophisticated you'd judge it, but it sure is a fooler. I mean you'll
fool knowledgeable card workers with it.
Set the deck into reds and blacks; it doesn't matter which color is where. In the photos
the red cards are above the black cards.
1
Performer
Cut a packet of about 10 or 12 cards from top to bottom.
When you go into the performance of the effect, shuffle the deck keeping the
colors separated. Then, cut a packet of about 10 or 12 cards from top to bottom.
Make sure your spectator sees you do this, since it is a legitimate cut.
Spectator
The spectator thinks of a number between one and 10, then deals that number of cards
from top of the deck onto the table. He tables the deck, then picks up the packet and
mixes the cards.
Table the face down deck in front of your spectator and ask him to think of a
number between one and 10. Then instruct him to count that number of cards
from the top of the deck into a face down tabled packet. Of course, you must
turn away as he does this; tell him to count/deal silently, and so on. When he's
done this, he's to table the deck proper.
The spectator looks at the bottom card of the mixed packet. He tables the packet and at
the performer's request cuts the deck and completes the cut.
2
Now instruct him to pick up the small packet he's just dealt and to mix those
cards. When he's satisfied, ask him to look at and remember the bottom card of
the packet. Start to tell him to drop the packet onto the tabled deck but interrupt
your self: "Wait. You may think that I know the top or bottom card of the deck.
I do not, but you can make sure, cut the deck at about center and complete the
cut." He does.
The spectator picks up the packet and drops it on top of the deck.
Then at the performer's request the spectator cuts the deck and completes the cut.
Performer
Then continue: "Now, drop your packet onto the deck. Done? Good. Really lose
your card now, give the deck another complete cut. That really buries your
card." Let him follow your instructions, then turn to face him. Pick up the deck
as you talk about the free and fair selection and so forth.
3
The performer picks up the deck and fans it towards himself. The bottom card of the
deck identifies the color of the thought of card. At the center of the fan are a group of
cards of the opposite color from the cards to either side of them. Count the centered
group of cards, this is the number. The right most card of the group is the thought of
card.
Do a pressure (or thumb) fan, faces of cards toward you. As soon as you see the
deck's bottom card, you'll know the color of the thought of card. If you see a red
card there, he's thinking of a red card. And, at center of the fan you'll see a small
batch of red cards surrounded by black cards.
Count those centered red cards. The number of centered red cards is his thought
of number since they are the cards he dealt to make the tabled packet. The right
most red card of that small batch is the thought of card. Lovely situation. So,
let's assume you see seven red cards there, and the right most card is the Queen
of Hearts. End like this:
Pull out a card that matches the number thought of. Pull out the thought of card and
turn it over to reveal it.
Pull out any seven spot, table it face up, and say, "This tells me that the number
you're thinking of is ... seven." Then, pull out the actual selection and as you toss
it face up onto the table, exclaim, "And this tells me that the card you are
thinking of is the ... Queen of Hearts!"
4
An Ace and a King change places, convincing the spectators you must be a
magician.
THE DIAMOND MYSTERY
By Richard Robinson
The magician shows two playing cards: the Ace of Diamonds and the King of
Diamonds. The Ace is placed on the table, the King placed in the magician's
pocket. Instantly the cards change places. The King is now on the table. The Ace
is in the pocket.
Props
Two King of Diamonds, two Ace of Diamonds and one indifferent card are used.
One King of Diamonds is hinged with adhesive tape to the indifferent card along
one long edge. The tape hinge goes on the face side of the indifferent card and the
back side of the King. When closed together, the two cards appear to be one
card.
With the hinged card face up, place the Ace of Diamonds inside the double card
with a short length of it extending above the double card. Place the second King
of Diamonds face up under the double card.
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The second Ace of Diamonds is in the pocket where the packet setup is kept. The
face of the Ace towards the body.
Setup, Handling, Performance
The hinged card is opened.
The Ace of Diamonds is placed The hinged card is closed, the
between the two cards.
Ace of Diamonds extending out.
The second King of Diamonds
The cards are shown as if they Move the Ace forward and angle
is face up under the hinged
are only two cards. The hinge
card.
tape should not extend the full shown.
it bit more as the two cards are
length of the hinged cards so
the Ace inside it can be turned
at an angle to the King.
Straighten the Ace to line it up
Push the Ace as if it is sliding
Square up the supposed two
with the King.
back under the King.
cards.
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Turn the cards backs up. The
The other hand takes hold of
The hand turns over, the action
thumb pushes the face down
that card and continues to
of doing so exposing the face of
top card forward. This is done
slide it off the bottom card
the King in the hand. The hand
slowly and cleanly so the cards and onto the table.
uses the King to tap the back of
are not obscured by the hand
the face down Ace. The hand
action.
then moves back toward the
jacket pocket.
The hand takes hold of one
The card on the table is no
After one beat, the hand moves
corner of the face down card,
longer the Ace. It is the King.
into the frame, revealing that
focusing attention on it. At the
The other hand at this point
the card just taken out of the
same time put the King in the
has already taken the card
pocket is the Ace. Drop the Ace
pocket, take hold of the second back out of the jacket pocket.
on the table next to the King so
Ace in the pocket and bring it
Pause for a beat so that the
the spectators can examine
out, keeping it back towards
spectators can appreciate
them. Do not offer the cards for
the spectators.
what has happened.
examination. Just leave them on
the table.
Performance Notes
To keep the packet of cards in position prior to performance pull the Ace
forward so it is almost completely out of the hinged cards. As you take the cards
out, push the Ace back a bit.
The cards should be handled casually, but no time must be wasted in doing the
effect.
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However, to start make sure the spectators are aware of the value and position of
each card. Once the Ace is supposedly face down on the table and the King in the
pocket, pause again before showing the transposition.
Although you can leave the two cards on the table, once the effect is done it is
best to move on to another effect so that the spectators don't have time to ask if
they can examine the contents of your jacket pocket.
8
Kenna examines a Thayer quality magic effect.
THE NEW FRAME
PENETRATION
A small wood frame into which a card will just fit is shown around by the
magician prior to having a card selected from a shuffled deck. The frame is
rather curious of design as two threaded posts are affixed from the backside of
the frame to the front projecting at a right angle to the frame.
After the selection of the card the magician takes the frame in hand turning it
over with its back side uppermost and four metal turn buttons are seen. These
turn buttons are moved to a position allowing for the placement of the card face
down in the frame where it rests upon a very narrow ledge. With the card in
place the turn buttons are moved to a position over the card to secure it firmly in
place within the frame.
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Turning the frame face up the magician shows the chosen card in perfect
alignment within the frame and reaches into his pocket removing an additional
piece to the frame along with two thumb screws.
This additional piece fits over the posts on the frame by way of two small holes
and acts as a cross piece on a horizontal to the frame. The two thumb screws are
tightened down over the posts holding the cross piece in place near the mid
section of the card. A small round opening in the cross piece is seen to have a star
trap of black felt which comes into play momentarily.
Showing the frame with its card placed within, first back and then front, the
magician picks up his magic wand and places the white tip against the star trap
opening. After a brief hesitation the magician pushes the wand up to the surface
of the card and beyond to a point the wand has penetrated the card all the way to
its middle section and clearly visible that it is emerging from the back side of the
frame and card!
10
Holding the wand with half its length through the card for a moment so all may
grasp what is actually happening, the magician reaches behind the frame and
pulls the wand the rest of the way through leaving no doubt there must be a
gaping hole in the card little larger than the diameter of the wand itself.
For some this would be enough of a demonstration to convince an audience of
onlookers that there is now a damaged card in the frame up but the magician
takes it a step further. Removing a silk handkerchief from his pocket the
magician takes a corner of the silk and places it against the star trap tucking it
neatly in and moving his hand away leaving the silk barely hanging from the
trap. Changing his hold upon the frame the magician reaches behind the card
and the silk is seen to crawl into the trap at the front as it is being pulled out
from the rear by the hand of the magician.
After the silk has made a complete journey through the middle of the card it and
the wand are handed to the spectators for safe keeping as the magician loosens
and removes the thumb screws holding the cross piece to the frame. The cross
piece is lifted away from the screw posts and the face of the card is undamaged
with no opening that objects could have passed through. Turning the frame over
the card is found to be perfectly within the frame borders with turn buttons still
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in place. The turn buttons are moved away allowing for the release of the playing
card which is handed directly to the spectators along with the frame and cross
piece to examine with no clue as to how such a penetration could have occurred
leaving the card unscathed.
This Thayer Quality Magic Effect circa 1925 certainly lives up to Thayer
tradition in high quality of construction as the hardwood frame is a little
masterpiece. The frame measures 3-7/8 inches wide by 4-7/8 inches high being
only 1/4 inch thick built with reinforced miter joints and finished silky smooth.
The attention to detail goes even further with the cross piece that insets to the
frame with a matching bevel to that of the bevel on the frame once the cross
piece has been attached with thumb screws.
After witnessing the presentation, a spectator if asked to name the strong points
of the effect might say, "I selected the card used and was allowed to examine the
frame. The card was in full view as objects were passed completely through and
afterward I was allowed to examine the frame, card and the penetrating
objects!" Yes, this is what the spectators remember and Thayer made a great
point too of letting the prospective buyer be aware of this in their catalog
description.
12
Doug causes the selected card to make a sudden, surprise appearance in this
mystery from his new book, 'Brass Knuckles.'
RUBBER BANDIT
By Doug Edwards
The search for good impromptu endings for pick a card tricks goes on and on. I
don't think that search will end because of this effect, but it sure is a large step
forward. The basic ending/revelation goes back to Charles T. Jordan. What I've
contributed is the up to that ending handling. I've eliminated any and all possible
"looks like he did something" moves.
Besides the deck of cards you'll need a small, thin, round rubber band. The
rubber band has to be small enough to fit snugly, but not too tightly, around the
width of the deck. Try to avoid using a flat band. If you have to, be sure that it
lies flat on the deck during performance, don't let it twist. It's best to use a thin
band that has a bit of body. It's not crucial, but you should be familiar with how
the band will behave during performance.
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Have a card freely selected. When it is returned to the deck control it to the top
using a double undercut procedure. Hold the break above the selected card. Cut
half the cards below that break to the top. Now cut all the card remaining below
the break to the top.
Show the rubber band, perhaps calling it a magic rubber band. (Or, "My elastic
assistant.") Wrap it around the deck, as shown. This is where a move is usually
necessary. Not here, not now. Really wrap the deck.
Hold the banded deck on your left palm. Say that it would be a bit difficult for a
card to escape, or for you to remove one. As you say this, match your actions to
the words. Riffle up at the rear end with the right thumb and stop when only the
top two cards are unriffled. Pull the double card out, toward you, acting as if
takes some effort to do it.
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Pull the double all the way out, turning it face up onto the deck. Leave it on the
deck. This is a good turnover, and the next action locks it in.
Say, "This isn't your card, is it?" And, as you talk, turn your hand palm down,
deck face up, as your left thumb pushes out the displayed card. Your right hand
is there, ready to take it. Note that the entire deck is really wrapped by the band.
There's no move or hesitation because the rubber band automatically holds
back, keeping the selection, the rear card of the double, in position.
You don't have to do anything but push out the displayed card. Friction does it.
Try it, you'll see.
Don't pause. As you're saying "This isn't your card, is it?" flip it face up with the
right fingers and insert it into the center of the deck. The left fingers keep the
loose, rear, card in place. You're in the required position for the ending. The
wrapped deck is face up and the unwrapped selected card is face down at the
rear. And you got there in a natural, not the least bit suspicious, way.
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The right fingers and thumb hold the deck as the left hand turns palm up and
takes the deck into dealing position. The right hand, from above, cuts/moves the
top half of the deck to the right until it just clears the lower half.
The left fingers keep the loose, rear, card in place throughout. Turn that upper,
moved, half deck face down, end for end, putting a twist in the rubber band
between the halves. And turn it face up (moving the outer long side down, under,
and to the left) to beneath the left-hand portion. This centers the selected card.
It's all done in a continuous, fluid, action.
You're ready to end. Turn the deck face down, holding it fairly firmly, you don't
want the selected card to move out prematurely. Place it on the table and keep
your finger on it, applying a bit of pressure. Ask for the name of the card ... and
remove your hand. Magic happens. The top of the deck will twirl around and the
face-up selected card shoots halfway out of the deck!
Try using this to reveal the last Ace in your favorite Four Ace routine. It's a
goodie!
16
Magic at the finger tips.
SILK FINGER PRO
By Richard Robinson
The magician gives his hand a quick shake and notices the end of a silk
handkerchief seems to have popped out of his finger tip. Taking hold of the end
he pulls at it until a large silk handkerchief has materialized, seemingly directly
out of his finger.
Props & Setup
The props used are a holder for the silk and an 18 inch / 46 cm diamond cut silk
or a half silk.
The holder is a tube measuring 4 inches / 10.2 cm long with a 3/4 inch / 2 cm
diameter. One end of the tube is closed. This gimmick can be made up of stiff
black paper, as seen in the photographs, or a brass or plastic tube, the thinner
the wall of the tube the better to allow as much interior volume as possible. The
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tube should be black on the outside. Note that it shouldn't be a flat, extremely
dark black, but slightly lighter than that so it doesn't read against a black coat or
other dark costume.
Since a tube of this size cannot easily hold a full 18 inch / 46 cm silk
handkerchief, a silk cut in half along its diagonal is used. These are available
from magician dealers in a more finished fashion with slightly more width.
Starting with one end of the silk, it is pushed into the tube using a wood stick or
pencil until the opposite end is just visible at the opening of the tube. This corner
is tucked into the tube gently. For ease of working about an inch / 2.5 cm of the
corner can be given a light application of starch to make it stiffer.
The position of the tube when concealed in the hand is what makes the illusion
work. It is held between the first joint of the middle finger and the base of the
thumb. This hold is the reason for the tube being longer than most hand
gimmicks. The joint of the finger just rests on the rim of the tube opening, the
finger curled in as little as possible so it appears fairly straight from the front.
The pressure of the finger joint on the open end of the tube presses the bottom
end of the tube against the palm with the result that it is quite secure.
With the back of the hand to the spectators, the fingers can be spread apart and
the tube will not be visible. This is partially the result of it being against a dark
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background and partially because the stage light creates a heavy shadow on both
sides of the finger.
Routine & Handling
The tube gimmick can be manipulated to some extent, for instance held in the
other hand with a finger tip in the tube and a change over palm used to position
it in the production hand. Frankly I think this is best used as an opener or by
simply palming the fake from a table or coat pocket before use.
With the gimmick in the right hand and the right side turned slightly upstage,
the hand is held out and peering at as if something is amiss. The hand is given
several quick shakes until the corner of the silk is snapped out of the tube, at
which point it will be visible above the second finger tip.
Observing this rather unusual state of affairs, the magician keeps the gimmick
hand still, raises his other arm and moves down so the fingers of that hand can
pull the silk up an inch or two. The hand pulling the silk out must be positioned
so it doesn't block the silk or gimmick hand.
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The silk is slowly and steadily pulled straight away from the finger tip. Because
of the long, narrow shape of the gimmick this pulling action will result in the silk
staying taught as it comes out of the tube, which maintains the illusion that the
silk might well be traveling directly out of the finger.
Once the silk is free of the gimmick, the hand holding the end is held at head
height, the magician looking at the silk. The gimmick hand relaxes back, then
moves forward to take hold of the silk at the middle. The gimmick hand takes
the silk and the gimmick and goes to the coat breast pocket, inserting the
gimmick tube into the pocket, the pushing the silk into the pocket until only the
ends are visible.
Performance Notes
This is a peculiar illusion and probably the strangest silk production I've come
across. It was created by Charles Medrington, a turn of the 20th century
magician from England who described the effect as 'beautiful' when he wrote it
up for The Sphinx magazine in 1907. Apparently Medrington played it as a sight
gag with amusing commentary when the end of the silk appeared at the finger
tip, then finished it off as a mystery by pulling the entire silk out his finger and
showing his hands otherwise empty.
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The magician ties a knot, by magic.
THE APPEARING KNOT
By Richard Robinson
The magician displays a large handkerchief held diagonally between his hands.
The handkerchief is given a shake and a large knot appears in its center. Yet the
magician does not appear to have let go of the ends.
Rope and silk magic at times involve the appearance, vanish, penetration or
multiplication of knots. There are effects like the Serpent Silk and Linking Ropes
which rely on the audience understanding just what a knot does or at least
should do in reality. Other effects such as the Sympathetic Silks create the
illusion of the knots themselves taking flight, moving from one location to
another at the whim of the magician.
Another sub-category of knot magic is the introduction of the fake knot in
certain circumstances. This includes the gag of throwing the knot away so
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beloved of many Cut And Restored Rope workers seeking to avoid the challenges
of manipulation.
Drawing room conjurors of earlier times would sometimes attempt to entertain
audiences with a few minutes of knot tying. Whether their audiences found this
rewarding isn't recorded, but the various knot ties have become part of the
literature of magic and deserve at least passing attention by anyone working
with silk handkerchiefs or rope.
Props
A silk handkerchief from 18 to 24 inches / 45 to 60 cm square. Although it is
rarely noted in the literature, the size, quality, weight and even the hem of a silk
can determine how suitable it is for a particular use or manipulation. This is
especially true where knots are involved. A patterned silk is used in the
photographs since this type of silk increases the visibility of a knot at a distance.
If something isn't working when you think it should or seems more difficult than
expected, try a larger handkerchief.
The Appearing Knot
The illusion of a knot being tied in the handkerchief without letting go of the
ends very much depends on the positions of the hands, fingers and silk ends
during the sequence of moves involved. The moves must be made without
hesitation, in one continuous motion. The result is quite deceptive.
The Hold
Before learning the tie sequence, practice holding the silk between the hands so
the right end runs over the right palm and the left end runs behind the left hand.
The left hand holds the corner
The right hand holds the
The left and right hands
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between the first and second
diagonal corner of the silk
fingers with the body of the silk between the first and second
behind the hand. Note the silk
fingers with the body of the
is clipped towards the base of
silk on the palm side of the
the two fingers.
hand.
holding the silk just prior
to the knot tying action.
In performance, the right hand As the left hand nears the
The left hand, palm up,
picks up the silk, repositioning
opposite diagonal corner, the
silk trapped between first
the corner held between the
left palm turns up. The silk is
and second fingers, body
first and second fingers. The
held horizontally in the
of silk behind the hand.
left hand moves to the silk, left
photograph but should be
Once the left hand is in
palm down, the silk goes
hanging down vertically
position it rises up so it is
between the left first and
during performance as the left level with the right hand.
second fingers and the left
hand slides down the silk.
The hands are held apart.
hand slides down the silk to the
opposite end.
The Tie
The hands are now going to move towards each other and then apart. As they
move apart a knot is seen tied in the center of the silk. As the hands come
together, the left second and third fingers take hold of the right hand silk corner
and right second and third fingers take hold of the left hand silk corner.
The first and second fingers of each hand release their hold on the silk. As the
hands move apart a knot is tied in the silk. This occurs because the right end of
the silk is above the right hand and the left diagonal end of the silk is below the
left hand.
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An exaggerated view of the
The right hand silk corner
... the left second and third
finger positions. The left
goes between the left second fingers close together to grip
second and third fingers
and third fingers ...
the right hand silk corner.
An overhead view of the
The right hand positioned
The hands are spread apart,
corners held by the opposite
behind the left hand, the
the first and second fingers
hand's second and third
right second and third
releasing their hold on the
fingers.
fingers clipping the left
corners previously held.
spread apart to take hold of
the right hand silk corner.
The right second and third
fingers spread apart to take
hold of the left hand silk
corner.
hand silk corner.
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Left: The knot appears tied in the center of the silk.
Right: The fingers shift position slightly so the fingers tips are holding the ends of the silk
rather than clipping them. This makes a better display.
Handling
The hands come together and then pull apart as if tugging the handkerchief
between them.
The second or third time the hands approach each other, then both turn in and
palm down. The left hand moving slightly above the right as the hands come
together.
The right hand turns in toward the body a bit. The second and third fingers of
both hands spreading apart an inch of so.
Done properly the second and third fingers of each hand are now in position to
take hold of the end of the handkerchief held by the opposite hand.
The fingers close to clips these ends. The hands now move apart, rotating out
and palm up as they do so. A knot will be seen to be tied in the center of the
handkerchief.
Performance
Obviously any time you need a knot in the center of a handkerchief the casual
use of this tie will produce an at least mildly amusing visual.
A more interesting effect was suggested by Will Blyth in his book 'Handkerchief
Magic' (London, 1922.) The performer takes hold of the handkerchief by the
diagonal ends and drapes it around his or her neck. In the process the knot is
tied, although the audience is unaware that this has happened as the knot is
behind the performer's neck.
Blyth does not suggest it, but it follows that a second handkerchief can be
displayed suitably knotted, that knot can be vanished, and the handkerchief
around the neck can be lifted up to show that the knot has reappeared.
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The spectator's thought-of card is revealed in a perplexing manner.
CARD MEMORIES
By Richard Robinson
The magician hands the spectator a packet of nine playing cards. He asks the
spectator to mix the cards then spread them face up on the table. He then asks
the spectator to mentally choose one card, concentrate on it for a moment, collect
up the cards and mix them again.
Removing three coins from his pocket which he places on the table, the magician
deals the cards into three face up piles. The spectator is told to note which pile
his selected card is in and place a coin in front of that pile. The magician gathers
up the cards and deals them out again, again asking the spectator to place a coin
in front of the pile containing his card. The magician repeats this dealing for a
third time and again instructs the spectator to place the last coin before the pile
of cards containing the one he is thinking of.
Gathering up the three piles, the magician deals three cards face down on the
table and places one coin on the back of each card.
He asks the spectator to point to a pile. The spectator does so. The magician
gathers up the other two coins and places them on the selected pile. He puts the
two unselected cards back in the pack, presses on the coins for a moment, then
turns over the only card on the table. It is the card mentally selected by the
spectator.
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Props & Setup
Nine playing cards, three coins. The coins can be borrowed from the spectator.
Handling
The coins are positioned by the spectator to indicate on each deal which pile
contains the thought of card. How many coins are in front of each pile will
depend on the location of the card as you deal.
This is a self-working effect using a simple principle that is completely obscured
by the introduction of the coins which have absolutely nothing to do with the
working. For that reason you should put as much focus and emphasis on the
placement of the coins as you can, handling the cards as if they had little to do
with the effect.
Give the cards to a spectator to mix, mentally select one card, mix again then
return the cards. Deal the cards into piles of three as explained below, each time
a deal is completed have the spectator place a coin in front of the pile currently
including the thought of card.
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The cards are dealt out from left to right into three piles. The first card going on
the left pile, the second on the center pile, the third on the right pile, the fourth
on the left pile and so on in rotation left to right until each pile contains three
cards.
Whichever pile the spectator marks with a coin becomes the center stock when
you pick up the piles to reassemble them into a packet for the next deal.
For instance, if the spectator puts the coin in front of the center pile, the right or
left pile is picked up first, the center pile then added under it and the remaining
pile added under that.
The selected card (in this case the Six of Diamonds) is the middle card of the top
three after reassembling the packet from the third deal.
For the first two deals, the three cards that include the selected card are placed
between the other two piles when the packet is assembled.
After the last deal, the pile containing the selected card goes on top of the other
two piles when the packet is assembled.
After the third deal the selected card will be the middle card of the last pile
marked by the spectator. When you pick up the piles this last time, assemble the
packet so that the three cards from the marked pile are on top of the packet.
Now deal out the three cards face down onto the table from left to right. This
puts the selected card in the center.
Ask the spectator to place a coin on the back of each card.
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The Revelation
There are three possible endings, although only one out is needed. Tell the
spectator to touch one of the coins (not one of the cards.)
If the spectator touches the center coin, take the two other coins and add them to
the center card, then take the cards on the left and right and return them to the
packet.
If the spectator touches either the left or right coin, take that coin and put it on
the center card.
This leaves two coins on the center card and one coin on another card, the result
will be as pictured, with one card taken away, the center card with two coins on
it and the other random card with one coin on it.
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Tell the spectator to point to another coin. This is a bit of a psychological force.
Say 'Coin.'
No matter what the spectator points to, take the single coin and add it to the two
on the back of the center card. This approach makes the classic magician's force
impossible to detect.
Touch the coin(s) on the card as if pressing lightly on them, then slide the card
out from under the coins, turn it face up and leave it on the table.
Move back a bit and let the spectator focus on the card.
Performance Notes
Tarot cards, index cards with names or words written on them or any other set
of distinct cards can be used to color this effect into various psychic or bizarre
directions. The same holds for using coins. Old coins, jewels, rings or any weird
objects can be used.
The surprising impact of this effect may tempt you to repeat it. Don't.
30
Quite mysteriously, one by one the balls disappear from the table top and
reappear under the cup.
CHOP MATRIX
By Richard Robinson
The magician introduces an empty cup and three small red balls. He places the
cup mouth down at the left near corner of his table, then places the three balls
some distance away from the cup.
Picking up one ball, he causes it vanish at his finger tips. He slowly lifts the cup
and there is the ball under the cup.
The second ball is also picked up to promptly vanish. Again the cup is lifted and
two balls are now seen under it.
No sooner is the third ball picked up, then it too vanishes. The cup is lifted and
all three balls are seen together beneath it.
31
Chop Matrix uses the Chop Cup prop to create a slightly different effect than the
usual back and forth between the hand and cup.
Props
A Chop Cup. The effect will play better if you don't use the traditional shiny
metal cup. Two sets of chop balls. This results in two gaffed balls and two
ungaffed balls. A performing surface. A close-up mat of some fabric that
contrasts with the color of the balls.
Setup
One gaff and two balls are inside the cup. The second gaff is put on the outside
bottom of the cup, held in place by the cup's magnet. The prop is out of sight
where it can be easily reached.
Dodges
Besides the usual one-behind principle used with the Chop Cup, two other
dodges are used.
The first is concealing the ball by attaching it to the outside bottom of the cup,
then holding the cup near the bottom so that the hand prohibits the spectators
from seeing this extra ball.
The second is working this ball around to the side of the cup as the cup is turned
over, then letting it drop into the open opposite hand as the balls inside the cup
drop out into that hand. This adds the extra gaff to the balls in the hand without
the spectators being aware of it.
Note that for clarity in the photographs a large white and large red gaffed ball
are used as well as two slightly smaller ungaffed balls.
32
The dodge is setup by having
The finger curls in, moving
Swiveling the cup moves the
the second gaff 'bottomed' and the ball to finger palm
gaff to the upstage side of the
hidden by the hand hold.
cup.
position.
Handling
The routine begins as the
The balls are dropped back
The two normal balls drop
balls are dropped out of the
into the cup.
out of the cup, the bottomed
cup, the cup interior is shown.
gaffed ball is added. The
other gaffed ball remains in
the cup.
The balls and cup are
The cup is lifted slightly to
The ball at upstage right
arranged on the performing
show nothing under it, the
position is picked up.
surface.
gaff ball released as it is
placed down.
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The spectators see it dropped The left hand is opened to
The right hand with finger
into the left hand which closes show that the ball has
palmed ball lifts the cup to
around it. Actually it is finger vanished.
show that it has reappeared
palmed in the right hand.
under the cup.
The right hand picks up the
The right hand drops that ball The cup is rattled, then titled
ball revealed by lifting the
and the finger palmed ball
again so one ball will drop
cup.
into the cup.
out.
The right hand places that
The second ball is picked up
The third ball vanish
ball on the table and the left
in preparation for vanishing it sequence follows the second
hand places the cup over it, at as the sequence is repeated.
ball vanish. The third ball is a
the same time releasing the
gaffed ball.
gaff ball inside the cup.
34
The third ball is finger palm
In picking up the cup to reveal The three tabled balls are
vanished.
the arrival of the third
picked up and dropped back
vanished ball under it, the
into the empty cup.
right hand takes hold of the
cup at the very bottom and
allows the finger palmed gaff
to contact the outside bottom
of the cup.
The cup is swiveled, the bottomed ball dropping into the hand with the two normal balls from
inside the cup. This leaves one gaff in the cup. The clean up moves follow.
35
The Routine
Phase One
With the left hand bring the cup into view. The left fingers hide the gaffed ball
attached to the outside bottom of the cup.
Look down into the cup, bring the right hand over palm up, turn the cup over
and tap it on the right palm so that the three balls inside the cup fall into the
right hand (one gaff, two normal.)
Turn the cup mouth towards the spectators as you look down at the balls in the
hand. This gives the spectators a chance to see that the cup is empty without you
pointing it out.
Once more turn the cup mouth up, bring the right hand over the cup and drop in
the three balls.
Shake the cup slightly from side to side so the balls rattle against it.
Bring the right hand over to the mouth of the cup and turn the cup mouth down,
at the same time the gaff ball attached to the bottom of the cup is moved to the
back of the cup. As the two normal balls drop out of the cup the gaff ball falls
down the back of the cup to join them in the right hand.
This leaves one gaffed ball inside the cup in the usual Chop Cup position.
Phase Two
Place the cup mouth down at the down stage left corner of the performing
surface.
Place the three balls down so that they describe the other four corners of a
square. The two normal balls go down stage right and upstage right. The second
gaffed ball goes upstage left, it will be the final ball to travel.
Raise the cup again to show that nothing is under it, then place it down so the
gaffed ball is dislodged.
Pick up the down stage right ball, finger palm vanish it.
36
Reach over and pick up the cup with the hand finger palming the ball. The ball is
seen to have reappeared under the cup. As you look at the ball on the table, move
the cup to the free hand, then pick up the ball on the table with the hand finger
palming the ball.
Drop both balls into the cup, although the spectators think you've only dropped
in one.
Give the cup a side to side shake, then tip it so one ball rolls out into the waiting
hand. The other ball is gaffed and remains out of sight.
Place the single ball onto the table at the down stage left position, then slowly
cover it with the cup.
Pause for a moment, your eyes moving to the two remaining visible balls and
then the cup. Pick the cup up again, then place it down so the gaff is dislodged.
Phase Three
Pick up the upstage right ball, vanish it and repeat the actions in in Phase Two.
Phase Four
One ball remains upstage left. This is the second gaffed ball. Repeat the previous
vanish actions, but as the hand finger palming the ball reaches for the cup, it
picks up the cup at the very bottom. This allows you to secretly release the ball
from the finger palm so that it will attach to the outside bottom of the cup.
Keep your eyes on the three balls revealed by raising the cup, but as you do this,
pivot the cup at the bottom so it is mouth towards the spectators.
Pick up the three balls on the table with the free hand.
As you bring them toward the cup, the third finger of the hand under the cup
pulls back into the palm pulling the extra gaff ball with it into finger palm
position. Drop the three balls from the other hand into the cup.
37
Immediately take hold of the cup with that hand, tilt the cup and roll the balls
out of the cup into the hand finger palming the extra ball. In fact, only the two
free balls will leave the cup and join the finger palmed ball. But to the spectators
it appears that you've simply emptied the cup.
Clean Up
Finally drop the balls held into the hand back into the cup.
As you move to put the cup away, once again turn the cup over to empty out the
balls. In doing this dislodge both gaffed balls so they will fall out with the normal
balls. The two gaffed balls will lock to each other. This allows you to drop all the
balls into a coat pocket and later only remove one gaffed ball should you want to
expand the routine.
Performance Notes
This is more visual than the normal matrix effect since the objects used are
larger. Don't overdo showing the cup empty and work it a steady medium tempo.
The illusion created is quite convincing.
38
A borrowed coin seems capable of changing not only value but substance as the
magician tosses it from hand to hand.
COIN REV
By Richard Robinson
The magician borrows a coin and holds it at her finger tips. Passing her other
hand over the coin it suddenly changes to an entirely different coin.
Although her hands appear to be empty, the coin keeps changing back and forth
until she returns the borrowed coin to the thoroughly perplexed spectator.
Coin Rev is a combination of easy sleights and staying one ahead of the
spectator.
Props
Two coins. Because of the sleights involved, devote some time to determining
what type of coin in your local currency is easiest to borrow and at the same time
easiest to manipulate. The second coin should be about the same size as the coin
to be borrowed. The effect can be made more mysterious if you find an old coin
or disk that is about the same size but of a distinctly different material. In the
illustrations a silver and brass coin are used.
Setup
The second coin must in a pocket or other location where you can secretly obtain
it before the effect. Since the spectator does not know what is about to happen
this is a relatively uncomplicated maneuver.
39
Routine
The second coin is classic palmed in your right hand.
Ask for the loan of whatever coin you'd like to use, extended your left hand so
the spectator can place it on the open palm.
Reach over with the right hand, take hold of the borrowed coin by the near edge
with the right thumb and finger tips and place tilt it face on to the spectator.
Now position it so that the bottom edge of the coin rests on the left first and
second finger tips, then bring down the left thumb tip to rest on the top edge of
the coin. Move the right hand away and display the borrowed coin at the left
thumb and finger tips.
Focus your attention on your left hand, at the same time allow the second coin to
drop from classic to finger palm position in the right hand.
Move the right hand over to the left, the right thumb going behind the borrowed
coin, the right fingers in front of it. As the right hand travels to the left the
borrowed coin will be in a position where it can be thumb palmed by the right
hand. Once the right hand has thumb palmed the borrowed coin, start to move
the right hand back to the right, the left finger tips taking hold of the edges of the
second coin finger palmed in the right hand. As the right hand moves away to
the right, the coin held in the left hand is seen to have changed.
The right hand, with second coin finger palmed, approaches the left hand which is
displaying the other coin at the finger tips.
40
The right thumb goes behind the coin in the left hand, the right fingers in front
of the coin. This makes it possible for the coin in the left hand to be thumb
palmed by the right hand as the switch is made.
The right hand moves back to the right with the thumb palmed coin. The left fingers
and thumb take hold of the coin finger palmed in the right hand as it travels by, so that
when the left hand is visible again the 'coin' has changed state.
This is a very pretty and startling effect. You'll have to practice it so that it is
done smoothly and so that the coins don't hit each other. You'll also discover that
coins of too large or small a diameter make it difficult to execute cleanly.
As the right hand moves away to reveal the change, let the coin thumb palmed in
the right hand drop to finger palm position. The right hand again moves to the
left hand but this time as the right fingers cover the coin at the left finger tips,
the left thumb is raised slightly and the coin on display is allowed to drop into
the left hand.
The left thumb and finger tips immediately take hold of the finger palmed coin
in the right hand, then right hand moves away to the right to reveal that the coin
has again changed.
41
The second coin is masked from the spectator's view by the coin on display and by a
slight tilt upward of the hand.
The right hand can now be shown empty, but please don't make an event out of
this. The coin held face on to the spectator effectively hides the coin lying behind
it.
The left hand now rotates to the right and places the visible coin between the
right finger tips and thumb tip. The left hand moves to the left a few inches, then
toward the right, the left fingers covering the visible coin which is allowed to fall
into the right hand and the coin finger palmed in the left hand replacing it. The
left hand moves away and it is seen that the coin has changed again.
This switch of hands to accomplish the same effect leads up to the finish. The
right hand tosses the coin it is visibly holding into the left palm. The coin is then
tossed back and forth between the hands, the backs of the right fingers kept up
slightly to hide the finger palmed coin.
Finally the coin tossed into the right hand is classic palmed and the finger
palmed coin dropped into the left hand which immediately closes around it. The
closed left hand now holds the original borrowed coin.
The left hand opens slowly to show the borrowed coin and is then extended
toward the spectator so that he or she can retrieve their coin.
42
Advanced Presentation
There are several ways to get rid of the second coin at the end of the routine. If
you're wearing a jacket, move the right hand back to pull up the left sleeve a bit
as you extended the closed left hand. As the left hand opens to reveal that the
coin has returned to its original state, drop the hidden coin into the breast pocket
of the jacket.
A more magical, and easier, approach would be to take a small wand from your
pocket at the start of the routine (which allows you to go to your pocket to classic
palm the coin at the same time) then touch the borrowed coin with the wand to
'enchant' it before the routine begins.
At the end of the routine, again take up the wand and touch the closed left hand.
As you slowly open the left fingers to show the final change of state, return the
wand and the coin concealed in your right hand to your pocket.
An open handed view of the thumb palm style suggested by Stanyon. In practice the
right fingers point left with the back of the hand toward the audience.
This routine was originally described by Ellis Stanyon in 1899. It should be noted
that Stanyon used a rather unorthodox thumb 'clip' rather than thumb palm.
The coin is held on edge between the first joint of the thumb and base of the
thumb. With a small coin this hold allows the hand to appear much more 'empty'
than the normal thumb palm, however should you decide to use it you'll have to
be more careful of your angles.
Experienced workers will no doubt realize that this routine can enhance the use
of a copper/silver coin.
43
Something from nowhere.
CONE FUSION
By Richard Robinson
The magician displays two empty paper cones inside and out, then suddenly their
interiors fill with a large square of silk.
Cone Fusion is a surprising production that depends on manipulation and
stealing the load from the much maligned but rarely used magician's sleeve. In
the presentation described one large silk foulard is produced. However the props
can be used to produce a dozen or so smaller silks or a large quantity of spring
flowers.
44
Props
The props involved are two cones made up from stiff paper or flexible card
stock, a silk foulard and a gimmick to hold the silk and assist in its transfer from
the sleeve to a cone.
The color of the cones should contrast with the production item. I've made the
cones up in green which works with the dragon silk used. It also looks good when
producing red spring flowers. The cones pictured measure 7-1/2 inches / 19 cm
tall with a top diameter of 4 inches / 10 cm and a bottom diameter of 5-7/8 inches
/ 15 cm.
The gimmick pictured is fine for the large foulard. However it can be varied to
suit the production, as long as a portion of it protrudes from the sleeve for the
steal and the load can be released easily when required.
A short tube made from
The foulard is folded in a zig
The folded foulard is loaded
gaffers tape with a large,
zag fashion so the one corner
into the gimmick.
opened out paper clip
of the foulard is up and the
attached.
diagonally opposite corner is
down.
45
The load is inserted into
In performance the cone is
In removing the cone from the
the coat sleeve, the hook
momentarily placed on the
arm, the load travels with it,
end going over the edge of
arm, narrow end nearer the
unseen inside the cone.
the sleeve.
hand and the hook engaged on
the cone rim.
A cone is made up to size to act as a template for the two matching cones. A sheet of light
card stock is turned and inserted into the template cone, allowed to expand so it fits
snuggly, then pasted and trimmed to the template size.
Handling
The two nested cones are taken apart, one cone is given focus by raising toward
the face and letting the spectators look through it. This cone then goes over the
load arm while the other cone is lifted and also shown empty. The load cone is
removed from the arm, the cones placed mouth to mouth then turned to
horizontal as the load is released. The cones are slowly shaken and moved apart
so that the load seems to blossom from the interior of both cones.
46
There's no need to spend a great deal of time showing the cones empty, although
the process shouldn't be rushed as if you're hiding something. Work out the
sequence and practice it so you don't have to think about it in performance.
Note that there is one move that is potentially clumsy when the hand holding one
cone pulls the load cone and load off the other arm. The middle photograph in
the second row above where the load is visible shows the handling at this point.
The free hand holds the empty cone by the top rim with the second, third and
fourth fingers curled against the palm. This leaves the thumb and first finger
free to extend and clip the load cone and load and pull them off the arm.
Performance Notes
This production prop has been invented a few times over the years, although
always using a single cone. I find that adding the second cone confuses matters
sufficiently so there's no indication where the load might have come from.
47
Although credit has been given to various performers, the idea seems to be the
work of Brunel White who in the 1920s published 'Original Mysteries for
Magicians' which included a rather complicated effect he called 'The Elusive
Rabbit And Bouquet.' Part of the effect was the production of a bouquet of
flowers which White kept up his sleeve and then loaded into a cone while putting
his arm through it to show it empty. White suggests that the gimmick have two
hooks: a shorter one to go over the sleeve and a longer one extending above the
short one which the fingers can grasp easily.
The appearance of the cone can change the look of the effect. It can be made up
as a flower pot, a fez with tassel or a lamp shade.
48
The spectators observe that magic rarely makes sense.
CONFETTI GLASS
VANISH
By Richard Robinson
The magician fills a drinking glass with confetti, places the glass on a tray, covers
the glass with a handkerchief and suddenly the glass of confetti disappears.
The Confetti Glass Vanish is a colorful illusion for a platform or stage show with
the vanish of the glass filled with confetti coming as a perplexing surprise after
the activities the magician engages in to get to that moment. The presentation
relies on the manipulation with a minimum of gaffed props.
The Props
Two identical plastic tumblers or drinking glasses. The glasses pictured are
actually the bottom half of plastic bottles. One of the glasses is gaffed by
inserting a printed paper strip which simulates a confetti and a round paper disc
at the bottom of the glass also printed with the confetti design.
49
To effectively simulate the confetti in the glass, the fake insert should be printed
on glossy photo paper. The confetti itself should be printed on plain paper. A
printing template is available at the bottom of the page.
One of the plastic glasses has a printed insert that simulates a glass filled with
confetti. The design should be printed on both sides of the sheet of paper. A
circle is cut from the paper as well and placed at the bottom of the glass. The
paper is rolled up and inserted in the glass. The top edge of the paper can be
given an irregular trim.
A plastic bag filled with confetti. Using the printing template print two sheets of
paper on both sides, then make up the confetti by trimming out reasonably large
pieces. Additional confetti shuld be made up from two or three sheets of red,
yellow and green colored paper.
A square of cardboard to act as a tray. A cardboard box with a lid. A cloth
square with a cardboard disc sewn at the center and covered with a matching
material.
50
The handkerchief, cardboard tray and cardboard box.
Setup
The two glasses are placed inside of the box with the box positioned stage left on
the table top. The folded cloth and bag are on the tray which is set on top of the
closed box.
Handling
The confetti bag, cloth and
The glass is removed from
The glass is placed on the box
tray are taken off the box lid
the box and the lid again
top and a small quantity of
and placed to the right. The
closed.
confetti dropped into it.
lid is opened back.
51
Noticing confetti is scattering
Some confetti is poured into The glass is removed, seen to
here and there, the magician
the glass in the box.
opens the box and places the
be half full, and replaced in
the box.
glass into it.
The remainder of the confetti The feke glass is removed
The magician picks up the
is poured in and the bag
tray. Note the fingers are on
from the box.
placed to one side.
Moving around to the front
top, the thumb under the tray.
The glass is covered with
The tray is removed and in
side of the table, the magician the cloth.
the process tilted so the
picks up the cloth and shakes
bottom of the tray faces the
it out.
spectators.
52
Behind the tray, the first and
The tray is moved straight
The hand moves down and
second fingers clamp the
back until it reaches the
releases the tray so it leans
bottom of the glass, holding it open box. The fingers
against the box.
at right angles to the tray and release the glass to drop
out of sight of the spectators.
into the box.
The hand moves forward to
The cloth is flipped open to
To finish and clean up, the
take hold of a corner of the
show the glass is gone.
tray can be put back on the
cloth.
box and the cloth put on it.
Performance Notes
The magician should appear absorbed in filling the glass with confetti during
that part of the presentation and only return his attention to the spectators when
the glass is placed on the tray. There are classic glass / box switches which could
be used, but I've worked out this particular approach because it avoids filling the
glass by hand with confetti or making the switch behind the box. Instead, the
magician seems to discover a method of filling the glass without getting confetti
all over everything.
This tray glass vanish is based on a principle explained by magician Brunel
White in 'Original Mysteries for Magicians' which he published himself around
53
1920. It is quite clever in its simplicity, although the timing and presentation
must be mastered to make it effective.
54
A mental moment.
COURTED
By Richard Robinson
Asked to do a card trick, the magician suggests it might be more interesting to
just read the spectator's mind. He openly removes all the court cards from the
deck, gives the 12 cards a shuffle, squares them up, then holds the assortment of
Kings, Queens and Jacks behind his back.
He tells the spectator to remove one of the cards. The spectator can cut the pile
of cards at random and take a card or just lift a few cards and take the next one.
The spectator is asked to look at the card taken, then hold it behind his back.
Still holding the cards behind his back, the magician turns to face the spectator.
He asks the spectator to think of the card he's holding, then stare at the
magician's forehead. After a moment the magician tells the spectator the card he
is thinking of. The spectator brings the card from behind his back, it is the card
the magician named.
Courted is quite an unusual effect. There's an element of weirdness about the
presentation that takes it out of the card trick category and makes it seem very
much like mind reading. The choreography and the final positioning of the
spectator and magician facing each other with their hands behind their backs
create a challenge or test conditions atmosphere that is out of proportion to what
is actually going on.
55
The Gaff
The court cards of the deck are gaffed by making tiny pin holes in each set of
Kings, Queens and Jacks in one of three locations.
The pin holes must be made from the front to the back of the card so the slight
distortion is on the back of the card. In addition, the front hole locations should
be within the court card design. A good location is at the bottom edge of the
border which frames the cards' artwork.
The holes only have to be made at one end of the card. Because of the setup and
handling there's no reason to mark both ends.
Once the pin holes are made, the Jack, Queen and King can be identified as such
by running the ball of the thumb across the back of the card.
The Stacks
Each of the four suits is in the same rotation, King, Queen, Jack, from bottom to
face up top.
The four suits are then assembled together, from bottom to face up top in
CHaSeD suit order, Clubs, Hearts, Spades, Diamonds.
56
Setup
There are several ways to introduce the 12 cards.
To work the effect as a packet trick, arrange the cards and keep them in a pocket
until needed.
To take the cards from the deck, after a false shuffle, use a locator card to cut the
stack to the top of the deck, then reveal the court cards have collected together.
To remove the cards from the deck singly, setup the deck with the court cards in
order with indifferent cards between them. Fan the cards and remove the court
cards one at a time, dropping them into a pile on the table in order.
A novel approach is to apparently use a new deck, fanning the cards and
removing the court cards. Unseal the wrapper at the bottom, open the card case
from the bottom, gaff the court cards, set the running order of the suits to
CHaSeD and reassemble the card case and wrapper.
Handling
The cards are held in dealing position in the left hand. The left thumb moves
from right to left across the card, encountering a protrusion at the right (King),
center (Queen) or left (Jack.)
Presentation
Once setup, the gaffed, stacked cards make the performance of the effect the
easiest part.
57
Hold the squared up stack in the left hand, the pin hole ends nearest the thumb.
Put both hands behind your back, turn your back towards the spectator and
hold out the squared stack, asking him to lift up some cards and pull out one
card or cut the stack and take the card he cut to.
As soon as the spectator has taken a card, looked at it and is now holding it
behind his back, turn to face the spectator.
While you explain to the spectator about thinking of the card and staring at your
forehead, immediately start running through the stack. This is done by sliding
the ball of the left thumb over the top card, then pushing the card into the other
hand. Repeat this until your thumb encounters a card that is out of order. For
instance, the fifth card down has a Jack pin hole. This means the Queen of
Hearts is missing. It also means you're done, except for the theatrical drama of
revealing the selected card.
Performance Notes
This effect was created by Richard F. McKinney and appeared in August, 1915
issue of The Sphinx as 'The Absentee.' Although McKinney does not note it, the
pin marking system is credited to Charlier and described by Professor
Hoffmann.
58
The magician rolls a sheet of paper into a small cylinder. Suddenly the cylinder
is filled with silk handkerchiefs without the audience having any idea how such
an event could occur.
THE CYLINDER
MYSTERY
By Richard Robinson
The magician displays a sheet of paper on both sides. Apart from a decorative
border, the spectators observe nothing unusual. Rolling the sheet into a small
cylinder, the magician slides a circular band down the outside of the cylinder so
it will hold its shape. Then, with a mysterious gesture the magician causes the
cylinder to fill with silk handkerchiefs.
59
The Cylinder Mystery is a magical way of producing silk handkerchiefs, spring
flowers, sponge balls or other compressible objects. All of the magician's actions
seem open and fair, so the appearance of things inside of the rolled paper
cylinder is quite perplexing.
Props
Three stage props are used in this effect. The pdf printing templates for printing
out and then constructing the props are available at the bottom of this page.
All three of the props should be printed on 8.5 x 11 inch / 22 x 28 cm light-weight
card stock sheets available at many office supply and stationery shops.
Left: The load chamber attached by a line to the cylinder sheet and hanging unseen behind
it.
Top right: Views of the load chamber and cylinder sheet with line running between them.
The line used should be fine enough so it isn't visible at a distance.
Bottom right: The cylinder sheet stage right of the box, line end closest to the box. Inside the
box the band is upright with the load chamber either in front of it or behind it depending on
the performer's preference.
60
Construction
The Cylinder Sheet Print this graphic on both sides of one sheet. Then trim off
the white border on the outside of the decorative frame design.
Ring / Load Sheet Cut out the rectangular load chamber area, rolling it into a
cylinder about 1-1/2 inches / 38 mm in diameter and paste it closed using the
overlapping section. Also cut out the long outer band strip, and put it aside at
this point.
Box Sheet Cut out the box, fold in the four sides, then paste the tab areas to the
adjacent inside walls of the box.
Final Construction
Make a small hole where the black dot is located on the load chamber and in the
center of the decorative border at top of the cylinder sheet. Run a short length of
thread or monofilament line between these two holes, knotting the line and
securing the ends so that the cylinder sheet and load chamber are connected. The
length of the line between the two should be about 5-5/8 inches / 17 cm.
Holding the top edge of the cylinder sheet in one hand with the load chamber
hanging down behind the sheet, reach down with the other hand and roll up the
cylinder around the load chamber. Keeping the cylinder rolled up, wrap the
outer band strip around the center of the cylinder to determine its diameter, then
paste the overlapping area of the outer band strip together. It is better for the
outer band strip to be a bit loose rather than too snug.
Setup
Put one or more silk handkerchiefs into the load chamber, folding in the ends so
they don't protrude. If desired, a weak elastic band can be placed around the
chamber across the open ends to keep the handkerchiefs or other load items in
61
place, although this shouldn't be necessary if the load chamber is filled to
capacity.
Place the load chamber into the box so that it is lying on its side, the thread
anchor point facing up. Place the outer band into the box in front of the load
chamber. Set the box on your table with the sheet next to it.
Handling
Display
The cylinder sheet is picked up with the thread anchor end down. It is held
above the box and shown front and back by turning it front to back. It is then
turned top to bottom and in this action the load is raised into position. This
display must be worked out so it appears that the performer is just picking up
the sheet and taking a good look at it.
Loading
62
Reversing the ends of the cylinder sheet then raising the sheet up brings the the
load chamber out of the box and behind the sheet. This must be done at the same
pace as displaying the sheet.
Roll Up & Production
Once the load chamber is behind the cylinder sheet, one hand moves down and
rolls up the sheet with the load chamber inside of it.
The band is taken from the box and slipped over the cylinder sheet to hold it
closed. The hand holding the cylinder sheet presses it slightly to hold the load
chamber in position. Once the band is around the sheet, the cylinder can be
taken in one hand, the load chamber allowed to slide down so it is partially in the
hand, the the opposite end of the cylinder waved about giving the spectators a
partial view of the interior.
In making the production, the fingers of one hand go into the cylinder, clipping
the load chamber in place as the fingers of the other hand pull the silks up into
view. With the silks produced, the roller cylinder sheet is placed across the box
on the table.
63
Performance
Pick up the cylinder sheet at the end opposite the thread anchor point. Turn it to
show both sides. So long as you do not move the cylinder sheet further away than
the length the line it can be shown freely.
Place the cylinder sheet down on the table surface. Peer into the box and remove
the outer band. Look through it at the audience.
The next actions take place simultaneously. With one hand place the outer band
down on the table in front of the box. With the other hand take hold of the
cylinder sheet at the anchor end and lift it up so that one side of the sheet directly
faces the spectators. This action will cause the load chamber to be pulled up out
of the box and hang out of view behind the cylinder sheet.
With you free hand reach down behind the cylinder sheet and begin to roll it up.
In doing so you will roll the sheet around the load chamber. Once the sheet has
been rolled into a cylinder, pick up the outer band and slide it over and down to
the center of the cylinder.
The handkerchief can now be produced by reaching in and pulling it out with
two fingers, by pushing a wand through the cylinder or by raising the cylinder so
it is a few inches from your mouth and blowing air through the cylinder.
Performance Notes
Since the interior of the load chamber and cylinder are the same color, the
cylinder can be handled freely after the production, allowing the spectators a
glimpse of the empty interior. However once the handkerchief has been
produced, the focus should be on it rather than the cylinder which is placed aside
as it is no longer needed.
The hanging load method dates back at least a century and has been used with
various containers to produce or vanish objects. I first encountered the idea of
the outer band in conjunction with a roll up production mat in an effect by
Robert MacFarlane that appeared in the magazine 'The Dragon' in May of 1936.
This combination led me to the add the box to hold the band and conceal the
load chamber as all previous approaches required hanging the load off the back
of the table which is a more chancy proposition and requires the performer to
busily move from place to place in the course of the effect.
64
The magician repeatedly produces something from nothing.
FINGER TIP BALL
PRODUCTION
By Richard Robinson
The magician reaches into the air in front of him and a red ball appears at his
finger tips. Placing the ball between the first and second fingers of the other
hand, he again reaches into the air and produces another ball. This is repeated
until four balls have appeared and are displayed between the fingers of the other
hand.
The Finger Tip Ball Production is a platform or stage effect that provides
a good introduction to a manipulative routine. Although sponge balls are
used for the actual production, from a distance the spectators are not
aware of their compressible nature.
65
Props
Four 2 inch / 50 mm diameter sponge balls are used in the photographs. Any size
sponge ball, both larger or smaller, could be used although the gimmick size
would have to be increased or decreased proportionally.
The Gimmick
The gimmick which holds the balls prior to production is similar to Kellar's
Nikko, but with some subtle differences. I've used a natural color soft vinyl egg
sold by magic dealers, gag shops and some plastic stores. An egg shape is needed
since a round ball such as a handkerchief ball doesn't allow the action used to
release the sponge balls smoothly and easily.
The gimmick in the photograph was made up by removing top of the egg, leaving
an open container about 1-1/2 inches / 38 mm tall with a top opening diameter
also measuring 1-1/2 inches / 38 mm. At the center of the bottom rounded end of
the egg a narrow opening was made and a No. 7 size brass paper fastener
installed. The prongs of the paper fastener extend out of the egg and were
shortened, one to 1/2 inch / 12.7 mm in length, the other to 5/8 inch / 15.9 mm in
length. When the gimmick is held in the hand the longer prong is against the
third finger, the shorter against the fourth finger. The prongs are spread apart
slightly.
The top of the vinyl egg is removed and a paper fastener used to create an extended clip. The
four balls are compressed together and loaded into the gimmick. The third and fourth fingers hold
the prongs near the base of the fingers.
66
Setup
Take the four sponge balls and compress them together, one on top of the next,
so that a portion of each sponge ball is visible. Place the package of sponge balls
into the gimmick.
Gimmick Handling
The gimmick is held in the palm of the hand by the prongs which are clipped
between the third and fourth fingers near the base of the fingers. The third and
fourth fingers are curled in just a bit towards the palm. This leaves the first and
second fingers free. From the front the hand appears open and relaxed. The top
edge of the hand should be tilted slightly forward, down stage. From the
spectators' vantage point the hand appears open and empty.
The thumb tip contacts the top
The first finger curls in and
The thumb and first finger hold
of the ball closest to the wrist,
down, clipping the ball from
the ball and straighten to produce
pushes it forward which causes
the opposite side.
it.
The body is turned so the left
As each ball appears, it is
Performer's view of the gimmick
shoulder is upstage, the hands
placed between the fingers of
in the right hand.
extending stage left.
the left hand for display.
it to start to escape the
gimmick.
67
Ball Production
As the hand reaches out to pluck the ball from the air, the ball of the thumb
contacts the ball closest to the wrist and rolls it up. The first finger and, if
needed, second finger curl in to help grip the ball. Once the ball is between the
thumb and first finger tips the thumb and first finger straighten. This all takes
places as the arm swings up and stops moving as the ball appears.
Performance Notes
Once sufficient practice has been given to levering the ball out and straightening
the thumb and first finger, using the gimmick becomes quite relaxed and
leisurely. This is because the gimmick rides low in the hand, leaving most of the
hand free, something that can't be said of a good many multiple load hand
gimmicks.
68
Horace Goldin explains his unique approach to working the cups.
GOLDIN'S CUP AND
BALL SLEIGHTS: HANDLING
AND LOADING
By Richard Robinson
Horace Goldin's explanation of the holds, handlings and sleights he used to work
the Cups & Balls includes unique and sometimes difficult variations from the
manipulations commonly used. His techniques do, however, result in startling
visual effects and, from the spectators' point of view, arguably more natural
handling.
In 1907 Will Goldston managed to get Goldin to perform his sleights and write
up a brief, somewhat hurried description of them which Goldston published in
the September 20th issue of his The Magician magazine. What follows is an
expanded version of Goldin's Cups & Balls techniques based on the published
explanations.
Holding The Cup
69
I grip the cups by the edge so that the palm of the hand rests upon the table, and
the forefinger and thumb encircle the mouth between the raised edges. This
results in the palm of the hand resting on the table which improves the angles
and to some extent keeps the cups further away from the hand than the usual
grip.
Palming The Balls
The balls I always palm in the centre of the hand as I consider freedom in
moving the fingers very essential to expert manipulation of the cups. While this
classic palm is difficult with a small ball, it avoids the curled in fingers that result
in using a finger palm to conceal the ball.
70
Opening Sequence: Producing A Ball Under Each Cup
By palming one ball in the centre of the hand it enables me to manipulate two or
three balls with one hand, that is one in the palm, one in the root of the little and
third finger, and one gripped by the top points of the first and second finger.
The first ball is classic palmed. The second ball is held in a finger palm at the
base of the third and fourth finger. The third ball is held by the first and second
finger. While Goldin says that the ball is gripped by the first and second fingers,
either he was using smaller balls which allowed them to be pinched between the
first and second fingers at the first joint or he was using a modified finger palm,
curling the first and second fingers in slightly to hold the ball.
Now to introduce a ball, I first pick up the cups with the balls palmed as
described, the first one to be thrown under is the middle palmed one and it is
dropped and caught by the cup in its descent to the table, the second is the one in
the root of the last fingers and is introduced in a similar way to the first ball, and
the third being shifted from its position to the middle palm before picking up the
third cup.
With the three balls palmed, the hand lifts up the first cup to show there is
nothing under it, then puts it back down on the table, at the same time releasing
the classic palmed ball so it is loaded under the cup.
71
With two balls still palmed, the second cup is lifted and put down, in the process
loading the ball finger palmed by the third and fourth fingers under the cup.
The remaining ball, held by the first and second fingers is shifted back into
classic palm, the hand picks up the third cup and puts it back down, loading the
third ball from the classic palm.
Performance Notes
Goldin's approach can seem disorienting to those familiar with the finger palm
and snug cup grip handling. Some time spent working on Goldin's handling will
make it clear that palming three balls is not as really difficult.
It appears that Goldin used this as an opener. The three cups are on the table,
possibly nested. After arranging the three cups one next to the other, the hand
goes into coat pocket, ostensibly to remove a single ball which is placed to one
side on the table. The three palmed balls are then rapidly loaded under the cups.
The left and then the right cup are lifted to reveal a ball. The visible ball is
picked up, vanished, then the center cup lifted to reveal the ball under it.
72
Bruce Hurling secretly loads an empty container to surprise the spectators with a
production from nowhere.
A HAT LOADING
DEVICE
By Richard Robinson
With empty hands, the magician picks up a top hat, shows it empty, reaches
inside and pulls out a large silk handkerchief. Again showing the empty interior
of the hat, he drapes the silk over his arm, reaches into the hat and pulls out a
large quantity of silk handkerchiefs.
The production of objects from an empty hat is a classic premise that is often
seen as symbolic of the activities of the magician, particularly when a rabbit is
conjured up from the hat's interior. All sorts of objects have been found in the
empty hat: canon balls and bowling balls, ringing alarm clocks, paper lanterns,
balloons and seemingly endless coils of paper ribbon. While most magicians are
certainly aware of the hat production premise, the actual mechanics of hat
loading are rarely documented.
73
Bruce Hurling's Hat Loading Method
Bruce Hurling's 'A Hat Loading Device' originally appeared in 'The Magic
Wand,' London, March, 1915. Hurling described his method as follows:
A particularly neat method of hat-loading which is believed to be original. The
load is placed in the inner breast pocket of the coat, and to the former is attached
a length of strong black thread. This ends in a fairly large loop which is hooked
over the bottom button of the vest. The performer advances with the empty hat
held by the brim, fingers inside and thumb out.
The disengaged hand introduces a palmed flag or handkerchief. The same hand
now proceeds to produce this, but previously, the thumb of the hand which holds
the hat (close to the body) has disengaged the loop of thread from the vest
button.
From the thumb of (we will presume) the left hand, the loop is transferred to that
of the right, and as the flag is raised the load is pulled out from the pocket,
where, for an instant, it dangles behind the silk.
To lower into the hat is, under cover of the flag, a simple matter. The load is
deceptive in the extreme, and well worth the small amount of practice required
for its successful accomplishment.
Advanced Hat Loading
Starting with Hurling's method, I've added a setup that allows the hands to be
seen empty and the hat on the table before the sequence begins.
Props
A top hat. A large silk handkerchief. A quantity of smaller silks. A black silk. A
small bull dog clip sold by stationers to clip papers together. A length of black
fishing line.
74
Setup
Run the fishing line through both holes in the handles of the bull dog clip, then
tie the ends of the line together to form a loop of line approximately 10 inches /
25 cm long. The length of the line will eventually need to be adjusted once the
load position and handling is understood.
Open out the black silk on a flat surface and place the smaller silks in a pile on
the center of the black silk. Bring up the four corners of the black silk to form a
bundle, then use the bull dog clip to hold the bundle closed.
Roll the large silk handkerchief into a tight ball and place it on the outside of the
hat under the brim. Done properly the edge of the hat brim and slight curve of
the brim will trap the balled silk, temporarily holding it in place. This is an old
dodge which also works with a multiplying billiard ball, hank ball or any similar
object.
The hat is placed on a table, the balled silk on the upstage side of the hat.
While a pocket can be made inside the coat on the left side to hold the bundled
silk load, it is really easier to work the trick coming out of a black out or to start
and simply place the bundle under the coat so it can be lightly held in place by
the pressure of the upper arm.
The far end of the fishing line loop goes around the thumb of the left hand.
Handling
75
The balled silk trapped
The hat can be picked up and The hand holding the hat
under the upstage side of
shown empty without
covers the balled silk and
the hat.
exposing the balled silk.
steals it.
A quantity of silks are
The silk bundle is compacted
The bundle is placed under the
placed on a black silk and
as much as possible, the black left side of the coat.
the corners of the black silk silk corners folded over and
brought up to form a
the bull dog clip gimmick
bundle.
used to hold the bundle
securely closed.
The left thumb engages the The hat is picked up by the
opposite end of the loop.
The hat is turned opening
right hand and shown empty. towards the performer and
moved left so the left hand can
take hold of it. In the process
the balled silk is dropped into
the hat.
76
The right thumb engages
The left hand holds the brim
The right hand goes into the
the loop, pulling it off the
of the hat.
hat, takes hold of a corner of
left thumb.
the balled silk, opens the silk
out and lifts it up out of the
hat.
As the right arm rises up,
Once the large silk is
The large silk is brought back
the left arm releases its
completely out of the hat, the
across the hat, releasing the
pressure on the bundle
hat is tilted to again show it
load bundle so it falls into the
which swings out and hangs empty.
hat, and then drawn further
behind the large silk.
back and draped over the left
arm.
The right hand goes into
The right hand takes hold of
the hat and releases the bull the silks ....
... and pulls them up out of the
hat to make the production.
dog clip.
77
Refinements
Once the number of silks to be produced is determined, the black silk can be cut
down until it just holds the load. This allows the bundled load to be as small as
possible and thus the size of the covering silk can be reduced.
The large silk must be opaque to conceal the load. The thumb should be kept
back a bit so that the load does not swing into the silk. The size of the large silk is
determined by the length of the loop line between the thumb and load bundle.
The shorter the line, the higher the load will hang behind the silk, allowing a
smaller silk to be used.
Performance Notes
Bruce Hurling's simple seeming method has much to recommend it for an easy
load steal and production. While the top hat and derby have gone out of style
and magicians have yet to notice the advent of the baseball cap as street wear,
any familiar and suitably sized container can be used.
A smaller hat or container will work if the production items are highly
compressible, for instance if spring flowers are used. This allows both the
covering silk and the volume needed to contain the load to be significantly
smaller.
78
Remarkable things happen and the audience wonders if the magician is involved
in these perplexing events.
MENTAL CARD WORK
By Richard Robinson
One spectator selects a card at random, removes it from the deck and seals it in
an envelope. Another spectator selects another card and writes the name of the
card on a slip of paper.
When the name of the card written on the paper is read aloud it turns out to be
missing from the deck. In fact, it is the very card that was previously sealed in
the envelope.
Mental Card Work uses a variety of dodges, most of which you've probably run
into in one place or another, although not necessarily in this combination.
Props & Setup
A deck of cards and one extra card from a similar deck. A note pad, pen or
pencil and an envelope.
Let's say the extra card is the Nine of Diamonds. The effect begins with the Nine
of Diamonds from the deck and the extra duplicate both on top of the deck as the
first and second cards.
This can be done by having the two Nine of Diamonds in your jacket pocket,
placing the deck in your pocket momentarily, then bring the deck back out with
the two cards added to the top of the deck.
79
Handling
Two Nine of Diamonds are
The spectator is asked to call
The counted off stock is held
placed on top of the deck.
out a number and that
by the right thumb and
number of cards are pushed
fingers.
off the top of the deck into the
right hand.
The stock is tilted to the left.
The stock is brought face up
And placed face up on the
towards the face down deck.
face down deck.
The deck is cut near the
The stock that is cut away is
And placed back on top of
center and thus below the
turned over.
the deck.
number of cards in the first
stock that are now face up on
top of the deck.
80
Spread the cards to the right This first face down card
Under view of the card
off the top of the deck until
becomes the spectator's
selected discloses that it is
the first face-down card is
selected card.
one of the two duplicate
reached.
cards originally on the top of
the deck.
Performance
Ask the first spectator to call out any number between one and ten. As you make
this request take the face down deck in your left hand and begin to push the
cards off the top of the deck toward your right hand. When the spectator calls
the number, complete pushing off that many cards into the right hand.
Take the stock of cards, turn them over so they're face up and drop them back
on the top of the deck.
Now cut the deck somewhere near the middle, and thus well below the face up
stock, lift off the cards above the cut, turn them over and drop them on the top of
the deck.
Fan the face up cards off the top of the deck until you get to the first face down
card. Ask the first spectator to take the face down card and without looking at it
slide it into an envelope and seal the envelope.
You have just forced the top card of the deck using a force credited to legendary
card man Charles Jordan. Although the force can be done with the spectator
holding the deck, it is faster and more showy if you handle the cards.
81
Take the face up stock, turn it over and place it under the face down stock. Now
turn to the second spectator and repeat the force. The duplicate card will now
have been forced on the second spectator.
Ask the second spectator to peak at the card so that no one else sees it. The
handling here is to move the face up stock away from the lower face down stock,
turn the face up stock over and place it under the face down stock. At the same
time the hands are moving toward the spectator with the deck held in the left
hand so that when the right hand can lift the top card and the spectator can peek
at it.
Once the spectator has had a good look at the card, the left hand, which is
holding the deck, goes into the left jacket pocket and comes out with a small note
pad. Note that the left hand is still holding the deck. Motion for the spectator to
take the note pad from your hand. While this is happening the right hand has
gone into the right jacket pocket and come out with a pencil which you hand to
the spectator so that he or she can write the name of the card on the note pad.
Ask the spectator to tear off the sheet he or she has written on and fold it in half.
As the spectator does this you use your right hand to take back the note pad and
the pencil. As soon as the right hand has hold of both, your hands move back
toward your body and your right hand pushes the note pad onto the top of the
deck in your left hand so that both hands go to their respective jacket pockets to
return the note pad and pencil.
When the left hand goes into the jacket pocket it also thumbs off the top card
and leaves it in the pocket.
Now move a short distance away from both spectators and turn to speak to
another spectator about what has happened. In doing this hand the deck of cards
to that spectator. Explain that in fact an astounding mental event has taken
place, although in all modesty you had little to do with it.
82
Tell the second spectator to open his slip of paper and hold it up so that the first
spectator can read aloud what is written on it. The first spectator reads out,
"Nine of Diamonds."
Turn to the spectator holding the deck and ask him or her to please remove the
Nine of Diamonds from the deck. The spectator looks but fails to find any such
card in the deck.
Ask the second spectator to take the envelope from the first spectator and tear it
open. When this is done the audience sees that the card sealed in the envelope is
the missing Nine of Diamonds.
Performance Notes
There are a great many ways of playing this out, depending on your proficiency
with card sleights, forces and switches. The handling above is fairly fast paced
and requires only the duplicate card for setup. However for stage or platform
work, using ESP symbols, Tarot Cards or a regular deck, I'd be tempted to
switch in and out a one way deck for the force and let the third spectator keep
the final missing-a-card deck as a memento of the occasion.
To remove the effect from the realm of card trick the use of Tarot or ESP cards
is recommended. With these cards the effect becomes very spooky indeed.
Fans of Charles Jordan's work will note that the count added to the first of the
two turn overs has absolutely nothing to do with the end result. This is correct,
but it does obscure the events taking place and makes the spectator feel involved
in the selection process.
83
Walter Gibson turns the pass into a simple gesture.
MISDIRECTED
By Richard Robinson
There are any number of card maneuvers that are fraught with anxiety, subject
to finger twisting and capable of alerting those watching that something is going
on, even if they're not clear what it might be.
The Pass is certainly near the top of this list since it generally involves both
hands surrounding the deck as half of the stock is exchanged for the other
without anyone pretending to notice. Even accomplished card workers often
appear to be wringing water out of a wet towel rather than just gently squaring
up the deck.
Gibson's Misdirection Pass
Walter Gibson's Misdirection Pass creates the illusion that a card is selected
from the deck, looked at, returned to the top of the bottom stock, the top stock is
put on it and that's it. I've added a couple of moments to the handling which
make it seem even more relaxed.
The animation shows the
The deck is held in the left
The right hand cuts off most
sequence of movements,
hand.
of the stock and drops cards
84
which do not have to be
until the spectator says Stop.
rushed. In performance, the
deck is lower so the backs of
the hands obscure the moves.
The left hand moves forward
The right hand grips the top As the right hand moves over
with the bottom stock and the stock with the thumb nearer the left hand, the top stock is
spectator removes the top
the left back corner than is
released, the left forth finger
card, in this case the Queen of usual which helps to make
holding a sizeable break,
Hearts.
which is covered by the right
the switch smoother.
hand.
The right hand passes over
The right hand continues
The right hand continues to
the left hand, releasing the
forward, the right thumb
move straight forward, the
top stock.
contacts the left back corner bottom stock sliding out from
of the bottom stock and
under the top stock.
slides it forward.
85
The right hand moves
The right fingers pull the
The right hand pulls back and
towards the spectator.
stock back slightly into the
the right first finger touches
right palm as the right first
the top of the stock in the left
finger extends to point at the hand to indicate this is the
spectator.
spectator's card. Which it
isn't.
The right hand drops the
The right hand moves away
The top card of the deck is
stock it holds on the stock in
and out of the picture.
now the selected card, in this
the left hand.
case the Queen of Hearts.
Sequence
The deck is shuffled or mixed, then a card is selected by a spectator. Since the
deck is going to be in a squared up state during the move, I think fanning the
cards for the selection is a mistake. Instead hold the deck in the right hand, palm
down, with the palm up left hand a few inches below it.
Slowly release a few cards at a time so they fall onto the left palm, asking a
spectator to say Stop whenever he likes.
86
When the spectator says Stop, move the left hand forward and ask him to take
the top card of the bottom stock. Actually you can just ask him to 'take the card,'
he'll figure out the rest on his own.
Keep the right hand holding the remaining top stock above and slightly back of
the palm up left hand on which the bottom stock rests. Once he looks at the card,
move the left hand forward and ask him to put the card back.
As soon as the spectator returns the card to the top of the bottom stock, look up
at the spectator. This shifting of focus by making eye contact with the spectator
is the most important move of the sequence.
As you look up, bring the top stock down onto the bottom stock, curling in the
tip of the left fourth finger to hold the break between the stocks. The right
fingers release their hold on the top stock, take hold of the bottom stock and slide
forward, the right first finger extended as you gesture towards the spectator. Tell
him to keep thinking of the card he selected and not to forget it.
Bring the right hand back, finger still extended, and point down at the top card
of the stock on the left palm, then place the stock in the right hand on top of it.
The pass has been made, the selected card is now the top card of the deck, ready
to do with what you will.
Run this a few times in front of your favorite mirror and you'll be surprised at
how difficult it is to figure out what just happened. The illusion is quite
convincing, the hand moving forward making it impossible to focus on what's
going on.
Performance Notes
Gibson's Misdirection Pass is a clever substitute for the conventional two handed
pass. Gibson submitted it to The Sphinx in 1917, explaining it briefly in one
unillustrated paragraph. He noted that it is more of a dodge than a sleight, but
the result is that the pass is made without being noticed.
87
Royalty and coincidence.
ONCE AND FUTURE
KING
By Richard Robinson
The magician writes a prediction on a playing card. Another card is freely
selected. The prediction names the selected card.
Props
Four number cards and the four Kings are needed as well as a marking pen
whose ink has dried out so that it no longer writes. The number cards should be
of assorted values and include all the suits.
88
Setup
A K and a Heart are drawn The cards are assembled into
The unmarked King of Hearts
at one corner of each card
is added to the stack.
a packet with the marked
used, except for the King of corners all at one end.
Hearts.
With a marking pen that does work, write a K and the Heart symbol on one
corner of each card except the King of Hearts. This writing should be bold and
easily readable.
Assemble the packet of cards with all the marked corners are at the same end,
then add the King of Hearts to the packet.
Store the packet and the marking pen that doesn't work in a convenient pocket.
Handling
The packet is given an
Square up the cards and turn Spread the cards and look
overhand shuffle, then fanned them backs towards the
and displayed. The marked
through them.
spectators.
ends are covered by the fan
89
and the hand holding the fan.
Remove the King of Hearts
With the marking pen that
Using a pen with a dried out
and place it on the face of the doesn't work write the
ink supply allows you to
pack.
actually write on the card.
prediction on the corner of
the card.
Remove the supposed
Spread the remaining cards
Ask a spectator to select one
prediction card and place it
face down.
card and pull it out, keeping
in a spectator's pocket or to
it face down.
one side of the table face
down.
Place the selected card with
Turn over the two cards with a flipping motion. This will
the prediction card. Then
switch the position of the cards in the unlikely event that
remove them and hold them
anyone is actually keeping track of which card is which.
in your hand or place them
Your prediction is correct.
90
together face down on the
table.
In picking up the remaining
Lift the cards up to show
A more deceptive method of
cards from the table, rather
them briefly before putting
holding them is to shift the
than making a fan put the
them away, the fingers hiding hands to either end, this
fingers under the upstage
the marking.
ends of the cards.
allows the cards in one hand
to be moved forward slightly,
increasing the visibly of the
card faces.
Presentation
Explaining that Kings can't help but stand out in a crowd, remove the packet
from your pocket and, keeping the backs of the cards to the spectators, give the
packet a series of overhand shuffles.
Now spread the cards in a fan, turning and adjusting them so the marked
corners are at the bottom of the fan. The hand holding the fan covers the bottom
right corner of the face card (and thus the writing on it) as it normally would in
holding a fan.
Turn the fan faces towards the audience displaying the cards and pointing out
how obvious the Kings are among the other cards.
Now explain that one King is more significant than the others as far as most
people are concerned. Turn the fan so that the backs are towards the audience.
Tell them you are going to make a prediction as to which King more than the
others stands out.
Keeping the backs of the cards toward the audience, remove the King of Hearts
and place it on the face of the fan. Square up the fan. Take the marking pen and
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write on the card. Place the card face down on the table or into a spectator's
jacket pocket.
Give the cards another overhand shuffle, then place them face down on the table,
spreading them apart as you do so. Have a spectator point to one card. Take that
card and place it with your prediction card.
Pick up the rest of the cards, square and fan them again or spread them between
the hands are described above. Say that they could have chosen any of the Kings,
pointing to the King of Spades, Diamonds and Clubs. Close the fan into the left
hand. With the right hand reach for the two face down cards and flip them over,
remarking that they didn't choose any King but the King of Hearts and that that
was your prediction.
As you make this revelation, the hand holding the packet goes into your pocket
and deposits the remainder of the cards. This hand then comes out, picks up the
pen and again goes to the pocket to put the pen away.
Performance Notes
Once And Future King is what magician's like to call a packet trick in that only
eight cards are used. Based on a principle credited to Jack Vosburgh, this
presentation shifts the focus to four specific cards, the four Kings, and creates
the impression that the magician has somehow mentally controlled the
spectator's selection.
The effect is visually surprising, perhaps because it takes the spectators a
moment to focus on the two cards and register that the prediction matches the
chosen card.
ESP cards can be used to create a similar effect where the mind reader predicts
which of the five symbols will be chosen, with one chance in five that not only
will the prediction match the selection but will have the same symbol.
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Ring meets rope, then Doug does the impossible.
RING TIED
By Doug Edwards
This routine is a series of moves which must be done smoothly to create illusions
of knotting the ring on the rope without letting go of the ends of the rope,
removing the ring by apparently visibly penetrating through the knot, then
finally removing the knot itself from the rope.
Props & Setup
The props required are a 36 inch / 91 cm length of rope, a ring 3-1/4 inches / 8.3
cm in diameter and a fake knot. To make up the fake knot, tie a short piece of
rope into a knot, fix the tie in place with white glue, then trim off the ends of the
rope. The hole in the knot must be small enough so the knot fits snuggly on the
rope and does not slide along the rope unless you pull it.
To setup the props, slide the fake knot onto one end of the rope so it is 4 inches /
10 cm down from one end. This allows the end of the rope to extend out of your
hand with the hand around the knot so it isn't visible.
The Moves
To make this easier to follow, first I'll explain knotting the ring on the rope and
removing it from the knot, then explain the complete routine.
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Knotting The Ring On The Rope
The right hand moves over to The right hand moves over
When the right hand is below
the left hand until the rope
the top of the left wrist and the left hand it moves back until
hanging from the right hand
down wrapping the rope
the rope in the right hand
contacts the pulse side of the
over the left wrist.
contacts the rope extending
left wrist.
from the bottom of the left fist.
Extend the right first finger
The right finger hooks that ... and pulls back, pulling the
towards the left hand, move
rope ...
loop of rope back with it.
the finger forward below the
left fist until it reaches the
rope hanging down from the
back of the left wrist.
The left hand rotates towards ... so that the rope around
With the right first finger
the body, maintaining its hold the left wrist rolls over the
continuing to hold the loop, the
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on the end of the rope and
left fist and falls free of the
left hand moves left which
tilts down ...
left hand.
tightens the knot around the
ring.
Remove the right first finger from the loop and continue to pull on both ends of the rope
until the the apparent knot on the ring is almost completely tight. Do not pull all the way,
just so it appears to be a genuine knot.
Removing The Ring From The Rope
The left hand opens and moves The right hand moves slowly
... until the right hand
to the top of the rope, taking
down the rope, pulling the
reaches the ring.
hold of the rope very near the
sliding knot with it ...
top end. The left fingers are
kept open. As this happens, the
right hand relaxes a bit but
still conceals the sliding fake
knot from the spectators.
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Without hesitation the right
... and continues moving
The ring is put to one side
hand releases the sliding fake
down the rope with the ring
or in a jacket pocket.
knot, takes hold of the ring ..
until it reaches the bottom
end of the rope where the
ring is taken off the rope.
Handling & Routine
Hold the ends of the rope, one end in each hand. The right hand is around the
knot, concealing it from view.
With the left hand, grasp the ring with the first and second fingers and hold it
behind the rope. The thumb presses the rope and the top of the ring, the first
finger is behind the thumb on the opposite side of the ring.
The second and third fingers reach through the ring and grab the rope. The
thumb raises up so the ring is hanging on the second finger.
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The hand revolves palm down which causes the ring to fall onto the rope where it
slides to the middle of the rope as the left hand regrips the end of the rope.
"I'm going to knot the ring on the rope without letting go of the ends."
The hands are held apart at the same height, an end of the rope extending from
each hand, the ring hanging at the center of the rope.
The right hand moves over to the left hand until the rope hanging from the right
hand contacts the pulse side of the left wrist.
The right hand moves over the top of the left wrist and down, wrapping the rope
over the left wrist.
When the right hand is below the left hand it moves back until the rope in the
right hand contacts the rope extending from the bottom of the left fist.
Extend the right first finger towards the left hand, move the finger forward
below the left fist until it reaches the rope hanging down from the back of the left
wrist. The right finger hooks that rope and pulls back, pulling the loop of rope
back with it.
The left hand rotates towards the body, maintaining its hold on the end of the
rope and tilts down so that the rope around the left wrist rolls over the left fist
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and falls free of the left hand. With the right first finger continuing to hold the
loop, the left hand moves left which tightens the knot around the ring.
Remove the right first finger from the loop and continue to pull on both ends of
the rope until the the apparent knot on the ring is almost completely tight. Do
not pull all the way, just so it appears to be a genuine knot.
Raise the right hand up, let go of the rope with the left hand, and display the ring
knotted to the rope at the center of the rope.
To the audience it appears that you have indeed knotted the ring onto the rope
without letting go of the ends of the rope.
At this point, the right hand is raised, holding the upper end of the rope with the
end of the rope extending up out of the right fist. The spectators are not aware
that inside the closed right hand there is a fake knot around the rope and will be
surprised by what happens next.
"Now I'm going to remove the ring from the knot without untying it."
The left hand opens and moves to the top of the rope, taking hold of the rope
very near the top end. The left fingers are kept open. As this happens, the right
hand relaxes a bit but still conceals the sliding fake knot from the spectators.
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The right hand moves slowly down the rope, pulling the sliding knot with it until
it reaches the ring. Without hesitation the right hand releases the sliding fake
knot, takes hold of the ring, and continues moving down the rope with the ring
until it reaches the bottom end of the rope where the ring is taken off the rope.
The ring is put to one side or in a jacket pocket as the spectators look at the left
hand holding the rope with a knot where the ring used to be.
The right hand moves up to the knot and takes hold of it delicately with the tips
of the first and second finger, so as much of the knot as possible remains visible
to the spectators. Holding the knot, the right hand jerks the knot down the rope
a few inches, stops, moves the knot down another few inches, stops and then pulls
the knot completely off the rope.
The knot can be given to a member of the audience or shown, tossed and caught
and put in the pocket dramatically.
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The order of things.
THE ROTO DECK
By Richard Robinson
In 'More Magic' and again in 'Latest Magic,' Professor Hoffmann decries the
stage wait created as the conjurer forces three cards across the front row before
he can get on to causing them to rise from the deck. He understood that the
selection of the card is not the best part of the trick, as some card workers
imagine, but a familiar preamble to the magic of a theatrical revelation.
At the same time, he knew that the selection of the cards must seem random, the
luck of the draw, without any apparent interference on the part of the magician.
Hoffmann's solution was to shuffle the deck, place the deck on a small tray,
carry the tray forward to a spectator who was asked to cut the deck and take the
card cut to and the two below it, keeping one for himself and giving the other two
to those seated left and right of him.
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The important parts are just what they seem to those watching: the cards are
isolated on the tray, away from the magician's fingers and the spectator cuts the
deck anywhere he likes. The parts that aren't above board are the shuffling of
the deck to start which is a false shuffle and the deck itself which has an
ingenious setup.
The Roto Deck
A portion of the three card rotation. If the spectator cuts to the Five, Ten or
Queen, that card and the two below it always result in the three cards being
forced.
The deck consists of three different cards repeated in a set order. For instance
the Five of Hearts, Ten of Clubs and Queen of Diamonds. The principle that
makes this stack so effective is that no matter where the spectator cuts the deck,
the next three cards will be the Five of Hearts, Ten of Clubs and Queen of
Diamonds, although not necessarily in that order.
The deck is most easily made up by purchasing three different value, same back
one way decks from a magic dealer. The deck pictured was provided by George
Schindler, for which I thank him.
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One caution in using this kind of deck: the magician must find a quiet corner
and personally check the rotation before each performance to ensure the stack is
as it should be.
The Tray
Obviously a tray isn't necessary in using the deck, but it is a convincing addition.
It gives the magician a subtle reason for uncasing and shuffling the cards at his
table, then picking up the tray and putting the cards on it before moving
downstage. It is also a useful distraction on the return trip should the magician
need to switch the deck for a threading rising card deck or similar prop before
retrieving the selected cards.
If a compelling need is felt to flash the face card of the deck showing an
indifferent card, the tray can have a magnet embedded in it and the indifferent
face card with a back matching the tray surface can be shimmed to cling to the
tray.
Tray Management
The tray is rectangular, the
The spectator is asked to
The magician takes the top
deck placed at the front and
cut the deck.
half and puts it down on the
angled so a right handed
tray, upstage of the bottom
spectator can cut it easily. The
half, then puts his thumb on it.
tray surface should be felt or
wool to keep the deck from
shifting.
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The spectator takes the top
As the spectator looks at
As the magician returns to his
three cards off the bottom
the three cards, the
table, the deck is reassembled.
stock.
magician moves upstage.
Performance Notes
It isn't clear from Hoffmann's commentary whether this deck stack is his
invention or already existed. He does seem inordinately relieved to have it
available and is quite taken by the principle involved that results in the same
three cards being forced no matter where the cut is made.
Since Hoffmann's time, this rotating stack has been quite literally expanded on
by rotating five or six cards rather than three and makes occasional appearances
in magic dealer lists. Despite this, it continues to be generally unknown and
under appreciated by magicians wise enough to want to get the cards selected
and move on to the magic.
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Maybe you only imagined it.
SIDE EFFECTS
By Richard Robinson
In the theater it is called mise en scène, what is put on the stage to define the
space. The set, the stage furniture and props, the costumes, the appearance and
placement of the actors and the illumination are determined to create a specific
atmosphere.
Since magicians think in terms of the tricks they present, mise en scène is
generally lacking in a magic show. This makes a magic show into a series of
random surprises and often diminishes the illusion of the magician.
One approach I use to help create a mysterious atmosphere for a magic show are
events that take place of which the magician is apparently unaware and indeed
not everyone in the audience may actually notice.
Often I stage these effects upstage or far stage left or right so that they occur in
shadow. They happen at odd times, when the lights are dimming or just coming
up for instance. And the magician is oblivious to them, giving absolutely no
indication that anything out of the ordinary is going on.
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An example of this is a box I use to hold the spirit hand. The box is spotted on
the floor, upstage center. At the start of the spirit hand routine I walk over to the
box, lift the lid and remove the spirit hand, proceeding downstage to present the
effect.
At the finish of the routine, I return upstage with the hand, put it back into the
box, close the lid and walk off stage. As the lights fade to black those paying
attention see the box lid start to rise slightly, the fingers of the hand pushing it
up, the fingers lower and push up twice, apparently trying to raise the lid, then
lower quickly, the lid dropping shut.
Not everyone notices this, but those that do tell their incredulous friends after the
show, becoming unsure they actually saw it happen as others tell them they
didn't see it. And what they're saying of course, "I saw the hand start try to
come out of the box," creates a mise en scène since they're talking about a wood
hand, not the magician.
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The Spirit Hand Box
A fake set of fingers is needed. This is roughly cut out of a length of pine. A hole
is drilled at the bottom center up to nearly the top and a brass tube inserted to
line the hole. A screw eye is mounted on the fourth finger side of the hand near
the bottom.
The box is 11-1/2 inches / 29 cm wide, 10-1/4 inches / 26 cm deep and 9-5/8 inches
/ 24.5 cm tall. The bottom section of the box is 5-1/2 inches / 14 cm tall, the
rounded lid accounting for the remaining height.
The interior of the box is empty except for a 1/2 inch thick x 1 inch tall / 6 x 19
mm wood cleat that fixed from to right, the top flush with the top of the box and
set 1-1/8 inches / 28 mm back from the inside front of the box.
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A metal post 4-1/2 inches / 11 cm tall and slightly smaller in diameter than of the
hole in the hand is fixed to the bottom of the box. The post is positioned at the
left to right center of the box and directly in the center between the front wall of
the box and the cleat.
A screw eye is mounted to the bottom side of the cleat so it is positioned in line
with the center of the hand when the hand is lowered into place onto the post.
A length of stiff wire with a small, loose brass tube on it is positioned at the front,
top inside of the box wall so act as a roller for the hand has it moves up and
down.
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The hand is lowered onto the post. Medium weight fishing line is run from the
screw eye on the hand up through the screw eye above it on the cleat, then
through a screw eye located on the bottom of the box at the front left corner,
then through a hole drilled in the back of the box near the left side. Pulling on
the line cases the hand to rise up the post, contact the front of the lid and push it
up, bringing the finger tips into view.
In constructing the box the lid should be made as light weight as possible and
very loose hinges used to attach the lid to the box. Except for the front area from
the cleat forward, the remainder of the box was sized to hold a spirit hand and
needed accessories for travel.
The thread is worked from behind the back curtain and the moves decided upon
should be rehearsed.
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Point And Purpose
The point of these kinds of momentary events, and they should be momentary, is
to give some depth to a magic show, so that the magician is seen in his
environment, not just facing forward holding up props and doing tricks as he
stares back at those watching. Obviously they should not be over used, two or
three in an evening show are quite enough, and just as obviously the magician
must give no indication that he is either aware or interested in such goings on.
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Doug relocates the selected card.
TOP CONTROL
By Doug Edwards
Convincing card controls are always a welcome addition to the card magician's
arsenal. I developed this control in December 2001 and have been using it ever
since. I've checked and have not seen anything similar in print. It truly appears
that the packet with the selection on top is randomly placed into the spread of
cards and hopelessly lost. And with one cut, it's secretly controlled to the top.
Grab a deck and follow the moves below.
Spread the deck between the hands. Ask a spectator to select and remove a card
from the deck.
Break the spread in half, square up the stock in the right hand and move the
right hand forward for the spectator to replace the card on top of the stock.
After the spectator has put the card back, clip the corner of the stock between
the thumb and top of the first finger, lower the other fingers so the stock sticks
out from the hand.
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Move the stock towards the remaining spread and openly slide it between any
two cards. Continue pushing the stock between the two cards, at the same time,
slide the stock back slightly so that when the spread is closed the stock is down
jogged, protruding from the back of the deck.
Don't square up the deck neatly. The thumb on top of the deck can pull the top
card back slightly to further mask the down jog.
To the spectators you are just holding the unsquared deck in your right hand. In
fact, the bottom stock is jogged back with the top of card of the deck also back
slightly to hide what's going on.
With the deck in the right hand, the left hand opens and comes down over the
top of the deck. The left thumb presses slightly down edge of the down jogged
packet (the selection being the top card of the packet) and squares up the deck in
the process holding a break with the thumb.
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Cut the stock above the break to the bottom of the deck. Then square up the
deck.
The selected card is now on top of the deck, ready to be revealed.
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A clever transposition of a red and a green ball which looks like refined sleight of
hand but is actually just the routined use of a classic gaff.
TRANSFORMER
By Richard Robinson
The magician displays two balls, one green and one red. He wraps the green ball
in a green handkerchief and places the bundle into a wine glass on his table.
He steps away from the table, holding the red ball at the finger tips of his left
hand. He passes his right hand over the ball, once, twice, three times. The third
time the ball visibly changes to green.
Stepping to the table, he takes hold of a corner of the green silk and pulls it out
of the glass. The red ball is seen in the glass.
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Props
A Multiplying Billiard Ball setup of ball with matching color shell and ball of
another color. A wine glass or similar clear container. A silk handkerchief of a
color that matches the odd color ball. The handkerchief must be heavy enough so
that the color of the ball inside it does not show through.
Unlike many Billiard Ball manipulations which require a proper professional set
of multiplying balls, this particular effect can be done with just about any
Multiplying Ball set.
The wine glass or other clear container must be large and heavy enough so that it
does not tip when the handkerchief is pulled from it. A plastic glass temporarily
attached to a tray or table top by sliding the base of the glass under three screw
heads arranged in a semi-circle is recommended.
Setup
Place the handkerchief in wine glass. Balls are set so that ball and shell are
together as one.
Handling
The balls are initially
The left hand removes the silk The silk is brought under
displayed in the classic
from the glass.
the ball hand and the green
Multiplying Billiard Balls
ball apparently placed in
hand position in the right
the center of the silk.
hand. Red ball in red shell
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between thumb and first
finger, green ball between
first and second fingers.
As the right hand is obscured
Then the right fingers rotate
The red shell is kept face-on
by the handkerchief covered
the green ball into the shell,
to the audience, hiding the
left hand, the left fingers take using the standard two to one green ball inside of it. The
hold of the red ball through
multiplying ball move.
center of the silk is allowed
the silk and pull it out of the
to run through the fingers
shell.
so the shape of the ball is
seen.
The left hand holding the silk
The handkerchief wrapped
The red shell / green ball
moves back to the glass and
ball is left on display in the
are taken from the right
the silk is lowered into the
glass. Note that the ends of the hand into the left hand. The
glass.
handkerchief hang out over
left fingers close and move
the rim of the glass, ready to
across the to hide the ball
be manipulated later in the
from view.
routine.
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The ball is momentarily
As the left fingers move across The fingers pull back
hidden by the left fingers.
the face of the shell, they
revealing the green ball
contact it and pivot the shell
held at the left finger tips.
and ball so the shell is
The red ball has magically
upstage.
changed to green.
Turning slightly forward towards the spectators, the left
The right hand takes hold
fingers cup the shell and the left thumb levers the green ball
of the ball. The left hand,
out of it and up over the side of the left first finger into
fingers curled in to hide the
audience view.
palmed shell, moves to the
silk and takes hold of one
corner.
The red ball is revealed to be
Pause for a moment so the spectators can register the
wrapped in the handkerchief
transposition. Then tip the glass so the red ball rolls out of
in the glass by pulling the
it into the waiting left hand is that the red ball goes into the
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handkerchief away to leave
shell.
the red ball visible in the
glass.
Routine
In whatever multiplying billiard ball stance you favor, display the two balls to
the audience. Presuming you're turned slightly to the right with the balls
displayed in the right hand, the ball/shell would be between the thumb and first
finger, the odd color ball between the first and second finger.
With the left hand, remove the handkerchief from the wine glass. Toss the
handkerchief a couple of times until the center of the handkerchief lies over the
left palm.
Bring the handkerchief covered left palm up toward the right hand until the
handkerchief momentarily obscures the balls held by the right fingers.
Once the balls are hidden, pull the ball out of the shell using the left fingers
through the handkerchief. The right fingers immediately rotate the odd colored
ball down into the shell.
The left hand now moves away to the left, turning the handkerchief over and
letting it slide out of the hand so that the weight of the ball causes the center of
the handkerchief to hang down from the left hand. Turn your body to the left
and at the same time bring the right arm down in an arc, keeping the shell facing
the audience.
Lower the handkerchief into the wine glass, leaving the ends of the handkerchief
hanging over the top rim of the glass.
Step back to the right. As you do so, the left hand takes the ball/shell from the
right hand and displays it at the tips of the left fingers.
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The left hand is held with the tips of the left fingers pointing toward the
audience. The ball is held, shell forward, so that the left fingers rest against one
side of the ball, the left thumb on the opposite side, the ball of the left thumb
touching the edge of the shell.
The right hand, fingers together, now makes two passes across the left hand and
the ball. On the third pass as the right hand moves back to the right it touches
the ball, revolving it so that the shell is now to the back and the odd color ball
exposed to the audience.
Pause for a moment so that the audience can register the color change.
Bring the left hand in toward the center of the body.
As you do this, rotate the left hand so the back of the hand is toward the
audience and the visible portion of the ball is up toward your face. From this
position the left thumb can push the ball up out of the shell.
The right fingers take hold of the ball. The left hand, still holding the shell in
finger palm position, moves to the left and takes hold of a corner of the
handkerchief and pulls it slowly out of the wine glass. This will expose the other
color ball in the wine glass.
Drape the handkerchief over the right arm, the right hand goes across the body
and takes hold of the stem of the wine glass and tilts it to pour the ball from the
glass into the cupped left hand where it falls into the shell.
Either ball, the glass and handkerchief can now be freely displayed.
Performance Notes
As you work out the sequence of moves involved you'll note that many of them
keep you just a bit ahead of the audience as to what is actually happening. You
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should eventually change the moves so that they conform with your own
performing style.
The handling in this routine comes from a variety of sources. Harlan Tarbell
describes a similar ball transposition, but his version calls for two wine glasses,
two handkerchiefs and seems to lack a clearly defined finish.
The principle of only the front half of a sphere being visible when viewing it from
the front, has been used in magic effects here and there, but Floyd Thayer
deserves credit for manufacturing color changing billiard balls that included an
indention on their circumference that allowed the magician to tell the back from
front without looking. Obviously the shell does this tactile job just as well.
It would also be remiss not to mention Torkova's Ball And Cone routine which
includes a wine glass and a silk handkerchief and most certainly does not use the
gaffed-up version described here.
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C. J. Stillwell's time keeper manipulations.
WATCH OUT
By Richard Robinson
Although certainly from another time, the pocket watch remains a familiar
object. Many stage manipulators have given it attention and some magic dealers
continue to offer fake manipulation watches crafted in a similar manner to
palming coins. Here are three pocket watch vanishes by C. J. Stillwell, each of
which takes advantage of the watch design to accomplish the effect.
The Fingertip Vanish
The right side of the body is towards the audience, the hands are extended to the
left, or partly in front of the body, the right hand holding the watch by the ring,
with the watch proper extending upward.
The left hand is now brought up and enfolds the watch. When the hand is fully
closed the right hand is drawn away to the pointing position shown.
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But, the watch is also carried away in the right hand, for just as the left hand
closes to a fist, the watch is allowed to drop downward from the finger tips of
right hand, into the right palm proper.
This is rather hard to describe in writing, but the closing of left hand and the
withdrawal of the right hand takes place almost simultaneously, the latter
turning from the wrist as it starts to move away, covers the dropping of the
watch perfectly. I can only say to get the idea and try it before a mirror until you
have it.
This is an excellent vanish for a billiard ball or similar article also, holding the
ball upon the tips of the right fingers and apparently enfolding it in the left fist,
from whence it is vanished and reproduced as desired.
Fingertip And Finger Palm Vanish
In this you directly face the audience, holding the watch in the left hand, the
back of the four fingers being almost flat, and in a horizontal position. The watch
extends upward, in as full view as possible, the thumb holding ring and stein at
rear, and tip of forefinger in front.
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The right hand now comes up and enfolds the watch from the front, curling
around it and carrying it away, from the viewpoint of the audience, the left hand
remaining in practically the same position all the time.
However, the watch is really retained in the left hand by the finger palm, as the
watch is allowed to swing to the left and downward, the right hand rising and
moving.
The flattened fingers of the left hand form a perfect screen for the watch, which
of course drops under cover of the right hand just as it is being enfolded and
hidden from view. The watch is retained in the finger palm until ready for
reproduction, or may very easily be shifted back to the palm proper by the little
finger.
Vanish From First And Second Fingers
In this pass the watch is held in the right hand, flat between the first and second
fingers, being simply retained by the pressure upon the flat sides of the watch.
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If held in this way, with the ring of the watch just above the tip of the first finger,
you will find that by doubling the fingers quickly back to the crotch of the thumb
that the ring of watch is easily engaged by the flesh between the thumb and first
finger, in the regulation 'watch palm.'
This is the basic idea of the sleight. The hands are directly in front of the body,
full front to audience, the watch being clipped between the fingers as first
directed, the third and fourth fingers of right hand being doubled out of the way.
The left hand now curls down and over the two retaining fingers and the watch,
the large knuckles of left being directly toward audience as the hand closes, and
the right fingers are drawn away from inside the left fist, which moves away as
though it carries the watch, and from the audience's point of view it does.
However, the withdrawal of the two right fingers and the moving away of the left
fist serve as cover to the quick doubling back of the watch into the crotch of the
right thumb as mentioned above. Understand, there is no attempt to sneak the
watch from left fist; it is withdrawn boldly with the two right fingers. And these
fingers really help to cover the watch as it goes back to thumb crotch.
The two fingers are immediately straightened again, and the forefinger points
toward the left fist as mute evidence the watch is therein. The watch is now
vanished from the left at leisure, and reproduced as desired. This same vanish
may be used with a coin to good advantage, holding the coin nearer the
fingertips, on account of the difference in size.
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Performance Notes
C. J. Stillwell's 'Some Passes With A Watch' is one of the few explanations of
manipulating pocket watches. It appeared in the May 15, 1914 issue of The
Sphinx, accompanied by seven photographs of Stillwell's hands.
In his introduction to the passes, Stillwell wrote:
"It is my desire to present a few passes with a watch, which I have worked out in
connection with the Watch Manipulation Act. I believe the Watch Act to be
rather unusual - at least, I have never seen any magical performer use it among
the number it has been my privilege to witness - and if others are interested in
the manipulation of watches, I present these passes for their benefit.
"In order to properly explain the position of the hands, I have had some small
photos taken of my hands in various positions, some of which could be a great
deal better than they are, but they may serve to give a clearer idea than written
description alone. So here goes:"
In Vanish From First And Second Fingers, he noted, "This vanish is patterned
after a coin vanish originated by my friend, T. J. Crawford, in charge of the
Amateur Department of this publication, and to those possessing Downs' 'Art of
Magic,' let me suggest that you master this coin sleight, as described on page 227,
if you have not already done so. The vanish is properly credited to Mr. Crawford
in the book named."
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T. J. Crawford's color change tops the deck.
WORKED UP
By Richard Robinson
Secretly maneuvering the bottom card to the top of the deck is the subject of
much discussion and quite a few techniques, some of which are based on an
earlier premise where the magician passed a hand over the deck and in the
process changed the color of the face card.
The easiest method is to hold the deck in the left hand, bring the right hand over
to cover the deck at the same time inserting the right thumb under the deck, pull
the right hand back, the right thumb pulling the bottom card back into the right
palm, then move the right hand over the deck again, depositing the bottom card
on the top of the deck.
If done neatly those watching will probably not notice, but most magicians are
uncomfortable with the move, if nothing else because it just seems too easy. The
result of this opinion are variations on the basic move, a few of which actually do
the job in a neater fashion. Among them is T. J. Crawford's handling which is
very close to a one card pass. With the deck back up rather than face up, it
brings the bottom card to the top in what appears to be the action of squaring up
the deck or taking it from the left hand into the right hand.
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Handling
The left hand holds the deck,
The deck is held away from Under view of first finger
thumb to one side, first finger
the palm.
at end, remaining fingers to
position at the end of the
deck.
other side.
The first finger moves down,
The card slides back under Eventually the card extends
contacts the front edge of the
the deck traveling between
bottom card and slides it back. the thumb and fingers.
out of the deck, allowing it to
clear the left thumb when
taken by the right hand.
The right hand, fingers closed, As the right fingers begin to The bottom card is moved
thumb visible, moves towards
cover the deck, the left first back until it strikes the base
the left hand.
finger slides the card back.
of the right thumb and first
finger.
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Over head view of the card
The right thumb presses
The card is canted upstage
sliding back and encountering against the palm, trapping
slightly away from the palm,
the right hand.
improving the angles.
the card.
Once the card is caught by the The right hand them moves The right hand immediately
right thumb, the right hand
down, depositing the card
takes hold of the deck and
raises up as if to show the top
on the top of the deck.
moves away from the left
card of the deck.
hand.
Sequence
The deck is held in the left hand, the left fingers holding it out, so it is not resting
on the left palm. The thumb rest on the left side of the deck, the first finger tip is
at the top and the remaining fingers are at the right side. The exact finger
positioning will be apparent the first time you try to make the move. To the
spectators it just appears that you're holding the deck in the left hand.
The right hand now approaches the deck, fingers out and together, back of hand
downstage. As the right hand travels toward the deck, the left first finger moves
down slightly until the finger tip contacts the top edge of the bottom card.
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The right hand stops when the right finger tips are over the deck. The left first
finger tip slides the bottom card straight back until the bottom left edge of the
bottom card contacts the base of the right thumb and first finger. The movement
of the right hand towards and over the deck and the left finger pushing the card
back are made almost simultaneously.
The right thumb applies pressure on the corner of the card, effectively thumb
palming it. The right hand moves up, which allows the thumb palmed card to
clear the deck. The right hand moves back down, at the same time the left fingers
relax their hold so the deck comes to rest on the left palm. The right hand takes
hold of the deck to square it, depositing the palmed card on top of the deck. The
right hand can then take the deck away or leave it squared on the left palm.
Performance Notes
There are several ways of working the timing on this move and positioning the
hands as it is done. For instance, the right hand can approach the deck and
pause, never quite covering it, let the deck drop from the left fingers hold into
the left palm, then just pick up the deck with the right hand. Or the right hand
can move over the deck and pick the top card off the deck and then return it, at
the same time working the move which puts the bottom card second from the
top.
T. J. Crawford contributed this move to The Sphinx and it appeared in the
August 1915 issue under the title 'Unsurpassed Color Change.' Crawford's
presentation began with the face card being displayed, the right hand covering it
momentarily, then moving up to the left wrist to show it one more time, then
down to release the palmed card and make the change. Crawford also noted that
more than one card can be moved from top to bottom.
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