Chapter One
CUPS & BALLS
STAND-UP CUPS & BALLS
INTRODUCTION
Few routines in the history of magic have endured as have the Cups and Balls. Even the walls of
ancient pyramids record its performances. Since that time,
been in the repertoire of virtually
every sleight-of-hand performer. In fact, many old-timers recall when a magician's ability was
judged by his performance of the Cups and Balls. *
As a result, I
a strong responsibility as 1
this routine the magic world. It is difficult to
break new ground for this effect, of course, without losing sight of the things that make it classic.
However, I do feel it is possible to keep the basic effect, while adding new dimensions through
innovative routining and presentation.
We will look at this innovative routine closely. This is the routine I use professionally. I used this
in the show which won me Close-up Magician of the Year at the Magic Castle, and I also chose to
feature it on the Merv Griffin and Will Shriner TV shows. I sincerely hope that I am able to teach
you this routine. I will be explaining things as clearly and completely as possible. Not only will we
cover the Hows, but also the important
To facilitate your
I wanted the moves to be very clearly illustrated. This is where Greg
came in.
rare talent, Greg worked
me for
a year and half preparing
these illustrations. Greg is a professional animator having recently worked on the innovative
movie, Who Framed Roger Rabbit?
The Dai Vernon Spin, when correctly performed, is absolutely beautiful. However, you rarely see
this move performed. It's not just because it is a difficult move to execute; but it's difficult to teach.
(Things weren't helped by Ganson's unclear, partially incorrect description in THE DAI VERNON
For this reason I have taken the extra effort to try and correctly teach this move.
With these extra words and illustrations, if you ever wanted to do this move, you can learn it here.
BACKGROUND
The Cups and Balls, by close-up standards, involves lot of props. It is a relatively long routine. It
lasts almost five minutes, requiring three cups, four small balls, a wand, and four large final loads.
Fortunately, the routine has a strong impact when it has a solid, yet simple structure. When
properly developed, it seems impossible to reconstruct and the display at the end is both interesting
and unexpected. This makes it an excellent closer.
I have always thought the opening sequences of a cups and balls routine should be able to stand
1
The Magic
on its own; however, its REAL purpose is to "set up" the strongest ending possible. I believe this
because the climax, when properly led into, can completely captivate the mind of the spectator so
that it might be all that is remembered.
This aspect of the strong
combined with the Dai
axiom, "Confusion
't Magic,"
made me take a hard
at opening sequences. As a general rule opening sequences are designed
more to please the performer than to serve the meaningful and worthwhile purpose of setting up
the strongest ending possible. Often the phases are repetitious and confusing.
1 developed the body of my routine through a process I call
thinking. I looked at the
ending and its impact, then I tried to think the thoughts the spectators might
Most people try
to solve the mystery by figuring out where those final loads come from. Were they there all along?
Did the performer sneak
When could it have been done?
did the performer get
them from?
This routine is intentionally structured to convince people the cups are absolutely empty until
the instant before the revelation of the final loads. The wording, actions and progression of events
are dedicated to that purpose.
I worry that unless time misdirection is properly applied, the
and the where of the final loads
might be linked together by a perceptive viewer. For example, several trips to the pocket or lap are
made immediately before revealing the final loads, where the loads come from, and when they are
made can become obvious. At best, that only
with the audience appreciating the skill
required to do this, and I don't think appreciation is nearly as strong of a response as amazement.
With this thought in mind, I decided to separate the loading of the cups from the revelations by
the widest gap possible. Meanwhile, I searched for the most interesting sequences to go between
the loads and revelations. I didn't want the opening segments to be dead time. I wanted them to be
interesting and entertaining in their own right.
Along the way, I hit upon the idea of eliminating a cup between each opening segment, and
loading the cups as they were set aside. I thought this was clever and I was proud of myself! Since
then, however, I found that other performers have had the same idea. fact, it was probably done
before I was born. Pat Page, for example, does a routine where he eliminates cups as he goes along.
This disappointed me at first, since I love to be original. But then I remembered my primary goal.
This routine was not designed to be "new." It was conceived and routined for performing. The bottom line for me was to develop the strongest, most logical sequence of events possible for the cups
and balls, with impact, entertainment and practicality being the goals.
EFFECT: While
no coat on, three cups and a wand are shown. Three balls are then
magically produced. The balls vanish one at a time and then reappear under the cups. Two more
short phases are performed,
both a cup and a ball being eliminated between each phase. At the
end, the cups are lifted to reveal
pieces of
which completely the previously empty cups.
COMMENTS: Personally, I use fruit for the final loads. Fruit are the right size and unexpected;
also, there is something humorous about the sight of the fruit. Of course, there are lots of funny,
unexpected things that will fit inside the cups, and your personality may indicate that something
else would be better than fruit for an ending when you perform.
most cases, the cups and balls are more deceptive when performed while
so I originally constructed this routine to be done standing. (1 don't always do it with no coat on, but I will
explain it that way here, because shifting it to be done out of the coat pockets
be easier than to
shift it from coat work to pants
There are exceptions, of course, but standing seems to
2
Stand-up Cups & Balls
eliminate some of the potential sources for the final loads. So just where is the best place to secretly
conceal four large pieces of fruit?
The coat pockets conceal them, but in most cases they create a distracting lump, and might be a
clue to the source. Trying to hide the fruit in the front pants pockets can create an even more questionable bulge.
have decided the best place to conceal the loads is in the back pants pocket You will rarely walk
up to a table backwards, so for the most part the pieces of fruit are well concealed. Your coat will
also cover the fruit nicely.
The next point to deal with is immediate access to the fruit. If your pockets are stuffed, you
have an unnatural struggle when you remove your supposedly empty hand. It is crucial for the
hand to enter and leave the pocket smoothly with the secret load. Remember, your covering action
is the
placement of a small ball into a large pocket Putting something into a pocket takes
only an instant, and the hand usually exits easier
it enters. However, when taking something
from the pocket, there is naturally a delay and extra movement For the steal to be deceptive, the
hand must follow the timing and actions of a hand putting something into the pocket, with no
delay or extra movements.
To solve this problem, I had to enlarge the back pocket
to
twice its normal si2e. Again, while this thought
was original with me, Roger
orms me that Paul
Fox used, but never printed, this same idea decades ago.
At first, I formed one large pocket of the two pockets, like
old pajamas with the trap door. But this gave me more
room than I needed, and it made the pants look strange.
Now I widen the back right pocket by about two inches.
My right hand can then easily scoop out a piece of fruit.
By the way, with the proper misdirection, you can use
either hand and either pocket for the loads. Minor
changes in the flow of this routine will be necessary if
you change hands, but it shouldn't be a problem.
SET UP: When possible, I try to use a turnip, a lemon,
an onion, and a potato for the loads. These are solid
enough to withstand a crowded pocket, and they are the
right size. Also, as we will see later, these particular objects set us up for some interesting
lines for our ending. Place the potato into the lower far comer of the
pocket, with the other pieces of fruit placed around it.
This way, the potato will be the last item revealed.
The cups themselves are covered by a cloth bag. With
the cups, mouth up, the bottom two cups each secretly
conceal a single ball. The top
is empty. Place the cloth
The three cups are nested in the bag, with
bag over the cups, and pull
draw string tight, but
secretly
between the first and
cups, and one between the
don't
tie
it.
The
two
remaining
are sniffed into the
third cups. Two other balls are
setop of the cups, where the bag helps to hold and conceal
cretly into the top of the first cup.
them. This is similar to the way
York transports
one of his final loads (FIG. 1). Have your wand handy, and keep the mouths of the cups facing away
from the audience. You can now do the routine at any time during your show.
3
The Magic of Michael
OPENING DELIVERY: Since this is my closer, I try to lead into it with a certain attitude. I try and
verbally tie in this
effect with whatever effect preceded it The transition from a card trick to
the cups, for example, must be bridged in such a way that the separate effects in your performance
seem unified.
"Of course, 1 know what you are thinking. You are saying to yourself, I'll bet just switched those cards
out his sleeves. The truth is that magicians have not used their coats to cheat for generations.
"But since my time is almost up, just to prove a point, I will actually remove my coat, and
work only
with the simplest props.
that will be involved here, besides ten steel spring fingers, are three brass cups
and a wand.
cups are solid brass, and they are all absolutely identical... especially this one."
This opening delivery sets the stage. Removing the coat at the beginning will emphasize the
impossibility of the ending.
PROCEDURES: Show your hands are empty as you mention your
steel spring fingers." Due
to our set up, we are actually four balls ahead, giving the impression of unusual fairness.
As you remove the cups from the
you will steal the two hidden balls from the top of the bag.
As FIG. 2 shows,
hand pushes the cups up from the bottom.
bag opens as the cups move
up, automatically pushing the
into the right
finger palm. The right hand then continues
to help the left hand remove the bag from around the cups.
The left hand holds the cups mouth up as the right hand sets the bag to the right without going
out of sight. If your hand goes out of sight, you might create suspicion and ruin the effectiveness of
the secret steal of the balls.
The right hand swings
taking the bottom cup. This is placed mouth down at the far right
position (FIGS. and 4). The hidden ball will stay in the cup due to inertia. Repeat the same actions
with the other two cups. The last cup, which is empty, is on the left end. You want the audience to
believe that the cups are empty, but since they aren't, we must be very subtle.
is where the
"the cups are identical, especially this one..." comes into play. As you say this, casually pick up the far
left cup. The audience
see the cup is empty, and the casual nature of the gag should convince
them you could have picked up any of the cups.
I use another process to get the point across, but it may involve a unique property of my cups.
When tapped with a wand one of my cups gives a different sound than the other two. If your cups
all sound the same
you tap them with the wand, you can
one make one sound
by tapping it in a different spot. After setting the cups down I tap them with the wand as I deliver
the
about the cups being identical. There is something humorous about saying the cups are
identical just as the obviously different note sounds.
a sure laugh when the timing is right. In
addition, it sets the next line up, making it seem more spur of the moment.
PRODUCING THE BALLS: "So we have a pretty simple situation, three cups and a wand. All I do now
is tap the left hand with the wand, and two things happen. First, a little red bruise appears on the
hand...Second,
a little red ball. Actually, it is a round piece cork with a tight red sweater, kind like
a disco cherry.
"That is for this cup right here. For the next cup, all
is spin and tap, and we get yet another ball."
As the right hand takes the wand, move one of the balls so it is held at the heel of the hand by the
tips of the fingers (FIG. 5.) FIG. 6 shows the audience view of the hand holding the two balls along
with the wand. This first move is actually the reverse of David Williamson's striking vanish. The
4
Stand-up Cups &
The left
pushes the cups into the
hand, the
out the top of the
bag. As this is done, the two balls move secretly into the right hand.
The left hand holds the cups from above,
while the right hand, still concealing the two
balls, takes the bottom cup from the Black.
The bottom cup is placed mouth down on the
table in such a way that the concealed ball
stays inside due inertia. The right hand still
two
another ball is
between the two cups in the left hand.
5
The Magic of Michael
The right hand takes the wand so one ball is
still firmly held in the
while the
is
barely held against the base of the hand by
the first and second fingers.
swing of the wand is used to load a ball secretly into the left hand. Normally I don't like fast movements, but this one produces a ball in a hand just
empty, and also sets up the Bob Read gag
about the bruise.
Show the left hand empty during a gesture (FIG. 7). Turn the left hand palm down as the right
hand swings up with the wand (FIG. 8). The right hand releases the ball, and the closing
hand
catches it The hands come deceptively close together, just for an instant. If properly timed, the ball
will be invisibly tossed into the closing left hand.
The right hand places the wand under
left arm as
left hand displays the ball at the
tips. is
in sight a moment, because the right hand, its trip back down
left arm (now free
of the wand), seems to take the
Actually, you perform the French Drop. The visible ball falls
behind the left fingers as the right hand appears to take it. The right hand continues down, placing
the other ball, which was concealed, onto the cup to your right.
Without missing a beat, the right hand retakes the wand and executes the spinning portion of the
Vernon Wand Spin. That is the great part about this move. The spin itself is easy to do, and beautito watch. It provides misdirection strong enough both vanishes and productions. describe
the technique of the spin at the end of the routine, but for now, as the right hand is spinning the
wand, the left hand (under the cover of the spin) is secretly moving its ball to the fingertips.
Coordinating the movements of both hands to arrive in the right spot at the right time is not
really tough, but it will take some practice. The far end of the spinning wand will strike the ball just
as it appears at the
fingertips. It should seem as if you waved the wand and tapped the left fingers causing a ball to appear by magic (FIG. 9).
Again, the right hand places the wand under the left arm, and comes down to take the ball from
the left hand. Duplicate the same actions as before, when you did the French Drop, but really take
the ball and place it onto the middle cup.
Continue to project the attitude that you will produce a third ball, but then seem to get another
idea. Gesture, showing both hands empty, as you say, "There are lots of things we could do. For example, just a touch, and this ball can pass straight through the top
6
the cup. A
of solid brass! But
Stand-up Cups & Balls
The audience view of the right hand holding
the wand, ready
produce one ball, retaining the other.
first ball will be produced by swinging
the wand upward with the right hand. The
right hand will release the
on the
where the left hand will catch it as it
palm-down.
The palm-up
hand turns palm-down,
catching the ball
by
right hand as
it closes.
right hand continues upward
as the
hand closes, then comes back
down to tap
left hand with the wand.
7
The Magic of Michael
The left hand moves the ball it concealed to
the tips of its
timing it so arrives at
the lips at the same moment the right hand
completes
Wand
for the last ball we use, I need to spin twice. And tap!"
In order to have access to the third
you will do the Charlie Miller penetration with the center
ball and cup. Place the wand under the left arm, as you bend slightly at the waist The left hand
holds the center cup, as the right hand takes the ball from the top of the cup. The right closes into a
fist on top of the cup, positioning the ball on top of the fist (FIG. 10). Now two things must happen
at the same instant The right hand opens, allowing the visible ball to drop inside of the fist as the
left hand lifts the cup to reveal the previously concealed ball (FIG. 11).
IMPORTANT: The "real
on the Charlie Miller Move is to slightly tap the revealed ball with
the cup as it is
This way, the ball is not stationary, but moving forward, as if it
had momentum
passing through the cup.
There is, of course, a flow to this sequence, as the cup is returned to the table slightly forward
from its original position. The left hand picks up the visible ball in the French Drop position, and
once again the ball is retained in the left hand as the right hand apparently places it on top of the
center cup.
Now, you have a ball concealed in the left hand, a ball secretly under the cup to your far right
There is a visible ball on top of the center and far right cup. The center cup is slightly forward of the
other two cups, setting you up for the surprise appearance of the third ball. (Let me pause for an
interesting point. Notice the balls are exchanged with the French Drop almost immediately after
they have registered their appearance. This is the best moment to execute the move because attention drops slightly the instant after an effect has taken place.)
The third ball makes a surprise appearance which, while technically easy, requires some acting
8
Stand-up Cups & Balls
is
under the cup. The
as
right fist,
with ball on top, hoven two to three inches
above
cup.
As the right
taps the top of the cup, it
opens just enough la allow the
to fall
inside. At the
the left hand
flicks the mouth of the cup outward, so that
the inside
taps against the ball underneath, causing it to
from under the cup.
9
The Magic of Michael
ability. You will need to employ noticeable shifts in your
own attention.
ball
we will need, will have to spin
twice. And a tap."
Again, we will use the Vernon Spin for our misdirection.
Your body (and attention) is
shifted to the upper right for
the execution of the spin (FIG.
12). As you do this, you seem
to notice for the first time the
center cup out of line. While
calling no verbal attention to
it, both hands take an instant
to straighten the situation before shifting back to the upper
right for the spin (FIG. 13).
The right hand straightens
the right cup, and the left
hand pulls back the center
one. The right hand finishes
before the left, and moves to
the upper right for the spin
(FIG. 14).
The energy is toward the upper right, as the
right hand begins to spin the wand, and the
left hand conceals the third
in fingerposition. Notice that the middle cup
out of line with the
This straightening action
actually serves the purpose of
putting the left hand close to the far left cup, so there won't be a noticeable move in that direction
for the secret placement of the ball on top of the cup. As soon as the right hand starts the spin, the
left hand moves the couple of inches necessary to place its ball on top of the third cup (FIG. 15).
Your head and eyes should be on the right hand spinning the wand as this is done.
The wand spin is so compelling to watch that is serves as perfect misdirection for placing the ball
onto the cup. You will need to do the spin twice in order to have enough time to place the ball
without having to rush it.
As soon as the ball is on top of the cup, the wand should be completing its second spin. The left
hand now moves up from its secret
where it is tapped by the wand (FIG. 16). Act startled
when you find no ball there. "Well, sometimes we
need the wand to make the magic take place! Now
that we have all we need, we'll start the
Look surprised at first that no ball appears at the fingertips, then direct attention back to the cups.
This final production, with the ball appearing on top of the cup, always gets an excellent reaction.
In introducing the props, we were open and fair, yet we
three productions, with the last one being quite startling.
progressively routined each of the
PHASE ONE: "Three
and three cups. The plot thickens. For the first ball, all I do is push the wand
through the
and the ball disappears! I realize you didn't know what to
for, so
do it again."
It is during this sequence that I wanted to eliminate two of the most common errors you will see
10
Stand-up Cups & Balls
Noticing the
cup out of line, both
down to
naturally
the left hand very near the
top of the cup, where it will secretly place the
third ball in just
The right hand starts to spin the wand the
first
The left hand moves slightly over,
placing the ball on the far left cup. Body enis
right.
The right hand spins the wand
as the
left hand moves further away from the
11
The Magic of Michael
with the Cups and Balls. The
first trap involves secretly
loading a ball under a cup as
the ball resting on top of the
cup is tipped off onto the
other hand. This is an important move in many routines,
so we will look very closely at
the proper method for doing
this while standing.
The second goal was to
eliminate the hand-to-handto-hand transfers, so common
in some
Let me ask
you, is it natural for a ball in
the left hand to be taken by
the right hand, just so the
right hand can place it back
into the left hand? Nope. Yet
you
see this in ninety percent of all the cups and balls
routines performed, and the
sole reason is to allow the performer to do a
transfer
the vanish.
The right hand spins the wand a second
ending up tapping the left
tf
expecting to produce the third ball.
The
aspects were solved by
careful arrangement
of move and sequences. Here, the
are
fairly
placed into the left
hand, and they are
obviously there until
they vanish.
Start by picking up
the ball from the top of
doses into a
over the ball,
the far right cup with
and as it does, it moves the ball to the back of
the left hand, and
the hand, where it will be clipped by the tips
of the fingers. The right
holding the
slowly close the hand
wand by one end, pushes the opposite end
around it. The left
through the thumb opening of the left hand.
hand is turned palmdown, with the thumb
side of the hand facing the right. The tip of the wand is pushed into this side of the hand for half of
its length. As this is done, the left hand works the ball out of the back of the hand, where the fingers
lightly hold it (FIG. 17).
The right hand will now travel under the left hand toward the tip of the wand that was first
pushed through the hand (which is protruding from the little finger side of the left hand) (FIG. 18).
Stand-up Cups
Balls
As the right hand
passes under the left,
the left hand begins to
turn palm-up. When
the hands pass closest
together, the ball is
dropped into the right
hand (FIG. 19).
The left hand continues palm-up as the
right hand takes the
end of the wand originally pushed into the
left. The wand is
pulled from the left
hand, and swings up
to tap the left hand,
which opens to reveal
20).
The right hand moves under the left hand,
toward the end of the wand just pushed
the fist.
Now we must vanish the second
ball, and at the same time secretly load
the ball hidden in the right hand underneath the middle cup. Typically,
this would involve the
load, and it is here we run into one of
my pet peeves with most cups and
balls routines.
Just
right hand is underneath the left,
the left hand begins to turn palm-up. At ttus
the left fingers allow the ball to fall
into the right hand through the opening between the
and first finger.
(Let me explain. The left hand
wants the
Does it make sense to
move the left hand past the
it
wants on the cup, moving down until
the back of the hand is flat on the
table? Instead of plucking the ball off
the cup, the entire body leans over
and involves both hands in the process? The right hand being needed to
tilt the cup over, so the ball on top
tumbles into the left hand? Nope.
Making matters worse, most performers then follow this illogical action
with the hand-to-hand games we
talked about earlier. Not exactly economy of motion!)
Doing this move when sitting
down isn't quite as bad because both hands are right there with the cups. However, if you follow
the same technique when you are standing up, it just isn't natural!
13
Magic of Michael Ammar
Beyond the aspect of
naturalness, there is another reason why a
slightly altered handling
be vastly superior. I've
always felt it is best not to
"throw a spotlight" on the
move as it is taking place.
The tip-over move, as described above, focuses all
the non-verbal cues to the
"action area" where the
The left hand
palm-up moves the
end of the wand just pushed through it into
the right hand. The right hand pulls the
wand free from the hand, swings the wand
up, then downward to tap the left palm
when it opens to reveal the vanish.
move is taking place.
You are looking there,
your arms are pointing there, and your
energy is focused
there. This total attention on the action area
means the technique
must be flawless to
escape detection. And
more - just because a
move can be done under scrutiny is no reason that it should be.
Body language
upward and outward, as
the right hand,
the ball, moves down
to the cup with the ball resting on it. The left
hand is palm-up, waiting for the ball on top
of the cup.
14
21,22, 23, and
24 give a clear picture
of the slight technical
variation for this loading sequence. More
important than minor
technical changes are
the thoughts and attitudes you convey.
Rather than drawing
attention to the cup
and ball as the move is
done, your focus is up
and out toward the
audience. The body is
naturally erect, with
the left hand palm up
as if gesturing (FIG.
21). The right hand,
with the ball finger
palmed as in FIG.
picks up the cup with
Stand-up Cups
Balls
is an exposed view of the right hand
ting the
onto the table, loading
ball
it as it does.
right hand lifts the cup with enough energy to toss the ball on top of the cup into the
left hand. As the cup is
to the table, the
right fingers extend, secretly loading the ball
into the cup.
15
The Magic of Michael
the ball on it, and brings the
cup and ball to the left hand,
where it is tossed (FIG. 23). As
the cup is returned to the table
the little finger moves the ball
under the cup (FIG. 24). Notice it is secretly loaded while
attention is on the visible ball
resting on the
palm.
As the cup is being set down
you are looking at and commenting on the ball in the left
hand. I realize I seem to have
made an issue over something
that appears minor, but I
think it is very important to
direct attention away from
these secret moves, as opposed to spotlighting them as I
mentioned earlier.
One other piece of finesse:
As the cup is returned to the
table, it should be placed flat
onto the table. It is more natural to set a cup down flat than
it is to set it down with the
front edge first, followed by
the rest of the cup. This makes
the move slightly more difficult, but it is more
Notice the energy is still up and outward, with
less attention focused on the cup than on the
the left hand, or the dialogue taking place
with the
The second disappearance
makes use of the Dai Vernon Wand Spin
time you know exactly what to
for!
is tap the hand, and the second ball vanishes. That
leaves you with one last chance to look closely. There is now only one ball left, and to make it
easier, I'll
do it visibly!"
Tap the left hand with the wand as you reveal the second vanish. Again place the wand under
the left arm, so the right hand can load the concealed
into the far
cup. As
keep your
attention up and out as the tip-over load is done. This leaves you with all three cups loaded, and the
left hand palm up, with a ball visibly resting on it
For the third vanish we
use David Williamson's Striking
Since David first released
this in ENCORE II, it has received well-deserved attention. For those who are unfamiliar with the
move, let me assure you it is one of the truly great moves that can fit into almost any cups and balls
routine. In
a ball
is on the open
is struck with the wand, causing it to visibly vanish.
16
Stand-up Cups & Balls
Basically, the left hand shows the ball on its palm as the right hand holds the wand by the very
end. The wand should not actually extend down into the hand more than the width of the first
finger, since you will need the fingerpalm position free to catch the ball which will be tossed into it
As you say you will do it visibly, the right hand swings the wand up, pivoting at the wrist; the arm
should not move at all. As the right hand raises the wand, the left palm moves toward the right
hand. Just as the right arm reaches the peak of its upward
the left hand should have given
enough momentum to the ball on the palm to cause it to travel up and into the bottom of the right
hand, which is now deceptively close to the left palm. When the wand comes back down, the left
hand moves quickly
to the left, and the right fingers grab the ball in mid-air, smacking the
open left hand with the far end of the wand in the same motion.
You have completed the
the ball concealed in the right
Vanish, with
FIG. 25 shows the position you will be in at the end of the "strike" in the striking vanish. A nice
follow-up movement after the vanish will imply both hands are empty, while getting rid of the
wand in a flourish. The action continues in FIGS.
and 28, as the
palm immediately pushes
the wand back along the right hand. The weight of the wand will cause the wand to swing forward
(using the thumb and index finger as the axis), around, and back under the
arm. It is really one
fluid movement after the striking vanish, ending as in FIG. 28.
"Just by tapping the ball it completely disappears. However, the balls
They travel invisibly, from the hand into their respective cups.
this one."
actually vanish, what they do is
ball made it, as did this one, and
PHASE TWO: This is a natural time to expect applause, and as the spectators react, you
nest
together the two cups on the right. As you do so, secretly load the right hand's ball between the
cups as in FIG. 29. The left hand places these cups to one side.
17
Magic of Michael Ammar
The continuous left hand action is to push the
wand back through the first finger and thumb
the right hand.
Once the wand has been pushed
through the right hand, the
causes the wand to
pivot around and away from
eventually pointing the far
back behind you.
The wand has swung back and behind you
where it is
in place under the left arm.
18
Stand-up Cups
Balls
"But all this might be too confusing, so
make it easier for you to
follow. I'll actually eliminate one of
the balls. That will make it easier. Not
only that,
eliminate the wand,
even eliminate one of the cups!
Now we just have two cups
two
balls to follow."
The right hand takes one of the
balls, placing it into the back right
pocket. As it leaves the pocket,
take out the lemon, cupped in the
right hand. You must carefully
time what you say and when you
say it, because the right hand
must meet the
hand in a prearranged and rehearsed position.
The left hand must transfer the
cup to the right in such a way that
the fruit is loaded into the cup
without being exposed to any
front angle. FIG. 30 shows the left
hand placing the cup over the
fruit, just as it will be done for
each of the other large loads. This
must perfectly correspond to the
eliminate one of
the cups!" usually an extra beat
to come around with the fruit, so
pace your wording accordingly.
The cup is set just to the right of
the
working surface, on its side as
The left hand holds its cup mouth-up, and the
right hand moves
its cup with it As it
in FIG. 31. Of course, if you set it
the right hand secretly loads its hidden
mouth down, your angles are
ball between the
cups.
much better, and you don't have
to worry about the cups spinning around or rolling. However, I like to distinguish it from the cups
in play as much as possible, so when I can, I set the cups on their side.
PHASE THREE: This segment is the short phase using just the two cups and the two balls. Only
one thing happens in this phase. Apparently there will be a ball placed in each cup. One ball vanishes from one of the cups to join the ball in the other cup. Then one more cup and ball is eliminated
in preparation for the final phase.
Two balls rest on the table, while one is secretly nested between the two remaining cups. Picking
up both cups with the left hand, the right hand places the bottom cup, containing the extra ball,
mouth down over the left ball. This cup now has two balls underneath it.
You will now secretly steal the next ball into the right hand as the second cup is placed over it
with a move taught to me by David Williamson. is the most direct method for achieving a singlehanded replacement of the cup, while stealing the ball, that 1 have ever seen.
19
The Magic
Michael Ammar
The right hand comes around from the back
packet with the lemon
in the
curled right
The left
up
the table with the cup,
the right
hand with the
of the cup going right
over the secret load. The right little and third
fingers hold the fruit in the cup,
the thumb,
first, and second fingers hold onto the cup.
The cup, secretly loaded with the lemon, is
placed on its side to
right, theoretically out
The right
places the cup on the table,
the front portion of the cup hitting the table
Since the cup is held by only the right
and second fingers, the third
can reach under the cup, contacting the ball.
20
Stand-up Cups & Balls
In FIG. 32 the right hand is shown placing
the cup onto the table. Notice the cup is
by only the right thumb, first and second fingers. This leaves the ring finger free to reach
under the cup, just in front of the ball. Also
notice that in this case, the front edge of the
cup touches the table first, providing the necessary cover for the move. In FIG. 33 the third
finger has pulled the ball from under the cup
and
into the right hand.
The cup is
There are now two balls under the cup on
the left, none under the right cup, and the
extra ball is in a right fingerpalm.
on the table, but the right
has rtokn
the
right hand.
"Some of you may think I have to actually put
the balls into my
for them to disappear. This isn't true. With each ball securely inside its own cup, all I
do is snap my fingers, and this ball vanishes, only to travel invisibly across and into this cup. But I'm an
optimist. I'm going to assume those blank stares are looks of amazed confusion! So to make it even simpler, I'll
eliminate one more ball. And in order to preserve symmetry, one more cup."
I use a flourish
of sorts to reveal
the balls under the
cups, which looks
nice, while displaying the otherwise empty nature
of the cups. It is
very simple, but
can only be done
on a padded surface, such as a
close-up mat. A
hard table covered
with a cloth won't
let the cups roll
over correctly.
The whole picture is clearly displayed in FIG. 34,
The
given a
tip backwards, where it
the only difference
flip over as a result of its own weight. This
requires a
surface for a
roll, and the
between this seright hand, if fingerpalming a ball, could easily
quence figure and
load it
after the roll is
this point in the
routine is the fact that the right hand conceals a ball in fingerpalm, which is loaded into the cup at
the end of the roll over.
A cup which is mouth down can be rolled over backwards, using the weight of the cup to keep it
in motion. The hand just flicks the cup backwards, and it will roll the way around, so that the
mouth now faces the performer.
21
The Magic of Michael
The right hand rolls its cup back first, to reveal the vanish of the ball. Then the left hand rolls its
cup back to show that two
are now underneath it
Both cups are now mouth down again, with the extra ball under the right
on the table in front of them. Both hands are clearly seen empty.
and two balls are
The right hand now picks up one of the two bails, and places it into the back pocket As you do
this, remove the onion from the pocket The patter and timing continues as you also eliminate one
of the cups. The left hand picks up the left cup, and places it into the right hand (and over the fruit,
as before) which places the cup to one side.
One particular aspect of timing that I refer to here involves the nature of taking something from
the left hand into the right There should be a definite joining of the hands. The hand returning
from behind the body should never have to pause or wait in what seems to be a specific position.
Therefore, if there is an ideal meeting point for the hands, the movements and patter should be
timed so both hands arrive there at the same time, with no hesitancy on the part of either hand.
Your words should properly follow your actions in such a way that the right hand doesn't have to
wait behind the back with the fruit for you to eliminate the cup. Also, your steal should be smooth
enough so the left hand, and your patter, is not held up waiting for the right hand to come back
around to take the cup.
After the cup is
loaded, place it to
the right, behind
the first cup you
loaded and eliminated (FIG. 35).
PHASE FOUR:
This phase, of
course, involves
just one cup and
one
For the
first time, we will
execute the basic
effect of this phase
more than one
time. But the repetitive
aspect of it
The second loaded cup placed
the
is done crisply, acSince both < ps are loaded, there is no effort to
nest the cups.
tually adding to
the effect by the
quickly repeating
of the ball reappearing under the cup. In effect, if s somewhat of a summary
of what has been taking place all along. One cup is mouth down, and one
is on the table in front
of the cup. The hands are empty.
hand.
I have to do is blow into the
cup, everything is easier.
on the table,
and the ball will disappear!"
in
left
At this point you will use a wonderful
timed perfectly in the routine to get a good laugh,
relieve some of the tension caused by the previous deceptions, and to cover the only hand-to-hand
transfer of the routine.
22
Stand-up Cups
Balls
The ball is clearly taken into the left hand, which comes up to the mouth to allow you to
into
the hand. The left thumb and index finger are directly against the mouth, and as you blow into the
hand, you take a bit longer than necessary for a simple
Also, wiggle the fingers in a slightly
suspicious way. This is done during the slight pause between the words. "Blow into the hand... and
the ball will disappear!"
As you say, "... and the ball will disappear," the left hand moves away from the mouth, and the
tongue is pressed into the cheek, as if you slipped the ball into your mouth! Of course, the last five
words are spoken a bit garbled to emphasize the humor of the situation.
that
just a joke! I'll do it for real, and
even keep my hand way over here. All I
blow, and the ball wilt disappear, only to reappear inside the cup!"
is
During the laugh, open the
hand, and take the ball with the right hand and display it as you
say,"... it
just a joke!" Then immediately do a fake transfer, retaining the ball in the right hand.
The left hand closes, moving arm's length away from the body. Don't rush the move, but do try to
execute the patter and fake transfer before the laughter has died down.
Blow toward the
hand, which is held away from the body, and open the hand to show the
is gone. The left hand now comes down to the cup, tilting it back to show the ball has appeared
inside. You will now use a move from David Roth's Chop Cup routine, printed in his lecture notes.
This move is clearly shown in FIGS.
and 38. With the extra ball concealed in the right hand,
the left hand tilts the cup back to show the other ball underneath. The right hand approaches the
from the
and instead of picking the ball up with the fingertips, it flicks the visible ball back
underneath the cup, which the left hand returns to a mouth-down-position. The cup covers the
original ball, as the right hand moves away, displaying the concealed ball, as if it were the one just
underneath the cup. This bold move is absolutely deceptive; enough so that we will use it twice
more in rapid succession.
could put it into this pocket, and it would return back to the cup. I could put it into this pocket and it
would return. In fact, no matter where I put it,
will return...Because, well, because it's magic!"
We pick up the pace here, as the right hand does a fake transfer into the left hand, actually retaining the ball in right-hand fingerpalm. The left hand pretends to place the
into the left pocket,
then comes back out to tilt the cup back, as before, to show the ball has returned.
Once again execute the Roth move; this time very openly place the ball with the right hand into
the right front pants pocket. Actually leave it there, bringing the hand out obviously empty. The
hand tilts the cup back to show the ball under the cup, and again the right hand moves down as if
to take the ball. However, you will once again do the Roth move, only this time the right hand does
a complete fake, moving away with
but holding the fingers as if it picked the ball up.
At this point you are
matter where put it, theball will return..." as the empty right hand
moves to apparently place the
into the back right pocket. The hand is empty at this point so the
steal of the turnip is executed as quickly as possible. Not actually having a ball to place aside can
help you obtain the secret load quickly.
The lines, "Because... well, because it's magic,
get a small laugh, and relaxes the audience a bit
as the third load is being made. The left
actually picks the cup up to reveal the ball, and places
it into the right hand, which should now be naturally swinging from around the back with the
turnip. The right hand is actually taking the cup so the left hand can pick the ball up from the table
to display it. The right hand then places the cup back onto the center of the table, mouth down, as
the
hand places the ball onto the top of the cup.
23
The Magic of Michael
The left hand tips back
cup to reveal the ball
underneath, as the right hand approaches rom
the front A ball is palmed in the right hand.
©
In
a slight
starts to
the right fingers give the visible ball
backwards, just as the left hand
the cup to the table. At this
the right hand allows the ball it was
palming to fall to the tips of the
Just as the
hand completely covers the ball
with the
right
turns palm-up with
its ball. When timed right, there is the perfect
illusion of the right hand picking up the
that the left hand revealed under the cup.
24
Stand-up Cups
Balls
have been a wonderful audience, and want to thank you for your attention. In return, I would
to
surprise you, just one more time. To do this, I'll reintroduce the first two cups, giving us three cups,
just
one
A situation like the three shells and the pea game. Would it surprise you if I could make this ball
completely disappear, and return to any cup you named?"
The last attempt to set up the
loads as a complete surprise comes in the delivery of the lines
above. The first sentence is delivered as if the show is completely over. (This gives you a chance to
thank them, while leaving them time for applause after the final display.) But the important idea
behind the above delivery was the result a conversation with one of my favorite magicians and
friends, John Carney.
It seems most magicians, at the end of their routine, just say,
now, where did these come
from!?" or something to that effect The final impact, the
should have some sort of lead-in,
and some sort of meaning. Asking people if your final move, however, would be a surprise to them,
will almost automatically result in a "no!" they have just seen you do so many wonderful things,
that your simple offer shouldn't surprise them.
hear the
actually,
you
hear, stop, look contemplative, and act as if you just thought of something else that might be more
surprising.
guess that wouldn't be that surprising.
know. This time I'll put the ball into my pocket
just wave my hand. And when I wave my hand, you never can tell what might turn
Get it? Turn-ip?"
As you deliver the above lines, the right
the ball from the top of the center cup, and
places it into the back pocket, this time taking out the final load, which is the potato. As the right
hand is stealing the potato, the left hand waves over the cups, then as you say, "What might turn
up..." you lift the center cup to reveal the turnip. The pun helps turn the surprise into laughter and
reactions, as the left hand places the cup into the right hand for the final load. This cup is now
placed to the far right.
"Of course, we can't forget the onion, or the lemon! And, since you
you!"
wonderful, this spud's for
The left hand picks up the far left cup as the right hand is setting down the cup with the potato in
it, to reveal the
right hand then immediately moves to the cup which has the lemon
in it. To close, both hands nest their cups onto the far right cup, and you lift all three together to
reveal the potato just as you deliver the spud line.
one line has worked wonderfully for me,
and always insures the routine will end on an entertaining, positive note.
25
DAI VERNON
SPIN
In order to master The Dai
Vernon Wand Spin, you must
not
be completely familiar with the finger mechanics
of the wand spin itself, but
you must also carefully study
and understand the tinting
and misdirection.
The professor tells me that
most people who have trouble
with the spin do so because
the ball flashes during the
drop from the left hand into
the right This is basically a
timing problem. They catch
the ball successfully, but that
isn't the only
For the
ball to pass undetected from
one hand to the next, it must
be traveling at the same speed
as the descending hand. The
two must travel at the same
speed, the hand passing in
The wand is held at the middle in
right
front of the ball, before movhand. This is the standard writing grip.
ing back toward the body to
catch it. Therefore, don't wait
until the right hand is below or even parallel with the
hand before releasing the ball. The ball
must be released from the left hand when the right is front or toward the upper part of the left
hand, yet descending somewhat briskly while executing the spin.
As for the misdirection, that is somewhat tougher to convey. As it was taught to
by the Professor, it is a system of controlling the attention through a series of predetermined fixed looks. Look at
the ball as you slowly close the left hand around it. Then shift attention immediately before the
move as you LOOK AT and SPEAK TO the viewers. This provides the extra control over their attention needed for those occasional times when your timing may be a split second off. Again, we want
to control the attention away from the move, and this projects the energy up and away from the
hands as the move itself is executed.
26
Stand-up Cups & Balls
The end of the wand originally pointing left
to move under the right foreann. The
wand is still held between the first and second fingers, but the
has
away
and the fingers have begun to
27
The Magic of Michael Ammar
The end of the wand which previously
pointed left now points
as the palm
points away from you and the fingers
tinue to extend. This illustration catches the
right hand at a point just prior to the
you catch the ball. Notice that the right hand
actually
and closes during the swing
itself, making the
both deceptive and
possible. It is the feature of this move which
the wand spin so deceptive.
The right
is
to swing around
until it faces the
The fingers arc fully
extended at this point and the wand is held
by only the first and second fingers. The ball
should probably be released at this
as
the right hand
dosing and turning back
toward
28
Stand-up Cups & Balls
The thumb has moved down to
up the
end of the wand which previously poinled lo
the left The right hand should have caught
time.
The right hand would have
concealed
if the move had been
The conof the right hand is to
turning toward the body, with
moving back to its
position.
29
The Magic of Michael Amrmr
The move is
when the wand returns back to
the vanish had been
the ball would be concealed in the closed right hand.
with
the palm facing the right
30
Stand-up Cups & Balls
Here is the move in it's entirety. Notice the path that
the right
takes. It is crucial to the success of
the vanish that the right hand's path be exact.
31
The Magic of Michael
My! Don't we
look pleased
with ourselves? As this
photo proves,
at one point in
my life my
head was
completely
covered with
This rare
photo also
the
jumpsuit and
ascot I carefully copied
from the
poster of
another hero,
Mark Wilson.
No, these are
not special
order
Fox
cups with the
beach ball final
loads! I had a
West Virginian
friend with her
own darkroom,
and while we
often made
things develop
there, this is one
of the only
remaining shots
from our
experiments
with trick
photography.
32
Chapter Two
UTILITIES
VANISH
EFFECT: A very baffling vanish of a coin.
COMMENTS: This is a very good vanish of a coin because no extra movement of the fingers is
necessary, and the coin really appears to go into the hand from which it vanishes.
PROCEDURES: Begin by displaying the coin naturally in the right
hand with the thumb, first and second
The
hand comes palm
up as seen in FIG. 1. Place the coin
onto the palm of the left hand as
shown in FIG. 2. Actually, two actions
will take place at once. In all
tion-of-vision vanishes it's important
for the coin to appear to be in the
hand after it closes. Otherwise there is
no retention of vision. Fortunately
this is not as hard to achieve as it
sounds.
FIG. 3 shows the left fingers curled.
33
The Magic of Michael
At this point the
is out of view from the front. The actions in FIGS. 2 and 3 should actually take
place at the same time. The coin is apparently placed onto the palm, but is actually placed onto the
third finger where it is clipped as
3. The right thumb moves away at this point, implying that
the coin has been placed onto the palm. The right second and third fingers do not move. If they are
pulled out now it may give viewers the idea they are taking the coin with them.
FIG. 4 shows that the left fingers have closed over
the coin plus the second and third fingers. The right
index finger is coming up to point at the knuckles of
the left fingers (FIG. 5). The right fingers move along
the left little finger, which also causes the coin to
pivot even
into the right hand.
Again, I must emphasize that the right fingers do
not pull into the right hand pointing at the left knuckles, which pivots the fingers and coin out of the left
hand. FIG, 6 shows the coin completely out of view
and in perfect position to be palmed in the right
hand. The third finger simply pushes the coin into
the classic palm at the appropriate time.
The vanish takes only an instant. The
are smooth, and arms and shoulders should be as
relaxed as possible. I say
every finger of the
hand..." as an excuse to point at the left fingers.
34
Rick Anderson
AMAZING COIN VANISH
EFFECT: With his sleeves rolled back and a disarming
a coin to instantly vanish. Both hands are seen to be empty.
of motion, the performer causes
COMMENTS: Rick Anderson, from
Washington, has a certain style about his coin work
that makes it very enjoyable to watch. This baffling move is typical of his material. The angles on
this particular vanish are bad, but one-on-one is one of the most common situations in which a
close-up worker will find himself. This move is
worth learning because
not a
move
and when the time is right you'll have a very puzzling complete vanish of a coin.
PROCEDURES: The coin is displayed in the right hand
between the first and second fingers; the thumb actually
plays a small role in holding the coin here (FIG. I). The body
should be turned so that the left side is facing the spectator.
The coin is placed onto the left palm (FIG. 2). The right
thumb will move away from the coin at this point and move
to the precise position that it will occupy when the vanish
takes place. FIG. 3 shows the left fingers slowly closing
around the coin. In this illustration, the right thumb is
slightly out of position. The thumb should be more to the
right because the coin will be going into a Downs palm. The
thumb should be in position for it now, rather than have to
reposition for it later.
In FIG. 4 the fingers of the left hand have
around
the coin. The right thumb is in the position to receive the coin, which is still held by the right first
and second fingers.
FIGS.
and show how the
is moved out of the left hand and into the Downs palm in the
right hand. If s important that you realize the right fingers do not actually pull the coin out of the
hand. The right hand itself does not move. Rather, the left hand lifts up slightly, which causes
the right fingers (with the coin) to be moved out of the hand. This action
move the coin
the
exact position for the Downs palm. The right fingers will move the coin into the
position and
then open back out to touch the back of the left hand.
35
The Magic of Michael
36
Utilities
FIG. 8 shows the coin has vanished from the left hand. The right hand is, of course, seen to be
empty
To reproduce the coin, simply turn the left hand palm-down, covering the right fingers.
The right fingers will curl in to remove the coin from the
As the left hand moves away, the
coin is displayed with the right hand as in FIG. 1.
The Downs Palm has always been a very deceptive technique, and Rick takes excellent advantage of it in this amazing vanish of his.
37
John Carney
FINGERTIP COIN VANISH
EFFECT: A coin is transferred from hand-to-hand at the very fingertips. Suddenly, the coin
seems to have melted away.
COMMENTS: This is one of the items which John first made his reputation with. If s a very
magical vanish in his hands because of its very open nature. John's inspiration for this was from
Vernon's classic book, DAIVERNON'S TRIBUTE TO NATE LEIPZIG. Leipzig's vanish was called 'A
Coin From Hand-to-Hand', and John has altered it to better fit the style which he has developed.
PROCEDURES: The coin is to be held
at the very fingertips as shown in FIG. 1.
The palm-down right hand takes the coin
from the
left hand (FIGS. 2 and
3). The right hand turns palm-up as the
left hand, palm-down, retakes the coin.
This is repeated a few times with the
hands turning at the wrists and moving
at a smooth, even pace. The left hand
continues the action, but this time you
alter things very slightly. The left hand
follows the exact same pattern, but this
time does not pick up the coin (FIG. 4). The
right hand reacts by beginning to
turn palm-down an instant
sooner, which keeps the
from
being seen in the right hand. As
the right hand turns palm-down
to apparently take the coin again
from the left fingers it, immediately
palms the coin (FIG. 5). The left
hand is one-half of a beat slower
turning palm-up so that the right
fingers can act as if they are once
again taking the coin.
Slowly the hands continue the
action, but it
become obvious
38
Utilities
that the coin is gone as the hands move slowly
This is not easy vanish because a good palm
is essential and a certain rhythm must be established. However, when this is mastered it is a wonderful showpiece for the close-up entertainer.
39
ULTIMATE ONE-FINGER SPELLBOUND
EFFECT: A coin held at the
tips, changes colors at the brush of a
single finger.
COMMENTS: This move was developed to accomplish
without using the classic Spellbound
positioning. I felt it would seem more
open and natural if the coin were held
in full view at the tips of the fingers
when the change took place.
Other moves would obviously be
needed for a complete well-rounded
Spellbound routine. However, if you
perform this once or twice during
your routine, other changes are actually made stronger through association. Viewers will assume complete fairness if at one point a
fully-visible coin changes with the brush of a finger.
Many people will immediately see
other potential uses for this move. For
example, it has proven to be ideal for
switching coins for the cigarette
through half (or quarter).
PROCEDURES: For our purposes,
the dark coin in the illustrations will
be considered the copper coin. The
dotted coin is the silver coin.
The copper coin is displayed at the
tips of the left forefinger and thumb
(FIG. I). Show as much of the coin as
possible, and keep the remaining fingers curled in. The left hand will not
move from this position during the
switch. The right fingers are naturally
40
Utilities
curled, with the silver coin dipped by
its edge between the first and second
fingers (FIG. 2). The thumb is touching the first finger, but does not aid in
holding the silver coin.
The hands come together, the right
hand passing in front of the left {FIG.
3). The copper coin is slipped between
the right
and index finger as
soon as it is covered. The right thumb
does not move (FIG. 4).
The left index finger separates the
two coins, which prevents any 'talkbetween the coins. The right
thumb presses against the coin as it is
lifted from the left fingertips, and the
right index finger slightly curls in. This
will angle the copper coin away to
insure against the coins clicking
(FIGS.
6).
The Magic of Michael
The right hand moves upward just enough for the silver coin to dear the left fingertip. This is all one smooth
move, taking place as the right
hand apparently makes its
first upward wave over the
coin.
As the right hand makes its
downward pass (remember,
the left hand never moves) it
deposits the silver coin at the
fingertips. The right index finger now begins to curl inward
a little more (FIGS. 7 and 8
show a spectator's view).
The illusion is that the hand
passed over the coin in preparation to brush it with the
right middle finger. The middle
finger is against the coin held
by the left forefinger and
thumb. This move is startling
because of the visual nature of
the change. Also, there is a
certain economy of motion
which makes a switch seem
absolutely
FIG. 6 shows the right index
finger curled in, which angles
the coin completely out of
sight. It does not have to curl
in far to accomplish this. The
right fingers are separating as
the middle finger brushes up
and down over the silver coin with the right middle finger, because this is what gives the illusion
that a single finger has caused the change to take place.
The right hand lowers as the left hand turns at the wrist to show the coin front and
As the
right hand curls naturally, the thumb releases the coin to be clipped by the first and second fingers
for repeating (FIG. 9).
Neither
makes an unnatural move during the execution or the get-ready. The right thumb
should never visibly move because it is not supposed to be doing anything. The switch actually
takes place during the preliminary wave, but is not revealed until the slight brushing of the right
middle finger.
A triple change can apparently take place at the brush of a finger by starting with a copper/silver
coin at the left fingertip. After the first change, just turn the coin over in the right hand as it pre-
42
Utilities
pares for the second switch. With two
brushes of the middle finger a coin can
change from copper to a Chinese coin to a silver coin.
bad!
Magic Christian, Austria's Master Magician, joins fellow Hedonists,
and
Paul Harris, in suggesting ways I might better conceal the cards I have palmed
in my right hand.
43
CORNER SWITCH
COMMENTS: I have used this comer switch very effectively for some time. Perhaps most important, is the
logic and meaning given to the actions by the patter and
After all, only magicians would think of
identifying something by tearing a
off, so the
spectators should be prepared for it.
The duplicate
is in a right coat,
vest or pants pocket and is crimped in such a way that
you can tell by touch alone the face from the
Or, if
you use the one-handed bottom deal
you
have
the extra
attached to the back of the forced card
using a bit of wax (FIG. 1). Personally, I love this idea,
since the forced card lands back-down anyway during
the force. This way, you don't have to steal the
at
all as you go into the routine.
In FIG. 2, you have either just pulled the corner
free from the wax,
it back-upward between
the right first and second fingers, or you have secretly stolen the corner from your pocket. Hold the
card you are to tear in the left hand (refer to FIG. 2).
Tear the
until is held only by a tiny piece
of card and bend it forward (FIG. 3). Say, "You could
sign your card for future identification. But some people
have accused me of being capable of forgery. However, if
you will keep this corner, it will always identify this card
just as surely as your thumbprint identifies you."
FIGS. 3 and 4 show both the
and the
view of your gesture with the right thumb, emphasizing your statement. This paints a
very
picture of the situation being set up, while appearing very fair.
In FIG. 5, the right thumb folds back the attached corner until it lays flat along the back of the
card. If you stole the
piece from the
of the force card, you can re-stick this hinged comer to
the remaining wax! If you don't use the wax, the left thumb holds down the folded corner.
44
Utilities
The right thumb pushes the switched-in corner to the fingertips as you make a tearing motion
(FIG. 6). If you scrape the corner against the card as you move it back, you will get the slight sound
necessary to add realism to the actions. Hand out the corner, then tear the card into pieces and
continue with the previous routine or any other needing a corner switch.
45
BOTTOM DEAL FORCE
COMMENTS: This and the Hofzinser force
are my two favorite forces. Each has its
strengths and weaknesses, fitting into my
repertoire in different ways. This force is best
used when the card is dealt face up from the
bottom, instead of face down, because the
• turning of the wrist aids tremendously in
covering the action.
PROCEDURES: Begin by fairly
the cards from the right hand face down into
the left (FIG. 1). The cards in the left hand
must be well squared for the sleight to work correctly, so when the spectator says stop, the left
hand quickly straddles the cards from
sides
and squares them (FIG. 2).
Once the cards are squared, the left index finger moves to the upper right corner, right at the
edge.
middle, third, and little fingers move to-
gether as a unit, as the first joint of the middle finger buckles the upper right comer from under the
grip of the first finger, moving the bottom card
away from the rest of the stock (FIG. 3).
Because of the firm hold on the rest of the deck
- which is gripped between the tip of the
index
finger and base of the thumb - the separated bottom card would be able to fall freely if the hand
were turned down. In fact, this is just what happens. However, to create the illusion the bottom
card is really falling, the left thumb pushes the top
46
Utilities
card over to the right. Of course, this also serves the purpose
of concealing the fact that the bottom card has also been
pushed over to the right (FIG. 4).
The left hand flicks
As this is done, the
left thumb pulls the top card back flush with the top of the
and allows the bottom card to
face up on the table
(FIG. 5). An important tip is that the left middle, third, and
little fingers must stay together as a unit. They will have a
tendency to separate, flaring out unnaturally. This would
never happen if it were the top card being dealt to the table,
and it implies that the fingers might be shooting the bottom
card out. In reality, gravity alone will pull the card free.
For more information on this deal, as well as many others,
refer to Mario's REVOLUTIONARY CARD SERIES.
47
WIPED CLEAN #1
EFFECT: This lets you show both
hands empty, front and back, while
concealing a coin.
COMMENTS: The ability to do this
just once in a one-coin routine, or a
more complicated coin routine, will
make every other vanish in the
routine stronger by association. By
this I mean that you show both
hands empty in a clean, natural
movement when you vanish one
coin, then the spectators are much
more likely to assume your hands are
empty every time. Do it just once in a
routine, and later some will "remember" how "both hands were empty
the whole time."
PROCEDURES: The coin, classic
palmed in the right hand, approaches
the left hand which is palm up and
open (FIG. 1). With the right hand
palm-down, the fingers brush lightly
over the right half of the left palm.
The brush starts from the base of the
left thumb and goes to the fingertips
(FIG. 2). The right thumb hangs naturally below the left hand. This helps to
hide the "clinching thumb" look that
some palms have.
At the close of the "brush," the
right middle fingertip will be on the
left middle fingertip.
48
Utilities
Timing is crucial in the next move.
Both hands start to turn over while
the middle fingers are contacting
each other (FIGS. 3 and 4). As the
right hand turns palm-up, the left
turns palm-down and "rides" along
the right middle finger on into the
palm. Just as the right hand turns
palm-up, the
middle and index
fingers cover the palmed coin.
The left hand causally "brushes"
the coin along with it down the palmup right hand (FIG. 5). At the end of
the brush the coin will have been slid
along the right palm to the ends of the
middle and third fingers. The coin is
covered by the ends of the left middle
and first fingers (FIG. 6).
The left hand freezes, the right
hand turns palm down with its
middle finger still in contact with the
left first finger. This helps conceal the
coin as the right second, third, and
fourth fingers curl in (FIG. 7).
The right
is extended as
it brushes from the left fingers to the
left wrist and back down to the
tips. If s an
motion along
the back of the left hand (FIG. 8).
The left hand moves back and
brushes the right hand from the wrist
to the right knuckles as the right hand
palms the coin (FIG. 9). Say, almost to
yourself,
gone!" Move both
hands in a slight upward gesture to
help punctuate the end of the sequence. It looks fair, and helps the
right-hand palm look natural.
The move shouldn't look as if if s being done with concentrated effort. Also, even if you have
never shown your hands empty this way
if
do it casually and
it will appear
impossible to conceal a coin this way.
Although it was described in several steps, if s a single, flowing up and back movement. There
are no beats or pauses. Rather you should try for a rhythm in doing it
The patter is very simple, and explanatory: "The coin has vanished. It's not here, not here; it's not there
or there.
49
The Magic of Michael Ammar
5(1
WIPED CLEAN #2
EFFECT: Another method of showing both hands convincingly empty,
while actually concealing a coin.
PROCEDURES: You are either
starting out with a coin classicpalmed in the right hand, or you have
just made a coin vanish and it is in the
right-hand classic palm. FIGS. 1 and 2
show how the right hand brushes the
left palm until the right middle
tip contacts the left middle fingertip.
The left hand turns palm down and
then moves up to cover the coin in
right-hand classic palm, this being
done as the right hand turns palm up.
Timing is important here because the left
fingers have to move into the right palm to
cover the coin (FIG. 3) before the right hand
turns
know what you're thinking, and it's not true.
The coin isn't here (showing the left hand) and it's
not here."
The deceptive part of this move is the sliding of the coin along the right palm. FIG. 4
shows how the left hand is brushing the coin
to the right
At this point the left
hand freezes as the right hand turns palmdown again. The coin will remain at the right
fingertips so be careful not to flash the coin at
this point. Keep the right hand close to the
one and you should have no problems.
51
The Magic of Michael
"It's not up this sleeve, and it's obviously not up this one. The coin is gone!"
As this is said, the right hand
reaches back to pull on the left sleeve
(FIG. 5), and then the left hand pulls
on the right sleeve (FIG. 6). This is the
justification for the right hand turning palm down at the end of the
brush. The right hand does not palm
the coin until the hands are tugging
on the sleeves.
s the justification in turning the
right hand palm-down that will result
in variations in handling and delivery. Another handling would be to
proceed as in FIGS. 1 through 4, and
follow by turning the right hand
palm-down to point at the watch on
the left wrist as you say, "That
vanished in less than a second!"
Still another variation would be to brush the coin into the right fingerpalm and leave it there, and
as the hands gesture you say, "It's gone!" The right fingers remain curled to keep the coin from
view, but still allow the viewers to see both palms. This idea was developed by John Ramsey.
52
Utilities
The performances I gave at the
Dinner Theatre were
made up of three "acts", separated by two eight-minute intermissions. During the middle act, I performed thirty minutes of close-up
in the center of the floor, amongst the tables. In this segment, I
wore a vest with rolled back sleeves, yet I produced this dove and a
block ice!
53
CARD VANISH
COMMENTS: I believe in having no mercy on the viewers when performing close-up... and my
audiences prefer it that way. They like the idea that someone has taken the trouble to deceive them
completely, leaving them no chance to reconstruct and find some discrepancy in a routine.
I structure my routines for performance while standing and surrounded. I could easily modify
the method to any performing situation and still receive maximum results.
Another of my guidelines is to use as few props as possible (especially when they look like props
and not
objects). There are exceptions, of course, such as the classic cups and balls.
In this case our objective is to make a card disappear. It shouldn't be necessary to place the card in
a box or bag to make it vanish. Also, burning the card to bring about the vanish can lead to complications. If the card isn't entirely destroyed in the fire (as in vanishing in a puff of smoke and fire)
then how can the entire card reappear somewhere else? When performing in restaurants, bars, and
hospitality rooms questions like this can regularly occur, and are hard to answer!
This vanish is ideally suited to vanish a card after a corner has been torn off and retained for
future identification. I use and recommend CORNER SWITCH (found elsewhere in this chapter).
PROCEDURES: To set-up, place two regular paper clips in the left hand front pocket. Tear the
card into one-sixth its regular size. Place the left hand into its pocket and bring out both paper clips.
Keep one of the clips concealed in the curled left fingers, and display the second clip
the
thumb and index finger.
"For the next part the pieces need to be kept in close proximity to one another. This paper clip will serve our
purpose perfectly."
Saying this, place the pieces into the paper clip and display them with the right hand. The left
still holds the extra clip in its curled fingers.
way
have to snap my fingers for each individual piece to disappear. Just by snapping once, the
entire card vanishes every piece leaving only the paper clip behind to show they ever really existed."
As this is said, the right hand apparently places the card into the left hand. Actually the right
hand palms the pieces (an easy process because of the size, shape, and weight) as the left hand
opens to supposedly take the pieces. Keep the left fingers slightly curled to allow a view of the palm
while concealing the dip resting along the fingers.
The left hand closes and makes a crumbling motion. Snap the right fingers and open the hand to
show "only the paper dip behind."
54
Utilities
Place the clip on the table and pause for the effect to
in. Pick the clip up with the right hand
and place the pieces and clip into the right pocket as you proceed with your routine.
ALTERNATE HANDLING: I must admit that I have never used the following variation. The
reason I haven't tried it is because I already have a good, logical
switch. However, it is included because some readers may feel that the psychological principles involved make this handling more logical.
To begin, have the extra corner (duplicate, of course) in a paper clip in the left pocket. Also, have
an extra paper clip in the pocket
Have a spectator tear the entire card into six pieces as you bring out the extra paper
left thumb and index finger. The paper clip containing the extra corner is concealed in
with the
left hand.
Palm the clip with the torn card pieces in the right hand while apparently placing them into the
hand. Snapping the right fingers, open the
hand to reveal that the entire card
not vanish.
Conclude by reproducing the card with a single piece missing. Match the pieces to confirm that the
entire card was reproduced except for the single corner!
Another idea would be to actually tear two pieces from the card to be reproduced. Place the extra
piece in the paper clip and do a corner switch "for future identification." Again, the entire card
doesn't disappear, but that just means you have twice the proof that the card which is reproduced
(hopefully in some impossible fashion) was
the original card.
55
CUT & RESTORED ROPE REPLACEMENT
This is not a complete effect, but it is a great
bit of finesse. The Cut & Restored Rope trick
has been a classic of magic for centuries. The
method most often used is the one where a
loop of the rope near one end is secretly exchanged for the center when the rope is cut.
Over the years few elegant handlings have
been devised for accomplishing this secret
maneuver. Michael's approach is as clean, direct and deceptive as any I have seen.
while standing in front of a
ence's viewpoint.
PROCEDURES: Substituting the end section for the middle of the rope happens in a
completely natural manner. Work through
this move several times with rope in hand
This way you can see the wonderful illusion from the audi-
Three to three-and-a-half feet is about the
right length for the rope, though a greater or
lesser length works fine. The rope should be
soft and flexible, like the standard magician's
rope. Hold the rope in front of you, one end
lying across the fingers of each palm-up
hand. The ends hang over the front side of
the forefingers by about four or
inches.
The center of the rope hangs off the backs of
the little fingers and down between the
hands (FIG. 1).
©
What apparently happens is that the right
hand carries its end of the rope
and loops it over the left hand; the center of the rope hangs
over the backs of the
fingers. However, in this seemingly innocent action, a loop of the right end
of the rope is switched for the center section.
You will apparently be pulling the rope over the left fingers in order to find its center. The right
hand approaches from in front of the left fingers, but instead of pulling the rope fairly
the fingers, the right and left hands switch ends. FIG. 2 shows the beginning of the switch, as the right
index and middle fingers pinch the left end of the rope.
56
Utilities
At about the same time, the right end of the
rope is clipped in the left thumb crotch. The
right thumb helps position it there if needed.
It is important that the section of rope that is
hung over the left fingers by the right hand
does not slip off those fingers. The very tip of
the left thumb also helps here, lightly pressing the rope against the left forefinger. This
slight adjustment is easily understood when
you try the move. FIG 3 exposes the condition
at this point, as the right hand begins to draw
its newly acquired end (originally the left's)
back toward your body. This end is caught in
the loop formed by the opposite end.
The substitution is now complete. The right hand only has
to carry its end back and down, apparently coiling the center
of the rope around the left fingers (FIG. 4). The left thumb
holds the loop secure as the right hand pulls the center of the
rope through it.
The rope is now coiled in a position that
like the approximate center is hanging just over the
fingers. The
right hand releases its end of the rope and gets the scissors.
Cut the rope where it hangs just in front of the left fingers.
The illusion of the rope being cut at its center is really marvelous. It has been really been cut only about six inches from
one end. Proceed with any standard restoration sequence.
There is no hesitation at all when making the switch. It
happens smoothly and takes only a few seconds. Put in a bit
of work on this and you
have a
deceptive utility
move for any Cut Restored Rope sequence.
57
SIDE-STEAL
(with Top Card Cover)
COMMENTS: The side-steal is one of the most powerful
tools of card magic, and it is taught here in exacting detail.
Students will enjoy reading Mario's book on the side steal,
from his REVOLUTIONARY CARD TECHNIQUE SERIES.
This description is written in context with "Switching
Sandwiches." (found in the RESTAURANT MAGIC section).
To follow along here, place the two
on top of the
deck. Obtain a left little finger break at about the center of the
deck. In "Switching Sandwiches," you have just had a spectator peek at a card, bringing you to your current position.
PROCEDURES: The deck is held in a specific way. In
1, notice how the left thumb is along the left edge of the deck.
This insures there is no visible break or step now, or later,
when the left little finger pushes upward on the selection.
The pad of the
little finger is against the selection.
The position of the right hand has been omitted from the first figure, and is raised in FIG. 2 to
show the exact position of the right thumb. Without this position being exact, there is little hope of
proper execution. The pad of the right thumb is
exactly at the inner left corner. Perfectly at the corner. This way, it serves as a gauge, keeping the
upper half of the deck flush, while allowing the
inner left corner of the selection to slip free when
pushed to the right by the left little finger. The
right fingers are curled naturally over the front
edge of the
making sure no opening is visible from the front.
The left little finger kicks out the selected card;
it leaves the deck at an angle (FIG. 3). When this
point is reached, the left thumb can move from
the side of the deck, and the right fingers can move to the right, away from their covering position
at the front of the deck. Once the card has moved this far out, upward pressure by the left little
58
Utilities
finger is no longer needed. Pressure might cause
the upper and lower packets to separate. Notice
that the left thumb has moved to the right, where
it pinches the deck between itself and the base of
the
index finger.
hold is firm enough to
support the deck as the right hand pulls the selected card to the right
When the selected card is half-way out, the
right little
holds the upper index corner,
and the thumb holds the lower index corner. FIG.
4 shows an underview. These are the only two
points by which the right hand holds the card.
The right hand then moves to the right, as if
squaring the front end with the middle finger
and the back end with the thumb. Naturally,
since the right thumb holds the lower left corner,
and the little finger holds the upper right edge of
the selection, it moves along with the right hand.
As soon as the selected card is half-way out, the
right index finger buckles the top card, insuring
that only it and the selected card can move to the
right
5). The right hand moves to the right,
with the selection at a slight angle, hidden underneath the top face-up jack. The selection is totally
covered as the right index finger points to the
face-up jack still on the deck (FIG. 6). It looks as if
you are showing the top two face-up jacks.
Move to the right until the card is free from the deck; then begin moving to the left to return the
selection and the jack to the top. The selection is now between the jacks. This is a very versatile move.
59
THUMBTIP FINESSE
COMMENTS: I developed and have been using these three handlings with the thumb tip almost
ten years ago. For years I didn't print them because I thought, "Big deal. People
care about such
attention to detail work. And besides, just put the thing on a little different..." After showing it around, I
found that people do care. In fact, if enough attention is given to detail, it makes all the difference.
The funny part is that even after I was convinced of the value of these moves, I still didn't print
them, because I didn't think it would be possible to teach them! However, I'm ready to give it a try.
One more thing-it might help if you also know why I developed these handlings.
the thumb tip
moves I had seen became immediately identifiable as thumb tip moves as soon as you learned them,
even from across a large room. As soon as
see a magician ball his hand into a fist, put
into the well between the curled index finger and thumb, followed by a stuffing action with the
right thumb, what else would he be doing? Think about this. The prop is designed to defy detection
right under the noses of critical observers, yet the techniques almost everyone uses are recognizable from a city block away.
TECHNIQUE #1: The first move is designed as a complete vanish of a borrowed bill, if the
hand conceals something else, such as four quarters, it can create a powerful transformation.
The main objective was for the hands to approach each other in a manner that exactly duplicates
the actions of the real world. So, I first tried to learn what the most natural way of putting something from the right hand into the left was. Then, I tried to duplicate it while loading the tip during
the act of executing a fake transfer.
The first thing I noticed was that the
hand never curls into a fist so that the right hand has to
stuff something into it. In the real world this never, never, never happens. Never.
Basically, objects are transferred from one hand to another by one of two actions, either by Putting, or by Taking. Taking actions are actually the types most used naturally. The moves in magic
that duplicate Taking actions are moves such as The French Drop. Unfortunately, I wasn't able to
load and steal the tip during one move of a Taking action.
The fact that Putting actions are most often used in magic isn't as much of a red
against
naturalness as you might imagine, because Putting actions serve the purposes of display movements better. Since most magic takes place under display situations, putting actions can be natural.
In a putting action, the hands might approach each other with the
hand palm-up for the
placement, as in the
Vanish. Or the hands approach each other with the curled
fingers of the two hands pointing toward each other, the receiving hand turning palm-up for the
placement. This is the movement I found easiest to duplicate while executing the necessary sleights.
60
Utilities
In order to load the thumb tip and steal it in one move, the tip needs to be pointing toward the
hand doing the putting. The base of the thumb tip rests at the base of the secondfinger, while the
opening of the tip is held by the tips of the slightly curled fingers
1). This is how the tip
be
held
the vanish of the
FIG. 2 shows how the tip
be held while edge-gripping
quarters with the curled third finger.
The bill
be
into sixteenths in order to fit into the tip and remain completely concealed.
Display the
in the right hand as in FIG. 3, with the thumb covering three-quarters of the back of
the bill, while the fingers try to keep as much of the front of the packet exposed as possible.
The hands approach each other in FIG. 4 very naturally, but FIG. 5 shows what is actually taking
place. The left thumb has moved in to take over holding the tip, in order for the opening of the tip
to be cleared inserting the bill. FIG. 6 shows the right thumb moving on into the tip with the bill
as the left hand continues to close.
61
The Magic
The important thing to remember is that the
right hand does not move far enough into the left
hand for the tip be completely pushed onto the
thumb. It would be just slightly unnatural. However, you don't need to drive the tip all the way
home at this point. All you have to do is keep the
bill and thumb tip from
As soon as the tip
is on the thumb enough to be relatively secure,
move on to what's depicted in FIG. 7.
In FIG. 7, the left hand has closed and moved
away
the right hand; the right hand's
slightly curled fingers conceal the tip and partially-inserted bill. FIG. 8 shows the final part of
the move, as the right middle finger moves to the
tip, first pushing it securely onto the thumb before snapping against the thumb tip itself. Few
people realize that you can still snap your fingers in spite of the thumb tip, and this fact alone disarms most people against your use of a thumb tip.
TECHNIQUE #2: This was developed as a method for vanishing a lit cigarette. Again, notice the
fact
only one movement is necessary for the placement as well as the steal of the tip. I feel this
is much better than placing the cigarette into
hand in one action then with a second action
pushing it further for the steal of the tip.
In FIG. 9 the thumb tip is concealed in the left
hand in the same way as in FIG. 1. However, the
right hand holds the cigarette at a right angle to
the fingers, while you blow on the hot coals.
In FIG. 10 the cigarette is pivoted toward the
opening of the tip at the last moment. The left
thumb does not hold the tip this time to clear the
opening. Instead, the opening is cleared because
the left fingers have begun to curl in a little earlier
than in the previous method. These methods for
clearing the opening are interchangeable.
FIG. 11 shows how the right fingers still conceal the tip from the front as the tip of your
thumb pushes the cigarette into the tip, using the
base of the left fingers as a brace. As before, don't
make too aggressive a plunge to the left with the
right thumb. Just enough to secure the tip and
cigarette on the thumb. The final plunge onto the
thumb is made as the right fingers snap as a
magical gesture.
TECHNIQUE #3: This method is similar to
those just discussed, yet radically different. The
62
Utilities
loading procedure is basically the same, yet this
time the tip is not loaded onto the thumb, but onto
the middle finger.
Begin by holding the tip in the left hand in the
same basic position as the previous methods, except this time the tip is rotated a quarter turn
clockwise, so the nail of the tip points out between the thumb and the first finger (FIG. 12).
The right hand is able to approach the left with
a bit more open appearance, since the
will be
held by only the right thumb and middle finger.
Once again, the bill is folded into sixteenths. The
middle finger covers only half of the bill. The left
palm points up and to the right, with the nail of
the tip pointing out the opening between the thumb and first finger, which are NOT touching at
the tips (FIG. 13). As the left hand turns palm up, the right middle finger pushes the bill into the
opening of the tip. The curled
fingers conceal the tip
the spectators. As in the previous
ods, the tip is not completely loaded onto the middle finger yet, but just enough to support the bill inside the
tip (FIG. 14).
63
The Magic of Michael
As soon as the tip is supported on the finger,
the right thumb moves into the spectators view.
This is not just to disprove the fact you are using
a thumb tip, but to further the deception in general. The thought being that the bill can't be in
the right hand without being supported by the
grip of the opposing thumb. The right middle
finger curls in, but do not actually close the right
hand (FIG.
FIG. 16 shows the audience view of what is
going on. The tip is on the right middle finger, as
the left hand closes palm up. Make a crumbling
motion with the left hand as the right index finger gives a slight gesture toward it.
The beauty of this method is that the right
hand can be shown to be empty in what seems to
be an even more natural way than with the standard thumb tip showing moves. However, instead of pointing the tip of the tip at the spectators by displaying only the tip of the thumb,
right palm is shown along the broad-side view of
the thumb. FIG. 17 shows how,
the
hand
moves away, the tip is pushed onto the middle
finger by the right thumb. This is done as the
right hand lifts, turning the palm - and the tips of
the right fingers - to point toward the spectators.
POCKET LOADING: I've been doing the One
Hundred Dollar Bill Switch for over ten years
now, and one of the things you have to think about is how to go into it with the bill loaded into the
tip on the thumb in the middle of a sequence of things going on.
In order to have control over the tip inside my
pocket, and to facilitate loading the tip onto the
thumb with one hand, I tried to devise a holder
for inside the pocket. This was a pretty simple
affair, being just a strip of one-inch wide elastic
about four inches long. This was sewn down on
each end, then two other equally spaced strips
down the width separated the strip into three
equal sections. This way I could control three different tips in loading position in one pocket if I
wanted to, or I could use the other sections for
holding color changing knives, or whatever.
©
This worked fine, except that even with the tip
'
properly positioned, there was a bit of fumbling
inside the pocket when loading the thumb into a tip that already contained a bill. Also, you
needed an excuse for going to the pocket in the first place.
64
Utilities
What I finally ended up with was logical, natural, simple, and well covered.
of
to
load the thumb into the tip inside of my pocket, I call for the loan of a bill from the spectator. This is
immediately followed by the right hand going into my own pocket, while
"7 could use one
but
wouldn't be nearly as fun."
As I say this, I quickly take out the thumb tip with the right hand. The tip is
loaded onto the
thumb at this point. The mouth of the tip is held between the first joint of the thumb and the middle
finger. The bill protrudes from the tip just enough for the pad of the right thumb to grab it.
The hands swing close enough together for the left fingers to pull the tip away from the bill and
into the basic
right hand displays
you
are
"...But that wouldn't be nearly as fun..." From this point, go directly into the execution of
Technique #1, as you seem to take the bill into the left hand, which places it into the left pocket.
Don't bother snapping the right fingers, however, because no
is supposed
happening.
Continue by borrowing the bill from the spectator.
I greatly admired the magic of Slydini, and I spent years trying to
achieve the strong impact and direct procedures his lapping created in
my own
65
The Magic
Ammar
No, I wasn't selling
products when this picture was taken. From the
on my face, I'm almost
certainly talking about magic. People who have seen me lecture have often said I seem to love what I do,
and I'm here to tell you it's true. I'm the luckiest guy in the world!
66
Chapter Three
PSYCHOLOGY
Eight Philosophical Essays On Magic
I wrote the following eight essays during the late seventies, while attending West Virginia University. Few people have seen them, and, I suppose, even fewer had any idea what I was talking
about! These notions, although quite esoteric, will clearly show the seeds of my current interest in
performing philosophy. And while I might choose different topics to elaborate on in current essays,
it is interesting to note that most of the performing perspectives I held back then, I still
today.
None of the essays relate directly to one another, and some were written years apart. you enjoy
thinking conceptually, get ready for a good time.
lower echelons, and the public. A 32nd degree
Mason knows more of the secrets of his organization than does the novice - and just as
* certainly he is more committed to the organization and consequently more trustworthy of
having these secrets. So it is with the average
Magic Club or "inner circle."
ESSAY #1
IN THE MEN'S HUT
Lef s go back in time together to the primitive societies of long ago. These societies all
had a 'social institution' known as the Men's
Hut. This Hut was a place of taboo and secret
lore (and, occasionally, a retreat from women,
work, and tribal dogs).
Meanwhile back at the Men's Hut.
Such emphasis is placed on the uniqueness
of membership, and the secrets to be learned,
that the new member looked upon himself as
'suddenly' being better or wiser just by entering. People look at him, and even treat him,
differently. However, most new comers are
surprised on their first trip inside the Men's
Hut. There was no deep magic or powerful
spells to be learned. There was no demon,
friendly or otherwise, which protected the hut
and taught the secrets of life. All that he found
were some paintings, dusty animal skins, and
some herbs. He probably didn't understand all
this, but one thing is certain: He would not
reveal his findings to any 'nonmember'. This
would lessen the importance of his being accepted. In fact, if he were to explain to others
that the Men's Hut was just a 'cover', he
probably wouldn't have been believed. So this
primitive man, who knew nothing of psychology, TV dinners, or inside flush toilets began
to play a 'role'. As the years passed this role
playing would transform itself into an actual
Gaining entry into the Men's Hut, and
therefore those deep dark tribal secrets, was a
major achievement. Those who weren't allowed in continually dreamed of how much
better their lives would be if they somehow
found access into the hut. The key episodes
were the trials and appropriate rituals to mark
the event. (No, reaching puberty wasn't
enough.)
This pattern is still followed today (not the
same rituals, fortunately) by the Elks, Moose,
and maybe even more so with Magic Clubs
and "inner circles." Now, it is rare for the inner workings of an organization to function as
it is commonly understood to function by the
public. The reason, no doubt, is that it
couldn't, and pretense is necessary to maintain the allegiance of the faithful, the
67
Magic
state of mind, and as subtle as this difference
may be, it was the very thing which gave the
Men's Hut its strength.
Among other things, the
will be considered:
intangibles
The benefits of utilizing misdirection which
begins with increased eye contact. "If s in the
eye...."
Things are much the same today concerning secret sessions and inner circles in
When a newcomer first begins to attend conventions he might see the stars of magic hanging out together. He would then think to himself, "If only I could know what they were
saying. If only I knew the revolutionary
sleights and new routines they know... how
great I would be."
The overwhelming importance of naturalness and uniformity of movement in the exe• cution of sleights (especially at close quarters).
The incredible difference in results when
you realize you are as important as the tricks
you do.
As the years pass, our newcomer is fortunate enough to
close to some of these
men, and participates in some of these sessions. And, much like the primitive man from
long ago, he
no such "real magic" or
incredible methods of performing. Maybe
there was a new move here and there, or a
higher level of technical skill, but anyone can
acquire these with time.
The ability to make your magic more pleasing to the eye by pacing yourself and developing a certain rhythm.
So it may, at first glance, seem that these
jealously guarded secrets and intimate participationin restricted circles often turns out to be
either trivial, disappointing or both. However,
the real truth is hidden, concerning the Men's
Hut and inner social circles. It is hidden because it deals with the intangible. An intangible which probably influenced our primitive
man, without being fully understood. That
tangible is a state of mind - an attitude. Perhaps by understanding these thoughts and
concepts we can learn and progress even
faster than
primitive friend.
Increasing personal pleasure derived from
magic by performing for people - as opposed
to a mirror. Actually taking an interest in those
and involving yourself with them.
Making your magic and misdirection more
effective by occasionally breaking your
rhythm, and employing pauses, beats, etc....
Mike Skinner compares this to changing gears
car.
Understanding congruence. Appearing
more professional by thinking about the
people and the situation, and deciding what
will be the best thing to perform every time
you perform.
Clearly defining what the effect would look
like if you were really
Understanding the limitations of imitation,
and the vast potential behind revealing who
you already are.
So, as it turns out, there really is a difference
between those inside the Men's Hut and those
on the outside. What puts us miles ahead is
that through concentrated effort and attention, we can achieve this state of mind today
without going through rituals or actually taking part in 'secret sessions'. By reading these
thoughts, I hope to initiate your unique journey 'into the Men's
Pretense will be
pushed aside, as I attempt to learn some of the
intangibles which can be so elusive. You may
not leave the Men's Hut a better technician,
but hopefully your thoughts, attitudes, and
therefore your performing will improve.
These are just some of the intangibles. Of
course, they may mean something different to
all who read them, and there are many which
can only relate to the individual who discovers
them. But there lies the key: Be aware of these
intangibles, look for them, practice them, and
respect them.
68
Psychology
Bill Herz was originally made an honorary
member because he was the person who lined
up the performing outlets through Club Med
in the Bahamas. We started out being impressed with the speed and professionalism
with which he arranged the bookings, but I,
for one, ended up being blown away by Bill
himself. I found him to be super sharp when it
comes to business and promotion, and as we
go into the
he gets my vote as Most
Likely To Succeed in the Corporate World.
Among other credits, the Wall Street Journal
recently featured him in a front page article!
He was a class act when I met him years ago,
and from all indications, he still is.
COMMENTS: This article was originally
written during 1977. It was inspired by the
book THINK AND
Napoleon
Hill, and was fueled by the desire for what I
felt I didn't have - which was magical brainstorming companionship.
Adam Fleischer, was brought into the picture because of his success at promoting the
New York Magic Symposiums, which were
begun by he and Vito Lupo. Beyond booking
and promoting the Hedonists, Adam also
went on to write the book on
which personally think is one of the most
fascinating books published during the
Growing up in West Virginia meant there
were very few magicians around, and there
certainly weren't any full-time professionals. I
confess to being one of those 'outside the
Men's
looking at the professionals huddling together at conventions, and dreaming
of what it would be like to have been able to
bounce ideas off that group.
Unfortunately, some professionals
the
whole event, and particularly the book and
following promotions, were more of an egotistical exercise than anything else. Nothing
could have been further from the original
game plan, as you'll see below, but because of
those early promotions and the way certain
things were handled, I saw one of my earliest
magic dreams distorted and misinterpreted.
I was a classic victim of human nature,
wanting most what I didn't have.
So Hill's chapter on The Master Mind
Group really
home with me, and I
would fantasize about having such a group
the magic field. It just so happens, that
this was one fantasy that came true! Years
later, I was fortunate enough to list among my
friends people I considered to be the best of the
best, and upon sharing my dream of a 'Super
Group' with them, they agreed to take part in
what is now a piece of magical history. The result? BRAINSTORM IN THE BAHAMAS.
Now, years later, maybe someone younger,
wiser, and aware of the mistakes we made will
an interest in my original dream. It's
nating to think about someone else inside the
magic
picking up a ball I fumbled, only to
carry it on towards the goal. That would be
nice. Wouldn't that justify the efforts of publishing? I think so...
For those unaware of the event, the group
adopted the name
Magic Hedonists', and
the original members were myself,
Paul
Harris, Richard Kaufman, Adam Fleischer and
Honorary Member Bill Herz. The involvement
of Daryl and Paul were obvious because of our
friendship and their talents, but few knew of
the early involvement of Kaufman and Herz.
THE SUPER GROUP
Like everything else, the world of magic and
69
The Magic
magicians is constantly growing and changing. In order for us as individuals to keep up,
we must develop better ways to achieve and
advance ourselves and our Art.
* Have specific values that will add to the
synergy of the group. This doesn't always
have to be talent - it could be time, connections, or even the best library in town.
Magic clubs, while valuable, are probably
not the best answer. As great as they are, their
major accomplishment is to promote close
friendship and harmony (sometimes) among
people with similar interests. These clubs and
organizations are the only realistic answer to a
solid worldwide foundation for
fraternity.
However, another solution is necessary to
promote individual advancements and to
stimulate personal creativity at higher levels
of proficiency.
* Be capable of defining your personal objectives, as
as the objectives of the group.
What follows is a
the formation of a
group of people who will act together in an air
of trust and harmony towards mutually
agreed upon objectives. The plan isn't chiseled
in stone, and won't cover all the problems that
human nature will uncover, but the key
words are Trust, Harmony, and Objectives.
With these words alone chiseled in stone, additional plans and new directions may be created as they are needed.
* your own hard taskmaster, without the
need for constant enticement from other
members.
* Develop a flexible mind set, capable of seeing things develop outside of your own personal objectives.
Be familiar, or willing to learn, superior
methods of
and productivity.
* Have the capacity to concentrate on important issues.
In order to provide a continuous acceleration of accomplishment, you must exercise the
self discipline that is necessary to get more
done more creatively. A VITAL key to achievement is to have a goal - ONE basic objective
above all others. What
be the basic objective of the group?
The first criteria of this concept is that everyone in the group be compatible with one another. All the other rules are pretty meaningless if there are problems with compatibility
and mutual respect. If this base is covered, the
end result will be synergy, with the total being
greater than the sum of the parts. But if petty,
guarded contributions start to enter the picture, you've taken the first steps towards
problems. Keeping the long term, big picture
in mind will help you overcome the frustration of occasional minor differences. Size of
the group is unimportant. However, several
points must be made. If the group is too large,
your progress will be severely inhibited because of the increased chance that conflicting
objectives will be involved. It is far better to
have a small group of dedicated people who
take magic seriously. You may find that an alliance with just one other person will be most
efficient.
Here's a sample 'Mission
To stimulate a higher level of creativity and
among the members, bringing artistry into magic, expressed by clear effects,
economic methods, and meaningful presentations.
Before moving to THE BASIC SYSTEMS
FOR ACCOMPLISHMENTS those who
would be members may have these concerns...
Trademark effects, routines and pet secrets
are NOT up for grabs. This will NOT be an
excuse to sponge from more experienced and
knowledgeable performers. Sound ethics is
only common sense, and the word
is
not to be confused with the word 'sponge'.
It isn't necessary or desirable for members
to share the latest secrets they have gathered,
or the materials they have purchased or the
books they are now reading, unless that is the
key value they have volunteered to contribThe basic idea of the group is to build
IN ORDER TO ENTER THE GROUP, YOU
WOULD
TO:
70
upward from the point of conception, not to
waste time exploring what makes up the fundamentals of each others past.
seen, the sunlight wouldn't cause a Kleenex to
catch on fire. But if you focus a small percentage of the sun through a magnifying glass or
prism, you can melt metal. Couldn't the same
thing be true of our natural talents? What
good is all the potential in the world if you
never take two steps in the same direction?
Material developed by the group
usually be easily traced to one individual or another. Agreements as to its use will be dealt
with by those involved. HONESTY AND
COURTESY should be the group bywords. If
someone would like to work on something
intended for private use or personal benefits,
that point should be made at the beginning of
the discussion, before any of the other members have shared the thoughts
enough to
develop an emotional attachment to the topic.
The ability to concentrate on a specific goal
is a characteristic possessed by all productive
minds. Being busy is not enough; our time
must be directed towards
goals.
(3) Identify priorities
Assign logical priorities and combine them
with time frames. Complete distasteful work
early. Slogans such as "Do it now!", or "Seize
the Day!" are valid, but it is the prior identification of highest
that give them
strength.
What follows is a list of goals for individual
group members. Dedication to this list will
strengthen almost everyone who wants to do
better magic and be a better magician.
(1) Morally, develop a Methods
while magically developing an Effects
Do not mistake activity for accomplishment!
(4) Take action
it comes to dealing with other people,
the Ends do not always justify the Means.
There is a right and a wrong way to interact
socially and professionally.
it comes to a
career, 'methods' are more important than
If all you are interested in is the end
result, you might be willing to do anything to
achieve it, and that is a potentially lethal attitude. Far better to always be certain of your
moral stance. Have the Means matter more
than the Ends, and the Ends will take care of
themselves. Of course, the opposite is true of
By starting with the effect you want to
accomplish first, you won't be limited to considering the methods you personally favor. It
has been said that if the
tool you have is a
hammer, you'll treat everything as if it were a
If you work backwards from what you
want to build, you may uncover the need to
create a new tool.
Once your morals are straight, and your
attention is focused on the proper priorities,
take action! If you waited until all the lights
were green before you started anywhere,
you'd never leave the house! If you waited
until all the little ducks formed a row before
taking the picture, you'd never snap a shot.
Savor activity and accomplishments. If you
are doing the right things in the right way,
then your rest will come well earned and unencumbered
(5) Finish what we start
The greatest challenge to the progress of
creative people is The World of Amazing Potentials they find themselves born into. Everywhere they look they see answers to problems, opportunities overlooked, and solutions
to the puzzles of other people. It must be terribly tempting to set down an almost finished
project that leaves them unchallenged, in order to deal with something 'fresh.'
Finally, when dealing with others outside
the group, never enter into any transaction
that does not benefit all whom it affects. Play
no game that involves a loser.
Consider the mind of Michelangelo - gifted
with so many abilities. Then look at the incredible details of, say, the Pieta, on display at St.
Peter's in Rome. Can you imagine the tortures
(2) Concentrate
On the hottest day Death Valley has ever
71
The Magic
of a thousand future projects calling out to
him to begin, when those excruciating details
had yet to be finished? How easy it would
have been to have stopped short of an Artistic
treasure, with so many other things to do.
one heading in any direction long enough will
eventually find himself at right angles to
someone. When these times come, it will be
helpful to know that Step 1 was firmly taken,
so we'll never have to question ourselves.
If we choose to begin it,
is done.
At one time, I had hoped that if I did my
magic
enough, I could be 'Everyone's
Best Friend.' When I discovered that my best
efforts were sometimes misinterpreted, I asked
Vernon how this could have happened. He
simply said: "They wouldn't
you if you
weren't carrying the
s not stop until it
(6) Anticipate future trends
It is much easier to be a follower, and much
less disconcerting. You might always be one
step behind, but if s so much more comfortable that way! Yet, being second is not anything at all like being first. There is a purity in
being first, when all that follows is imitation.
There is a Law of Nature:
every action,
there is an equal and opposite reaction.' Might
there be a predictable Law of Human Nature:
'Anyone who
carries a ball will be
chased?'
Whenever one does anything for the first
time, whether a new concept, principle, presentation, or marketing direction, he creates a
balance with himself on one side and mankind
on the other.
When enemies are uncovered by progress,
take pride, knowing that the nature of one's
enemies define the nature of one's standards.
If it is true that 'you can tell a man by the
friends he
then if s probably true
that you can tell a man by the enemies he
makes. We must trust our motives and direction enough to be willing to make enemies.
Learn enough about where we've been to
be able to tell where we are, so that we might
anticipate where we need to go.
7) Press against the outer limits of our abilities
(9) Never stop questioning
Failure only defines the outer limits of
current ability. If you never fail, how will you
ever know how far you might go? A high
jumper that never knocks the bar from the pin
can never be sure how high he can really
jump.
I believe the quality of a man's life is determined by the questions he asks himself. Albert
Einstein said, "The important thing is not to stop
questioning." And Vernon has said, "Magicians
stop thinking too soon."
In creating this group, the real benefits
might not come from creating more and better
answers, but in the resulting creation of more
and better questions. Never stop questioning.
There is a natural security that comes from
only operating inside your comfort zone, but
there is an exhilaration that comes from
brushing against the outer limits. By looking
at failure as only feedback, it won't be able to
take root long enough to become a frame of
mind.
(10) Keep accurate journals
It requires you to organize your thoughts.
Most people find it distasteful, but the cumulative value of this habit can be staggering. Not
only will flashes of inspiration be captured,
but historical accuracy
be insured.
Occasionally reaching further than our
grasp will be a healthy method for pushing
outward on the envelope of our abilities.
(8) Trust ourselves
Who hasn't been blessed with flashes of
inspiration? Those illuminating moments of
insight that are so fleeting and fragile that
they are here and then gone. These moments
If we follow steps 1 through 7 we will make
enough waves to rock someone's boat. Any-
72
alone are worth all the effort a journal would
require. These insights seem so
at the
moment of
that we rarely go out of
way to write them down. Yet with eerie
predictability, they fade and vanish like a puff
of smoke. These are the thoughts that only the
habit of writing preserve.
The more ideas, the more likely for you that
there may be one good one among them.
Sometimes ideas act as chain reactions, and
one or two good ideas might trigger an excellent one.
Only after this step has been taken, do you
begin to Evaluate the thoughts you have Created. Now you decide what is off the track or
what is worth pursuing. Here you separate
the seeds of thought worth planting, and you
put into motion the forces necessary for bringing them about. The pen meets the page here,
as the blueprints for action take shape.
Another value of journals is the perspective
their accumulation provides. They tell an unfolding story of conception, crystallization,
and realization. By tracing the paths of our
thinking process over the years, we may overcome the need for instant gratification. Maybe
by verifying the years required thoughts to
turn into plans to turn into actions that turn
into realities, we might
the patience required
mastery.
The reason there is a Step Three, is because
neither daydreaming nor blueprints can build
a foundation or lay a
In Step Three, our
valid thoughts are turned into time schedules
and short term goals. Without Step Three - Action - Steps One and Two become smoke
to cover laziness, and eventually disinto sessions for rationalizing lack of accomplishment.
PROCESS
While there is no substitute for the individual human mind when it comes to solving
problems or creating new ideas, Brainstorming can be an excellent supplementary technique. It involves putting a number of people
together to develop a large quantity of ideas,
to be sorted out and evaluated later for possible use. The three-step process could be labeled: 1) Creation; 2) Evaluation; 3) Action.
TO GENERATE NEW IDEAS
Can something be modified (better methods, different articles used, environment for
performing expanded).
Can something be rearranged (sequence of
events, combining new methods and old
ideas; old methods, new ideas, reversal of
events, quicker impacts, more mileage from
each sleight performed, kickers, put the end at
the beginning).
The step labeled Creation might also have
been called Generation, because that step is
where all related thoughts on the topic are
generated and recorded. This is the free thinking phase. Depending on the group and the
topic, one member might
be assigned the
role of Facilitator. In this role he would record
every concept, as well as encourage the generation of even more ideas.
Can something be magnified or reduced
(maximum use of situations, more bits of business, combining ideas, leaving something out,
points emphasized, running gags).
The four basic rules for the first step in
are:
Can presentations be substituted or alternated (completely different approach, more
interaction, no interaction, rate of performance, weak points covered, sleights replaced
by subtleties, misdirection applied correctly if
at all).
(A) Absolutely no criticism; it impedes the
formulation of new ideas.
Move freely in any direction.
(C) Try for quantity.
Try for combinations and improvements of ideas.
73
The Magic of Michael
beat of the music. The latter leaves one with a
'whaf s wrong with this picture' feeling.
What would be the magical equivalent?
take a hypothetical magician, who prepares to perform a routine which requires a
pass to control the card, as well as a double lift
to set up the big ending. In presenting the effect, he may introduce the plot while the deck
is being shuffled and the card is being selected.
Now, it would seem that the least important
aspect of the procedures would be where in
the deck the selection is returned. After all,
why should it matter if the card is 20 from the
top or 20 from the bottom, as long as it is lost?
But a magician with the wrong focus will completely compromise his rhythm in his rush to
control the card. He might:
"Rhythm? Sure, I've got rhythm, 1 was born
with it!"
If
your first thought after reading the
title, then you don't know what kind of
'rhythm' I'm talking about I'm not talking
about dancing or playing a musical instrument. I'm talking about 'Performance
Rhythm', and you have to think about it, work
for it, and practice it
Mastery over rhythm means that you employ the appropriate pacing for maximizing
the impact of your performance, while concealing the technical aspects that create the
performance. But it also means developing a
feel for the ebbs and flows of audience interest, and structuring a performance to match
those peaks and valleys of awareness with
theatrical impact.
1) Make sure he is holding the deck in the
proper grip in the left hand for the technique
to come.
2) Thumb over the proper number of cards
into the right hand to provide cover for the
pass.
3) Arrange for the selection to be returned to
the top of the left hand packet - flush, of
course.
The inexperienced performer, whose focus
may be misplaced, might
the most significant moments of
truth revolve
around the fundamental sleights that produce
the effects. As a result, the flow of his performance might be marred by inappropriate starts
and stops, like a drive across a parking lot full
of speed bumps. A performance of any sort
will benefit from theatrically-timed pauses,
but they will rarely coincide with the execution of a critical technique.
4) Then square up the pack with both
hands. Oddly enough, this simple gesture
causes him to break his flow of conversation,
blink wildly, while possibly requiring him to
wave his arms or turn his body.
5) Following this odd convulsion - apparently caused by the trauma of squaring the
pack - the performer regains his senses and
previous performing rhythms. Things progress smoothly, until another challenging experience - that of turning over the top card - enters the picture.
Have you ever seen a professional speaker
generate interest through the use of silence, or
the 'pregnant pause?' That doesn't mean he
has broken rhythm. Rather, that implies he
understands when the selective use of theatrical devices will work with the rhythms of the
audience. However, if he is building towards
his major theme, only to lose his place in his
notes, which he then shuffles around, then he
has lost his rhythm. One example is 'marching
to the beat of a different drummer', while the
other is like dancing in public to the wrong
Then he will:
(1) Look at the cards closely.
Handle the deck nervously for a second.
(3) Turn over the top card(s) as if it had an
invisible speck of dust on if s back which he
didn't want to disturb.
74
Psychology
(4) Turn over the card(s) face down again
and resume the
of patter or action.
part of the performer, that it's entire execution
is performed by the subconscious mind. During a performance, every part of the conscious
mind should be devoted to the people watching, and the environment the performance is
taking place
I think the point has been made and if s
obvious the pattern which has been developed. The routine is choppy with several starting and stopping points which may come
across unfavorably to the
The
viewing mind is actually given an extra beat or
an extra second to
judge and analyze
what has actually taken place.
As an example,
s say you are just learning to drive a car with a stick shift. At first, you
have to think about each aspect of changing
gears. So much of your conscious mind has to
focus on letting off the gas, then 2) pushing
in the clutch, then 3) shifting to the right gear,
the,n 4) letting off the clutch, etc... that any
conversation you are having has to be put on
'hold' while you execute all of the necessary
steps. As soon as the gear has been changed,
keeping the car on the road is a simple matter,
so you return to your conversation. Eventually, however, you delegate the entire matter
of changing gears to the subconscious mind.
You will be able to carry on a conversation,
switch the gears, roll down the window and
find a new radio station, at the same time.
There are several reasons why techniques
interrupt the theatrical flow the way they do.
One reason is the misplaced importance some
performers give to the technical aspects of
Of course, people perform magic for
lots of reasons, and it is just my opinion that
the execution of techniques are less important
that the impact of the effect. Some people only
care about the recognition they get for technical ability. {I consider magic to be a Presentational Art, combining the studies of Human
Nature, Theater, and Principles of Deception
to achieve an emotional response entirely
unique in the realm of entertainment.)
So it is with
You can
the techniques so that you don't even have to consider
their execution during a performance. You
can deliver the presentation while getting a
smile at the front row while setting up
the plot, and compensate
bad angles
executing the pass, all without needing to
devote a sliver of your conscious mind to the
control of that card.
you are move-oriented, rather than
magic-oriented, you will have a tendency to
break your rhythm just long enough to enjoy
the move as it is being performed. Dai Vernon
says magicians and gamblers differ fundamentally, because gamblers do their moves
when no one is looking! He was probably referring to the move-oriented magician who
actually waits until he has everyone's attention
executing the sleight For example,
if he is performing for someone, and that person has his attention briefly diverted, the
move-oriented magician will actually wait until attention is refocused on him before going
ahead with the 'secret move!' By shifting personal focus away from technique, and focusing more on overall effect, we improve the
rhythm of our performance.
Finally, I suspect another, very subtle reason why techniques might interrupt the flow
of presentation. Because they do demand so
much practice before they become the property of the subconscious mind, they required
hour upon hour of isolated attention. This
concentrated focus on technique takes place
separately from the presentation. The technique is rehearsed at one time in one way,
while the theatrical delivery is rehearsed at a
different time in a different way. Techniques
may take hours of 'hands-on' hammering
away, while presentation may require more of
a meditative visualization process. Joining the
two together so that the union doesn't show a
'seam' requires a third type of practice -
Another reason for an interrupted rhythm
of performance is lack of familiarity with the
techniques needed for creating the effect. If
you have to think about how to execute the
'move', then the flow of your performance
will suffer. A technique should be so much a
75
The Magic of Michael
known as a Rehearsal.
Actually, when you add the technique to
the presentation, you are no longer 'practicing.' You have entered a new realm of profeswhich results from 'rehearsing.'
Theatrically, this is where 'the rubber meets
the
Here is where the whole picture
comes together, as we
of the factors of
the performance together, and we proceed
from beginning to end without pause. Those
things we
in reality - such as theater and
audience - we imagine in three dimensions.
Probably the most unexplored area of magical delivery deals with nonverbal communication. Of course, this is still a largely unexplored
field in every sense of the word. The experts
who have studied the field, however, tell us
that everyone uses and interprets over 700,000
silent cues. Considering the limited vocabulary of many magicians, nonverbal communication is vitally important to the performer.
By rehearsing, we give the techniques a
chance to nestle comfortably into the flow of
the routine, so their coming and going is
hardly noticed at all. We begin to consider
how to set up the procedures so that we are
always in the right position at the right time
for the proper execution of each sleight, and
we also consider what the most appropriate .
following movements are.
Have you ever heard a magical audience
say, "He did something. I don't know what
but..." More often than not neither the magician nor the viewer realizes what tipped the
move. The clues came in the form of body
stances, speed of movement, direction of vision, facial expressions, variations of these and
thousands more. The kicker is that these cues
are so ingrained in our thinking process that
we use and interpret them without realizing it
If you consider these points, and consciously make efforts to understand all aspects
of
rhythm, it
make your magic
look more magical, and you will appear more
in control of the situation. Also, if you don't
perform every move perfectly (and not many
do) then the last thing you want to do is to
throw a spotlight on it by breaking
If
the spectator thinks he sees something he
won't have time to analyze it if you continue
at a natural pace. Usually when the routine
ends, the effect itself so captures the mind that
he tends to forget that little flash of whatever
it was earlier in the routine.
Dai Vernon hits the nail on the head when
he says, "Be
When you must make a
move, thinkit through and execute itin a fashion that imitates the conditions surrounding
non-execution'. The skillful professional
wants to deceive the mind as
as the eyeWhen the conditions of reality are imitated
nothing arouses the suspicion of the subconscious mind. With nothing unnatural to be
interpreted, the conscious mind freely accepts
the images the eyes see.
So guard yourself from all sides. Use
rhythm to help your magic look pleasant,
and confident. Even if your performing arena doesn't involve stage lights and
make-up, you'll want to take advantage of
every theatrically-sound technique for maximizing impact.
This is why an experienced teacher of magic
will make certain his students understand
what
their 'move' is going to imitate. If
they are learning the false pass of a coin into
the left hand, they first must learn what really
putting the coin into the hand looks like. Several times the teacher will have the student
really put the coin into the opposite hand, before continuing on with the next movement of
the routine. They do this until their mind and
muscles retain the memory of the
so
their imitation of it will be more precise.
76
Psychology
Lef s look at the Side Steal for an example. It
should seem as if a selected card has been returned to the deck, which is squared up and
set down.
s all that should seem to happen, BECAUSE you want them to THINK that
WHERE the card has been returned is ABSOLUTELY UNIMPORTANT. As Erdnase says,
Your focus, both verbally and
remains on the spectators and environmental
conditions surrounding the performance.
When I say 'If done
I don't just
mean the technical aspects of the sleights, but
every supporting Nonverbal feature of those
sleights. For example, if you truly just set the
deck down after the return of a selection, you
wouldn't need to bring the deck too close to
your body, and you wouldn't need to hold the
deck too long or too tightly with both hands.
You wouldn't swing your arms, twist your
body, or blink your eyes. You wouldn't need
to
your throat, hunch your shoulders or
shoot your thumb out like you're hitchhiking.
'... (they) shouldn't even SUSPECT, let alone
DETECT the action.' So the procedures our
Unspoken Performance should be determined, not by the requirements of the sleights,
but by what we want them to
If we
want them to think that the location of that
card is unimportant, then what we do with
the deck following the return of the selection
becomes of paramount importance. The audience follows our Nonverbal cues as to where
they should focus their interest and attention.
What WOULD you do? For advice, I
to
those gifted teachers of magic, who tell me to
first study the movements of reality that I am
trying duplicate. I would suggest walking
through your routine as if you didn't have to
control the card several
How would
you handle the pack? What would you say,
and what procedures would you then turn the
spotlight onto?
It stands to reason, that if we make a
deal
out of handling the deck carefully following
the return of the card, or if we go to extremes
to make sure 'it is well mixed into the
then no matter what our patter may be,
Nonverbal implication is that we must carefully deal with the location of the card before
we proceed with the
s say our patter
Obviously, the area of nonverbal communication is an entirely new
of consideration, and every time you practice your
sleight, you are also practicing the nonverbal
cues that go along with them. For this reason,
I continually come back to the old advice of
first learning the reality you are duplicating
before you begin practicing. Before you Act,
learn what you are Acting like.
is: "Put your card back anywhere you want. Now
give it a couple of cuts,
just to be sure it is
completely lost, let me give it a couple of
shuffles
there!"
Our words are less important than what we
are doing in this case. If we carefully guard the
return of the selection so that we can get a
break under the card, and if we act like the
location they returned it to is so suspect that
we have to follow it with a series of cuts and
shuffles, then I think they interpret this as
techniques necessary to the accomplishment
of the effect, not the opposite.
ACTION ZONES
In trying to consider the areas of Nonverbal
communication that affect the superior performance of magic, I've come up with what I
believe is a new way of considering the execution of techniques. I
my concept Action
Zones.
This is why I favor the Side Steal for a control to the palm or to the top of the deck, and
the Hofzinser Spread Control as my control to
the bottom of the deck. These are secret, noncutting, non-shuffling controls. If done correctly, you won't need to overly concern yourself with where in the deck they replace their
card, and immediately following the return of
the card you will be
to set the deck down.
I consider Action Zones to be the areas
where the deceptive action is taking place.
They could involve just one hand or finger, or
an entire section of the stage. It could be the
index finger bending in to thumb palm a
thimble. It could be both hands executing the
77
The Magic
pass, or, even an entire wing of the stage, as
the magician walks off to steal a small donkey
while assistants cavort on the stage!
area of the holder is the Action Zone in Reality. This means don't hunch your shoulders,
or throw the elbows out or shift from foot to
foot. To isolate the action as much as possible,
barely bend your wrist and use your fingers.
I see Action Zones in three ways:
(1) The Action Zone In Reality.
Some may mistake isolating the action for
doing the move as quickly as possible. Speed is
not the consideration here, because speed in
and of itself is not natural. However, you can
increase the speed by means of isolation,
and the very act of isolation actually gives you
more time for execution since you have removed the larger movements that can often
betray the move from across the room.
(2) The Action Zone As You Dictate It To Be.
(3) The Action Zone As The Spectators
Choose To See It
Now let's focus our efforts on making our
magic as pure and natural as possible. Most of
us do not have tons of equipment, elaborate
music, and complicated lighting sequences. We must set our sights on captivating the viewers' intellect, with the goal of controlling their attention. As soon as we learn
what we are supposed to be acting like, the
most important thing to do is to ISOLATE the
Action Zone in Reality.
So, the more technically demanding the
sleight, the greater the need for isolation. Of
course, I say this assuming that your goal is to
perform what appears to be real magic, as
opposed to obvious displays of skill. When it
comes to skillful displays during the performance of magic, many people (and I myself have
been guilty of this), intentionally send out
nonverbal cues that reveal something very
difficult is taking place. There are several reasons for this:
Ask the average person to flex his arm
muscle for you and he will curl his toes, puff
out his chest, grit his teeth, contort his face
and then flex his arm you. In short, he uses
his entire body to flex a single muscle. Not a
very good example of isolation! On the other
hand, a professional bodybuilder will flex every muscle in his body, one at a time, and his
face will be completely relaxed, except for a
pleasant smile. He has learned to isolate and
control each muscle. The magician can learn a
lesson here.
(1) The performer doesn't realize how important isolating the action is
it comes to
appearing natural. They just don't know they
have concentrated efforts written
all over their face, because it didn't occur to
them that what they do with their face and
shoulders can tip what their hands are doing.
The more technically demanding the sleights,
the more the magician should act like a duck
This means they should look calm and unruffled on the surface, but underneath they
should be paddling like hell!!
Lef s look at the classic pass, and ways to
Isolate the Action Zone in Reality during if s
execution. Don't do a full body turn, don't
throw both elbows out, and don't cough,
blink, or look at the ceiling. Just use those
muscles and movements necessary for the
move to take place. The only parts of the body
that come into play during the transposition
of those two packets are the fingers themselves and some of the minor forearm muscles.
If you move the forearms up and down, or
tense the biceps or shoulders in any way, you
have not Isolated the Action Zone.
(2) The sleight may be very difficult and the
performer has not spent the necessary time
practicing the routine so that it flows and is
deceptive. He hasn't hammered out the exact
positioning of the fingers or the ideal grip. So
instead of Isolating the Action Zone, he telegraphs it The performer reasons that if he
makes it look hard then his audience may be
sympathetic when it appears choppy and unimpressive. I can suggest two solutions: First,
be sure YOU know WHY you are performing.
If you are going to steal a billiard ball from a
holder hanging at the bottom of your coat, the
78
Psychology
Do you want to be known for magic or manipulation? Second, don't use the sleight until
if s ready.
something look too easy. With the proper
study, you can make sure an audience appreciates how tremendously difficult a sequence
is, without your having to say, "This is
(3) An official name for another motive
might be 'Slightly Tipping Sleights.' It occurs
when a sleight-of-hand man successfully performs some difficult sleight, yet then subtly
tips the fact that some move is being done.
They can become masters at barely letting you
know what they are doing. The move may be
invisible and flawless yet they'll throw in a
clue to if s execution, 'just so you'll
dously difficult."
Once you have isolated the Action Zone in
Reality you have a better chance of having the
Action Zone Where You Dictate It To Be. That
makes sense, doesn't it? If you don't want
them to see the sleight, make certain YOU
know where it is, and then make THEM think
it is someplace else!
If you have isolated the pass, the steal, or the
palm, and you don't want the spectators to
notice its execution, then dictate the Action
Zone to be elsewhere! Here, the 'Action Zone
As You Dictate It To Be' could be called the
'Area of Greatest Interest.' To draw them
away from the Action Zone in Reality, pile up
as many cues, nonverbal or otherwise, into
the next most likely Area of Greatest Interest.
Imagine what it is
spending months years - to develop a sleight which takes less
than a second to accomplish its role. Wouldn't
someone be tempted to want credit, not only
for the effect but for the method and technique as well? Never mind that getting credit
for the technique defeats the purpose of perfection in the first place. The mere outcome or
end result doesn't give them enough satisfaction so they
say, "If you
the
effect, you'll love the method!"
You can do this through speaking and having natural rhythm of action
by the
moves taking place; you can look at the
spectator(s) or some object; you can place
something meaningful down or pick it up;
involve the spectator in some action, even
move them (I sometimes have someone cross
the room to
an invisible string to work the
so crazy it works!); ask them questions; offer them explanations; do whatever is
reasonable to command the situation and dictate the Action Zone.
This may be one of the hardest habits to
The tips or giveaways may have started
ago as flimsy cobwebs, but after years
they have grown into steel shackles attaching
themselves to the specific sleights. For example: blinking during the pass or turning
quickly and unnaturally to one side, throwing
the elbow when stealing a billiard ball, unnatural clutching and grabbing during a dove
steal, flinching during back-palming, the unnatural kick-out of the thumb during palming,
and clinching the fist tightly when palming a
coin. They are tough to break, but they must
be done away with for magic to look its best.
Not only should you do it, but
your
RIGHT to do it in order to achieve the maximum effect for your efforts. It deserves your
thoughts and efforts, and you'll feel great
when you realize you can do it over and over
to add to the effectiveness of your magic.
Finally, the nonverbal cues of technique
taking place may be sent out during displays
of skill. For example, when you twirl the ball
through your fingers, spread the cards along
your arm, spin the cards over your head into a
hat, or perform some juggling feat. At these
times, it helps to know which nonverbal indicators give an audience the impression something difficult is taking place, so that you can
use them to enhance the effect you are seeking. At times, maybe you can actually make
The end result to your efforts is determined
by the Action Zone as the Spectators Choose
to See it. Your chance of success along these
lines is automatically increased a hundred
times by these three easy steps:
(1) Learning how you would act if no
sleights were taking place.
79
The Magic
tions that lead to altogether different results.
(2) Isolating the Action Zone in Reality.
(3) Making an intelligent effort to create an
Area of Greater Interest
(4) The premeditated use of nonverbal actions which support obviously untrue assumptions.
Your chances are increased because you are
dealing with the spectator's unsuspecting
subconscious minds. They have no reason to
guard themselves against these subtle, but effective methods of deception. Although few
people know about (and fewer think about)
nonverbal cues, it is that very thing which
results in the undoing of the best laid plans.
Those people who are not only aware of them,
but think about and develop them are in possession of powerful weapons. Because they
now can direct attention, while leaving no
clues as to the method.
How do you feel about deception? How do
you feel about
something that isn't so?
Can you act out a lie with conviction? Can a
performance that deceives be diluted by a
'guilty complex?' Would only a con man say,
"The aces are lost in four different parts of the
deck" when they are actually on the top?
What if you never SAY anything - because
you do a silent manipulative act. Can the impact of untrue actions be diluted because of a
guilty complex? Are you a liar when you act
surprised at the appearance of a
of cards at
your fingertips? Can magic be performed
without indulging in any of the Lying Effects?
How do you think Laymen feel about these
Lying Effects? Are they aware of all four?
Would they approve of their use? Would they
distrust the non-magic side of you if they
knew of your magical use of these Effects?
Magic and mystery fascinate most people.
They want to be fooled, and they look to magic
for this release. While people detest lying in
the business world, they love magic, mystery,
and being amazed. For this reason, I think the
public would approve the judicious use of all
four examples of deception given above.
Magic is the only Art I can think of where
lying is not only approved but is actually considered a requirement! you cringed, maybe
because the term
sounds so malicious. As I'm using it here,
means misleading someone's perception of the proceedings with planned and practiced precision,
and while you probably haven't thought
about it much, how
feel about Lying plays
a direct role in your performance repertoire.
While it seems contradictory, the public and
the performers are capable of making the distinction as to when distorting the truth is OK
and when it isn't.
something like being
scared. To the average person, being scared is
a very unpleasant experience, but for short
periods and in controlled environments, we
will sit through a horrific cinema. It's as if
there is a 'Screen of Acceptance', wherein
minds allow new rules of acceptance to apply
during certain conditions. We don't mind
being scared during a movie, and we don't
mind being mislead by a magician.
To come to a decision about
we first
need to consider just what constitutes a Lie.
As I see it, there are 'Lying Effects.' There are
many 'Methods' of
but I believe there
are only four 'Effects':
(1) Things said which indicate certain conditions that aren't true.
(2) Things said which continue to support
obviously untrue assumptions.
But the approval to mislead someone carries
with it a responsibility to use the permission
wisely. A selective and subtle indulgence in
(3) Visibly duplicating actions that lead to
expected results while secretly executing ac-
80
Psychology
the use of these Effects proves most effective,
both in entertaining
deception. By studying Human Nature,
learn which techniques need to be applied, and with what force
and regularity. The greater the understanding, the more subtle the touch. The more you
know about cars and
the more effectively you can use each gear. So it is with the
techniques of deception.
Of course, you won't amaze or
someone if y o u say, "Since this deck is specially
prepared, I can create the impression that they have
all changed to Aces. Of course, every other card is
an Ace, but since they are cut
of an inch
shorter than the other cards, only the Aces show
I riffle this way..." But it may be just as
bad to say, "Remember, this is an absolutely normal deck. Not a trick deck in any way. Just like a
deck you'll find at home..." You're so obviously
running away, they don't need to chase you!
The exact same actions can produce wildly
different reactions depending on what you
and how you act. I would imagine that the
less methods you use to deceive, and the less
of lying that you indulge in, the more
you must depend upon an understanding of
the thinking processes the spectators will follow. It would seem better to follow them down
the garden path than to push them down it
If you want to deceptively use a gimmicked
deck, rather than to say one thing or another
about the deck, the spectators will more readily draw the assumption that itis normal if you
use the deck for other routines first, or by
causally handling the deck with a few convincing false shuffles. In these cases, people
assume the order of the deck is the least of
your worries, and anything but prearranged.
The spoken word is probably the most blatant method of deception. This is also the
hardest for most to use with conviction. They
see themselves as being too honest to say, "Yes
that was your coin 1 drove into that bottle!" I guess
it boils down to your motives. Do you want to
be a nice guy and occasionally divert the attention of friends and relatives by clever
stunts, or do you want to be a magician? If
your motive is to be a magician, and to receive
all the fringe benefits surrounding the title,
you must face the question of how many of
the Lying Effects you are willing to condone.
As you consider just how you are willing
to go, consider that there are two basic categories that people put magicians into. Magicians
either do:
(1) Things that seem like magic because of
incredibly
dexterity.
(2) Things which go beyond skill - clear
impossibilities.
It would seem that the first category that of
extreme skill - wouldn't require deception, but
1 think it does. Lef s face it - most of us aren't
extremely skillful, but by using deceptive
methods, we can convince onlookers that our
hands move faster than the eye can see.
Maybe we are using a billiard ball shell, or a
double-faced card, but to the uninitiated, the
only possible answer seems to be blinding
skill. So, if they are going to give you credit for
hands and hours upon hours of rehearsal,
I suggest you agree with them! If they say
"you must practice for hours..." you shouldn't
it. If
is what you've decided to represent, then play it to the hilt! Don't be ashamed
to build up a mystique around
But by the same token, if you are going to be
a Magician then you must perform things
which Go Beyond Skill. Ultimately, you either
perform magic, or you do not. The interesting
thing is, if we really were magicians, we
probably wouldn't become entertainers,
much less perform any of the effects in our
current repertoire! (Well, maybe the Miser's
Dream.) Although I've never done
I would assume that dealing with the unknown regions of the mind makes it easier for
a Mentalist to stay in character than someone
who performs magic with everyday objects.
Some dose-up effects that can't be explained by skill would be The Floating Bill,
Coin In Bottle, or Out of This World. But if you
are firm in your mind where you stand on the
four Effects of
you can probably develop presentations that Go Beyond Skill for
almost any effect. As 1 conclude this section on
The Magic
Lying, let me add the thoughts of two other
writers. First, I quote John Booth from page 35
of
JOHN BOOTH CLASSICS:
believe that he was so conscious
fact that
he was telling 'fibs' and that
he was describing or doing was really no miracle at all, that a
sense of guilt dampened his effectiveness. He failed
to be exciting and authoritative because he was so
utterly conscious of the machinery and commonplace methods involved,
felt guilty to play act as
though the glass tumbler were ordinary
he
knew that part its bottom had been removed.
discloses the
elements
should
combine in an exceptional conjuror. Instead of
viewing magic as an immoral deception the practitioner must recognize that it is one of the most
honest of arts. The performer admits freely
he
is trying to create a pleasant illusion for purposes
of
He does not utilize its methods to
deceive for self-aggrandizement at the expense of
others or for
The magician is
trying to bring some happiness and romance, some
escape into a never-never land where the limitations of ordinary existence are overcome, to lift up
the often dull and depressing life of other people.
Surely this is a most commendable aim whether in
thehands
a clergyman, physician, clerk, or magician. The greater conjurers feel inwardly this romance and excitement, the mystery and wonder of
it, and project it unashamedly to their audiences.
They believe that a miracle is actually happening."
That was John Booth; now let's go back to a
book published in 1911:
Maskelyne and Devant. I'm quoting:
"The misdirection which forms the groundwork
of magic does not consist in telling lies with the
object of
the spectator's intelligence.
consists admittedly in misleading the spectator's
senses, in order to screen from detection certain
details for which secrecy is required. It militates
against the spectator's faculties of observation, not
against his understanding."
How do you feel about Lying? Do you do
magic? Remember, if given the choice, laymen
will probably gladly approve of all four Effects
of Lying to the magician who will play his
with complete conviction.
How much pleasure do you get from your
magic? Thaf s hard to say because there is no
real measure for satisfaction like there is for
distance or volume. We have inches, feet,
miles, pints, quarts, and gallons; but how do
we distinguish the exact difference between a
little bit of satisfaction and a lot?
For the sake of this article, let's assume we
do have a standard unit of measure for satisfaction, and
call this unit of measurement
a 'rubal'. Each
- not to be confused with
the Russian 'Ruble' - will always equal the
same amount of satisfaction, and we will gear
this measurement strictly towards satisfaction
from performing magic. For example, if we are
not performing any magic at all we have zero
rubals of satisfaction. If we are performing for
a group of friends we may receive 20 rubals of
satisfaction from our
If we receive a
standing ovation for a show we may receive
100 rubals for
performance and their response. If our show is for an unruly, drunk
audience which has a lot of noisy, unappreciative hecklers, our rubals may actually be in the
negative numbers.
It stands to reason that the more rubals we
get when we perform, the more often we
would want to perform. How then, for the
sake of ourselves as well as Magic, can we all
receive more rubals for our Magic?
To most people, routines that are new and
fresh seem more satisfying to perform. They
hold our interest as we test new presentations,
or experience the
audience reactions
for the first time. We haven't had time for
these effects to become stale, or for the presentations to become rutted, or the reactions to
become predictable. One solution to more performing rubals would then seem to be a constant source of new material.
But professionals and
cannot constantly change their repertoire.
They don't have the time or energy to continually develop newer
with the same
high impact that their current nearly-perfected routines may have. Not only that, but
many routines become trademarks, developing mystic and impact through continued use.
After all, Albert
said the biggest difference between amateurs and professionals
is that amateurs perform a thousand shows
once, while professionals perform one show a
thousand times.
ing to the Zero Line. It doesn't refer to 'rubals',
and it doesn't concern magic, but there might
be something there for us,
OF RUBALS
The idea behind the Zero Line is that when
a need is satisfied, we get no more satisfaction
from indulging that need. Physiologically,
there are few things which automatically Return to a Zero Line of satisfaction. Some examples are
food and sex. Immediately after taking one breath, our bodies return back to that Zero Line - where we need
that next breath as desperately as the first
How is it possible to keep our performing
rubals high, in spite of performing 'old' tricks?
As we
them over and over in practice,
and over again in public, how do we keep
from becoming somewhat mechanical in
Must we lose
fascination,
just because our tricks reach the same conclusion time after time? Must the Law of Diminishing Returns apply to magic, as the rubals
we get for performing an effect diminish with
each performance? How can we keep shows
spontaneous and fresh for each audience?
Lef s use
rubals to measure the satisfaction we get from food. If we are very hungry,
we may get 30 rubals for each bite we take up
to a certain point As we become full, each bite
brings us less satisfaction than the preceding
one. If we continue to eat long after we are
full, we will find ourselves receiving negative
satisfaction with each bite. (You may compare
this to the way an audience feels as they watch
their tenth card trick.) But the
of nature is such that several hours later we will
again be just as hungry as we have ever been,
and will enjoy our next
just as much as
any meal we have ever eaten. Sex, although
quite different than food for most people, follows the same physiological path. After we
indulge in sex, our desire dies a natural death.
But as time passes, our desires may reach levels as high as we have ever known before.
The answer, although right before us, is not
as obvious as it may seem: The people for
whom we perform are never the same. No
performance takes place in a vacuum. there
is no one around as you 'run through your
moves', then you haven't given a performance.
if you've performed for a particular
group ten times, those people are never really
the same. If our material has been with us for
years, we can find comfort in knowing the
public is always fresh.
Longtime pros generally enjoy great happiness and satisfaction when performing their
They find this to be a continually renewable pleasure because they actually take
an interest in those watching and involve
themselves with the people - not just the
magic
On the surface we may categorize people as
hecklers, laymen, responsive or non-responsive, but if we look deeper, as we must, we see
they are all individuals. Every individual has
characteristics and experiences which make
them unique, and consequently, the way they
react to our performance
be unique as
well. we embrace this attitude each time we
perform, we might be able to return to that
level of enjoyment we received the first time
we saw or performed that particular effect. In
psychology, there is a term known as Return-
We can teach ourselves to return to that
Zero Line every time we face a new audience.
By realizing the tricks don't need to be new,
because the people will be, we can receive
many more rubals every time we perform. By
returning to that Zero Line, we'll face each
show as a new one, and
magic will always
seem
exciting and personally satisfying.
83
The Magic
with concentrated effort and precision. Does
magic deserve any less attention?
Practice makes perfect! Practice, practice,
practice.
Nothing like starting off an essay with a
good cliche, huh? My old english teacher is
probably 'rolling over in her
(You
probably know her. She's the one who said
'avoid cliches
the plague.') The only problem with the above cliches is that practice isn't
enough. Practice, in fact, does NOT make perfect - but it does make PERMANENT. Your
every practice
lock those techniques more
firmly into your psyche, but what if you didn't
understand what you were practicing in the
first place? Over and over you would be mastering the wrong things!
So if practice makes permanent, what
makes perfect? Perfect practice. Perfect practice makes perfect. Before the first practice
takes place, you must know what you are
doing, and
why you are doing it
that way. Once these very important first
steps have been taken, it then makes sense to
maximize every second of your rehearsal time.
How many of you have sat down for hours
to practice, yet as the time flies by you find
you've accomplished little or nothing? I'm
sure all of you practice, but the question is,
"How beneficial is it?" I like the idea of accomplishing as much as possible as quickly as possible, so why practice when you can TRAIN.
When young kids join the Little League
baseball team, they go to weekend practices.
When they grow up and go into professional
athletics, they go to Training Camps. It kinda'
sounds like practice sessions are wimpy,
thoughtless exercises, but when you get serious you
Professional athletes keep a sharp edge on
their skills by planning their training. If s no
more 'hit or miss' practice sessions, they train
Plan your training around the skills which
will do you the most good, and don't just practice your important routines - REHEARSE
them! The hard part is
but once
you've started, your practice sessions will be
shorter, yet you
learn faster and your
skills will actually increase.
No matter how broad your desires for ability are, you will be able to reduce the fundamental aspects of that ability to a few key
movements. If you write out the most important moves along your line of interest, and
trained for them the first 45 minutes of the
you would reach mastery in a surprisingly short period of time. But notice I said
TRAIN, and not PRACTICE.
you 'practiced', you would piddle around
a few of the moves, before becoming distracted by that new magazine cover, before
realizing you hadn't read that set of lecture
notes,
you decided to watch that video,
before... well. You get the picture. You only
had so much time, and before you knew it, it
was gone.
On the other hand,
say you 'trained', as
if you were an athlete preparing
the Olympics. You'd find out the primary movements in
your field of interest. Movements that simply
HAD to be completely mastered before you
could build upon them.
say there was an
Olympics for Card
You would surely
need a couple of controls - maybe the Side
Steal, the Hofzinser Spread Control, and the
Pass. You'd need a good false shuffle and a
couple of false cuts, a Top and Bottom
and of course, a great, sure-fire double
Sound like a lot? Well, it is and it isn't. It is
possible to play around with these movements
for a lifetime, forever avoiding anything that
resembles ability with them. But someone
with a focused mind would see this as a very
finite, very manageable list of required abilities. Someone committed to their mastery
could attain proficiency in a matter of months.
Someone training for the Card Olympics
Psychology
would read about the techniques the past
masters relied upon for each of these sleights.
They would set up an area, if not a room, specifically for the rehearsal of these techniques.
They wouldn't just study what the fingers did
during the execution of the pass, they would
study what every other part of the body did as
well, so they could minimize the total energy
expended during execution while maximizing
the overall cover provided. They would set up
mirrors or video monitors for visual feedback
from a variety of angles. Their rhythm of execution would be paced by metronome and if
speed were important to them, a stopwatch
would count the seconds. If uniformity of action were important, they would study every
aspect of non-execution and commit it to holographic, three dimensional memory. Their
training ground would be clear of anything
unrelated to the session at hand, and there
would be no MTV or favorite movie video
playing to dilute their attention.
Sound extreme? Don't
me laugh! Who
says running 100 meters really, really fast, or
jumping over a seven foot high bar is any
noble a pursuit than wonder and amazement What gives them the right to be any
more serious about what they do than we are?
Can you imagine the extra confidence this
type of training will bring to a performance?
Other considerations would be how long
should we train, and how often. If we look
again to professional athletes, we find they
don't train all day every day, There is a Law of
Diminishing Returns with almost
and training seems to be no exception. Short,
focused rehearsals with regularly spaced repetition seem to be the most effective way to
learn new abilities. Don't overload this
out with every move you've ever seen. Strictly
limit it to four or five of your most versatile
and powerful moves. This is concentrated
and you want to build a strong perWhat if you need new material? Then you
need two training sessions: one to review current material, and second for reading, researching and developing new routines. List
five routines you would like to do, then number them, one to five in the order you most
want to learn them. Then arrange training
sessions for those particular routines, starting
with number one. Don't move to number two
until one is either learned or postponed for
some reason. That is important, and notice
said learned and not perfected. Who knows
how long perfection make take? So learn the
moves and the order, then add this to the material you regularly review. Then, as soon as it
is ready for public consumption, feature it as
often as possible until it becomes one of your
staple effects. This is the fastest, most efficient
way to add new material to your performance
repertoire. If you don't learn it this way, you
can't do it faster any other way while maintaining high quality. When I was developing
my technical foundations, my morning session would revolve around routines requiring
many of the basic sleights. For example, Spellbound requires me to handle a single coin
naturally, while concealing a second one
through a great many different displays. I
would also do a coins-across or a coin matrix
which requires fundamental movements, and
that was I needed to keep up with my coin
After a while all you need to do is each
one of these a few times to insure that you are
always accurate with them.
One example of training techniques involves the process I used learning the pass.
My goal was to do the pass 120 times a timed
minute. I knew I needed speed, endurance,
and smoothness as well. I began by performing the pass as many times as I'm able in a two
minute period. This will build up endurance in
the
As the hands and arms relax I perform the pass very slowly several times, concentrating on every move for smoothness.
This may require one to two minutes for the
lactic acid burn in the wrist and forearms to
cool off, and by this time I would be ready to
shoot for my best one minute total by combining as much speed and smoothness as possible. Recording that total, I would repeat the
slow smooth section before resting again, and
then once more I would go for speed. This may
seem involved, but my pass rehearsals would
The Magic of
only last about 6 minutes each morning, and
although 1 never reached my goal of 120 per
minute, I did finally achieve a total of 101 times
per minute, which isn't bad.
Would my
be as good if I hadn't gone to
such lengths? 1 don't think so. Are there better
procedures than I used? Probably. But any
plan is probably better than none.
The important thing is this: Plan Your Practice. Look at yourself objectively, and decide
which areas need the most improvement Few
people can enjoy practicing for hours each
day, so make it as easy on yourself as possible
by investing quality time in your rehearsals.
Better results come more quickly through
TRAINING.
reap what we sow? What goes around comes
around, right?
If it is true we only get what we give, then
we should HAVE NO MERCY when it comes
to dishing out wonder and amazement. Grab
the helm and wage all-out war on the spectator's senses.
Know Thy enemy. Systematically analyze
their primary lines of defense: sight, sound,
touch, taste, and smell, and brutally attack the
weaknesses of each.
called 'Know
How.') Thoroughly research their secondary
lines of defense, the 'safety nets' against deception: their experience, their logic, their assumptions, their common sense, and cunningly twist them against themselves.
called 'Know
Now let's talk weapons.
Are you so locked into your current presentations that you never follow up on that
chance opportunity to blow someone away?
Do you always do the same thing in the same
way, to the point that any serendipity would
seem like an annoyance? Do you know two
ways of doing something - one that always
'gets b / , and another which requires more
effort or expense, but which blows people
away? If so, which method do you use?
Why pull your punches? What makes you
so sure that tried and true method is 'getting
We're not kidding ourselves, are we?
Who decided that silence meant approval?
Maybe - just maybe - what we are taking as
amazement is just common courtesy? Or even
worse - sympathy?
If someone promised you all the $20 bills
you could count, would you count just
enough to 'get
No - and before you say
I'm comparing apples to oranges by asking
that question, let's think about it. Don't we
I've heard moves referred to as weapons. If
that analogy holds, do you want a worn out
musket or do you want an Uzi? Sure, that
muzzle loader has always gotten the job done,
but why not go state of the art? And don't
leave home with just one weapon - No, No,
No. Build an arsenal! Get the best, the latest,
the most up to date version of the most powerful stuff out there, and plenty of 'em, too. Read
the journals, attend the seminars, pay the
dues and go out and blow people away!
I know, I know. 1 can just hear some people
saying, 7 don't know. Sounds pretty extreme to
me.
always found it better to be merciful.
seen those
routines designed to 'slay'
audience, but I've always gotten by, by first
counting three rows of seven cards. Then, I have
someone just think of
of those cards. Now that
really impresses them. They just THINK of that
card. Then they tell me
row it's in and....'
BANG! Get
here! Go home and read
your press kit - there's more imagination there
than your act has seen in years!
But before I lose YOU - before YOU start to
think I've cracked - let me explain that I'm not
trying to be a 'bad
and I'm not saying
YOU should be one either. When I say have
no mercy on an audience, I mean put your
Psychology
heart, soul, and mind into making your performance a positive experience they'll never
forget. I mean go the extra mile and then some
to make certain your performances are complete, meaningful, and dynamic deceptions.
If you are performing for someone who has
their attention diverted, peek at the selection,
switch coins or decks, crimp a card, do anything you can get by with. Then smile innocently and carry on with your miracle.
For example, if s possible to produce doves
in such a way no one would suspect that you
pulled them out of your coat Why not work
so hard concealing the method that the most
critical observer would NEVER be
to
punch the guy next to him
There! He
I remember a time when a mentalist friend
of mine had no mercy on a newspaper reporter. I showed the reporter a trick, and she
took me into the next office to repeat it for a
friend. While we were gone, he calmly unscrewed her Cross pen and bent the ink cartridge inside. Redoing the pen, he joined the
group as if nothing had happened. Needless
to say, when the time was just right, he performed a miracle!
just did something!'
When you tear up a newspaper and put it
back together, they're bound to think you
used two newspapers. Why not take that hope
for an explanation away from them? How?
THINK ABOUT IT! Maybe you
the
newspaper from an audience member. Maybe
you throw it out to them at the end. Maybe
you
drop one piece during the restoration, and as you leaf through the newspaper you notice one piece is
- the one
dropped during the restoration.
Basically, having no mercy means going all
out
Doing whatever is necessary
the impact to be its strongest, for the situation
to be its funniest or for the mystery to be as
deep as possible. Find out the images you
want to create, the emotions you intend to
trigger,
HAVE NO MERCY in your efforts
to succeed in following up on them.
One time I performed for someone who had
a lemon tree in their back yard. The show was
going to be beside their
so I went over
the evening before the show and prepared
one of the lemons still on the
for
bill to
lemon! During the performance, I walked over
to the tree, pulled the lemon off the branch,
and tossed it to someone in the audience to
hold onto. Were they impressed when the
$100 came out of that lemon? Think about it!
Maybe you've been a magician for years,
and everyone in town knows you to be an
expert at sleight-of-hand. Isn't it time you occasionally started using a marked or stripped
deck, to do things beyond what sleight-ofhand can do? At this point, they wouldn't suspect you of cheating, so why not cheat?
If you know you'll be with friends at a certain place at a certain time, then stage an
event. Plant a stooge, or put a folded card into
the salt shaker on the table you'll be sitting at,
or bribe the waiter to bring a roll with a coin in
it, or buy a duplicate of something special a
friend owns to perform a special effect with.
87
Magic
Ammar
Here is another application of the
layout used for the
"Magician's Assistant Certificate." This was designed me to
use as a promotional tool, promoting myself, as well something
that clients could use to promote the show they were giving.
Altogether, the artwork invested in this one design ended up
serving three promotional functions.
88
Chapter Four
SOCIAL WORKERS
FLIP
OUT
EFFECT: You hand the flip-top
a freshly-opened beverage can to a friend and have him
break the tab from the ring. You place the ring on his extended index finger and play the part of a
magic welder as you rejoin the ring to the tab while it is on your
finger!
COMMENTS: 1 will admit this is not as dramatic as sawing a woman in half, but the routine does
have a few strong points. It is a valuable weapon to have in your arsenal because of the many
opportunities you will have to use it
The idea is a good one, since there are
of beer and pop flip-tops across the country. This
is my method and presentation. Does anyone else have any?
PROCEDURES: An extra flip-top is required. Due to the nature of
the attachment of the tab to the ring, the tab can be pivoted around
on the ring with no danger of its breaking off. Adjust the tab on the
extra flip-top so that it points to the right at slightly less than a
ninety-degree angle
1).
This is
in the right hand with the tab pointed in
toward the palm, making sure the side where the tab is actually attached to the ring is away from the fingers (FIG. 2). If the fingers
remain slightly cupped in a natural fashion, the hand can be turned
so the palm faces
ceiling with no danger of flashing the extra tab.
Hand a second flip-top to someone, or wait until they remove one
from their can. Ask them to break the tab from the ring and to hold
one piece on each of their extended palms.
you rather have the ring or the
Few people ask for the shaft. It wouldn't
change the handling if they did; and it paves
the way for some interesting patter lines.
"You want the ring? Most people seem to give
me the
Oh well, would you hold up your
index finger for me, please?"
89
Magic
As you say this, take the ring
from them with your left hand
and display it so, if you cupped
your hand, you would fingerpalm
the ring (FIG. 3). The switch of the
ring for the extra flip-top is direct
and very natural if you perform it
smoothly in conjunction with the
patter.
Timing is required as the right
hand apparently picks up the ring
from the left fingers. The right
thumb pushes the extra flip-top
forward exposing the ring but
concealing the tab with the
middle finger and thumb (FIG. 4). At the same
instant, the left hand turns over and closes,
except for the index finger, which points up,
indicating the position you wish them to take
(FIG. 5). After they point their finger up, you
place the
on their finger. Say, guess this
makes us engaged."
Take the tab with your left hand
their
other hand while your right hand continues
to hold and conceal the extra tab
6). Put
the narrow end of the loose tab between your
right thumb and forefinger, and hold the torn
tab so it extends exactly opposite the hidden
attached one
7).
doesn't look like it's
If put it
on this side it still doesn't look attached, does it?"
Your patter
influence them to say no at
the first display. As you ask the second question, the left hand takes the
loose tab and points it in the
opposite direction so that it
lays exactly on top of the tab
being concealed by the right
middle finger. Now the right
thumb simply draws the extra
tab into the hand (FIG. 8). The
right hand then lets go of the
complete flip-top while keeping the loose tab
(FIG. 9). The spectators do not
know it is complete; to
your left thumb and middle
90
Social Workers
91
The Magic
finger apparently hold the loose tab from the opposite side of the flip-top. This is an
switch.
You ask if it looks attached if you
it in that
direction. Again, your patter influences them to say
no. (In fact, it does not appear attached from their
view.) After the response to your second question,
the right hand pivots the tab so that it points straight
down from the ring. The left thumb and forefinger
still seemingly hold the ring and the tab together.
Say,
guess it looks most attached in this position."
At this point twist the ring and tab so that it points
to the right as you slide your fingers from the tab
(FIG. 10). "Look, gravity defied! But there's a reason why
it remains. It now re-welded into it's original position. 1
should get union wages."
Here I am performing The Coins Through The
Silk, which I printed in ENCORE 3. This was
one of the effects I performed at
92
ON CEILING
EFFECT: At the end of a one-coin routine, or during any casual by-play with a coin, the performer flips the coin into the air. Much to everyone's surprise the coin sticks to the ceiling!
COMMENTS: This one is a winner! s easy to do and the effect is quite startling. If it has a drawback, it's that people begin to request it a little too often and that could get expensive. I developed
this while trying to expand upon the Card on Ceiling. Originally I had the spectator tear a corner
from their card before I caused the card to stick to the ceiling. After the card was on the ceiling 1
would tell them to jump up and confirm the fact that the card on the ceiling was actually the card
they selected. Since that was not a very convenient idea for the spectator, I took the corner
and
tossed it to the
where it also stuck next to the card. This would get such a good reaction that
I decided to convert this to the coin on ceiling so that I could do it more often.
Also, if you ever get bad service in a restaurant, remember
that waitresses are a perfect target for this effect! Simply say,
"Here's your tip!" and toss the coin to the ceiling. They'll love
you!
PROCEDURES: You'll need a fairly large ball of wax to
stick to the back of the coin. It should be large enough to
insure that the wax, and not the edge of the coin, will always
hit
If you want to do this at the end of a one-coin routine, place the ball of wax where you can easily steal it as you
pull the coin out of your knee or some other type of misdirection. A simple way of presenting this would be to have a ball
of wax hidden in the right fingers as in FIG. 1.
you mind a quick round of gambling? It's easy.
flip
the coin into the air and you call it - either heads or tails. Ok, call it
the air."
As you say this, the right hand flips the coin into the air and it is caught in the left hand.
the
on the
of the right
in true gambling fashion.
is a good lead-in because it emphasizes the
of the coin and the wax in the right fingers does not get in the way. When presenting this however, do not give them time to call it in the air. Quickly flip the coin so that they must
call it while if s on the back of your hand.
93
The Magic of Michael
"That was a good call, but to fair you should
it in
the air. This time
throw it a little higher and you call it
a little faster!"
As you say this, add the wax to the coin, and balance the coin on the middle finger of the right hand.
The right index finger is along the side of the coin as
shown in FIG. 2.
The key to the entire effect is that the coin must
spin off the index finger so that it travels flat to the
ceiling.
flip the coin, but give it what might be
considered an upward shove and spin, exactly the
same as if you were tossing the deck upwards for the
Card on Ceiling. The reason for the large ball of wax
is because the coin may occasionally wobble on the
way up, and the edge of the coin may hit first. If you use a large ball of wax this poses no problem.
After the coin sticks to the
do a double-take and say,
yours!" This gets a guaranteed reaction! .
1 guess you win. The coin's
To stick the corner of a card to the ceiling is simple. Just tear the
larger than the coin you
be using. The
is fingerpalmed with a large ball of wax on one side and small ball of wax on
the other. Stick the corner to the coin with the small
of wax and proceed as described above.
94
CARD MATRIX
EFFECT: The performer very fairly places four coins at the four corners of his mat Taking the
deck, he openly removes the
aces and places the
onto the middle of the mat.
placing
the cards, one over each coin, the hands are unmistakably empty. However, after waving over the
cards, the cards themselves are seen to collect, one at a time, in the upper left corner in true matrix
fashion.
COMMENTS: There is no denying the fact that this
was designed for, and is most effective for magicians. A large part of the routine hinges on the preconceived notion that the coins will
travel instead of the cards. Since magicians are deceived as to what the effect itself is going to be,
you are far more than just a card ahead. By the time they realize they've been suckered the
is
almost over, and if s obviously too late to reconstruct at that point.
This routine was part of the act that I used to win First Place in the close-up competition at the
national S.A.M. convention held in Hartford, Connecticut in 1979.
PROCEDURES: Begin by openly displaying the
four coins, and placing them onto the four corners of
the mat. Face down on the deck, from the top down,
are three aces, an indifferent card, and the
card is
the ace of spades.
next effect requires only four coins; one for
corner of the
and four cards. One ace for each coin,
they will serve as guardians. One at a time the cards will
cover each the coins used."
As this is being said, pick up the deck and obtain a
break under the ace of spades (five cards down) (FIG.
1). Place the aces one at a time face up onto the mat.
After the third ace, pick up a double to show the ace of spades, and use it as a scoop to pick up the
other three aces as the left hand places the
in the center of the mat (FIG. 2). This is done casually because the cards at this point are unimportant. Make a big thing of this and you could tip the fact
that the cards themselves play a crucial role in the effect.
Take the ace packet in the right hand and obtain a break over the bottom two aces. FIG. 3 exaggerates the break. Show this ace and place two aces as one in the upper left corner over that coin.
Flash another ace and let it drop from the packet to cover the lower left coin
4). Repeat this for
the lower right coin. The last card is an indifferent card. Don't flash its face. Merely place it over the
95
The Magic of Michael Ammar
96
upper right coin. "Despite
the coins are unquestionably
guarded by each of
pur aces,
all I need do is wave my hands
and they
visibly
a
time, in the upper left corner."
As this is said, the hands wave
over each of the cards, until at
one point the left hand covers
the upper left
and the
right hand covers the lower
right corner. The left hand
spreads the two cards apart as
the right hand palms the card
it covers (FIG. 5).
6 shows
how the right little finger
takes advantage of the 'give'
in the mat. By pressing the
upper right edge of the card
with the little finger, it will pop up enough to be easily palmed. Lift the left hand an instant before
the right to reveal the passage of the first card.
The left hand moves to the lower left as the
right hand moves to the upper left with its
palmed card.
a second, oh my gosh! It's the
cards that are going instead of the coins!"
Repeat the palming process with the left hand
as the right hand sets down its palmed ace (FIG.
7). Immediately the right hand moves to the upper right corner to palm the indifferent card in
that position, as the left hand places its palmed
ace on the upper left packet.
Obviously, timing and rhythm are the crucial
factors here. As the last ace is seen to travel, both hands lift straight up. When they come down the
right hand places its palmed card directly onto the deck FIG 8 has the
hand higher than the
right as it replaces its card. Actually, the left hand is picking up the four aces as the drop-off occurs.
Timed correctly, the unloading of the extra card is 100% effective. Don't let up on the pace as the
left hand immediately picks up the four aces. After the drop-off the right hand comes up to help
display the four aces as you say, "The aces
instead the coins!" (FIG. 9)
The concept of the
matrix is so strongly ingrained in magicians' minds that they cannot
help but fall for this routine. They all look for an extra coin or for a pick-up move, so they are
thrown off track at the very beginning.
97
The Magic
Ammar
98
Bob Chesebro
SNORT BUT SWEET
EFFECT: The performer takes a cigarette and breaks it in half. Placing the two halves of the cigarette up to his nostrils, the performer inhales slightly causing the pieces to vanish completely!
COMMENTS: At last! Bob Chesbro has developed a cigarette vanish that is definitely not for everyone! This vanish will be offensive to some people, but wonderfully effective for others. The
vanish has a multitude of potential patter lines,
be great for parties or bar work (not for
restaurants). All that I ask is that you think before doing it.
Bob has made tremendous use of the thumb tip over the years, and when he does this vanish of
the cigarette it is quite hard to believe. The handling of the tip here is a real lesson in deception.
Magicians in general let their use of the thumb tip level off during the
and
but several
people have realized the great potential of this prop and have developed
incredibly deceptive
it
were within my power I would present the thumb tip an award for the
Prop of the
PROCEDURES: The tip begins on
the right thumb as the left hand displays the cigarette. The left hand
should be holding the cigarette close
to the filter end. The right fingers pull
the thumb tip off into the right fingerpalm position (FIG. 1). The hands
come together to break the cigarette
in half. As they do this the end of the
cigarette is placed directly into the
thumb tip. FIGS. 2 and 3 show the
cigarette being broken in half and
fairly displayed with both hands. The
left hand also places its half into the thumb tip as shown in
4 The right thumb has been moved
to give a clear view of the pieces and the tip. In reality the thumb has to be there to prevent the
pieces from falling into the tip.
99
The Magic ofMidiael Ammar
100
Social Workers
Bring the pieces to the nose after some appropriate
(FIG. 5).
leave the lead-in to you!) As you
two things will take place simultaneously.
The right thumb will simply let go of the pieces,
and allow them to into the tip (FIG. 6). At the same
time, the right hand pushes towards the nose. These
actions are carefully timed. Done correctly, the pieces
appear to have vanished up the nose! Immediately
after the pieces have vanished, the right hand begins
to lower. As it does, the right thumb re-enters the tip
as in FIG. 7. You may need to push to crush the
pieces, but don't worry. Lower the arms until both
hands assume the same position as in FIG. 8. As in all
displays of an empty hand which wears a thumb tip,
you should point the tip at the spectator as in FIG. 9.
This vanish is quite startling to say the least. Don't get caught up in any fancy handling; Bob has
worked hard to make the handling direct, and the vanish instantaneous.
101
Lou
SILVER CERTIFICATE
EFFECT: The hands are seen to be empty except for a dollar bill. The bill is folded until it is oneeighth its regular size, and it is held at the very fingertips. After talking about the bill's value in silver, the bill instantly and visibly changes into a silver dollar.
COMMENTS: Lou Gallo knows what good magic should look like, and how important it is for
magic to be simple, direct and yet powerful. Lou has been doing magic in the Buffalo, New York
area for years; and doing bar magic with friends like Eddie
has given him a keen understanding of the Art.
The method and effect might at first seem simplistic, but Lou assures me that if s a guaranteed
knockout for laymen, and thaf s enough for me!
PROCEDURES: You can go into this routine in a number of different ways. Beginning with a
silver dollar classic palmed in the right hand, either take a bill of your own to be examined, or borrow a bill from a spectator.
Personally, I believe it would be a good idea to begin with an old pure silver dollar and use an
silver certificate bill. This is a form of dollar bill used over 20 years ago which had printed on the face
the fact that it was worth the equivalent of one dollar in silver on demand. This isn't necessary, but
it would make for an interesting conversation piece and if s a natural lead-in for this routine. Also,
you could change the bill to the silver dollar and quit (or use the coin in an
but if you borrow
the bill an extra step
be involved.
explain this later.
'There was a time when a dollar was worth a
certain amount of silver, and tfiat silver was redeemable on demand to anyone who owned one of
these silver certificates. Those days are gone." As
this is said the silver dollar is dropped to the
fingertips. The bill is taken by the left hand
which places it directly on top of the coin.
Gesture with both hands showing them
except for the bill. As you are talking
you can hold the
by its narrow ends and
snap it once or twice. If you like you may
transfer the coin from one hand to the other
during this snapping process, and thereby be
able to show each hand as being empty (FIG.
1, underview).
.102
Hold
bill at the narrow ends with the
toward the spectator. The bill is held by the thumb
and middle finger of each hand, which allows a
view of both hands. The coin is on your side
of the bill where it is clipped between the thumb and middle finger of the
hand.
the bill in half and crease it with the right fingers. This fold should go forward, leaving the
coin covered. "But
discovered
since
a magician 1 can do almost anything
like."
Again, fold the bill in half once more
(FIGS. 2 and 3). At this point the coin will
have to be moved from hand to hand
behind the bill as you make sure the bill is
well creased. End up with the coin held
behind the bill by the left hand.
Fold the bill in half once again by folding the upper half down and forward.
The bill should be one-eighth its regular
size after the three folds. You will need to
be careful here because the silver dollar is
larger than the bill at this point
Hold the bill and coin as in FIGS. 4 and 5.
The bill is held at the left fingertips with as
much of it showing as possible. The majority
of the coin is concealed by the left fingers.
"For
if I wanted to, could reach right
into tliat bill and remove all the silver I
As this is said the right hand comes over
and contacts the right side of the folded
(FIG. 6).
This causes the
to
forward, over
the left fingers, and into a right fingerpalm.
At the same instant, the right fingers and
thumb take the right side of the silver dollar held in the left hand. The left hand moves away to reveal
the silver dollar held by the right fingertips.
FIG. 7 shows this action taking place. If s
important that you realize that the right hand
moves over to pivot the bill into the finger
and the left hand immediately moves
away to show the change has taken place.
This is a surprisingly effective and visual
change (FIG. 8).
At this point you may end if it's your
or
you may change the coin back to a
by any
one of a number of spellbound moves. The
folded bill will make the change back fairly
simple if you think about it. Some people may
decide to reproduce the bill in some other location, such as a purse frame.
103
The Magic
If
rehearsed this routine
would be very strong for laymen. But
rehearsals are
The viewers
must not suspect that anything else is in
the hands other than the bill. For this
reason you should not become involved in over proving. Fold the bill
with a comfortable, relaxed attitude
and the transformation into a silver
dollar will carry quite an impact.
104
Williamson
CAP
EFFECT: A borrowed coin is tapped with a borrowed pen and instantly vanishes. When the cap
is removed from the pen, the coin is found inside.
PROCEDURES: Any
coin may be used, and any
pen or marker may be
used. Simply perform the
Striking Vanish while
holding the pen by the
uncapped end (FIG. 1).
The "Striking Vanish" is
described in the CUPS &
BALLS section.
After the vanish, the
coin is in a right fingerpalm position. While still
holding the pen in the
right hand, shake it and
pretend to hear something
in the cap. FIG. 2 shows
the rightforefinger and thumb removing the cap, as the left hand places the pen aside. Give the cap
a gentle shake, simultaneously releasing the coin, and dumping it on the
palm (or a spectator's
hand) (FIG. 3).
The Magic
FIG. 4 shows an extremely deceptive way to hold the cap
before shaking out the coin. All you need to do is to grip the
coin in an edge grip
the vanish. They see the large coin
appear from what seems to be the inside of the small pen cap.
This
is an extremely powerful impromptu item.
Practice well, and you will have
ing vanish!
your hands a truly strik-
Born at the right time! I would save all year so I could cross the
for the
opportunity to with Dai Vernon and Slydini, listening so intently to their
wisdom you'd think I was trying to memorize every word!
106
Chapter Five
RESTAURANT MAGIC
Mike
NEW WAVE COINS ACROSS
EFFECT: Beginning with three coins in each hand, one at a time the coins travel from the left
hand into the right in a very deceptive fashion.
COMMENTS: Previous to the publication of ENCORE few people outside of Buffalo, New
York had heard of Mike Gallo. However, as you can see from the items Mike has contributed to this
project, he is a uniquely creative and talented close-up performer.
has the rare ability to look
directly at the basic effect as he develops entirety new methods for their accomplishment. This
coins-across routine of his is baffling because of an entirely new and unheard-of method. Strange
as it may seem, Mike is never one-ahead, instead he is
Confusing? Yes, it is. The effect is
still clear cut, yet when properly performed this new method will deceive virtually anyone.
PROCEDURES: Although you will appear to be using six coins in this routine, you will actually
be using only five. But it
be very important for the viewers to be totally convinced of the existence of six coins. Mike does this in a very nice fashion, which not only sets up the routine, but sets
up the spectators as well.
Openly show six coins
half dollars or silver dollars) and an odd coin, and clearly take
three coins in each hand. Take the odd coin in the right hand and perform the Han Ping Chien
move which will leave all six coins along with the odd one in the right hand. explain a slightly
different handling of this move shortly. Make a gesture and reveal that the coins have traveled
across. s at this point that Mike 'sets-up'. After the coins have gone into the right hand there is a
breakin the attention. Mike places
five coins onto the table
uneven stack. This will be taken
as the six coins. Keeping one of the
halves palmed, pick up the odd coin
and place both the coins away. You
are now set up for the routine and the
audience is completely convinced that
you will be using six coins.
The Han Ping Chien is one of the
most powerful moves in the realm of
coin magic. It will be necessary for it to
be used three times in this routine, so
we will consider it to be the Basic
Move. Despite the fact that it has been
explained numerous times, if s so important here that
try to clearly ex-
107
Magic of Michael
plain some of the
thoughts behind the
move.
In this routine you
will not be retaining
three coins in the right
hand in order to add
three extra coins to
that hand. You will be
using it to add a single
coin
the left hand
into the right. For this
reason it will not be
necessary for you to
the table
FIG.
1. Many performers
tip the move because
they perform it too
tightly against the
table. Properly performed, it is a loose move based more on rhythm and confidence than a hurried
attempt to fool the eye. When done in a smooth, natural action it
fool the mind, and therefore it
will deceive the eye as well.
Since a single
from the
will be added to coins which will be tossed from the right, it won't
be necessary to slap the hands to the table. As I think about it, slapping the hands flat onto the table
is not how I would display the coins in that hand. Rather, I would casually toss the coins onto the
table. Also, the rhythm the routine itself must be considered.
Some may disagree with me
but I
don't believe it will be necessary to slap the
left hand down, then pick up those coins, set
up
the move, and then slap the right hand
down. In performing for the public it simply
takes too long to do all that three times in one
routine.
2 shows
left hand opening to
display the coins in that hand. Depending on
the presentation you use, I believe this is all
that is necessary to convince the spectators of
the number of coins in that hand. FIG. 3
shows the right hand beginning its toss to the
table, and an exposed view of the single coin
dropping from the closed left hand. Do not
make any move with the left hand which
might convey the idea that it is
anyth ing
other than moving out of the way after displaying
its coins. No wiggles, no opening and closing,
nothing. The hands don't have to touch the
table. In fact, it's better if they are a
inches
above it. The extra coin slides from the bottom of the
hand as the right dumps its coins onto the
As this is done, the left hand moves out of the way to
Now for Mike's routine.
Take the coins into the right hand in a jumbled fashion. Before they
be counted, the
hand
approaches and takes three coins, leaving two coins in the right. Both hands close over the coins.
"That was pretty quick. Can you guess how many coins are in each
That's a good guess. There are
actually three coins in the left hand, and of course three coins in the right."
As this is said, the left hand shows its three coins and the Basic Move is performed to show three
coins in the right. The right hand picks up its three coins and classic palms one of them. The left
hand (which now only has two coins) gives a very slight tossing motion towards the right hand,
which releases its coin, causing an audible click.
"just a toss and the first coin travels invisibly from the left hand, leaving only two coins behind.
arrived in the right hand which now has four coins. I'll do it again."
has
The beautiful part of this routine is that magicians who recognize the Basic Move will still be
fooled because of the One Behind principle. As the above lines are said, the left hand openly shows
its two coins as you perform the Basic Move to show the four coins in the right hand.
Repeat this sequence to
cause the second coin to travel
across. Show one coin in the
left hand and perform the Basic Move to show five coins in
the right hand. The left hand
is now empty, and the viewers
believe it contains the last
coin. To convey the fact that
the last coin travels, act as
though you are invisibly flipping the last coin into the air.
Follow it across with your
eyes onto the forefinger of the
left hand (FIGS. 4 and 5). As
soon as the coin would have arrived, the
last coin clinks into the right hand.
The clink is very important because it
helps sell the idea that the coin has already
arrived in the hand. they believe this
then you will have less heat on the hands
as the Basic Move is done.
To finish, Mike simply opens his hands
to show the five coins in an uneven pile in
his right hand. The coins are not suspected as to the total, but Mike has developed a false count for coins which is very
effective here.
The left hand comes over as in FIG. 6
and apparently removes one coin as you
count "One". The right hand immediately
109
Magic
begins to toss the coins into the left
hand, one at a time
7). Simply
continue counting "Two, three, four,
five, and six coins." This bold move fits
perfectly into this incredible routine.
Here I am with two of
magic's most brilliant
practitioners, both from
Spain. Left to right you
see, Jose Carroll, myself,
and Juan
These
two, along with Ascanio,
Camilo, and others are
helping to preserve a
tradition of thoughtful
magical analysis. Such
depth goes into their
thinking, that they each
bring a refreshing
dignity to
Art
no
David Williamson
REVERSE MATRIX
EFFECT: Four coins are placed at the corners of a close-up mat and are then covered with four
cards. One at a time the coins vanish and reappear under the upper left card. Finally the last coin
vanishes. However, after turning over the upper left card instead of finding all four coins, only one
coin is seen. The remaining cards are turned over to reveal that all the coins have returned to their
original
COMMENTS: This routine was used in David Williamson's Gold Medal winning
at
the Pittsburgh IBM convention in July, 1981. As
of Dave's material, he gets right to the heart of
the effect with this handling. Paul Gertner caused quite a stir with his original reverse matrix and
several variations have appeared. This is the best one I have seen. Not only is it direct, but the
and the method go extremely well together. They compliment one another, rather than clutter the
effect for the viewers. Best of all, only one extra coin is needed.
PROCEDURES: Begin by having a
coin classic palmed in the right hand.
The four coins are placed at the four
comers of the mat, and the four cards
are openly displayed. Take the four
cards into the left hand as shown in
FIG. 1. Notice that the cards are deep
into the hand so that the
thumb
and fingers are easily able to reach
underneath the card to
a coin.
The left hand goes over the upper
right coin, and the right hand slides
the top card off from the packet in
order to cover that coin. The left hand
moves to the lower right corner to
repeat this action, but as the right
hand slides the top card from the packet, the left thumb and middle finger pick up the coin at that position.
Moving to the upper left position to cover that coin, the left hand deposits the coin it picked up as
the card is peeled off to cover that coin. There are now two coins under the upper left card. The
opening sequence is concluded as the last card is openly dropped on the lower left coin. This is one
of the loading moves which has become standard with the matrix effect.
At this point you will need to learn the basic move used in this routine. Paul Gertner called it the
"Scoop" in his original routine, so I will do the same. Drop the palmed coin to the fingertips of the
The Magic
right hand.
and 4 show how the thumb and index finger
turn the card over onto the coin in the fingerpalm. This causes the
coin under the card to come into view. The right thumb helps the
card "scoop" up the visible coin in order to place it into the opposite
hand. However, as FIGS.
and 7show, coin which
originally
fingerpalmed is allowed to drop into the left hand, while the right
thumb retains the coin which is at the face of the card. The left hand
displays the coin as the right hand sets down the card/coin. This is a
beautifully effective move because of the natural flow behind it. It is
first performed in this routine with the coin in the lower
position.
Perform any coin pass which retains the coin in the right hand
palm position, and reveal the disappearance of the first coin. The
right
picks up the card at the upper left position to reveal the
112
©
two coins underneath. However, contrary to most
you do not load the extra
under the card.
Keep the coin classic palmed but bend the card as you
reveal the coins as in FIG. Once again perform the
Scoop, this time with the upper right coin. Do a coin
pass which leaves the
in the left fingerpalm, and
reveal that the second coin is gone. FIGS. 9,10, and 11
show a loading sequence which was first printed in
the Earl Nelson book, VARIATIONS.
The coin is worked to the tips of the left fingers,
which approach the front of the slightly bowed card.
In the process of snapping the card up to reveal the
coins the coin is slipped under the front edge of the
card. FIGS. 9 and 10 in particular should make the
move clear. If s not a difficult move, but you
must fight not to
guilty as you do it. It
should be the psychologically correct time to
do a "move", because the coin has apparently already traveled.
Now you have to steal back one of the three
coins from the upper
position. The beauty
of this routine may lie in the fact that one
single coin is used for so much. The right
hand picks up and shows the three coins.
Timing plays an important role here. Place
the first and second coins back down as the
left hand begins to cover them with the card.
As the third coin is being placed down, the
card now blocks them from view. FIGS. 12
and 13 show how the third coin is clicked against the other two and while under cover of the playing card it is drawn back into the right fingers; a tabled click pass if you
This move goes by because it is not suspected that you would steal a coin away at this stage of the routine.
113
The Magic of Michael
This coin is palmed in the right hand as a
magic wave is made over the card in the
lower right position. Lift this card to reveal
that the last coin has vanished. Pause a beat
for the reaction, and as you do, load the coin
from the right hand under the card as you
replace it in the lower right position.
The left hand comes to the upper left position to remove the card to apparently show
the fourth coin. Actually it performs the standard pick up move to show only one coin.
Pause an instant, then pick up the lower left
card to show that the
has returned. Place
this card into the left hand, covering the coin
picked up an instant ago, and then immediately reveal the third and fourth coins have
returned to their original locations.
Each card is placed into the
hand as it is picked up.
all four coins are revealed the hands
gesture as the extra coin slides into the left fingerpalm from between the cards (FIG.
Drop the
cards to the table and you are dean.
114
THE VANISHING GLASS
EFFECT: A stemmed wine glass is placed onto the flat left palm, and covered with a 24-inch silk.
At the command of the performer, the shape of the glass melts away and the silk falls flat on the
palm. The silk is whisked away to prove that the glass has indeed vanished.
As in most of the great effects in magic, the method here is simple. will only take
ten minutes practice with the props for you to realize how visual and effective the vanish really is.
The original concept comes from Tony Miller and Brian Congrove, magic buddies from Parkersburg, West Virginia, with a flair for the different. Through the years
added some touches, and
the instantaneous, visual vanish of the glass is beautiful.
The handling is such that it can be used both on stage and close-up. On stage the glass can be
dumped into a top hat, taken by an assistant, or any number of things. The aid of a friend can be
enlisted to help completely vanish the glass in close-up, impromptu situations, because the illusion
of the glass melting away is just as great when done close-up.
PROCEDURES: The silk, which is
displayed openly, should be opaque.
It is dropped over the left arm so that
two diagonal corners point down
towards the floor, and the other two
corners are along the
The glass is
carefully placed onto the open left
palm. The right hand takes the corner
of the silk which lies at the left wrist,
and slowly covers the glass (FIG. I).
The silk drapes over the glass and the
hand, with the glass at the center. The
right hand taps the top of the glass, to
show that the glass is still there. As it
does the left
curl in and grab
the glass as shown in FIG. 2
Once the left fingers grasp the base
of the glass, the right middle finger
flicks the glass
3). This is to
prove (without saying as much) that
115
Magic of Michael
the form is actually the glass. Now, pinch the
silk at its center, lift it three to four inches, and
drop it a couple of times as shown in FIG. 4
The air under the silk will cause it to float
back down as it covers the glass again.
This is a very important feature of the vanish as you will soon see. On the third drop of
the silk, the left hand simply opens out-allowing the glass to fall into a back-palm of sorts.
FIGS. 5 and 6 show this taking place.
The air which is caught under the falling
silk prevents the shape of the moving
fingers from being
The audience is conditioned to expect to see the shape of the glass
under the silk, and it is startling to see the silk
float down to what is an apparently empty
left hand. As FIG 6 illustrates, the left fingers
are spread to conceal any sign of the glass.
you properly time the falling of the glass with
the drop of the silk, the melting away of the.
glass is beautiful.
116
Pause a beat to allow the effect to sink in, and bring the right hand up from below to pinch the
rim of the glass through the silk
7). It takes very little practice for you to know exactly where
this will be. The right hand then whisks the
down away from the hand and behind you
(FIG. 8). The glass will remain covered by the silk, and the left palm is seen be empty. At this point
the glass can be dumped into a top hat or taken by an assistant to complete the vanish.
ALTERNATIVE HANDLING: In playing
with the silk and glass I decided to try and
find a handling that would allow the silk to
melt down to the left hand, where it would be
held by the left fingers.
order to do this,
you must start by placing the silk over the flat
left palm, with the majority of the silk to the
left of the hand, and one corner hanging
about four inches over the right side of the
as shown in FIG 9. The glass is
placed onto the palm.
As the right hand crosses in front of the left
hand to the silk over the glass, the left fingers dose over the base as in the first method.
FIG. 10 shows the left hand holding the base,
with right arm removed for clarity.
Repeat the tapping of the glass through the
silk, and again lift the silk and drop it as in the
first method, and time the dropping of the silk
to the falling of the glass.
The result will be that the silk
completely surround the base of the glass which is held by the
left fingers (FIG. 11). The silk and glass are again whisked away by the right hand. There are several
117
The Magic
Ammar
good glass productions using silks which could effectively be combined with the vanish. Also, if
you could effectively seal a glass of liquid with an invisible
you would have the perfect vanish for a glass full of liquid!
118
Mike
COINS THROUGH TABLE KICKER
EFFECT: Three coins have just passed through the table, one at a time. Every viewing eye is
unblinking as they wait for the fourth coin to pass through. The left hand takes the first three coins
underneath the table as the right hand attempts to push the fourth coin through. The coin is seen
at the center of the table as the right hand lifts into the air and slaps down on the coin. Much to the
surprise of everyone, the fourth coin has not penetrated. Instead, the other three coins have passed
back up through the table to rejoin the visible coin!
COMMENTS: The coins through the table is one of the all-time great classics of close-up
s a wonderfully simple, straight forward concept. Yet, for some reason, I never bothered to learn
it. However, when Mike Gallo showed me this beautiful ending it turned out to be all the motivation I needed. I love ending routines with a logical "kick" to them. The important word there is logical. Many magicians have routines with kicks to them that have nothing to do with the basic effect.
They might as well say, "There, that's the last coin through the table, and not only that, but the deck
changes color!" Huh?
Mike Gallo is not just an idea man. He understands good magic and works hard to find good
ideas as well as the best possible method to accomplish them. I believe Tony Slydini used his Imp
Pass to accomplish the same type of effect in his coins through the table routine using six coins.
Needless to say, Slydini stands alone in his ability to convincingly deliver the material he conceives.
However, this handling of Mike's better fits the average magician's coins through table format, and
employs a new handling which is effective yet within the reach of any student of sleight-of-hand.
I believe the coins through table needs a good ending because the effect itself is so good. Few of
us have Roger
understanding of the art of
Roger understands the effect so he not
only deceptively causes the coins to go through, he sells the idea to the viewers. Because of Roger's
delivery, they realty are convinced that each coin actually goes through the table, so as all four
coins go through, the effect builds upon itself. If we can somehow share Roger Klause's understanding of the basic effect, while adding Mike Gallo's kicker we will have an effect which is guaranteed to score each and every time we perform it
PROCEDURES: So many methods are printed for passing the first three coins through, that I will
not clutter this explanation by repeating them. What you will essentially do is an Imp Pass directly
into the classic palm in the right hand. I structure my routine so that the right hand apparently has
two coins above the table and two coins are below. The actual situation is that the right hand has
only one coin, and three coins are now below the table. The right hand slaps the coin(s) to the table
and the third coin is heard to travel. The right hand remains flat on the table and does not reveal fact
that only one coin
The left hand comes back to the top and dumps its three coins to the table.
119
The Magic of
The left hand picks the coins up one at a
time into a stack and returns under the table.
Some suspicion should be in the spectator's
mind as to what is really underneath the right
hand.
their mind there could still be two
coins or there might
be no coins. For this
reason there will be powerful misdirection
when you move the right hand to show what
is
"For the last coin 1 just
Wait. You don't trust me! See the coin is still
there."
As you say this, the right hand moves directly backwards so only the pur fingers are
resting on the table. FIGS.
and 3 show the
left hand as it actually places the three coins in
a stack directly into the right hand classic palm as
it pauses for an instant at the edge of the table.
The misdirection built into the routining
will unquestionably cover this brief action.
Keep in mind that the left arm must still appear
to be holding its three coins under the center the
table, as if waiting for the fourth win.
As soon as they see the coin on the table,
the right hand lifts straight up and slaps
down onto the visible coin. Pause an instant,
then lift the hand to show the four coins in a
stack on the table. The right hand knocks the
stack over (FIG. 4) as the empty left hand
comes from under the table.
Although this is not exactly the way that
Mike handles the
I believe that the
added misdirection and slight pause as the
coins are loaded will help many people to
perform this deceptively.
Mike causes the third coin to pass and
shows clearly one coin above and three coins
going below the table. Then as he draws the
visible coin back with the right fingers he
loads the coins.
5 shows how Mike loads
the coins in the process of picking up the visible one. He concentrates on not
all
as the extra coins are picked up. This is very
effective in Mike's talented hands, but it takes
considerable practice and it requires the coins
to be flawlessly picked up in every performance, because the attention is directed right at
the "action zone." Whichever style you feel is
best for you, please rehearse it carefully because the effect is outstanding!
121
David Williamson
'NOW
OUT'
This effect was designed to be performed while standing behind a
If it is to be performed
seated, different moves and switches can easily be
real strength of the routine is in
the fact that it is performed standing, eliminating lapping or ditching moves.
EFFECT: A coin is removed from a small purse and vanishes from the magician's hands. It appears under a selected card from a shuffled deck; this is repeated. At this point both the coin and the
selected card are removed from the
The
is returned to the purse, and the card is placed
into the deck. After the proper magical gestures, they switch places. The coin is found to appear
back in the middle of the deck, and the card is found folded up in the coin purse.
COMMENTS: David has combined a series of unique moves into one of the best card/coin routines I've seen. If s a commercial,
routine, and the methods employed make the
clearcut. Also, the handling is custom-made for a stand-up, table-to-table performer.
You will need two matching half-dollars, a coin purse, and a duplicate of the card you intend to
use. To set up, fold the duplicate card into one-sixth its size and place itinto the coin purse. You
notice that the card folded in this way resembles a "V." The bottom of the "V" enters the purse first,
with the open part facing out. Place one of the halves into the folded card in the purse. This
allow the coin to freely drop from the opened purse if it were turned upside down. Place the purse
into the front
pants pocket, and the other coin into the front right pants pocket. Either begin
with the duplicate of the folded card on the bottom of the
or work it to that position during
the preceding effect.
PROCEDURES: Shuffle the deck, keeping the force card on the bottom. Set the deck onto the
table face down, and reach in the pants pockets with both hands as if searching for something.
Classic palm the half dollar in the right hand, and bring the coin purse out with the left hand. Place
the purse on the table to the left. Pick the deck up with the right hand from above. With the right
index finger, kick the top half of the deck into the
dealing position. The right hand places
the rest of the cards onto the cards in the left hand. Maintain a little finger break between the packets (below the force card) as the cards are squared. With the right hand still gripping the deck from
above, open the left fingers so they stretch out under the palmed coin. Allow the coin to
onto
the left fingers, and bend them in so the coin will be flat against the right edge of the deck.
At this point you will perform a standard riffle force. With the left thumb, riffle the cards from the
top down and ask the spectator to say "stop", then cut the cards at the break. The right hand lifts
the upper half to allow the spectator to memorize the "free" selection. As this is done, the left fingers curl inward, pivoting the coin onto the cards remaining in that hand. Bending the left wrist
slightly will insure that the coin stays hidden.
122
After the spectator has noted his selection, return the right-hand cards onto the cards in the
hand. This places the coin under the selection. Place the deck face down on the table. Pick up the
coin purse and
it. Keep the purse tilted towards you as you dump the coin
your hand. The
card remains concealed in the purse as you close it and return it to the table. Apparently vanish the
coin; actually leave it fingerpalmed in
left hand. The French Drop works well here.
Using the right hand, pick up the top half of the deck, showing that the coin has arrived. The
right hand now turns palm-up, displaying the selected card. With the
thumb,
selected card
face up into the left hand, concealing the coin.
The right hand, still holding its cards, picks up the coin from the tabled deck and places it to one
side. As the cards are replaced face down onto the rest of the deck, the left hand executes a Ross
Bertram move. This move will turn the card face down with one hand, while keeping the fingerpalmed coin hidden.
Maneuver the lower
corner of the face-up card into the fold of skin at the base of the little
finger. The thumb reaches across the card and holds onto the right side. The left forefinger curls
onto the face of the card. In one motion, the forefinger pushes down and the thumb pulls up. This
will snap the card face down and the coin will stay hidden underneath. This is a smooth, natural
move which is easy to learn. The
hand now bends in slightly, and the right fingers take the card
and coin together. The right thumb is underneath, with the second finger on
Riffle halfway up
the tabled deck with the left thumb, and insert the
into the deck.
Once again vanish the coin on the table, this time retaining it in the right hand in classic palm
position.
hand grasps the top half of the
by its longer sides; fingers on one side, thumb
on the other. Lift the cards to show the coin has once more traveled to the deck. Then turn the left
hand palm-up, displaying the selection again.
The left hand now holds it cards in glide position. Performing the glide, the right hand apparently takes the selected card and places it face down onto the table. The right hand then places the
exposed coin onto the center of the tabled odd card. As this is done, the palmed coin is dropped into
the curled right fingers, where it is added to the face of the left hand cards as they are taken face
down by the right hand and placed upon the tabled half. Pick up the face-down odd card (apparently the selection) with the coin on its back with the left hand, and place it in the right fingertips.
The following step is very interesting. one movement you will not only vanish the coin (after
apparently putting it into the left hand) but you will also change the card into one other than the
selection. The false transfer belongs to Tenkai.
Hold the card with the coin on it with the thumb on one side and the middle finger on the opposite side; the index finger is curled underneath.
Tilt the card back so that the coin will slide down and contact the protruding thumb. Turn the
hand palm-down, and at the same instant push up with the index finger from below. The left side
of the card will snap off of the middle finger and turn face up.
The selected card is shown to have changed.
The left hand pretends to catch the coin, which is actually clipped under the card by the right
thumb underneath and the first finger from above. Move the second finger onto the coin to take
the place of the thumb. This is a very fair way to display a card while concealing the coin. Wave the
card over the closed left hand, then open it to show that the coin has also vanished.
123
The Magic
Once again,
up the top half of the deck with the left hand and
it
up to show that the
coin and the card have returned to the deck. Let the cards fall into dealing position in the left hand.
After pushing the selected card to the right with the thumb, the right hand slides the face-up odd
card under the selection squarely onto the
in the
hand. The right hand takes the exposed
coin, while the left hand places its cards face down onto the tabled deck. Be careful not to drop the
hidden coin.
up the coin purse and
it towards yourself. Place the coin, not into
behind it. Be careful not to expose the card to the spectator.
V as before, but
Have the spectator cover the deck with his hand. Wave the purse over his hand while making the
proper magical gestures. Place the purse onto the table, and cut the deck to the coin to show that
once again it has traveled. Turn the pack over, and act disappointed when the card is not above it.
Pick the purse up and
it towards the spectator. The card only will be visible, and by squeezing the bottom of the purse the card will be pushed up to be easily removed from the purse. Be sure
to tilt the purse towards yourself as you remove the card so the duplicate coin
not be seen.
The spectator unfolds the card to confirm that the card he selected has actually changed places
with the coin just placed into the purse!
When beginners ask me
for advice, depending on
the nature of their
request, I give them two
pieces of advice. If they
are asking about magic as
a career,
out that
what they are ultimately
talking about is Show
Business. That means you
must concentrate as much
on the Business as you do
the Show.
ask
about magic as an Art, I
recommend a complete
study of the classics. I feel
this was a
help in building my own
foundation, because once
you understand why
these work, you can
employ those principles
in countless other ways.
124
SWITCHING SANDWICHES
EFFECT: Two freely selected cards are skillfully pulled from the deck with pasteboard "forceps,"
only to suddenly change places.
COMMENTS: This is pretty straight-forward, with the deck never being cut or shuffled again
the
initial mixing. What makes this possible is the use of the side-steal, and the sidesteal with a top-card cover. (See SIDE-STEAL in the UTILITIES section.)
Another thing to watch for is the lead-in for
other areas as well.
card peeked. You might find it useful in
PROCEDURES: Begin by having any four-of-a-kind removed from the deck; the deck may then
be shuffled. We will assume the jacks
be used. To the first spectator say, "Which would you rather
have, the blackjacks or the red jacks?" We will assume the first spectator chooses the black jacks.
Place the two black jacks face up on top of the deck, and hold the deck in the left hand in peek
position. The deck faces the audience, and the right hand riffles the upper right corner to have the
first spectator peek at a card. The left little finger gets a break under the peeked card. The presentation while doing this is very important:
"Some people, when thinking about this later, suspect that might be using marked cards. these were
marked, could read the value from the backs. As soon as you would remove your
from the deck would
what was. In order to ease your mind about this,
you randomly select a
in such a way
that 1 am not able to see
face or the back of it.
"In order to do that,
just riffle this edge the cards, and when you say stop I'll let
just peek at a card
while it's still in the center, That way only you know what your card is,
1
see either
face or the
Just say
you like to see another card instead? Would yourather use
red
jacks instead? No? Fine, we'll just place the blackjacks to one
for a minute."
Notice that you give a good, reasonable explanation for the
process, and how you sell it
as being the fairest selection possible. If the first spectator says he would like to change his mind on
his card, just get a break under the next card he picks.
As you ask the questions above, you side-steal the peeked card while using the top face-up jack
as a cover. This idea is Mario's. I'll describe the move using text only; refer to the illustrated version
for further details,
The
is held in a very specific way. The
thumb is along the
edge of the deck. This
insures there is no visible break or step now, or later, when the left little finger starts to push upward against the selection. The pad of the left little finger is against the selection.
The Magic
The pad of the right thumb is exactly at the inner left corner. Perfectly at the corner. This way, it
serves as a gauge, keeping the upper half of the deck flush, while allowing the inner left corner of
the selection to slip free when pushed to the right by the
little finger. The right fingers are curled
naturally over the front edge of the deck, making sure no opening is visible from the front
The left little finger kicks out the selected card; it leaves the deck at an angle. When this point is
reached, the left thumb can move from the side of the deck, and the right fingers can move to the
right, away from their covering position at the front of the deck. Once the card has moved this far
out, upward pressure by the left little finger is no longer needed. Pressure might cause the upper
and lower packets to separate. The left thumb moves to the right, where it pinches the deck between itself and the base of the left index finger. hold is firm enough to support the deck as the
right hand pulls the selected card to the right.
When the selected card is half-way out, the right little finger holds the upper index corner, and
the thumb holds the lower index corner. These are the only two points by which the right hand
holds the card.
As soon as the selected card is half-way out, the right index finger buckles the top card, insuring
that only it and the selected card can move to the right. The right hand then moves to the right,
with the selected card at a slight angle hidden underneath the top face-up jack.
The selected card is totally covered as the right index finger points to the face-up jack still on the
It looks as if you are showing the top two
jacks. This is a very versatile move.
The right hand returns to the deck and takes the remaining face-up black jack under the jack it
already holds and squares them up. This automatically (and undetectably) sandwiches the selected
card between the two jacks; all three cards are returned to the table, squared and face up.
Turn to a second spectator and say,
leaves you with the red jacks.
please." Have the second card peeked-at and side-steal it to the top.
you to peek at a card also
Some finesse is shown in FIGS. 1 and The card is pulled free from the deck by the right thumb
and little finger, leaving the rest of the hand naturally curled (FIG. 1). The
is supported only by
the pinching thumb. Once the card is clear, the rest of the left fingers help support
deck, as the
left thumb, still across the
lifts slightly, allowing the selection to be slipped under it (FIG. 2).
126
"Now we have two cards in
two distinctly different
of
the deck; both were selected in the
fairest way possible.
1 have
to do is try and remember the
exact depth at which the first card
was selected. To
it a little
more interesting, I will use only
my left little finger."
As this is said, the right
hand picks up the face-up
black jacks with the first selection secretly sandwiched face
down between them. The
right fingers are on the bottom of a narrow end with the
on top. The right thumb presses forward at the very edge, moving the top two cards forward. Due to the natural curve of the cards, the face-down selection will move forward, perfectly
aligned with its covering jack (FIG. 3). The left hand holds the deck securely while its little finger
riffles down the inner right corner, stopping about half-way down.
You are about to reveal the first
selected card, utilizing Harry
Lorayne's "Instant Card Catch,"
from the first issue of APOCALYPSE. I believe the basic idea
goes back to Mario and
in Volume One of
With a flick of the right wrist,
run the two face-up jacks (with
the first selection concealed between them) rapidly through the
deck at the wide little finger break
(FIGS.
5).
The pressure of the deck will spread the cards and reveal a face-down card, apparently snatched
from the center of the deck. As you ask what the first person's card was, the left little finger secures
a break under the second selection, the top card of the deck. Turn the right hand over to reveal the
first selection sandwiched between the jacks. Done with proper acting, this will make you look very
skillful; take credit for it.
As the first spectator confirms that you have caught his card, turn the three-card sandwich over
again. Return the three cards to the deck, secretly
the top card (second selection) underneath
them. Now comes a switch of a sandwiched card that I learned from a Ken Krenzel routine in
called,
Fu Cards."
The right hand takes the four cards (from top down; face-up jack, face-down first selection,
up jack, and the face-down second selection) and the left thumb pulls the first jack onto the deck,
outjogged an inch. Then pull the first selection over, square onto the deck, and finally, the right
hand holds the remaining two cards flush and places them onto the
an inch (FIG. 6).
127
The Magic
The right thumb slightly
lifts the back two cards (to
avoid contacting the first selection, which is the second
card from the top) and pushes
them forward until they are
flush with the outjogged card.
The right hand then removes
these from the deck, leaving
the first selected card clipped
behind on the deck by the left
thumb (FIG. 7). The right fingers casually spread the black
jacks and the second selected
card (thought to be the first)
as they are tossed to the table,
supposedly finished with
(FIG. 8).
Now pick up the red jacks
and place them face up on top
of the deck, picking up the top
card underneath the bottom
jack. The right hand moves to
the right, holding the second
jack with the originally-discovered card hidden beneath,
while the left thumb holds the
top
back on the deck. You
are supposedly just showing
the two face-up jacks. The
right hand returns and takes
the top-of-the-deck jack
squarely underneath its card.
This sandwiches the first selected card face down between the jacks.
"I found the first card, but
some you probably thought that
since the jacks
face up that they
a chance to
for the card. To eliminate that possibility,
turn
the jacks face down (do so) and
turn the
face up. That makes it easier for
and harder on the jacks'.
Once again,
estimate the exact depth the second selection and use these two jacks to pluck it instantly
from the deck to reveal the second card!"
Repeat the little finger riffle and with the right thumb push over two cards as one (the top jack
with the selected card hidden behind) before running the cards through the deck. This makes
things look very fair. Everything is turned over so that the kicker can be quickly and effectively
reached. Watchers can immediately see that the second card caught is not only the wrong card, but
the one supposedly sandwiched between the black jacks and sitting on the table the whole time.
128
Restaurants
"Wait! That's not your card
(said to the second spectator).
That's yours (said to the first
spectator).
was the second
selected card? How about that?
I've had that card all along." To
finish, reveal the sandwiched
card on the table to be the second
One last point: Near the
of the routine, as
you are side-stealing the first
card under the cover of a black
jack, remember to give the
first spectator the option of
choosing the
colorjacks.
the option is taken, say, "Ok,
you
jacks thehard
way." And proceed from there
exactly as described. At the
end, when the change does
occur, it
look like you tailor made the magic for them,
which makes you look good.
129
& RESTORED
#1
COMMENTS: This is a very open tear and restoration.
It goes well alone or when coupled with restoration
A little acting is necessary, along with a
smooth, confident handling.
PROCEDURES: An extra piece of cigarette, slightly
more than an inch in length, is concealed in the right
hand, held along the length of the right middle finger
(FIG. 1). This piece will be referred to as the "stub." If s a
little less than half of a cigarette, and very easy to conceal.
In the illustrations, the stub is the dotted piece.
The cigarette is held vertically in the right hand with
the filter up, as the left thumb and middle finger come
over to take it at about if s center (FIG. 2). The cigarette is
then pivoted to the left, becoming horizontal, then the
left fingers conceal the filter end.
131)
Next, make a tearing motion; you can click
the thumbnails on each other if you would
like to add a slight 'snap' as the tear is supposedly made. The right thumb instantly pushes
the stub into view so the hands can display
the two supposed pieces (FIG. 3). The left
hand holds the cigarette in the middle, while
seeming to hold only half.
Touch the right end of the cigarette to the
left tip of the stub (FIG. 4).
In one smooth move, a couple of different
actions now take place. The left thumb and
middle finger hold the center of the cigarette,
forming a pivot point. The right hand, using
the left end of the stub, pivots the end of the
cigarette the stub is touching, up and around,
until it is pointing to the left. This happens as
the left hand turns palm up (FIG. 5).
The right hand returns its stub to fingerpalm position. It should look as if you have placed the
two pieces together to be held by the left thumb
middle finger (FIG. 6).
The
fingers roll the cigarette between them for a couple of seconds, then the thumb is lifted to
reveal the restoration (FIG. 7).
131
& RESTORED
#2
COMMENTS: This particular restoration has several strong points. The beginning is clean and open.
The handling of the cigarette and the extra piece is
intended to drive home the idea that their cigarette is
in two pieces. The identifying
of the borrowed
cigarette is seemingly shown as a separate piece.
PROCEDURES: In the beginning, the extra piece is
held parallel to and by the curled middle finger of the
right hand. The right hand takes the borrowed cigarette from the
hand with the filter pointing to the
left. The cigarette rests between the right thumb and
the middle finger, with the extra piece concealed
behind it as in (FIG. I). This display shows the
cigarette and apparently empty right hand, while
the left is also shown
The left hand comes over to apparently take
the cigarette by its center but as soon as the
hands come together, the right thumb pushes the
cigarette deep into the left hand
and 4).
132
When the right end of the cigarette is flush with the
left end of the fingerpalmed stub, make a tearing motion
with the hands. To add realism to the tear, you can 'click'
the thumb nails together which sounds a great deal like a
cigarette when it is snapped in two. As the tearing motion is done, the right thumb pushes the stub into view so
the hands can display the "torn" cigarette
5).
At this point the right hand apparently comes over to
take the piece from the left hand, but as soon as the fingers touch, the left fingers curl slightly inward, pushing
the cigarette to the right (FIG. 6). The right hand takes the
cigarette down near the filter, thus displaying the pieces
to the spectators (FIG. 7).
The right hand should seem to just take the left hand
piece for display. Actually, due to the left fingers curling
in, the right hand was able to reach down and take the
cigarette near the filter as if it were a small piece. This is
especially strong if you use a borrowed cigarette with
an identifiable filter.
The left hand takes the stub from the right and
it by butting it (no pun intended) up against the filter
piece (?) still
in the right hand.
't it be
I got confused, and restored it with the filter in the center?"
The left hand lays the stub on top of the filter, along
the right middle finger. Extend the left index finger and
push the stub into a right middle fingerpalm
8).
As
as the
pushes the stub
back into its original position, the right
hand makes a slight downward toss, releasing the cigarette into the spectator's
hand or onto the table
9). The fingers
open during this. Time this correctly and
you convey the illusion that the cigarette
instantly "fuses" back together as it falls.
133
The Magic of Michael Ammar
Here I am with fellow
West Virginian, Dick
Zimmerman, in
Madrid, 1985. We are
with
the Enchantress, Hank
and the incredible Sanada from Japan,
following his First
Prize win in
manipulation category.
Magic Castle
President, Bill
presenting me
with an award
from The
Academy of
Magical Arts.
134
EFFECT: A ring is borrowed and a rubber band is examined. After it has been confirmed that
everything is as it should be, the ring is visibly linked onto the rubber band, and then visibly
snapped off, twice in succession. In each case the linking is done in full view, and the
is clearly
seen to be linked onto the band.
COMMENTS: This has grown into my favorite impromptu routine these days. The concept belongs to Bill Kalush, who showed me his "Rubber Ringer" routine years ago, and which Richard
Kaufman printed in RICHARDS ALMANAC in September,
loved the effect, but could only
remember the key grip he used to create the illusion of the ring linked to the rubber band.
I toyed with the handling for some time, and eventually came up with six different phases for
linking and unlinking the
each with their own strengths and weaknesses. I eventually narrowed it down to the two phases included here, plus one alternate phase. The great news is that
after I showed my ideas to several friends, they in turn improved further on the ideas to the point
that I am ecstatic with the results. Everything fits together just as 1 like it to, with each phase building upon the next, both confirming links and cancelling techniques.
PROCEDURES: The ideal rubber band is a #19,
in length by 1/32" (1mm) by 1/16"
(2mm). Certain rings are better than others for the most deceptive linking. I do not use rings with
large stones, or large "school-type" rings. These, because of the way you have to
the ring and
band during the linking, prevent a clear view of the
rubber band passing through the center of the ring.
The best rings are also relatively thin at their most
narrow points, allowing you to easily pinch the rubber band around the ring for certain displays.
PHASE ONE: In this phase, you
basically use
the original Kalush grip, but with a different lead-in,
penetration, and grip on the band. Begin with the
ring deep on the left little finger, with the band
stretched between the left little finger and thumb.
The right thumb and index finger take the ring by
Us most narrow point, and move it off the finger and
onto the center of the band between the two fingers
1). Still holding the ring by the thumb and index
finger, the right hand places the middle, third, and
index fingers over the bottom strand of the band.
135
The Magic of Michael
This is done through the middle of the band, in the section on the far side of the ring from you (FIG. 2). Insert
these three fingers through this section all the way up to
the second joint.
Rotate your right hand palm-up to bring the right fingers up to the lower strand of the band on the side of the
ring closest to you. However, instead of putting all three
fingers through the band, only insert the middle and
third finger back through (FIGS. 3 and 4). In this way,
when you get into the final display position, the band
will apparently be looped around the right little finger,
instead of disappearing no reason into the right hand.
1 find this small difference from the Kalush handling to
be quite important
To obtain the best illusion posible of the ring being on
the band, it is important that the ring is held at the very
tip of the right thumb and forefinger. The easiest way to
insure this is to grasp the ring with your left thumb and forefinger and
it out to the tip of your
forefinger (FIG. 5). Now the right thumb can once again join the forefinger in gripping the ring.
Holding onto the ring and band in this
way, stretch the left thumb and little finger
apart; then allow the left forefinger to enter
the band and take the place of the little finger.
You will find you will be able to conceal the
bottom strand of the band along the tip of the
right thumb and forefinger, creating the impression that only a single strand of the band
passes through the ring.
concept
behind this grip (which motivated further
thoughts on the effect itself) is true genius.
Aside from the fact that the right hand retains
its hold on the ring, this creates the perfect illusion of a borrowed ring linked onto the
center of a rubber band. is
Do not, however, show the ring linked at
this point. This bit of handling was provided
from my long-time friend from West Virginia (who is also one of the best unknown close-up magicians in the country), Gary Plants. Instead of immediately displaying the link, Gary holds the ring
above the top strand of the band (FIG. 6). When
is done correctly, it will seem as if you have just
stretched the band out and are holding the ring above the top strand (FIG. 7).
As I maneuver the ring
the rubber band,
band into this position, I say, "Not only will 1 let you see the ring link onto
also let you hear the
take place. Watch, and listen closely.
As you count, you act as if you are tapping the ring against the top strand of the band with each
count. Actually, the top strand is underneath the very tip of the thumb and forefinger holding onto
the ring
8). On the count of three, however, allow the top strand (the one stretched between
the left thumb and forefinger) to snap around the fingers into the center of the ring (FIG. 9). Slowly,
136
Restaurants
The Magic of Michael
slide the ring up and down the
strand of the band. As this is done,
"wobble" the ring back and forth
to clearly display the band going
through the center of the ring.
During this phase it is important
to hold the ring at the very tips of
the fingers, leaving as much of the
center of the ring unobscured as
possible, to present a clear view of
the band passing through the
center of the ring. Although the
may seem tight and a little
difficult to get into, you
quickly learn it and be able to
present a totally angle-proof view
of a single strand going through
the center of the ring.
"As you can very clearly see, the
ring is unquestionably linked onto
the rubber band, which passes
through the center the ring. But the
illusion is a temporary one.
now
actually let you see the rubber band
pass visibly through the metal and
clear from the ring."
Now you unlink the ring in a
very visual manner. Open your
right second and third fingers.
One of the strands will spring free
(FIG. 10). Keep hold of the ring
with the right forefinger and
thumb, as you also let go of the
rubber band with the left thumb (FIG. 11).
This allows both sides of the band to pass
back through the ring. However, as you
notice, the right index finger is contacting the band against the far side of the
ring. Keep pressing this finger and the
piece of the band against the ring. The left
thumb now swings down inside the
band, in front of the three right fingers
that are still keeping it open (FIG. 12). The
left thumb swings around the right fingers, wrapping the band around the back
of the ring to create the illusion that the
ring is
on the band. (FIG. 13).
138
Restaurants
Completely release the band with your left hand and let it dangle. It looks just like the band is
hanging on the ring (FIG. 14).
Reinsert your left
and thumb into
band (refer to FIG. 13). Stretch the bottom strand
away from you, causing the top, pinched strand to stretch, as if you were going to shoot the ring
from a sling shot (FIG. 15). With the ring pointed directly at the spectators, the top of the band
seems to be pressed against the upper inside edge of the ring. To cause what seems to be a visible
penetration
the front side of the ring, simply release the pressure on the band with the tips of
the right fingers, allowing it to quickly shoot around, free from the ring. Be sure to hold the ring
firmly here! When done correctly, the illusion is perfect.
PHASE T W O : "Just in case you
convinced,
do it one more
But before I do, let me show you
the band on all sides, the ring, and both hands. Now, just by touchmg the ring onto the band, 1 make it melt
139
The Magic
through the band, creating a perfect link. But as always, it
is a temporary illusion, because just as quickly, it pops back
and into your hand."
As you say the above lines, perform the following
procedures. Put the ring onto the tip of your right
Hold the band stretched around the left
fingers (FIG. 16). Notice in the illustration that the left
middle finger is on the outside of the band; this is to
hold
band with tension it in a certain way.
Once you get into this grip, use your right second,
third, and little fingers to pull the strand between the
left forefinger and thumb up very tightly, and retain
the tension on the lower section of the band with the
left fingers (refer to
16). Release the upper
strand, and you will find the section between the
thumb and forefinger will have the majority of the
slack that the band has to offer.
Grip the ring with the forefinger and thumb of the
right hand, and hold it above the upper strand. (FIG.
17) Do not have the very tips of
and thumb
pressed completely together yet. They are, in fact,
poised to press together, because you are about to
pinch the band through the center of the ring again.
To get into the grip with a minimum of motion,
press down on the strand of band between the left
forefinger and thumb, the section which you worked
the extra slack into. Press down on the strand with
enough pressure to allow you to tightly pinch the
band with the tips of the
through the center
of the rubber band. Your grip on the ring should be
such that the very tips of the fingers meet right at the
center of the ring (FIG. 18).
As soon as you have the band pinched, return the
top strand to a parallel position between the forefinger and thumb. Pause for a beat, with the strand
passing right through the very center of the ring
(FIG. 19). Again, you are in one of the traditional grips for the standard ring on rope moves, yet as
you are here using the rubber band, you are able to perform a beautiful addition to the deceptiveness of the
FIGS. 20 and 21 show how the ring can now be passed back and forth along the
rubber band, apparently showing the band traveling freely through the center of the ring. What
actually takes place is that the band is stretching and contracting on either side of the ring, where
you have it pinched. However, because of the slackin the strand, the illusion of the band remaining
stationary as the ring passes along it is flawless!
To conclude, once again release the band completely with your
hand, allowing it to dangle on
the ring. Then perform the unlink as described in the first phase, and drop the borrowed ring back
into the hands of the spectator who loaned it to you.
140
141
The Magic of Michael
I certainly hope you practice this well, because if you do, you will have a priceless routine for use
any time, any place, for groups of up to 100 people as well as for one-on-one!
ALTERNATE PHASE: I worked real hard to perfect this phase, yet I still fell prey to Dai
observation: "MAGICIAN'S STOP THINKING TOO SOON!"
It
Mike Giles, from Visalia,
to come up with what was literally "the missing
Basically, you will be doing the handling from Harry Lorayne's "Snap" from REPUTATION MAKERS, but doing it with the ring on the center of the rubber band.
Begin with the
on the tip of the right index finger, and the rubber band stretched between the index finger and thumb of the right hand. The
hand
moves the ring to the middle of the band
22).
Continuing the action, the left hand lets go of the
ring, as the thumb pushes the rubber band away
from you, with the thumb above the ring (FIG. 23).
The right thumb and index finger now pinch together and twist away from you. When you do this,
the end of the band slips off of the right thumb, and
onto the index finger
24). As you will notice, the
band creates an "x" as it is pinched between
thumbs and forefingers of both hands, with the ring
resting inside the left section of the "x".
The right middle finger now goes into the section
of the "x" that contains the ring, and works it over to
the right (FIG. 25). (Don't go into the right side of the
"x", as I constantly tried to do, because this won't
For a long time I was just a quarter of an inch
away from "the missing link!") This allows the right
thumb and index finger to grip together what will be
the two ends of the band. When done correctly, you
will end up with the situation shown in FIG. 26.
Essentially, what you have done is to take the two
loop ends of the rubber band between the index finger and thumb of the right hand, and the center of
the band between the pinched thumb and index finger of the left hand. By stretching the band tight and
kneading it between the fingers, you
work the
two strands of the band together so they appear to be
a single strand. It will take a bit of work to make sure
the strands of the band are flush together, creating
the perfect illusion, but when the knack is acquired,
you will be well rewarded.
As 1 manipulate the rubber band and ring into this
position, say:
I am about to do is create a beautiful, but temporary, piece of
Beautiful because
all I have to do is toss, and the ring visibly links onto the center of the rubber band. As you can see, the ring
unquestionably on the center of the band, and the band is definitely through the center of your solid ring.
142
Restaurants
"But I also said the magic only temporary, because
just as quickly as the ring went onto the band, it also melts
back off, leaving the rubber band perfectly unharmed."
I should also mention why 1 stress the temporary
aspect in the presentation. 1 do this because in many
close-up situations you might be asked to hand out
the ring and band in a linked condition, to be examined. Under structured performing situations you
might not be asked to do this, but the illusion is so
it would seem a natural next step to hand it all
By qualifying it up front as a temporary illusion,
you don't need to side-step the issue later on.
To unlink the ring, gather the whole works into the left hand, make a flourishing gesture, and
reach into the left hand with the right fingers. Quickly encircle all the fingers of the right hand with
the rubber band and remove the band from the left
hand with it stretched wide, still clearly unbroken.
For some time I used this as an opening phase, and
ended it by acting as if I had to break the band, letting
the ring slide off one end, and having the band (with
strands pulled taut as one.) snap back into the
other hand. 1
made a gesture to restore the band.
After long thought, however, I'm now certain that
this breaking and restoration is much better when
saved for the kicker at the end of a routine. Please
resist the temptation to use it too soon.
Now, is that ring on the rubber band, or
what? Bill
is the mastermind that first
conceived of this beautiful effect
143
Magic ofMidmel Ammar
During the late
I ate and drank with those doves, and I suppose if I hadn't accidentally
built their cage too big to remove from the basement, I'd have slept with them too!
144
YOU ORDER
OR PEPPER?
EFFECT: You display a fast-food salt packet The salt is plainly visible through the clear plastic
bubble. With just a shake of the hand, the salt changes into pepper! This transformation takes place
several times in rapid succession. Each time you attempt to put the packet away in your
it
reappears. Finally, the small
packet is transformed into a large glass salt shaker.
COMMENTS: When I work in restaurants for tips, 1 have to quickly break the ice at as many
tables as possible. Thaf s tough. This routine, developed for such occasions, is both startling and
visual, and it lasts only about 30 seconds. Not only do I have an excellent excuse for approaching
the table, but I also display my magical skill in a quick and effective way. As any salesman
tell
you, your chance of selling the product is greatly increased if you get the chance to demonstrate it.
This method has been refined to make the effect simple, available, and straight-forward. It allows
you to maintain maximum eye contact with your audience, which helps you "sell" yourself in
those critical first 30 seconds of a "cold approach."
PROCEDURES: The to-go packets I use come in take-out orders
McDonald's. I've also seen them in several other places. They
are called blister packs in the food trade (FIG.
To prepare, tape a salt packet and a pepper packet
Tape it together by the edges with invisible tape. This is the quickest
way to prepare. Because of the fast pacing of the routine, you don't
need to worry about making a
double-facer. The audience
simply doesn't have time to notice.
Find a clear salt shaker which can easily be concealed in your
hand, and tape the holes closed from the inside of the cap. Fill the
shaker half-way
of salt and replace the cap. The tape keeps the
salt from pouring out. Place the shaker into your left coat pocket.
Palm the
packet in the right hand with the salt side
against the palm. Have a regular salt packet in the left hand and you are ready to perform.
If you are doing this in a restaurant, walk up to a table which has just placed an order. Smile and
casually show both sides of the regular salt packet. Say, "Here is the salt you ordered. I hope you enjoy
your meal," Set the packet down on the table and turn as if to walk away.
They will either not react, or they will inform you they did not order any salt. Either reaction is
fine. (You'll have to think fast if they say great, and use your salt packet!)
145
The Magic
Take the salt packet into left fingerpalm position.
As this is
the
packet is dropped onto
the right fingertips, concealed in fingertip rest position. You are about to switch in the gaffed packet
using a shuttle pass.
The right hand is palm-down, with the fingers
naturally curled in. As the palm-up left hand turns
over, the fingers curl in to fingerpalm the salt packet.
At the same instant, the right hand opens and tums
palm-up. Time this so the fingers open up as they are
under the left hand. The audience sees the salt side of
the salt/pepper packet emerge on the right fingers.
This is a perfectly natural action to switch in an object
and apparently show both hands empty.
Say, "Wait a second, you didn't order salt, did you?
Maybe you ordered pepper?" T u r n y o u r right h a n d
palm-down, simultaneously closing it. As this is
done, secretly turn the
packet over. Give
right hand a shake. Then turn it palm up and
open it to display the pepper side of the salt/pepper
packet. Strive for as little movement as possible when
secretly
the packet over. Also, make sure the
packet is in the same position on your hand when
you re-open it. Pause for the effect to sink in.
Say, "Most people use salt... but some people do prefer
pepper." As you say this, close your hand and turn it
palm-down, secretly turning the packet over again;
then turn palm-up and open your hand to reveal the
salt side of the salVpepper packet.
Continue, "What is really strange is that I can put it
away and it re-appears at my knee... I've got a trick knee!"
As you talk, the right hand places the
packet
your right coat pocket. Then produce the
real salt packet from behind your
knee (FIG. 2).
Execute a false transfer, pretending to take the salt
packet into your left hand, actually retaining it in
y o u r right. Say, "Or I could throw it away completely.
Only to have it return at the other knee." As you
pretend to toss the salt packet into the air with your
left hand. Show your left hand totally empty; then
reproduce the packet from behind your right knee.
As this is done, your left hand goes inside your left
coat pocket and palms the salt shaker
3). The
head of the salt shaker is in your curled left fingers
(FIG. 4). Hold the salt packet by its edges between
your right thumb and fingertips, in a "Spellbound"
position (refer to FIG. 4),
146
Say, "Perhaps the best of all is when I
pass my
over it and it changes into a
glass salt shaker, which has plenty of salt
for everyone!" As you talk, the left
hand moves in front of the right (refer
to FIG. 4). Allow the salt packet to fall
onto the right fingers as the left hand
rotates the salt shaker into view and
places it on the right fingers, covering
the salt packet
5). The left hand
is removed and the salt shaker is displayed upright on the right
The right hand now tables the
shaker, and the left hand secretly retakes the salt packet in a fingerpalm
position
6). Pause for a moment
to allow the effect to sink in.
The Magic of Michael
Pick up the shaker with your right hand and move
it sharply upward, tossing it into your Topit
7).
In a continuous action, bring your right hand down
and smack it against your left hand, which turns
palm-up just as the hands meet
8). Separate
your hands to display that the shaker is
In its
place is the original salt packet, which you now leave
with the spectators.
The routine takes less than a minute to perform,
and following it, I quickly introduce myself by
saying, "My name is Michael
tainer hired by the management."
and I am an enter-
This publicity photo was for my two extended runs at the BridgeGate
Dinner Theatre in
West Virginia, during 1977 and 1978.
Prior to the appearance of this floating jumbo card, a plethora of playing
cards were plucked from very thin air.
148
DEBUT
EFFECT: The magician begins by having a spectator think of a card. He proceeds by telling the
spectator exactly where in the deck the card lies. Finally, he cuts to exactly that card. Continuing,
the performer says, "I'll do something
with your card.
However, just by brushing your card, it comes back to the top,
going to place it in the middle of the deck.
Not only is face up, but it now has
a blue back." (The deck being used is red.)
"Actually your card didn 't change color, it changed places with the twin prediction card
I had placed
into the card box earlier." The performer removes the red-backed, thought-of card from the box as
this is said. The performer insists that it didn't matter what card was originally chosen. To prove
this point, another card is selected. After rubbing the second selection across the blue card, it
changes into the second selected card!
COMMENTS: The name of this
reflects its origin.
direct outgrowth of Frank Everharf s
"Chicago Opener." I've altered considerably the presentation and handling for maximum impact.
is commercial. The routine "builds" so that by the end of the routine, the audience believes you
can do anything with a deck of cards.
PROCEDURES: To begin, place the card box off to the
right, closed, with the half-moon facing up. A bluebacked three of hearts is on
face of the deck, followed
by two odd cards, then the red-backed three of hearts,
and finally the rest of the red
Hold the deck
squared and face down.
Say, "I'm now going to read your
just think of any
card in the deck. So everyone here will know what card you
thought of without you saying it aloud, I'll
through the
deck and ask you to pull it out."
Fan the cards face up. Be careful not to spread the bottom few cards. Though the backs of the cards are toward
you, you may want to turn your head to emphasize the
fairness of the selection.
Say, "Have you shown it around? Fine, now as 1 shuffle the
deck, please drop your card anywhere." After the spectator
has showed the card to others, hindu shuffle the deck as
he returns his card (FIGS. 1 and 2). As soon as the card is
149
The Magic
placed on the
portion, drop the remainder
on top of the selected card. This positions the bluebacked card directly above the selected card. You can
now mix the cards as much as you like as
as you
don't disturb the five card block running from the selection through the red-backed three of hearts. Keep track
of approximately where this block lies.
Say, "Not only will 1 determine what card you thought of,
but 1
also tell you it is exactly (for instance) seventeen
cards down from the face of the
lam right, that would
put your card in this general area."
Since you've
the block in the deck during the
shuffle, it is a simple matter to estimate the approximate
position of the chosen card.
Turn the
face up and, going from the face, quickly
spread until you see
three of hearts, which will
be blue-backed. The spectator's card, of course,
be directly to the right of the blue-backed three. You can only
reveal two more cards beyond this first three of hearts
without flashing its duplicate. You do this as you
the "...general area" the card occupies.
Don't reveal the card yet or you'll make this just another "key-card" effect. Just let the audience
know that
know approximately where it is, so you
next impress them as you cut exactly (?) V7
(use whatever appropriate number... here it's seventeen) cards aside to reveal their selection. Say,
card is
here, isn't
All you really need to do is get a break above their card and double-cut it to the face of the deck.
However, you want to emphasize the fairness of the cutting process, so you must convince them
(without saying so) that the deck has been fairly resquared. You do this by slightly injogging the
card above the selected card as you square up the deck. The top of the deck is slanted toward the
audience to hide the injogged card. Hold the
by its long sides and riffle with the thumb. This is
a Mario idea, I believe, and it allows you to be very fair and natural. This heightens the impact of
cutting "exactly seventeen cards." As you cut, simply say,
you thought of comes straight to the top."
the process of cutting your card,
card
After a quick acknowledgement of the
card having been brought to the face of
the deck, mention that you will do something else with this card. Do a triple turnover. Turn the triple face down (the
thought-of card, the blue-backed three of
hearts and an odd card). Now place the
supposed thought-of card into the center
of the deck (actually the odd card) while
turning the deck face down to keep the
blue-backed card unseen (FIGS. 3 and 4).
The deck is now squared.
Now you are going to perform an
"almost flourish" as you cut to his card
face up. Hold the deck face down in deal150
Restaurants
ing position in the left hand.
Get a break above the bottom
two face-up cards (bluebacked and selected card)
with your right thumb
5). The right forefinger kicks
over half of the deck off the
top into your left hand (FIG.
6); the right hand packet now
skims over the top of this
packet from
and
lightly deposits the two
up cards (FIG. 7). This is a variation of the paint brush
change. Assemble the deck so
the selection is on the top (left
half on top of right).
Double lift to reveal the thought-of card with a blue
Place this card face down on the table.
If there is no table, drop the card an the floor. Do not hand it to someone.
151
The Magic
Immediately palm the top card of the deck in the
right hand as you set the deck aside (FIG. 8, exposed
view of hand
toward box).
Pick up the card box with the thumb at the back
and fingers at the front (FIG. 9).
It is
that your left hand brings the box up
to meet the card, rather than bringing the card down to
meet the box (FIGS. 10 and II).
Once the card is flush with the card box, the left
hand continues turning palm-down with the box
and card. The left hand is
with its back upward;
the fingers align the card under the card case as the
right hand opens the box (FIG. 12) and "removes"
the card (FIG. 13). The illusion of the card coming
from the box is perfect. I learned this
loading"
technique from
DISCOVERIES.
Drop the card face up so as to overlap the tabled
blue card. This keeps someone from examining the
blue card prematurely (after the routine is over, they
will swear that they saw both the blue and red backs
as the
card).
At this point the red-backed three of
hearts is second from the
Cut the
bottom card to the top and force the bottom card using a one-handed bottom deal
or any convincing force.
Say, "You're probably asking yourself what
might have happened had you not thought of
that card, since it's the only contrasting colored card around. It's simple,
have done a
different trick! To give you some idea what
might have happened, I'll just dribble the
cards down and you stop me on the card you
want.
one? Fine." The one-handed
force is executed at this point.
Continue, "Had you thought of the three
of hearts before you thought of the - of -, I'd
have rubbed the blue card here and they would
both be the three hearts. So it really doesn 't
matter which card you think of."
Using the force card (red three of
hearts),
its
scoop up the blue card.
rub the two cards together,
and with a dramatic pose reveal they are both three of hearts.
When you try this, you should pace one climax upon another. If you do, I'm sure you'll see why
this routine astonishes laymen as well as magicians!
152
Restaurants
153
BROKEN & RESTORED
RUBBERBAND FINESSE
COMMENTS: I think the method of pulling two strands of a rubber band tightly together so they
seem to be a single strand has been around for many years. Harry Lorayne then popularized the
effect by developing a practical method for getting into the set-up, which was originally printed in
his book, REPUTATION MAKERS. This is where I first learned the effect, and I used Harry's handling for years. fact, the opening movements I use for doubling over the band are
Harry's.
However, after several years, I began to notice something interesting. My delivery of the effect
was exactly as I had interpreted it from Harry's
I picked up the rubber band, prepared it,
stretched it a couple of times, then acted
it accidentally broke. I then immediately
the
stretched band snap into one hand before showing it restored. When done this way, people would
almost always say,
did the broken rubber band go?"
For years I was happy with that, because it seemed the method used - stretching two bands as
one - had left them fooled. They clearly thought the original band had been broken. But after hearing this for years, I realized that while the method used was
them, the procedures which
lowed the breaking of the band allowed them to think a second rubber band could have been used.
The broken band, remember, snaps quickly from its stretched position between the two hands,
flying into one hand, which quickly closes. I think that the snapping band moved so quickly, many
people thought I was shooting away the broken band, while closing my hand over a second
altogether.
The reason you have to proceed quickly with the broken band in the original handling, is because one hand - either the right or the left, depending on how you set up - holds the
band by its center. When the break is then simulated, you are holding the band by its center, leaving the looped nature of the band open for discovery. The only way to cover this is to snap the band
quickly out of sight.
But I have discovered that by pinching both bands as close to where the looped ends meet as
possible, you can conceal the loops that reveal the doubled-over nature of the bands. These looped
ends are easily concealed by allowing them to sink between the pads of the fingertips.
This minor technical variation, where both hands pinch near the looped ends, allows you to slow
down the procedures enough to control the display of the broken band, which also allows you to
construct a better restoration sequence.
By following the illustrations and captions exactly, you will be able to keep every inch of the rubber band in full, controlled view during the break and restoration. Proceeding meticulously will
make it
to accuse you of using a second rubber band. It is obvious only one band was
involved. Combine procedures that make this fact clear, with a method that completely convinces
them the rubber band is broken, and you'll notice you have a perfect effect.
But it gets better.
Not only is it a perfect effect with an ultimately practical method, but the objects, which can be
borrowed, are found everywhere. Everyone, and I mean everyone, has had the experience of having a rubber band break on them. You will never find anyone who can't relate to the frustration of
the break or the impossibility of the restoration. For all of these reasons, and for others I'll probably
never understand, this is the effect that I perform more than any other I've ever known.
Restaurants
FIGURE
FIGURE 4: You will need to move the two looped ends
until
are pinched between the index finger and
of the left hand. To do this,
right index and
middle fingers
open up the section of
looped bands that the tip of the index finger occupied.
The rubber band is stretched between the
and thumb of the right hand.
FIGURE 5: The left fingcre help the right fingers
open up their
moving the two looped
ends between the pads of the left thumb and index finger.
FIGURE The left hand pushes the middle of the
away
yourself/ as the right index finger and
thumb pinch together.
FIGURE The
band doubled overon
with
the looped ends
between the pads of the left
thumb and
There is a double strand of rubber
band held together so they appear to be a single strand
looped around the right index finger.
FIGURE 3: The right hand pivots away from
the loop of the band from the thumb to the
index finger.
155
Magic of Michael Ammar
FIGURE
right index fingerand thumb move down
and pinch the rubber bands right next to where the
looped ends are pinched together by
fingers. Notice the difference between FIGS.
and 6: The location of
the looped ends has been transferred
one far end to
the middle position of the top strand.
FIGURE 7: The illusion is
by
the point
where the looped top and bottom of the bands
from
the far end to the middle of the top strand. To do this, the
left little finger moves to the middle of the lower strand
FIGURE The right hand completely lets go to re-gr
band in a slightly different position. The looped
pinched between the
index finger and thumb.
FIGURE 11: If the looped ends are taken
by the right
index finger and
the hands can "wind u p " before
to
what seems to be an unbroken loop of
rubber band.
FIGURE 12: The left index finger and thumb move down,
quickly pinching the left side of the doubled band as close to the
loops as possible. By swinging the left
back toward yourself, and the right hand away from you, each taking their
looped ends pinched between their index fingers and thumbs,
you create the perfect illusion of breaking the loop of rubber.
FIGURE 9: The right little finger moves up to clip the
double strands in about the same location previously
pinched by the index finger and thumb.
156
Restaurants
FIGURE
The middle and third fingers of each hand are
curled all of the way in, providing a perfect view of the band,
the little fingers continue to hold the doubled strands in what
seems to be an oblong
FIGURE 14: To
the break in
band, both hands
move up and down like a draw bridge, finally moving together,
if
the two ends together.
FIGURE IS: After the left hand
to push its end together
with the right hand's
let
everything except the looped
portion pinched by the right hand. Continue to pinch the band
together for a
revealing the
157
THE LINKING HEADBANDS PINCH
This is a very commercial handling and presentation for Dan Harlan's Linking Rubber Bands
using head bands instead of rubber bands. Dan's method, he sometimes had the spectator pinch
the middle two strands of the band and pull them toward themselves. Then, as they let the two
center strands snap back, he would release one of the concealed loops to create the impression they
had just linked. Then he would unlink them with one of the visible unlinking methods. I loved the
idea and evolved the modifications detailed below. The use of headbands instead of rubber bands
takes a close-up effect and transforms it into a
stand-up piece.
Begin by setting up the two center
strands. All you need to remember is
transpose the two center strands twice.
One band is held between the index
fingers of both hands, and the other is
held between the little fingers (FIG. 1).
Remember, your objective is to
transpose the two center strands twice.
There are many ways to do this. In
fact, Michael has several ways to set
up and he uses them interchangeably.
Use your
second finger to lift up
on the upper strand of the lower band
until it is above the lower strand of
the upper band (FIG. 2). Simultaneously, use your right thumb to pull
down on the lower band of the upper
strand (refer
2).
Without hesitating, move your left
second finger toward you and your
right thumb away from you to continue to twist the two controlled
bands around each other. Remove your right second and third fingers from behind the portion of
the band that is touching the back of the right third finger. Once free of this strand, bring the right
second and third fingers toward you, through the lower (large) opening, and then up through the
center (small) opening, where they close and take over for the right thumb, which is withdrawn.
158
Remove your
second
finger from the band and insert it and your left third finger back through the center
(small)
where they
then curl and close.
3
shows an exposed view of the
two center strands having
changed place twice. You are
now set up. As I said earlier,
there
many ways to get
into this. You will most likely
hit upon a method that you
feel most comfortable with.
The set up is not hard to do,
just hard to describe in print.
Keep all your fingers closed
and the backs of your hands
toward the audience. This
shows what appears to be two
bands, one each hooked
between a forefinger and
a little finger. Direct your
attention to a spectator
and say,
right hand
has the power to link these
two bands together." Ask
the spectator to hold up
his right hand and pinch
the two center strands between his thumb and forefinger. This perfectly covers your left fingers from
view (FIG. 4).
Continue by saying,
"Now knead the bands together." way of demonstration, your left second
and third fingers release
their concealed interlocking strands as they show
how to knead the bands
between the second and
third fingers and thumb (FIG. 5). FIG. is a performer's view of this action. All of this is done under
the cover of the spectators hands, as you tell them to knead the bands back and forth. By extending
your left fingers and thumb to help illustrate how you want them to knead the two center strands
between their fingers, you perfectly cover the release of the concealed locking strands.
159
The Magic
The spectator now removes his hand and the bands are seen to have linked together. Say, "Your
right hand has the power to link the bands, but your left
has the power to
them." H a v e the
spectator reach up and grasp the strands at the point where they are linked, again using their first
two fingers and thumb (FIG. 7 shows a performer's view).
The use of the spectator's left hand perfectly covers the actions of your right fingers, which must
release their strands for the unlinking. Your right first and second fingers and thumb extend in
order to help illustrate the kneading action. It is during the extension of these two
that the
strands are again released. Once this is done, curl your second and third fingers again. Now have
the spectator release the bands to show they are unlinked. You are back to your starting position,
with the two bands stretched between the forefingers and little fingers.
160
Chapter Six
REPUTATION MAKERS
PENCIL THRU QUARTER
EFFECT: A quarter is borrowed and marked with a pencil for future identification. The pencil
now very clearly penetrates the coin three times in succession. Immediately following the third
penetration, both the coin and the pencil are handed directly to the spectator for inspection.
PRESENTATION: "I'm going to give you a real bargain
your money now.
quarter,
show you one of the most realistic illusions imaginable.
someone here has a
"Here's a pencil, draw a moustache on George, or make any identifying mark on your
for positive
proof of ownership. The reason 1 borrowed your quarter and had you mark it is because I'm going to show you
this illusion, not once, but three
"There's the first time... and that's the second time. Now those were full-fledged illusions, because that
pencil really seemed to penetrate your quarter. But 1 said I'd do it three times, and
the third time, right
there. It's a nice illusion isn't it? The pencil can apparently move freely
forth through your quarter.
But here, right here's where it
have looked like it went through."
COMMENTS: The moves here are not difficult. I will explain my thoughts, and the psychology
behind the routine, which takes just one minute to perform.
Contrary to what you might first think, this routine was designed for laymen, not magicians. The
switches and clean handling make it easy for laymen to see and appreciate what looks like real
This effect plays quickly, but when presented
it says quite a bit about your skills.
Before we take on the procedures,
this routine.
s look at psychological points to bear in mind as you learn
(1) This effect is presented as a deception of the eye. It is presented as a penetrated and restored
coin puzzle for the mind. Subtle though the difference may be, it is most important.
We are going to take advantage of the fact that most people believe a
magician can make
them believe they see things when they really don't If done in a crisp, convincing manner, many
people will believe you made them
think they saw the penetration.
(2) Due to the sheer impossibility of what the spectator sees, for him to be convinced his coin is
used, you must, in a direct manner, borrow a marked coin, show it and the hands openly, and then
immediately push the pencil through the quarter.
161
The Magic
(3) The spectator should feel as though he could
have marked his coin anywhere. The simple sentence
"draw a moustache, or
on George, or any mark
you'd care to..." has led every person to mark the coin
on the head side. After all, these are not things you
would draw on an eagle!
(4) For the presentation to be its strongest, I think
the first switch should not be a toss-type switch, but
rather a slow, convincing switch. Also, the borrowed
coin shouldn't be ditched, (it would be hard to retrieve) but it should be naturally concealed. (That's
where the
comes in!) Finally, (and this is the
strongest point) after the last penetration, the coin is
immediately handed directly back to the spectator
when the pencil is removed.
PROCEDURES: To do this you will
need a well-made Cigarette-ThroughQuarter
Many are not well
made; check before you buy. Also, get
a round pencil. The six sided pencils
don't allow the circle to be completely
filled as the pencil goes through. If s
not a pencil going through a hole
which somehow opened, but a pencil
melting through the quarter. FIG. 1
shows the pencil in the right hand as
for
with the
coin
clipped between the middle and third
of the right hand. The real
looking side is pointed toward the
floor and the gimmick side is facing up. Take the borrowed coin face up along the middle joints of
the left middle and third fingers. Use the pencil to point to the spectator's
on the coin (FIG. 2).
The hands joined in FIG. 3, with the
left hand index finger scissored out of
the way. The right hand (index finger
still curled and holding the pencil)
places its middle finger along the left
middle finger. This places the gimmicked quarter out of sight, directly
under the left fingers and borrowed
quarter. Both hands are casually
opened and a flash given of both
palms. This is done as you say,
reason
borrowed your
and..."
At this point you perform a variation of Bob
which appeared in APOCALYPSE. In FIG. 4 the right thumb presses the far edge of the borrowed
coin against the right middle finger. This coin is lifted and carried away as the
coin is
162
Reputation Makers
dragged out of hiding by the same
motion. It turns over as it comes
from under the left hand to land
tails-up in the spot the borrowed
coin occupied. It looks as if you
just turned over the coin (FIG. 5).
In FIG. 5 you see how the right
hand moves and follows through
as though it were just turning the
borrowed coin over. The borrowed coin at this point is held
against the right second finger by
the right thumb. Curl in your
right third finger and move it on
top of this concealed coin (FIG. 6,
performer's
view).
Now
straighten the third finger again
to clip the coin between the second and third fingers. Take the
coin that is on your left hand with
your right forefinger and thumb,
clearly showing your left hand
empty (FIG. 7).
After showing the coin and the
pencil, the right hand shifts the
coin into a sideways,
left-hand spellbound position
(FIG. 8).
163
The Magic of Michael
The right hand positions the point of the
pencil about three inches from the hole in the
quarter. The right hand then casually pushes
tfie pencil through the quarter for half of its
length (FIG. 9). This is one smooth stroke. If s
important that the pencil goes straight
through the gimmick on the first approach.
It seems as if you drew back the pencil and
pushed it straight through the quarter, not
deliberately at the one spot where the hole is.
You ruin the illusion if you hit around the
quarter trying to find the opening.
As soon as it pushes the pencil through the
quarter, the right hand is removed and you
pause for half of a beat. This is very striking to
laymen with no idea that gimmicked coins
even exist. The pause is very important. Don't
come to a stop, disrupting the rhythm of the
routine, but just pause momentarily for the
effect to sink in.
second and third fingers curl in and
allow the pointed end of the pencil to move
down and point toward the floor between
them (FIG. 10). The pencil is pushed on
through, where it is taken by the right hand
in writing position.
As the eraser finally clears the gimmick, the pad of the left thumb prevents the gimmick from
closed. This is very important. Don't immediately remove the thumb. Pause another
half-beat, then remove it to reveal a normal looking coin. This is a strong point for watchers because
they reasonably expect to see a hole.
Immediately after removing the left thumb, the right hand brings the pencil about three inches
over the quarter and thrusts the point down through again for half of its length and lets go of the
pencil. Again, the left thumb pushes the pencil all of the way through into right-hand writing position. This quick penetration is really visual. After removing the left thumb, the right hand takes the
Gesture with the left hand as you say,
a nice illusion, isn't it?"
The right hand replaces the coin into the original left-hand spellbound position. Repeat the first
penetration, leaving the pencil halfway through the quarter. You are about to perform the series of
moves which I feel puts this routine a very special class. You move the pencil back and forth
through the coin, then slowly
the pencil from the quarter and immediately hand both straight
back to the lender of the quarter. Here's how it's done.
The quarter is
between the left second
and thumb by
edges (FIG. 11), with the
third finger against the flap, helping to keep it concealed. The right hand holds the pencil by its
point and moves it back and forth through the quarter. (FIG. 12). FIG. 12 also shows the left third
finger folding the flap back as far as it will go. This can be done with one hand, but you may want
to assist the opening of the flap with your right thumb. The flap snaps against the left third finger.
The left third finger opens the flap as much as possible. The left thumb and second finger continue
to support the quarter during these actions (FIG. 13).
164
Reputation Makers
With the flap held open by the third finger, the right hand can move the pencil silently back and
forth through the quarter (FIG. 14). This also permits a full view of both the coin and the pencil. Say,
"The pencil can apparently move freely back and forth through your quarter."
Finally, the right hand stops the pencil with the quarter about a third of the way up from the
writing end. The right hand moves from the point, leaving the coin (and pencil) held by the left
thumb and middle finger. (The
is still snapped against the left third finger.)
165
Magic
The right hand moves up and grabs the pencil at
the center, while slightly uncurling the fingers to
expose the borrowed coin. As FIG. shows, this puts
the coin into a perfect position to be grabbed by the
left thumb and index finger. The right fingers cover
the fact that the left hand takes the borrowed coin.
FIG. 16 shows the right hand slowly pulling the pencil away from you, out of the gimmicked quarter, and
along the side of the borrowed quarter.
As the pencil leaves the gimmicked quarter, the
flap snaps against the third finger where it will remain
due to spring on the gimmick! FIG. 17 shows the left
second and third fingers curling into the palm where
the gimmicked coin is concealed by the thumb.
When the right hand removes the pencil, the gimmicked coin is out of action and the borrowed coin is
in view, looking exactly as if it came off the pencil. Immediately hand both out for inspection.
TRADE SHOW CLIMAX
This is a handling that works very effectively in a trade show setting, where you must have
maximum impact with as little effort as possible. You can use it to follow up the Pencil Thru Quarter
routine just described, or
can
it as a stand-alone piece. Either way, the ending is very strong
and never suspected. This can also be a strong promotional advertisement for you. Simply have the
pencils made up with your name, address, and telephone number on them. Since you present the
spectator with a rather unique prop that they are not likely to throw away when they get home, it
is the perfect "business card." It also makes a great corporate promo. Simply have the pencils made
up with the corporation's name and logo on them. This can a valuable selling point when you
are negotiating with a corporate client.
NOTE: For an alternate ending for the Pencil Thru Quarter, see page 283.
166
Reputation Makers
To be able to perform this routine, you must find a metal shop that can punch a round hole in the
center of a quarter. The hole is of a size that the pencil can be slid into it and then glued so the
quarter is permanently affixed to the pencil.
PROCEDURES: Begin by holding the pencil
between your right forefinger and thumb, with
its point toward you, and the glued quarter concealed behind your right fingers
18, performer's view). If you are using this as a followup to the Pencil Through Quarter, then you must
switch the real pencil for the
pencil.
This is a simple thing to do as the spectator is
examining his quarter that you just put the pencil
through three tunes.
Get the borrowed quarter back from the spectator and hold it in left-hand spellbound position
(FIG. 19). The right hand now moves toward the
left hand to apparently push the pencil through
the quarter. As the hands meet and the pencil is
pushed through, the borrowed quarter is allowed to fall onto the base of the left fingers (FIG. 20).
Grasp the glued quarter by its edges between
your left first and second fingers and thumb.
Now remove your right hand to show the pencil
going through the quarter (FIG. 21). You will now
apparently remove the pencil from the quarter.
Grasp the pencil
your right forefinger and
thumb, in front of the glued quarter, concealing it
from the spectator's view (FIG. 22).
thumb
moves down on top of the real quarter to conceal
it (refer back to FIG. 22).
The right hand now moves the pencil forward
(away from you) as though removing it from the
167
The Magic of Michael
quarter. Simultaneously, the left thumb
pushes the real quarter toward the fingertips
where it is taken between the left forfinger
and thumb in a display position (FIG. 23).
Take the real quarter into left-hand spellbound position and repeat the penetration as
described. This time, your left hand retains
the real coin and the right hand gives out the
glued pencil and quarter for examination.
When I first began to make the rounds at magic
tions, this Pencil Through Quarter routine was one of the
things most people talked about Later, I found its application to trade show work to be downright profitable.
THE ICEMAN COMETH
EFFECT: A card is selected and a corner is removed for
The card is then further
torn and finally vanishes in a flash of fire. The card box is then opened, letting out a block of ice
which exactly fills the inside of the box. In the very center of the block of ice is frozen the selected
card. Chipping away the ice from the corner verifies that this is indeed the "original" selection.
The card, of course, needs be
I dribble the cards from the
right hand into the left, have a spectator say "stop,*' and then force the bottom card using a onehanded bottom deal. Any force where you can play up the fairness of selection can be used.
Actually, the hardest thing about this routine, is finding how to freeze a card into the center of a
block of ice. Ordinarily, it either rises to the top or sinks to the bottom of the block. It also takes some
effort to make a block the exact size of a card box.
You need a plastic box the same length and
width as the card box you will later use in the
routine. I have found that paneling nails from the
hardware store come in a box about the same size
as poker-width cards. To freeze a card into the
center of a clear ice block, you must go through
two freezing operations. First, using the plastic
box, freeze a block of ice about one-half the thickness of the deck (FIG. 1).
When this block is solid, remove it from the
"form" and keep it frozen. Then freeze another
block the same size. While this is freezing, find a
duplicate of the card you will later force (same color and back design, please). Tear off an index
corner of this card and save it as well as the rest of the card. When the second block is
and is
still in the case, place the card with the missing corner on top of the block.
Then,
first block of ice is put on top of the torn card, thus sandwiching this card between the
two blocks of ice (FIG. 2). Add a little more water to all of this and refreeze it. This
fully seal the
torn corner card inside the center of a card box sized, clear, block of ice. After removing the ice from
the case, the ice block is placed into a card box and kept frozen until needed.
During the routine's performance, the cards are removed from the box and the duplicate of the
frozen card is forced. The card box is switched for the box with the "iceberg." This is not nearly as
hard as switching decks, because no one cares about the box. Here are three of the methods I use:
169
The Magic of Michael
(1) Go to the
to switch,
then casually place the box to
one side.
(2) When standing, place
the box into the pocket, then a
second later take out the other
box and set it aside.
(3) In nightclubs you can
just take the cards and box out
and go into the iceberg routine. Don't bother switching
here, they will never remember that you didn't take the
cards from the box!
A corner is torn from the forced card and switched for the corner of the card in the iceberg. (My
switch is detailed in the Utilities section.)
To add flair and contrast to the future ice production, I vanish the torn card in flash paper. Fold
two six-inch squares of flash paper into two, two-inch squares and fix them back-to-back with a
tiny spot of wax.
Tear the card into pieces, take out the flash paper, unfold the top piece and fold the card inside.
Then, as you reach for the ice pick to stick the pieces on, you can easily switch in the other flash
paper and ditch the card pieces.
The ice pick makes a good unifying prop, since it displays the pieces, safely burns the flash paper,
and is used later in the routine to chip away the iceberg corner.
After a short recap, the paper is burned and the pieces have vanished in a flash. The patter lines
I use at this point come from the Paul Harris routine "Absorption" from LAS VEGAS
you can answer the following question correctly, then I
perform a miracle. Does the
icicle
appear on this card box?" Whatever the answer, y o u say, "Actually it does! you cover the B (on a Bicycle
deck) you have icicle.
it's not a Bicycle deck,
a
And with
deck you get a B-
iceberg." (the here is pronounced "Buh".)
Saying this, you turn the box mouth-down and set the iceberg on a tray or table, then lift the box
away, leaving the iceberg standing vertically with the card facing you (FIG. 3).
Needless to say, the audience is shocked to see a block of ice with a card frozen
Even
though they see the corner missing, they still don't believe if s their card until you turn the ice
around, exposing the face.
Set the ice on the tray. Using the ice
chip
just the from where the corner is missing, and
let them match the corner while three-fourths of the card is still frozen into the ice (FIG. 4).
Bingo! You're hero! Audiences are quicker to believe thatyou can work miracles than to think
you'd work as hard as you have and plan as far in advance as you have just to show them a trick!
Look past the necessary preparation and
see a miracle.
not easy to set up, but that just
means fewer performers will do iti The effect for layman is very hard to match, and that makes it
worth it for me. I use it in nightclubs, special shows, interviews, and TV shots. You can't do it
anywhere, anytime, but why should you?
170
Makers
Bingo! It's a perfect match! I played with so many ice ideas that
time I had a poster that claimed, "The Iceman Cometh..."
When I later found out that Dick Zimmerman, also from West
Virginia, had worked on ice-related magic the late 1950s, I
began to think it had something to do with the altitude!
171
CARD CUBES
EFFECT: After finding a
card in a folded condition, you start to discard it since it is
ruined.
you decide to try to do one more thing
it. Holding the folded card in
left palm,
you cup your hands together, "To condense the moisture in the card and air together." You then part
your hands to reveal that the selected card has been frozen into a cube of ice inside your bare
hands!
COMMENTS: This is much easier to prepare and perform than "The Iceman Cometh," yet you
can conveniently get the same strong effect while performing from table-to-table!
PROCEDURES: Fold as many cards as you plan to use into one-sixth their original size using the
one-handed card fold (see EXPERT CARD TECHNIQUE). FIGS. I through 4 show how to do this.
172
Reputation Makers
Place the folded cards into the cells
of an ice cube tray.
these with
water and freeze them to form "card
cubes" (FIG. 5).
The frozen cubes will last forty-five
minutes to an hour in a thermos and
about twenty minutes in the pocket
To carry one in your
pocket, cut a
piece of chamois cloth about ten
inches square. (This is a highly absorbent
which will take care of
any melting.) Fold it over a couple of
times and place it in your pocket. At
the right time, place a card-cube on
the doth, where it can be quickly and
quietly removed whenever necessary.
When in a restaurant or night club,
I leave the cubes in a tray after loosening them, and store them in the kitchen or behind the bar in a freezer. (If s better to run water over
the
of the tray to keep the cubes from breaking when removed.) I also have a small thermos in
my dose-up case, which holds several card-cubes use when I am too busy to go to a kitchen.
Force a card by whatever method you fancy. Have a spectator memorize it and shuffle the card
into the
the card is returned, run through the
up to show him the cards are well
mixed and that nothing has happened yet. As you sight the forced card, get a left little finger break
below it; then continue running through the rest of the
and finally square the cards. Side-steal
the selection into the right hand and give the cards back to the spectator. (See Side-Steal
When this is well done, nothing is suspected and the spectator is positive the card is lost!
As y o u carry o u t the preceding actions, say,
magician has two advantages when he's performing.
First, you don't know what's going to happen. Second, you don't know where to look. But this trick is so easy
that
tell you what's going to happen, when it's going to happen, and where it's going to happen. you
catch on, that's
you will have a trick that you can
for your friends." Sound sincere as you say these
lines. Hearing the very casual, matter-of-fact presentation, the audience relaxes and allows themselves to be misdirected, espedally if they believe what you are saying.
As the
shuffle, your
is h a n d e d out, say, "Take the deck, cut it twice, and then
it three times. On the third
card
fly out the deck, face up, while it's in your hands!
your eyes on it.
Sometimes it pops out
Having heard this, they watch the deck the entire time. By the time the
deck is cut twice, you fold the card to one-sixth its actual size using the one-handed
Since the
side-steal was done with the deck face up, the face of the card is against your
Thus, the card
is folded face-outward.
Hold this folded card in your right hand. The folded card resembles a tent, open end along the
second finger only, and the bottom facing out of the hand. As you call attention to the cuts and
shuffles, say, "Keep your eyes on it\" Point to the deck with the left hand. Your right hand raises up
to your glasses, with the back of your hand toward the audience. Without breaking patter or
rhythm of movement, load the card behind your glasses you adjust them.
like you've acquired a "card eye-patch." If you don't wear glasses, rub your eye and wear the card like a
173
The Magic
they finish shuffling and nothing
happens, they will either notice the card behind your lens (or on your eye) or they will
have to have it pointed out by the audience.
Say, "The reason I told you to keep your eye on it
was bemuse I kept my eye on it."
They unfold the card after you hand it to
them. Act as if the trick is over. Reach into
your pocket and fingerpalm the card cube in
your right hand (FIG. 6).
Say,
show you one more thing with the
card you thought of." A
attitude makes the climax a miracle. Continue, "Re-fold your card along its creased lines."
This insures the card is refolded with its face
outward. Take the card with your left fingers
and thumb. Bring your right hand over your
left and squeeze the two together. In the process, your right hand
the folded
card and releases the card cube into your left hand
7).
When you remove your right hand, you have condensed the moisture in the air and card into a
card cube! Hand out the card cube and clean up at your leisure.
174
LET'S
THE BOTTLE
COMMENTS: Do you need a strong piece of magic that will rarely conflict with any other effect
you might do? One that packs small, plays big? Try this. Trust me.
EFFECT: A half dollar is examined and an identifying mark is scratched on it with a pocket knife.
A bottle of champagne is uncorked and examined. The bottle is re-corked; a spectator
it by its
neck. The half dollar is now driven through the bottom of the bottle. After the bottle is examined,
the coin is magically removed from inside and confirmed to be the original.
COMMENTS: I love this. I really do. I've changed the handling slightly from my original method
to take advantage of the Topit, but I'll explain both handlings. I've
developed an alternative
presentation, which I'll explain at the end.
explain my original presentation as well, because I
had tremendous fun with it while performing a series of Dinner Theater shows.
Some people might be worried about laymen who know about folding coins, and that is somewhat legitimate. I'll make two suggestions. First, structure the routine in a way that would have
made Erdnase proud. What do I mean by that? Structure it so "that the most critical observer
not
even SUSPECT, let alone DETECT," the fact that a second coin might be involved. Secondly, the
truest danger would come from actually handing the bottle out to be examined, with the folding
coin still inside the bottle, by someone with a knowledge of folding coins. Why? They'll shake it out!
why! But, as you will see, there is darn little chance for that to happen in this routine, and it
is doubtful anyone would stand up in the middle of my show to announce his suspicion to the rest
of the audience.
While deciding upon a method for introducing the coin into the bottle, I was aware of how
someone in the past had hollowed a cork out from a wine bottle for holding the coin. Clever, I
thought, so I began a long search through different bottles and different corks. Research, you
understand.
Finally, my dedication to the task paid off. I discovered that Andre's Champagne has a plastic
cork with a hollowed out portion built in that was perfect for holding a folding coin. After popping
the cork and drinking the champagne, I filed away the ridges on the cork so it could be corked and
uncorked from the bottle more easily.
The next step was to develop a presentation which would achieve a variety of things. First, I
wanted the presentation to emphasize how impossible the effect was, by driving home every aspect
of fairness in the handling. Second, in an entertaining way, I wanted to project the effect to well
beyond the few people who were actually physically involved. Hopefully, I have made this routine
a presentation piece, capable of playing to several hundred people.
175
Magic
PROCEDURES: Begin by putting the coin into the plastic cork
(FIG 1). Notice that the coin has not been stuffed all of the way inside
the cork. Do that, and you'll never be able to dislodge it. Next, carefully insert the cork into the bottle, making sure you don't dislodge
the coin.
I remove the labels from the bottles 1
but I have added a row of
tape near the neck.
doing it for cover; it is mistaken for some foil
left around the
If the bottle you choose actually contains some
great (FIG. 2).
On platforms or small stages leave the bottle on your table or off to
one side with an assistant. In nightclubs, put the bottle in an ice
bucket and have a waitress or bartender bring it out when called for. You must slightly alter the
presentation, depending on the arrangements and the situation.
After presenting an effect which reaches a desirable climax, put
yourself into a celebrating mood and call for a bottle of champagne.
As if s being brought out, or before you bring it from your table, pass
out a half dollar to be examined and marked.
Address the audience,
got some
left
from last
night, and we're alt among friends, so let's take a minute to toast — ."
(relate to your last effect).
When the bottle arrives, wipe it off, and either sit in a chair or on
the edge of the stage, with the bottle pointing up from your lap.
Simulate the actions of popping the cork from a full bottle of champagne. Act a little worried about the expected pop; glance at the ceiling, point it away from you, and flinch a little. The spectators infer
body language that the bottle is full and the cork will soon
pop off. When the cork comes out, it just drops into your lap. Look
confused and put the bottle up to your eye like a telescope.
No belly laughs here. In a cute way, I am hoping to mislead them
as to the purpose of the bottle, and in particular, the
Acting like
the bottle might contain
provides a reason for having the
bottle corked.
Say, "Is that all that's left? Wow, no wonder last night's show was so
fun." Set the cork on the stage, or on a chair, and pass the bottle
to a nearby male spectator.
Continue, "You, sir. You look like you 're familiar with bottles. Would you look closely at the bottle and
make certain everything is as it appears to be. Good! We have an expert's opinion, this is a bottle. Would you
mind joining me up front
a moment?
always hesitate
ask someone if
join me. I'm afraid they'll
say,
Are you
apart?' •
you and please bring the bottle with you."
Re-cork the bottle and have him stand to your left, holding the bottle by its neck, with his left
hand. Have him hold the bottle firmly in front of his chest, parallel to the floor with the cork to his
left.
Say, "O.K., Now where's the coin? Over here? Good. You hoped I'd forget it, didn 't you? You have marked
for future identification haven't you? Good."
176
Reputation Makers
Place the coin on the side of the bottle being held by the spectator. Say, "Glass is not an immovable
object. By that, mean
it's shape can be altered. But if the
is altered, even by a fraction of an inch,
it will
There is no gettingaround that. With those thoughts in mind (speaking n o w to the helper),
do you believe it would be possible to pass that coin down through the side of that bottle, visibly appearing
inside, without harming the bottle. Well, would you be impressed if I were to throw this coin at the bottom of
that bottle, only to have the
alter it's physical reality just enough to allow it to pass through the glass
itself, arriving inside, with no damage to either the coin or the bottle? Would you be impressed? (They always say yes.) Darn right you would,
like to see tJiat myself!"
Play these lines tongue-in-cheek, along with the rest of the routine. Have FUN with this, and it'll
come across very strong. Take the coin from the bottle with your right hand, and position the bottle
in your
hand at a forty-five degree angle, with the neck pointing to the left. Help hold the
bottle yourself with your left hand, because you are about to hit the bottom with some force. The
coin is in a right-hand classic palm and the right hand is closed.
Say,
aim to please, and if that's
you want, then
I'll do. At the count of three. One!
(Show the coin.) Two! (Strike the bottle with the coin, dislodging the folding coin from the cork.)
(The left hand, still holding the bottle, now shakes it to display the coin inside.)
It is actually on the second count that you swing your hand forward, open it, and strike the bottom of the bottle with enough force to jar the folding coin out of
Be certain to strike the
COIN against the bottom EDGE of the bottle and
just your hand. This adds the element of
sound, and insures the coin stays in a palmed condition. Hitting the edge of the coin against the
bottle bottom also prevents any potentially painful bruises on the palm of your hand. No joking, I
learned this the hard way.
The shaking of the bottle comes on THREE; not everyone is able to immediately see what has
happened. The sound of the rattle makes it clear, and it causes the assistant to smile or look puzzled.
The immediately conveys to everyone that you have done exactly what you've said you would do.
At this point, you might use the Topit handling described later, but if you have a good classic palm,
leave the coin in palm position for the rest of the routine.
Give him the bottle and say, "Is it in there? Yes, great! Take the cork
markings? How about that?"
and look inside. Do you see his
Bold? Darn right it is. But remember, he never really examined the coin to know exactly what the
marking looked like. They usually see the edges the coin and assume the "fold lines" are the identifying marks. Judge from the situation, and the general nature of the spectator, before you use this
line. In nightclubs, pass the bottle quickly to a couple of tables, but don't let it get away entirely.
Keep control of the situation.
you return to the front, balance the bottle upside down in a prominent position, so that the
coin can be seen in the neck of the bottle. In nightclubs, this could be on the most prominent table.
It drives home the fact that the coin is obviously too large to pass through the neck of the bottle.
Continue, used to leave the coin inside, but the expense almost drove me to a life of crime. 1 did think of
three ways to get the coin out of the bottle. could
the bottle and pick the coin out from among the
pieces. Not very impressive. I could cut a hole in the bottle large enough to allow vie to
in and take the
coin. Not very magical. Or could do the physically impossible. Not very likely."
As you talk, take the bottle with your left hand around its middle, while inserting the mouth of
the bottle into the loosely closed right fist. The mouth should rest by the crotch of the thumb and be
encircled by the index finger and thumb. The right middle finger, however, should be curled tightly
FIG 3, bottle removed for clarity). This way, the folding coin won't fly out the bottle and through
The Magic
your hand. Instead, it will come out far enough to
hit the middle finger, stopping it in a perfect
position. The marked coin is
palmed in your right hand.
Say, "But will attempt to do that very thing right
now! There's the coin and there's the bottle, all due to
magic!"
As you say this, raise the bottle to the left, then
thrust it SHARPLY down to the right (FIG. 4).
This forces the coin from the bottle into the
cupped right hand. The right hand thumb palms
the folding coin and drops the marked coin, either onto the table, or hands it to the spectator
(FIG. 5). Set the bottle down, timing your actions
with your words for an applause cue.
ALTERNATE HANDLING: If you have the ability to use the Topit, by all means, use it here. One
way to discourage anyone from suspecting you are using a second
that folds is to display
obviously empty hands during the times they might be looking for something extra.
After you have just slapped the bottom of the bottle with the coin in your palm, dislodging the
coin from the cork, allow the coin in the right hand to fall to fingertip rest position. This is done as
you take the bottle into your left hand. We'll take advantage of the fact that something resting on
the naturally curled right fingers can be propelled to the left if the right palm were suddenly turned
upward and outward. Holding the bottle to your upper
and your right hand curled naturally at
waist level, you are in a perfect position to secretly Topit the marked coin.
178
Reputation Makers
The
hand tosses the bottle into the
right hand, which turns palm-up to catch
it. As this is done, the coin from your right
fingertips is propelled past the edge of
your coat and into the Topit (FIG. 6).
Continue to display the bottle.
After your hands are casually seen to
be empty, place the cork into your left
coat pocket, stealing out the marked coin
in
process. Proceed as described
above, removing the coin from the bottle,
handing the marked coin to the spectator,
and ending up with the folding coin in a
right
7). Curl your right
fingers, allowing the thumbpalmed coin
to fall to fingertip rest position
8).
Conclude by using the exact Topit actions
just described to ditch the folding coin.
Using this method, you are clean going
into the routine, because the folding coin
is hidden in the
You are clean in the
middle, because of the Topit, and you are
clean at the end because of the Topit.
ALTERNATE PRESENTATION: After years of thinking about it,
decided that I'll stick to the
use of a half dollar instead of a quarter. This is for a very specific reason. I began to suspect that most
179
The Magic
laymen believe a quarter can be cut down enough to actually be slid in and out of a bottle. Several
laymen have mentioned this to me. Therefore, they are led to suspect that you simply switched the
borrowed quarter for the cut-down one. But you can't use that excuse with a half dollar. you cut
a half dollar down that much, you sure couldn't pass it for another half dollar. This way, if they
don't know about folding coins, they might be lost.
The following presentation evolved from trying to emphasize the impossibility of a coin as large
as a half dollar passing in or out of the bottle. Begin by placing the half dollar that matches the
ing half inside of a coin purse, along with a dime.
Say to a spectator,
like you to open that purse, take out everything inside, and tell us
you have.
A half dollar and a
Thank you.
selected those
a very special reason. First, because the dime
is the smallest coin in circulation in the United States, and second, because the half dollar is the largest coin
in circulation the U.S. "Now,
you to look closely at this bottle, and... thinking quickly... hold up the
coin which will
fit inside that bottle."
One in a hundred people will hold up the dime, testing your flexibility. That is the reason you tell
them to merely hold their choice up. In those cases, proceed by saying, "The dime? You 've either been
taking advantage of our open bar, or you've displayed shrewd insight into the going's on, here. Hang onto
that dime, hand me the half dollar, and show the others where we're going with this." In very Zen-like
fashion, you've absorbed his energy, and flowed with it.
Take the half dollar, and either hold the bottle by the neck, or proceed as in the previous method
where the spectator holds the bottle. When using this particular presentation, I usually don't have
the spectator hold the bottle.
just a personal choice, but I can easily see how the two routines
can be combined.
Continue, "Most people pick the half dollar,
because they think I'm talking about putting the
coin in the bottle through the neck. No, no, no.
talking about something altogether different.
talking about going through the bottom of the
bottle itself. Solid through solid, and it looks just
Smash the coin against the bottle (FIG. 9).
The real coin is ditched into the Topit as described. Rattle the coin
taking full
advantage of the sound it makes inside the
bottle. Then take the cork, and put it away.
Rest the bottle upside down, if you can, as
you take back the dime.
Say,
funny thing is, the neck of this bottle
is so tiny, that even a dime couldn't pass in and
out through the expected way. It's that small an
opening." See how this ties together? After
demonstrating the truth of the statement by
placing the dime on the mouth of the bottle, put the dime away your left coat pocket, retaking the
real half dollar from the Topit as you do so.
Say,
you consider the size of the coin, in relation to the size the bottle's neck, it would seem that
the only way for a coin to pass through this opening would be if it could temporarily become liquid, flowing
180
Reputation Makers
out the top, only to re-solidify on its emergence. Allow me to demonstrate... sir, would you cup your hands
in front you? would
just like
There's the coin, and there is the bottle."
Just as before, shake out the coin, immediately handing out the real half, and Topiting the folding
half as you toss the bottle to the right hand.
FINAL SUGGESTION: Lef s say you don't want to use a Topit, and you don't want to use a
Champagne bottle. What then?
To secretly load the folding half into the neck of the bottle, begin by handing the bottle out for
examination. Then go to your pocket to take out the coin purse. Take out the folding half at the
same time. As the bottle and the coins inside the purse are being examined,
have plenty of time
to
the half.
Proceed as before, up until you take the half dollar
from the spectator. Place this half directly
on top of the folded half, and during the part of the presentation where you say, "because they think
I'm
going in through the neck
the bottle. No, no,
tap the half dollar against the m o u t h
of the bottle. As this is done, the right index finger pushes the folding coin into the neck of the
bottle. Continue with the routine until the folding coin has appeared in the bottle. As you are shaking the bottle around, casually place the coin purse back inside your right coat pocket, leaving
behind the half as you do. Again, continue as before, only this time the dime is replaced into the
right coat pocket, allowing you to steal back the real coin.
The Coin in
Bottle has
always been one
of my favorite
effects, and
while I have experimented
with many
different
methods, my
presentations
have always
been attempts to
clearly communicate the effect
to an audience.
The Magic
Double Spread Photo - Take #233. Even at this early age I would
have given my right arm to be ambidextrous.
182
Chapter Seven
STAND-UP
EGG
COMMENTS: I love this effect. The handling is clean, straight-forward, and is designed to highlight these aspects even to the untrained eye of the
Finally, 1 wanted to take away the sting
of the sucker
so I now end with the funny kicker of pulling the
out of the spot that is
stuck to your forehead. I feel that it is much better to end with a laugh instead of an "I got you!"
PROCEDURES: You need two identical eighteen-inch silks, a circle of tape the same color as the
silks, a real egg, and a fake egg with a hole in it. (The Silk to Egg props are a standard dealer item.)
You also need a small glass. I use the largest possible silk so as to convey that if a silk is so large that
it can be tucked into a hollow
there is no room possible inside the egg to conceal anything else.
Cut the piece of tape into a circle about the same size as the hole in the fake egg. Then place this
tape on the real
in the same spot as the hole in the fake egg. The real egg and one of the silks are
placed into the right coat pocket. The fake egg and the other silk are placed in the
coat pocket. In
the figures, the fake egg is the one with the spots. The glass is on the table (or a chair) in full view.
To begin, say,
seem to be an
that appreciates the finer points of magic, so I
do something that 1 rarely do.
going to teadi you a magic trick of your very own. All you need is a handkerchief
a left hand."
The left hand reaches into the left coat pocket, finthe fake
then emerge holding the silk.
FIG. 1 shows the egg in a fingerpalm position.
Take the silk with your right hand and wave it
about; then stuff into
hand, actually pushing it into the hole in the fake egg. I have enlarged the
hole in my egg so that I can quickly push the silk into
the egg. Continue, "Once
completely
in the left hand, all you need to do is make a magical
pass..." Turn and gaze at a female in the crowd (or at a
male if you are female) and say, "Hi there." Continue,
"Now we
an egg." Open your left hand to display
the egg. Make sure you don't flash the opening in the
egg. Say,
traveled invisibly into my
pocket. Ta-da!" Remove the silk from your right
pocket with your right hand (FIG. 2).
183
Magic
Say,
know some you out there are thinking, 'How
did he do
course, some you are thinking, W H Y
did he do that?' Well, I did it to
you how it was done.
All you need is a FAKE
made out of plastic... kid
by a decoy! Anyway, you also need two handkerchiefs.
Now I realize that revealing these key points seems like the
whole picture, but
be sure,
you
of the
details. One
is in the right pocket. I will leave
it hanging out... kind of
a visual aid."
Your actions follow your words: You show the
hole in the egg. With the silk still in the
clearly
tap it against a hard surface to show it is plastic. If this
fact is the least bit hazy to anyone, there is no effect.
They must believe that the egg is a fake. Naturally,
the fact that it is a fake is a big help here. Remove the
silk from the egg and drape it over your
arm.
Only one corner of the other silk is inserted into the
right pocket. When inserting the
do not allow your hand to into the pocket; just tuck a small
bit of the silk inside. At this point you are emphasizing the fairness of your actions.
Continue,
egg is concealed in your hand in
a way tiiat the hand still appears
Of course, in order to look natural, you must hold both hands the same way." As y o u talk,
like this.
the egg in
an exaggerated left fingerpalm position. The silk is grasped in a like manner in the right hand (FIG.
3). This strange sight nearly
always gets a chuckle.
Say, "Now all you have to do is
get people's attention. You do
that by waving the silk around.
Of course, one thing I learned
when 1 moved to Los Angeles a
few years ago is that in some
parts of town you leave the silk
waving out..." As y o u talk,
wave the silk around with
your right hand. Continue,
"Anyway, as soon as you have
their attention, stuff the silk into
your left hand, actually pushing
it into the egg. make a magical
pass, then open your hand to
show the egg. After that, you
show
the silk is in your
pocket. Of course, rule number
one is
you never show this
side of the egg." As y o u say this,
turn the egg to show the silk
stuffed into the hole (FIG. 4).
184
Stand-Up
At the same time you are saying, "Never
show this side the egg...," the right hand goes
into the right coat pocket to grasp the silk. As
the audience's attention is directed toward
the opening in the egg, grasp the real egg into
a right fingerpalm and remove the silk from
your pocket by just the one corner (FIG. 5).
Notice that by holding the silk from one corner, you provide perfectly natural cover for
the right hand and the switch of the eggs that
is coming up. Your left hand approaches your
right (FIG. 6), and as it does, the left thumb is
pushed into the hole at the rear of the fake
egg (FIG. 7).
The left hand seems to be only reaching for
the silk, but as it does, the left thumb moves,
taking the fake egg with it, to the far side of
the real
which is hidden in the right
hand. The fake egg moving into the right
palm forces the real egg to the left, into the left
hand (FIG. 8).
The right hand remains motionless during
the switch. The left hand removes the silk
from the right hand, taking it along with the
real egg (FIG. 9).
We will give you the exact wording for
both the switch and the ditch. These line
accompany natural movements designed to
perfectly choreograph and cover the switch
and ditch actions. The left hand gestures with
the silk and the real egg (FIG. 10) as you say,
"Rule number two, is to
sure the silk..."
Bring your right hand up and take the silk as
you continue, "...that you took from your
pocket,.." As you say "pocket," gesture to your
right pocket, ditching the egg into the pocket
in the process (FIG. 11).
Turn the spot on the real egg toward the
audience,
"...is the same color as silk
you stuffed
the egg." It appears to be the
fake egg with the silk stuffed inside it. The illusion is perfect. The switch and ditch is a
very smooth and flowing sequence, perfectly
covered by a single sentence of humorous patter. When reconstructing, they will believe that the
fake egg never left their sight. Drape the silk over your left arm, being careful to move very fairly,
keeping everything in
view. You have already done the dirty work and are way ahead of the
audience. It makes no sense to take one of your hands out of sight to pick up a glass or set down a
silk. That negates the value of the switch.
185
The Magic
Amniar
186
"Of course, every now and then you hear someone whisper, 'He's got a fake
you
then is give it one
vtore magical pass, then peel the
off... stick it in an
inconspicuous place, then break the egg to prove it's real.
Any questions?"
Suiting your actions to words, peel the hole off of
the real egg and stick it onto your forehead. Now
cleanly break the egg into the glass, dropping the
shell inside also. This is a definite applause cue,
which you accent with a slight pause, but do not entirely stop your actions. Continue by taking the
into your right hand and, as the audience applauds,
accordion-pleat it into a small bundle in your right
hand (FIG. 12). This takes only a few seconds, and
passes as mindless
after the trick has supposedly ended.
Once the
is bundled in the right
hand, take it with your left hand, clipping the very tip of one corner between the left first and second fingers.
The left thumb holds the bundle in
place (FIG. 13). Mime the act of placing the silk into your left pocket, actually retaining it in your left hand.
Say, "Of course, don't worry about the
other
you want,
you can take it back out of the hole, and
187
The Magic
then go on to another trick," As
you say this, bring your left
hand up the sticker on your
forehead, as if to steady the
spot you stuck there. Now
bring your right hand up and
grasp the corner of the silk
from between your left first
and second fingers. Now begin to pull the silk from your
left hand (FIG. 14). Keep your
left hand against your forehead as this is done. As the last
bit of silk is pulled from the left
hand, remove the sticker at
the same time. This completes
the wonderful illusion of pulling a full
silk
from the hole on your forehead. This ending takes the sting out of the
tine, and provides for a great visual conclusion.
aspect of the rou-
INDOOR BASEBALL
EFFECT: The performer
looks at his watch and excitedly
that is time
for "Indoor Baseball." He offers a deck of cards for examination and gives a spectator a
magic marker with which to
write his name across the face
of any card. The signed card is
then shuffled into the deck.
The performer introduces
the playing surface: a dart
board which has a baseball
game on one side of the board.
After taking the deck, the
magician scales a couple of
cards at the board. Not being
happy with the results, he
throws the entire deck at the
board only to have all of the
cards scatter everywhere...
except one. The signed card is
seen to be nailed to the board
with its face and signature
plainly visible. The card is torn
from the board and given to
the spectator as a memento of
his first major league "Indoor
Baseball" game.
COMMENTS: Indoor Baseball has several important features which make it outstanding.
(1) It presents no new or difficult sleights for the performer.
(2) If s simple to do, sure-fire, and can be done close-up in nightclubs or on a stage.
(3)
plays
if s flashy, and it has a clear-cut ending.
The Magic of Michael
(4) Finally, it gives the spectators a memory
by which to remember you. They remember the
catch phrase title, "Indoor Baseball," long after they have forgotten more involved themes.
PROCEDURES: Have at the ready a dart board that has a baseball game on one side. This is a
standard item, available at sporting good and variety stores (FIG. 1). You also need a deck of cards,
a heavy dark magic marker, and a package of thumb tacks. If you have a watch that counts down to
an alarm, you can set it for 60 seconds, then have it go off to signal the beginning of
Baseball.
When it is time to play
Baseball, make it sound like a treat Ask if "anyone remembered to bring
the bats." Hand out the deck for shuffling. Have a card selected and signed with the marker. This
insures that at the 'moment of truth' everyone sees at once the correct card was discovered.
Introduce your playing surface. I call mine
MEMORIAL FIELD." (Of course, you
should use your own name.) At this point, you should either have an assistant hold the board or
hang it on the back of a chair. If an assistant holds the board, you can have a handle put onto the
back so it
held like a shield. To prevent any injuries, use care in throwing the cards, and remain close enough for your throws to be accurate.
During the introduction of the field
you will have plenty of opportunity to
steal the thumb tack. It is held by its
point between the right third and
fourth fingers. Take the deck face up
in the left hand and spread the cards
between your hands. This covers the
tack in the right hand, which is being
worked to the end of the fingers. Expose as much of the point as possible.
You
secretly push the tack
through the signed card as it is returned to the deck. To do this, the
right hand holds a stock of cards, with
the tack held beneath it by the right
middle finger. The left hand holds out its cards for the return of the selection. As the card is returned, the
thumb pushes it over the right
side of its packet as the hands come together
(FIG. 2, exposed view).
The left thumb pushes the signed card to
the right about two inches, and the left second and third fingers separate and press
against the back of
selection. As the hands
come back together, slide the tack across the
face of the card, between the separated left
second and third fingers, and impale the card
(FIG. 3). If you like, you can again separate
the hands, and the head of the tack can be
naturally covered with the left thumb.
Square the selection into the deck. The deck
has a large gap in it due to the tack, (You
don't have to hold a break!) Cut the card with the tack to the back of the face-up deck. This is done
as you "size up the
conditions." Move to about ten to fifteen feet in front of the dart board.
190
You may give the deck a few Hindu shuffles, or
any mixing of the face-up cards which doesn't disturb the selection on the bottom. Introduce the pack
of thumb tacks. Have a spectator select a thumb tack
and have them insert its point anywhere into one
deck (FIG. 4).
Take a card and scale it toward the board
5).
Announce that you have 51 more tries, and if you
take them at once you "could either strikeout seventeen times or get one home run." When the right hand
draws back to throw the deck, the left hand follows
along in true pitching
Under cover of the larger
motion, the right third finger slides the tack along the
end of the deck and into your left hand (FIG. 6).
"Shooting for the home run," throw the deck so that it
strikes to the board in a
condition. This throw is more
of a push, much
throwing a shot put (FIG. 7). The
weight of the deck drives the tack into the board and
sprays the cards in all directions. The spectators see the
signed
affixed to the board, with the face of the
card (and the signature) facing outward (FIG. 8).
Say, "Pandemonium reigns at
Memorial
We
get a home run but
found your card and
a ball
in the process!" Finish by holding the tack firmly with
your left
the right hand dramatically tears the
card from the board before giving it out as a souvenir.
The Magic
Ammar
192
SIGNED
IN LIGHT BULB
COMMENTS: This routine provides an excellent opportunity for showmanship and exercises
your ability to carry an idea or concept into a spectator's mind. The method is simple, the moves are
natural, and the effect is stunning.
Have you ever performed a card or coin trick for some people you don't know, only to hear
s pretty good. Are you a magician?" as their response? It is likely that this has actually happened to you. Your first impulse is to say "Of
you just see me do that trick, you clod."
But be careful not to be too harsh. Many people who AREN'T magicians do a couple of tricks, so
problem is to come up with something off beat enough so that the effect says loud and clear, "Here
is a Magician!"
PROCEDURES: To do this you will need a handkerchief, a pen, a phony bill and something to
break the bulb with - say a wand, a salt-shaker, or a heavy ashtray. Fold the phony bill into quarters
and place it, the pen, and the handkerchief into your right pocket.
Tell someone that y o u can "Pick up images from anyone's mind, providing they are completely visualizing the image. Almost always it is necessary for it to be
down on something very meaningful to the
person for the image to be vivid enough. For example, I will bet you are fairly close to your money. Is
sir? You
got to admit that the color of money goes
just about nothing!
say they
do not like money, but always believed that
who says
will lie about other things too. So here, take
this pen and draw any image on any denomination bill, and then fold that bill into quarters."
Reach into your right pocket and fingerpalm the phony bill as you take out the pen. This bill is
still folded into quarters. Hand the pen to the spectator and have him mark the
Make sure the
spectator folds his bill basically the same way you did, with the same color surface showing. Take
his bill
him and act as if you are trying to "read his mind." Say, you see
it's because I'm filtering out what he did
weekend!" This puts immediate attention on the spectator and
you now calmly switch the real bill for the phony bill. After this relatively open switch, the phony
bill is
at your fingertips and the spectator's
is concealed in a right fingerpalm. Don't sweat
it. They are completely mislead as to your intention.
Concentrate for a second, mumble a little, and take a guess at the drawing or whatever. If you are
which is most likely, act disappointed and tear up the phony bill, throwing it away. Shrug
your shoulders and say,
have other tricks..." you have any doubts as to the reaction
something like this may
just watch
Mullica
bill tear sometime! Ditch the
bill into y o u r right pocket as y o u say,
to leave until this show is over."
1
actually done is make sure that one person isn 't going
193
Magic
I always try to borrow a
twenty-dollar bill for this, so I
can get extra mileage from a
running gag. After tearing the
bill, turn to go on to another
effect, stop and say, "Don't
worry sir, have a memory like
an elephant and we will
back to your ten-dollar bill"
Then go right into some other
effect. Between later effects,
pause and say, "Don't worry
sir, haven't forgotten your fivedollar bill"
These gags play well. You'll
learn the timing behind them.
Running gags like this can
add unity to a show, and conveniently add humor to the
transitions between effects.
At the proper time in your show
look to the nearest or most convenient light bulb. Say, "And now for an
illusion famous all over the world... The
Floating Light Bulb!" Saying this, you
attempt to unscrew the light bulb
with your hand. The bulb, of course,
is
so you react accordingly. Reach
into your right pocket, fingerpalm the
bill, then emerge with handkerchief.
Leave the handkerchief folded into
fourths as you unscrew the bulb. End
up with the bulb held in the center of
the cloth by the left hand, and the bill
in the right hand. The right hand
holds the top corner separated from
the rest to make the next move look
open and natural (FIG. 1). At this
point you can build up the mystery of
the floating bulb, or give any other
line of conversation to allow a few
seconds for the bulb to cool.
Place the metal end of the bulb into the right hand over the bill and corner of the handkerchief.
Allow the folds to
open (FIG. 2). They see the left hand empty, an ungimmicked handkerchief,
and no extra light bulbs, so they have every reason to believe all is fair.
194
After allowing the bulb to
the
left hand grasps the bulb
the
handkerchief.
3 shows the left
hand coming from behind to take the
from the right hand. order to
have the left thumb and index finger
free for the upcoming actions, the
bulb is taken by the left second, third,
and fourth fingers. The right hand
lets go of the corner it was holding
and, still fingerpalming the borrowed
bill, moves up to pull the scarf over
the bulb (FIG. 4). As the right hand
passes the left, the left fingers take the
bill between the left thumb and forefinger (FIG. 5).
The left hand rotates palm-down,
as the right hand pulls the scarf from
over the left. This drapes the scarf
around the bulb, and secretly maneuvers the borrowed bill into perfect
position for the upcoming loading move. The right hand now gathers the hanging scarf, taking
hold of the bill through the scarf (FIG. 6).
195
Magic
go
the bulb, allowing it
to hang free, with no
unusual bulges in the
material. The bulb
rests inches below the
right fingers and bill
7).
Continue, "The bulb
will float up and around
the room with absolutely
no visible means of support, with the aid of this
magic wand. Just a tap
and... Oops!"
Suiting the actions
to your words, take
the wand (or whatever) in your left hand
and firmly rap the
bulb, close to the metal
base (FIG.
A firm
hit causes the bulb to break in such a
way that the round 'bulb' portion will
still be intact (FIG.
I know what you may be thinking at
this stage - rest easy - you will not get
cut. Also, don't act the least worried or
concerned, and don't
as you
begin to tap the bulb. This may telegraph what is about to happen. If you
do, you will miss out on the comedy
situation resulting from
breaking the bulb.
The avenues for presentation
vary from person to person at this
point I act nervous and surprised at
the turn of events, and then make
some
attempts at trying to restore the bulb. Use acting here, as you
tap the cloth and then look disappointed at the sound of broken glass.
196
At this point you 'give up' and unfold the handkerchief to take a closer
look. As you are unfolding the
bundle, the left hand holds onto the
remaining bulb portion while the
right hand inserts the bill into the broken sphere (FIG. 10). It is important
that the bill be already inside the
sphere once the bulb is uncovered. Do
not just break the bulb and drop the
onto the broken pieces. might be
obvious that it wasn't really inside the
bulb when it was broken. However, I
know from experience that when it is
done as described, there is no doubt in
a layman's mind that the bill was
indeed inside the bulb when it was
shattered.
At this stage, act surprised, and if
spectators are close enough, show
them the bill inside the unbroken
sphere. Then for the sake of all those
who can not immediately see and
197
The Magic
understand what you are reacting to, take the metal portion with the wires protruding
from it in the right hand.
As you
the metal base,
entangle the folded bill with
the wires, then dramatically
hold it up for display (FIG. 11).
This is the sight they will remember, and it serves as a
very good visual wrap-up for
what has taken place. It shows
the bulb was broken, a bill has
been found, and the bill was
discovered inside the bulb.
"My gosh. I believe we've discovered your one-dollar
Return the bill and take your
applause. I then replace the
bulb with a new one I brought
along
for emergencies."
So there you have it.
perfect for nightclubs, (any
size bulb will work the same
the larger the bulb the
better) hospitality rooms, and almost all stand-up magic situations. you've got a few very basic
props, it is impromptu, so ifs good for the party situation where you are cornered for "just ore
trick." (By the way, I've noticed that when you break a light bulb in your first effect, even though
spectators like it, they hesitate to ask for a 45-minute performance! many cases this is a blessing.)
Walk through the handling a couple of times with a genuinely hot bulb and you'U see how natural the moves with the bill, bulb, and handkerchief really
198
BILLY, THE HYPNOTIZED BALLOON
COMMENTS: I believe that the Super Needled Balloon is intrinsically a great trick. The clear
balloons look extremely thin and vulnerable when inflated, and the huge needle and thread
certainly looks intimidating. Despite the fact that onlookers generally have enough faith and confidence in a magician to loan him twenty-dollar bills and place their heads into six-foot guillotines at
his request, they can't help flinching and covering their ears when the needle touches the balloon.
However, deep down, they still have faith the needle will pass through successfully, just as the
guillotine blade does. If they somehow foresee this outcome; I believe the effect itself is weakened.
The following is an attempt to strengthen the effect, "beef it up," and add a surprise comedy
ending to make this a complete routine in itself. This needled balloon effect is not presented in a
what I can do" fashion. Watchers are all the more compelled to flinch and cover their ears, so
consequently the penetration is set up for a stronger impact
There are two endings to this routine; I use both at various times, depending on the situation. I
will detail both methods, and you can decide which will be the most convenient addition to your
show. First of all, this is an entire routine, and not just a demonstration with a balloon. It has a
definite
surprises in the body section, and a surprising, unsuspected ending. It follows a
pleasing pattern to perform, and I'll give an ending which eliminates the need for the dove.
PROPS/SET-UP: You need two balloons and the needle from the "needled balloon" set with a six
foot
a pill bottle of vaseline; a live dove, a "Balloon to Dove" tray; an extra ring; and finally,
a black permanent ink magic marker. The best thing about these props (except the dove tray and
the dove) is that they can all be easily packed in the "super needled" box.
To set up, draw a face with open eyes on one balloon, and a face with dosed eyes on the second. I use
a Dri-Mark 699 permanent marker, which dries
quickly and doesn't smear. Place the extra ring into
the neck of the closed-eyed balloon, about an inch
down from the opening (FIG. 1). The extra ring
should have no sharp points or settings. Place these
into your coat pocket, or out of sight on your table.
The needle is coated with vaseline to insure a smooth
penetration, and is placed out of sight. Load the dove
into the Balloon to Dove. You are ready to begin.
199
The Magic of Michael
most fascinating aspects
is always the
Begin by saying, "I'd like to move right into one the
mind control: Hypnosis. Hypnosis is a
state. Since there
some you in the audience might already be
or
it
fair to hypnotize any
you. Remove the open-eyed balloon from your pocket and display it Con-
tinue, "Instead, I'll hypnotize an inanimate object. I'm going to hypnotize this balloon." This always
causes laughter from the audience.
"Now this isn't just any balloon, this balloon has a personal-
ity." Blow up the balloon
about three-quarters full,
which shows the simple face
drawn on it
'This is Billy Balloon. Not
only is Billy an excellent hypnotic subject, but he does impersonations too! Here's Billy's impersonation of a Chinese bal-
loon." Put the end of the untied,
balloon
into your mouth. This frees
both hands to reach up and
back on the corners of the
drawn-on eyes, Chinese style
(FIG. 2). (I did this once as a
spontaneous gag and was
surprised at the laughter. It always
gets a reaction.) The balloon is filled
between patter lines, avoiding any
wait as the balloon is blown up.
Continue,
here's Billy's impression
The Exorcist." Once again
the end is placed into the mouth, as
the hands twist Billy's head around
clockwise in a 360 degree circle (FIG.
3). Make a noise like a rusty door as
you do this. This plays on the famous scene in the movie where Regan's head turns in a complete
circle. The balloon is now completely blown up.
"Okay, that's enough air. We
wouldn't want Billy to get a swelled
head!"
the balloon with the
neck pinched between your right
fingers and thumb.
At this point you merely act as if
you tie a knot in the balloon. Actu-
200
ally, just pinch the end closed
with the fingers and
Say
to Billy, "At the count of three I want
you to completely relax. One, two,
THREE!" The right hand makes
"hypnotic" gestures in front of
face. As you snap your fingers, release the balloon. The Balloon takes off, propelled by the escaping air (FIG. 4).
"Oops! I guess we regressed him
too quickly! That's okay, Billy's
cousin is here tonight... BOBBY Balloon.
Bobby is in a perstate of hypnosis." Saying
this, remove the closed-eyed balloon, and blow it up. The face on
Bobby has dosed eyes. Conceal
the extra ring in the neck with
your hand.
Hold on to the ring so as keep
it from falling into the balloon.
5 shows how to hold the neck
of the balloon when you blow it
up. Now tie off the balloon. FIG. 6
shows the right second and
third fingers pinching the
neck of the balloon below the
ring, insuring the ring does
not prematurely pop into the
balloon as you start to tie off
the end.
Once the balloon is tied off,
the left second and third fingers continue to keep the ring
in the neck of the balloon
(FIG. 7).
Now transfer your right
hand grip on the neck of the
balloon so the ring is pinched
between the forefinger and
thumb (FIG. 8).
Say, "Under the influence of
hypnosis Bobby can now accomplish things ordinarily impossible. For example, can borrow a
gentleman's finger
Bor-
201
The Magic
Ammar
202
Stand-Up
row a ring from someone in
the audience. Do not have the
spectator come on stage with
you. I do this effect in
clubs where the audience is
very close, and the ring is always obtained as quickly as
possible. If you are performing on a large stage, you may
want to borrow the ring at the
beginning of the effect in order to prevent any delays in
the body of the routine.
Address the owner of the
ring. "Bobby shall now EAT
your
Open up Bobby. Not
talking, huh? We'll have to use
force. Open up! There..."
The left hand now pinches
the ring through the neck of
the balloon as the right hand
winds up to smack the face of
the balloon (FIG. 9). The right
hand then
the
ring as you slap Bobby in the
mouth, at the same time releasing the ring with your left
hand (FIG. 10). The illusion
that you pushed the borrowed ring into the balloon is
perfect, and if the ring is kept
in motion a switch will never
be suspected. This is a strong
point of the trick and sets up
the penetration to come.
Take Bobby's face into your
right hand and the tied end
into your left hand and shake
the ring around inside the balloon. Twirl the balloon in a
circle so the audience can
clearly see that the ring is inside (FIG. 11). When Paul
Daniels featured this effect on
one of his British television
specials, this particular moment in the routine got a tremendous round of applause.
203
The Magic
"Now Bobby will blow
your ring out his nose!"
the balloon with
the tied end pointing
up and Bobby's face
pointing down. The
ring comes to rest
where Bobby's nose
has been drawn. Place
your hands where his
ears would be, and
squeeze together (FIG.
12). Be careful not to
burst the balloon, but
squeeze enough to
make it appear as if
you are trying to force
the ring out. Give up
after a couple of tries
a n d say, "Not going to
give, huh? Well,
got
a persuader."
Go over to the table to get the
needle. As you do this, leave the ring
behind on the table. Display the
needle with its
string. Wave it
in front of Bobby's face menacingly.
The needle gets a big laugh and the
audience is not expecting it to penetrate the balloon. The lead-in doesn't
give away the effect, and they believe
this exaggerated prop is just a gag.
"Still not convinced? Well, you're
going to get a BANG out of this!" This
may seem like an overly obvious line,
but under these conditions, it gets a
laugh. Only now do they suspect
what you are going to do next.
"I'm going to go straight through his
this razor sharp needle.
you don't believe this is a very sharp
needle, you may actually come up and
take the place of this balloon. No takers?
Here we go, right through the nose, down to the bottom, pick up the ring and out the back. Of course, this
would be impossible were it not for hypnosis!"
Push the needle through the nose in the standard "needled balloon" manner, pick up the ring
with the end of the needle, and then push the needle out the opposite side. Leave the needle stick204
ing out both ends, the ring sliding
back and forth on the inside (FIG. 13).
Pause for the effect to sink in, then
draw the needle all of the way
through, leaving the balloon on the
string (FIG. 14). Swing the balloon on
the string
your left hand. As you
do this, say, "Guess it's pretty obvious
that Bobby is a swinger, but that is no
reason to let him keep your ring." Draw
the string out Then go back to your
table and set down the
As you
do this, palm the borrowed ring that
you earlier ditched on the table.
Attach Bobby by his tied end to
your dove tray. It is very important
that the ring inside the balloon is not
sitting on the flap which flies up. This
will shoot the ring across the room
like a catapult you set the ring onto
the stationary portion, the flap pops
the balloon, gets rid of the extra ring
by covering it, and produces the dove.
Address the balloon, "Still
Well that's okay, because it's not you
that's
hypnotized. It's the entire
audience. This isn't Bobby Balloon, it's
Bobby the Bird..."
Release the dove tray and allow the
dove to appear. Immediately
continue, "...and there around his leg is
YOUR RING! A real tribute to hypnosis!" Reach up and pretend to removed the borrowed (palmed) ring
from the leg of the dove. Then give
the
back to its owner.
ALTERNATE ENDING: The above
method combined two beautiful,
commercial effects. For those people
who may prefer to perform this without depending on the Balloon to
Dove, the alternative is simple.
PROCEDURES; The presentation
and set-up is the same as described,
except that you do not ditch the borrowed ring while getting the needle
205
The Magic
from your table. Instead, transfer
the ring
your right hand into
your
keeping it concealed
until the balloon is dangling from
the string.
Take the string in your left
hand near the end, holding the
needle in your right hand. The
balloon swings on the string, between the
as the right
hand pops the balloon (FIG. 15).
This leaves the extra ring on the
string between two pieces of the
balloon (FIG. 16). The left hand
apparently pulls the ring from the
string, but actually leaves it behind, where it is concealed by the
balloon fragments in your right
hand (FIG. 17).
Show the borrowed ring in the
left hand, as the right hand places
the needle (and extra ring) aside!
ALTERNATE HANDLING: Those performers who might wish to perform Billy, the Hypnotized
Balloon at children shows can easily do so. Just follow the presentation as described, and don't
include the ring penetration. Thaf s simple enough! The character and delivery is entertaining and
the patter can easily be altered to follow the change in handling. Some stage performers may
choose to follow this path to avoid the possibility of delay in borrowing a ring.
206
207
THE TWO CARD TRICK
EFFECT: Using the most economic of procedures, two random cards from amongst the pack are
noted, and then lost. The deck is openly turned end-for-end, and with no shuffles, cuts, or visible
movements of any kind to cause the effect to take place, the first selected card appears, projecting
face up from the front of the
The second spectator then names his card, and by merely turning the first card over, it changes into the second selection.
COMMENTS: The plot is definite, and the procedures are textbook examples of economy. Originally, this move for producing the double cards was developed when I was trying to duplicate a
move Howie Schwartzman had shown me. As it turns
it is completely backwards from Howie's
move, if
can imagine what that would look like! you should ever
into
you might ask
him to do the original for you, as you just might like his better!
I have done this effect myself for years, using it to work both sides of a room during stand-up
shows. It doesn't require people to come up on stage, and yet
than a minute, it can create the
impression you can do absolutely anything you want with a pack of cards. Look at the title of the
effect,
you can
it was named The Two Card Trick in order for me to be able to recall my own
performance material, and not so it would sound impressive in a Table of Contents.
The cards are dribbled from the right hand into
left for the selection. Notice the left hand completely
straddles its cards, keeping them
squared.
The right hand continues to dribble its packet, but notice
the
has
its straddle
allowing the
new portion, with the selected card, to become
208
As the
cards are
the left little
kicks the bottom card of
lop portion out. Important:
Notice
position of the right
It is at the exact
lower left comer, acting as a gauge, which allows
the
to move to the
This an exposed view of the tide
taking place.
Notice the card never
into the right
per right
are merely gripped
tween the right little
thumb, which pulls it to
the right just enough to clear the deck. Then, during •
squaring action, it is dropped back
the deck.
The right hand is moved out of the way this drawing.
The top two cards are levered up and away from the deck
by the little fingets of both hands.
As soon as the cards clear the deck, the middle and
third
push the cards into the right palm. This is
the
Top Palm. You
end up with the
se.
lected cards palmed in the right hand.
The left thumb riffles the upper left
of the
deck. At the same
the right hand moves the
upper left corner of the two palmed cards into the gap
provided. The face of the palmed cards go in against
the faces of the cards in the
209
Magic
as the
of
palmed cards are in the
the left thumb moves to the face of the deck in order
pivot it face
pulls the
out of classic palm
position. The left hand continues to
the deck face down
revealing the first selection.
The left hand has re-gripped the face-down deck, as the right
hand
sure the two cards are squared as one. The right
hand
from
fingers
on the face of the cards, and the thumb on
The right hand turns the two cards over, dropping off the
first selection as it does so. As soon as the card is dropped off,
the left hand moves to take the now single card by its upper
left comer, so you can look at it
The card you see is the second selection. Miscall it as the first
selection, then magically change it into the second selection.
210
HALEY'S COMET
COMMENTS: Here is a wonderful opening effect for either close-up or stand-up performance.
Michael has used it to great success both Johnny Carson's The Tonight Show, and
Griffin
Show. The effect is flashy, quick, and visible, the perfect opener to establish you as a magician. Both
Michael and John Carney collaborated on this
and the idea was to construct it to be effective
on television. It is a variation of Bob Fitch's bouncing ball vanish (see THE
BOOK. pp. 80-81).
EFFECT: The performer removes a cigarette lighter from his pocket and lights it. A large ball of
fire appears in his hands and descends toward the floor. Upon hitting the ground, the ball of fire
bounces back up, visibly changing into a solid rubber ball. The performer bounces the ball and
catches it On the third bounce, the ball vanishes completely. The cigarette lighter then vanishes.
PROPS/SET-UP: To perform, you need a rubber ball, a cigarette lighter, a piece of flash paper, and
some magician's wax. For the greatest impact, the ball should be as large as possible, but must be
small enough to be concealed in your hand. Approximately two to two-and-a-half inches in diameter is about right The flash paper is cut to three inches by two-and-a-quarter inches, approximately
cigarette paper size. A sheet from a standard flash pad works perfect.
Accordion pleat the piece of flash paper, giving you a long thin strip. Then accordion pleat it
down its length to end up with a zig-zagging strip. Take a small ball of wax and attach both ends of
the flash paper to the
You are now ready to begin.
PROCEDURES: When you are ready to perform,
palm the ball in your right hand. The flash paper is on
the side of the ball away from your fingers (FIG. 1).
Rest your right hand naturally at your side, or hold
it slightly bent in front of your body at waist level. It is
that this hand appear relaxed and (unconsciously) empty. Hold the lighter in your right hand,
or keep it in your left coat pocket until you need it.
Your coat must have a Topit on your left side.
Make a few introductory remarks as you remove
the lighter from your pocket with your left hand.
Hold the lighter directly in front of you, at about
waist level, and light it Your right hand holds a natural position in
of your body also. The right hand simulates a grabbing movement as it appears
to reach over to take the flame from the lighter (FIG. 2).
Magic
The moment the paper bursts into flame,
two things happen at once: (1) Your right
hand throws the flaming ball down toward
the ground; and (2) Your left hand remains
perfectly still and allows the lighter to go out.
To the audience, you have just made a ball
of fire appear. is very visual and startling,
When the ball bounces back up, catch it with
your right hand. By now, the fire has gone
out and you can safely display the ball for a
brief moment
Bounce the ball on the floor again. Catch it
in your right hand. As this is done, lean forward slightly on your left foot and raise your
shoulder.
causes the left side of your
coat to open, giving you access to the Topit.
You now vanish the
into the Topit. This is done
the right hand's follow-through action of
catching the bouncing ball, Catch the ball a little bit
below
level. The ball is held in your loosely
cupped, palm-up right hand (FIG. 3).
Without hesitating, your hand and arm sweep
upwards to bounce the ball for a third time. During
this upward action, the ball rolls off of your fingers
(nearest the thumb side) and into the Topit. Centrifugal force makes the ball leave your hand; a throwing
action is neither necessary or desired. The
tossing of the
occurs just as your right forearm is
parallel with the floor (FIG. 4).
The ball flies directly into the Topit on your upswing. Your left
hand remains in a natural horizontal position in front of your
body. This hides any flash of the ball
the left side as it tossed
into the Topit
Now act as though you are throwing the ball straight down,
just as before. It is important that your eyes, as well as your body
language, follows the real action of throwing a ball. Naturally,
the ball does not make its journey to the floor. From an audience
perspective, the ball seems to disappear in mid-bounce.
Pause for moment to allow the vanish to
in. Then take the
lighter
your right hand and hold it by its ends between your
thumb and second fingertip (FIG. 5).
Say,
1 guess 1
need this any more
both
hands together in front of you, ostensibly to take the lighter back
into your left hand. However, the moment the back of your left
affords you enough cover, it is Topited (FIG. 6).
212
This is done as follows: Turn your right hand palm-in
at the wrist, moving the back of the hand toward the
audience. Now sharply squeeze the lighter between your
right thumb and second fingertip, allowing it to spring
off of the second fingertip. This action is very similar to
the Pinch or Pumpkin Seed Vanish. The lighter is thus
propelled into the Topit.
Apparently close your left hand around the lighter.
Crumple your hand and show it completely empty.
Brush both hands back and forth together, showing
obviously empty, and signaling an end to the
213
From the left:
Majestic, Michael
Jackson, Bob
Jardine, Dr. Steven
and
myself at the far
right Jackson has
used magic during
his live concerts
with great effect,
and the year
before this photo
was taken he
attended one of
my private workshops with his
friend, Dr. Hoefflin. Magic, once
again, becomes the
common denominator between
friends of widely
different careers.
This is one of the
reasons I'm so
quick to recommend magic as a
hobby for people
of all ages. If you
treat with respect, it will continually open the
most fascinating
doors for you doors that might
otherwise never
have been an
option.
Chapter Eight
MAGIC MANAGEMENT
GENERAL INSTRUCTIONS
I
it is necessary to point out something
the very beginning. The enclosed sheets
you
to
Period. They are not difficult to use or understand, but if they are not used, they must
therefore be considered worthless. However, if you do dedicate yourself to following through with
this method of organization and management, you will count your blessings in the years to come.
They are designed for long term use and benefits.
vitally important to manage and organize,the skills and knowledge which you possess.
The Custom Cue Sheets, once completed, put your entire repertoire at your fingertips. Once you
decide what show you wish to perform, you can instantly have a complete script of that show.
The Show Sheets will provide long-range benefits concerning repeat bookings. Also, perhaps
more important than any other point, by reviewing each show you present, you will improve,
learn, and benefit from every performance. People who are anxious to succeed and improve will
realize that if this constant reviewing and analyzing process doesn't help, then nothing else
The Project Planner is designed to teach you to become goal-oriented. Work from a three-stage
point of view: (1) Set your goals; (2) Make your plans; (3) And take ACTION. You will benefit in
every phase of your life if you ask yourself certain questions and apply certain principles to every
problem you face.
These systems were developed for my private use, and have helped me to improve my magic and
management. I hope you benefit from my viewpoints.
CUSTOM CUE SHEETS
We
begin our efforts to better organize and manage our magic by reviewing the Custom Cue
Sheets. A number of factors make these sheets quite interesting. We will look at some of the benefits
which these sheets provide, and then we will learn how to best use and apply them.
I have some good news, and I have some bad news. The Cue Sheets will require a one-shot
or
investment of your time. (That's the bad news.) The good news is that the time is invested wisely.
Once completed, your sheets become a permanent record of your repertoire; providing you with a
wonderful collection of your material, allowing you to trace and note your improvements and
developments over your life in
Not only that, but you will see them transform into true
"peace of mind" and the best time-saving device you will ever have. They allow you to comfortably
expand your horizons and add professionalism to every show you perform. If that sounds like a lot
215
The Magic
to promise, then please read on and try to visualize the security that a completed set of Custom Cue
Sheets would bring to your performing
The Cue Sheets were developed for a number of reasons, among them are: (1) New material to
my performing "arsenal" without losing the polish my existing routines had developed; (2) I had
forgotten one too many of my lines during a performance; (3) I was fed up with fighting to piece
together the different routines into the best possible show after laying off for a month.
Each Cue Sheet is designed to record
the information you would ever need concerning a
routine. The headings were selected to allow you to perform that particular effect in its entirety
after reviewing the sheet a couple of times.
Each routine you
should be given a title which you can easily recognize. Begin by listing
these titles on the Effect line. Judge the angle problems you may face along with the props, etc.,
which are employed, and place a check beside the appropriate performing situations (Stages, Platform, or
If your routine has a particularly bad set of angles (Zombie, example), or if it involves a specific
set of performing conditions (Hippity Hop Rabbits for children), or if it requires certain important
lighting or staging sequences (Dancing Cane) then these things should be detailed in Performing
Conditions and Special Lighting: Staging.
Certain tricks play better with certain types of audience volunteers. The key is to decide upon the
best type of person, the best age, and sex for the particular routine. It would be rude to select a distinguished elderly gentleman to place an eggbeater to his head in front of all his friends. So determine the criteria for the best possible helper and list them under Volunteer from the Audience and
Sex. Remember - our goal is to the Cue
with the ideal performing information so
we can work towards standardizing our shows. It
speed up our improvements if the standard
with which we measure ourselves is a high one.
To avoid unnecessary stage movement, to insure proper placing and economy of motion, you
should plan your Positioning and Cues in advance. Where is the best place to put your props or to
have a spectator stand? What Cues can you give your volunteer in order for the effect to flow as
smoothly as possible? An example of excellent Positioning and Cues would be the Blackstone Rope
Escape. Years of trial and error have polished this routine to perfection.
Often it is the little things which transform a trick into a full-fledged piece of entertainment.
These Bits of Business deserve all the attention we can give them.
As your experience and repertoire expand you may find it difficult to use and remember every
key line which goes with every routine. Your Key Patter Lines can literally make all the difference
in the world. It's the icing on the cake which separates the amateurs from the pros in most cases.
Some routines are natural closers. On the other hand, some routines are natural openers. Most
important is the fact that your particular handling of the routine is what will determine that routine's Preferred Show Position. Certain routines, due to the length of time they require, or to the
number of volunteers required, may need to be sandwiched in-between two fast-paced effects. You
you need to judge not only from the routine you are working on, but you also need to consider
the general nature of every other routine which you perform.
The Props
is crucial. This section could help you avoid much heartache if you always check it
before you leave for your show, and before each show begins.
216
Magic Management
As your file of Cue Sheets expands, you will find that you have some routines which may conflict
with each other. You don't want an entire act of
effects or card tricks. One experienced performer did an entire show where things disappeared and reappeared inside of something
else. It wasn't
before most of the audience anticipated the outcome of each effect. This, of
course, diluted the impact of the entire show. Judge the material you have, and list the Conflicting
Effects for each routine.
USE OF
CUE SHEETS
After your initial investment of effort you are now in the position to enjoy great benefits. This is
not merely a recording system. It actually will provide you a "return" on your invested time each
and every time you perform.
The next step after filling out each sheet is to have five copies made of every sheet. I have "color
coded" my copies to tell me if a routine is for children, adults, or for any age group. Childrens'
routines were copies on pink paper; routines for all age groups are copied on yellow; and adult
routines are on blue paper.
Place the originals in a safe place for a permanent record. Then place the copies (separated in
colors if you like) into a large notebook which
your Master File. When you receive a call
for your next show all you need to do is go through your Master File and remove an
a
etc... until you have removed a sheet for each routine you plan on performing. Place these
into the proper order and put them into a smaller notebook or
Presto! Just minutes after you
began you now have a complete script of the
you plan on doing. Anyone who has performed
for any length of time can easily see how this could be extremely valuable as time goes by. The less
time you have to throw away the more this system could benefit you. The reason for making five
copies of each sheet is so you can fill out several shows at once if you like. This script will provide
you endless peace of mind, and does lot to cure pre-show jitters. Instead of pacing around waiting
for the show to start you can now wisely use your time to review the show you are about to do.
The efforts here resemble a seed which matures slowly, but which produces a rich harvest. All
too quickly, your years of interest in magic will grow - the key is to have your talents grow at a rate
that out-paces your years. This, I believe, is the sort of thing that makes that possible.
217
CUSTOM CUE SHEET
Magic Management
SHOW SHEETS
Performers who intend to pursue magic as a career can gain valuable benefits from a long-term,
accurate record of their performances. This applies to the performer who is "in it for the long haul."
One who has a serious desire to perform for several years, and also improve as quickly as possible.
Everyone would like to have 30 years of experience, but who wants to take 30 years to get it?
The front page of the show sheet is designed to keep an accurate record of the person who hired
you, the date of the show, the type of audience, fee, etc. These things become crucial to the perwho may eventually re-book that group. This information could be valuable mailing lists
and for keeping track of earnings.
As a sincere student of the
you must want to do as polished a show as possible. By keeping an
accurate record of the group and the show presented, you can more economically plan the repeat
shows (especially if you use your custom cue sheets to provide you an instant script).
However, your most important benefit of the sheet
be your ability to judge, rate, and learn as
much as possible from each and every show you perform. This is CRUCIAL. Can't let those clever
spur of the moment jokes be forgotten. Can't continue to perfonn an effect which continually
shows up in the "weakest numbers" section. If the show goes great - learn from it. If the show
bombs - learn from it.
Just as with the other sheets enclosed (Custom Cue and Project Planner) The headings and titles
are suggestions which the greatest number of people may be able to use. If they aren't perfect for
you, or if something else would be better, then change them. If these sheets cause you to think a
little deeper, or from a different viewpoint, then they have accomplished their purpose. I hope that
this system proves itself to be as much of an aid to you as it has to me. Good Luck!
219
The Magic
PERSONAL PROJECT PLANNER
A glance at the headings on this pad will show you this pad is almost self-explanatory. However,
keep in mind that these sheets are tools for your use.
up to you to draw as many benefits as
possible from the basic format. If the headings don't fit the needs of a project, change them.
goal when using the planner should be to increase the quality of the time which you devote
to your magic. This doesn't mean that a switch from practice to recordkeeping is the answer. The
point is this; the instant you seriously put your project into an organized form to be developed, you
have taken the biggest step towards a successful conclusion.
filling out a few of the sheets you
will be delighted to see your thoughts begin to crystalize.
It is important too that you forget the "practice makes
concept. Practice does not make
perfect, perfect practice makes perfect. Just sitting down for a general practice will do nothing to
lead you to perfection. Concentrated effort towards a clear goal is what makes perfection possible.
For example, your subject may be: "1 want to develop an outstanding cups and balls routine."
Under
you literally
your mind run free. Comment on stand-up routines, sit
down routines, potential end loads, number of cups or balls to use or load, etc... after exhausting all
your thought on the subject, decide on the one best method or routine to work on.
assume you decided to load a glass of liquid under each cup. Unless you are a few steps
ahead of everyone else, this may pose some barriers.
on the best strategy for overcoming any
barriers and (this is important) commit yourself to reaching a potential solution. Actually give
yourself an initiation date and a completion date which you believe to be reasonable.
It is not always necessary to complete each sheet. If
cups and balls eventually, then just fill out the
you know is that you want to
and file it away for future work.
the
As the months and years go by you will develop the habit of looking at your routines (and daily
problems as well!) from an overview perspective. You will think in terms of potential problems, best
strategies, and overall benefits to yourself. Also, it is always a source of pleasure to review our past
thoughts. A long range system such as this can give you valuable insight to your thinking as you
pass through different stages of knowledge, skills, etc.
Become your own "task master" and commit yourself to a comprehensive program for developing your own material to a level you can truly be proud of.
222
PERSONAL PROJECT PLANNER
The Magic of Michael
BOOKING SHEET
The following two pages comprise a BOOKING SHEET for use when booking shows. They are a
copy of the sheet that professional magician, STUART uses for all of his shows. Stuart, who lives in
Southern California, has been very thorough in preparing these sheets. They are an invaluable tool
for anyone who performs any type of show.
If you find that the Booking Sheet does not fit your needs exactly, simply modify them to meet
your own personal needs.
Magician from Bluefield
to appear on TV tonight
Area residents should stay up
late tonight and watch Michael
Ammar perform his magic on The
Johnny Carson Show at
p.m.
The son of Mr. and Mrs. A.S.
"Buddy" Ammar of 516 Monterey
Drive, Bluefield, the
is
no stranger to national television
to awards.
He has appeared on the Merv
Griffin Show where he
red six times and starred in and
produced a video tape for Toys 'r
Us children's toy store chain,
teaching children how to perform
magic acts using household items.
Ammar recently moved to
California, is a published author
has won the world Sleight of
Hand Championship at the 15th
World Congress of Magic in
Switzerland. He won the award
with magic that he originated and
competed against
magicians
from throughout the world.
The contest is held every three
years and is considered to be the
most prestigious award in magic.
Ammar was only the second
American in the
history of
the competition to win the award.
Ammar has won numerous
other awards and honors. In 1984,
he became the only person to ever
Michael Ammar
...Johnny Carson's guest
win the Lecturer of the Year twice
from the
of Magical
Arts.
He was born in Logan and moved to Bluefield with his family
when he was 13 years old. He's
been a magician for 14 years and
has performed throughout the
United States and abroad.
Ammar is a graduate of West
Virginia University and has a
degree in business management.
In a classic case of false alarm, I was actually bumped from the show after
headlines back home asked people to stay up! Eventually, of course, it all
came together beautifully.
Chapter Nine
CLASSIC RENDITIONS
BILL SWITCH
COMMENTS: Mike Koslowski caused quite a stir
the late seventies when he published
his One Hundred Dollar Bill Switch. I remember getting his manuscript as soon as it came out, and
1 immediately added the effect to my show. When the local newspaper reviewed the dinner theatre
show I gave at the Bridgegate Dinner Theatre in 1978, the accompanying photo was one of me performing the One Hundred Dollar Bill
Since that time I have seen many magicians perform the technique, and I even printed Roger
handling in ENCORE 3. Roger's hands, of course, it come as close to magic as humans
can get, and while I love changing ones into hundreds and turning money inside out with this
technique, I consider Roger's effect, "The Name Is The Same," a brilliant use of the switch. In fact,
it is probably the most underused gem of ENCORE 3.
So, the student
with either Roger Klause's
or the Koslowski handling, will find
no new folding procedures here. After all, how many ways are there to fold a bill into sixteenths?
But by the same token, I am aware of what
is, and I would not print this information if
I did not truly feel the thinking behind my technique was significant, and that the detailed finesse
I could reveal was not printed anywhere else.
I evolved the finesse, covering gestures, and philosophy used during the switch in the early
eighties. During video reviews of my techniques, I noticed the bill visible to the audience going
completely out of sight during the taking off and replacement of the
Not that this was a
horrible problem, mind you, because this brief moment was covered by the natural movements of
folding and unfolding the bill
So, you might ask, if the movements were natural, and the bill dipped just out of sight for a fraction of a second, why
I chose to worry for a couple of reasons. First, I can't help but give
laymen credit for having intelligence. Surely, any reasonable person who sees someone fold up a
one dollar bill into a tiny packet, only to unfold it to reveal a one hundred dollar bill, could only
have one basic train of thought: "I wonder where MY one dollar bill went, and WHERE did he get
THAT hundred?"
I don't mean to burst any bubbles, and I am not a magical pessimist. But surely you can't hope
people will really believe that you have magically transformed a one into a hundred, can you? But
thinking logically and reasonably doesn't mean the matter is hopeless. Quite the contrary. Uncovering their most likely guess for the method used is crucial to effective deception. Knowing their
hope
an explanation is going be, "He must have switched it...," tells you exactly what train of
thought you are going to have to cancel out in order to truly give them a magical experience.
227
The Magic of Michael
Since I KNOW they are going to try and rationalize the magic by the very human method of
switching one bill for another, I now know exactly what train of thought my technique, as well as
my presentation, has to eliminate as a possibility. 1 know that key aspects of my presentation
create convenient garden paths for the
minds, paths that make switching one
bill for another seem logically impossible. Technically, I know procedures that leave open the door
to the "switch" explanation are to be avoided at all cost
If you think about it, the One Hundred Dollar
Switch is actually a technical marvel. Under
the limited cover provided by the simple process of folding a bill four times at the fingertips, you
accomplish a surprising number of deceptive moves. First, you take off a plastic thumb, then you
switch the bill out of the thumbtip for the bill at the fingertips, and finally, you stuff the borrowed
bill inside of the plastic tip before pushing it back onto the thumb! And this is done undetected,
right under the nose of the spectator. Not only that, but you do this by
"DON'T TAKE
YOUR EYES OFF OF THE
Pretty amazing.
Now, just imagine the impact of the magic made possible by this technique if the only possible
explanation seemed utterly impossible.
transformations, clinical transportations,
and impossible restorations resort when you take their
hope for an explanation away from
them. If your technique and delivery are so sound that any witness to your miracle would attest to
the clinical conditions that created it, you will have achieved something
they can't
say, to themselves or anyone else, "He must have switched it...," you will have given them something to talk about for years!
The Professor once asked me what effect
my repertoire would I still if I were really magic.
After a full evening of
the only things I would still do,
all of these years as a magician,
would be the One Hundred Dollar Bill Switch, and The Miser's Dream. The effects appeal to people
on a gut level. It hits them where they live. Can you think of any other magic effects the average
layman might wish they could do? isn't easy, is it? That level of appeal is very difficult to find.
Desiring the impact this technique might result in, every facet of the delivery and procedures you
are about to read is an attempt to create the impression that the forward
has never
their
view. In fact, during the technical phase I even say,
take you eyes off of the bill, not even for a
second. have already
you
I am going to do, so don't even blink. I'll move very slowly, keeping the
bill at the very tips my fingers. Don't take your eyes
of it..."
The key to the handling I have developed is to break down the move of taking off and replacing
the thumbtip into two movements, instead of just one.
basically it, along with the valuable tip of overlapping one fold in such a way that the
entire process can now be done without looking at the bills during the switching procedure. The
factor is significant for two reasons. One involves a new esoteric concept called the "gaze," while
the other involves spectator psychology.
The "gaze" is a term derived from film theory. It is the notion that the nature of our interest as we
at something is expressed in our face and our eyes, and this is evident to others watching us.
For example, a tourist would view Rome with a "tourist's gaze," while the Romans would view it
with a "familiar gaze," and the difference between these two "gazes" is usually obvious to others.
This applies to magic in this case, as the performer can inappropriately convey what might be
called a
gaze." This look of concentration then stands in contrast to the simplicity of
the folding task as they see it, and betrays the objectives of the magician.
But there is also a definite physical
behind the bill, and looking at the bill itself.
between looking at a specific something being done
is interesting is that if you decide to test this
228
Classic Renditions
tion by watching yourself perform the switch in a mirror, you will find it impossible to verify. The
only way you can actually see the difference in the direction of your gaze is to video tape yourself
performing the switch. This test usually proves that, not only will the nature of
gaze reflect a
difference, but there will be a physical discrepancy in the direction of our
In short,
be looking in the wrong place in the wrong way.
Another reason why I
you should
at the viewers as you perform the switch is because of
the psychological implications
your need to look at the bill as you fold it. Are you looking
there because you are doing something technically demanding? something requiring detailed
attention taking place? Of course, both assumptions would be true, but these are the last things
that you want them to realize. After all, how difficult a task should folding up a bill be? If you are
changing a one into a hundred, wouldn't that be something you had done before? Wouldn't you
have done it so many times that you could do it your sleep? I think that folding up the bill would
be so secondary to me, that I wouldn't need to look at the bill at all.
driving a car with a clutch,
I would have so ingrained the process, that every move was done subconsciously, leaving my
conscious mind free for the truly important matters, such as who is watching, where is their interest
do they do what?
One final thought before detailing the technical aspects of this switch, I want to address the issue
of the bills being switched. The most obvious option is to switch a bill of one value for that of another value, but there are also cases where you might switch a bill of one value for another bill of
the same value, such as Roger Klause does in his
Is The Same." Another possibility of
note is the Howard Lyons
Bill," which is a one dollar bill that has been cut to create the
appearance of a bill that has been turned inside out
The reason I feel it necessary to consider what bills are being switched, is because this largely
influences the moment during the procedures that the audience realizes the switch has taken place.
In foreign countries, the different colors used for different denominations of bills make the
formation instantly obvious, even when the bills are still folded into sixteenths. On the other hand,
when using the Mismade Bill, the moment the magic takes place can be delayed for three full unfolding moments. In this case, you can make it seem as if the magic happened to bill only
in
half. A spectator reconstructing the event in an effort to discover a method, might naturally assume
you would need to be hiding a second bill folded in half; a possibility they might easily discard.
If your delivery makes the moment of magic take place the instant the bill is folded into sixteenths, or if you are switching objects that are visibly different, even when folded into sixteenths,
then I believe people reconstructing your magic may more easily believe it possible to conceal
something as tiny as a bill folded into sixteenths.
As a performing philosophy, I feel the further you separate the revelation of the effect from the
method that
it, the more difficult it is to reconstruct the method. Using time as a method to
conceal other methods is an interesting notion. For this reason I prefer to use the Mismade Bill
when performing the thumbtip switch. The delayed revelation of the effect satisfies my theoretical
side,
by no means do I limit myself to this application alone. Do the switch as described
any
bill of the right size, regardless of color, and you can switch it for any other bill with confidence.
PROCEDURES: To fold the bill going inside the thumbtip, begin by holding it with the
of the
away
you. Fold the left half of the bill forward, and complete the
Continue folding the
bill into quarters, by folding the bottom half forward and up. Make these two folds crisp and precise. It is now, during the third fold, that you set the stage for easily handling later in the routine.
The third fold, into eighths, is made slightly off center. FIG. 1 shows how the left half of the quartered bill has been folded
with the half folded forward being longer by about the width of
the white border of the bill. This overhang on the right side should be no more than about one229
The Magic
should have no trouble staying on
your
hand, because of the angle of
the hand moving away. To prevent
the right-hand band from popping
off, the thumb should be held as
straight as possible, but the index
ger calls on support from the middle
finger. The pad of the right middle
finger holds the band against the base
of the index fingernail (FIG. 4). Look
closely at this figure, because it is exact. Notice the middle finger is not
hooked onto the rubber band. For the
moment, it just rests there.
away
the
finger starts to move toward the
The
the
right middle finger is crucial! It supports
band on top of
the index finger, allowing it to move on loward the thumb.
Continue separating the hands,
with the right hand moving back
toward you. As it does, the right index
finger and thumb start to move toward one another. Nntice in FIG. 5,
middle finger Still JUSt
itself and the top of the
index finger.
The middle finger does not enter
the loop from the opposite side. It
simply braces the band against the
index finger. The index finger,
while, can move out from under the
tension of the stretched band, because it is no longer what keeps the
band from popping off. Rather, the
band remains held by the tip of the
middle finger (FIG. 6).
If you wanted to, you could remove
your right index finger entirely, while
the middle finger supports the band.
But you are in the position for less
than one second. The index finger
now moves down toward the right
thumb, and begins to move into the
opening the thumb is in, going into
the
in the same direction as the
thumb (FIG. 7). This is the big moThe right middle fingertip fully supports the upper
strand
the right-hand
The right index finger is
ment of the move. Notice the middle
almost touching the thumb, and is prepared to
into
finger still just pinches the upper
opening of the band that the thumb is in.
strand against the top of the index
finger. It doesn't take the band fully onto it, although it could have. All you want is very temporary
support while the index finger moves back and out of the upper half of the rubber band, and into
the right thumb's opening of the band.
242
The Magic of Michael
eighth of an inch. More of a
ledge is unnecessary, and too
much overhang makes it difficult to get the bill all of the
way into the thumbtip later.
This uneven fold is what
makes later unfolding the bill
so much easier, which is, of
course, entirely intentional
will be during that particular
unfold that you will be putting the thumbtip back on,
and if you can initiate that
unfold by pushing against
that ledge with the back of
the right fingernails, you can
focus your attention elsewhere. Always use this overlap as you fold the bills, including the bills you borrow.
Continue by folding the
packet seen in FIG. 1 into sixteenths by folding the bottom
half up, again making this
crisp and precise. Load
bill
into the thumbtip by placing
the pad of the right thumb on
the one-sixteenth of the bill,
leaving one-quarter of inch
in view off of the end of the
thumb (FIG. 2). The bottom of
the "V" is pointing downward. This allows the bill to
enter the thumbtip completely, yet if you pull the
thumbtip off, the bill would
come along with the thumb in
perfect control position.
No matter whose method
for the switch you use, the
actual switching of the bills is
easier to do if the borrowed
bill has been
and
creased along the same lines
used during the switch. A
well-folded bill is far easier to
load into the thumbtip than one haphazardly creased during a demanding switch-out maneuver.
By
the bill under some logical patter line, you can pay increased attention to the folds,
230
Classic Renditions
being very meticulous and precise.
After all, you aren't doing anything
deceptive during the
and by
comparison your casual attention
during the switching folds will seem
particularly offhand. Make certain to
put a good crease into the borrowed
bill as it goes into sixteenths, because
this is when the new bill will be coming into view later on.
I still pre-fold the bill using the patter presentation printed in ENCORE
3, where I talk about the first trick I
ever learned.
you like to
the difference between doing tricks and
doing magic? Yes? Great! In order to do
that, of course, 1 have to first show you
what a trick looks like, so that when you
see the magic, you will know the difference. The trick I'll show you is the first
one 1 ever learned. When 1 was a kid growing up in West Virginia, there weren't
any magic shops, but we did have
and when 1 was six years old, they taught a simple trick on the
one of the boxes. You might
even know it
the one where you fold a bill
pur times, right at the tips of your fingers..."
When
the borrowed bill, be sure to keep your upper body relaxed. Flexing your shoulders
and bringing the bill up in front of your face to fold it can make the technique vulnerable to bad
angles. For better control over the angles, keep the bill in front of your chest (FIG. 3). At all times,
keep as much of the bill visible as possible. Notice that even when displaying the bill full face forward, the
is only held by its margin. The thumbtip is on the right thumb, loaded with the bill to
be switched in.
Begin by folding the left half of the borrowed bill away from you, and continue by folding the
bottom half of the folded bill up, quartering the bill. FIG. 4, you will notice the bill is held by the
very tips of the fingers,
keeping as much of
the bill in view as possible. In folding the
bottom half of the bill
up, the
is held by
both index fingers and
thumbs, with the
middle fingers kicking
up the bottom half
from behind.
Original techniques
called for the thumbtip
to be taken off as the
approaching third fold
231
The Magic of Michael
is completed. However, requiring these
combined results from
a single movement is
what caused the bill to
dip out of sight. Instead, I have worked
out a gesturing motion that allows me to
remove the
first, before completing the third fold. This
point is so important I
have tried to illustrate
it from every angle
through 13).
Before
remember that the borrowed bill has been
so all you would need
to do to fold this bill into eighths is to pinch the quartered bill at the crease in its center. The left
hand approaches the bill to do just that in FIG. 5. As it approaches, the left fingers are naturally
curled in, with the curl of the fingers increasing toward the little finger, giving the hand a tapered
which is shown clearly in FIGS.
11.
The
thumb seems ready to
pinch the
between itself and the
first two fingers (FIG. 6), and almost
completes
movement What actually happens is the left half of the
quartered bill starts its fold forward,
but before the left hand pinching of
the bill occurs, the right thumb shoots
to the left, moving the thumbtip to a
position where it can be clipped between the base of the left index and
middle fingers, and the tips of these
fingers. FIGS. 7 and 8 show the tip
moving into the left hand, and how
the left half of the bill has been folded
forward without the fold being completed. As the thumbtip is removed, the bill you will be switching in is retained by the pad of the right thumb,
concealed behind the borrowed bill (FIG. 8).
FIG. 9 shows how the tip is
between the base of the left index and middle fingers. Be careful
not to close the fingers too tightly, or to
the left thumb outward in a hitchhiker's gesture. FIG.
10 shows how the right hand moves away from the left for just an instant, to gesture with the
borrowed bill. The extra
is behind the borrowed bill, and the thumbtip is hidden along the left
index and middle fingers.
It is this casual gesture with the borrowed bill that covers the breakdown of the thumbtip removal into two steps. This seemingly offhand gesture is combined with a verbal reminder that the
bill will never leave their sight. In FIG.
left hand now pinches the crease down the middle of
the quartered
by the smallest margin possible, as the now empty right hand gestures an emphasis to words such as, "...so
even blink!" As the left hand pinches the crease down the middle of
232
Classic Renditions
233
The Magic of Michael
the quartered bill, folding it into
eighths, notice that the entire front
panel of that eighth of
bill remains
in full view to the audience.
FIG. 12 shows an overview of the
situation in FIG. 11. FIG. 13 shows a
close-up of how the extra bill has been
taken by the left hand, along with the
borrowed
You will notice that I
keep the extra
away from the edge
of the borrowed bill, taking advantage of all cover available.
FIG. 14 shows the final fold of the
borrowed bill about to take place,
with the
thumb removed
illustration purposes. It is as this last fold is
completed, that the extra bill is
brought into
Begin by matching
the left-hand grip with the right. Both
hands pinch their edges of the bill between the thumb and index finger, in
preparation for folding the bottom
half of the borrowed bill forward and
up with the middle fingers. Take particular care here to keep as much of
the bill visible as possible.
In switching the bills during this
final fold, the thumbs move the extra
bill, still folded into sixteenths, down
and flush with the bottom half of the
borrowed bill. Kick the extra bill, and
bottom half of the borrowed
up
and forward with the middle fingers
of both hands. At this point, both bills
be
into sixteenths, with the
extra bill now in front of the borrowed bill. Do not, however, look at
or focus your body energy toward the bills at this point, and don't script your patter to indicate that
this is the moment the magic happens. Instead, immediately use the tip of the right middle finger to
unfold the front sixteenth of the extra bill (FIG. 15). This opens the extra bill into eighths, while
hiding the borrowed
which is still in sixteenths.
Subtle, yet specific and necessary shifts of the bill and fingers prepare you for loading the bor- .
rowed bill into the thumbtip. Immediately following the unfold in FIG. 15, the pad of the right
thumb moves the borrowed bill fractionally up and left, to prevent its edges from revealing themselves, and the left thumb takes responsibility holding it behind the extra bill. The right hand lets
go of the
in preparation for the next unfold, which, because of our premeditated overlapping, it
can do with unmatched ease.
234
Classic Renditions
In FIG. 16, the right hand
keeps its naturally tapered
look, just swinging back
enough for the back of the
right fingertips to push forward on the overlapped edge
of the extra b0. This initiates
the third unfold, as the pad of
the right thumb presses
against the borrowed bill in
thumbtip loading position.
This is the same position used
in loading the extra bill into
the thumbtip at the start of the
routine., leaving one-quarter
of inch of the left end of the
bill visible.
Other techniques, as I interpreted them, now use the base of
the left fingers as a brace pushing the borrowed bill and right
thumb back into the thumbtip.
However, doing this moves the
front bill out of sight behind the
left fingers, as the right hand
moves an unnatural extra distance toward the left. The cover
was provided by the left fingers
reaching to the right edge of the
extra bill to unfold the bill into
quarters. But as you can
if the
left fingers move to the right edge
of the front bill, the entire front
has to go out of sight. There seems
no way around that fact, so a different way of pushing the tip on,
and for opening the bill out to
quarters, has been devised.
First, we are going to go get the
thumbtip and move it away from
the supporting base of the left fingers. But instead of going all of the
way to the left with the right
thumb, only move to the left far
enough to pinch the front edge of
the thumbtip between the extra
and borrowed bills. This will hold
the tip firmly enough to move its
opposite edge away from the
of the fingers (FIG. 17).
The Magic of Michael
At the same moment, instead of reaching around the front of
the extra bill with the
left fingers, curl the left
fingers
making certain not to cover the
front eighth fold of the
extra bill. FIG. 18
shows this from above.
FIG. 19 is a front view.
What happens in
FIG. 20 is a
solution for keeping
the front face of the
extra bill visible to the
spectators. Having
pinched the thumbtip
between the two bills,
left fingers uncurl as the tip is moved to the right The right middle finger
moves across the extra bill, pushing the left half of the quartered bill open. The thumbtip has not
been pushed onto the right thumb yet.
The left hand now moves to the left edge of the quartered extra bill, pinching the quarters between the thumb and first two fingers. You are going to push the pads
of
left fingers against the thumb to
facilitate opening the bill into halves.
FIG. 21 shows how the tip of the left
thumb comes into contact with the tip
of the thumbtip, and under cover of
the larger action of opening the bill
(FIG. 22), the borrowed bill and right
thumb are pushed into the thumbtip.
Continue holding the bill by the
smallest margins, to give a pristine
appearance to your
as you
continue unfolding the extra bill until
its
face is forward. As with other
techniques, you are, of course, capable of instantly repeating the
switch should your delivery require it.
As the technical analysis of this effect shows, there is a method for the resourceful
to
separate himself from the ever growing body of people who know how magic tricks are done.
one has to is uncover the fundamental obj ective of the effect, while using their understanding of
WHY things are done the way they are to achieve that objective.
The contribution one makes to the Art of magic may well be measured by the substance beyond
the core "secret" they bring to any
If magic is, as John Carney once said, "The art of making the
simple look marvelous," then the substance I offer here is my effort to make the simple
of
switching one bill for another, seem marvelous.
236
Classic Renditions
any
If magic is, as John Carney once said to me,
art of making the simple look marvelous,"
then the substance I offer here is my effort to make the simple "secret" of switching one bill for
another, seem marvelous.
237
THE CRAZY MAN'S HANDCUFFS
EFFECT: A rubber band is stretched between the left index finger and thumb, and a second rubber band, dangling from the right index finger, is lowered into the half circle created by the left
thumb and index finger. The right thumb moves into the loop of the band dangling from the right
index finger. This locks the bands together, stretched between the index fingers and thumbs of both
hands.
seems to be no way the bands could separate without taking the bands off of the
fingers,
yet that is exactly what happens.
no cover or confusion, the rubber bands seem to
melt apart, one strand at a time. The fact that this is repeated twice only adds to the mystery. Finally,
the spectator holds one of the bands, and the performer's band melts right through it.
COMMENTS: One handling or another of this is in the repertoire of a lot of the "in" guys already, and they might be tempted to pass
reading this. That would be a mistake. There are
thoughts and finesse printed here that few have witnessed. I feel that the method to follow represents the cleanest, most direct handling of one of the greatest close-up
of all time. To be more
specific, one of the greatest close-up effects of all time for a working magician. I am not claiming it is
a "High Art
or that the theatrical structure will warm souls, but when your criteria is
practicality, portability, clarity of effect, being angle proof, no preparation time, naturalness of
props, and audience involvement, this effect is close to the top.
But there are other reasons, more difficult to explain, that make this a truly great effect. I will try
to explain by talking about Richard Ross. Have you ever seen him perform the Linking Rings? His
routine is so elegant, and the illusion so magical, that his peers awarded him the Grand Prix of Magic
for his performance. He was named the number one manipulator on our planet, largely because of
how beautifully he manipulated the rings. I was young when Mr. Ross won his title, but I reasoned
out that he didn't win because of new methods. Just like the ancient Chinese, he used a ring with a
gap in it to link the rings, but what made it magic was that no one could tell when the links and
unlinks took place.
He took advantage of the fact that from a stage, you just can't
if the rings are actually linked
together, or if they are just being held against one another. He made me believe that he was capable
of truly impossible links and unlinks because of his understanding of this principle. After watching
him, you realize this property of the rings is one of the primary keys (no pun intended) to the success of this classic effect.
Are you still with me? Fine. So what does all that have to do with The Crazy Man's Handcuffs?
Everything. When done correctly, this simple rubber band trick takes full advantage of the exact
same principle as the Linking Rings do on stage, because an audience can't tell when the bands are
just being held flush, but locked together, or if they are being held flush, but are actually separate.
And far from being less effective done close-up, 1 feel the principle is made the more effective.
But principles are little more than words if they are not put to use. Many performers did the
Linking Rings before Richard Ross, but he perfected a handling that took full advantage of the illusion. Many have done versions of the rubber band penetration, but few, if any, milk the
aspects as effectively as the handling that follows.
238
Classic Renditions
Before going into my presentation and
I want to make certain that historical credit
remains accurate. Arthur Setterington, from England, apparently invented the effect itself. Herb
Zarrow (of Zarrow Shuffle fame) realized its potential and cleaned up the handling enough to fool
those who might have seen this little known effect before. Mr. Zarrow showed it to Lou
who then pushed for its inclusion in
SEVEN. Harry Lorayne, one of magic's great authors, wrote the seventh volume in the Tarbell series, but since Mr. Zarrow didn't personally walk
Harry through the
it was inaccurately written up. In the meantime, Dennis Marks (a
member of New
Circle") moved to Los Angeles, California. Dennis was able to perform the illusion beautifully, so before long, it became a pet secret of the L.A. "magical underground." Finally, Dennis showed it to Bob Jardine, who became the resident magician at the Magic
Castle for awhile. Few have ever performed this as well as Bob, so it soon became his trademark
effect. It is fairly safe to say that anyone else in the country who does this effect, and that includes
myself and David Copperfield, does it because they saw one of these three people doing it. The
timing,
finesse, and structure of what follows is my own. Why have I spent so much time
on the history of the effect? Because, as I stated earlier, I feel it is one of the greatest close-up magic
effects of all time, and if you learn it from these pages, it will be one of the most usable effects you
will ever add to your repertoire.
Finally, I'd
to thank Daryl for the title, "The Crazy Man's Handcuffs." The only time I ever
heard him mention this phrase was during a brainstorming session we had on
Island in 1980.
Although I have been using the phrase with this routine since then, I feel certain that the title originated with Daryl at that time. It is being
here with Daryl's permission, so with these important
historical credits dealt with, on with the routine.
PRESENTATION:
you like to see the trick
drove 14,000 psychiatrists crazy? (I love openonce performed
the American Psychiatric Association, in Chicago,
and over 14,000 psychiatrists were there.
all the things 1 did, this is the one that drove them nuts. I'll grant
you this, it was a pretty short
for some of them, but even the sane ones wanted to see it again.
call it The Crazy Man '$ Handcuffs' and it starts tike this. Now, I don't call it The Crazy Man Handcujfs' because the psychiatrists. I call it The Crazy Man's Handcuffs' because it would seem crazy to use
them as handcuffs because they
just rubber! But it still works, because you can't go over the fingers or the
thumbs - the bands would pop off. But watch
you will actually see the strands melting through one
another. Isn't
most of these psychiatrists insisted that I do it again. They claimed that they didn't know what to
for, because they didn't know what was going to happen. They had no idea
rubber bands could melt
right through one another, but
they knew, and I did something for them that I don't normally do. Not
only did I repeat the effect for them, but I let them watch
from behind. Get as close as you like, look over my
shoulder,
you will see the exact
view
I have. Clearly locked together, they
go over the fingers
without popping off, yet one strand at a time, they melt apart!
"One more time, this time watch
from below! Can't come through,
go over, yet one strand at a time
melts through. 1 do
for myself at home and fust laugh and laugh! (This Slydini line fits perfect here.)
"But stilt, one of the psychiatrists accused me of cheating. Excuse me, but have we ever worked together?
You don't
so happy about that! You wouldn't cheat these people, would you? Fine.
your
index fingers this way
you will hook the rubber band on your fingers this way, we will have an
barrier. I will lock my band into yours, so we clearly can't separate, yet still, one strand at a time,
the bands melt apart. Can you see now why 14,000 psychiatrists went nuts?"
PROCEDURES: Number 19 rubber bands work best for me. At an office supply store, you can
purchase either #
or 19, and it works just as well. If you are looking through your prop
drawer, look for thin rubber bands that would make about a three inch oval. Don't take the advice
239
The Magic of Michael
I have heard others give, as they encourage the use of different types, as
well as different colors of bands. They
feel it enhances the illusion if they use
two different colored bands. They
even build into their presentation that
the different colors will allow you to
know the instant they part. But thaf s
just it! You can
when different
styles or colors of bands are unlinked!
Do this, and you have cut the
off
of what makes the effect work. Take
advantage of the illusion by using
thin, identical rubber bands.
One band is stretched
the right
index
finger.
right
approaches with its band dangling
from the index finger.
Stretch the first band between your
left index finger and thumb. The right
hand approaches the left with its rubber band dangling from the index finger (FIG. 1). Lower
band inside the
area of the left thumb crotch, and insert the right thumb into
lower
loop, locking the bands on either side
of each other (FIG. 2).
Resist the temptation to show the
bands locked together by pulling
them against each other.
fact, do
not allow the bands to touch each
other at
Particularly important, is
not to allow them to rest flush against
one another. Why? Because in just a
few seconds, you are going to hold
them flush against each other while
they are actually already apart, but
their mind will see them as still together. Since we
be depending on
the strength of this view as an illusion, we don't ever want them to get a
view of what the reality looks like. We
can better get
with the illusion if
we don't display the discrepancy of
the reality. To display the bands
locked together, display them as depicted in FIG. 3. Make absolutely certain they understand the nature of
the bands locked together, as you say,
call it The Crazy Man's Handcuffs,'
and it starts like this..."
The right thumb enters
lower loop of the hanging
locking it behind both strands of the left-hand band.
240
Classic Renditions
The fact that the bands are so narrow that the mind's eye can't instantly tell which strand is in front
and which is behind is only one of the
key factors in this effect. The other
fact fundamental to its success is that
the secret move takes only one second to execute, and it occurs at the
perfect moment in the routine. Erdnase said, "The resourceful professional,
failing to improve the method,
Move the hands around a bit to display the locked nature of
the bands, but don't hold
flush against each
the moment." It was his way of saying
that technique is only part of deception. Equally, if not more important, is
the moment the move is done. this
routine, there are several ways to
prove the bands are locked together,
and it is during the most convincing
of all the locked displays, that the secret move
place. At the moment
it seems least possible you could deceive them, at the instant they would
least suspect it, the dirty
is done.
Very, very few effects can be structures with such elegant timing.
Once they have clearly seen the
bands locked together, you will separate the hands several inches, pulling
the bands against one another. How
many times do you do this? Do you do
it twice, in order to establish the move
before doing the dirty work? Do you
do it three or four times to wear down
their attention? No, no, NO! Only pull
the bands against each other once. As you
do, you will execute the key move
shown in FIGS. 4 through 9. The
stretching and relaxing of the bands
takes only two seconds. One second
for the stretching, and one second to
return to your original position. Move
any faster and you will seem rushed,
move any slower or add any movements, and you will only detract from
the clarity of the effect.
As the hands start to separate, the
left hand will move at a slight angle
away
you, as the right hand
moves back toward you. The band
As you say, "...because they're only rubber," you
pull the bands against each other. Notice that the
bands cross the fingers at the base of the
nails. The right middle finger is key position.
241
Classic Renditions
This stretching of the bands against
one another lasts only about one second. The hands move toward each
other again, reducing the tension on
the bands. At the same time, the right
index finger and thumb start to separate again. The more these two separate, the closer the hands come together (FIG. 8). The right middle finger still controls a small portion of the
band, only letting go when the right
index finger extends above the lefthand band. Make a mental note about
this extension of the right index finger
above the left-hand band. At the end
of the movement, you are in the position shown in FIG. 9, with the bands
free from one another.
The
are now
toward one another. As
they do, the right index finger moves away from the
thumb, continuing inside the thumb's opening of the
band. The right middle finger is just
top of
the band against the top of the right middle finger.
The movements just described are
perfectly timed to the words,
• cause they are just rubber." It's impor-
tant that these words, pointing out
the nature of the substance, are timed
;o the actions which illustrate the properties of that substance. Time this single
nent to this vocal statement and it will pass as just a meaningless gesture, instead of a technically
move.
The bands should be flush against
me another, with a perfect square
by the two bands in the exact
:enter of the four fingers. As I said,
:he stretching and relaxing of the
takes only two seconds, and
should be done only once. The position shown in FIG. 9 is held for just a
beat before continuing the movement. If you pause just a beat, you
won't seem rushed, but obviously,
you can't let them stare at the bands.
It is crucially important to the illusion that
you bring the bands to
the position shown in FIG. 9, that
your hands do not cross a certain
plane. For the illusion to work, there
is one, and only one, specific plane for
both strands of both bands to occupy;
it is the plane that puts four strands
perfectly flat against one another. If
the bands bend against each other at
The right index finger is now passing above the
strands of the left-hand band, completely
itself away
the thumb. Now that the index finger
isabove the left-hand band, the right middle finger can
release its pinch against the index finger.
243
The Magic
all, then you destroy the illusion. FIG.
10 shows how pressing the bands
against one another reveals the actual
condition of the bands. Take care not
to cross this plane, and the eye of the
spectator's mind will see the bands as
still locked together.
There are now four possible movements for "proving" the bands are
still locked together. We will use only
three of them, once each. Of course,
many movements are possible, but 1
refer to the only four which retain the
integrity of the illusion. I have chosen
straight movements over circular
ones, because they seem more controlled and are easier for the spectators to
This is the key position upon which the whole illusion is
based. The right-hand band is free from the left-hand
band, which it was just stretched against. The square
by the four crossing strands should
disfrom all four fingers.
Remaining on the
plane that
puts all four strands flush without
bending them, the right hand
smoothly continues its movement by
moving down past the left index
finger. FIG. 11 shows how the right
hand moves past the left index finger,
stretching its band. Be sure to move
slowly enough so as to remain above
suspicion. Continue by moving along
the single plane to FIG. 12, and finally,
to the position shown FIG. 13. From
there, return to the starting position
shown in FIG. 9. By keeping the band
moving in these "meaningful" directions, you seem to be continuing to
verify the situation without overwhile preventing them from
focusing on the strands long enough
to make out the reality.
Pause with the "square" in the
bands centered between the four fingers, then slowly seem to separate
one strand at a time. 1 look them in the
eyes and say, "Isn't that
You have gone too far here. All four strands
be
flush, but unbent. If the hands are anything but straight at
this point, they will reveal the true condition of the bands.
At this point I intend to repeat the effect twice, but notice that as I do, I am continually changing
their view of the effect. My presentation makes it seem that I am giving them a better and better
perspective, but I am actually making certain they never get a chance to focus! The view from the
is actually the best one for the spectator, so I give them this view before they really know what
244
Classic Renditions
The only
I allow myself
the dirty work is
Keep both index
extended away from the
Move
slow and smooth. Don't do anything that might be
suspicious.
245
The Magic
is going to happen. Once they know
what is supposed to happen, I turn
around and make them watch over
my shoulder. On the third penetration, I
back around, but I hold my
hands up in the air so they can watch
from below. My attitude says "good,
better, best," but the perspectives are
actually "good, bad, worst" Are you
starting to see why I love this effect?
Ask the spectator to point their index fingers at each other, and then
them (FIG. 14). Have them hold
onto the band very firmly with their
index fingers as you approach with
the second band (FIG. 15). The me-
Ask the spectator to point their index fingers at each
other,
chanics and timing of this release are
the same as before, but this time, as
your right hand moves back toward
you, stretching the bands, use your
left hand to steady the hands
the
spectator (FIG. 16). If both hands
move at the same time, the gestures
will again seem natural and spontaneous. Once free, return to the position shown in FIG. 17, move your
band right and
once or twice, then
slowly separate the bands.
One band is held
by the
you approach
with
band dangling
your right index finger.
Bob Jardine was the first person to
involve the spectator with this effect.
He would have someone at the bar
hold onto a swizzle
and he
would cause the rubber bands to
penetrate the stick. The above ending
was inspired by Bob, and it is printed
here with his permission.
FINESSE: Just a couple of points to make. Look at FIG. 18. This reveals a very common problem.
The bands are too deep on the fingers. By having the bands this far onto the fingers, you restrict the
view. Ideally, the bands should circle the fingers at the base of the fingernails. The reason most
people have trouble with the bands rolling down their fingers, is because they separate their index
finger and thumb in a rigid straight fashion, resembling a
If, however, they were to form a
with the index finger and thumb, the extra bend near the tips of the fingers help the bands rest
comfortably at the base of the fingernails.
FIGS. 19 and 20 show the second most common problem. In FIG. 19 the right index finger has reentered the band, but has not extended above the left-hand band; yet the right middle finger is
about to release its pinched portion. If this happens, you end up as in FIG. 20, without the bands
being crossed, and you definitely want to try and end up as in FIG. 9 because the illusion is so good.
246
Classic Renditions
Steady the spectators hand with your left hand, as your
right hand stretches the bands against each other. Do
this once, executing the release you do.
Your band is free, after
the release
the right
index finger. Return to this position, pause for a beat, then
move the right hand
and forth against
band before displaying the penetration.
These bands are too deep on the fingers. This
a
clear view of what is going on. Try to keep the bands at the
base of the fingernails.
The right middle finger pinches the upper strand of the right
band against the top of the right middle finger. The right
finger has moved into the thumb's opening of the
hand, BUT the right middle finger is about to release its
port before the index finger is above the left-hand band.
247
The Magic
Ideally, again, you should try to
create this interest in the area that will
be equal distance from all four fingers.
Since this is where the penetrations
actually take place, it is here that their
unconscious interests are drawn. FIG.
21 highlights another great quality of
this effecVmethod. The point where
the rubber bands meet is dearly the
most dynamic spot, yet this is the furthest point from the true action. Try to
intersect the bands at an equal distance from all the fingers.
Finally, I tried to structure this with
the thought that any movement that
doesn't add, detracts. Every extra
move, literally, has been eliminated.
Only one pull-back for the release and
only three (or less) proving movements to follow, Nothing else.
The results of not extending the right index
above the
left-hand band. You won't be in position to take advantage of
the
the
I feel like I have just given you a
mental vitamin capsule, full of
thoughts evolved over a decade. If you have
this write-up with rubber bands in hand, and
you have understood all of the esoteric things I have tried to say, then we should
be delighted.
Notice how dynamic the spot is where the bands intersect You are only in this position for an
during
which interest is
on the
while, the right middle finger is pinching the band
against the index finger, allowing it to do the dirty work
under cover of the natural misdirection.
248
Chapter Ten
BONUS CHAPTER
FALSE COUNT WITH COINS
COMMENTS: Here is a very deceptive utility false count with coins. It is extremely versatile and
holds the distinction of fooling the ear as well as the eye. It allows you to either get one coin ahead,
or you can show you have more coins than you really do. You will find many applications for it.
PROCEDURES: Let's suppose you have four coins, but you want the audience to believe you
have five coins. Start with four coins in your right hand. Your body is turned slightly to the left
Hold your left hand palm-up, keeping it in a flat position. Your right hand is also palm-up, in
dose proximity to
left hand. Your right thumb holds the coins in an overlapping row
1).
Turn your right hand palm-down, hold back
onto your left fingertips (FIG. 2).
the coins, and allow one of the coins to
Turn your right hand palm-up again (FIG. 3), then turn palm-down again, tossing another coin
onto your left hand, this one going onto your
(FIG. 4).
249
The Magic of Michael
Toss a third coin, this one joining
the coin on your left
Now, pretend to toss the fourth coin, but hold it
back with your right thumb, and simultaneously flick the left fingers.
This causes the coin on the fingertips
to flip back onto the coins in the left
palm (FIG. 5). The look and sound of
the coin landing exactly simulates
that of a coin tossed from the right
hand. Time it so the tossing action of
the right-hand coincides with the coin
landing on the other two coins. Finally, toss the last coin fairly onto the
others in your left hand. This procedure shows four coins as five.
Another way to use this count is to
get one coin ahead, like for a coins-across routine. Lef s suppose you have four coins in your right
hand. Toss the first coin onto your left fingertips. Toss a second coin onto your left palm. Toss the
third coin onto
left
Now, pretend to toss the fourth coin, holding it back with your right
thumb, and tossing the coin from the left fingertips onto the two coins on your left
in the
manner already described.
By stopping at this point and closing both hands, the spectators will believe that you hold four
coins in your left hand. Actually, you have only three coins in your left hand and one coin in your
right hand; in perfect position to begin a coins-across routine.
250
MULTIPLE COIN PRODUCTION
EFFECT: Four coins are produced from the hands.
PROCEDURES: Begin by secretly palming three
coins (halves or silver dollars) in a right-hand classic
palm and one coin in a left fingerpalm. Your body is
turned slightly to the left.
you are prepared as described, make a magical gesture with your left hand; then open your hand
to reveal a coin on your left palm.
Bring your palm-down right hand over to your left
hand and grasp the coin with your right forefinger
and thumb. As your right hand takes this coin, your
left fingertips are in a perfect position to contact and
silently dislodge one of the coins from the right-hand
classic palm. FIGS. 1 and 2 show an audience view
and an exposed view, respectively.
As the right hand lifts the coin
from the left palm, the left fingers
close around the stolen coin (FIG.
3). This action is totally hidden.
Place the coin you removed
from your left hand on the table.
Make a magical gesture with your
left hand; then open your left
hand to display a second coin resting in the same position as the
first coin you produced. Remove
this coin with your right forefinger and thumb, stealing a coin
from the right-hand classic palm
in the manner already described.
The left hand closes into a
251
Magic
Place the coin you removed from your
left hand on the table. Make a magical
gesture with your
hand and then open
your left hand to display a third coin.
Remove this coin with your right forefinger and thumb, stealing the last coin from
the right-hand classic palm in the manner
already described. The left hand again
closes into a fist.
Place the coin you removed from your
left hand on the table. Make a magical
gesture with your
hand and then open
your left hand to display a fourth coin.
Flip this coin into the air and then table it
with the first three coins to complete a
very convincing production of four coins.
As this poster shows,
even in
early years 1
tried to use some of the
principles mentioned in
Making Magic Memorable.
This certificate gave
people who helped with
my show something
they could take home
and put on their wall to
the
The back of the certificate had a
strip
printed across it, so that
when was rolled up, it
looked like a magic
wand. I suppose
people could use a little
creative artwork and use
this poster for themselves. Would I mind?
If you look that
much like what I used to
look like, you need
of
the help you can get
252
Bonus
This
of
Handcuffs for the
magicians in
Moscow turned
into a genuine
theatre in the
round!
This was the first
time that the
Russian magicians were
exposed to
magic, and they
couldn't get
enough it!
253
DOUBLE COLOR CHANGE
EFFECT: A card is selected and lost
in the deck. The performer cuts a card
from the deck, which proves to be the
wrong card. Waving his hand, he
causes the card changes into the selection. With another wave, the back of
the selection changes color.
PROCEDURES: This is a variation
on a Barry Price color change. The set
up is that you have an odd-colored
card in the center of the deck, with a
left little finger break below it. The
right index finger is on the upper left
corner of the deck, acting as if it will
pick up exactly where the spectator
calls "stop" as you riffle down the
cards with your left thumb.
Stop exactly when they call, and apparently break the
at that point. To create the impression
of
where they
clearly insert the pad of the right index finger at the riffled stopping point
(FIG. 1). However, the right thumb picks up the entire upper packet, starting at the break in the
back (FIG. 2).
Raise the face of the right hand packet to show the
"selected" card (the odd-backed card). As this is
done, obtain a left little finger break under the top
card of the left-hand packet. The right hand then
places its packet on top of the left-hand packet.
Double cut to the break so the odd-backed card ends
up second from the bottom of the deck.
The right thumb gets a large break above the bottom two cards. The right index finger swing cuts half
of the deck into the left hand (FIGS. 3 and 4). You are
doing the
double
from the bottom.
The left hand takes the upper portion (refer to FIG.
4) and the right hand brings its cards over the lefthand cards, the right thumb pushing down on the
bottom two cards, bending them away (FIG. 5.).
251
Bonus Chapter
The right hand allows the upper packet to slide off the buckled double, as the right index finger
pivots the double face up on top. It looks as if you have given the deck a fancy cut, pivoting out a
card as you do (FIGS. 5 and 6).
255
Magic
You now have the odd-backed card face up
on the face-down deck, with the indifferent
card (the three of hearts in this case), face up
on top of the face-up odd-backed card. you
turned these two cards over, the spectators
would see the odd-backed card.
The left thumb and index finger now grip
the upper right corner of the double card,
while the thumb and index finger of the right
hand take the cards by the lower right corner
(FIG. 7). The right hand then circles forward,
turning the cards between the left thumb and
index finger (FIG. 8).
As the right hand pulls the three of hearts
back to its original position, the right fingers
keep the odd-backed card by sliding it out
from under the three and into a
palm position. This action is completely hidden by the right hand. The odd-backed card
can be seen under the right hand in FIG. 9.
The right hand then pivots forward, this
time allowing the jack to ride above the three
(FIG. 10). In order to help the two cards line
up, the
hand can switch positions, gripping the cards by their long edges. The right
hand simulates a waving action over the
cards, and as it does, the base of the fingers
brush against the short ends of the cards,
squaring them as they are revealed (FIG. 11).
Turn the double card face down. Repeat
the color change action to cause the back of
the selection to change color (FIG.
The
right hand then takes the card from the left
fingertips, tosses it on the table, allowing the
extra card to secretly
flush with the deck.
256
Bonus
Dai Vernon remains
my greatest magical
inspiration, and in
spite of rooming
with him for a week
on this cruise ship,
and co-hosting the
14-hour video documentary of his life
and magic, I was
never so familiar
with him that I took
him off of his pedestal. To me, he was always The Professor,
and I was his devoted desdple.
EFFECT: A half dollar, placed in the
magically changes into a key.
COMMENTS: This is Michael's
updated handling of a J.B. Bobo effect
that appeared in both MODERN
COIN MAGIC and MY BEST.
PROPS: You need a half dollar and
a silver key that has a round head.
PROCEDURES: When you are
ready to perform this routine, secretly
obtain the key and clip its head between the tips of your right first and
second fingers. The key is concealed
along the length of your right second
finger (FIG. 1).
Introduce the
half dollar and
hand it to a spectator. Ask the spectator to try and bend
the coin. Naturally, they cannot.
Take back the coin
and place it directly over the
head of the key;
then immediately
slide both coin and
key to the
so
you end up displaying the coin by
its edges between the forefingers and thumbs. The shaft of the key is concealed under your right
thumb (FIG. 2).
258
Bonus
Say, "1 can bend the
Watch." You now
do the old soft coin trick, wherein you pretend to bend the sides of the coin up and
down. There's nothing to it really; simply flex
your hands back and forth and it appears as
though you are bending the coin.
Hold the coin (and key) with your right
hand as your left hand turns palm-up. Move
the coin (and key) onto the center of your left
palm and close your left third and fourth fingers around it (FIG. 3). The coin extends past
the third
still visible to the audience.
Close your left first and second fingers
around the coin. Begin to turn your right
hand palm-down, withdrawing the right fingers from the left hand, but leaving the
thumb still trapped by the left fingers (FIG. 4).
Draw your right hand slowly away from
your
removing your right thumb in the
process. Move the right thumb suspiciously behind the right fingers, as though you are concealing
something
5).
259
The Magic
While all of the attention is on your right
hand, you silently maneuver the coin into a
heel clip position. This is done as follows:
Turn your left hand palm-down. Hold the
key in place against your palm with your
fourth finger as your second and third
open slightly, allowing the coin to silently fall
to a fingertip rest position (FIG. 6).
The second and third fingers now carry the
coin back to the heel of the hand, where it is
clipped by its edge. Nearly all of the coin is
outside of your hand (FIG. 7).
As the coin is transferred into heel clip position, turn your right hand palm-up and show
it to be empty. Say, "Nope, I
done anyyet." You now do a move by Roger
Move your right hand, with its palm
facing you, over to your left fist Extend your
right forefinger to touch the back of the left
hand as you say, "The coin is still in there."
•
Your right fourth
extends under
your left fist and contacts the underside of the
heel-clipped coin, whereupon the coin is easily clipped and stolen between the right third
and fourth fingers. The right fingers then curl
into the palm as you complete the pointing
gesture (FIG. 8). The steal takes only an instant to execute. It is quite easy to do, and
when done right, is totally invisible. FIG. 9
shows an audience view at this point.
Lower your right hand to a natural position at your side. Your left hand is still palmdown. Say,
coin is still there, but the key
difference is that just waving my
over it,
the coin becomes the key!" Snap your right fingers over your left fist. As this is done, maneuver the key so the shaft extends past your
left fingertips (FIG. 10).
Turn your left hand palm-up, revealing the shaft of the key exlending past your fingertips. Now
open your hand to completely display the key. The coin is ditched at an opportune moment.
260
Bonus
261
The Magic
Ammar
262
James Lewis
INVERSION
EFFECT: A card is selected and replaced so it is protruding more than half of its length from the
upper left corner of the deck. Drawing attention to the deck, the performer states that just by
waving his hand, the protruding card will visibly turn face up, while it is still locked inside the
down deck. However, much to everyone's surprise, the selected card does NOT reverse itself.
Instead, The entire deck reverses itself around the
face-down selection!
COMMENTS: Jim Lewis is a talented magician from Hollywood, CA. He handles very difficult
sleights with complete ease and the material he uses is always of the highest caliber. In his hands
this routine is shockingly deceptive. However, the handling he has developed is not easy, and the
angles limit its performance to one or two people at a time. It is beautiful in Jim's hands, but I
the
majority of magicians wouldn't use it. Fortunately, the concept is custom made for variations. So
what I'll do is describe several versions I have evolved, and also an excellent handling which Piet
Forton has developed.
PROCEDURES: For the basic inversion effect the
set-up must be that a selected card is reinserted into a
deck which is entirely face up except for a single card
face down on top. This can easily be achieved by
having a reversed card as it is spread the selection.
As they are looking at the card, you simply turn the
deck over during some gesture. (Jim uses the method
on page 112 of EXPERT CARD TECHNIQUE.) The
selected card is then replaced in the face-down deck,
and left outjogged. From this point I
describe Piet
Forton's handling of this wonderful concept.
FIGS. 1 and 2 should make Pief s method clear to
you. You explain that just by shaking the
the
card will reverse itself. The second time you shake the
deck, you need to do is to quickly palm the top card
in the right hand. Pause a beat for the effect to sink in,
and then grasp the right hand as the left thumb begins to push off cards in order to show that the entire deck is now reversed. This replaces the original reversed card back into the deck in the proper
You've just completed a very quick
and you finish clean.
263
Magic of Michael
SECOND HANDLING: I worked out this
handling so I could begin
and
work from a peeked card. After the card has
been peeked, it needs to be controlled to second from the top of the
I use the Side
Steal with a Top Card Cover (see page 58).
This is done by kicking the card out of the
deck with the left little finger (FIG. 3, right
hand removed for clarity). This card will NOT
be taken into a full palm position. Instead, it
will be held by the index corners by the right
little finger and thumb. At this point the right
index finger will buckle the top card slightly
(to insure
1 card is removed), and the
hands separate slightly (FIG. 4). The
hand
turns so the right index finger can point at the
front of the deck (FIG. 5). 'You 're card is about
halfway down in the deck,
going
find it in a
most unusual way. Since every card in this deck is at my command, all 1 have to do is give the deck a little
it will
from
for about
its length."
As this is being said, the
hand turns back up, but does
not square the selected card back up. What happens is that
the
hand takes the selected card, and does a half pass
under cover of the top card (FIGS. 6 and 7). Therefore the top
card acts as cover for the side steal as well as the half pass.
This handling is very direct.
The situation now is that the deck is face up except for the
top card, which is face down. The selected card is at the bottom of the
You now do the J.
Hartman Popover
move, which places the card into the perfect position (with
only a slight adjustment) for inversion. I do this because I'd
like to first FIND the selected card before I go into inversion.
Also, the card pops out face down, and this helps to sell the
idea that the entire deck is face down.
The Popover move begins by grasping the deck
from above in the right hand (FIG. 8). The pads of the
right fingers begin to move the bottom card to the
right until it clears the thumbtip. Now the left hand
enters the space between the selected card and the
deck (FIG. 9). The left hand grasps the lower half of
the pack, and two actions take place at once. The
right index finger lifts the upper half slightly as the
left hand slightly lowers its half. The pads of the right
fingers cause the card to flip over so that it
appears face down in the middle of the deck. FIG. 10
shows this pretty revelation taking place.
264
Bonus Qiapter
265
Magic
all I have to do is pass my hand over the deck and
your card
reverse itself while it is still trapped in the
center the deck. Watch closely!"
Of course you are now set up for the Inversion effect You can use
s
or you can do as I
do, by side stealing a card and simply doing a color
change across the face of the
This is very
and all you need do is to be careful not to flash the reversed card second from the top as you display the
now face-up
THIRD HANDLING: The most visual handling of Inversion I've developed makes use of
the Cardini Snap Change. After you set up for
Inversion the left index and little fingers get a
break under several cards (from 2 - 15) (FIG.
11). This is done under cover of the right hand.
The right index finger flicks the deck as shown
in FIG. 12. As it does, the left fingers quickly
open to reveal a startling change (FIG. 13).
In the original handling, the deck is then
grasped by the right hand as the left fingers
pull the packet back underneath the deck and
squares up. However, I've found it to be very
effective if the right hand takes the packet between the middle finger and palm as in FIG. 14. Pause for this very visual effect to sink in and then
complete the move as shown in FIG. 15. This was developed independently by me, but the idea is so
logical that I'm sure someone else must have thought of it also.
I have given you several handlings of Jim's wonderful Inversion. You will find that there are many
others, I'm sure. You can get into it by using Ken
Mechanical Reverse if you like, and you
can also do Inversion under several cards. In any
case, play with it.
266
Bonus
The Linking Headbands was one of the effects that almost
every Russian magician wanted to learn
267
INCREDIBLE COINS ACROSS
EFFECT: You show three coins. A spectator cups both hands in front of his body. One at a time
the coins vanish from your hands, only to magically reappear in the hands of the spectator! The
third and final coin appears by literally falling from the air - from nowhere - to drop right into the
surprised spectator's hands! This happens while your hands are in clear and innocent view.
COMMENTS: For several years I only performed this one-on-one for the person who cupped
their hands, thinking the impact of the appearance in the spectator's hands was so personal, the
wouldn't
a group of people. However, I've found it can literally be done surrounded
to great effect. I can't overemphasize the impact this routine has. I have startled the top minds in
magic with this one. Don't let the simple handling or method fool you into thinking this is not
worth your effort.
In fact, this is the first effect I ever showed David
when we met in the early eighties.
Now,
you imagine anyone who sees more magic than David? Now imagine my surprise when,
almost nine years later, he dropped into a conversation his vivid memory of the final coin appearing inside his hand the night we met! The moment the coin appears in their hands is a definite
"Gotcha!" It hits them on a gut level. Their experience is a rare one, as it is very difficult to surprise
someone with something they have been led to anticipate.
PROCEDURES: You can use silver dollars, half dollars, even quarters to perform this. While
the spectators are only aware of three coins, you actually use
However, you
not need to
get involved with any complicated holding-out sequences, because the extra coin is out of play for
the entire time, until its unexpected revelation at the last instant.
The kicker ending makes use of a very old method of vanishing and producing a coin. In this
case, when you are an extra coin ahead, you are literally and extra coin
This is because the
fourth coin is secretly placed on top your head. Strange, but true!
As you hand out the three coins you willbe using with your left hand, your right hand places the
fourth coin on top of your head. There isn't much else to say about this, except don't rush it or feel
too guilty about it. It takes only a little practice to find the perfect spot to rest the coin on your head.
Spend enough time learning the best location and stance, so you will be able to perform the rest
of the routine with comfort. It was some time before I could do this routine without looking as if 1
had a pole up my back. But once you are ready to go, place the coins into your right hand, with the
bottom coin in a right classic palm position.
268
Bonus Chapter
Start by
like you to hold your
hands cupped together
like this, because
am
going to do something
incredible.
need only
three coins, and you'll
need only to
your
hands cupped and your
thumbs
up.
Perfect,
Now, all have to do is
pull on your thumb...
and the coins vanish one
at a time, going from my
hands into your
Cup your hands in
of you, holding the three coins in your right hand. The bottom coin is in
classic-palm position. Have the spectator cup their hand together in a similar manner (FIG. 1).
Turn your right
hand palm down, apparently dumping the
coins into your left
hand. Actually, retain
the lower coin in classic palm as the left
hand closes over only
two coins and moves
to the left. The rationalization for dumping
the coins into your left
hand is so your right
hand can help adjust
the spectator's hands
into the proper position (FIG. 2).
Use your right hand to grasp the
spectator's right thumb. This serves
several purposes. Not only does it
help cover any technical flaws in your
classic palm, but it also creates a motivation for the magic to take place,
while placing the classic-palmed coin
directly over their cupped hands. But
really
is that when
the second coin travels across, its purpose is just transparent enough to
create the perfect "red
cover
for the appearance of the final coin.
FIG. 3 shows the right hand pulling
269
The Magic of Michael
on their thumb, ready
to release the coin
from classic palm. The
left hand, although
not pictured in the illustration, has moved
to the far left. You
need to control their
of interest, so that
later they will only
consider looking in
one of two places for
the final coin, both of
which are so far away
from the actual
tion the coin will arrive in, that if s
right funny! At this
point, they follow
your left-hand movement over to the left, without having reason to suspect the intentions of your
right hand. Pull on their thumb, releasing the palmed coin into their cupped hands.
Do not, however, turn your right hand
up at this point in order to show it empty. Just move
it away to
the view to their cupped hands. Your left hand, still held at your far left, opens to
show only two coins inside. Say, "There! Tint's the first coin across, leaving two behind."
The continuous action shown in FIG. 4 depicts the left hand moving closer to the spectator's
cupped hands, as the right hand picks up the first coin and displays it on the palm. In
you are
positioning yourself for a Han Ping
move, directly into the cupped hands of the spectator.
That is why the left hand has moved closer to their cupped hands, in order to facilitate the secret
dropping of one of the coins from the left hand; one of the two left-hand coins rests at the base of
the hand, near the little finger.
Continue, "Now that this coin has
traveled, do you know
is going to
happen to these two? keep them way
over here, but all 1 have to do is pull on
your thumb, and they travel across,
at
a time." As you say, "Now
this coin
has travelled...", close your left fingers,
as you indicate the coin on your right
palm (FIG. 5). The right-hand coin is
still in a classic palm; the coin at the
base of your left hand is ready to fall
into the spectator's cupped hands.
FIG. 6 shows the right hand apparently dumping the coin from its palm
into their cupped hands, as you say,
"Do you know what is going to happen to
these two coins?" However, your right
hand retains its coin, as your
hand
270
Bonus
moves away with one coin, while secretly releasing one coin. FIG. 7 shows
the right hand moving to pull on the
spectator's right thumbtip, releasing
the classic-palmed coin as it does.
Rhythm is vital here. A few tries
will convince you of the deceptiveness of the move into their hands and,
if for some reason they suspect the
move, you will soon be covering your
tracks. If you are still uncomfortable
with the idea, just leave the first coin
in the spectator's hands, and then
perform a click pass, holding back one
of the two remaining coins. Personally, I believe it is better not to bring
the hands together during this routine, but it is important for you to perform as you are most comfortable.
Now comes the payoff! As I mentioned earlier, at about this time they
will piece together the fact that pulling on their thumb sure puts your right hand in a convenient spot. After all, twice something has
fallen into their hands, and twice your right hand has been right there. Even if they don't know
about classic
you have to give them some credit for intelligence. About this time, they are
justifiably suspicious of your right hand. Now, in quite a satisfying fashion, we will use their own
suspicions against them in order to create a blockbuster climax.
Show that only one coin remains in
your left hand; then take this coin
into your right hand to gesture with it
(FIG. 8). Perform a simple coin pass as
you seem to place the coin back into
your left hand, actually retaining it in
your right. you have a method of
rid of the coin completely,
such as with the Topit or by using
sleeving techniques, great, but it must
be surefire! It is better to leave the coin
concealed in your right hand than to
blow it by having to bend down and
pick up the coin. Needless to say, this
blows your big ending! I have embarrassed myself a couple of times learning this lesson.
The spectator(s) are now watching
your right hand like a hawk, so very
clearly (without saying anything),
take the right hand out of the action
271
Magic
zone by lowering it naturally
to your side (FIG. 9). They are
conditioned to watch your
hands very closely, thus taking your right hand out of the
action zone confuses them a
bit. They most often look at
your left hand, which is
even further out to the left.
Open your left hand, indicating the vanish, then pause for
an instant. Now tilt your head
slightly forward, allowing the
coin on your head to fall on
top of the two coins in the
spectator's hands (FIG. 10).
WOW! What a startling revelation this is! They have no
idea where the coin could
have come from, and the
usual response is utter shock.
Act as though nothing unusual has taken place, other than what you have done twice before,
and end with a very warm feeling deep inside.
272
Michael
The Vernon Theory of Artistic Advancement
Dai Vernon, The Professor, has touched my life in many ways
the past years. One of the
most pervasive was when he shared his Theory of Artistic Advancement with me. As soon as the
depth of this theory began to dawn on me, it influenced my career in
ways.
As is typical with many great truths that come from The Professor, it started out as idle conversation. We were talking about the learning process and how it applies to different fields of artistic
expression. He pointed out that the
knowledge doesn't result in learning that
progresses linearly; you don't gradually improve little by little as more knowledge is accumulated.
Rather, artistic progress is a process of moving from one plateau to another, often suddenly, after
a certain amount and kind of knowledge triggers the advancement to the higher plateau. In our
field, this progression to a higher plateau happens not through the learning of new magic moves or
techniques, but through the assimilation and understanding of theories, thoughts, and concepts.
I accepted this theory as valid and began to search for the knowledge that would universally
raise my understanding and ability. As an example of the type of understanding that could influence someone's level of artistic expression, lef s look at just one of the cornerstones of performing
magic... Misdirection.
While trying to gain as much knowledge and understanding of misdirection as possible, it occurred to me that I might have misunderstood this concept from the very beginning. Since it was
called misdirection, I visualized tactics which diverted attention away from what was going on. 1
now believe it is much better to use directing instead of
Rather than to suddenly shift attention to something else to cover a move, it is better to constantly be directing the viewer's flow of attention, consciously, from one important aspect of the
performance to another. At no time should there seem to be a
away from
and at no
time should anything extemporaneous be pulled into the picture as a means of cover or diversion.
This little thought on a common subject has subtly influenced everything in my repertoire. It
may seem obvious to some, but in light of The Vernon Theory of Artistic Advancement, it can be a
big jump for others. is but one way you can examine your own understanding of this topic, and
maybe it might result in your own move to another plateau.
273
Michael
Challenging Your Experiences
As I enter my 12th year of making my living solely from magic, I am gaining an interesting perspective on experience.
It seemed so easy in the beginning, when
cup was truly empty, to consider each experience of
performing as a golden step on my ladder of learning. I was in such a hurry to grow that I tried
desperately to draw hard and fast rules from every experience I encountered, considering experience the best way to learn.
.
It still seems logical to consciously draw as much knowledge as possible from every experience,
but what I am now learning is that experience can work against you. What? How do I know? Once
again, because I have experienced this.
Mark Twain once said,
cat sits on a hot stove, it
never sit on a hot stove
But, it will never
sit on a cold one either!" This is exactly what I am talking about. I have been "burned" by performance experiences in the past. When I had these experiences, I learned from them, and followed
through by making sure I didn't make the same mistakes again, ever. I am finding that there are
stoves out there that I taught myself to never sit on, but now the stoves are cold, and there is no
good reason not to try them again.
CHALLENGE YOUR EXPERIENCES: My past years of experience have changed my perspective, by changing such things as a growing basic technical ability, a shrinking repertoire, higher
fees, better working outlets, and a changing clientele. These things have dramatically influenced
the perspective of the experiences I have been counting as knowledge. So, as a result of yet another
experience, I have learned to
all experiences.
To make my point clear, I'll give some examples of different experiences, and how changing
perspectives have influenced their meaning.
I grew up in a very small town. After I performed for the Cub Scouts, the
Club, the lower
and upper schools, and the church picnic, everyone in town had seen my show! With this situation, it
was more important for me and easier for me to get a new show than a new audience. My experience then told me that the most important thing to have was a large repertoire. The overall quality
of the effects and presentations didn't seem that important. I was judged more on the weight of
repeated viewing than on the strength of a single chance viewing.
this single experience, so closely linked to my foundation, influenced my repertoire for
years longer than was necessary. Before long, an opposite situation prevailed. It was easier for me
to get a new audience than it was to get a new act. I had begun to travel further and further from
274
Bonus
my home base for performances, and the people who would see these performances might never
see me
Not having that second chance to make a first impression meant that every effect
they saw counted. Overall impressions were drawn from single performances. Consequently, I
began to filter out the very best items from my larger repertoire and I counted on them when the
heat was on. Slowly, my repertoire
as the cost of keeping mediocre effects rehearsed became higher and higher. And, from my current perspective, I welcome the change.
Another experience which had an impact that long
the value it offered, involved the
selection process for the material I worked on. For a
time, the criteria I used to select items for
my repertoire went something like this: (1) Packs flat or fits in pocket; (2) Requires no set-up; (3)
Can be done close-up
surrounded; (4) Finishes clean; and (5) Requires no special staging,
sound, or lighting.
These criteria were the result of the places 1 was working and the fees I was charging at the time.
When both of these things had changed considerably, it was still a long time before my criteria for
effects changed to reflect the current situations; and they are still changing today.
Earlier my career, I was traveling long distances for shows, and I
many shows
in a short period of time. On top of that, my fees were very low, often under $100 per day. Naturally,
I gravitated toward the most convenient, portable act possible.
Today, I often earn more than fifteen times as much per show as I did when my criteria were set;
this would indicate that perhaps my criteria should have changed or should be changed, but surprisingly, I still tend to follow the old criteria. But I have since challenged these criteria and I have
changed them.
What I am learning is that, considering the places 1 am working and the
I am receiving, it is
worth going to a little extra trouble - and sometimes even going an extra mile - to please my clients.
This may mean performing material that is not easily portable or convenient, but the results entirely justify this. More and more these days I am making it a point to go to visible efforts for my
clients, and they in turn are making visible signs of appreciation in return.
So, the interesting new perspective I have on experience is that it needs to be regularly challenged. Maybe you have always avoided close-up card palming because you experienced being
caught (burned) years ago. Maybe you are avoiding shows for children because of the Blue and
Gold Cub Scout
in
Whatever it might
been for you, understand that things
have changed since then. Your abilities have grown, as well as your understanding.
Give something new a try. Or better yet, give something old - something that you wanted to do
in the past that didn't work - a try. Challenge your own experiences by looking at the criteria you
have developed because of them. Then, bring yourself up to date!
275
Michael
Where Do You Stand?
"The King Is Dead! Long Live The King!" The old goes out, and the new comes in.
Any game you play will have a set of rules, and the more you know about and understand those
rules, the more likely you are to win the game, whether you are playing Monopoly, Checkers,
Chess, or just life in general. Not only is life a sort of game, but many of the
we encounter
in life can be considered games. If this assumption is true, an obvious question is: "What are some of
the rules that if understood, would
success
more certain?"
One of the rules is expressed in the opening of this article. Change is inevitable. Oscar Wilde said:
only thing that one really knows about human nature is that it changes. Change is
one quality we
can predicate of it. The systems
fail are those fliat rely on the permanency of human nature, and not
growth and development."
One of the rules, therefore, would be to recognize change, accept it, and try to benefit from it. The
good news about this rule is that change is rarely totally random. Cycles have always existed, and
apparently always will. Those who get along best are those who recognize what the current trend
and adjust it.
So what are the directions to be focused on next? What will the next cycle be? What is the crest of
The New Wave?
I believe the direction of developments of the magic field is influenced by current
available
for its expression; that is, where magicians can and do perform. For example, Vaudeville influenced
the type of magic developed and performed at that time, just as its death carried an impact.
There may be those
ability of artists tc
outlets there are for
expression any
more people are
and then more people will see it, like it, and want to experience the expression of it themselves.
There are very few bom prodigies in any field. There is talent in many fields dormant in all of us,
like seeds in a bag. What makes the talent flourish is the fertile soil for its growth.
What is the meaning behind the title of this article? And what do I think the current direction of
magic is?
let's
at the contemporary outlets for the expression of our art.
The largest new outlet for work these days seems to be comedy
the past decade they
have opened in virtually every city in America, with many cities having more than one club. There
is a constant demand for the comic with a twist, such as the stand-up comic magician. There is also
276
Bonus Chapter
interest in novel acts, such as
magic acts. The stand-up comic magician is able to find
plenty of
if he has good character, fresh material, and knows how to enter the marketplace.
Another outlet for magicians is the private party market. In every town there will always be those
who gather together, and at many of these gatherings there is a need for unique entertainment In
world full of exceptional and bizarre entertainment, wherever one turns, unique forms of
entertainment at parties, such as magic, are becoming more common.
Along with and very similar to the private party market, is the banquet and after-dinner show.
This is a somewhat seasonal market, for example at Christmas, but it is a huge market
Then, of course, there is always the restaurant market. People will always need to eat, and with
the incredible competition in the food industry, there will always be those who try to stand out
with that little something extra, such as magical entertainment
These things point to one thing: the need to stand and perform. So, the question is not, "Do you
stand up to do magic or do you sit
and lap things?" No, the question
Where you stand?"
To conclude, I believe the trend of contemporary performance is in the direction of stand-up
magic, and, because of the reasons mentioned above, this is the direction that
experience the
greatest growth in the near future.
277
Michael
On Magic Competition
One: Technical Preparation
years of involvement with magic competitions, I'm more than happy to leave the field to the
current wave of young and hungry future stars. But once again the internationally prestigious
competition is around the corner, and my thoughts turn to the excitement such challenges
bring. It was a milestone in my career when I won First Place
Sleight of Hand Championship in
in Switzerland. Here I will tell exactly how I would go about preparing if I were to
compete again. For those few daring souls who venture to enter the contest, I think this will be an
invaluable guide.
The first and most obvious step is to find out exactly what the judging criteria would be for the
arena I would be competing in.
Some people, of course, have a strictly routined act, and they would perform their act its standard
no matter what the judging criteria are. I am not one of those people. I sometimes wish
I had such a structured act, but on the whole I prefer the flexibility of a larger repertoire over commitment to a single act So... if a performer is not locked into any specific
it makes sense to
select material that will most accurately reflect the criteria of those judging the competition.
Generally, magic contest judging criteria covers Presentation, Creativity, Personal Appearance,
Originality, and
But the whole point is... these are not absolutes. Not only might other
criteria be considered, but the impact each criterion will have on the outcome will rarely be evenly
divided. In some contests, Technical Ability will carry 40% of the weight; in other contests,
ity might be responsible for 40%.
Why is this important? Clearly, different routines in your repertoire reflect
abilities. For
example, if Technique is by far most important, then don't worry about that new off-the-wall idea
you have. Just perform Vernon's Cups & Balls flawlessly. And, by the same token, if Originality is
given the greatest weight, by all means consider creative effects your highest priority. One creative
idea that comes to mind, that wouldn't involve technical sleight-of-hand, comes from Paul Harris,
wherein the oxygen your lungs changes places with the helium inside a balloon you're carrying.
After finding out just what the judges will evaluate, it is important to find out the specific performing environment the contest will be held in. More talent is tripped up by not being properly
prepared for the actual performing environment than you could ever imagine. For example, in
most all magic contests, "Close-up" rarely means close up.
When I competed in Switzerland in 1982, the competition took place in a small room. Only ten or
fifteen people, counting the judges and camera men, were able to fit into the room. There were, as
I recall, two cameras in the room filming procedures and transmitting the picture onto a giant
screen in another room. In this room an audience of several hundred watched the competition.
278
Bonus Chapter
However, the next
competition, held in Madrid, Spain in 1985, was entirely different The
close-up competition was held in a large, cafeteria-style meeting room. Two or three hundred
people were sitting
rows a flat floor watching while the
worked in front with
a card table placed on a six-inch riser.
If you observed the contest in Switzerland at the 1982 convention, you might naturally put together a real close-up act for the 1985 contest This act might include working out of someone's
hands in the first row, or it might include placing something - coins, cards, whatever - on the table
so it can be seen by the audience. All of this would seem logical, wouldn't it? Yet if you had drawn
those assumptions, you would not have stood a chance in Madrid, you ended up performing the
act you spent so much time preparing for world-class competition. And how effective would your
material and state mind be if you had to wing it at the last minute?
It may seem amazing that two back-to-back "world competitions" would have such tremendous
differences in the conditions of the same category, but this is the rule in magic, rather than the
Until the contest committees come up with some way to clearly define and structure the
environment of the contests (which doesn't appear to be in the cards at this point), contestants
must find out the conditions and prepare for them.
279
Michael
On Magic Competition
Fart Two: Mental Preparation
Have you ever heard someone say, "Who else is competing?" or wouldn't want to enter
sure I was going to win," or
tricks do you think so-and-so is going to do?"
't
If you have ever entered a magic competition, you will have
heard these before. I know
I have. If s human nature, I guess. But the reason I am writing this article is because I believe that
with the proper preparation and mental approach, these questions become meaningless.
By their very nature, contests are viewed as win-lose propositions. The challenge aspect behind
winning and losing seems inescapable, but only if you choose to only play the visible game. There
are other - possibly more enjoyable,
and productive - games that can be played in the
course of any contest
my wallet, visible every time I open is a fortune saved from a fortune cookie. It reads: "Nothing a waste of
if you use the experience wisely."' It is
that other
or games, come
into play, and once you begin to approach competitions with them in mind, you can be virtually
assured of achieving them, provided you put forth the effort necessary.
Notice that I didn't say you were guaranteed to
Nor did I say it was automatic.
First of
let's get this thing about competitions straight You are not competing against others,
are competing against yourself. Comparing yourself with others is an
ing, and frustrating experience, because there will always be those greater and lesser than yourself.
With this approach, if there is someone you perceive as better than you are, you might not try at all,
putting an end to a hope of obtaining any of the good you might have won. Also, if there is someone you perceive as less than yourself, you might not try as hard, or push yourself as much as you
are capable, thus
yourself in your efforts to be all you could be.
So our attitude, from the instant we consider competition, should automatically be focused on
ourselves, and ourselves alone.
frame of mind isn't just a ploy to pacify poor losers. is reality.
There may only be one trophy, and someone else may get it, but personal evolution doesn't begin
or end with any event or competition. It is merely a path marker on our progress.
Let me ask a question. If the only value is in competing with ourselves, why do we need competitions? Answer: competing with ourselves is not the only value to be achieved from competition.
If the idea isn't to compete with another, what is the
Among other things, there is real
value in having a focused and meaningful short-term objective. And in the case of magic competitions, that objective is to research,
develop, and perfect the material necessary to fit the requirements of the competition you have chosen. The date of the competition puts an iron-clad
280
Bonus Chapter
deadline on the perfection of the material, and the
judged aspect also serves to
to greater accomplishment, since you will be putting your pride on the line.
you on
I have seen many competitions where the person who gained the most value was not the winner,
and I have seen winners who earned more than the trophy. You can gain confidence in yourself
and your ideas, and not only do you gain exposure and recognition for your magic, but you are
given the chance to expose the caliber of your character as
So, to conclude, I will share my
competition story
you. An extremely talented friend
of mine had entered a
highly-publicized
terms of depth of knowledge, unand technical ability, I consider him to be one of the best I have ever known. Yet, incredibly, when the dust had cleared, he had not even placed in the top ten.
Later, he
I were sitting alone with The Professor, Dai
The Professor knew how
much magic meant my friend, and that the results had demoralized him, so he began to
And
when The Professor talks, I listen.
"Once there was a Song Bird, flying through the air, singing his beautiful song, when a
flew up to
him and challenged him to a singing contest. The idea seemed ridiculous to the bird, but he replied, 1
mind, but there is no one here to be the judge. Just then, a small band pigs were coming down the road. The
Song Bird and Crow agreed on the pigs as judges, so they flew to a nearby branch, and told the pigs of the
contest. The pigs agreed, lining
for
free show.
Song Bird led
with a beautiful version his most carefree song, ending up with loud
the audience and judges. Then the Crow took his turn, with long and loud CAAAAAAAS.
the
pigs broke from their judging huddle and announced that the Crow was the winner. The pigs waddled on
down the
the Crow soared through the sky
but the Song Bird sat on a branch and
cried. A squirrel, who had witnessed the contest, tried to console the Song Bird,
don't cry becauseyou
lost the contest...'
The Song Bird replied, I'm not crying because I lost the contest... I'm crying because
judges arepigs..."
So, finally, win or lose, remember to keep it all in perspective, and strive to make the trophy itself
to be the least of the values gained from your involvement in any contest.
281
Here I am with
Finn Jon at my lecture in
Norway. His friendship has always
charmed me and
his magic has always inspired me.
Although I didn't
notice it at the
time, a magnifying
glass review of this
photo reveals that
he had already
hooked up four invisible threads to
my body. I didn't
feel a thing!
David Williamson
PENCIL THRU QUARTER FINESSE
COMMENTS: What
is not a complete routine. Rather, it is an alternative handling for the
end of the Pencil Thru Quarter routine (see page 161). The moment that you give the spectator his
quarter
is one of the most important moments of the entire routine. In fact, a smooth return of
the borrowed quarter is crucial if you want the audience to never even have the thought that there
might be an extra coin. If you fumble the necessary switch of the borrowed quarter for the gaffed
quarter, and you tip them to the fact that maybatwo coins are used, the overall impact of the routine is considerably lessened.
David Williamson has used Michael's method for the Pencil Thru Quarter for years. His presentation is
altered to fit David's unique performing personality, but he uses Michael's exact
method for penetrating the quarter. It is the conclusion of the routine where David's contribution
comes in. Think about it. If you really pushed a pencil through a borrowed quarter, when the time
came to remove the pencil, you would, of course, openly do so; then you would immediately hand
the quarter back to its owner. Using this as a guideline, David has devised a very clever sequence of
actions to make it appear like you visibly pull the pencil out of the quarter, and then immediately
hand the quarter to its owner for examination. No fumbling. No switching action. No kidding.
The procedure is simple to execute, and when you get it
the illusion is. It looks the way magic should look.
you
not believe how good
PROCEDURES: You have performed Michael's Pencil Thru Quarter routine up to the point where the
pencil has been pushed through the
quarter, and is still in that condition.
Here is your current position: The
borrowed coin is clipped by its edge,
concealed between the right second
and third fingers (FIG. 1). The pencil
is pushed through the gaffed coin,
but the coin is not centered on the
pencil. Rather, it is about two inches
from the eraser end of the pencil. Display the skewered coin by holding
the pencil near its point with your
left hand. The flap of the gaffed quar-
The Magic of Michael
ter is down, on the underside
of the pencil. FIG. 2 shows the
position at this point
Bring your right hand over
and use your thumb and
finger to grasp the eraser end
of the pencil, about threequarters of an inch from the
end (FIG. 3). Keep the back of
your right hand toward the
audience so as not to flash the
concealed coin. As soon as
your right hand affords you
cover, use the left fingers and
thumb to rotate the pencil 180
degrees, so the flap of the gaff
goes from the underside of
the pencil to the top (FIG. 4).
As this is done, bring the pencil to a vertical position in
front of you (FIG. 5).
Let go of the pencil with
your left hand, and then bring
this hand under the right
hand and use the left thumb
and forefinger to pinch the
edge (nearest you) of the
palmed (real) coin (FIG. 6).
With the coin gripped as described,
your left hand
perfectly still. Without pausing, use your right hand to lift
the pencil, slowly and
smoothly, straight up, making
sure to maintain contact between the pencil and the inner
edge of the quarter (FIGS. 7
and 8, an exposed view and an
audience view
It
looks like you pull the pencil
directly out of the center of
the quarter. The illusion is
perfect The audience can't tell
that the pencil is actually behind the quarter.
284
Bonus Chapter
285
The Magic of Michael
Two important points: First, do not remove the pencil from the quarter too fast The best illusion
is had when you remove the pencil slowly and smoothly. Secondly, make sure you continue to lift
the pencil straight up, until it is all of the way dear of the coin. It destroys the illusion if you lift the
pencil only partially out, and
move to the side if the pencil were penetrating the width of the
Remember, you are supposed to be simply pulling a pencil out of a hole.
Once the pencil clears the quarter, immediately hand out the coin to be examined. David also has
a very expedient method for
up the
coin, which is still on the pencil
is concealed
in your right hand. Naturally, you can simply put the pencil into your pocket and be done with it.
is better, however, to hand out the pencil to be examined also. Here is how David does it:
You have just handed the
coin to a spectator.
Grasp the lower end of the pencil with your left
hand. Push the gaff down with your right thumb,
forcing the coin's outer edge down between the second and third fingers. Allow the flap of the gaff to
wedge onto your right third finger (FIG. 9).
Now, hold the pencil still with your left hand, and
move your right hand straight up, taking the gaff off
of the pencil, where it remains clipped on the right
third
(FIG. 10). Without pausing, move your
right hand up and scratch your face (FIG. 11).
This is a perfectly natural action. Stay calm. Don't
act as though you are sliding a coin off of the pencil;
just reach up and scratch your face; the gaff simply
comes along for the ride. Hand out the pencil and
ditch the gaff at the earliest convenient moment.
286
Chapter Eleven
Excerpts from the "Inner Circle Audio Series"
MAKING MAGIC MEMORABLE
The Development of Style
Magicians wanting to excel face the challenge of dividing their available time between
technical, hands-on
and heavy information processing studies that are crucial to
artistic and professional advancement. I will
detail the development of my performing style,
and also reveal what I believe to be some of
magic's most fundamental secrets. Truths so
basic, yet universal, that all magicians must be
familiar with them, whether they are working
close-up, producing birds, or performing illusions. I will tell you exactly WHY I perform the
style of magic I do. Notice I said WHY, and not
HOW. There are thousands of books that can
you HOW, but not so many on the WHY.
After explaining the WHY, I will then reveal
eight principles for Making Magic Memorable.
Some of these principles have been chisled from
experience, others were gathered from various
magical mentors from around the world. Together, they represent the most important "secrets" in my magical repertoire.
THE NURSING HOME CIRCUIT
I didn't have any particular performing style
when I first became a magician, as anyone who
saw my beginning performances
surely
agree. But boy, did I love
So much so,
that I tried to learn it all. And, j ust as any type of
seed will grow if the soil is fertile enough, my
early days in magic found me doing doves,
close-up, silent manipulation, whatever.
Unfortunately, being a "jack of all tricks"
meant never really mastering any given style.
287
Who could worry about getting better? I was
practicing as fast as I could just to make sure I
remembered it all! But I must have been lucky,
because my environment supported it. By some
stroke of fate, my youth found me in a somewhat secluded mountain town, where audiences valued enthusiasm more than polish.
There may be a little truth a comedian 1 heard
recently who said some parts of West Virginia
make Mayberry look like a think tank!
But to some extent, the size of my home town
worked against me as well. To some extent, 1
HAD to be the ever evolving,
entertainter in order to deal with my tiny pool
of potential audience members. Of the three
West Virginia towns 1 divided my youth in, the
population of the largest one peaked at 17,000,
and that was during hunting season. In situations like this, it's easier
act
a
new audience. All I had to do was one school
show, the local men's club, a church function, a
few birthday parties, and everyone in town
would have seen my act. I wanted to be rebooked, I had to get a new act.
But then, in
a series of experiences
changed FOREVER the way I would view
magic. It was in Morgantown, West Virginia,
where I was going to college. I found
that
the five nursing homes in town each had a $25
budget for their bi-monthly entertainment.
Soon after this, I developed what you might
The Nursing Home Circuit. Every two
months, I got to go to all five homes, for two full
years. Thaf s sixty shows! For me, and for my
The Magic of Michael
environment, this was a rare opportunity. After
all, EVERYONE needs SOMEPLACE be bad.
Someplace to try something several times in
several ways to find out if it will
For me, it
was the Nursing Home Circuit
It was always their quarter, their pocket,
their hand. Never did I hear them say, "He had
this big box, see, and he'd spin it around a couple
times, right, and I don't know what happened, but
there were these scarves, and paper fold up flowers,
and all....Do you have one them boxes?..."
But guess what? I discovered you just can't
predict the results of experience. I learned a lot
from these shows, but not what I went into
them to learn. Speaking from a very Zen-like
point of view, I didn't go into them with an
empty cup, waiting for it to be filled with whatever knowledge the experiences would bring.
No, I went into them just sure that what I
would learn would be a better way to steal that
bird, or to do that switch. I was so sure I knew
what I was going to learn, that I almost let the
real value of this experience escape me. The
experience had to hit me twenty or thirty
before I noticed the pattern. Eventually, I noticed that at virtually every show, at least one of
the residents would approach me, saying some-
Apparently, things they just witnessed, without EXPERIENCING, just didn't become part
of long term memory. I've heard purely visual
experiences compared to bubble gum for the
eyes. And while there's nothing wrong with
that, I've grown to believe that, except in rare
cases, the purely visual experiences don't go
any deeper than the eyes. And personally, I
wanted more than that I wanted to go past the
eyes, working my way deep into their psyche. I
wanted my magic to move them. I wanted to
deeply etch the experience into their long-term
memory. In a nutshell, and no pun intended, I
to be the
of the Nursing Home Cir2030.
thing like, "...when I was a little girl down in
a magician would come thru once a year at
our school. When I zvas in the 5th grade, he brought
me in front of the class
had worn a skirt that day,
and he put an egg into my pocket, and made it disappear. Do you do the egg trick?"
Now, everyone has goals, whether they verbalize them or not. And every goal has its own
demands. By acknowledging, then embracing,
this particular goal, I realized I would have to
study more than magic techniques alone. I've
often felt that magic methods and techniques,
for the most part, were meant for fooling the
eyes. Mirrors, false bottoms and palming techniques were created to conceal methods from
curious eyes, but my goals distinctly mention
the mind, not just the eye.
Or, "...we grew up in Logan, but my uncle lived
down in Charlotte, and he knew all about magic.
Every Christmas he would come in, and there was
one of his tricks I never could figure out.
hold a
quarter in
hand, and he'd hold a nickle. Without
touching anything, I'd have the nickle and he'd have
the quarter. Do you do that quarter trick?"
I'm reminded of one of my favorite quotes
from a magic book. It comes from Erdnase in
EXPERT AT THE CARD TABLE. While teaching
how to
a card, he reveals a secret so fundamental to the performance of magic that if
someone DIDN'T understand if s full
they would have a hard time doing close-up,
dove magic, or even illusions deceptively. The
Well, I thought that was all pretty neat, and
taken in isolation, that's all it would have been,
just some pretty neat interactions.
But
just it - it wasn't an isolated event.
If
it became a PREDICTABLE event. I
could count on hearing at least one such story
at each stop.
quote goes: "...it's one thing to put a card into the
palm and turn the hand so it is out of view, but it
altogether another
to put it there in
a way
that the most critical observer would not even SUSPECT, LET ALONE DETECT the action."
Then, as time passed, I finally came to realize,
there were patterns, INSIDE the patterns.
Common thread that ran through each of the
stories retold
decades earlier. All of the
stories were about things that happened to
They were all personal experiences.
I repeat: "in
a way that the most critical
observer would not even SUSPECT, LET ALONE
DETECT the action."
288
Making Magic Memorable
Why is this such a valuable insight? Because
it articulates one of the most
truths
about
To laymen, suspicion is a method.
they have to do is say,
he did it.
Wow. I'd sure hate to play cards with
in
mind they don't have to know EXACTLY what
you did, all they have to be able to do is say,
he did it. I couldn't do it of course,
but I caught
and as far as they are concerned, the fat lady has sung... And do you
know
s REALLY bad? They don't even
have to be right about WHEN they think you
did it. All they have to do is SUSPECT, and as
far as they are concerned, they got ya.
When you start to accept responsibility for
things an audience might just SUSPECT,
alone DETECT, you realize that your studies
must then go beyond technique. To deal with
people on this level, I feel you must develop an
understanding of psychology, human nature,
people skills, and emotional
supported by all the help you can get from dramatic, comedic and
studies.
Trying to create experiences worthy of longterm memory with technique alone would
been like trying to lounge backwards with
my feet proped up in a chair with only one leg.
Granted. Maybe SOMEBODY could do it. But
why take a chance?
In fact, I believe that my studies and experiences over the last year have revealed things to
me that can dramatically SHORTEN the length
of this particular stick for any of those who
share my passion for this particular carrot
SHORTENING THE STICK
I've identified eight different principles I try
to revolve my style around. You, like me, may
find some of them to be very obvious. While
others have taken every day of the twelve years
since the Nursing Home Circuit to crystalize.
Lef s start out with the obvious, since
s
so often overlooked. I heard a guy say, "There's
no telling who
water, but we're pretty
sure it wasn't fish..." So at the sake of sounding
obvious, Principle Number One is:
Involve them.
Why? One reason is because the world
around all of us is constantly bombarding all of
the known senses with every sort of
The
competition for our attention is so incredibly
fierce, that we have developed incredible systems NOT for processing MORE information,
but FOR FILTERING OUT information. Just
think of all the hours you personally have in
front of a television, watching programs that
may have costs millions to produce, yet you are
able to tune it all out as you replay some obscure conversation you've had in your head. It
is TOUGH to compete on a purely visual level,
and don't kid yourself, if all you do is compete
on a visual level, your competition is INDIANA
JONES or STAR WARS. When you consider,
that if they are
you, there is a price on
their time. If s called OPPORTUNITY COST.
What they are paying - in time - to watch you, is
the OPPORTUNITY to watch something
THE CARROT
One way I look at goals is to see them as carrots on a stick. The nature of the goal relating to
the size of the carrot.
my world, pushing
people's
so hard the experience sticks with them for a lifetime, takes on the
appearance of a 30 foot, two ton carrot. Sounds
right? Well, maybe yes. Maybe no.
What if the stick that holds that carrot turns
out to be a mile long? What if the goal is good,
but the effort to accomplish it is just too great?
What if the studies are too demanding, the
price just too high? There has to be some ratio
of carrot size to stick length for either horses or
humans to be motivated. The good news is that
it is here, in dealing with the length of the stick,
that I think I can be of help.
289
The Magic
But that is where this first principle comes in.
There is one thing TV and film can't do yet, and
that is INTERACT WITH and RESPOND TO
the audience members as individuals. You can't
-or
you shouldn't
the theater and
talk to the screen. And no couch potato is sitting around waiting for Johnny Carson to ask
him questions
make Ed laugh. And no
matter how tender the
no telephone is going to reach out and touch you. But
WE - MAGICIANS - CAN. In ways that very
few other forms of entertainment can.
John Nasbitt, in his smash hit book
MEGATRENDS, TEN NEW DIRECTIONS
SHAPING OUR
talks about the HIGH
TOUCH trend plays a major role
in our society. It seems that the greater the role
technology plays in our lives, the greater we
respond to it by turning to high touch activities.
The more mass production plays a role, the
more we value personalized expressions.
I'd like to point out that, while involving
someone from the audience, a certain very specific option opens up before us. We can either:
a) Make at least one enemy for
so alienating
a percentage of the audience that the future
pool of potential magic viewers is permanently
lowered, or b) We can make a friend, spread
joy, and add to the artistic presence of the field.
Nate Leipzig, a magician who worked his way
to the peak of Vaudeville success, said, "People
I've compared special effects to bubble gum
for the eyes, but that isn't to say
or theater stops there. An actor with a single spot
might be able to bring us to tears, but the tears
themselves are a clue to the source of impact.
We have been touched EMOTIONALLY.
Maybe we felt triumphant at his victory, or terrified at his plight, but through whatever combination of theater and writing, he found an
emotional cord and plucked it.
Magic has one particularly common sceSo common, I suspect it is often used
without any real understanding of its theatrical
roots.
where the magician borrows something of value, and "accident!/' destroys it.
the scene is carried out with conviction, you
can rest assured you'll have that spectators
emotional interest! Unfortunately, this is so
common a scenario it is almost totally predict- and that fact lessens to some degree how
deep the emotional hook gets driven. But what
if the scenario were constructed with such finesse, and carried out with such conviction,
that it was NOT an obvious set up. What if, and
I mean this, they REALLY BELIEVED you had
accidently broken their watch. Magically resolve THAT scenario, and you will have
touched people where they live and breath.
Other ways to hook them, without involving
them, might be to relate anicdotes with which
they can relate to. Or reveal to them moments
of personal triumph, heartache, or enlightenment; illustrated with magical surprises.
don't MIND being fooled by a gentleman..."
By accepting INVOLVEMENT as a principle
of my style, it became clear that I should focus
the most of my
towards talking material.
This way, I could either use audience participation, taking care of Principle Number One, or I
could construct a presentation that would meet
with Principle Number Two:
It will be obvious that I take Principle Number Three to heart, since practice has already
earned me recognition. To many, I am associated with the Card on Ceiling, having done it
many thousands of times, all over the world.
Having been with me longer than any other
effect in my repertoire, it was this effect which
uncovered a whole new way of thinking for
me. I began doing it in the Student Union during my college days at West Virginia University. This was my hangout, and as you can
imagine, the cards began to gather on the ceiling. Then something interesting began to happen. At times, while I was there to study, 1
would overhear people talking about the cards
Emotionally hook the audience.
290
Making Magic Memorable
on the ceiling. Sometimes
ask their
friends how they were up there. Sometimes
their friends WHY they were up
there. But the point is, the conversation flowed.
It began to occur to me that many experiences
aren't forgotten, they're merely overwritten.
The clarity of the image deteriorating as time
distances us from the moment of greatest sensory impact. What if we could permanently
freeze that moment for them.
it, perserving it for all time. That is, after
exactly
what the card on ceiling does. The Big Moment,
and nutshell description of this effect is: the card
sticks to the ceiling. And, if the ceiling is high
enough, and if you use enough wax,
stay
that way for a
long time. Principle Number Three then could be stated as:
Just one more example here. The OneHundred Dollar Bill Switch is a common technique these days. With just four simple folds
you can switch one bill for another. You could
change a one to a hundred, and then give that
away... or more reasonably, change a ten into
two fives, but what about a slightly different
approach. What about carefully folding a complex oragami figure with a single bill, and loading that into the thumbtip to be switched in.
Now, the effect is not a trasformation, but a
puzzle bordering on the magical. In just four,
very slow folds, you create a ring they can
wear, or a rabbit that pops from a hat. To add to
the enigma, they can keep it that way, for riddling their friends with later.
Principle Number Four is a natural, but incredibly potent step beyond freezing the moment of impact. In order to burrow your way
into deep memory:
Freeze the effect permanently
at it's
of impact.
In the first example, the card sticks to the ceiling, and remains there. Another example
would be the card to envelope in wallet with a
window envelope, using rubber cement methods that leave the envelope completely sealed.
Now, not only does it travel impossibly to the
envelope, but it can be kept that way as a permanent souvenier of the event
Another example would be effects where
separate things become magically stapled together. Paul Harris worked out a version of two
selected cards being found together, called
"Stapled". I had a version where my business
card was found stapled to a signed selection.
Any torn, then restored effect would work. The
torn and restored vest button, for example,
might be possible with all the three-piece suits
around today, and if presented as pure effect,
you wouldn't have to carry off the acting necessary for making it look like an accident.
Borrow objects, alter them magically, then return
them in their permanently altered state.
To use an analogy, out here, in the magic
frontier, the crowds thin out. Just as in the wild
west, where the cowards stayed home and the
weak died on the way, going this far isn't easy.
But don't worry, magic isn't nearly as demanding as the wild, wild west was. Here, the biggest
challenge is the willingness to plan ahead, because that is the most important thing this principle demands.
My first adventure with this sort of thing
goes way back to my handling of the Pencil
Thru Quarter (see page 161).
Bob Nixon, in an issue of the MAGICAL
ARTS JOURNAL, gives a wonderful example of
this principle. There, he printed his method for
secretly bending a borrowed key, but in my
291
The Magic of Michael
mind, more importantly, he gives the idea of
returning the permanently bent key on a keychain, which carries his name and address.
Since getting this idea from Bob, I've used it
several times for trade show clients. Instead of
putting it on a simple plastic key ring, I used
beautiful, customized solid brass key rings,
commemorating the event, costing several dollars even when ordered by the thousands.
The method I used to bend the
is simple. I
used a bongo bender, which you can get from
Magic Inc., only I cut the elastic off, and hid the
small metal gimmick in my right hand. Upon
taking the borrowed key with the left hand, I
place it into the right hand, actually loading it
into the bender. A gesture to the spectator with
the left hand towards my right side covers the
actions of the right hand perfectly for the instant needed. Once the key is
have the
spectator hold out their left hand, and place the
key into it, dosing their hand.
tridty is a riot, and the sight of forty business
men in a
doing it really builds a crowd. If
you want, you can connect the cirde, letting off
a Funkenring as you do, then revealing the key
as being bent. By the way, I get rid of the bender
as you might expect, by ditching it into the
Topit during a simple gesture.
A final example of borrowing an object, altering it magically, and then returning it its permanently altered
is to use Howard Lyons'
Inside-Out Dollar Bill. This bill, cut from uncut
sheets sold by the U.S. Mint, is a bizarre sight.
Unless you are going to be giving away large
quantities of these, you might want to buy one
from your local magic dealer,
marketed
under the name "The Mismade Bill." This notesize rectangle is cut from a fresh sheet of bills,
only, instead of following the intended boarders, you put the corners in the middle, and the
middle in the
Harry Anderson had the idea of tearing a
One tip here. When you are going to borrow into four quarters, and restoring it, only to find
an object, like a key, and permanently damage you had made the mistake of restoring it inside
it, you really have to cover your bases up front. out! I cause the transformation to take place by
You don't want to leave the show only to find
relating it to the old trick of folding the
up,
your volunteer out in the parking lot trying to then unfolding it to show it upside down.
straighten out his
so he can leave. Unfortu- Going one step further, I volunteer to turn it
nately, I had to qualify the effect so much up inside out with the same method, At this point,
front during my tradeshows, that I was having
perform the $100
switch, turning their bill
a lot of trouble getting volunteers. Then, it hit inside out And yes, as often as possible, I try to
me. Everyone is
out of town. So, I began
convince them to keep it that way. (The
by
"How many people here have hotel keys Thumbtip Bill Switch is described on page 227.)
with them?" Everyone raises their hand.
me
Number Five was developed as a by
ask you. If your key were damaged in some way,
product of my aftershow review sheet (see
would you still be able to get into your room. You
would? Fine, step right up..." Now, if you really page 221). It was designed to help me milk every performance for all the experience I could.
want to draw a crowd, once you get the key
As
I reviewed my listings for unexpected reacinto their hand, say, "What I'm going to attempt
tions,
I noticed that unexpected reactions - for
requires tremendous amounts of channeled energies.
some
odd
reason - usually got a higher rating
Mental, as
as physical energies. Sir, I'll need to
hold your hand, and you'll need to hold his hand, than the expected reactions. Eventually, I began to suspect the fact that the encounter that
then he'll hold hers, and on
produced the reaction was obviously unplanned
was the very factor that resulted in this betterSaying this, you end up forming a large
response. My best responses
cirde, which, if your performing persona is
were
from
unexpected
interactions with volunpositive enough, can grow pretty large. Once
the drde comes back around to your right, teers, or with some obviously witty response to
continue by saying, "now, everyone shuffle your a spur of the moment event, or some magical
resolution of an apparently legitimate problem.
obvious attempt to build
292
Making Magic Memorable
Just as John
s High
Touch
theory
to indicate, the amount of mass
production,
and structuring in general we all encounter carries with it sort of
side effect. It causes us to value the isolated incidents, to cherish those times that convey an
US-ness and
Unless we're careful,
even live shows can come across as processed
events, like cookies pressed out of a cutter. But
even as a kid, I loved to lick up that wonderful
batter that the cookie cutter didn't catch. Today, as a performer, Principle Number Five for
Making Magic Memorable is:
ing many an interesting conversation. Add to
this any of the previous principles, and you'll
be fanning that fire to legendary proportions.
My final advice on Principle Number Five
comes from John Ramsey. Learn to hide and
hold. Anticipate.
ready
in advance and
be willing to wait When asked how long you
should wait, Malini is supposed to have said,
"You
and he's worth listening to.
been almost half of a century since his
death, and people still talk about the blocks of
ice he would produce, after Vaiting for hours.
Principle Number Six was one revealed to me
by Dai
He has watched generations of
magicians come and go, observing closely those
magicians who gained fame, and whose magic
has endured after them. I asked him how to
make my magic memorable, and I will never
forget his advice. He told me to:
Create moments that
clearly unplanned or unpredictable. Moments from outside the cookie
cutter. Experiences that convey us and now.
In terms of material, almost anything involving a spectator would
into this catagory, but
there is a lot of leeway, even with a spectator. 1
try to select material that clearly shares responsibility with the spectator. Putting them into
situations that allow them a lot of latitude for
reaction. Asking them open-ended questions,
drawing enough background out of them,
hopefully in an entertaining way, to give their
current reactions more depth.
The beautiful thing about the close-up field,
is that it is considerably easier to create moments that seem spontaneous. At any given
moment we might encounter minor real world
obstacles which might be resolved conveniently by a real magician. Performing in the real
world might be compared to
in the
trenches, in that your chances of encountering
a face-to-face challenge are considerably
greater. If we manipulate circumstances in such
a way that we can overcome obstacles or
triumph over challenges, we
have created
"moments outside the cookie cutter." We have
also provided those present with
fit for fir-
Find one
and try
it better than
Becoming so good at that one thing, that
whenever anyone, anywhere in the world, talks
about that one thing, they will say, "Yeah, but
you should see Michael Ammar do that..."
One Thing. Just One
thought about that advice a lot since
then. It seemed so simple. It seemed so obvious.
I also found it encouraging. "Just One Thing"
sounds so attainable. The only catch, I later
decided, came dressed as responsibility. Personally, I wasn't intimidated by the responsibility
for
1 was more hung up on the responsibilities of choice. It seemed so important to
choose the right thing to excel at. Heaven forbid I should ever make a poor choice and end
up being the best in the world at something no
one wanted to see! I was hung up at this "point
of
until 1978, when I saw Fred
lecture at
Magic Shop in Washington,
The Magic of Michael
He so blew me away with his use of the Topit,
that I was finally able to take the responsibility
for choosing a direction. 1 wanted to master the
use of the Topit
Not only is the Topit an unbelievably powerful weapon, but
was comforted by the
thought that in choosing that, I wasn't in fact
choosing a singularity. By choosing a technique, I felt I was actually choosing to open
entirely new worlds of options. And, as to the
validity of
advice, and without having to judge superiority, I can say that the results are, that in many places, when people discuss the Topit, at least some mention my name.
time will wear away your memory, as you are
mentally
by the mulititude of other
very good experiences that come to everyone.
1 had been vaguely convinced of part two of
this principle for some time, but 1 didn't really
embrace it until
was during a conversation with Christian Fetchner while I was in
Paris. Christian is well known in the European
magic community for his inventions and
appearances. A successful producer of French
films, he has a wonderful presence about him.
His reply, when I asked him how someone
might make magic truly memorable, was not
what I expected. He said "You must do something
they believe is real. Really real. Not
Principle Number Seven was developed partially from instinct, and partially from the frustration of not being able to accomodate certain
exceptions to previous principles. Exceptions
such as
Channing Pollock, and currently, Lance Burton. You see, Lance doesn't
bring me on stage, he doesn't permanendy alter objects I bring to his show, he seems to be
just bubble gum for the eyes, and yet,
never
forget his act, and the sense of wonder 1 felt
watching it People who have seen Cardini and
Channing perform live
speak of them. To
cover people such as
Principle Number
Seven for Making Magic Memorable is:
Not
with trickery."
Geller, he pointed out, became world famous, because he claimed to be
real. Fault his morals if you want, but he did
create memorable events. There are other approaches, and
only judge this area in how it
meets
goal of Making Magic Memorable.
Dai
once told me that the mind held
the last frontier for
If s the last phase of
magic that contains the seeds of possibility. We
know so little about it, there's always hope in
the unknown. And when you think about it,
you can't really involve someone any more
than when you are reading their mind! Talk
about a personal experience!
I remember Principle Number Eight with a
simple acronym. If s
and if s very close
to the public speaking version of
which
stands for "Keep It Simple, Stupid!" I've
changed it for two reasons. First, because these
are principles designed for my own use, and I
don't like to talk to myself that way. Second, I
feel my version is more accurate for me. It is:
Do either two
1) Display mind-boggling
skill
Display effects that go BEYOND what
any learned skill should be able to
Part one of this principle is somewhat akin to
Principle Number Six. you are going to do an
act that is essentially a cookie cutter presentation of a pre-conceived sequence of events, if
you should hope to be remembered above all
others, it must be done superbly
So well,
that in effect, you accomplish Principle Number Six. If all you are is pretty good, or even one
of the very good ones, the evidence indicates
Keep It Slogan Simple.
294
Making Magic Memorable
"Keep It
Simple". It seems the human mind just isn't capable of remembering
complex details vividly over time. If we ever
hope to make it to long-term memory, we have
to be as simple as a slogan. Say it in a sentence,
and you stand a great chance of being remembered. The coin in the bottle. The pencil
through the coin. The card on the ceiling. The
floating bill. The
in lemon. Make it easy,
give them a handle.
PRINCIPLE NUMBER ONE:
Involve them.
PRINCIPLE NUMBER TWO:
Emotionally hook the audience.
PRINCIPLE NUMBER THREE:
A memory class I took once explained that
memories
be recalled more easily if they are
effects, catch phrases into your performance,
and select slogan simple effects. Taking advantage of legitimate memory techniques might
skew the odds ever so slightly in our favor.
Freeze the effect permanently at its moment of
impact.
The advertising field is full of examples of
slogans remembered for decades, and I'm convinced our goals are just as noble as theirs. So,
as you look for something new to add to your
repertoire, "Keep Slogan Simple".
Borrow objects, alter them magically, then
return them in their permanently altered state.
In unfolding these eight principles, you now
have the fundamentals of my performing style,
along with the origin of its awakening. But I
must confess to a secret hidden agenda of my
own. I've also intended to create such a large
and appetizing carrot, that others will also
want to embrace it. Because if that happens,
other principles may come to light in a soul that
is willing to share.
Create moments that are clearly unplanned or
unpredictable. Moments that come from outside the cookie cutter. Experiences that convey
Us and Now.
PRINCIPLE NUMBER FIVE:
PRINCIPLE NUMBER SIX:
Dai
advice, about finding one
and doing it so well that whenever anyone
else does that effect, people will always say,
but you should see so-and-so do that."
Finally, if you like approaches to magic that
are similar to the ones I have expressed here,
you might also enjoy the "Good Trick,
Trick Theory," from a manuscript called,
THEORIES, by Jamy Ian Swiss. Magicians seldom have approached these topics with "lists"
in mind. I came up with eight principles, while
Jamy came up with five, yet it is interesting that
we only overlap on just two of the basics.
So, one
PRINCIPLE NUMBER FOUR:
PRINCIPLE NUMBER SEVEN:
Do either of two things: 1) Display mindboggling skill, or; 2) Display effects that go
BEYOND what any learned skill should be
able to accomplish.
for the record, my:
EIGHT PRINCIPLES
FOR
MAKING MAGIC MEMORABLE
PRINCIPLE NUMBER EIGHT:
Keep It SLOGAN Simple.
295
Chapter Twelve
Excerpts from the
Circle Audio Series"
NEGOTIATING
HIGHER PERFORMANCE FEES
If you are one of the many whose hobby of
magic, comedy, juggling, or whatever has become self-supporting because of an occasional
paid
or if you are one of the many
• part time professionals supporting your primary income
and particularly, if
you are someone whose primary income comes
from
then negotiating
be the
highest paid
you will actually do.
Thaf s a strong statement, so
illustrate it
with an example. Suppose you have spent several years developing a stand up act, which you
sell to the after-dinner market for $200.
If you are already in the marketplace now,
and are already commanding sizable fees, then
even small percentage jumps can add up to
large numbers.
Of course, negotiating isn't a "con", nor is
a study of swindles. But it doesn't take a
genius to realize that accurately determining
the market value of your entertainment will
require
Services - particularly entertainment - are delivered to an imperfect marketplace. Values vary wildly depending on urgency, competition, reputation, quality, etc.
Fortunately, centuries of people interacting
with people have provided us patterns of human nature. Predictable actions and reactions
have evolved, and those willing to study them
are able to use them to their advantage, and are able to recognize their use by opponents. In
the open marketplace, these skills are as useful
during business interactions as are moves magicians use to control a card during the shuffle.
Suppose further, that you just acquired this
information and have read it several times to
really absorb the material.
You make up your mind to give the ideas a
shot, and sure enough, someone calls looking
for a show.
One interesting phone call later, you've got a
commitment for a $300 show.
it is the same
show, and it will take the same effort. Only
now you earn $100 more - a 50% increase - for
doing it.
How many years of rehearsal did it take to be
worth $200? How many more years did it take
to increase your earning power to $300? None.
Just a few minutes on the phone, and a couple
of hours absorbing the techniques.
If you are just getting started marketing
yourself, the cumulative effect of intelligently
representing your value will be amazing.
296
Of course, there are those who might say
"But I haven't finished perfecting my technique. Why should I spend time learning to
negotiate?".
admit, some people who say
that will be entirely right. If you are unprepared, and end up misrepresenting your value
and if you negotiate in bad faith, you'll almost
certainly eliminate yourselves from the field.
Unfortunately, you'll still probably deal a devastating blow to the credibility of the rest of the
industry. So to properly cover this base, let me
say what shouldn't need to be said; and that is,
if you haven't learned the craft, if your founda-
Negotiating Higher Performance Fees
tion isn't developed, and if your act isn't ready,
obviously, your first efforts should go there.
But the opposite, quite legitimate side of the
coin, is that technique never becomes perfect.
Performing artistry evolves over a lifetime.
And, if you are one of those who have "sown"
their technique, and have "reaped" an act, s
increase the bounty of your harvest with some
sound understanding of negotiating.
Working from an overview of negotiations
throughout history, experts have identified
three stages characteristic of successful negotiations. By understanding these stages, and
working with them, not only can we expect to
earn higher fees, but we'll also resolve personal
and professional problems more effectively.
As entertainers, carefully going through
each step in succession will eliminate what I
predict to be the number one problem of self
I
a problem because is only
human nature, when someone asks how much
you charge for a show, to give them an answer.
I know that doesn't sound like a big problem,
but if you quote your price before going
through all three stages of
you
will, at the very least, be limiting your options.
At worst, you'll
for your services and
leave your client with unfilled needs.
If s a very human
once you finally establish a price you're comfortable with, to lock
yourself into it. For some types of acts, in some
types of working arenas, this might be the best
way. On the other hand, depending on the
needs of some clients, and
range of capabilities, going to the bottom line too soon might be
considered blatantly insensitive.
Negotiating is such an important topic to
many industries, that several effective books,
tapes and courses have been developed on the
subject. I studied
those I could find, that I
thought applied, and one author I enjoyed the
most was Roger Dawson. In his program, he illustrated the three stages of negotiating with a
terrorist hostage situation. The humor he put
into it helped my learning process, so just for
fun,
twist it around a little bit. So we don't
stray too far,
compare our hostage situ297
with the request for a magician at a private party.
Voice:
"In a bold move today, terrorists have stormed the
Magic Castle in Hollywood, California, and are currently holding President for Life, Bill
hostage. The question on everyone's
is:
will Mayor Tom Bradley do?"
All those who said "Call a for a swap meet..."
or "Provide the terrorists with transportation
out of town..." move to the head of the class.
Not because you are right, but because you
really need to listen!
By the same token, if you answer the
and someone asks you how much you charge
for a private party, you should neither:
A) Quote them what you quoted
show, or;
your last
B) Ask them how much money they have.
It is here, when the conflict begins, or with
the initial phone call, that we enter the first
stage of negotiation. The first thing you would
do in both cases is:
STAGE NUMBER ONE:
Do they want a million dollars in exchange
for Mr. Larsen's life? Do they want a world
wide ban on bad card tricks? Maybe they just
want to get booked for a week at the Castle!
What they want might be very easy to give,
or like a ban of bad card tricks, it may be nearly
impossible. But, as I said before, if any action
whatsoever is taken before you know what
they want, at the very least, you would be limiting your options.
In the case of
private party, how can we
give them our price before we now exactly
they want?
Do they want an illusion show?
The Magic
Do they want wild animals or just standard
balloon animals?
STAGE NUMBER TWO:
Maybe some guy really wants you to make
his wife disappear!
Some people 1 know feel it is more professional to have an iron-clad price for a pre-determined service. That's fine.
As for the terrorist, holding onto
Larsen,
who is this guy? Is this a group effort? Has he
paid his Castle dues?
from a negotiating point of view, those
prices and conditions should never be laid on
the table before step one of the interaction is
taken care of, which is, again, to find out:
Now for the private party, you ask different
questions: "How many people will be attending?...
part of town do they live in?... Will there be
any other entertainment?... What sort of entertainment has worked well in the past?... How did you get
my name?... Have you decided on a budget?"
EXACTLY
These are not casually selected questions.
Hopefully, questions such as these will reveal
information about the value they might place
on the service you intend to provide them. At
the same time, you begin to reveal the customer
sensitive attitude thatbuilds long term relationships. The flow of information works to the
benefit of all concerned, as it reveals their value
structures, while further enabling you to mesh
your talents with their needs.
THE OTHER
SIDE WANT?
if you know exactly whatyou are going
to charge, it is still more professional to follow
these stages of negotiating. You convey a more
service
attitude if you clearly try to
determine their needs,
blurting out what
your fees are going to be.
Now, and only now, should you move on to
Stage Three of the negotiation. That stage most
people associate with the act of negotiating.
In the case of our kidnaping,
s say all the
terrorists want is to work a
in the close-up
room of the Castle. Does this mean we state our
position now?
STAGE NUMBER THREE:
Do we answer the telephone and say, "No,
you
work a week in the
booked 9 months in advance
seat your act..."
room. We are
Peter Pit
our phone call for the private party, lef s
say they ask for thirty minutes of children's
magic. Is that all the information we need to
Here, you begin to see the value of the
ous steps. Obviously, executing steps One and
Two before moving to step Three might well
reveal the key information necessary you to
first, determine more accurately their needs
and their values. Second, their information
may
you to think of other ways to add
value to your service. Information is the fuel to
better service.
say, "Kid's magic? You bet! $75 will buy little Joey
the time his life..."
No. On both accounts.
someone presses you for a quote the instant they get you on the phone, as gently as
possible, lead them into stage two of the negotiating process.
In true terrorist
Stages One and
Two might reveal enough information to turn
the tide of power, thereby affecting the out-
298
Higher Performance Fees
come of the
But without these
steps, human nature might tempt us to move
into action with the knowledge at hand. In our
example, if terrorists did take over the Magic
Castle and kidnap our highly respected
our fury might tempt us into an immediate use of
However, properly
the steps of negotiation might reveal the fact
that a previous award winner just wants a
chance to make an honest buck.
So I understand how tempting it is, when
called and asked the direct question, how much
do you charge for a
to go ahead
and quote your price.
hard to follow
through all three phases of negotiating when
you hear things like...
"Because after all, although tot don't have much
money, there will be lots of people here who do, and
you'll get lot's free publicity..."
Yeah, right The publicity you'll get is that
work for free!
No,
far better to follow all three stages,
which, when properly applied,
to
situations,
both parties acting as partners,
sharing a mutually satisfying agreement
Why not, after gathering all the information,
offer to provide a small army of close-up magicians for the cocktail party? And how could
they know - unless you suggest the option that this small army could also hand out specially packaged private party magic tricks for
the guests themselves to perform? Tricks which
commemorate the event long after the evening
is over. To end this special extravaganza, there
could
be a show where the guest of honor
himself
all the illusions.
Understandably, for something like this you
earn thousands of dollars more because you
have provided infinitely more services. Services
neither you - nor the caller - would have realized, had you not followed the proper steps of:
1) Finding out exactly what they want, and;
2) Drawing out more information, and;
3) Reach an understanding between their
needs and your abilities to provide services.
Would
and should you, charge the same
amount for the "average" private party as you
would for a five-hundred guest blow-out for
Malcolm Forbes? If you answered before you
also knew Bruce Springsteen will be
you probably lost money.
VALUE
PRICE
One reason for Step Two - where you gather
information about their needs, as you convey
details of your capacities, is that many people
are not even remotely aware of what services
might be best for their specific situation. Nor do
they know what options you or your network
might have access to.
As simple as these three steps might seem,
my mentors all assure me, that all negotiations,
regardless of their importance or delicacy,
benefit from following this simple outline.
SAME
Now that we've identified the
s fill in around these basics with negotiating
tactics known as GAMBITS. Understanding
more about these predictable patterns of human interactions, will serve us well, when our
real world negotiations take their unpredictable turns.
TO ALL
I have worked for some people and companies that would not hire an act that didn't
charge a certain minimuin amount. They figure
if you don't charge a certain amount, how good
can you be? As wrong as that might seem,
of human nature must be considered when pricing services like entertainment.
The simple fact is, the amount you charge for
the current gig shouldn't be limited to the
you charged for your last gig. Nor
should be determined by what you would be
willing to
Politics,
and countless other aspects of life might be compared to games, since
each have their own specific set of rules. The
299
The Magic of Michael
more you know about those rules, the better
your chances of winning that particular game.
It's good advice to make certain just what game
you're involved with, and what rules go with it.
Tourists by the hundreds approach these artists every day of the year, asking the prices for
their Art. The artist might say, "That painting is
Negotiating is a game best played and most
enjoyed when everyone wins. That makes this
an unusual game, but it is possible if we cultivate certain skills and strategies.
At this point, they watch the
reaction closely. If the tourist were to flinch at this
point, it would seriously undermine the expectations of the artist. However, if they don't
flinch, the artist would immediately follow up
$100."
The game of negotiating is played with a set
of gambits, just as the game of Chess has a set of
gambits. The word "gambit" refers to any maneuver for advantage.
with, "...of course, the frame is only $20
If they st3I don't flinch, "...and for only
can
package it perfectly for your trip back to the
States..."
The more you know about the application of
gambits, the more you can control the other
person and outcome. If he or she in turn knows
the gambits, the game becomes more challengbut it is correspondingly more fun and
rewarding.
Now, s go back to the beginning, only this
time, lef s include The Flinch into the scenario.
'That painting is only $100."
"WHAT!!"
There are some gambits that apply to general
negotiations, and others to specific areas of
negotiating. The ones I've selected apply best in
negotiations for higher performing fees.
"But... that price also includes this beautiful
handmade frame..."
"But STILL!"
"...AND
even package it perfectly for your trip
back to the States..."
GAMBIT NUMBER ONE:
This is one of my favorites! Properly using
this technique can work wonders on the
thoughts, feelings, and expectations of the
people you are dealing with. It might best be illustrated with an example from the real world.
Those who depend on the marketing of their
personal services realize their standard of living
is directly influenced by their understanding
and use of Flinching as both a gambit, and a
counter gambit.
For a magic example, let's suppose you have
been asked your price for an after dinner
Through Stages One and Two, we have found
out the show is 45 miles away, in an expensive
hotel, and that there is a cocktail hour before
dinner. During the cocktail hour, there will be a
three piece classic music group playing live
back ground music. As you quote
for the
30 minute stand up act, listen very closely. If
they don't flinch at that, throw in,
course, all
A friend and I were in Italy on business. Since
we had a few days to spare, we decided to
spend them in Florence, so we could absorb the
wonders of Michelangelo's work.
For centuries this city inspired and supported
artists. Marking the heart of town is a beautiful,
shop-lined bridge. Local artists flood this area
with their work, and it is here, unknown to visitors from around the world, that Flinching becomes the practiced work of
expenses are extra."
If they still don't flinch, you might throw in,
"But you know, people love magic the most, when it
happens
for them, in
hands. I specialize in
these personal magical experiences, and can stroll
around for the entire cocktail hour performing for
individuals, preparing
for the magic to come. I
300
Negotiating Higher Performance Fees
can give you this full extra
for only $200, because I'll already be therefor the stage
How far can you take this? Well, it's a judgement call. Some people I've worked with just
won't stop asking until they hear a flinch. "But,
if you want
animals, that's another $50. Of
course, if you want audience participation..."
Of course, some bookers in the magic field
are notorious for the opposite. They confirm
you for 10 minutes on stage, and when you get
there, they ask you to throw in a little close up.
If you don't flinch, they ask you to host, then to
MC, and
you
it,
publishing
your material! So as briefly mentioned before,
the Flinch is helpful as a gambit, as well as a
counter gambit.
But what, you might ask, do you do if THEY
flinch? Easy. Start adding
just like the
artist did, until you take the flinch away.
If s a rhetorical question, because the feeling
is pretty predictable. Even though you were
hoping for only $3,000, by saying YES too
quickly, the buyer leaves you feeling empty
as if you messed up.
My guess, and the prediction inherent in this
gambit, is that you would have
much better
they had taken a moment to weight the decision, to make a phone call, or anything to attempt to verify the value. Wouldn't you have
felt better if they had flinched? Just a little? If
they had done that, then called their wife, before slowly saying yes to the
they could
have changed the entire emotional foundation
of the interaction.
put the shoe on a magical foot If someone calls for a
and opens by saying,
"We only have $2,000 in our budget, are you sure
you can do a birthday party for
You can seriously affect their feelings about
it all if you immediately counter by
"But of course, that includes all expenses."
If
still flinch, add,
I tell you what.
come a little early, and perform what they call strolling magic. People LOVE this, and I usually charge
$200 extra for it..."
TWO:
eat a BUG at a birthday party for $2,000..."
Delay your approval. Continue through all
three steps of the negotiation. Find out what
they want. Gather more information. Then
carefully lead into a meshing of their needs,
their budget, and your abilities.
NUMBER THREE:
Here we aren't dealing with methods for
earning more. Rather, we
with human
nature, and the feelings and expectations that
go along with it This gambit helps to
in the
belief that all involved have gotten a fair, WIN/
WIN situation.
A non-magic, non-booking example will help
crystalize the emotions the delayed approval
gambit relates to.
say you want to sell
your car, and you hope to high heavens to get
$3,000 for it. You aren't certain what if s worth,
but you sure need the $3,000. Well, when the
first person stops by asking about it, you decide
to be a sneaky negotiator, and ask for $4,500.
How would you feel if, after a moments
thought, they reach into their pocket, take out
their checkbook, and begin writing out
301
The biggest misconception I had about the
negotiating process has to do with power. I always thought it was important to create the
impression of power. I thought the power to
make or influence all decisions on site was the
key to good negotiating. So to me, it was a true
revelation when 1 discovered exactly the opposite was the case.
It seems that during the process of negotiating, the most powerful position you can take is
that of powerlessness.
The Magic of Michael
Now, this is an odd thought, so
give several reasons supporting it. In business, if you
have set up a situation where it seems you must
check with someone else before making any
decision, you increase your flexibility. Not
being
to commit allows you to explore possibilities without being tied
There is always the possible consideration of
other people or what they
the "opportunity
costs" to consider. Opportunity costs are the
values of the alternative choices that could
have occupied that time. You might be able to
use the date itself as the determining
you
would have to check with.
During phase two of negotiating, where you
exchange information, you will be able to
gather the information possible, yet still delay approval. Not only will you have a chance
to digest the information (potentially affecting
your counter offer), but you will gain the subtle
psychological benefits delayed approval.
actually,
need to get back to you on
this. Another project is tentatively
for that day."
This is not to say that all bookings or negotiations need to be resolved by a call back. But the
Call To A Higher Authority Gambit does allow
you more latitude for action, and room to think.
Developing the habit now will help it seem
natural when those big calls come.
If you are personally accountable for decisions, and can make them unquestioned on the
spot,
have limited your options and flexibility. You
your negotiating position. You
might be pressed to decide on something before
adequate research or thought has been applied,
or possibly pressed for special favors because of
the direct access to the decision maker.
GAMBIT NUMBER FOUR:
A separate, usually absent entity, like a manager, agent, agency, or even spouse, can be
used as a "higher authority" whose pending
approval makes commitment impossible.
You know, for any of these ideas to work,
you're going to have to start with something.
Start with this one.
the most simple. All you
do, is ask for more. As a suggestion, try 20%
more. I mean, hard to make a 10% raise seem
"long overdue..."
I don't have an agent, manager to use a
higher authority. So at one time, I created a
company called The Secret Service, to handle
my bookings. I was the only person in this
company, and I had exclusive representation of
only myself, but the fact that no one
knew
that made a lot of things easier and more effective.
reasonable to see how a company
name can give an impression of stability, or
substance. And while some corporations may
feel funny about approving large contracts
with an individual,
very natural for them to
commit to another company.
Inexperienced negotiators tend to go into the
negotiation with their very best offer up front.
Maybe they lack faith in their product, or their
ability to negotiate. When they hear things like:
"We just don't have much of a budget..."; or,
"Think all the work you'll get out of this!"
They so lower their expectations that their
opening quote is the lowest they can survive
working for.
On the other hand, if someone calls you, and
there are dogs barking and kids playing in your
background, you probably won't want to go for
the corporate image. But don't worry, you can
still, with a clear conscience say, can't give you
Experienced negotiators recommend asking
for more than they expect to get, while implying flexibility. The first reason why is, sometimes, you get it! Secondly, if you are pressed
into flexibility during the give and take of Stage
Three, you have set the stage for the other person to "win" the negotiation.
a decision on that right now. should only take me a
days to clear up a few related things, but I could get
right back to you, though."
302
Negotiating Higher Performance Fees
Use this idea just once, and
profit from
it Make it a progressive habit, and
change your standard of living.
of your expenses more effectively on the small
gigs, life could get easier. Ask them to throw in
dinner, or
or pay for your travel time.
This idea of "going for it" goes beyond price
as well. In the world of sales there is the phrase,
have to ASK to GET." Sounds like a pretty
good plan.
Of course, if s wise to watch out for clients
who have mastered the Salami Technique. It is
so tempting to say yes to simple extras, "since
you're going to be there anyway..." But let it get
out of hand, and they will seriously chip away
your value structure.
GAMBIT NUMBER FIVE:
GAMBIT NUMBER SIX:
As you listen to some of these ideas, you
might wonder, "Now come on, does he expect
me to use all these GAMBITS? I'm an ARTIST!"
I understand. I offer this variety of gambits,
some of which may make you too uncomfortable to use, for the sake of completeness. Being
aware of them provides you a defense, as much
as an arsenal.
This particular tactic is used during the
moment of relaxation that takes place in both
parties, immediately following an agreement.
Reaching a decision relieves tension on both
sides, creating an ideal climate for a good nabut aggressive approach. Following the
agreement on price and service, now is the perfect time to throw in requests like, "Of course,
plus all expenses..." or just, "You'll throw in
hotel,
you?" Some might be able to say,
"Since
be using an assistant,
expenses separately."
need to bill their
When traveling for several days, you might
say,
usually get a per diem for
for living expenses..."
day on the
Sometimes, even though you are very interested in working for a particular client, you
might not be able to agree on a price. Rather
than to lower your price now, which could set a
that would work against you on future dates, begin to explore different areas your
services might be of value to them.
Maybe this is just the
picnic for a
company that has Easter or Halloween functions for the children, a Christmas party for the
employees, and sends out special customized
gifts for their customers each year. If you bring
these other considerations into the picture, perhaps you can justify a lower price now, with
the guarantee of additional
in other areas.
Sometimes, if you can't come together on a
price, you might want to pass the show on to a
different performer, while still exploring possibilities for other work from that client. If you
are clearly sensitive to their needs, and if you
are professional in the way you approach your
business, any client should be happy to consider you for other openings.
Do you see why if s called the salami technique? You might never think of eating a whole
salami, but it goes down easy a slice at a time.
The same is true of the total value of the end
agreement If you ask for it all up front, they
might talk you out of the extras during the negotiation. But they seem easy enough to grant
once the big decision is out of the way.
In approaching new work, there is the idea of
horizontal
where you try to approach
the different companies in a given
industry. But there is also vertical marketing,
where your client sensitivity opens you up to
many options inside the same company.
They say one of the best ways to make
money, is save money. you can cover some
By sticking to your price, while exploring
other possible relationships, you lock in the
303
The Magic
impression that there is tangible value to the
somewhat nebulous service of entertainment.
A value not to be distorted or compromised.
One very talented friend of mine realty loves
to perform. As a result, he never walks away
from a booking. If they don't have his normal
fee,
work for less. His position is, "What
harm could it possibly do? I quote my fee up
front, but if it is too much, 1 ask what they want
to spend. It always turns out to be more than
make staying at home!"
GAMBIT NUMBER SEVEN:
If there is one single gambit that will result in
your making more money from self representation, it will be the ability to walk away from a
booking. In fact, this is such a fundamental
train of thought, calling it a gambit might not
it justice.
Siegfried, of Siegfried and Roy, once pointed
out that before you could make good money in
Las Vegas, you had to look
you didn't need
it If you needed the money, or if you needed
the
it was like the kiss of death. Successful people like associating with successful
people. Thaf s point number one.
A second point is, that if you are truly afraid
of losing this
you are going to build in
a pricing cushion that will prevent any threat of
being too expensive. You'll leave a margin between what you are willing to work for, and
the upper limit of what you might be worth,
just to be sure you get the booking.
Does this margin exist in your pricing now? If
you had the confidence to push it, if you had
conviction in your service, would
be able to
charge
for an act you normally sell for
$300?
s a 25% increase.
It is hard to argue directly with this position.
But consider the effect on your negotiating,
however subtle, that would result from being
more sensitive to the lower earning ranges
than the upper ones. Consider the number of
that become aware of your lower salaries. Consider the possible future bookings that
might go to others, when these particular
people do come across a higher budget.
Here is another consideration. If I need the
show - if I need the money, I'm going to try to
book anything I can. In other words, no matter
round the hole, I can get a square peg into
it if I have to.
But if I'm willing to walk away from a booking if everything isn't right for
involved,
then I'm likely to come across much more professionally to the caller. If I'm willing to recommend another act "who might serve their
needs, and budget, better....", don't I increase
the chances for getting the fee I really deserve
when the time comes for these people to increase their budget? Even if the cheaper act
does a good job, don't you think the booker
wonders how much better it would have been
to have gotten a "really professional act"?
GAMBIT NUMBER EIGHT:
If you work on factors supporting your service, and if you consider ways increasing your
value, do you think they'll be able to afford
$450, instead of $300? That's a 50% increase.
It might really help, if you looked
at
the clients you have talked with over the last
year. How many of these shows have you lost
because you were too expensive? Do 25% of the
people who call you hire someone else because
you were too expensive? Or are you like many,
who never let someone walk away because
they couldn't afford you?
If you and your potential client aren't able to
come to a price agreement, and you've mastered the ability to walk away from it all, don't
think the fat lady has sung. Give them just one
more chance to see the error of their ways.
304
Negotiating Higher Performance Fees
I can certainly understand it if your
budget just won't allow it, or you need something
a little different. But, before you commit,
still like
to send you a brochure and a video
some the
things 1 do. At least this way, you'll know what your
future options mightbe..."
If you work quickly, there is an excellent
chance your formation will arrive before they
commit to another act. In my case, I've been
able to turn 3 or 4 "No's" into "Yes!" That isn't
a huge number, but every one of them counted.
By giving them a second chance, you are certain you are in their files, you make certain they
are your files, and by following up your mailing with a phone call, you make it easier than
ever to do business with you.
GAMBIT NUMBER NINE:
quote on that act. If they truly don't have the
budget, for the act in question, explain that you
have another act. One which requires less set
up time, or is less expense to produce. Explain
that, even though the pricing is for your award
winning show, both shows are good. It just so
happens the second show is more affordable.
As
remember, the 3 stages of negotiating are: First, find out what the other side
wants. Then, gather more information. And
finally: Reach for an
By following
these three steps, with an understanding of the
GAMBITS just covered, you will pull your earnings into line with your value.
In
remember that negotiating is
not just a matter of getting what you want It is
also discovering what others truly want, and
what value they place in achieving it.
Build A Safety Net
Into Your Pricing
Exposing yourself to the different stages of
negotiating and the gambits that go along with
them is only part of the battle. Since putting
them to use is the ultimate objective, you might
want to consider easing yourself into it
One way to prevent yourself from losing
shows as a result of your original quote being
too high, would be to build what I call a "safety
into your pricing structure.
In magic, I've always felt that
who
is good now, needed someplace to be bad. For
example, it really helped me to have my home
state of West Virginia as a developing ground.
It allowed me to develop maturity away from
possibly critical eyes that might have discouraged further effort.
What that amounts to, basically, is a second
act that you can perform for a lower fee. Or, it
might be a different performing character - still
played by you, but capable of working for a
lower fee.
By the same token, you might want to practice these negotiating techniques your everyday life, so that when the big deals roll in,
they'll be second nature to you.
As an example, perhaps you have a non-livestock act, that you'd be willing to perform for
instead of your normal $250.
For example, the next time you eat at
try Flinching when you get your
Or, if you truly ARE shocked by the price of
allow yourself to react naturally,
and remember that reaction. File it away, for reuse in the future.
Another great example was developed by
Hank Moorehouse.
as "Hank", does a
very funny professional act. But if you can't
afford "Hank", perhaps you'd like Mr. Bubbles.
The Mr. Bubbles act is perfect for kids. "Because", Hank tells me with a smile, "I don't like
kids. But Mr. Bubbles loves them!"
Finally, let me end with a sincere hope, and
also issue a challenge:
Make all your negotiations win-win interactions. Make
of your relationships value for
value. And make most of your money from
repeat bookings.
If you have an act that has been recognized
with a prestigious award, or a television appearance, you might be able to base your initial
305
The Magic of Michael
(1) Find out what the other side wants.
(2) Seek more information.
(3) Reach for an understanding.
The
(2) Delayed Approval.
(3) Call To A Higher Authority.
(4) The
Gambit.
(5) The Salami Technique.
Piggy-Back Booking.
(7) Develop Walk-Away Power.
(8) Give 'Em A Second Chance.
(9) Build A Safety Net Into Your Pricing.
306