Magic Tricks

By Doug Edwards   I've developed this utilitarian sleight to be used under challenge conditions. It's an easy way to switch out (or in!) the four Aces in one smooth sequence of actions. The Aces are actually placed/slid into 'switch' position. The no get ready aspect of it is what makes it so good. Setup The four Kings are on top of the deck in any order. Handling And Performance

Remove the four Aces from the deck, square them, then spread them forward so that each Ace overlaps the next with their indexes visible. While you're displaying the four Aces in the left hand, the right thumb riffles off four (or more) cards and holds down the remainder of the cards to create a gap at that point. The right hand turns palm down, the left hand moves the Aces back toward the right hand hand, going under the right thumb and into the opening between the riffled stock and the remainder of the deck. The top right corner of the top Ace moves into the gap, the left hand continues to move Aces back so that the Aces travel over the four cards below them. Above is a side view of this action. When the Aces extend beyond the back of the deck, as well as beyond the front of the deck, thus hiding the stock under them, the right hand rotates to the right to pull the deck up so the spectators see the deck and apparently only the four Aces next to it, the right edges of the Aces touching the side edge of the deck. The left hand closes up, as if closing a book, turning them over so they are face down on top of the deck. The right first finger and the left thumb contact the far front and back edges of the Aces and push them together until the deck is squared. Thumb off the top four cards. They are now Kings instead of Aces.

Performance Notes With practice, and attention to angles, the opening can be minimized. As stated above, it's easy to do and great to know.

By Richard Robinson
 
The magician causes a borrowed coin and a metal washer to change places under apparently impossible conditions.
A cup is shown to contain a metal washer. The washer is dropped out onto the table. The cup and the magician's hands are seen to be empty.

A spectator drops a coin into the cup. The magician picks up the washer, works it between his or her finger tips and it is seen to change into the coin.
The cup is tilted toward the spectators and the washer slides out. Again the magician's hands are seen to be empty.
Props & Setup

Two identical large metal washers, a cup or other container with the bottom slightly recessed, magician's wax or equivalent such as soft soap, or other putty like temporary adhesive.
Prepare the cup by turning it mouth down and applying a thick layer of the wax to the center. The waxed area should be thick enough so that the side of the coin/washer toward the cup is not touching the cup bottom. The waxed area should not extend to the edges of the coin/washer. These two precautions will eliminate any fumbling during presentation.
Stick one washer to the wax area, turn the cup mouth up and drop the other washer into the cup.
Handling
Cup Bottom Steal

One of the two washers is stuck to the bottom of the cup with magician's wax or other temporary adhesive. Enough wax should be used to hold the washer or coin away from the actual cup bottom. This makes it easy for the finger tip to engage the edge of the washer or coin and free it from the wax.
Once free of the wax, the washer or coin will fall against the third and fourth fingers. This finger palm position is used throughout the routine to conceal the extra object in play. Tip Out Switch

The coin slides out of the cup and lands in classic palm position. The washer is concealed in finger palm position. The fingers are curled up and the front of the hand turned towards the spectators so they cannot see into the hand.
Drop In Cup & Cup Pickup

To the audience it appears you are dropping the coin back into the cup. Actually the washer is allowed to slide off the fingers into the cup while the coin is retained in the classic palm.

After the washer has fallen into the cup, the classic palm is relaxed so the coin can drop to finger palm position. The hand then picks up the cup, the first and second fingers and thumb taking hold of the cup at the bottom so that as the cup is raised the third and fourth fingers are below the cup bottom.

As the cup is lifted, the finger palmed coin or disc is stuck to the bottom of the cup.
Transformation

With the coin finger palmed in the right hand, the washer is picked up off the table. The left hand turns palm up, the fingers curled in and the washer apparently dropped into the left hand. In fact, the finger palmed coin is released and the washer pulled back and finger palmed. The left fingers then mask the apparent washer as it is moved towards the tips of the left fingers.

The hands turn so the backs are towards the spectators. The apparent washer is rubbed and turned between the finger tips, slowly exposing it and creating the illusion that it is visibly changing into the coin.

With the coin visible at the left finger tips, the right hand moves to the cup, lifts it, attaches the finger palmed washer to the bottom of the cup, tips the cup forward so the washer inside the cup slides out and falls onto the table surface.
The Routine
Pick up the cup. Look down into it as you shake it so the washer will rattle against the sides.
Tilt the mouth of the cup toward the audience and allow the washer to slide out onto the table surface.
Put the cup down, pick up the washer, turn it between the fingers and then place it back on the table, making it obvious that both hands are empty.
Pick up the cup with the right hand in the following manner. The right thumb and first and second fingers go around the cup near the bottom so that when the cup is lifted the third and fourth right fingers are below the bottom of the cup.
Extend the right arm forward, asking a spectator to drop a coin into the cup. As this takes place, the right third finger tip rises up against the bottom of the cup, finds the front edge of the washer and pulls it free of the wax so that it drops into the right hand.
As soon as the spectator drops the coin in the cup, take hold of the cup with the left hand, bring the cup toward your body, look down into it while shaking it so the coin rattles.
Tilt the cup to the right and let the coin slide out into the right hand. The position of the right hand is palm up, fingers curled up slightly to obscure the spectator's view into the right palm, the washer resting in finger palm position against the bottom joints of the fingers. The coin should land directly on the center of the palm so that it can be classic palmed.
Move the left hand a bit to the left, rotate the right hand over the mouth of the cup and let the finger palmed washer drop into the cup. The coin is retained in the right hand.
Immediately move the right hand to the right of cup and lower the right hand down to the bottom of the cup. At the same time let the classic palmed coin drop onto the right fingers.
Take hold of the cup near the bottom with the right thumb and first finger, the rest of the fingers moving under the bottom of the cup and attaching the coin to the wax.
Shake the cup so the coin (actually the washer) rattles. Take the cup with the left hand and move the left hand a few inches to the left. The right hand will be seen to be empty.
Give the cup another shake or two. Then extend the left arm forward to place the cup down on the table. In performing these actions, free the coin from the bottom of the cup and let it drop into left finger palm position.
Just as the left hand is putting the cup down on the table, the right hand moves forward, back of the hand toward the spectators, and picks up the washer on the table. This pickup is done with the right finger tips on top of the washer, the right thumb under it.
The following right and left hand actions should be done simultaneously: Bring the left hand back, rotating it so that it palm up, but with the left fingers curled up to hide the coin. Bring the right hand back, rotating it to the left and finger or classic palm the washer as the right fingers move down into the left palm and touch the coin lying there.
Take hold of the coin with the right finger tips and move the coin toward the left finger tips. The right and left hands rotate to the right and move to the center of the body. The coin is now half hidden by the left and right finger tips.
Appear to be working the washer (actually the coin) between the finger tips. Move the finger tips back slowly to reveal that it is no longer the washer but the coin.
Hold the coin at the tips of the left fingers so it is visible and move the left hand up and away from the right hand.
The right hand moves forward, picks up the cup and tilts it forward to show that the washer is now in the cup. In doing so the washer finger palmed in the right hand is attached to the bottom of the cup.
To clean up: drop the spectator's coin in the cup, move cup toward the spectator and turn it over to let the borrowed coin drop out. Steal the washer from the bottom of the cup.
Performance Notes
This is a neat bit of prestidigitation that is based on a Sam Berland move. A fair amount of rudimentary sleight of hand is involved and a good deal of practice is recommended. An advanced version of the gimmicked cup can be made up using a magnet rather than the adhesive.


      

The ball on the table is covered by the cup. The cup is lifted, the ball has vanished. The cup is set down and lifted again, the ball has returned.
The Cup Steal
Horace Goldin's method of stealing the ball from under the cup is unique in that there is no movement of the fingers as the steal takes place. He describes the move as giving the ball a slight knock with the inside edge of the cup in the action of covering the ball, the cup being placed down at a slight angle, this allows the ball to be driven right into the palm of the hand, making it possible to replace it immediately if necessary.

The cup is brought down so the inside front rim of the cup can contact the ball and send it rolling back. The cup is at a slight angle, exaggerated in the photographs for clarity. The kicked of the ball back must be done so the path of the rolling ball goes directly under the palm of the hand. As soon as the ball is set in motion and clears the back rim of the cup the cup is set down and the ball classic palmed by the hand.

With the ball classic palmed, the cup can be lifted to show the ball is no longer under it. In placing the cup down again the ball can be reloaded under the cup by releasing it from the classic palm with a forward motion so it rolls under the cup as the cup is set down.
Final Loading
Goldin manages the loading and revelation of large balls under the cups in a continuous action where the cup is lifted to show a ball under the cup, the cup is put down and lifted again to show the ball gone, the upright cup is taken by the other hand, turned mouth down, the lifted to reveal a large ball.
Discovering the balls under the cups, I remove them secretly by the above move and twist the cup's mouth upwards on the table showing all clear, boldly bringing the hand containing the ball down flat over the cup I introduce the ball by a little swinging movement, turn the cup over smartly, centrifugal force keeping the ball in.

The ball is vanished from under the cup by using the cup steal described above. After the cup is lifted, the cup is turned mouth up and the hand classic palming the small ball moves away. At the same time, the opposite hand, which has stolen the large ball and palmed it, moves forward over the top of the mouth up cup.

In one continuous action the large ball is dropped into the cup, the cup is revolved in the hand to land mouth down on the table, then immediately lifted to show the large ball.
Performance Notes
From the handling he describes, Goldin appears to change each small ball into a large ball, one after the next, keeping an upbeat tempo rather than pausing after loading all three large balls and then revealing them.
Turning the cup mouth up while classic palming the small ball requires some attention to angles so the ball isn't flashed.



    

By Richard Robinson   The magician holds a large red sponge ball between his right first and second fingers. He places the ball on the palm of his open left hand which closes around it. On opening the hand, the sponge ball has vanished. Sponged Out is a convincing vanish which creates a rather unique persistence of vision effect since it is the fingers holding the ball that are persistent rather than the ball itself. It can be worked with any sponge ball, even a larger 2 inch / 50 mm ball. Handling

The right hand, palm forward, displays the ball between the first and second fingers. The ball is placed on the open left palm. The left fingers curl up to close around the ball. The right first finger raised and the left fingers opened out to show the position of the right thumb between the right first and second fingers. The right thumb presses down on the ball and drags it back to the left wrist. The hands' position to the left of the body as the right thumb drags the ball back. Note position of the third and fourth right fingers. The tips of the third and fourth right fingers grip the ball and swing into the right palm as the right thumb moves away. Front view with the right first and second fingers still trapped under the left fingers. The left hand remains stationary as the right fingers are pulled out from under the left fingers. The right hand moves back, the left hand moves up. The right second finger curls in so only the right first finger points towards the left hand. The left hand is opened to show the ball has vanished. The position of the ball concealed in the right hand.

Presentation Facing the spectators, display the ball by holding it between the first and second fingers of the right hand. The hand is held up at shoulder height and turned back and front to display the ball. The left hand opens and turns palm up at just above waist height. The right hand is palm towards the spectators. The right hand moves down towards the left palm, the right third and fourth fingers curl up slightly towards the right palm as the ball is placed on the left palm just at the base of the left fingers. The left fingers curl up to close over the ball, pausing as they come into contact with the right first and second fingers. As soon as the ball is masked by the left fingers, the right thumb moves down between the right first and second fingers until the right thumb tip touches the left palm. This causes the top side of the right thumb to press down on the ball. The left and right hands swing to the left, the body turning to follow the hands. The left arm is raised and the left hand revolves to the left until the partially closed left hand is positioned with the thumb up with the left fingers towards the spectators. The arms are now extended out to the left. As this shift in position is carried out, the right thumb presses on the ball and slides it back across the left palm to the left wrist. The right third and fourth fingers swing up and the ball is pinched between the third and fourth finger tips which swing back into the right hand. The back of the right hand is towards the spectators by this time, the right first and second fingers trapped by the closing left fingers. The movement of the arms stops. The right hand pulls back to the right, pulling the spread apart first and second fingers out of the left hand. The left fingers finish closing over the left palm and apparently over the ball. Continuing to look at the closed left hand, shift the body to the right so it is closer to facing the spectators. Move the right arm at the elbow to the right. As the right hand travels right the right second finger curls into the hand, leaving only the right first finger pointing at the left hand. The right hand gestures at the left hand which opens slowly to show the ball has vanished. Performance Notes Sponged Out works equally well as a close up or platform manipulation. The timing of the coordinated movements has to be practiced until it appears that the ball is placed by the two fingers into the other hand which closed around it as the fingers are extracted. With a good deal of practice and a fairly stiff coat sleeve it is possible to use the thumb sliding action to slide the ball across the left hand and into the coat sleeve for a both hands empty vanish.

By Doug Edwards   I've developed this utilitarian sleight to be used under challenge conditions. It's an easy way to switch out (or in!) the four Aces in one smooth sequence of actions. The Aces are actually placed/slid into 'switch' position. The no get ready aspect of it is what makes it so good. Setup The four Kings are on top of the deck in any order. Handling And Performance

Remove the four Aces from the deck, square them, then spread them forward so that each Ace overlaps the next with their indexes visible. While you're displaying the four Aces in the left hand, the right thumb riffles off four (or more) cards and holds down the remainder of the cards to create a gap at that point. The right hand turns palm down, the left hand moves the Aces back toward the right hand hand, going under the right thumb and into the opening between the riffled stock and the remainder of the deck. The top right corner of the top Ace moves into the gap, the left hand continues to move Aces back so that the Aces travel over the four cards below them. Above is a side view of this action. When the Aces extend beyond the back of the deck, as well as beyond the front of the deck, thus hiding the stock under them, the right hand rotates to the right to pull the deck up so the spectators see the deck and apparently only the four Aces next to it, the right edges of the Aces touching the side edge of the deck. The left hand closes up, as if closing a book, turning them over so they are face down on top of the deck. The right first finger and the left thumb contact the far front and back edges of the Aces and push them together until the deck is squared. Thumb off the top four cards. They are now Kings instead of Aces.

Performance Notes With practice, and attention to angles, the opening can be minimized. As stated above, it's easy to do and great to know.

By Richard Robinson   The magician takes three small coins out of his pocket and drops them on the table. He puts two of the coins in his left hand, which close around them. He puts the third coin back in his pocket. He opens his left hand to show the third coin has magically traveled from his pocket to join the other two. Again putting the three coins on the table, he again places two in his left hand and the third in his pocket. Giving the left hand a slight shake, he opens the hand to show that it now holds three coins. Suggesting that perhaps those watching aren't quite following what's going on, he again places two coins in his left hand and one back in his pocket. Once the spectators confirm that seems to be the case, he opens his left hand to reveal one large coin, the three smaller coins having vanished completely. Transportation is a variation of the Two In The Hand, One In The Pocket routine. It is entirely impromptu, requiring only four small coins such as U.S. pennies or dimes and one larger coin for the finish. The four small coins should be in the same condition so one cannot be told from another. Setup The five coins are together in a pocket. It is best to keep them in a side coat or jacket pocket so the hand can move in and out of the pocket easily and quickly. Handling

Exposed view of the four coins taken out of the pocket by the right hand. Unseen by the spectators, the thumb holds back one of the coins. The right hand tilts over the left hand to release the three coins. The fourth coin is held back in the right hand as the spectators see the three coins for the first time. The three coins are displayed on the hand. Then the three coins are apparently placed in the right hand. In fact one of the three is held back in the left hand. The three coins are show in the right hand. The first of the three coins is put into the left hand, the fingers curled up to hide the coin already there. The second of the three goes into the left hand, which closes around it. The third visible coin goes into the pocket. The left hand is opened to show that it contains three coins. This two into the left hand, one into the pocket sequence is repeated. The third time around, the right hand leaves the small coin in the pocket and brings out the large coin finger palmed. The right hand picks up the first of the three coins from the table and displays it at the thumb and first finger tip. The right hand moves over the cupped left hand. The large coin is released from the finger palm and drops unseen into the left palm. The right hand apparently puts the first small coin into the left hand. The thumb slides the coin down off the first finger ... ... and onto the tip of the second finger. The thumb presses the coin against the ball of the second finger tip. The spectators' view (with the first finger raised slightly) shows the coin is hidden behind the thumb pressing against the second finger. The second coin is picked up from the table. The right hand again turns so the fingers are pointing up and goes to the left hand to deposit the coin. The coin held by the second finger and thumb is released to fall into a finger palm. The visible coin is brought down by the thumb behind the fingers until it clicks against the first coin. As the right hand comes out of the left hand the two coins are held by the curled in fingers. The third coin is picked up and the hand raised palm toward the spectators. The third coin is seen at the thumb and finger tip, the other two coins are hidden by the curled fingers. After the visible third coin and two palmed coins are put in the pocket, the left hand opens to reveal the large coin.

Routine The routine consists of three phases with the handling details varying slightly in each phase. In learning the routine it is a good idea to practice each phase independently and then run them together when rehearsing the presentation. 1. The right hand goes into the pocket and gathers up the four small coins, holding them in a loose finger palm with the hand partially open. Give the coins a shake as the hand comes out of the pocket so the coins spread slightly across the fingers. The back of the hand is towards the floor, the curled fingers hiding the coins from view. The palm up left hand is raised, the head turning to look at the hand. As this shift of focus takes place, the right thumb tip moves down on one of the coins to press it against the right fingers, then the right hand turns over so the three remaining coins fall into the open left hand. The left hand makes an up and down shaking motion, so the coins bounce on the hand. Once the coins are separated, the left thumb tip moves down onto one of the coins, pressing it against the fingers. At the same time the left hand turns over to the right, letting the coins fall into the right hand which turns up to receive them. Since there is already one coin in the right hand, to the spectators it appears that you've taken three coins from your pocket and tossed them from one hand to the other and back. The left hand drops away, the fingers curled in a bit to conceal the coin it holds. The right hand places the three coins on the table. The right hand picks up one coin and places it into the left hand which has come up to receive it. The right hand takes the second coin and places it in the left hand. The left fingers close around the coins. The right hand picks up the third coin from the table, closes loosely around it and goes into the pocket. Shift your focus to the closed left hand. Make a shaking motion with the left hand. As the right hand is coming out of the pocket with the finger palmed coin, open the left hand to show three coins in the hand. 2. Bounce the coins on the left palm until the coins are separated. The left hand now turns over to the right, the left thumb tip coming down on one of the coins to hold it against the fingers. The right hand moves up with its finger palmed coin to receive the coins from the left hand. The right hand opens out as the transfer is made so the spectators see three coins resting on the open right palm. Place the three coins on the table. The first phase handing is now repeated. The right hand picks up the first coin and drops it into the left hand. The right hand picks up the second coin and drops it into the left hand. The left hand closes around the two coins. The right hand picks up the third coin and goes to the pocket. When the right hand is in the pocket, it drops the coin and picks up the large coin in a loose finger palm. Again the loosely closed left hand shakes the coins and opens to reveal three coins. At the same time the right hand comes out of the pocket with the finger palmed coin. 3. The right hand goes over to the left hand and the right fingers collect up the three coins on the left palm, holding them by the finger tips and places them on the table. The right hand is kept palm down as it does this, hiding the finger palmed large coin. The right first finger and thumb pick up the first coin on the table. The coin is held at its edge by the tips of the first finger and thumb. The right hand moves over to the palm up left hand. As the right hand moves, the right fingers are brought together. Once the right fingers are behind the slightly curled up left fingers, the large coin is released to drop into the left palm. At the same time the right thumb slides the small coin over so it is held between the thumb and second finger tip. This leaves the first finger free and the small coin hidden completely by the pressed together tips of the thumb and second finger. Swing the right hand to the right to pick up the second coin from the table. As the right hand moves, the left fingers curl over the large coin to hide it. The right first finger tip and thumb now pick up the second coin from the table. This requires some practice since the thumb tip is pressed against the second finger tip holding a coin. Once the second coin is held at the thumb and first finger tip, revolve the right hand so the finger tips are up. The finger / coins position is the second coin is visible, held by the tips of the thumb and first finger. The first coin is held directly below it by the ball of the thumb and the tip of the second finger. The third and fourth finger are slightly open. From the front it appears that there is only one coin held by the thumb and first finger tips, the second finger curled in under it. The right hand moves to the left hand. The left fingers uncurl as the right hand turns fingers down. The right fingers are brought together and the hidden coin is released by the right second finger to fall into a finger palm. Then the visible coin is released to also fall into the finger palm. This will cause an audible click as if the two coins have been dropped into the left hand. The right hand moves away and the left hand closes, apparently around two small coins. The two coins should now be resting one on top of the other and held in finger palm at the bottom of the right third finger. The right hand picks up the last coin on the table between the thumb and first finger tips, then swings up so the palm of the hand is open and facing the spectators. Look directly at the coin at the finger tips. The right thumb and first finger extend up holding the coin. The other three right fingers are curled down, hiding the two finger palmed coins from view. This s quite deceptive. The right hand now goes to the pocket to gently deposit all the coins. The closed left hand is extended forward. The empty right hand comes out of the pocket. The left hand is opened slowly and then stops moving. The large coin is revealed resting on the left palm. Performance Notes To ensure a successful performance, the handling should be practiced for quite some time before doing the effect live. The sequence of events is convincing and at first the routine may seem easier than it actually is. Keep working on it until complete control is acquired for every move.

Tags;

Paranoid Card Trick REVEALED 

The magician spreads a deck of cards. The spectators removes a card at random and looks at it. The spectator returns the card to the deck. For the magician it is only a question of time before the selected card is revealed.

The Quick Key is a useful dodge to keep in mind, especially if a more elaborate effect starts to go wrong as the spectator returns the selected card to the deck. It is also handy for practicing the classic force.

Setup

Sight the face card of the deck. If there is a crimped, breather or short card in the deck, move it to the face of the deck.

Handling


Square up the deck, sighting the face card. Spread the cards, asking the spectator to select one. Once the spectator has the card, square up the deck. Under the squared deck, the fingers pull back to expose as much of the face card as possible.

Spread the cards, asking the spectator to return the card to the deck. As the cards are spread, the right finger tips contact the face card and pull it to the right. As the spectator pushes the card into the deck, lift the top stock, including the face card. Drop the top stock onto the returned card and square up the deck.

Presentation

As you approach a spectator, spread the cards between the hands, asking him to remove a card at random. When he's holding the card, move your hands back slightly and close up the fan. Tell him to look at the card and remember it.

Move your hands towards him again, spreading out the cards and tell him to replace the card in the deck.

As you begin to spread the cards, push the deck towards the tips of the left fingers, thumb on top. The right hand moves over to receive the spreading cards. In doing so the right finger tips extend under the cards and contact the face card of the deck.

At the moment the spectator starts to push the card back into the fan, pull the right hand to the right, taking along all the cards above the spectator's returning card including the face card of the deck. Immediately drop that stock on top of the spectator's card and square up the deck.

The selected card is now directly under the sighted card. Any number of cuts won't disturb this arrangement.

The revelation should be proceeded by at least a few seconds of build up. For example removing three cards from the deck, placing them face down on the table and deciding which is the spectator's. Or spreading the cards haphazardly on the table and seeming picking out the card at random.

Performance Notes

Work on this until it can be done without thinking about it. The spread cards cover the action. It can be practiced during performance by doing it when it isn't needed.