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The M agic of Scott F. Guinn
Written By Scott F. Guinn
I remember a number of years ago when I was feeling despondent because I thought I’d never come up with anything good of my own in magic. You said, “Don’t worry! In a few years, you’ll be writing books on your routines!” And I knew you meant it. Well, you were right! So I dedicate this series of books to you, my biggest fan, my best friend, my encourager and supporter. These books are dedicated to my sweetheart and wife, Kristi Guinn
©Copyright 2003 by Scott F. Guinn All rights reserved, including manufacturing of original items for resale. Performance rights are granted to the purchaser. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical now known or to be invented, without express permission in writing. Layout, cover and book design by Scott F. Guinn THIRD EDITION
Scott F. Guinn
Table of Contents
Dedication 2 4
Part 2: Parlor & Platform Magic
Introduction by Aldo Colombini First Word Preface 6 5
Chapter 4: With Cards, Money & Stuff 69
Invisible Card in Glass 71 Card or the Cash Visual Matchup 74
Part 1: Close Up Magic
Bill in Lemon 79
Chapter 1: With Balls & Stuff 11
Peanut, Butter & Jelly 13 Having a Ball 19 Great Scott’s Table-Hopping Cups & Balls 24
Chapter 5: With Rings, Ropes & Stuff 85
Return to the Nest / Empty Nest 87 Guinnward, Ho! 90 Rings Off...Rings On...Again! 92 The Magic Jumprope 93
Chapter 2: With Rings, Strings & Stuff 35
Great Scott’s Ring & Rope Routine 37 Rings Off...Rings On 45 Great Scott’s “Symphony for Ring & String” 47 Strung Out 54 Liplock 59
Chapter 6: With Other Stuff 97
Water Monte 99 Great Scott’s Cups & Balls Final Salt Load An Idea for the Appearing 10-Foot Pole 104 Last Word 105 102
Chapter 3: With Other Stuff 61
A Trunk Full of Nuts 63 Assertive Positive Negative 65
Great Scott! It's More Magic!
he is also very talented. In case some of you don’t know.. And. stand up and kid shows.. if someday you answer the phone and you hear. every single one. He lives in the quiet town of Star. as you will see in his credits throughout the books. Besides being good at performing our art. He is able to ‘touch’ people’s hearts with a sense of wonder. it has also allowed me to meet some very wonderful people. “Thanks for all the great magic!” As we say in Italy. These routines have been worked on and refined over many years of presentations to the ‘real’ people (as in ‘lay audience. I am sure it will be most. “Hi. Boise’s name derives from a French word that means ‘made of wood. some creative individuals. Scott creates magic that inspires enjoyment in the hearts and minds of the onlookers that share his performances. music is another thing that he likes to study. restaurant magic. population 463 if you count the cemetery. Contrary to myself. I’m sure I speak for all who have been lucky enough to witness your performances when I say. he is also extremely versatile. if not all. I am very glad and proud to be able to say that I inspired some of his work. especially when doing the finest impression of Aldo Colombini I have ever seen! So. happiness and humor. by the way. doing close-up.’ but please do not hold this against the lovely people of Idaho. My friend Scott Guinn is a combination of all the above.. be careful because it might be Scott! Scott has the uncanny ability to jump from card magic to parlor magic with the same ease that most of us use to sing a song. “Continua in questo modo che vai forte!” And I think that everyone will agree with this! Aldo Colombini Page 4 Scott F. Idaho (near Boise).’) Try them out. Scott takes the matter of credits seriously and is very precise about it. Scott has an ear for music while I simply have an ear for pencils. for which he receives my admiration. found in his books.INTRODUCTION (ALDO COLOMBINI) M agic is a fun thing. this is Aldo”. Besides being fun to do.. for the fun you gave me during our much too rare conversations. And. Thanks Scott. And. Guinn . some very good performers. he does them well! Sometimes he even uses his Italian accent. Scott makes a living out of working for them on a regular basis. and see for yourself which ones will fit your personality and way of performing..
I would have you return the book to me for a 110% refund. with no aspirations of publication.FIRST WORD T his is the third volume of my magic. I will be incredibly honored. Now I feel it has a format worthy of the material. But if you don’t give the material and the audience the respect and dedication they deserve. Either the magician had clearly not put in the practice and rehearsal. This process has been beneficial for me. In this book you will find close up routines (none of which use cards or coins) and stand up material appropriate for banquets. Of course. etc. schools. condescending manner. even if no one ever buys the books. or worst of all. I have seen good magic performed badly. lay-audience shows. In addition. or worse. you will not get a good reaction. writing the books has been worthwhile. some of the routines have been expanded or rewritten (some extensively) to make the explanations more clear. and in many cases. churches. I have put them into book form. I know from personal experience that every routine in this book entertains and fools people. auditoriums. Guinn Third Edition This edition contains the same routines as the first two editions. I have always felt this trilogy contained good material. me and most of all. please do not make these mistakes with this material. concern. I originally wrote up the routines in this series in notebook form for my own benefit. both of the above! Please. the material has been reorganized into chapters. Please feel free to contact me if you have a question. Through the goading encouragement of my friends. Further. It has caused me to think about why I have constructed the routines as I have. magic! Warmest Regards and Best Wishes for you and your magic. the audience. Then we all win – you. the best course of action would be for you to practice and rehearse the tricks and the way you decide to present them. presented the tricks in an insulting. complaint or improvement. but many photos have been added to aid you in the learning process. and to understand that you are an incredibly privileged person to have the great honor of performing magic in front of an audience. It has been my goal to present the material as clearly as possible. Too often. and all the routines included are ones that I actually perform regularly in real-world. paid. comment. Rather than have you do that. made me see weak spots that I could not have otherwise improved. You will give yourself and magic a bad reputation. Enjoy! Great Scott! It's More Magic! Page 5 . If you find material here that you can put to use. In this sense if in no other. Scott F.
Guinn . I believe you should have excellent technique. and you should learn your craft well. Just as an actor makes you forget that he is not his character and the things in the script are not really happening to him. “the Professor” of close up magic said. I’ve seen both Mr. while technique deals with the facts. to mold them to your personality. and their acts are highly entertaining. Page 6 Scott F. It seems every magician in the world thinks he is also a worldclass comedian.” There is nothing wrong with the latter if his aspirations are simply to be a hobbyist. Even Dai Vernon. Tamariz and Mr. because they’d be trying to emulate someone with a vastly different style. which command 90% of the brain. Most magicians spend 85% of their time on the stuff that appeals to only 10% of the brain and a paltry 15% of their time on the things which appeal to 90% of the brain. This brings me to the subject of comedy.” Michael Ammar. “What’s the deal?” he wonders. Good presentation is absolutely essential if you want to work for “real people. For the most part. “Magic is the absence of moves!” This from a man who devoted his life to coming up with new sleights and concepts! You may feel free to use the presentations I have included for a number of the effects in this book. Imagine Martin Nash or Earl Nelson trying to deliver their magic like Juan Tamariz or David Williamson. Please don’t misunderstand me. it is presentation that separates the men from the boys in magic. but very often he is the one wondering why he can’t make a living as a magician. then devising entertaining presentations should be as high or higher on your list of priorities as learning technique. It is here that your craft of sleight-of-hand makes the audience feel. which control only about 10% of the brain. even if only briefly. because they have formed entertaining presentations based on their individual characters and style. you’ll fail miserably. He feels he is a much better magician than the local pro. Williamson. Nash and Mr.PREFACE “Presentation appeals to the emotions. that they have witnessed real magic. But first take the time to make them yours. so with effective presentation you can make the audience forget that it’s all just a trick and you are just “an actor playing the part of a great magician” (Robert-Houdin). Be careful with comedy. I am convinced that comedic timing is something you’re born with.” It is what distinguishes a commercially successful magician from a guy who “knows some tricks. You either have it or you don’t! It can’t be taught or learned from a book. It makes the difference between the audience feeling the experience of magic or feeling that they’ve seen a demonstration of sleight-of-hand. But magic becomes an art in the performance. They would flop. Nelson perform several times. They are much more reserved and sophisticated than Mr. Success and Magic I n my opinion. If it’s to make money performing for the public. Magic is a craft. but there is no less an experience of wonder and astonishment in their acts. You need to be very clear as to what you want out of magic. If you are not naturally a funny person. magicians are more interested in sleights and moves and “what’s new” than they are in how to present their magic in the most effective manner. don’t try to be a comedian when you perform magic! You don’t need to be funny—you DO need to be interesting and entertaining. Otherwise.
this type of foolishness does exactly the opposite of what a good false cut does.” so he stepped in. I glanced at him just in time to see a look of disdain cross his face. Everyone looked at me. “And until you lose the cocky. “So what you’re saying is. Ammar has proven true of the vast majority of magicians I’ve met. “Here’s a GREAT false cut!” he exclaimed. “No. As I was showing him one.” “And of those ten. “Marlo had nothing on me” grinned broadly. I don’t. I’d LIKE to… But it was late. about ten. a guy about 19-20 years old (who now has a video out) walked up to see what was going on.” when one asked me to show him a good practical false cut. though. “A full deck false cut!’ he cried. Great Scott! It's More Magic! Page 7 . and he had just insulted my magical manhood. about 2:00 AM. While I had to admit it was very impressive. one-handed-faro-shuffled deck and stormed off. I also knew it wasn’t particularly practical. “Exactly!” I declared. A good one passes uncontested and unsuspected. and he went into an eight-packet. He decided it was time the other fellows heard from a “true expert. “would you mind telling us how long you spent learning those two moves?” “About fifteen months.” he said. I was at a major magic convention.” he said.” He picked up his freshly false-cut. He retorted. casual cut. It looks like a regular. so he asked with a cocky smirk. So I called him on it. you won’t get any. he needed to discredit me. whirling dervish cut that would have made Jay Sankey blush. how many PAYING shows did you have?” His smile faded. how many were repeat bookings?” “None. “Then you’re not serious about being a TRUE magician!” I’d like to say I shrugged this off and went my merry way. I guess. Some 45 seconds later.The above quote by Mr. “So. doing a hop spread and springing the cards for emphasis.” A small group of beginning and intermediate magicians were “picking my brain. “UH. you CAN’T!” he cried with triumphant glee. I pointed out that I had never tried to learn that particular sleight. ‘I can do this and you can’t” attitude.” Mr. do you do a perfect one-handed faro shuffle?” He proceeded to demonstrate one for our edification. to the cheers and jeers of the rest of the group. actually. waiting for my response. Let me give you a quick example. Besides. proud of his obvious commitment and dedication. I was tired. the packets slowed down and fell back into place. I can’t afford to spend nearly a full minute of my time at a table or group showing off my ability to juggle cards. This thing screamed. “And in those fifteen months. There were too many members of his magic club around for him to lie. He decided that to become the “guru” of this small group. The last lecture was over and a number of the guys were “sessioning. “Listen. visibly shaken. nor did I have any desire to. “Look at me control the cards under the pretense of cutting them!” The “intruder” wasn’t done yet.” I said. It was late.
etc. Ammar. entertaining and mystifying.Too many magicians are like this guy. Guinn . The glaring exceptions are those performers who make their living performing for real people. Dan Fleshman. In conclusion. Put more time into making the tricks you already know more fun. Performers like Paul Green. Then watch as the audience reaction improves and your repeat business increases! Page 8 Scott F. the biggest single step you can take toward being a better magician is to invert the ratio in the quote from Mr.
PART ONE CLOSE UP MAGIC .
Page 10 Scott F. Guinn .
Butter & Jelly—Great Scott’s Sponge Ball routine • Having a Ball—Great Scott’s 3-Ball Routine • Great Scott’s Table-Hopping Cups and Balls .Chapter One Close Up Magic With Balls & Stuff • Peanut.
perhaps due to childhood memories of playing with balls—the first toys for most children—people just really seem to have fun with these routines. What makes these routines so popular with my audiences? I can sum it up in one word: FUN! All three are amazing and magical. The first. Guinn . but. too! Page 12 Scott F. So do I! I hope you will. The other two are very popular as well. my sponge routine.I n this chapter are three of my favorite routines. is far and away the routine that I perform most and that people request to see most.
Place everything in your right pants pocket and you’re ready to go. Requirements & preparation: You are supplied with 3 sponge balls. and has garnered praise from laymen and big name magicians alike. a purse frame and a Sanada Gimmick. finger palm one ball and remove the purse frame at your fingertips (photo 2 is an exposed view). It has proven to be mystifying and tremendously entertaining for audiences of all ages. I am very proud of the construction and presentation of this sponge ball routine.PEANUT. I generally use it as my opener in strolling or formal close-up work. It is one of my most-requested routines. These props are shown in photo 1. “Do you know what this is?” Lean forward expectantly. BUTTER & JELLY (GREAT SCOTT’S SPONGE ROUTINE) W hile composed of standard moves. Photo 1 Toss the frame onto the table and gesture toward it with your empty left hand (photo 3) as you ask. This sequence is shown in photos 4 & 5. Photo 2 Photo 4 Photo 3 Photo 5 Great Scott! It's More Magic! Page 13 . bringing both hands behind you and transfer the ball to left finger palm. Method & Performance: Reach into your pocket.
Turn both hands palms toward the audience. there’d be a bag here. “If this were a normal purse. would you?” Turn the hands back to their former positions and remove the right fingers from the purse. A ball is in left finger palm. Trace the outline of where the purse’s bag should be with your left forefinger (photo 7). “I don’t think you’d want to keep your money in this purse. “His name is Peanut. Photo 7 Photo 6 “This is a warm fuzzy!” Table the ball.” Photo 8 Photo 9 Photo 10 Page 14 Scott F. producing it magically from the frame (photo 10).Reach for the frame with your right hand.” Execute the Cellini Aquitment. “I don’t keep my money in it. Briefly. and everything seems above board (photo 9). pushing the ball flat against the left fingers with the backs of the right fingers. clearly showing both hands empty. casually showing it empty (photo 6). The ball is hidden behind the right fingers. and the purse frame is placed between the crotch of the left thumb and the first joint of the left forefinger (as per the standard sponge ball production from a purse frame). then close the frame at the fingertips. but I do keep this in it!” Remove the ball. here is how to do it. Insert the extended first three fingers of your right hand well into the frame (photo 8). Guinn .
Make a sawing motion with your fingers until two balls are revealed as shown in photo 12. of course. Turn your right hand palm down over the left palm.” Point to the second ball and say. closing it into a fist. (See photo 11). while the left fingers close as if they held the ball.exposed view). “I’m going to keep doing it ‘til you like it!” Pick up Peanut with your right hand and perform a false transfer. I’ll share a very easy standard False Transfer: Pick up Peanut with your right hand. carrying the ball along with it (photo 15. turn the right wrist inward and lift the right hand straight up. on her shoulder. To keep this complete.While you are talking.. place Peanut in your left hand. exposed side view). return the frame to your pocket. this is very disarming.. squashing the ball flat under your hand. holding him at the base of the fingers. finger palm another ball and remove your hand. “That’s Butter! Peanut. “It was assaulted!” (a salted) Photo 11 During the groan following this terrible joke. As you ask the person on your right. move your hand from her shoulder to the tabled ball.Butter! Get it Skippy? I’ll be done in a Jif!” With your right hand. Butter in the left). and then take Butter in your right. pretending to place him in your left hand while retaining him in your right. “Did you hear about the peanut in the park. convincing her (and everyone else) that your hand is empty. Photo 14 Photo 15 Great Scott! It's More Magic! Page 15 . Photo 12 Photo 13 Begin to close the left fingers. “That one. Point to the first ball as you say. flaring up the right ring finger and pinky so the spectators can see the ball. is Peanut. as in photo 13. Pick up Butter in your right hand. As soon as you feel the left fingers touch the right pinky (photo 14.” place your hand. Since she can’t feel the ball. squashing it under your hand with the palmed ball. Wiggle your thumbs and say the balls have changed places (Peanut in the right hand. then act disappointed at the response. open. Set the balls down triumphantly.
showing both balls.Wiggle your thumbs. Photo 16 Photo 17 Photo 18 Photo 19 Photo 20 Photo 21 Page 16 Scott F. Open your right hand. and then open your left hand. This ploy of Peter Samuelson’s really convinces her that she’s only getting one ball and justifies you helping her close her fist. With your right hand. Tell her to open her hand very slowly as you gesture with your right hand. Don’t do anything until I say. pick up Peanut and do a false transfer. Quickly catch the runaway ball (photo 18). as shown in photos 19 and 20. However. or Butter will explode! Then you’ll be covered in Butter… and I think you know what that’s like!” Gesture magically. steal the third ball out of your pocket in finger palm. As all eyes are glued to her hand and the ensuing revelation of two balls (photo 21) and the inevitable strong reaction follows. Place both balls as one into her hand and help her close her fist. allowing it to be seen empty as well. Then pick up Butter and drop it onto her hand. you intentionally drop it so it hits her fingertips and rolls away (photo 17). Guinn . and then slowly open your empty left hand. showing it empty. (Photo 16) Ask Kristi to hold out her hand. “Guess I got butterfingers.
Butter and… Jelly!” Photo 22 Often. Take the frame with your left hand.” and the third. palm up. saying. which closes into a fist. I just say.Offer to let someone else try. “Exactly!” Reach into your pocket.” Push the gimmick down over the balls with your right thumb. under the purse (it looks empty thanks to the gimmick). “That’s Peanut. during the pause after I say. Pretend to dump the balls into the purse. Photo 23 Photo 24 Photo 25 Photo 26 Great Scott! It's More Magic! Page 17 . “Jelly!” That’s even better. Gesture and then open your hand to show that Peanut has vanished. Hand the frame to the spectator and ask her to hold it open. As your left hand picks up the first ball. Pretend to place the balls into your left hand (photo 24). close it with the right fingers and then take it at the right fingertips. Put the Ball behind the gimmick. “Wow. you’ve got Peanut. False transfer to the left hand (you now secretly hold two balls in the right hand).” Repeat with the second ball. Photo 23 is an exposed view. “That’s Butter. Bring the hands out wide in an open “applause cue” pose (photo 26). “butter and…” a spectator will call out. open the gimmick with your right thumb. Pick up Peanut at the right fingertips. Put your right hand. Vanish! See photo 25. get the Sanada Gimmick in place on your fingers and then remove the purse frame. In performance. pick up Butter and put all three as one into her hand. and your left fist over it. People will gasp and yell at the appearance of the third ball (photo 22). the right hand would be held much more upright and closer to your body. “That’s Jelly. Ask the spectator to open her hand.
transports. The Peter Samuelson ploy can be found in his book. letting go of everything (photo 28). It will not disappoint. Carneycopia. Credits: I believe Albert Goshman was the first to produce sponge balls from a purse frame. A ball appears from the purse frame. Guinn . The effect flows logically. Page 18 Scott F. The ploy of switching the ball from hand to hand behind the back to show both hands empty is from John Carney’s book. coming full circle and is immediately reset. “And that’s the Peanut. and the Cellini Aquitment was described in The Close-up Magic of Frank Garcia. and you are reset. multiplies. honed and polished through the fire of literally thousands of performances. Theatrical Close-Up. Volume One. multiplies again. Butter and Jelly trick!” Put the purse in your right pocket. tested. Do me a favor and give it the practice and rehearsal it deserves before performing it publicly. Photo 27 Photo 28 Notes: I really like the structure of this routine.Casually show both hands front and back (photo 27) as you say. This is an extremely powerful and commercial routine. then all three vanish back into the purse frame.
Bring your right hand over to take the imaginary ball. Photo 3 Turn your right hand palm down above your palm up left hand. Sachs. I wanted a little more variety. it really only uses three balls (the above mentioned predecessors all use a fourth ball). Do this in one smooth motion as the right hand apparently takes the imaginary ball to the right. repeated several times. This is called the Conus Grip. Mr. drop the left hand to your side and grasp the ball between the flesh of the middle and ring fingers so the fingers can extend completely (photo 2). Then pretend to pluck an invisible ball out of the air at the left fingertips. who got the idea from Edwin T. but this time take the SC from the left hand between the right thumb and middle finger as the left hand draws back. Make another pass. Hold this imaginary ball in Spellbound Position (photo 1). There must be no movement of the left fingers as the right hand takes the ball. let’s start “having a ball!” Requirements and preparation: You’ll require three balls of the same color (SC) and one ball of a different color (DC). who borrowed the concept from an unknown Chinese Conjurer (maybe I should have named this routine “the Borrowers!”). the third SC is in right finger palm. who borrowed from Dai Vernon. as well as the classic balls across and two-inthe-hand-one-in-the-pocket phases. including David Roth. if you leave out the color change. Danny Archer. This routine borrows from several sources. An interesting feature that separates this routine from most is that. drop the SC from right finger palm to left finger palm.HAVING A BALL (GREAT SCOTT’S 3-BALL ROUTINE) T he classic three ball routine has been around for a long time. Two SC’s are in your right jacket pocket. These men. display your empty left hand. Most of these routines have only two or three phases. My routine features a couple of color changes and the perpetual balls from mouth. borrowed from Ed Marlo. it seems impossible that the ball could have come from the left hand! This production NAILS ‘EM! Hold the ball in your palm up right hand between the second joint of your middle finger and the tip of your thumb (photo3). As soon as the hands come together. Meanwhile. Method and performance: In a casual gesture. in turn. Because the fingers were extended completely. Great Scott! It's More Magic! Page 19 . Enough history and background. Vernon borrowed from Silent Mora. Start with the DC in your right sleeve or in a ball holder on your right side. Photo 2 Photo 1 Bring your left hand in front of the invisible ball at your right fingertips and draw the hand back to the left. John Scarne and Ken Brooke. Display the ball and show the left hand empty. “displaying” it in Spellbound Position.
Guinn . Clip the DC in Conus Grip as in photo 2. Meanwhile. lifts straight up. Take the ball in left hand Spellbound Position. When your right hand reaches the position shown in figure 6. and then open your left hand to reveal the ball has vanished. instead of letting your thumb stick up. it moves down and to the right (but keep your elbow bent so the sleeved ball doesn’t drop!). it looks exactly like you put the ball in your left hand. Make another pass and thumb palm the SC. This is exactly what you did in at the beginning. When the left fingers touch the right fingers (photo 5). keep it hidden behind your hand. drop your right hand to your side. Pass your right hand in front of the ball in the left hand. the right hand. As you display the ball. With the proper timing. letting the DC drop to finger palm (or steal it from the holder). With your right hand. Also. Crumble your left fingers. still holding the ball. leaving the DC in its place. Photo 6 Photo 4 Photo 5 Photo 7 Photo 8 Page 20 Scott F. only this time the hands are reversed. drawing it back. Begin to close your left hand. the left hand closes into a fist (photo 6). This color change is very magical. rotating the palm toward you and bringing the fingers together. ring and little fingers should be extended and spread as in photo 4. Allow the SC to drop from thumb palm to finger palm and then take the DC between your right thumb and forefinger. finger palming the ball en route. A stop-action of the change is shown in photo 8.The ball should touch the left palm and your right index. “pluck” the ball out of the air between your right thumb and middle finger (photo 7).
displaying it. Drop the visible ball in your left hand. pop the ball hidden in your right hand in your mouth as you adjust your glasses or scratch your nose. displaying a ball at the fingertips. Page 21 Great Scott! It's More Magic! . Do the false transfer described earlier and put the left hand in your left pants pocket as if putting the ball away. open your eyes wide and use your tongue to push the ball in your mouth out to your lips. After the vanish. As you open your left hand. Transfer the visible ball to your right hand and display it to those on your right. push the ball at the lips back into the mouth (photo 12) and produce the finger-palmed ball in its place (a little mirror practice will give you the timing for this quickly). drop the DC in the ticket pocket. and take another SC at the fingertips. Close your left hand into a fist and turn it fingers upward. Set the ball atop your right fist and do the Top of the Fist Vanish described above. and let the DC drop to the ring finger (photo 9). switch for finger palmed ball). Do the Top of the Fist Vanish: Pretend to pick the ball up with your left hand. Photo 9 Place the SC on top of the fist. which immediately closes around it. ball pushed to lips. Open your left hand. The last time. Repeat this sequence five or six times (false transfer. turning it so the thumb and side of the forefinger are uppermost. Meanwhile. but under cover of the left fingers. Photo 10 Photo 11 Photo 12 Remove the hand from the pocket and table the visible ball. back towards the audience. Wave your right hand over your left. open the right thumb and forefinger just enough to let the ball drop into the fist down to the middle finger (photo 10). reach into your right pocket and procure the third SC ball at the fingertips.Do a Bobo Switch: Thumb palm the DC as you toss the SC from finger palm into your left hand. left hand to pocket. Keep the SC in finger palm. Toss it in the air and catch it a couple of times. and then open your left hand to reveal a second color change. Bring your right hand up to take the ball. You now have two balls in right finger palm and one at the fingertips. close your right hand into a loose fist. Vanish! Go to your pocket with your right hand. Under cover of the hand. Bring the hand out. As your left hand leaves the pocket. actually take the ball from your lips with your left hand. Extend your right forefinger and rub your left fingers (photo 11).
There is a “knack” to this. and immediately “tear” the balls apart. Display the ball there briefly. roll up the two balls by squeezing the left forefinger in and down (photo 16). Open the hand allowing the balls to roll into the position shown in photo 14.Pretend to pick up a speck of dust or lint with the right thumb and forefinger. The right hand picks up the third ball and moves to put it on top of the fist. the right hand’s ball is revealed. Mention that someone may be skeptical that both balls are in the left hand. Set this ball on the table and ask John. then open the fingers just enough to let it sink into the fist. Use the right hand’s ball to push the other one to the left fingertips (photo 13). Do exactly the same thing with the second ball. you can make them roll up to the top of the fist. “It’s actually two…two…two balls in one!” Set the two balls next to the one on the table. Photo 15 Page 22 Photo 12 Photo 13 Photo 14 Photo 16 Scott F. and set the ball on the left fist. and then open your left hand to reveal a second ball. Repeat. You now pick up the third ball and apparently put it on the left fist. Turn your right hand palm down over the left. keep the two balls along the top edge of the middle finger. “You’re right!” Bring this ball under the one in the left hand as shown in photo 12. When the right hand obscures the left from view. but it’s easily acquired. Everyone assumes it’s the same ball. after which the left fingers curl up slightly. you retain the ball in the left hand in finger palm. and when your left hand moves away. Do a Shuttle Pass: The left hand turns palm down over the right hand which turns palm up as you apparently transfer the ball. Squeeze. pick it up with your right hand. drop one of the finger-palmed balls into the left hand. Close your left hand into a fist as your right hand picks up a ball. finger palming its ball with the curled third finger on the way. By squeezing both balls in the left hand. one in each hand. but this time. Close the left hand into a fist. Guinn . Actually you do the Vernon-Pladek-Marlo Roll-up Move. Hold your thumb on top of the fist as shown in photo 15. As you close your hand back into a fist. Really. Place the “dust” into the left hand. “Which one looks bigger?” When he indicates one. Pick up another “speck” and drop it in the left hand.
Snap your fingers and then open your left hand. Take the visible ball between right thumb and forefinger and put it in your pocket. Place the first two balls.Photo 17 Photo 18 The right thumb presses the right-most ball (of the two on the left fist) against the ball in finger palm. The ball on the left fist will be accepted as the third ball. then pretend to take the ball with the right hand. one at a time. Wiggle the fingers and thumbs of both hands. snap your fingers and open your left hand to show it empty! “I hate it when that happens! Well. and dump the ball next to the first one. I think you’ll enjoy performing it almost as much as your audiences will enjoy seeing it! Good luck. As the right hand moves under the left. Remembering the sequence will probably be the toughest part. Place the balls in a row on the table. on the left fist. work a ball to the top of the right fist. leaving the other two as well. The audience thinks two balls are in the fist and one on top of it. Switch this ball for the one in the left hand using Han Ping Chien: Turn your right hand to the left as if to dump the ball onto the table. Do the roll up move with the third ball. work the left hand ball in to Heel Clip (photo 18—bottom view). Actually. showing all three balls. creating the illusion that the ball fell from the right hand (photo 19). Photo 17 shows the hands immediately prior to the steal. as your right hand also makes a fist. performing the Top of the Fist Vanish. then remove it and show it empty. Put your right hand into your pocket. two are in right finger palm. The routine only takes about three minutes to perform. The left hand drops its ball. Apparently. Open both hands. That’s three minutes of non-stop magic! This routine is also relatively easy to do. roll the two balls down to the left ring finger and leave the third ball on top of the fist. allow its ball to sink back into the fist. Let this ball sink into the fist. all three balls have passed from one hand to the Photo 19 other. Repeat the above procedure to the point where you have two balls ready to do the roll-up move in the left hand and one ball in the right hand. showing them empty. Remove your hand. As the right hand comes over the left. Great Scott! It's More Magic! Page 23 . Repeat with the third ball. how about a card trick?’’ You are clean and reset! Notes: I know this reads long. but that’s because I had to explain the sleights. and let them sink into the fist. Move your right hand away with the two balls concealed. Pause a beat. As you do. Wiggle the fingers again. letting it hit the right fist on its descent. Turn the right fist upward as you work one ball to the top of it.
these take up very little room.GREAT SCOTT’S TABLE-HOPPING CUPS AND BALLS T • • • • • • he Cups and balls is probably the most-performed effect in magic’s long history. It resets quickly and easily.com). especially by table-hopping close up performers. available from Bob James’ Magic Shop (www. then stuff the handkerchief into the RC above the RB (photo 2). it is rarely seen by the public these days. The props shown in the photos are the mini cups set and Fakini balls. Nest the RC into the CC. I developed this routine so that I could present this outstanding classic effect to my audiences without having to give up so much pocket space. two white and one yellow (available from most dealers). This is largely due to the “bulky” nature of the effect—there are a lot of props for the standard 3-cup. one regular cup (RC). At only 2” high and 1-5/8” at the mouth. Requirements and preparation: In my table-hopping work (which is. and are still highly visible even at very large tables. Also required are three final load balls. Here are some other nice features of this routine: It is relatively brief. Place the MB in the CC and the RB in the RC. It can be performed surrounded. from a combo cups and balls set. use standard sized cups and large loads. For the final loads. Table-hopping magicians aren’t willing or able to dedicate so much precious pocket space to one effect. You will also need an opaque handkerchief and a magic wand. you will need the chop cup (CC). All the props are shown in photo 1. It can be done standing. A routine with two cups and (apparently) one ball. In addition to significantly fewer props. There are no false transfers. but this will be at the expense of using significantly more pocket space. I use the miniature two-inch combo cups. 3ball routine with final loads. I use the silicone balls from my Fakini multiplying billiard balls. my routine is inspired by Gary Ouellet’s The Two Goblets. So. by eliminating one cup and two balls I feel that the routine is easier for the audience to follow—there is more clarity of effect. the magnetic ball (MB) and one regular ball (RB). There is no sleeving or topiting. after all. Guinn . However.bobjamesmagic. Put the nested cups in the drawstring bag that came with the cups. preferably two of the same color (SCL) and one different color (DCL). You can. They fill the cups perfectly. Photo 1 Photo 1 Page 24 Scott F. what this routine was designed for). of course. The performing space required is also minimal (especially compared to the space required for a standard 3-cup routine)—about 6” by 10”.
Open it. Explain that each cup can nest within the other. Perform Gary Ouellet’s “Cenotaph Illusion”: Simultaneously pivot the left hand palm down and the right hand palm up (photo 5). and place the bag aside. pick up the nested cups and dump the RB into your right hand. and the wand in your inner breast coat pocket.Place the two SCL in your left pants pocket. so that your left hand can regrip the RC (photo 8). Hold the nested cups in your palm up left hand so that the mouth of the RC faces straight ahead toward the audience. You should be performing this routine on some type of close up pad or a thick tablecloth. Bring out the wand. Grasp the CC at its center with your palm down right hand (photo 4). off of the pad. Place the RB at the center of the pad. where they nest again with the mouth of the CC facing you (photo 6). With your left hand. display it and then set it on the table to your far right. Reverse the procedure to bring the cups back to starting position. Method and performance: Begin by introducing the props. Remove the handkerchief from the top cup and remark that you won’t need it until later as you place it in your left pants pocket. Hold the nested cups briefly in your right hand (photo 7). as in photo 3. causing the cups to rotate 180 degrees in opposite directions. This Cenotaph Illusion implicitly “proves” the cups are empty. because the audience subconsciously thinks they have seen both cups inside and out. It seems very fair. Display the drawstring bag. remove the nested cups. the DCL in your right pants pocket. or you can use the drawstring bag as your performing surface. Photo 3 Photo 1 Photo 4 Photo 5 Photo 6 Photo 7 Photo 8 Great Scott! It's More Magic! Page 25 .
Separate the cups.” credited to Herb Morrissey. Do the “Tip-off Move. setting it down firmly to dislodge the MB (photo 11). Set the RC (still held in your palm down left hand) over the RB and move it in a clockwise circle (photo 12). nesting the cups with the ball between them (photo 14) . tap the top cup with the wand and then return the wand to its former resting place. Guinn . Lift the CC off the ball and move it about six inches to the right of the RB. following is a brief description. Lightly set the CC (which is in your right hand and has the MB clinging inside) on the table over the RB (photo 10). Photo 10 Photo 9 Now place the RC in your left hand onto the CC. Photo 11 Photo 12 Wave the wand over the cups. Pick up the wand with your right hand as your left hand slides the nested cup s to center and moves them in a clockwise circle (photo 15). In case you aren’t familiar with this move. Photo 13 Photo 14 Photo 15 Page 26 Scott F. as depicted in photo 13. Lift the RC and take the RB with your right hand and set it atop the CC. Move the cup slowly in a flowing counterclockwise circle of about a four-inch diameter. their mouths downward (photo 9).
Wave the wand over the cups and tap the top cup. As your right hand obtains the wand. Photo 16 Lift the CC with your left hand to reveal the MB (photo 18). Photo 17 Photo 18 Photo 19 Photo 20 Photo 21 Photo 22 Great Scott! It's More Magic! Page 27 . tip the top cup forward (photo 16). as in photo 19. Lift the CC with your left hand (carrying away the MB—photo 21) and table it to the left firmly enough to dislodge the MB.Hold the CC near the rim with your left hand. letting its rim scrape across the bottom cup and dragging the ball off into the tipped cup (photo 17). creating the illusion that the ball penetrated through the cup. With your right hand. Pick up the MB with your right hand and set it on the RC. As your left hand carries out this action. your left sets the CC on the RC and slides the nested cups in a circle (photo 20). the right hand replaces the wand so it can pick up the RC to reveal the RB (photo 22). Set the RC (with the RB inside) mouth down on the table about three inches to the right of the CC.
Photo 23 Wave the wand and set it aside. as shown in photo 23. Your right hand then picks up the RC and sets it on the CC. Allow the CC to pivot mouth up in your left hand. Do the Tip-off Move. as shown in photo 27. table the cup (with the ball secretly inside) about six inches to the right (photo 25). but this time. Photo 27 Photo 28 Photo 29 Page 28 Scott F.Pick the ball up with your left hand and set it on the CC. Guinn . Pick up the CC by the rim with your left hand to reveal the third penetration (photo 26). As you reach for the wand with your right hand. Photo 26 Photo 24 Photo 25 Grasp the bottom of the CC with your palm up right hand and let go of the cup with your left (photo 28). slide the nested cups to center with your left and circle them as before (photo 24). Pick up the ball with your right hand and drop it in the cup. Cover the mouth of the cup with your palm down left hand (photo 29).
Photo 33 Photo 30 Photo 31 Photo 32 Lift the RC with the right hand—ball! (photo 35). Set the wand aside. Lift the CC with the left hand—no ball! (photo 34).Keeping the cup trapped between your palms. Pick up the wand. Replace the CC at center. Release the right hand’s grip and show both hands clearly empty (photo 33). Move the RC off to the right front and set the RB on top of it (photo 36). Lightly tap the CC and then move the wand in a rainbow arc over to the RC and tap it. slide your left hand out from under it (photo 32). Move your hands and the cup down as one unit until the back of the left hand contacts the table at a point about 6” to the left of the RC (photo 31). Photo 34 Photo 35 Photo 36 Great Scott! It's More Magic! Page 29 . turn both wrists to the left so the CC is mouth down (photo 30). dislodging the MB. As your right hand continues to grip the cup.
As you do. move the RB from the RC and set it on the covered CC (photo 38). Guinn . move the rim of the cup forward so that it knocks the RB off the CC. Meanwhile. Set the wand down and lift the RC with your right hand. Close your right hand into a fist around the RB.Obtain the hanky from your pocket and drape it over the CC (photo 37). as all eyes follow the rolling RB. Place the RC on top with your right hand (photo 39). Rest both hands on your hips as you comment that the ball now has to penetrate both the cup and the hanky. Your left hand remains on your hip as you turn your body slightly to the left. With the left hand. This gives you plenty of misdirection for your left hand to dip into your pocket and obtain one of the SCL balls. Set the loaded cup on the front left of the pad as all your attention is focused on your right hand picking up the RB (photo 42). Your right hand picks up the wand and does a wand spin or vigorous wave over the cups. sending it rolling forward as you feign disappointment (photo 40). place the RC in your left hand over the SCL (photo 41). Photo 42 Photo 43 Photo 37 Photo 38 Photo 39 Photo 40 Photo 41 Page 30 Scott F. Turn the fist knuckles up and work the RB into heel clip as your left hand picks up the wand (photo 43).
keeping the RB in finger palm. Meanwhile. Tap the wand against your pant leg and then against the chosen cup. Do not remove your hand from your pocket. Explain to Vandella that you will make the ball travel from your pocket under the cup of her choice. Photo 44 Your left hand. Photo 45 Photo 46 Photo 47 Photo 48 Photo 49 Photo 50 Great Scott! It's More Magic! Page 31 . Pass the cup to your left hand.Push the wand into your fist until your right hand is holding it at about its center (photo 44). drop the RB onto the left fingers (photo 45). As the left hand passes your right. Pull the wand from the right end out of the fist (photo 46) and tap the back of the fist and then the CC. where you release the ball with the hanky and grab the second SCL. As the hand comes out of the pocket. your right hand (still in the pocket) has released the MB and obtained the DCL. as your right hand picks up the MB. Set the loaded CC on the pad to the right of the loaded RC (photo 50). Pick up the wand in your left hand and openly put the MB in your pocket. loading it (photo 49). Slide your left hand along the wand. Set the wand down as the empty right hand opens (photo 47). past your right hand to the other end. Place the wand aside. your right hand lifts the CC to reveal the MB (photo 48). takes the hanky off the CC and stuffs it in your pants pocket.
drop the balls inside (photo 58). put both hands into your pockets as the audience is reacting to the final loads. Bring your hands out and take the RC in the left. and table it front and center as the left hand lifts the other cup to reveal the other SCL (photo 53). bring the right hand out of the pocket with the DCL. showing the SCL (photo 51). Nest the empty cup onto the loaded one (photo 54). As you pivot the cups mouth up. Guinn . the CC in the right (photo 57). the right the MB. Pick up the wand. pass the cup to the right hand. To reset. revealing the DCL for the climax (photo 55— audience view)! Set the wand down horizontally behind the cups and final loads for a nice display (photo 56— audience view). Lift the cup. Photo 57 Photo 51 Photo 52 Photo 53 Photo 54 Photo 55 Photo 56 Hold the cups mouth up Photo 58 Page 32 Scott F. do a spin with it and then use it to tip over the nested cups.As your left hand reaches for the selected cup. Under cover of the audience reaction to the revealed large ball. The left hand finger palms the RB. loading it (photo 52).
Put the two SCL in the left pocket and the DCL in the right pocket and you’re reset! Notes: I think you’ll really enjoy this routine.” all the loads are motivated and it’s very easy! Try it out and see if you don’t agree. there are no “dead spots. Drop the left cup into the right and hold the nested pair in your right hand. It has a nice flow.Photo 59 and clink them together in a toasting motion (photo 59) as you thank your audience. Put the cups into the drawstring bag and close it. Great Scott! It's More Magic! Page 33 . Remove the hanky from your left pocket and stuff it into the RC.
Guinn .Page 34 Scott F.
Chapter Two Close Up Magic With Rings. Strings & Things • GREAT SCOTT’S RING & ROPE ROUTINE • RINGS OFF…RINGS ON GREAT SCOTT’S SYMPHONY FOR RING & STRING • STRUNG OUT • LIPLOCK • .
magicians and magic reviewers. The leadoff item— my ring and rope routine—is a real reputation maker that can be performed anywhere from close up to stage. it will really add a spark of interest. and when you insert one into your card/coin program. In addition. It has received rave reviews from audiences.agic with rings holds a fascination with people—particularly when the ring is a borrowed finger ring. Guinn . M Page 36 Scott F. It can also be performed impromptu with a lady’s bracelet and a shoelace or piece of rope. All of these routines get away from the old standards with cards and coins. Several of the routines in this chapter use borrowed finger rings. there is a wonderful little item based on an Aldo Colombini idea using rings from keychains that absolutely kills! have fried audiences of well posted magicians at my lectures with it.
I have since added an opening and an extra move and changed the finale. I think you’ll agree. You also need a ring. making this a perfect routine for restaurant and table-hopping work! I feel this routine more than holds its own with any routine in existence. whence it penetrates again. Any ring ranging from about two inches to five inches will do. mid or close either a close up or platform show. In addition. Method and performance Phase One: Steve Roth’s “Bluff Off” (from The Chronicles. Impossibilia. “Ring and rope routines slip in and out of vogue as easily as the proverbial ring slips on and off the proverbial rope. Insert the ring between the two sides of the rope (photo 2). Move the ring (bringing the center of the rope along) up to your left hand. As your left middle finger secretly pushes the front side of the rope back through the ring (photo 3). In short. it’s effective in formal. impromptu or strolling venues. and. in most routines of this type. this routine is exceptionally versatile! I originally marketed this as a separate manuscript complete with the ring and rope (still do. lift the center of the rope off the ring with your right fingers. all the props fit in your pocket. leaving the ring threaded on the center of the rope. Number 33) The ring should be secured to the center of the rope with a simple overhand knot. it comes off magically and then goes back on magically every time! Plus you can stop after any phase. Requirements: You need a length of rope or cord (a shoelace is fine) about four feet long. although the length is not critical. John Bannon states.” but I do know that this routine kicks proverbial BUTT! It can open. you can borrow someone’s bracelet to use in place of the ring for impromptu performance. in fact). I feel the routine is the stronger for it.” I have no way of knowing whether now is an “in” or “out” phase of proverbial “vogueaciousness. Photo 3 Great Scott! It's More Magic! Page 37 . Let the rope drop to show the ring is still threaded. Bring both into view and untie the knot. Photo 2 I Photo 1 Hold the rope near the ends in your left hand and the threaded ring in your right as in photo 1. the ring penetrates off the rope and is then manually threaded back on.GREAT SCOTT’S RING & ROPE ROUTINE n his book. although a heavier metal ring facilitates some of the moves. Allow Walt to tug on the ring to prove it is firmly on the rope. In my routine.
Turn the left hand palm up and slide the ring up along the rope until it rests on the left hand. such that the end projects from the back of the hand. the right hand picks up the left side where the rope meets the top of the left hand. Grasp the right side of the ring at the tips of the right thumb and middle and forefingers and pull the ring out to the tips of the left fingers as in photo 6. See photo 5. (Look in a mirror in this position and you will fool yourself!) Toss the ring down briskly while keeping a firm grip on both ends of the rope. Run your right hand down the length of the rope. pinning the rope against the left palm. the rope is pulled downward by the finger until it apparently comes free of the ring. maintaining the right fingers’ grip (photo 8). stopping about four to six inches from the end. Photo 7 Page 38 Photo 4 Photo 5 Photo 6 Photo 8 Scott F.Turn your left hand slightly inward so that your right forefinger can hook both sides of the rope just below the ring (photo 4). Once hooked. The ring magically threads itself at the bottom of the loop! Amazing! Phase Three: John Bannon’s “The Brass Zero” from Impossibilia Maintaining its hold on the right end of the rope. Pull this end free of the left hand and let it dangle. curl your left ring and pinky fingers into your hand below the ring. Clip the ring between the right middle and forefingers and then release end of rope with the left thumb and forefinger. The right hand now places its end between the left thumb and forefinger. such that the rope dangles down. so the right hand can retrieve the still threaded ring. Your left first two fingers cover the part of the rope that passes through the ring. Phase Two: Flip’s “Misdirection Throw On” (also credited to Rink) The right fingers grip the side of the rope that does not run through the ring. This end is replaced between the left ring and pinky fingers. As the right hand brings this end up to the ring. creating the illusion that the ring and rope are separate as in photo 7—audience view. Guinn .
tell Vandella you’d like her to hold the ring. letting go of the rope as you do to cause the ring to penetrate the rope! Phase Four: Aldo Colombini’s 2nd move from “Ringing Around” Photo 10 Photo 9 Photo 11 Photo 13 Take the rope from Walt and hold both ends together in the right hand. Photo 14 Great Scott! It's More Magic! Page 39 . across the middle and ring fingers and then between the ring finger and pinky. forming a small loop (photo 13). Set the ring between the strands and pull the loop over the ring with the left thumb and pin it firmly in place (photo 14). Pull the ring to your left. Flip the short end of the rope up with your right middle finger and then grip it between your right thumb and forefinger and thread it back through the ring (photo 10). Ask Walt to hold the ends of the rope.Keep the rope firmly gripped between the left ring finger and pinky as they curl into the left palm below the ring. As you do this. Pull until the ends hang a few inches below the hand (photo 12). holding both sides of the rope against the palm as shown in photo 9. which is still clipped between the first two fingers of the right hand. After he takes them. Bring the ends between the left forefinger and middle finger from the back of the hand. as in photo 11. The left thumb on top and the left fore and middle fingers underneath hold the ring. Lift the thumb slightly. Let go of the rope with the right hand and pull the ring out to the tips of the left fingers. Continue pulling the rope through the ring with the right hand until the ends are about even. slip the left thumb under the right side of the rope where it crosses the middle and ring fingers. As you are threading the rope Photo 12 through the fingers. pivot your hands so the backs are toward the audience.
with the ring hanging approximately at center. “You will think I’m the greatest magician on the face of the earth!” Phase Five: “The Hindu Ring Release” Hand one end of the rope to Walt.” Spin the ring again. “If I place the rope here. In the style of a hypnotist. bring the bottom of the loop up and onto the ring. the ring is on even more securely. Your right fingers hide the fact that the ring is already on the rope (photo 15). “The ring is now on the rope even more securely!” Pinch this loop in place with your right thumb and forefinger and release the end in your left hand. Release the ring. say. Guinn . This causes the rope to loop itself around the ring.) “You can tell it’s really on there. Make sure to bring the rope around on the right side of the part that crosses the ring! (Figure 17 again) Firmly grasp the free end of the rope and pull it taut. Place the loop on the top of the ring so one side hangs on each side of the ring. Hold the rope against the ring with the right fingers and pull the ring slowly to the right until the string is taut. Hold the other end firmly in your left hand. Give the loop a quarter turn counterclockwise and then bring it up to the ring. grip its left side and twist the ring 180 degrees to your right. Hit the ring hard on its edge with your right hand so that it spins around a few times. because if it wasn’t…” Grab the ring with your right hand and give it a quick back and forth slide as you pull it to the right (away from the audience—photo 18). one end of the rope secretly threads through the ring.Grasp the bottom of the loop with the right hand.” Reach around the ring with your right hand. and it can’t come off unless we untie it and one of us lets go of an end. “The ring is on the rope. “Obviously. It will seem to melt right through the rope! “…It would look like this!” Photo 18 Photo 17 Photo 15 Photo 16 Page 40 Scott F. pendulum style (photo 16). Stretch the rope out horizontally. where it loops it around and back through the ring as in photo 17. Pause a beat before yanking the ring sharply to the right. asking him to hold it tightly. make sure the rope runs across the top of the ring. (When it stops spinning. Remind Walt to hold on very tightly. By holding the small loop in the left hand firmly in place with the left thumb. letting it swing back and forth. causing it to snap onto the rope. the rope is on the ring. Your left hand regrips the rope near your right thumb and stretches it across the diameter of the ring. but the ring is not on the rope. Let the loop slide off.” Again.
Phase Seven: Scott F. Display the ring in the knot. Hold the cross piece firmly against the two sides of the rope.Phase Six: George Blake’s “Toss On” Tie the ends of the rope in a square knot. believe it or not! Grip the ring in the right hand and release the rope with the left. The ring flips around in the loop on its way down to the bottom tying itself into a girth-hitch knot. See photo 23. Photo 21 Pull the ring up and through the loop. The knot around the ring will double. “The knot doubles into what is called a cat’s paw. toss the ring forward and down at a thirty-degree angle. the ring has been caught in a knot! But it’s not just any knot in which the ring is caught. knot on top of the hand (photo 19). as in photo 20. Have you ever seen a cat’s paw? How about a cat’s ma?” Photo 22 Photo 23 Great Scott! It's More Magic! Page 41 . Photo 21 shows the ring in the knot at the completion of the move. grip the ring between the two sides of the rope (photo 22). Drape the rope over your left hand. into a “cat’s paw” knot. allowing the rope to hang in a loop. while maintaining the left hand’s hold on the rope. it’s a magic knot. Guinn’s “Wring Out the Ring” (an original move based on ideas by Aldo Colombini and Richard Robinson) Photo 20 “Instead of falling off. Photo 19 Using a SOFT TOUCH (I STRUGGLED WITH THIS MOVE FOR MONTHS BECAUSE THE BOOK I LEARNED IT FROM TOLD ME TO DO THIS HARD). Be sure that the small part of the rope that crosses both sides (we’ll call it the cross piece) is on top. Slide this piece back along the rope a couple of inches with your left fingers. With your right thumb and forefinger. Hold the ring in overhand grip in your right hand and thread the ring around the loop bringing it up about 2/3 of the way.
but because the cross piece is on the bottom. “You can clearly see that the ring is definitely on the rope. the knot unties instead of doubling (photo 27—exposed). as in photo 26. as both hands turn over (photo 25). begin twisting the ring clockwise. I think you’d agree it would be even more so from the double knot. and puts the cross piece on the bottom. Before anyone can see that. “While it would be pretty amazing to remove the ring from this single knot. Wind the rope until you are in the position shown in photo 28. The ring is free of the rope (photo 29)! Photo 24 Photo 25 Photo 26 Photo 27 Photo 28 Photo 29 Page 42 Scott F. This returns the knot to a single girth hitch. And I’ll add a twist to make it even more difficult!” Pull the ring through the loop of the knot as before. Guinn . making sure to hold the loop firmly against the sides of the rope with your left hand.Your right hand grips the ring at the point opposite the knot (photo 24) and pushes it back through the loop. If it wasn’t it would look like this!” Pull the ring to the right while relaxing (not releasing!) the left hand’s grip on the rope.
Phase Eight: Steve Roth’s “Swindle On and Sam Schwartz’ “Elevator” Clip both sides of the rope near the knot between your left thumb and forefinger. Hold the ring in your right hand. Place the ring in your left hand between the two sides of the rope (photo 30). Reach through the ring with your left middle finger, hook the inner side of the rope, and pull it through the ring (photo 31).
The left hand now holds the ring so you can hook both sides of the rope with your right thumb and just under the left hand (photo 32). Pull the rope down sharply. The center of the rope will catch on the ring, in an apparent visible link, as in photo 33. Raise your right hand, palm toward the audience, as your left hand turns palm out (photo 34). Your left hand releases the ring and slowly pulls the ends of the rope down, causing the ring to rise to the right hand as in photo 35. Pull on the rope with your left hand, slightly relaxing the right hand’s grip, until the rope untwists and rests against the ring (don’t let go with the right hand yet!).
Great Scott! It's More Magic!
The ring and rope appear linked to the audience, but the actual state of affairs is displayed in photo 36. After a beat or two, pull the rope down sharply, “penetrating” the ring. Finale: Peter Samuelson’s finale from Theatrical Close Up Hold the ring on the left pinky. Untie the top half of the square knot, leaving a large, loose overhand knot in the rope, holding the ends between the first two fingers of each hand as in photo 37. Move your right hand to the left to get the ring. As you take it, secretly thread the end through the ring and immediately move the hand back to the right, to the position shown in photo 38. Note: The right end must come through the loop of the knot towards you! Raise the left hand until the loop of the knot is about even with the ring. Pin the right end of the rope between your thumb and middle finger, and toss the ring into the center of the loop. It will catch in the knot, much to everyone’s surprise (photo 39). Pull the ends of the rope outward, causing the knot to tighten on the ring as you say, “Well, that ties it all up—believe it or knot!”
Scott F. Guinn
RINGS OFF...RINGS ON
his is my minor variation of a routine from The Close Up Magic of Aldo Colombini. Aldo has very graciously granted me permission to include this routine. Aldo is a wonderful magician, a great person and an outstanding friend. This effect is off the beaten path (which is why I like it!), but it uses familiar objects. Like all of Aldo’s magic it is strong and direct! I have, I believe, made it even a little stronger by adding my move, “Wring Out the Ring” from the preceding routine. Effect: Two key rings (the kind that hold your keys, not the kind from a set of linking rings!) are displayed, one in each hand. They are knotted onto a length of string, which they immediately penetrate. The newly freed rings are held up, and then they visibly link! Everything can be examined. Requirements and preparation: You will need four identical keychain rings; the kind that trash your fingernails when you spread them to attach your keys. You’ll also need a length of string. (I use the same one from my finger ring and string routines, which follow.) Link two of the rings together (try not to trash your fingernails!). These are in right finger palm. The remaining single rings are held at the fingertips, one in each hand (photo 1). The string is in your right pocket. Method and performance: Display the single rings for a moment and then allow them to drop down around your thumbs (photo 2). Close your hands into fists, leaving your thumbs extended and pointing straight up. Bring the left hand over to the right and touch the thumb tips together (photo 3). Now invert your left hand such that the thumb is pointing straight down, aligned with the extended right thumb and allow the left ring to slide down both thumbs, joining the other ring at the base of the right thumb (photo 4).
Great Scott! It's More Magic!
Bring out the string.” as explained in phase seven of my ring and rope routine. apparently linking instantly. Thread the linked rings (holding them together to hide the fact that they’re linked) onto the loop and fold the loop around the edge of the rings. in preparation for the world’s easiest Bobo Switch: Move your right hand towards the left. searching for one. Photo 5 Photo 6 Page 46 Scott F. forming a girth hitch knot as in the preceding routine. Bring the left hand out of the pocket and hold it palm up. Finally. Allow everything to be examined. which immediately closes around them. Guinn . Drop the right thumb behind the right hand under cover of this larger motion and hold the thumb against the palm. double it and hold it by the loop. hold up the rings between your right thumb and forefinger. The right hand instantly reverses direction and goes into the right pocket where it ditches the rings and retrieves the string. Perform “Wring Out the Ring. pinning the separate rings in place as you drop the linked rings from finger palm into the left hand (photo 5). Reach into your left pocket. Keep the rings aligned as you remove them from the string.Turn the left hand palm up and open it as you gesture and remark that you need a string. Bring both ends of the string through the loop (photo 6) and pull taut. blow on them and let one drop.
this one comes full circle. The one that follows this uses a borrowed ring. Hold the string between your right thumb and the side of your right forefinger. Requirements and preparation: You need the following items to perform this routine: a string.GREAT SCOTT’S SYMPHONY FOR RING AND STRING M y ring and string routine borrows from several sources. finger palm the ring and remove the purse frame. Ask Walt to open the purse and make sure it is empty. Reach into your right pocket. Your right hand gives the frame to Walt as your left takes the string. Move your left hand to the right and take both ends in the right hand. Have the string in your left pocket. with the ring vanishing into the purse frame from which it was produced. Raise the string until the bottom of the loop is over the purse Photo 3 frame. Like most of my multi-phase routines. Photo 1 Method and performance: Phase One—Dan Fleshman’s Purse Production Remove the string from your left pocket and hand it to Walt to examine. Photo 4 Great Scott! It's More Magic! Page 47 . This routine uses my own ring. Take the clasp back from Walt. it’s research!”) I have altered some of the moves and left others exactly as they were. demonstrating that it is solid. a purse frame. As he does. Photo 2 While keeping the right hand closed.48” long (I use a round red shoelace). Grasp the loop at the center with your left hand and tug again. and then slowly lower the string through the frame until your hands touch (photo 4). Pull the string firmly between your hands (keeping a firm grip on the ring and both ends of the string). a signet ring. “If you steal from one source. use the right thumb and forefinger to open the frame not quite all the way. (As the old saying goes. mirroring the right hand’s position (photo 2). approximately 36”. Take the other end in your left hand. it’s plagiarism. a wand or substitute (like a chopstick). holding it in the crotch of the left hand as in photo 3. pivot the ring into curl palm and feed the end of the string through it (photo 1). the ring and purse frame in your right pocket and the wand in either your inner breast jacket pocket or your back pants pocket. but if you steal from several sources. which needs to slide easily on and off the ring finger of both hands. about four inches from the upper end.
At this point. Take the ends of the string at the right fingertips and pull the string straight up. The ring rests at the base of the left third finger (see photo 9. As you repeat this motion. let the ring (still threaded on the string) drop onto the left fingers and drape the ends over the back of your left hand (photo 5). This sequence of moves causes a small loop to form above the ring. Release the string with your right hand. (Refer to photo 10. Guinn . Grasp the left side of the string with the left hand. Table the wand. timing the drop of your right hand at the same speed as the descent of the ring.) Stop when the ends protrude from the right hand about an inch and a half. still holding the string taut. where the fingers are opened to give an exposed view for clarity). allow the ring to drop out of the left hand. Grasp both sides of the string and stroke downward. moves below the left hand as in photo 8. The center of the loop catches the ring. just above the ring. which comes up to the left. The right hand. back toward the audience. Close your left hand into a fist around the ring and both sides of the string. Hold the left hand up. Pick up the wand and wave it over the left hand. pinning the string between your thumb and the base of your forefinger (photo 7). Photo 6 Photo 5 Photo 7 Photo 8 Photo 9 Photo 10 Page 48 Scott F. Replace the purse frame in your right pocket. Phase Two—variation of Dan Garrett’s “Faustus Ring” Hold the ends of the string in the right hand. much to the shock and surprise of the audience. the ring dangling at the bottom of the loop. which comes into view as it emerges from the purse frame (photo 6).
Your fist should be a loose tunnel with the ring acting as a support. Hold the looped center of the string in your right hand as in photo 12. “Notice” the ring on the right hand. The back of the hand is toward the audience. This end will hang over your right thumb (photo 15). Lift your left thumb so your right hand can push the loop in farther. Phase Three—Mark Leveridge “On” penetration The ring is resting on the middle joint of your left middle finger. Immediately grip it alongside the other end in your right hand and pull the ends taut. raise the right hand up and to the right until the string is parallel with the floor. Bring your right hand up to point at the left palm. Lower the loop into the fist. lift the forefinger above the ring and press down. pulling one side of the string out of the right fingers’ grip and through the ring. remove the ring and place it in the left hand. Raise your right hand. slide your right hand to the right. Hold both sides of the string with your right third and fourth fingers. As you ask Vandella to take the ends of the string.Keeping the string taut. as in photo 14. Slowly open your left hand and act surprised that the ring is not there. Hold one side of the string with your left third and fourth fingers. Photo 11 Tell Vandella to hold the string tightly as you slowly move your left fist to the left. The ring has apparently penetrated the string. where it passes through the ring as well. do a double take. causing it to pivot so you can pivot it into curl palm. As you start to close your left hand into a fist. Turn your right palm slightly toward the audience as your right thumb goes into the loop below the ring. taking the ring with it. Photo 12 Photo 13 Photo 14 Photo 15 Great Scott! It's More Magic! Page 49 . Meanwhile. your right thumb has slid the ring onto your right ring finger. Focus all your attention on your left hand and drop your right hand to your side as you turn your body a quarter to the right. engulfing the ends in the right fist (photo 11). When she does. the thumb side of the hand is up (photo 13). move your right hand off the ends. This forces her to grip the string between your hands. which is an exposed view. off the end of the string.
Phase Four—Gary Ouellet’s “Ring Drop” While the right hand holds the ends of the string. so that she can be sure it’s really on there. Release the ends so the string dangles on both sides of the left hand (photo 16). Approach the ring from the right with your right hand. Pull the string up and forward.” (This gives a retention of vision.) Your right fingers now grip the string at the spot the ring formerly occupied. As she takes the ends. Phase Five—Ouellet variation of “Clifton’s Move” from Earl Nelson’s Variations. Take both ends in your right hand and let her tug on the ring. the right hand above the string. and the left below it (photo 20). drop your left hand to your side and jam the ring on your finger. Clap the hands together. unthreading the ring (photo 19). Photo 20 Photo 21 Photo 16 Photo 17 Photo 18 Photo 19 Page 50 Scott F. Move the right hand toward Vandella. spreading the fingers slightly.The ring is still held in the left fist. Slowly raise the right hand first and then lower the left and turn it palm down to display the ring on the finger. closing the fingers together on the “take. asking her to hold one end in each hand. Slowly pull the string up until the ring. Place your left hand into the loop and lower it onto the ring as in photo 21. the left grips the ring (still threaded on the string) in French Drop position. Remove the ring. Perform a French Drop with the ring. You are still holding the ends of the string in the right hand and the ring is hanging in the bottom of the loop. Ask Vandella to thread the ring onto the string. Guinn . as if holding the ring (photo 18). emerges from the left hand. threaded on the center of the string. The front side of the string goes between the middle and ring fingers (photo 17).
bring the left side of the string over the back of the left fist to the right. letting them hang down from both sides of the left hand. When the hand comes off the end of the string. Under cover of this larger motion. empty (photo 27). drop the ring into the right hand (photo 24). grip the ring with your left pinky as shown in photo 22.” Raise the right hand up and forward as the left hand opens. It usually takes a moment for the audience to notice the ring on your finger. push the ring fully on the finger with the right thumb. bend the right third fingertip into the ring. As you pull to the right. Pick up both sides of the string where they meet at the “x. As the right hand passes the left pinky. crossing over the other side to form an “x” (photo 25). In a continuing motion. they flip out! Photo 22 Photo 23 Photo 24 Photo 25 Photo 26 Photo 27 Great Scott! It's More Magic! Page 51 . the friction of the ring sliding on the string helps thread the ring on your finger (photo 26). Pass the right hand in front of the left on the way to get the other side of the string. Take the right side of the rope in your right hand and drape it across the back of the left hand (photo 23). When they do. Release the ends.As you turn your left hand palm down into a fist.
As you move the string toward Walt. Thread the ring onto the string. leaving about two-thirds of it extending forward. Bring your right hand behind your left and pin the right side of the string against your left forefinger with your left thumb. Re-grip the string on the right side and pull it taut. Slide the right hand along the string about four inches to the left. Immediately slide your left hand along the string to the left and pull on both ends until the knot is tight. Now reach through the loop from the far side with your right thumb and forefinger and grasp the dangling side of the string. Guinn . Clamp your left elbow to your side to hold the wand in place. or the knot will untie itself! Bring the right end of the string across and in front of the ring and thread it through the ring from the left as shown in photo 30. Ask Walt to take the end in his right hand.” Place the wand under your left armpit. Your left hand holds the ring firmly in Heel Clip. This side of the string now hangs behind the loop you just formed as in photo 28. taking the ring directly into Heel Clip (photo 31). Ring and Rod. Don’t overdo it. Tie a slipknot as follows: Hold the string in your palm down hands about two inches away from the ring on either side. Pull it through the loop. then to the right as your left middle finger pushes a bight of string back into the loop (photo 29).Phase Six—variation of Jim Ryan’s “Rope. Cross your right hand in front of your left and grasp the string next to the left pinky (photo 32). but don’t put any pressure at all on the string. Photo 29 Photo 28 Photo 30 Photo 31 Photo 32 Page 52 Scott F. saying you will tie it on to make the trick more difficult. dissolving the knot and freeing the ring. Grasp the ring and string in your palm down left fist. your right hand pulls the string to the left.
close it and pocket it along with the string to end. Move the wand forward about a foot and position it on a plane about four inches lower than the string. The right hand holds the wand and threaded ring in a fist. Once he takes the string. once again coming full circle. Your left hand drops the ring into right finger palm as the right hand passes (photo 33). Remove your left hand as your head turns to look at your right pocket. Vanish! Retrieve the frame. POSITION CHECK: Walt holds the left end of the string in his right hand. As your left hand releases the string. or if you’d like to involve more people. Ask Abe to hold the right end of the string in his left hand. without pause. Make sure to emphasize that everyone holds on firmly! Ask the boys to pull the string tight. searching for the purse frame. is in a fist around the center of the string. pivot the ring into curl palm. move your right hand to the right along the string. sliding it to center and removing the wand from the arm in one fluid motion. simultaneously snap the right hand off the wand. Bring your right hand up to the wand (protruding from your left armpit) and thread the ring onto the wand (photo 34). continues to the right and grasps the other side of the string about four inches to the right of your left fist. spinning the ring (photo 35). release it from your right hand. Your empty left hand. ditch the ring and remove the frame. while the spectators held the ends of everything! Finale—Tamariz’ “Crossing the Gaze” vanish Take the ring in your right hand.As Walt takes the string. The illusion is that the ring was shot from the string onto the wand. Photo 35 Photo 33 Photo 34 Great Scott! It's More Magic! Page 53 . have Rowena and Vandella hold the wand. Simultaneously perform the false transfer described in “Having a Ball. Lift the string slightly with the left fist and pass the wand under it. As the right hand moves away. Open your left hand over the purse as if dumping the ring into it. The right hand. which everyone assumes is holding the ring. Your right hand has the ring in finger palm and is holding the string to the right of the left hand. Pull back on the string in the manner of a bow and arrow. Your left hand goes to the left pocket. Either have Walt and Abe grip the ends of the wand with their free hands.” Reach into your right pocket. Hand the frame to Rowena and ask her to open it.
apparently through the ring (photo 3). Don’t let anybody try to tell you otherwise! The right thumb and forefinger simply pinch (fairly hard) the two sides of the string together in the center of the ring and pull the ring to the right. You will now execute the Grismer Pinch. Guinn . Photo 2 Photo 3 Photo 4 Page 54 Scott F. This condition is hidden from the audience view by the back of your hand. Display the ring and then turn both palms to face you. What follows is the sequence of moves I perform with a borrowed ring. This concept belongs to my friend and fellow Idahoan. The left hand holds the ring between thumb and middle finger. Move the right hand over and up to bring the end of the string above the ring. On the way up. Tip the left hand slightly to the right so the far end of the string drops past the fingertips and the string is now draped around the ring as in photo 4. as shown in photo 1. Phase One—“Ring. Continue pulling the string until the ends are even. When the right hand meets the left hand. which of course will almost never fit my pudgy finger.STRUNG OUT he previous routine is my ring and string routine of choice.” by Ray Grismer. release the right hand’s grip for a moment and then re-grip the near side of the string below the left hand. Photo 1 T Raise the hand Up until the string is above the ring and pretend to fumble just a bit (don’t overdo it!) to thread the end of the string into the ring and then lower the string. causing it to pivot sideways as in photo 2. Your palm is facing you. because I really like the way the ring keeps appearing on the finger (an idea from Gary Ouellet’s Homing Ring). However. the Legendary Ray Grismer. Note that the other end of the string runs over the far side of the left hand. The remainder of the string runs over the back of your hand. Grip the cord about ten inches from one end between your right thumb and forefinger. there are those occasions when I don’t have my ring with me or the spectator insists that I use her ring. you bump the ring with the right fingertips.
(Compare photo 5 to photo 6. In the earlier editions of this book. Ask Vandella to hold out her hand. Bring your left hand below the right between the strands of the string and raise it up. The ring apparently penetrates off the string.) The ring is still on the string. Turn the right hand palm up as shown in photo 9. Gather the ends in your left hand. the thumb passing the inside and the fingers passing the outside of the right hand. Phase Two—Leveridge’s “On” penetration This is explained in the previous routine. Photo 7 Photo 8 Photo 9 Photo 10 Great Scott! It's More Magic! Page 55 . The left side of the string is clipped between the middle finger and forefinger. Pivot the right hand up and to the right to the position shown in photo 7. Turn both hands so the knuckles face the audience. Photo 6 Photo 5 The ring is gripped between the ring finger and the thumb. Let go of the string with your left hand. The Grismer Pinch exactly simulates the string actually being threaded through the ring. Phase Three—Ray Grismer’s “Off” (My apologies to Ray.The Grismer Pinch is displayed in photo 5. the middle and third fingers together. Your palm down right hand approaches the ring. forefinger spread. as shown in photo 8. Note that the curled middle finger hides the small section of the string on the outside of the ring.) From this position you can now take both ends of the string in the left hand and tug firmly to “prove” the ring is on the string. where I actually threaded the ring on the string. Then give the string a tug as you relax the grip of the right thumb and forefinger. where they take the string up (photo 10) and grip it near the ends. this move was improperly credited.
spread the first two fingers of your left hand away from the ring and pinky fingers in the classic Vulcan “Live long and prosper” greeting position (photo 11). but this time. This is covered from the audience’s view by the backs of the hands. pivoting the ring into curl palm as you do. push the bottom of the knot where it crosses the string against your palm. patter. Set the ring. Miller’s one-handed knot or the one-handed knot from Mark Wilson’s Complete Course in Magic. Re-grip the ring and string again as in photo 8 and then repeat the sequence to get into the position in photo 9. which secretly unthreads the ring. pulling the ring off Vandella’s hand and letting the ring swing back and forth on the string. and looks exactly the same as the previous “setup” motion. just tie a loose overhand knot in the string. Hold both hands with the knuckles facing the audience. pinning both the vertical part of the string and the horizontal part of the knot there. Guinn . Otherwise. then. (This is exactly what you do in the Mark Leveridge move in the previous routine. when the left hand reaches the right. As you do this.Turn your right hand palm down and move it over Vandella’s hand while retaining your grip on both the ring and the string.” Pull back on the string with the left hand. This knot must be a bit bigger than the ring. free of the string. The string (except for the center where you hold it) slides through your left fist. I like the move just as well as a simple penetration. Immediately turn your right hand palm down and move it over Vandella’s hand This time. still threaded on the string. If you want. Miller uses this to produce the Photo 13 ring. Bring the bottom of the string over the left fist and lower it through the ring until the bottom of the knot passes the ring (see photo 13). taking the string with it. you drop the ring. you can preface this with Mr. however.) The right hand holds the string at one extreme end. However. With your left thumb. Again. As soon as they pass through. onto Vandella’s palm! Let the empty string sway back and forth in the air. Close the hand into a loose fist. onto Vandella’s palm. the right fingers close again. Maintain this position just long enough so that the thumb passes between the right middle and ring fingers and the left fingers pass in front of the right fingers (photo 12). If it isn’t. bring the left hand between the strands of the string and move it up toward the right hand as you did in photo 10. as Captain Picard would say. Phase Four—Bob Miller’s Fisher Ring The difference in my use of this move is that the audience is aware that you have the ring. Continue raising the left hand. having secretly obtained it in curl palm. Mr. “Make it so!” (Wow! Two Star Trek references in one routine!) Show the ring resting on your left second finger. “I’m going to try to pull the ring right through the center of the string and drop it onto your hand. This reinforces the fact that the ring is on the string in a subtle manner. Page 56 Photo 11 Photo 12 Scott F.
Release the left thumb’s grip. A small loop will protrude through the ring as in photo 16. partially untying itself as in photo 15. Pull the left hand to show the ring free of the string and the knot still in the string! Slowly open the left hand—no ring! Produce the ring with your right hand from the air or her ear.” Photo 14 Hold the string by the end with the right hand. tied onto the string. threading it. The far end of the string comes up through the ring. If not. Make sure the knot is configured as in photo 14. Hold the string draped over your hand with the center on the forefinger tip. Form your left hand into a fist around the ring and knot. Then have Rowena hold the ends of the string in her hand. make sure it’s signet side out) onto the tip of your right forefinger over the string. Grip the loop with your left thumb and forefinger and pull it upward and forward. Slightly loosen the knot around the ring “to give them a better view of the ring actually in the knot. Grip the string near the ring with the right fingers and pull to the right Photo 16 Photo 17 Great Scott! It's More Magic! Page 57 . Take the string in your left hand just below the knot and let go with your right hand as you make a quarter turn to your left. The ring will slide around the knot.Now your right hand pulls up on the string. As you apparently pull the knot tighter. bring the other end up to the right hand. hidden by your fist. Finale—Peter Samuelson’s “In the Hand-off” Begin with your right hand palm up. Hold the ring at the left fingers. and let the first end drop. push the ring out of the knot with your thumb. Photo 15 You now remove the ring from the string using the same method as in my variation of Dan Garrett’s “Faustus Ring” in the previous routine. seize it. allowing the ring to come up out of the fist. Set the ring down and untie the string. Hold the ring between the tips of your right thumb and forefinger. Phase Five—Steve Dusheck’s “Walkoff” From Magic with Finger Rings by Jerry Mentzer this makes a beautiful follow-up to the Miller move. which touch inside the ring (photo 17). Grip both ends of the string in your left hand and pull them to the left until the string is taut. “Watch as I remove the ring!” Let go of the string with your left hand so it can take over the right hand’s hold on the ring. Place the ring (if it’s a signet ring. tightening the knot on the ring. allowing the string to hang vertically. This is a fair position that duplicates the Grismer Pinch.
In a continuing motion. grip the string between the left thumb and forefinger and move the left hand upward and forward. just place the finger on the outer side of the ring) to provide cover for the upcoming move. but instead slip your left thumb under the string as in photo 18. except this time the ring is not threaded on the string. A bight of string runs around the side of the ring. It should look exactly like photo 17. Place the string over your right forefinger and the ring over both as in photo 16. Page 58 Scott F. As your left hand pulls the ends to the left. Set the ring on her palm. but you keep some friction on it with the right fingers until it comes free of the right hand. Photo 20 Ask her to hold the ring tightly. “I didn’t say I was going to do magic—I just said I’d remove the ring!” Offer to do it again for real. Close the right middle. Move only your left thumb until it hits your left finger. Tell Vandella to slide her hand back and forth on the lace between Walt’s hands. Place your left forefinger on the signet (if there isn’t a signet. pulling your thumb out at the last second. Release the ends of the string. Have Vandella hold out her left hand. where he holds the string horizontal. Flip the end nearest you over the right hand. so it appears that you’re threading the ring. Ask her to open her hand. Guinn . revealing the release for the big finish. Act like you’re grabbing the loop with your left fingers. Have Walt take the ends of the lace several inches from each side of Vandella’s hand. Use your fingers to help her close her hand around the ring. The following sequence should appear exactly the same as the previous. pinch this bight through the ring between the right thumb and forefinger in the Grismer Pinch.) Photo 19 Photo 18 Grasp both ends together in the left hand and pull them taut to the left. The bight will slide off the ring. It appears as if the string runs straight through the ring (photo 19).until the string comes free of the ring. ring and pinky fingers into a fist. pushing your thumb into the ring (to hide the bight) as your fingers go under her hand (photo 20). The inner side of the string slides between the ring and your right thumb. (You may want to point the tip of the right forefinger slightly toward yourself to help provide more cover. holding the string tightly against the palm.
If you don’t have them. (In explaining this routine. As a matter of fact. allow it to pivot around and grip the shackle through the hank at your left fingertips. In addition. I am not at liberty to divulge the methods of these props. I must agree with David Roth are the best books (EXCEPT FOR THIS ONE!). “You are the only one who knows!” Instead. Don’t make a mad dash for your pocket or feel “guilty” about holding out the ring and gimmick. Your ring should be in the small ticket compartment inside the same pocket. With the box in full view and out of my hands. with the right fingers. which. Steal away the gimmick and ring as the right hand comes out from under the hanky. As you cover the deadlock. The gimmick is in position. you’ll probably need to get a different padlock for the Lippincott box. “Lock” the gimmick. As Aldo would say.LIPLOCK A ll the old books. let’s forget the whole thing! Go ahead and take your ring off the lock. Place the box. “Inside this box is another ring. in your right outside jacket pocket. ready to be loaded. as the hole in the key to the lock that comes with it is probably too small to fit on the shackle of the Deadlock. The key to the padlock is locked on the shackle of the Deadlock. “My family bought stock in Cracker Jack! Shoot! I must have accidentally locked the key inside the box! Ah. Obtain the hanky with your left hand.” another compelling plot. and the other lock with your ring in your hand. not with a key. It is a family heirloom that has been handed down from generation to generation. but with a rather cheap looking ring. This is given to Rowena to hold. go buy them!) You’ll also need one of the cheap rings that comes with Deadlock and a handkerchief. You should have no trouble finding a suitable lock at your local hardware store. Here is a transposition effect using a borrowed ring. “This is my ring!” You look at the audience as if sensing they know it’s a cheap piece of junk. You remove a small hardwood curio box that is latched and locked with a small key padlock. mine on the lock. Great Scott! It's More Magic! Page 59 .” from the Camirand Academy of Magic and a Lippincott Box. which you form into a bag. Your hand comes out of the pocket. The Deadlock goes in your right pants pocket. but you’ll put up some collateral. I’ll make the rings change places—yours will be in the box. Method and performance: Borrow Rowena’s ring. You surround the lock with a handkerchief. You explain that you’re going to perform some magic with her ring. the hanky in your outer breast pocket.” Rowena opens the hanky to find a small key on the shackle instead of her ring! She uses this key to open the padlock on the box.” You reach into your pocket for the key and a sick look crosses your face. “Unlock” the gimmick and thread Rowena’s ring onto it. say that the impact of a trick increases dramatically when it is done with an object of personal value borrowed from a member of the audience. Remove the Deadlock with the gimmick showing and the shackle and key hidden in your hand. I’ll give you the key right now to guard. Inside the box is her ring! Requirements and preparation: This requires a couple of marketed items: Patrick Reymond’s “Deadlock. which you lock on the shackle of a small combination luggage padlock. Effect: You borrow Rowena’s finger ring. This trick also involves the “magician in trouble.
even though you’d put the wrong item in the box ahead of time. Incidentally. this routine is equally effective for close up and parlor or platform shows. Reach back into your pocket. Ask her to hold out her other hand. Talk about the family heirloom and explain what you intend to do as above in the effect description. letting the enveloped lock swing down below the right hand. She’ll set down the box and unfold the hanky to discover the key. Then let her open the box and remove her ring. Guinn . and act shocked as you remove the ring instead of the key. Page 60 Scott F. thumb off the gimmick and load the ring into the Lippincott box (this is the work of a second) and then remove the box. Pretend you’ve ruined the trick and tell her to take her ring back. Say that you’ll give her the key. Let her use the key to open the lock on the box. so the appearance of the key is a complete surprise. Reach into your right jacket pocket. As you’re doing this. you did exactly what you said you’d do—the item in the box transposed with the item on the lock. patter about putting up collateral. What makes this trick so stunning is the almost complete “hands-off” aspect of it.gather the dangling corners of the hank into a bundle. Set the box on her palm. gesturing towards the ends with your left hand. securely bound to the lock. Ask Rowena to hold the hanky. No one thinks the lock is gimmicked. all in one motion. palm up (preventing her from trying to feel her ring through the cloth). as is the ring inside the locked box! Apparently. Release your left hand’s hold of the hanky.
Chapter Three Close Up Magic With Other Stuff • A TRUNK FULL OF NUTS ASSERTIVE POSITIVE NEGATIVE • Page 61 Great Scott! It's More Magic! .
How often does a close up magician get to produce an elephant? Or how about doing a coin trick without any coins. culminating in the perfect opportunity to hand out your business card? I have got a lot of mileage out of these two routines.T he two tricks in this chapter are unusual or “novelty” routines. while predicting what a spectator will do before she does it. Learn them and you will. Guinn . too! Page 62 Scott F.
and pretend to put it away in your pocket. This should look like you’ve simply tossed three nuts from right to left to display them. but the trunk always stays full of ‘em! There’s never any less. along with the nut in right finger palm. I don’t remember where I got the basic idea years ago. he took me down to the basement and showed me this old. replace them. Once. but on the second repetition. or you can get official “Great Scott!” peanuts from me. When he opened it. Finger palm the peanut in the left pocket as the right hand obtains all three peanuts in its pocket. Bring both hands out and display the nuts in your right hand. display it on your right palm. but the patter is mine. Repeat the above sequence twice. Pick up another and toss it. of all things. (You never know…) The props are shown in photo 1. As the peanuts get old and cracked. He said. The other three peanuts and the elephant go in your right pocket. Actually. The cost for four is $5 plus postage and handling. I saw it was filled with. these are magic nuts! You see.A TRUNK FULL OF NUTS O riginally devised for children. Pick up the last nut. beat up trunk. I can eat as many as I like. Drop the nuts on the table. Great Scott! It's More Magic! Page 63 . Perform a Shuttle Pass as you toss the right hand’s nuts into the left hand. I loved to visit my grandpa. and they never get stale!’ Then he gave me three and told me to keep them in my pocket. I always have three left!” Pick up a nut with your right hand and toss it into your left. Effect: A very cute and charming “two in the hand and one in the pocket” routine with peanuts and the surprise appearance of an elephant! Requirements and preparation: Obtain 4 peanuts and a small elephant figurine (also available from me if you can’t find one at your local hobby or toy store). but as long as I keep one. while keeping the one in the left hand concealed. actually leave the peanut in the right pocket and finger palm the elephant. peanuts! Photo 2 I asked him why he had them. finger palm the nut and then bring your hand back out as your left hand opens and dumps three nuts onto the table. These are those very peanuts! I can eat one or two. (Is that an elephant in your pocket or are you just happy to be a magician?) Photo 1 Method and performance: Both hands go to their respective pockets. Put one peanut in your left pocket. The left hand turns palm up to receive the other two peanuts. You can get a large bag at your supermarket for a couple of bucks. into your left hand. which coalesce with the one in finger palm (photo 2). Remove the right hand from the pocket as the left again dumps the three nuts on the table. when the hand is in the pocket. ‘Son. I’ve found that this trick plays equally well for adults. “When I was young. holding back one nut in finger palm.
Pick up two nuts at your right fingertips. I buy a bunch of them at a time. do a Bobo Switch: Thumb palm the peanuts and toss the elephant (if you had nickel for every time you’ve been asked to toss an elephant…) into the left hand. he’ll sneak all three away from ya!’” Open your left hand to show the elephant (photo 4). The movement will be a blur. As you apparently toss them into your left hand. Photo 3 Photo 4 Page 64 Scott F. and give one to a kid in the audience each time I perform the routine. Certainly. Remove your right hand and show it empty. which immediately closes around it (photo 3). no one thinks the blur is an elephant! “Grandpa did give me one word of warning: ‘Never go near an elephant!’” Pick up the last nut and put it and the other two nuts in your right pocket. and everyone will assume that blur is the two peanuts. Guinn . “’As sure as you get within sniffin’ range of that packy-derm. “’Nothin’ an elephant likes more than a trunk full of nuts!’” The elephant in the picture was purchased from a toy store for 48 cents.
“Since the coins are invisible and it’s YOUR imagination. buy it and the other two in the series ASAP! There is a plethora of powerful material on them! Requirements and preparation: All you need for this is a business card and something to write with. I wanted to be able to show the whole card and let the spectator keep it regardless of what happened. OK. O Photo 1 Ask Vandella to extend her hand. You show that your prediction on the card was correct. and said he had not heard of anyone using it before. I felt the routine had one flaw: The spectator could answer in one of two ways. Explain that you just gave her three invisible coins: a dime. “The nickel is heads up!” See photo 1.” Here you use Magician’s Choice (a. please tell everyone which of the two coins you picked up.” What if one of the coins she picked up was the nickel (it doesn’t matter what the other one is)? Then you would ask her to hand you one of them. keep those as souvenirs.ASSERTIVE POSITIVE NEGATIVE n his wonderful best-selling videotape. write. I have simply applied the old “no” gag to Maven’s effect to allow me to give the card out regardless of the spectator’s response.a.” It is a powerful routine where you write a prediction on the back of your business card. Place the card face down on the table. However. so I take no credit for the effect itself. If she says tails. If she “keeps” the nickel. he was very complimentary. you knew would say that. Ask Vandella to look at it and tell you if it is heads or tails. it is essentially Mr. so the imaginary nickel has been flipped and has landed on the table. Flip it in the air and let it land on the table. I am recording it here. that’s all the info you need. Maven’s trick. Phase Two: Close-up Mentalism. On the back of the business card. Method and performance: Basically. Video Mind. which you then set aside in full view. centered near the top. Besides. which is why you Great Scott! It's More Magic! Page 65 . One way you could show the entire card and leave it with them. tell her she can keep the other two as souvenirs and then YOU flip it and let it land on the table. proceed as in the original Maven effect: Explain that she is wrong—it’s actually heads—but she’s new at this.k. You’d respond. I’ll briefly explain for those who aren’t familiar with the original. Ask her which one she gave you. “Great. Therefore. and tells you what coin she chose and whether it landed heads up or tails up. So. If you already know the Maven trick. When I explained the following handling to Max via email. write the word “NO!” Then on the lower half of the card. The spectator chooses one of three imaginary coins. If you don’t have the video. thank her for the other coin and pretend to pocket it as you tell her to flip the nickel. Ask her if she has a good imagination as you pretend to place something on her hand. Tell her to pick up any two. If she says the nickel. Equivoque or Hobson’s Choice) to force the nickel. flips it in the air. but the other answer dictated that you conceal part of the card and keep it yourself. Max Maven teaches a wonderful effect called “Positive Negative. a nickel and a penny. Assume she says she picked up the dime and the penny. we’re left with the nickel still on your hand.
they are absolutely amazed and have no clue. Ask. and you can leave the card with them. but not the word “No!” The prediction is still face down at this point (photo 2). “You don’t seem too impressed. Wait a moment before remarking. but now she can’t keep or examine the card. Here. This will get a laugh.” the trick departs slightly from the original. Pick up the card so that your hand covers the bottom prediction. As I said. That’s why I wrote a second prediction!” Remove your hand.” Say. Either way. covering the “No” with his thumb to reveal the rest of the prediction. both answers seem to fit the prediction. “Yes or no—is there any way you can imagine that I could have known beforehand with certainty that you would choose the nickel and that you would decide it was heads up?” She’ll have to say. “My prediction matches exactly! No!” Turn your wrist up to show the card with just the “no” showing (photo 3—audience view). Photo 2 Photo 3 Page 66 Scott F. If her answer is “heads. it’s your business card—why wouldn’t you give it to her after she participated in an effect with it? Following is my solution. So the prediction is right. “Noooo! The Nickel is HEADS up!” The inflection of your voice makes this believable—it seems you are gently teasing her and knew all along she would choose the nickel and tails. allowing the rest of the writing to come into view for a killer finale! With this small presentational variant. maven picks up the card. Guinn .wrote on the back of the card (turn the card over and read it aloud. “No.
PART TWO Parlor Platform & Stage Magic .
In this section of the book are ten of the things that I use for parlor. can present a challenge for material. Guinn . Most of these venues won’t work well for a large illusion show (and most of us don’t have large illusions) and the kiddie props don’t make it for the grown-ups. etc. particularly when there are adults in the audience. churches.L arger shows such as banquets. platform and stage shows. but play for audiences of 25 to 1000 or more. school assemblies. I hope you find a few you can use! Page 68 Scott F. The all pack small and light.
Chapter Four Parlor. Money & Stuff • INVISIBLE CARD IN GLASS THE CARD OR THE CASH VISUAL MATCHUP • BILL IN LEMON • . Platform & Stage Magic with Cards.
And the final routine in this chapter is my version of the old classic. The first effect in this chapter is a card trick without cards! It is good for lots of laughs. Guinn . but still wows them. both magically and for entertainment value. the bill in lemon effect. of any that I perform. The second effect combines a card routine with a game show theme and magic with a borrowed bank note. These three routines may well be the strongest.C ard tricks can play well for large crowds if they are properly routined. Page 70 Scott F.
9). take the three through ten of each suit and put them in order. By the way. a large. Rather than using a marketed card index. You declare it is the 9H. One real card is seen in the glass—the nine of clubs! Requirements an preparation: A small tray. I arrange the deck into Harry Lorayne’s “Self-Index” from his book. You reach under the hank again and come out with what you claim to be the 9D. He is to fan through the cards and name just the value of a card that catches his eye (for example. not the marketed trick deck known as the Invisible Deck). and ask him to shuffle the cards. “We’ll take turns reaching under the hanky and removing a card. Remove the 7-10 and turn them around. which of the nines did you choose?” We’ll assume he chose clubs. Deck-Sterity. “The 9S! Well done!” you exclaim. asking Abe to put the nines in the glass and the rest of the “deck” in his pocket. Repeat this procedure with the remaining three suits. You seem bewildered by the obvious lack of amazement on the part of the audience. “We’re going to try a little experiment. Hold a packet face down in Biddle Grip and bow it strongly.INVISIBLE CARD IN GLASS T his is my version of a marketed trick by El Duco. His routine uses a gimmicked tray. and we’ll see if we can leave your card as the last one in the glass. opaque handkerchief or bandana and a deck of cards. You can now quickly find any card by starting at either end (the 3 or the 7) and counting inward. pulled out four cards of like value that he freely selected. This one uses no gimmicked props and no sleight of hand to speak of. such that the backs of the 6 and 10 are touching with a wide crimp break between them (photo 2). replacing them back-to-back with the 3-6. as if you were about to do the Spring Flourish (photo 1). Effect: You “give” Abe an “invisible deck” (an imaginary deck. a clear goblet or tumbler that will hold a playing card. or by Great Scott! It's More Magic! Photo 3 Page 71 . “You don’t find that amazing? Well. Abe reaches in and removes an invisible card. Briefly. You review all the actions that have taken place: Abe shuffled. “We did it!” you cry. leaving only the selected card behind. You pick up a small tray and on it you set a stemmed glass. Place the un-crimped two of that suit into the break (photo 3). with the three at the face of each packet.” you say. I guess some people need proof!” You tell Abe to remove the hanky. You cover the glass with an opaque hanky. You reach under the hanky and come back out with an invisible card at your fingertips. He now pretends to go through the deck and removes the four nines. Photo 1 Photo 2 You will need to arrange the deck in a card index. placed them in the glass and then the two of you removed three cards under cover of the cloth.
Reach under the hank with the left hand and pretend to remove a card from the glass. revealing the selected card in the glass for the climax. you would stand to his right. going along with the description of the effect above where he chose the 9C. letting it hang loosely at your side. The most cards you’ll ever need to count will be two. Guinn . you have all the time in the world to get the appropriate card from the index in your left palm and remove your hand from your pocket. pulling it back toward your body. Pick up the tray and rest the glass on it. (This psychologically reinforces the fact that your hands were empty for anyone trying to reconstruct the method later. hand it to Abe and Page 72 Scott F. Go through the business of being disappointed by the lack of the audience’s appreciation. Say. “I guess some people need proof!” Tell Abe to remove the hanky. take the invisible card from Abe and name it before putting it in a pocket on your right (audience) side. and ask him which card was his. Method and performance: Bring Abe up front with you and go through the business with the invisible deck as described above. Let him hold the tray while you obtain the hanky and drape it over the glass (the hanky should be large enough that it extends below the edge of the tray several inches on all sides). Take the tray in your right hand and place the imaginary card in your pocket where the club cards are as you ask Abe to reach under the hanky and remove a “card” from the glass. Remove the hand and casually show it empty with a gesture as you ask Abe to hold the tray. leaving his for last. They are watching Abe remove an invisible card from the glass—you don’t even have to be particularly adept at palming. Besides.) Set the two red suits in two right pockets.but don’t pick an obvious card like an ace or a face card—everyone always picks those. so that the pocket containing his named card is out of view of the audience.” Name it as the third non-selected card and “place” it in the same right pocket as the last one—again reinforcing the implication that you were going to a different pocket than the one the real card actually came from. The palmed card is blocked from the audience by your body and Abe and Abe’s view is blocked by the props. and it makes things too easy for me.. A well-worn but still funny bit you can use here: if he starts shuffling immediately.” This statement limits his choice to 16 fewer cards while making it seem as if you are increasing the difficulty! It also limits his choice to cards that are in your pockets. so there’s no need to worry about it being seen. facing him. no one is watching that hand or expecting you to palm a card out of your pocket. and review all the steps that have taken place.. As he complies. Take the card out of the glass. you can have him examine both. Have him pretend to spread through the deck and ask him to name a value of a card. look at the imaginary card and name it. (Of course. and the two black suits in two left pockets. Explain the concept of removing cards. and come back out with the last “invisible card. Instruct Abe to remove the four cards of his mentally selected value.sticking your finger in at the crimp (between the 6 and 10) and counting outward. With your empty hand.) Have Abe place the “four cards” into the glass and the “rest of the deck” into his pocket. Position yourself to one side of him and facing him. “. The threes of all four packets face outward. you just pull the straight card from out of the break. Bring your hand back out from under the hanky. Reach in with the left hand. So. so I only do this if he asks if he can examine the props.) Lift the corner of the hank with your right hand. drop the palmed card in the glass. if you need the deuce. I feel this just slows things down and draws suspicion where none would otherwise have been. (If you want. stop him and tell him it’s easier to shuffle if he removes the cards from the case first. because the clubs are in your left pocket.
Send him to his seat. This will get another laugh and stronger applause to end the routine.” and reach into the pocket the real card did NOT come from and “remove” the three “cards.” As an afterthought. Great Scott! It's More Magic! Page 73 . and again reinforce the wrong pocket. but before he gets there. call him back up and have him place the cards in it as you ask for a round of applause for him.tell him to put it back in the “deck.” handing them to him as you say. remember the “three cards in my pocket. notice the invisible case. “You’d be playing without a full deck!” This will get a laugh.
much less actually learn and perform it. and no one will finish reading it. “And it doesn’t read well.” I had to agree. I am also aware that this is probably the single strongest effect I’ve ever performed. I’m aware that to most. It incorporates Ken Brooke’s “The Card or the Cash. large enough to hold a playing card • Two wide rubber bands • A pair of scissors • A new $20 bill • A jumbo (foot-long or more) reproduction of a new $20 bill (your local printer can help you with this) • A dry erase white board • A dry erase marker • Two small clothes pins • Cellophane tape • A ballpoint pen • A deck of cards • Five duplicates of the force card (in our example. I’m including it here. standard book of matches (20 matches) • About 20 opaque manila coin envelopes. Guinn . “It’s too good!” they said. you’ve got to go on a near “Close-ian” scavenger hunt. which is a great trick!” The result of combining the above effects into this routine has created a gestalt. Saving Private Ryan and The Green Mile while you gather the above accoutrements. the KH) • A couple of lottery scratch tickets I’ll go watch Schindler’s List. The routine is a combination of three outstanding effects. woven together with some of my touches and handling. Parts of the routine seem as if they couldn’t possibly fool anyone. I mean. Feel free to stop reading now. remembering the old adage that the surest way to keep a routine from being performed is to put it in print. the performance of this routine has been rewarded with a standing ovation. Many times.THE CARD OR THE CASH VISUAL MATCHUP y friends told me not to do it. in no particular order: • A new. Here’s the list. And I hate to give it away. It has never failed to garner a strong reaction.” Larry Becker’s “Visual Aid” and a very sneaky variation of Meir Yedid’s “Mental Matchup. this routine will simply not seem worth the effort. So. It sounds complicated. you’ll have to gather quite a few things to perform this routine. There’s quite a bit of set up involved. mentalism. you’re probably not interested… Requirements and preparation : As I stated above. But. comedy and audience participation.” My friend Paul Green (a wonderful trade show and strolling performer whose videotape The Classic Force should be in every magician’s library) called this routine “an absolute gem of a trick—even better than your previous version. culminating in powerful magic involving sleight of hand. Back so soon? Great! M Page 74 Scott F. in any venue.
You’re ready to perform the routine.Separate the envelopes into two stacks of 10. Place this stack into your left inner breast coat pocket. The envelopes should be perfectly aligned such that the flap from the second envelope appears to be attached to the top one. Fold it in half again (meaning the bill is now in quarters) in the same way. and the rubber bands should be around the center of the stacks in identical positions (photo 2). Using the ballpoint pen. Fold the bill in half widthwise. you’re probably beginning to think that. Photo 2 Photo 3 Finally. 8th and 10th positions from the bottom of the face up deck (photo 5). and his portrait is inside the folded bill. the lottery tickets in your left side coat pocket and the dry erase board in your case. Place the five duplicates into the deck in the 2nd. put the dry erase marker in your shirt pocket. Take the top envelope of each stack. and with the scissors cut the flap off of it. If you’re still with me. copy the serial number of the $20 bill onto the tape (photo 4). 4th. placing it with the remaining four duplicates. Insert the folded bill into the second envelope of the second stack. 6th. Make sure that all the flaps extend straight out. Photo 4 Photo 5 Great Scott! It's More Magic! Page 75 . Next. so the fold goes down President Jackson’s face. Fold the jumbo bill in the same manner as the real one and put it in your outer coat breast pocket. the matches and clothespins in your right side coat pocket. Case the deck and put it in your left side coat pocket. Pencil dot the upper left corner of the top envelope of this stack. set up the deck. Remove the KH. Tear off an inch or so of the scotch tape and stick it on the top center of the frame of the dry erase board. Place this stack behind the first stack in your pocket. as in photo 1. Photo 1 Place one of the duplicate 3S in the second envelope (the first one with a flap) of one of the stacks (photo 3). Replace the flapless envelopes atop their respective stacks and wrap each stack with a rubber band.
But don’t do it one at a time.like Dickens. placing it behind the other stack. “Ma’am. Do one fold at a time so that the man can follow along with his bill. As he approaches. Seal the envelope and then write the word “prize” on it with the marker (photo 8). Grip the first flap (the 2nd envelope) and pull the envelope free from the stack as your hand turns toward you (hiding the fact that the 2nd envelope is being removed—photo 7).” Square the deck. I’d like you to silently count how many matches are left in the matchbook. Explain that this is a visual aid. so graciously donated by Walt! Let’s give them both a big hand.’ the exciting new quiz game! Now. Today’s contestant. the other might suspect me of having set something up ahead of time. myself. put away the large bill. Show it to Vandella and Walt. Fold the jumbo bill as described in the preparation section above. (No way! It’s Vandella! What are the odds?) Have Walt stand to your right. ask the man his name. Guinn . Vandella. “It’s time to play ‘The Card or the Cash. Remove the first stack of envelopes and insert the folded bill into the first. and you’d like the gentleman to hold his bill up in the same position as yours. just tell me Page 76 Photo 6 Photo 7 Scott F. here’s your host. “proving” it’s a regulation deck. We need a number between one and ten. for that wonderful introduction. Great! But I don’t want anyone to think that you and I are in cahoots. Unfold the jumbo bill and hold it with the portrait facing you. Instruct the person who caught it (or the closest one to where it landed) to think of a number between 1-10. one of those new ones with the huge portrait of Jackson’s noggin!” Have the gentleman who offers his stand where he is. “If I have one of you select the card. will be attempting to win our prize of $20. Invite him to join you as the audience gives him a round of applause.” We’ll assume a lady caught it this time. replace it in the case and ask Walt to hold it. Return the stack to your pocket. because I don’t want to know how many you’re removing. “Now open the book and remove that many matches. “Before we go on. me! Thanks. It’s Walt! What a coeenkeedink! “I also need a lady who would like an opportunity to win Walt’s $20 bill!” You’ll get plenty of volunteers for this. When he arrives up front. flapless envelope (photo 6). so toss the matchbook over your shoulder.” Remove a clothespin and attach the prize envelope to Vandella’s collar or lapel.” Photo 8 Bring out the deck and fan it face up without exposing the top ten cards. Count the matches while they’re still attached and tear them out in a bunch. Don’t tell me how many are left. I get paid by the word! Method and performance: “I need to borrow a twenty dollar bill. Pick one. Vandella to your left. Remove the matchbook and toss it over your shoulder into the audience. we need to have a playing card selected.
Thank you. If the number is odd. or you would have said the king of hearts! Well. Have her open the envelope. If I ask you to name the capitol of New Hampshire. plus it makes you look like a kind and polite person (and if you’re anything like me—and I know I am—you need all the help you can get!). Seal the envelope and write the word “answer” on it. the twenty dollars or the king of hearts?” The audience will laugh as they realize the predicament in which Vandella now finds herself. Pause before removing one of the lottery tickets. we’ll give you another chance. the king of hearts. Remove the second stack of envelopes (the front stack in your pocket). As you attach it to Walt’s collar or lapel with the remaining clothespin. whatever total you came up with. and to open the prize. the only acceptable answer is. “Obviously not. show the top card of the deck as the selection. just move on. and that you’d like to give her a chance to win up to $10. For example. but you have a lovely consolation prize. Great Scott! It's More Magic! Page 77 . Answer correctly and you win the prize. “This card. Tell Vandella that you feel badly that you put her in a no-win situation. but keep Walt up front. This part of the routine is very amusing. “I almost got you. Thank Walt and take the deck from him. you win the 20 bucks. the “selection” is the top card of the dealt pile and you proceed as above. Close the matchbook and put it in your pocket or purse. getting a big laugh from the audience. If so. Walt doesn’t mind. and any idea of a force is negated. and then show the 5th card (new top of tabled pile) and 7th card (top of deck) to be indifferent. Eventually. she’ll say the king of hearts.” She’ll respond that there are more. Which would you rather have. “Vandella. and you’ll get a nice round of applause.000. how many matches are you holding?” Assume there are six. Please give this lady and the gentleman who first tore out the matches a hand for giving ME a hand!” This last statement helps to fill the time of the lady coming to the front and returning to her seat. Give her the ticket and send her back to her seat (more applause and some “ahhhhhs” from the audience). Replace the stack in your pocket. Do you understand?” She will most likely say yes.if there are more or less than ten. please add the digits in the number together. Note: If the number of dealt cards is even. was chosen at random by two audience members. Leave the KH in Walt’s hand and put the deck away. respond. apologize and say she has lost. or the number of Indians required to make a Rain Dance. Show the 6th card (KH—top card from tabled pile) as the “selection”. This card represents the answer to any question I ask you. “Here’s the money question. Insert the card into the flapless envelope and pull out the first flapped envelope (which has your $20 bill in it) as you did with the first set of envelopes in photos 6 and 7. ‘The king of hearts!’ If you answer all of the questions correctly. Tell her she’s won. explain the rules of the game to Vandella. She does to find the king of hearts—exactly what she asked for! (If she insists on saying the twenty dollars. or the name of Sir Isaac Newton’s dog—no matter what the question is. Raise an eyebrow and she’ll quickly correct herself. He finds his (apparently) $20! This is the first climax. and then show the top card from the tabled pile and the new top card of the deck to be indifferent. Understand? Now.) Now ask Walt to open his envelope. you would add 2+3=5. tear out that many matches.” (If she answers correctly. “OK. Ask Walt to deal six cards into a pile on your table. Now bring up the matches you tore out and give them to Vandella. if there were 23 matches left. didn’t I?” Again she’ll likely say yes and then quickly correct herself. but be sure to play it lightly so there is no “sting” for Vandella.) “Are you ready?” She’ll likely say yes again. This really “sells” the idea that it was a free choice.
“Walt. Guinn . “No. as if trying to sense which number is wrong. Finish writing the serial number. Walt will be completely stunned. Second Climax! The audience will gasp and applaud. practice and rehearse thoroughly. remember?). as will the audience.” Wait a moment before writing the right number above the crossed out one (photo 9). cross out the wrong number. before he came up front. yet I feel it’s not a nine. “I’m not quite right. “I’m getting a nine. There seems to be no way you could have known this. act uncertain. so you have never seen the number. you will use it the rest of your life! Page 78 Scott F.” Move the pen back and forth across the board.Pick up the dry erase board and marker. and perform it convincingly. drawn-out routine that is tedious to set up. that’s too fast! Slow down!” Slowly begin to write the serial number on the board (it’s on the tape on the frame. Remind everyone that you had Walt fold the bill. In fact. “Was that the incorrect number? Good. State that you are going to attempt to read Walt’s mind. Ask him to unfold his bill and to read the serial number over and over to himself. part of me is certain it’s not a nine.” As he reads each digit. but intentionally write an incorrect number on one digit. Finally. but then I get the strongest impression that nine matches…wait! Nine matches! Where’s the lady with the matchbook? Open it and count how many matches are inside!” Due to the procedure used earlier. All I can tell you is this: If you take the time to put it together. you’ll never know that. Stop somewhere in the middle at any number that is NOT a nine. there will always be nine matches left. now concentrate on the correct number. please read the serial number slowly and clearly directly off your bill. Final Climax! Everyone will go crazy! Of course. with the serial number inside. Look at Walt and ask. because you stopped reading a long time ago… Photo 9 I know this sounds like a long. When you’re done. Turn back to Walt. am I? Look at your bill and concentrate on the position where I’ve made my mistake. tap it with the marker.
The lemon is cut open. impossible-to-backtrack routine. And if you thought about it. put the hanky in a wine glass. powerful. rolled it up into a tiny little tube. I do a quick gag and then return it. you would say. It is not put in an envelope or covered by a hanky. I know there are those who say that burning the bill is “too impossible. all I can say is this. “Rubbish!” I’m a magician! I’m in the business of doing the impossible. The magician never touches the lemon except to dispose of it after it has been cut open and the bill removed.BILL IN LEMON T • • • here seem to be as many variations of this effect as there are for finding a selected card. Then it was just too impossible!” Certain “Ultimate” versions of this trick berate and belittle any magician who burns a bill. The bill is (apparently) never switched. I think most laymen can figure this out on their own without too much effort. No going to the pocket under cover of a gag. The lemon is in a sealed container which is given to a spectator for safekeeping before the show even starts. No thumb tip switches. He reads the serial number off the bill as it is burning and the whole audience can verify it is the same bill by reading the dry erase board. opened and verified by a spectator. Afterwards. Many methods involve putting the bill into an envelope and then setting the envelope on fire. to appear rolled up inside a lemon that he picked up and cut open. put it in a hanky.” My response to this is. it is not folded into 16ths or 32nds. This same magician. and see if someone comes up to you and says. “Why would someone put it into the envelope if they were just going to burn it?” you may ask. no “million dollar mystery” stuff. no corner switches. no last-minute loads. Why another? Quite simply. There is only one lemon—no magician’s choice. As to the two-bill “million dollar mystery” version. and while some of these are met in other routines. A member of the audience burns the bill. the bill never leaves his sight. • I feel that the fulfillment of these conditions combine to make for an incredibly clean. and both hands are shown empty before and after the brief moment the bill is in your possession. “Gee. and made the bill vanish. Consider this. what would you think? Answer: “He never really put it in the hanky. As far as he’s concerned. I never found one that met all of them. Once someone loans me the bill. or rolled into a little tube. you had me until you burned the bill. on a best-selling video. The bill never seems to go out of view. not mine!). so he can copy the serial number onto a dry erase board. Again. where both halves of the same bill are in the lemon and you do the switch with the two spectators. there were a number of conditions that I felt should be met to make the “ultimate” version. They all groaned and proceeded to describe the method exactly. the entire audience can verify the serial number from the board. exclaiming how obvious and lame it was and that they couldn’t believe the magician thought he’d fooled anyone with it (their words. the bill removed. One asked what the others thought about the trick where the bills showed up in the lemon. If someone took your bill. he palmed it and stuck it in a hole in that lemon that I wasn’t allowed to touch!” And you would be right. I never touch the bill again.” Try this routine on a lay-audience. “I bet it wasn’t in the envelope when he torched it!” And you would be right again. criticized burning a bill as being Great Scott! It's More Magic! Page 79 . I saw one of the biggest names in magic perform this version at a convention at the evening show for the public. Here are the main considerations: The routine is almost completely “hands-off” on the part of the magician. I was in the men’s room and overheard a large group of laymen discussing the show.
). This adds clarity of effect and conviction. and he proceeds to read off the same serial number. the spectator burns the bill in the open. Separate the bills in groups of ten (00-09. no two bills have the same serial number. which in turn means you have to handle and cut the lemon. have you ever noticed how hesitant people usually are to sign a bill? That’s not a normal thing to do. If you don’t get a reaction that is all you could hope for. less conviction.) In my version. I admire the magician in question immensely. • lighter fluid. Page 80 Scott F. Spend or re-deposit the rest). • • If the bill is signed. They may have to order them for you. since this same person constantly preaches that your routines should leave the audience only one possible explanation—magic! (Don’t get me wrong. This allows the possibility of a drop or miss-load. Further. In addition to the bills. I think a signed bill has more drawbacks than advantages. (You’ll have enough bills to perform this routine 18 times. if at all.too impossible. Everyone knows that serial numbers are like fingerprints. It also means a gaping hole is in the lemon. you will have to vanish or destroy the bill under cover. or actually teach the routine! Let’s get into it. • super glue • an exacto knife or razor blade. They can’t see the bill being destroyed as cleanly. Group the bills you separated in pairs (for example: K48930623H and K48930628H). There are those who bemoan the fact that you lose a dollar every time you do the trick. a signature to identify the bill isn’t necessary. • So. • a dry erase board and marker. I believe that most logical people will reason that you somehow loaded the bill into the lemon as you were picking it up or cutting it. Remove the bills that have a 3 or an 8 as the last digit. • a book of matches. Learn this routine thoroughly and perform it exactly as written. • a frying pan. call or write me and I’ll send you a dollar to replace the one you burned. Again. Requirements and preparation: Go to your bank and buy 100 new $1 bills with sequential serial numbers. Anyway. there can be no doubt that it is the same bill. I’ll make you a deal. and the bills ending with 30-39 and 80-89. Writing down the serial number IS a normal thing to do. Place all but one pair aside. you’re probably starting to worry if I’m just going to rant and rave. I just find his thinking in this one area to be inconsistent with his philosophy. 10-19. raise your prices or get a different job!” The other argument that will come up is from those who feel the bill should be signed in order for the effect to be the most convincing. When the spectator removes the bill from the lemon which has been in his possession the whole time. • a trivet. I find this ironic. you’ll need the following items: • a lemon. A signed bill means you must load the lemon during the effect. Guinn . but they can get them. and think he is a credit to magic. etc. “So what? It’s only a buck! If you can’t afford it. My response is. I disagree. giving it your best effort. Therefore. Result: lower level of conviction. People get them for birthday and Christmas gifts all the time. • a thin stick or a wood screw. They are unique. reading the serial number as it burns! There can be no doubt that the bill is destroyed completely.
(Don’t poke clear through!) Leave the stick in the lemon for the time being. Poke a hole in the lemon with the stick or screw. Once it’s flush.Give the case containing the lemon and knife to Rowena to hold at the start of your show. securing it in position with the glue. I don’t want her to think I forgot about it. slide the bill under the gaffed bill (photo 4). Carefully pry the pip off the lemon with the exacto knife. making her promise not to open it until you ask. The frying pan. showing the hand empty. Fold the bill in half along its width twice and then once in half lengthwise. as tightly as possible (photo 2). Meanwhile. Always remember to do this both on the lower left and the upper right serial numbers of the bill. Method and performance: Offer to demonstrate an interesting quality of paper money and ask to borrow a nice new one-dollar bill. Cut a small “x” where the pip was. thanks to the gimmick. Get the gaffed bill in finger-palm. Have the dry erase board and marker on your performing table or an easel. Roll it up like a sleeping bag. As you patter. Fold the ungaffed bill in half lengthwise and then in half widthwise. Abe has offered you a bill. With the exacto knife. too. Since this routine is my closer. Take it from him at the right fingertips. Replace the pip. “I’ll show you how to increase your money!” Fold the bill exactly as you folded the gaffed bill. closing the Photo 2 Photo 3 Photo 4 Great Scott! It's More Magic! Page 81 . carefully scrape away the left half of the “8” so that it looks like a “3” (photo 1). put your hands in your pockets. As you finish the final fold and apparently crease the bill firmly. Then get the Sanada gimmick into position over the bill and remove your hands from your pockets. lift the gimmick. is empty as you remark. I let her know I won’t ask her to open it until the end.• • • a sharp kitchen knife a Sanada gimmick a small case to hold the lemon and knife. The matches. Remove the stick from the lemon and insert the rolled bill into the hole—a twisting motion will help. the two ending in “23” and “28”). Sanada gimmick and gaffed bill go in your right pants pocket. and remove the gaffed bill. Gesture with your left hand to show it. poke it in another half inch with the stick (photo 3). Place the prepared lemon and the knife in the case. trivet and lighter fluid need to be readily accessible. Photo 1 Preparation and set up: Get the pair of bills (in our example from above. The backs of your hands face the audience.
Reach into your right pants pocket. You know what they say. Literal!” • If he lights it first. “Would you be impressed if I could pick up some ashes and restore your bill?” He’ll have to admit he would be. The trick is now done as far as the method is concerned—it’s all selling it from here. State that. “Have you heard the expression. “I didn’t tell you to LIGHT it. to which you will respond: • If he throws the match in the pan without lighting the match. it always gets a laugh.) Send Abe back to his seat. ask Walt to leave it on the easel (if you have one) or to hold it so everyone can see it. Abe.”) Hand him the lighter fluid and ask him to douse the bill. Sparky!” Either way. She’ll remove the lemon. carefully hand it to Abe. dump the Sanada gimmick and bill. since Abe is in possession of the bill and Walt is doing the writing. Ask him to unroll it and read the serial number aloud as you Page 82 Scott F. Hand Walt the marker and ask him to write the serial number on the board as Abe calls it off. this gets an enormous reaction! You may need to find a different line here. As far as the audience is concerned. ‘He’s got money to burn?’ They got that expression from magicians! We always use other people’s money!” Have Abe place the bill face up in the pan. Place the trivet on the table and set the pan on it. have Abe read off the serial number. asking Abe and Walt to come join you. “THAT was exciting! Try lighting it first this time. Head back to the front. Ask her to remove the larger of the two items inside. Abe. lame joke. the trick hasn’t started yet! Man. Abe? Give the lemon to Abe as a consolation prize. Look up at the audience. (This next bit came from a Dan Harlan routine in “The Minotaur. cut about halfway into that lemon all the way around its circumference. you’ll see your money… in creases!” Even though this is a rather old. there will be a slight change in the program! Abe will now sing ‘Lady of Spain’ while I drink a glass of water!” (Since I also do some ventriloquism earlier in the show and performed this famous stunt. “So would I!” CAREFULLY (the pan is hot!) get some ashes on the end of your fingers and rub them briefly. make lemonade! Rowena. Have Rowena stand and open the case. Photo 5 Give the bill back to Abe. “A lemon… kinda like this trick. comment. ask Abe. stare at the flames and yell. “Ladies and gentleman. “Tear out a match and toss it into the pan. Bring out the lighter fluid.gimmick over Abe’s dollar. When life gives you lemons. Abe will do one of two things. and come out with the matches. there is no way you can cheat.” This instruction is deliberately ambiguous. Give him the matches and tell him. Please. huh. Mr. I LOVE being a magician! “All you do is fold it three times and wait about ten seconds. When you unfold it. Hold the bill against the gimmick with your thumb. as the bill is burning. casually gesturing and allowing the palms and fingers of both hands to be seen—thanks to the gimmick you can fairly freely show that both hands are empty. Guinn .” Abe cuts open the fruit and finds the bill. Once the serial number is on the board. displaying an otherwise empty hand (photo 5). you’ll find a knife in the case. After it has completely burned.
Great Scott! It's More Magic! Page 83 .take the lemon. knife and case. Give him a napkin to dry his hands and offer to give him a fresh bill in exchange for the wet one (although in my experience. he’ll always wants to keep the one you “magished”).
Guinn .Page 84 Scott F.
.AGAIN! • THE MAGIC JUMPROPE Page 85 Great Scott! It's More Magic! . Platform & Stage Magic with Rings. Rope & Stuff • RETURN TO THE NEST / EMPTY NEST • GUINNWARD.RINGS ON...Chapter Five Parlor.. HO! • RINGS OFF.
Guinn . linking rings.E ffects with rings and rope have been part of the conjurer’s arsenal for hundreds of years. a ring and rope routine and a wonderful showpiece for children/family audiences that takes up almost no room and is super easy to do! I’m confident you’ll enjoy this material. In this chapter you’ll find routines with finger rings. Page 86 Scott F.
who is still holding the “ring” through the hanky. to help you. THREE!” The kid lets go of the ring and the empty hanky falls. about 5-6 years old. in my opinion. Set this into the cutout of the nest so that the door acts as a slide. one of the most powerful effects in stand-up magic. Photo 1 Method and performance: Borrow a lady’s finger ring. and say. This routine uses a gaffed nest. I often use it as a closer. It consists of three nesting boxes with a cutout in back. “Don’t worry! If anything does go wrong. a drawstring bag that the ring box will fit in. Bring up a little boy. Walk over to the boy. ok? One. you owe her a lot of money. -----‘s ring?” He’ll say yes.” Address the woman. The boxes are nested and closed. turn it upside down and open the trap. The nest goes on the shelf of your table with the hanky draped over it. again using Ramsay Subtlety. dangling Photo 3 Great Scott! It's More Magic! Page 87 . Show the right hand empty in a gesture as you ask the boy. keeping the ring in full view. Requirements and preparation: You need a gaffed nest of boxes. Place the key to the LB in the ring box and the ring box in the bag. two. Cover the ring with the hank and pick up the fake ring through the hank as you finger-palm the real ring (photo 1). I have a lovely consolation prize!” Photo 2 Reach into the table for the nest. which you modify as follows: Get a cheap finger ring and sew it into the inside bottom corner of the pocket and then sew the pocket closed. Give the bag to an audience member before you start the show. loading the ring as you remove it and set it on the table.RETURN TO THE NEST T he borrowed ring in nest of boxes is. and a devil’s handkerchief. The set I use is marketed by Samuel Patrick Smith. and a Lippincott Box (LB). and sells for around $75-100. “Good! Now when I count to three. You’ll also require a small jewelry ring box. “Are you still holding onto Mrs. Using the Ramsay Subtlety. “If anything happens to that ring. the palm facing the audience (photo 3—audience view). show the boy how to hold his hand palm down to take ring through the hanky between his thumb and forefinger (photo 2). Lock up the LB. The routine immediately following this one uses an ungaffed nest. Point at the lady who loaned you the ring. get the hanky. I want you to let go of the ring. Show the ring to the boy and then. Take one of the dangling corners of the hanky between the first two fingers of the left hand.
although you will still need the LB. Fred Meyer. When she replies that it does. remove the next and so on. part of the crowd will begin to applaud. Close the trap on the LB as you remove it. have the lady with the key give it to the lady missing the ring. You will be using this as John Bannon’s “I/O Holdout. Tell her to open the box and hold the lady’s ring “high in the air for all to see. “Yeah. it’s back on your finger!” If she looks: “I can’t believe you fell for that again!” If she doesn’t look: “Yeah. Tell him you’re just teasing and send him back to his seat. Well. just in case. Look at the lady. Target. The ring has apparently vanished into thin air. Discount stores such as Wal-Mart. “Your ring is back on your finger!” EMPTY NEST Here’s a version of the preceding routine with an ungaffed nest. Your only other requirement will be a large Banker’s Clasp. remove the ring and verify that it’s hers. Have her verify that the box is closed and locked.from your fingertips. as she returns to her seat. Lead the audience in a round of applause. etc. Draw attention to the nest of boxes. the lady holding the key or the woman missing the ring will point this out to you. “Are you ready for this? Your ring is…back on your finger!” She will almost always look at her finger. Shopko. HUGE laugh. “What did you do with the ring?” Look at the other lady. Show the hanky on both sides and then stuff it into your pocket. Pretend to look with him for a second. are you?” In any event. leading the applause as he goes. you’re not falling for that again. I’m just kidding. Ask the lady to come up with the key. It’s between you two! No. sell sets of nested gift boxes at Christmas that will work perfectly (photo 1). “Remember the consolation prize? I was at K-Mart the other day and they had this lovely perfume on sell—eau de Pasteur! It was $1. Ask the person who has been holding the bag to stand. it’s out of my hands now.” Preparation: Get at least three.98 a quart! So I picked some up. Ask her if the key fits the lock. “What did you do with her ring?” Another laugh. stop suddenly and say. which gets a laugh. Eventually. The kid almost always looks around on the floor for the ring. say. In an audience of some size.” Open the first box. as they can’t tell that it is not the ring. huh?” (Thanks to Dan Fleshman for this line!) ENORMOUS laugh. Guinn . comment that it wouldn’t be much of a trick if it didn’t! Have her remove the lock. As soon as she does. or even four or five ungimmicked boxes that will nest together. When she puts the ring on. available at any office supply store. Page 88 Photo 5 Scott F. Have him lock his fingers together and put his hands on his head and then “pat him down” like a suspect under arrest. Ask the woman with the key. then ask him. Have her open the bag and remove the ring box. that would have been a great trick. and the applause will be tumultuous!” She opens the box and holds up the key. Would you like to know where your ring really is? No fooling. open the LB.
Go to her and take the box. Place the key to the LB in the innermost box. As you display it with your right hand. Hold the LB so that the trap faces you. Send her to her seat with the key. which has been resting on your hip. Instead of having the drawstring bag opened first. The prepared hanky is in your outer breast pocket. The Banker’s clasp is attached to your left rear trouser pocket. Practice this until you can do it without looking at your hands. to help cover this. and I GUARANTEE you’ll fool ‘em! And you won’t have to shell out the bucks for a tricky set of boxes! Great Scott! It's More Magic! Page 89 . Take the box to the owner of the ring and let her unlock it and remove her ring. Your right thumb pushes the trap open about halfway. Bring your left hand up to hold the box so your right hand can grasp the lock to show that it is securely closed. Meanwhile. As you walk over to your table to call attention to the “consolation prize. 3. 2. tied or banded shut before you place it into the next larger box. Let HER open the nest to discover the key. keep the real ring finger-palmed. The nest of boxes should be on your table in full view from the start of the show. The LB. your left hand loads the ring into the LB and pushes the trapdoor closed! 4. loading and closing that box right in front of the audience! But guess what? They don’t know it has a trapdoor! Or that you have a clasp on your pocket with the real ring in it. Additional comments: I know. Or what a thumb palm is. I know… It’s SCARY opening. Give this to an audience member for safekeeping before you start the show. Method and performance: Follow the same procedures as in “Return to the Nest” with the following exceptions: 1. Turn to the person with the bag. padlocked and with the trapdoor closed. goes into the drawstring bag. You may hitch up your pants casually. which will hide the clasp. pivots back and gets the ring from the holdout in thumb palm. ask the lady who loaned you the ring to come up front.” your hands drop to your sides and you load the ring under the clasp on your back pocket. your left hand. After you switch the ring for the one in the hanky (the kid is holding the fake ring). You must wear a jacket. Ask her to open the bag and remove the box.Each box should be locked.
Photo 3 Photo 2 T Photo 1 The gap in the key creates the illusion of the Photo 4 Page 90 Scott F. but he gets into it differently and does not do the auditory illusion at the end. most original linking ring move I’ve ever seen!” Jim Cellini has something very similar. it will. “You can clearly see that one ring is on my arm. (Obviously. showing the rings hanging from it. Hold your arm in the air to display the single resting on it. Aldo Colombini. the key ring and a single routine are in play. Requirements and preparation: This is part of my three-ring routine. Method and performance: You have done a couple of links and unlinks with the key and a single. Paul Green and Ray Grismer were all very complimentary. and Dan Fleshman called it. Another single ring has been given to a member of the audience. People like Michael Close. allowing it to slide off the forearm as you turn to face front and hold up your right hand. Release the left hand’s grip of the single. HO! his is a linking ring move. If I could pull that ring right through my flesh and bone. The single dangles from the bottom of the key (photo 1). would that impress you?” Unless they’re dead. Turn to your left and grasp the single with your left hand (photo 3). It has received rave reviews from lay audiences as well as from magicians at my lectures and at conventions where I’ve performed it. Suddenly stop as if you feel pain.GUINNWARD. “The coolest. Guinn . Meanwhile. With your left hand. and you’re holding the key in your right hand with the gap near your forefinger. although it could be easily incorporated into most any routine. the gap must be sized ahead of time so that it fits snugly on your hand. But in the context I use it.) Focus all your attention on the single and your right forearm as you “strain” to unlink the rings. They are currently linked. clamp down on the key ring with your left elbow and slide your right hand into the gap as shown in photo 4. flip the single up and onto your right forearm (photo 2).
slide the right hand out of the gap and turn back to face the audience. “How about the whole through there?” Photo 6 Notes: I’m very aware that the rings have been exposed on TV a number of times. quite the opposite is true. the move is even more effective. giving it just a little jerk as you do. he said. The forefinger extends along the surface of the ring (photo 6). I’m also aware that my ring routine is one of the strongest and most entertaining routines I perform. Actually. When done with a magnetic locking key ring. Hold up the right hand and show it front and back as you ask. Photo 5 Here’s the second convincer: Give the bottom ring a spin and then grip the key and pretend to spin it. On several occasions as I progress through my routine. Great Scott! It's More Magic! Page 91 . This is surprisingly effective. I’ve overheard a “smart” audience member explaining to those around him that one of the rings has a gap in it. so your body screens them from the audience. the response is. “See?” I then looked him right in the eye and did the fake push-through and auditory spin. giving the auditory illusion of the second ring spinning. wrong bone. The bottom ring will “hop” as it spins. “Or not!” This always gets a big laugh. Grip the key at seven o’clock with your left hand. Due this with just a bit of tension on the ring. Some may say that this move exposes the method. same trick!” Here comes the first convincer. as you can display two solid rings both before and after the penetration. When I showed the penetration through the hand.ring going right through your hand (photo 5). Slide your left hand up the ring to the right hand. Take the key ring into the left hand. and it will create a great illusion. creating the illusion that you’re pushing the ring through the hand. Invariably. Turn to your right and lower your hands. “Wrong flesh. “Can you see the whole through there?” Use your right forefinger to point to both your ears as you ask.
or attach a magnet under the tabletop. Take both rings in your left hand. Actually. Drive a small nail or brad halfway into the table near the top on the right in back. After another moment... Hang the double on this nail/magnet. immediately moving to set them on the shelf.. apparently to support you.” Here I have adapted it to parlor and platform performance.Rings On” earlier in this book). only your left thumb rests on the table—the rest of the hand hangs below the table. pause a beat and then let one ring drop.. Requirements and preparation: You need a 4-foot length of rope and a five-inch set of linking rings.RINGS OFF. You’ll need a table with a solid front or a drape (I use my suitcase table). where it never fails to have great appeal. Have them examined if you want.RINGS ON. bend down to look for the rope.. After the rings penetrate the rope. intact rings (singles). in an apparent instantaneous link. Hand everything out to be examined if you’d like. Your right hand reaches up and takes the rings from the left hand. also earlier in this book). Guinn . Photo 1 Photo 2 Photo 3 Page 92 Scott F. right at the nail or magnet (photo 1). Method and performance: Display the singles. Rummage about a bit as if you can’t find the rope. The rope and singles are on this shelf. You also need a servante or a pad on your table’s shelf. Immediately raise your left hand above the table as if you are trying to keep the rings in view to be fair (photo 3). remarking that you also require a rope as your right hand reaches inside the suitcase table without looking. you’ll require the linked pair (double) and the two separate. Fold the rope in half.AGAIN! E arlier in this book is my handling of Aldo’s “Rings Off…Rings On. The left hand comes to rest on the tabletop.. From this set. as your left fingers take the double (photo 2). stand up straight with the rope in the left hand. one in each hand. Push the loop through the rings and then pull the ends through the loop to form a girth hitch (explained in “Rings Off. Finally. Perform “Wring out the Ring” (as described in my ring and rope routine.
Photo 3 Photo 1 Photo 2 “Just remember. plays big!” Effect: This is simply my presentation of the old “Patriotic ropes” trick. the magician. such that it appears you have three short ropes of the same length tied together. so the little girl can happily skip rope! Requirements and preparation: In addition to a large.” Bring up a little girl between the ages of five and seven. and there is a little girl in this story. who saves the day and magically welds the three short ropes into one long one. Method and performance: Pick up and display the ropes.” Position her to your far right. but I need the help of someone from the audience. She shouldn’t be too shy. but it turned out to be a highlight of my show! It has plenty of comedy. Along comes our hero. and who is looking for maximum impact with minimum effort. and “packs small. You proceed to narrate a story of a little girl who wanted to jump rope but couldn’t. do whatever the little girl in the story does. you stand right here. Hand her the ropes to hold. You explain that you’re going to tell a story about a little girl. and ask a little girl from the audience to come up to help you. Tie each set of three ends into a knot (hiding the loops in the knot—photo 3). and the ropes in your case or on your table. so you do whatever she does.” Move to your far left. Fold the short ropes in half and loop them around the long rope. I’m going to tell a story. I need you to pretend with me. “I’m going to stand way over here.THE MAGIC JUMPROPE F or the magician who performs parlor/platform for families and kids. Page 93 Great Scott! It's More Magic! . as the only ropes she had were too short. and two ropes about six to eight inches long. and she is to do whatever the girl in the story does. We’ll call her Hannah (because I love that name!). I want you to pretend that you are the little girl. “I’d like to show you a rope trick. you will require one rope about five or six feet long. You introduce 3 short pieces of rope. Put the hanky in your right pants pocket. or so confident that she’ll try to take over the show.” To Audience: “I will be playing myself! “Hannah. okay? There is also a slightly overweight but exceptionally attractive magician in this story. here is the routine for you! I originally had planned to use this as a “filler” routine. Fold the long rope into an “s” shape. one at each curve of the “s” (photo 1). Now pull the ropes taut and even so they resemble three equal ropes (photo 2). opaque handkerchief. uses an assistant from the audience. “Hannah.
Ready? Wonderful! “Once upon a time, there was a beautiful little girl with long blonde hair and big brown eyes, wearing a pretty yellow dress with flowers on it.” (Obviously, you are describing Hannah.) “Wow, Hannah, you are doing a terrific job! “She was standing in her front yard, holding three ropes that were tied together, and she was crying.” (Wait for Hannah to cry. You may need to cue her to rub her eyes and sniff.) “She was crying really loud!” (Hannah cries louder.) “When along came a slightly overweight but exceptionally attractive magician.” Push your stomach out and swagger toward Hannah. “The magician saw the little girl. He stopped and asked her why she was crying.” Look at Hannah and say, “’Why are you crying little girl?’ The little girl said, ‘Because I want to jump rope!’” (Say the little girl’s lines in a high-pitched, very sad and whiny voice.) Hannah will repeat each line—cue her if necessary.) “But I can’t!” (Hannah repeats.) “Because these ropes are all too short!” (Hannah repeats.) Wait a beat, and pretend to get a little choked up. Glance up at the audience and burst into tears. Say, “Wow, that was really GOOD, Hannah!” Pretend to have difficulty composing yourself as you drop your head, hold up your hand, wipe your eyes, sob, etc. “So the magician…” Trail off into another sob. Look at Hannah. “You’re…so…good…I feel…your pain!” Pat her gently on the head and then lean down and pretend to wipe your eyes on her sleeve. This will get a big laugh. Now hold her sleeve to your nose and pretend to blow your nose, making a “razzberry” sound with your mouth. This will get a HUGE laugh, particularly if the little girl reacts and tries to pull away. “The magician said, ‘Don’t worry little girl! I happen to be the greatest magician in all of unincorporated Canyon County! Let me see those ropes.’” Take the ropes from her and begin untying the knots. Tie the small ropes onto the long one in an overhand knot, making it appear as if you’re tying three equal sized ropes together to form one length. As you do this, patter, “’Yes, I believe I can help you!’ The little girl looked up at the magician with a hopeful smile.” (Hannah smiles.) “GREAT hopeful smile! ‘Yes!’ exclaimed the magician, ‘I’ve done it—my magic has worked! Look! One long rope!’” Stretch out the rope for everyone to see the knots. “Then the little girl stomped her foot, and shook her finger at the magician.” (Hannah follows suit.) “And she said, ‘That will never do! What if those knots fall apart? I could get hurt! Then my mom would sue you, Buster!” Pause after each line to let Hannah repeat. After the last line, say, “A little TOO much feeling on that last line, Hannah!” Hold the rope by one end in your left hand. Reach into your pocket with your right hand and remove the
Scott F. Guinn
hanky as you say, “Don’t worry, I happen to have my magic hannnnn…. My magic hankkkkkkker…. AHCHOO!” Pretend to sneeze into the hanky. Then pretend to blow your nose into it like you did on her sleeve. Move the hanky around, apparently blowing your nose on every inch of it. Finally, hold it out toward Hannah and say, “Here, Hold this!” She’ll shy away, and may possibly take it gently at one extreme corner, and the audience will go into hysterics. “The magician said, ‘You see, for some strange reason, my hanky makes everything it touches really sticky!’” Take the hanky back and blow your nose again. The crowd will groan. Wrap the hanky around the rope and begin wrapping the rope around your left hand, sliding the hanky along the rope as you go. Steal the knots off in the hanky. Ask Hannah to grab the end of the rope sticking out of your left fist as you put the hanky back in your pocket. Have her repeat the magic words, “Hocus pocus, don’t pick your nocus!” Slowly unwind the rope (as Hannah holds onto the end) to reveal one long, continuous length. You will get applause here. Hand the rope to Hannah as you say, “And the little girl was finally able to jump rope to her heart’s content!” Hannah should start to jump rope—if she doesn’t, cue her to do so. The audience will applaud again. Take the rope from Hannah as you say, “And she lived…” Look at Hannah as you trail off, and she’ll say, “Happily ever after!” More applause. “That’s right! And I hope you will, too, Hannah! Come on folks! Give Hannah a big hand as she returns to her seat!” You’ll get another very large round of applause to end the routine. Notes: Talk about lots of response for a little work! This routine ALWAYS knocks ‘em dead. The rope costs next to nothing and you can make it up in about three minutes and then use it over and over again. Give this routine a try. It will become a staple of your act, or I’m not a slightly overweight but exceptionally attractive magician!
Great Scott! It's More Magic!
Scott F. Guinn
Platform & Stage Magic with Other Stuff • WATER MONTE GREAT SCOTT’S CUPS AND BALLS FINAL SALT LOAD • AN IDEA FOR THE APPEARING 10-FOOT POLE • .Chapter Six Parlor.
H Page 98 Scott F. and gets away from the standard fruit or large ball final loads. This is followed by my ending for a cups and balls routine performed in parlor/platform shows. Last is an idea for a popular but somewhat cumbersome prop. If you’ve struggled with this production item. Water Monte will slay virtually any audience—don’t discount it because of it’s simple method. I think you may find this idea of value. the Appearing 10-foot Pole. Guinn .ere are three final items that didn’t fit in the other categories. It makes a great closer to just about any routine you may already know.
This is invisible due to the white art principle. While I’m sure others have had similar routines. developed with the help of my friend Darrin Cook (Raymonde Crow). 3. You’ll need six cups. Now take the top cup (with the water) and tilt it slightly toward the audience. mouth of the upper cup facing the audience. With your right hand. “Make-a-guess-no-you’re-wrong” presentation. minding my own business.’ ‘What’s the game?’ I asked. At the end. all of which have a white interior. the one with three walnut shells and a pea? Well. Stack three of them together. as if you really are trying to show them the inside of the cup. Buddy!’ he said. guess wrong and you owe me a dollar. apparently showing their interiors in the following way: 1. in this routine I am the one who gets “stung. Set this cup to your left on the table.” However. Two of the remaining cups have about ¼ teaspoon of slush powder in them. Effect: You relate a story of how you were “taken” by a conman in a “three-card monte” type of scam. because it gets such a great reaction. it is always wise to take the “sting” out of the trick for the audience. 2. When you’re ready to perform this effect. Montana in 1991. this is the three shell game done with plastic cups and water. A package of a dozen sells for around a buck at supermarkets. ‘How’d you like to win some money playing a little guessing game? Guess right. ‘You ever hear of the old shell game. Since the audience thinks they saw into this cup at the beginning of the show. Do this casually.’” As you talk. the water vanishes completely! Requirements and preparation: Basically. remove the bottom cup and tilt it so that everyone can see into its interior. this is the same thing. which come in a variety of colors. Method and performance: As you start your show. quiet “hick” town). Stack these cups together and put the last cup into the mouth of the stack. Everyone will assume they are the same three empty cups. As opposed to a standard. remove the “loaded” stack and hold it in your left hand. when a guy on the corner stopped me. ‘Pssst! Hey. Pour 3-4 ounces of water into this cup and then place the stack on the shelf of your performance table.WATER MONTE W hen performing a gambling-themed effect. These cups are my shells. I use Solo brand disposable cups. Finally. take the remaining cup. there is a tongue-in-cheek comment at the end that makes the whole thing fun for everyone. they won’t suspect anything. I got the idea for the routine from Ken Wylie in Billings. You also need a clear glass or bottle full of water. display the cups one at a time. it is impossible to see anything but an empty cup from more than a couple feet away. “I’d like to show you what happened to me one day on the mean streets of downtown Kuna” (local small. This is simply an application of slush powder. He stood behind a small table with 3 cups and a glass of water. Go into your act and do a few routines. Great Scott! It's More Magic! Page 99 . I wanted to include mine. This stack is laid on its side on your table before the show starts. This is an updated version from previous editions of this book. Set it at the center of the table. but just aren’t paying enough attention to the display to notice that it isn’t tipped forward enough. “I was walking along. show its interior fairly and set it on the table to your right of the row. pick up the stack of cups on top of the table and put them next to the hidden stack as you comment that you don’t need them yet. but using cups and water instead of cards. win a dollar. Because both the inside of the cup and the powder are white.
so you guessed the other one. ‘I’ll eliminate a cup. I figured I had him.” he said. ‘Sorry. I said. too was empty. point to the “correct” cup—the one you poured the water into. He agreed.’ “ Pause a beat as if the play on words just occurred to you and was unintentional. “THAT’S pretty disgusting!” “He poured some water into one of the cups. ‘Give me just one more chance!’” Look down at the one cup on the table and then up at the audience. no matter how I begged and pleaded. We are going to turn that assumption on them. I said. remark that you thought the water should be in this cup (point to the empty cup). We’ll go double or nothing. a little faster this time.) I was terribly disappointed. Guinn . but before he had a chance to do anything. I don’t know…’ he said. “By this time.” Point to the cup that you poured the water into. You owe me another dollar!” Pick up the cup and tilt it toward the audience. he never would show me how to do that trick!” Page 100 Scott F.” Move the cups around faster as you patter about the man trying harder to confuse you. ‘It’s that one! Give me my hundred dollars!’ ‘Not so fast. (Do so.Hold up the glass of water as you say. and when he stopped. Sure. The audience will be fooled by this. you almost got it that time. Besides.” Pour about three or four ounces into the cup on your right (the water will instantly gel) and place the glass aside. I agreed. mixing them up.’ he said. When you stop. now there were only two cups now. “He started moving the cups. He mixed the cup (move the single cup back and forth on the table—always gets a laugh) and stopped. “’Tough break. but now I was onto him—the water was always in the wrong cup. “He said. allowing them to see inside it. but he wasn’t too fast. After stopping. ‘Tell you what. “‘How’s about another go?’ he asked. pal.” Move the cups around a bit again. “’Gee. friend! You owe me a dollar!’ He picked up this cup and he poured the water into another cup to show that I was wrong. I’d lost twice. The gelled water appears to be the bottom of the cup—it looks completely empty. Pick it up and “prove” it is empty by showing the audience the interior. “Well. Start moving the cups around. The fellow got an idea. pal. too (put away the cup you’re holding). I was sure the water was in this cup.” Pick up the cup with the (previously secretly loaded) water and slowly pour the water into the remaining cup with the slush powder. “’I’ll bet a hundred bucks this time!’ I said. picking up the last cup and showing that it. Not only did I lose $104. and I said so. “This was driving me crazy! He put that cup away. but worst of all. I was more than a little frustrated and determined to win my money back.’ Put the cup you’re holding in your table or case. “’And this is my pea. although some will start to suspect that all the cups somehow have water in them.
After one show. but it garners gasps. laughs and lots of applause. a man approached me holding out two $100 bills. anyone not familiar with slush powder (and that’s most people!) will be blown away by this trick! Great Scott! It's More Magic! Page 101 . Notes: This trick is extremely simple.Toss the last cup away to end. saying they were mine if I’d tell him the secret to the water trick! Trust me.
Figure 1: Side view of gimmick Figure 2: Top view of gimmick Set up: Fill the gimmick with salt and place it on the shelf or servante.” Continue the pour for quite awhile. A large carton of salt A servante or shelf in your table The load gimmick: Construct the gimmick out of heavy cardstock and electrical tape as per the figures. described below 4. It’s just a little smaller than the cup. 1. A special load gimmick. In a continuing motion. Raise the hand and do the “pour. Pause a beat before making a crumbling motion and opening the hand to reveal it empty. At the end. secretly putting on the thumb tip as you say with mock bravado. A newspaper 5. and all the seams must be completely covered by the tape so no salt will leak out. Pass the cup to your left hand by bringing it up under the gimmick. Reach into the air with the right hand in a grasping motion. secretly load the shaker under a cup as you remark that this trick is performed by every magician worth his salt. Method and performance: Perform your favorite cups and balls routine. Requirements: In addition to a standard set of cups and balls. Lower the fist over the cup and let the bottom of the gimmick fall into the small compartment of the load gimmick. Open the section of the newspaper and cover one half of it with a layer of salt. “I guess that proves I’m worth MY salt!” Unscrew the top off the shaker and apparently pour the majority of the contents into your left hand. you will need the following. The gimmick nests inside a cup. A Magic Salt Shaker from C&M Productions in University Place. Lift the cup with your right hand to reveal the shaker. Set the shaker on your shelf or servante. the left hand sets the cup mouth up on the table. Fold the paper closed. Guinn . and the thumb tip gimmick in your waistband. finally lowering the hand and letting the thumb tip drop into the com- Page 102 Scott F. WA 2. also available from C&M 3. The right hand hitches up the trousers. One drawback was that he had to have one cup mouth up for the entire routine. A Rick Anderson Solid State Salt Pour. closing the hand into a fist and positioning the gimmick for the pour. I have circumvented that and added to the salt theme. This will be your performing surface.GREAT SCOTT’S CUPS & BALLS FINAL SALT LOAD A lex Elmsley has a great finale with salt for the cups and balls. as your left hand gets the load gimmick. The small compartment should be of a size to easily hold the thumb tip from the salt pour.
It will more than fill all three cups for an incredible finale! Great Scott! It's More Magic! Page 103 . Move the cups off the newspaper. Fold the newspaper into a “slide” as you pick it up and pour the salt (along with the salt hidden in the fold—similar to the multiplying money tray) into the cups. placing them in a mouth up row. Pick up the cup. your right thumb covering the compartment and keeping the load gimmick from falling out as you slowly pour all the real salt onto the newspaper.partment.
AN IDEA FOR THE APPEARING 10-FOOT POLE H ere is a nice way to produce the ten-foot pole (which was created by Dan Sylvester and marketed by the Sorcery Shop). Hold the pole in place by encircling it with a rubber band and attach the roll to the holder. T&R newspaper. It makes the working a breeze and is completely portable. rope and scissors. It shouldn’t cost more than a buck or two. Remove the roller from the holder. Then I pretend to notice something as I say. silks. It opens very easily. From your local hardware store. smoothly and quickly. making sure the end of the pole comes off the top of the roller (is that cause for an argument in your house?). It is easily removed when you need the case for other purposes. You can easily roll a 2nd pole over the 1st and produce two! Give it a whirl! Page 104 Scott F. Stick the hook side of the Velcro onto the holder and the loop side into a small case. Attach the holder to the case. Guinn . The entire apparatus (besides the case and the pole itself) costs less than three dollars. which keeps it ready to go until you need it and makes the production very smooth and fumble-free. I bring the case out. Use this to roll the pole around. It also looks very magical. open it and do a few of these other routines first. with no kinks or fumbling. buy a cheap toilet paper holder. Cut off a square of the Velcro about the same size as the back of the TP holder. evenly. Then go to a fabric store and buy some heavy duty self-adhesive Velcro. etc) in the case as well. I usually have some silks for other tricks and other small props (Pop-can airborne. “So THAT”S where that is! I never would have thought to look in here!” As I shake my head. I simply push the rubber band off one end of the pole onto the arm of the holder and then proceed to pull the pole off the roll.
TTFN (Ta-ta for now) Scott Great Scott! It's More Magic! Page 105 . who generously shared magic with me that they wouldn’t reveal in their lectures. That is my goal for you. And I’d sure like to hear about it! Thank you for spending time with me in these pages. or get greater impact there. advised. then these writings have attained their purpose. or given you something you could use in another routine. If a routine in one of these books has given you an idea. They watched me perform some of my routines and critiqued. Allan Ackerman. Who knew? You’d think this would be a real ego boost. In short. or become a part of your act. or sparked you to create. It is with much fear and trepidation that I put this work out there. I know I’m not the world’s greatest magician. They gave me ideas to make something cleaner here. they made me a better magician. I would have laughed in your face. These routines are my children. Paul Green and Ray Grismer. What if someone doesn’t like my babies? I have been fortunate to have in my home and/or become close friends with people the likes of David Roth. All of them are great magicians that I admire greatly. it’s very humbling.LAST WORD I t’s finally arrived! The end of the third volume of my magic! I never woulda thunk it! If you had told me five years ago that I would write these books (and this one would have THREE editions!) and that magicians all over the world would be performing my routines. if I have caused you to think of ways to make your magic stronger or in some way inspired you to strive to be a better magician or entertainer. But in another way. Dan Fleshman. and I suppose in a way that it is. encouraged and enthused over them. Aldo Colombini.
Notes Page 106 Scott F. Guinn .
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