Scott F Guinn - The Magic of Scott F Guinn, Vol 3 - More Magic!

GREAT SCOTT! IT’S

MORE MAGIC! The M agic of Scott F. Guinn VOLUME THREE

Written By Scott F. Guinn

Dedication 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

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Scott F. Guinn

Table of Contents Dedication

2

Part 2: Parlor & Platform Magic

Introduction by Aldo Colombini First Word

4

67

Chapter 4: With Cards, Money & Stuff 69

5 Invisible Card in Glass 71

Preface 6 Card or the Cash Visual Matchup 74

Part 1: Close Up Magic

9

Bill in Lemon 79

Chapter 1: With Balls & Stuff 11

Chapter 5: With Rings, Ropes & Stuff 85

Peanut, Butter & Jelly 13

Return to the Nest / Empty Nest 87

Having a Ball 19

Guinnward, Ho! 90

Great Scott’s Table-Hopping Cups & Balls

24

Rings Off...Rings On...Again! 92

Chapter 2: With Rings, Strings & Stuff 35

The Magic Jumprope 93

Great Scott’s Ring & Rope Routine 37

Chapter 6: With Other Stuff 97

Rings Off...Rings On 45

Water Monte 99

Great Scott’s “Symphony for Ring & String” 47

Great Scott’s Cups & Balls Final Salt Load

Strung Out 54

An Idea for the Appearing 10-Foot Pole 104

Liplock 59

Last Word 105

Chapter 3: With Other Stuff 61 A Trunk Full of Nuts 63 Assertive Positive Negative

Great Scott! It's More Magic!

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102

INTRODUCTION (ALDO COLOMBINI)

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agic is a fun thing. Besides being fun to do, it has also allowed me to meet some very wonderful people; some very good performers; some creative individuals. My friend Scott Guinn is a combination of all the above. Besides being good at performing our art, he is also very talented, especially when doing the finest impression of Aldo Colombini I have ever seen! So, if someday you answer the phone and you hear, “Hi, this is Aldo”... 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. And, by the way, he is also extremely versatile. In case some of you don’t know, music is another thing that he likes to study. Contrary to myself, Scott has an ear for music while I simply have an ear for pencils. I am very glad and proud to be able to say that I inspired some of his work, as you will see in his credits throughout the books. Scott takes the matter of credits seriously and is very precise about it, for which he receives my admiration. He lives in the quiet town of Star, Idaho (near Boise), population 463 if you count the cemetery. Boise’s name derives from a French word that means ‘made of wood,’ but please do not hold this against the lovely people of Idaho. Scott makes a living out of working for them on a regular basis, doing close-up, restaurant magic, stand up and kid shows. And, he does them well! Sometimes he even uses his Italian accent.... Scott creates magic that inspires enjoyment in the hearts and minds of the onlookers that share his performances. He is able to ‘touch’ people’s hearts with a sense of wonder, happiness and humor. These routines have been worked on and refined over many years of presentations to the ‘real’ people (as in ‘lay audience.’) Try them out, every single one, and see for yourself which ones will fit your personality and way of performing. I am sure it will be most, if not all, found in his books. Thanks Scott, for the fun you gave me during our much too rare conversations. And, I’m sure I speak for all who have been lucky enough to witness your performances when I say, “Thanks for all the great magic!” As we say in Italy, “Continua in questo modo che vai forte!” And I think that everyone will agree with this! Aldo Colombini

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Scott F. Guinn

FIRST WORD

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his is the third volume of my magic. In this book you will find close up routines (none of which use cards or coins) and stand up material appropriate for banquets, schools, churches, auditoriums, etc. It has been my goal to present the material as clearly as possible, and all the routines included are ones that I actually perform regularly in real-world, paid, lay-audience shows. I originally wrote up the routines in this series in notebook form for my own benefit, with no aspirations of publication. Through the goading encouragement of my friends, I have put them into book form. This process has been beneficial for me, even if no one ever buys the books. It has caused me to think about why I have constructed the routines as I have, and in many cases, made me see weak spots that I could not have otherwise improved. In this sense if in no other, writing the books has been worthwhile. If you find material here that you can put to use, I will be incredibly honored. Please feel free to contact me if you have a question, comment, concern, complaint or improvement. Too often, I have seen good magic performed badly. Either the magician had clearly not put in the practice and rehearsal, or worse, presented the tricks in an insulting, condescending manner, or worst of all, both of the above! Please, please do not make these mistakes with this material. I know from personal experience that every routine in this book entertains and fools people. But if you don’t give the material and the audience the respect and dedication they deserve, you will not get a good reaction. You will give yourself and magic a bad reputation. Rather than have you do that, I would have you return the book to me for a 110% refund. Of course, the best course of action would be for you to practice and rehearse the tricks and the way you decide to present them, and to understand that you are an incredibly privileged person to have the great honor of performing magic in front of an audience. Then we all win – you, the audience, me and most of all, magic! Warmest Regards and Best Wishes for you and your magic, Scott F. Guinn

Third Edition

Great Scott! It's More Magic!

This edition contains the same routines as the first two editions, but many photos have been added to aid you in the learning process. Further, some of the routines have been expanded or rewritten (some extensively) to make the explanations more clear. In addition, the material has been reorganized into chapters. I have always felt this trilogy contained good material. Now I feel it has a format worthy of the material. Enjoy!

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PREFACE “Presentation appeals to the emotions, which command 90% of the brain, while technique deals with the facts, which control only about 10% 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.” Michael Ammar, Success and Magic

I

n my opinion, it is presentation that separates the men from the boys in magic. It makes the difference between the audience feeling the experience of magic or feeling that they’ve seen a demonstration of sleight-of-hand. For the most part, 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. Good presentation is absolutely essential if you want to work for “real people.” It is what distinguishes a commercially successful magician from a guy who “knows some tricks.” There is nothing wrong with the latter if his aspirations are simply to be a hobbyist, but very often he is the one wondering why he can’t make a living as a magician. He feels he is a much better magician than the local pro. “What’s the deal?” he wonders. You need to be very clear as to what you want out of magic. If it’s to make money performing for the public, then devising entertaining presentations should be as high or higher on your list of priorities as learning technique. Otherwise, you’ll fail miserably.

Please don’t misunderstand me. I believe you should have excellent technique. Magic is a craft, and you should learn your craft well. But magic becomes an art in the performance. It is here that your craft of sleight-of-hand makes the audience feel, even if only briefly, that they have witnessed real magic. 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, 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). Even Dai Vernon, “the Professor” of close up magic said, “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. But first take the time to make them yours, to mold them to your personality. Imagine Martin Nash or Earl Nelson trying to deliver their magic like Juan Tamariz or David Williamson. They would flop, because they’d be trying to emulate someone with a vastly different style. I’ve seen both Mr. Nash and Mr. Nelson perform several times, and their acts are highly entertaining. They are much more reserved and sophisticated than Mr. Tamariz and Mr. Williamson, but there is no less an experience of wonder and astonishment in their acts, because they have formed entertaining presentations based on their individual characters and style. This brings me to the subject of comedy. It seems every magician in the world thinks he is also a worldclass comedian. Be careful with comedy. I am convinced that comedic timing is something you’re born with. You either have it or you don’t! It can’t be taught or learned from a book. If you are not naturally a funny person, 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.

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Scott F. Guinn

The above quote by Mr. Ammar has proven true of the vast majority of magicians I’ve met. Let me give you a quick example. I was at a major magic convention. It was late; about 2:00 AM. The last lecture was over and a number of the guys were “sessioning.” A small group of beginning and intermediate magicians were “picking my brain,” when one asked me to show him a good practical false cut. As I was showing him one, a guy about 19-20 years old (who now has a video out) walked up to see what was going on. I glanced at him just in time to see a look of disdain cross his face. He decided it was time the other fellows heard from a “true expert,” so he stepped in. “Here’s a GREAT false cut!” he exclaimed, and he went into an eight-packet, whirling dervish cut that would have made Jay Sankey blush. Some 45 seconds later, the packets slowed down and fell back into place. “A full deck false cut!’ he cried, doing a hop spread and springing the cards for emphasis. While I had to admit it was very impressive, I also knew it wasn’t particularly practical. 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. Besides, this type of foolishness does exactly the opposite of what a good false cut does. A good one passes uncontested and unsuspected. It looks like a regular, casual cut. This thing screamed, “Look at me control the cards under the pretense of cutting them!” The “intruder” wasn’t done yet, though. He decided that to become the “guru” of this small group, he needed to discredit me, so he asked with a cocky smirk, “So, do you do a perfect one-handed faro shuffle?” He proceeded to demonstrate one for our edification. Everyone looked at me, waiting for my response. “No, I don’t, actually.” Mr. “Marlo had nothing on me” grinned broadly. “So what you’re saying is, you CAN’T!” he cried with triumphant glee. I pointed out that I had never tried to learn that particular sleight, nor did I have any desire to. He retorted, “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’d LIKE to… But it was late, I was tired, and he had just insulted my magical manhood. So I called him on it. “Listen,” I said, “would you mind telling us how long you spent learning those two moves?” “About fifteen months,” he said, proud of his obvious commitment and dedication. “And in those fifteen months, how many PAYING shows did you have?” His smile faded. There were too many members of his magic club around for him to lie. “UH, about ten, I guess.” “And of those ten, how many were repeat bookings?” “None,” he said, visibly shaken. “Exactly!” I declared. “And until you lose the cocky, ‘I can do this and you can’t” attitude, you won’t get any.” He picked up his freshly false-cut, one-handed-faro-shuffled deck and stormed off, to the cheers and jeers of the rest of the group.

Great Scott! It's More Magic!

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Too many magicians are like this guy. The glaring exceptions are those performers who make their living performing for real people. Performers like Paul Green, Dan Fleshman, etc. In conclusion, the biggest single step you can take toward being a better magician is to invert the ratio in the quote from Mr. Ammar. Put more time into making the tricks you already know more fun, entertaining and mystifying. Then watch as the audience reaction improves and your repeat business increases!

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Scott F. Guinn

PART ONE

CLOSE UP MAGIC

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Scott F. Guinn

Chapter One

Close Up Magic With Balls & Stuff •

Peanut, 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

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n this chapter are three of my favorite routines. The first, my sponge routine, is far and away the routine that I perform most and that people request to see most. The other two are very popular as well. What makes these routines so popular with my audiences? I can sum it up in one word: FUN! All three are amazing and magical, but, 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. So do I! I hope you will, too!

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Scott F. Guinn

PEANUT, BUTTER & JELLY (GREAT SCOTT’S SPONGE ROUTINE)

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hile composed of standard moves, I am very proud of the construction and presentation of this sponge ball routine. It has proven to be mystifying and tremendously entertaining for audiences of all ages, and has garnered praise from laymen and big name magicians alike. I generally use it as my opener in strolling or formal close-up work. It is one of my most-requested routines. Requirements & preparation: You are supplied with 3 sponge balls, a purse frame and a Sanada Gimmick. These props are shown in photo 1. Place everything in your right pants pocket and you’re ready to go. Method & Performance: Reach into your pocket, finger palm one ball and remove the purse frame at your fingertips (photo 2 is an exposed view). Photo 1

Toss the frame onto the table and gesture toward it with your empty left hand (photo 3) as you ask, “Do you know what this is?” Lean forward expectantly, bringing both hands behind you and transfer the ball to left finger palm. This sequence is shown in photos 4 & 5.

Photo 2

Photo 4

Photo 3

Photo 5

Great Scott! It's More Magic!

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Reach for the frame with your right hand, casually showing it empty (photo 6). Trace the outline of where the purse’s bag should be with your left forefinger (photo 7). “If this were a normal purse, there’d be a bag here.” Execute the Cellini Aquitment. Briefly, here is how to do it. A ball is in left finger palm, 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).

Photo 6

Insert the extended first three fingers of your right hand well into the frame (photo 8), pushing the ball flat against the left fingers with the backs of the right fingers. Turn both hands palms toward the audience. The ball is hidden behind the right fingers, and everything seems above board (photo 9). “I don’t think you’d want to keep your money in this purse, would you?” Turn the hands back to their former positions and remove the right fingers from the purse. “I don’t keep my money in it, but I do keep this in it!”

Photo 7

Remove the ball, producing it magically from the frame (photo 10).

“This is a warm fuzzy!” Table the ball, then close the frame at the fingertips, clearly showing both hands empty. “His name is Peanut.”

Photo 8

Photo 9

Photo 10

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Scott F. Guinn

While you are talking, return the frame to your pocket, finger palm another ball and remove your hand. As you ask the person on your right, “Did you hear about the peanut in the park,” place your hand, open, on her shoulder, squashing the ball flat under your hand. (See photo 11). Since she can’t feel the ball, this is very disarming, convincing her (and everyone else) that your hand is empty. “It was assaulted!” (a salted) Photo 11

During the groan following this terrible joke, move your hand from her shoulder to the tabled ball, squashing it under your hand with the palmed ball. Make a sawing motion with your fingers until two balls are revealed as shown in photo 12. Point to the first ball as you say, “That one, of course, is Peanut.” Point to the second ball and say, “That’s Butter! Peanut...Butter! Get it Skippy? I’ll be done in a Jif!”

Photo 12

With your right hand, place Peanut in your left hand, and then take Butter in your right. Wiggle your thumbs and say the balls have changed places (Peanut in the right hand, Butter in the left). Set the balls down triumphantly, then act disappointed at the response. “I’m going to keep doing it ‘til you like it!” Pick up Peanut with your right hand and perform a false transfer, pretending to place him in your left hand while retaining him in your right. To keep this complete, I’ll share a very easy standard False Transfer: Pick up Peanut with your right hand, holding him at the base of the fingers. Turn your right hand palm down over the left palm, flaring up the right ring finger and pinky so the spectators can see the ball, as in photo 13.

Photo 13

Photo 14

Great Scott! It's More Magic!

Begin to close the left fingers. As soon as you feel the left fingers touch the right pinky (photo 14, exposed side view), turn the right wrist inward and lift the right hand straight up, carrying the ball along with it (photo 15- exposed view), while the left fingers close as if they held the ball. Pick up Butter in your right hand, closing it into a fist.

Photo 15

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Wiggle your thumbs, and then open your left hand, showing it empty. Open your right hand, showing both balls. (Photo 16) Ask Kristi to hold out her hand. With your right hand, pick up Peanut and do a false transfer. Then pick up Butter and drop it onto her hand. However, you intentionally drop it so it hits her fingertips and rolls away (photo 17). Quickly catch the runaway ball (photo 18). Place both balls as one into her hand and help her close her fist, as shown in photos 19 and 20. This ploy of Peter Samuelson’s really convinces her that she’s only getting one ball and justifies you helping her close her fist.

Photo 16

“Guess I got butterfingers. Don’t do anything until I say, or Butter will explode! Then you’ll be covered in Butter… and I think you know what that’s like!” Gesture magically, and then slowly open your empty left hand. Tell her to open her hand very slowly as you gesture with your right hand, allowing it to be seen empty as well. As all eyes are glued to her hand and the ensuing revelation of two balls (photo 21) and the inevitable strong reaction follows, steal the third ball out of your pocket in finger palm.

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Photo 17

Photo 18

Photo 19

Photo 20

Photo 21

Scott F. Guinn

Offer to let someone else try. Pick up Peanut at the right fingertips. False transfer to the left hand (you now secretly hold two balls in the right hand), pick up Butter and put all three as one into her hand. Gesture and then open your hand to show that Peanut has vanished. Ask the spectator to open her hand. People will gasp and yell at the appearance of the third ball (photo 22). “Wow, you’ve got Peanut, Butter and… Jelly!” Photo 22

Often, during the pause after I say, “butter and…” a spectator will call out, “Jelly!” That’s even better. I just say, “Exactly!” Reach into your pocket, get the Sanada Gimmick in place on your fingers and then remove the purse frame. Hand the frame to the spectator and ask her to hold it open. As your left hand picks up the first ball, open the gimmick with your right thumb. Put the Ball behind the gimmick. Photo 23 is an exposed view. In performance, the right hand would be held much more upright and closer to your body.

Photo 23

“That’s Peanut.” Repeat with the second ball, saying, “That’s Butter,” and the third, “That’s Jelly.” Push the gimmick down over the balls with your right thumb. Pretend to place the balls into your left hand (photo 24), which closes into a fist. Put your right hand, palm up, under the purse (it looks empty thanks to the gimmick), and your left fist over it. Pretend to dump the balls into the purse. Vanish! See photo 25. Take the frame with your left hand, close it with the right fingers and then take it at the right fingertips. Bring the hands out wide in an open “applause cue” pose (photo 26).

Photo 24

Photo 25

Great Scott! It's More Magic!

Photo 26

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Casually show both hands front and back (photo 27) as you say, “And that’s the Peanut, Butter and Jelly trick!” Put the purse in your right pocket, letting go of everything (photo 28), and you are reset. Photo 27

Photo 28

Notes: I really like the structure of this routine. A ball appears from the purse frame, multiplies, transports, multiplies again, then all three vanish back into the purse frame. The effect flows logically, coming full circle and is immediately reset. This is an extremely powerful and commercial routine, tested, honed and polished through the fire of literally thousands of performances. Do me a favor and give it the practice and rehearsal it deserves before performing it publicly. It will not disappoint. Credits: I believe Albert Goshman was the first to produce sponge balls from a purse frame. The ploy of switching the ball from hand to hand behind the back to show both hands empty is from John Carney’s book, Carneycopia. The Peter Samuelson ploy can be found in his book, Theatrical Close-Up, and the Cellini Aquitment was described in The Close-up Magic of Frank Garcia, Volume One.

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Scott F. Guinn

HAVING A BALL (GREAT SCOTT’S 3-BALL ROUTINE)

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he classic three ball routine has been around for a long time. This routine borrows from several sources, including David Roth, Danny Archer, John Scarne and Ken Brooke. These men, in turn, borrowed from Ed Marlo, who borrowed from Dai Vernon. Mr. Vernon borrowed from Silent Mora, who got the idea from Edwin T. Sachs, who borrowed the concept from an unknown Chinese Conjurer (maybe I should have named this routine “the Borrowers!”). Most of these routines have only two or three phases, repeated several times. I wanted a little more variety. My routine features a couple of color changes and the perpetual balls from mouth, as well as the classic balls across and two-inthe-hand-one-in-the-pocket phases. An interesting feature that separates this routine from most is that, if you leave out the color change, it really only uses three balls (the above mentioned predecessors all use a fourth ball). Enough history and background, 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). Start with the DC in your right sleeve or in a ball holder on your right side. Two SC’s are in your right jacket pocket, the third SC is in right finger palm.

Photo 1

Method and performance: In a casual gesture, display your empty left hand. Then pretend to pluck an invisible ball out of the air at the left fingertips. Hold this imaginary ball in Spellbound Position (photo 1). Bring your right hand over to take the imaginary ball. As soon as the hands come together, drop the SC from right finger palm to left finger palm. Do this in one smooth motion as the right hand apparently takes the imaginary ball to the right, “displaying” it in Spellbound Position. Meanwhile, 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). This is called the Conus Grip.

Photo 2

Bring your left hand in front of the invisible ball at your right fingertips and draw the hand back to the left. Make another pass, but this time take the SC from the left hand between the right thumb and middle finger as the left hand draws back. Display the ball and show the left hand empty. There must be no movement of the left fingers as the right hand takes the ball. Because the fingers were extended completely, 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).

Photo 3

Great Scott! It's More Magic!

Turn your right hand palm down above your palm up left hand.

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The ball should touch the left palm and your right index, ring and little fingers should be extended and spread as in photo 4. Begin to close your left hand. When the left fingers touch the right fingers (photo 5), the right hand, still holding the ball, lifts straight up, rotating the palm toward you and bringing the fingers together. Meanwhile, the left hand closes into a fist (photo 6). With the proper timing, it looks exactly like you put the ball in your left hand. When your right hand reaches the position shown in figure 6, it moves down and to the right (but keep your elbow bent so the sleeved ball doesn’t drop!), finger palming the ball en route.

Photo 4

Crumble your left fingers, and then open your left hand to reveal the ball has vanished. With your right hand, “pluck” the ball out of the air between your right thumb and middle finger (photo 7). Take the ball in left hand Spellbound Position. As you display the ball, drop your right hand to your side, letting the DC drop to finger palm (or steal it from the holder). Clip the DC in Conus Grip as in photo 2.

Photo 5

Pass your right hand in front of the ball in the left hand, drawing it back. This is exactly what you did in at the beginning, only this time the hands are reversed. Also, instead of letting your thumb stick up, keep it hidden behind your hand. Make another pass and thumb palm the SC, leaving the DC in its place. A stop-action of the change is shown in photo 8. This color change is very magical. Allow the SC to drop from thumb palm to finger palm and then take the DC between your right thumb and forefinger. Photo 6

Photo 7

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Photo 8

Scott F. Guinn

Do a Bobo Switch: Thumb palm the DC as you toss the SC from finger palm into your left hand, which immediately closes around it. Wave your right hand over your left, and then open your left hand to reveal a second color change. As you open your left hand, close your right hand into a loose fist, turning it so the thumb and side of the forefinger are uppermost, and let the DC drop to the ring finger (photo 9). Photo 9

Place the SC on top of the fist, displaying it. Do the Top of the Fist Vanish: Pretend to pick the ball up with your left hand, but under cover of the left fingers, open the right thumb and forefinger just enough to let the ball drop into the fist down to the middle finger (photo 10). Close your left hand into a fist and turn it fingers upward. Extend your right forefinger and rub your left fingers (photo 11). Open your left hand. Vanish!

Photo 10

Go to your pocket with your right hand. Keep the SC in finger palm, drop the DC in the ticket pocket, and take another SC at the fingertips. Bring the hand out, back towards the audience, displaying a ball at the fingertips. Drop the visible ball in your left hand. Toss it in the air and catch it a couple of times. Meanwhile, pop the ball hidden in your right hand in your mouth as you adjust your glasses or scratch your nose. Transfer the visible ball to your right hand and display it to those on your right. Do the false transfer described earlier and put the left hand in your left pants pocket as if putting the ball away.

Photo 11

As your left hand leaves the pocket, open your eyes wide and use your tongue to push the ball in your mouth out to your lips. Bring your right hand up to take the ball. Under cover of the hand, 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). Repeat this sequence five or six times (false transfer, left hand to pocket, ball pushed to lips, switch for finger palmed ball). The last time, actually take the ball from your lips with your left hand. Set the ball atop your right fist and do the Top of the Fist Vanish described above. After the vanish, reach into your right pocket and procure the third SC ball at the fingertips. You now have two balls in right finger palm and one at the fingertips.

Photo 12

Great Scott! It's More Magic!

Remove the hand from the pocket and table the visible ball. Page 21

Pretend to pick up a speck of dust or lint with the right thumb and forefinger. Place the “dust” into the left hand, after which the left fingers curl up slightly. Repeat, but this time, drop one of the finger-palmed balls into the left hand. Pick up another “speck” and drop it in the left hand. Close the left hand into a fist. Squeeze, and then open your left hand to reveal a second ball. Do a Shuttle Pass: The left hand turns palm down over the right hand which turns palm up as you apparently transfer the ball. Really, you retain the ball in the left hand in finger palm, and when your left hand moves away, the right hand’s ball is revealed. Everyone assumes it’s the same ball. Set this ball on the table and ask John, “Which one looks bigger?” When he indicates one, pick it up with your right hand. “You’re right!”

Photo 12

Bring this ball under the one in the left hand as shown in photo 12. Use the right hand’s ball to push the other one to the left fingertips (photo 13), and immediately “tear” the balls apart, one in each hand. “It’s actually two…two…two balls in one!” Set the two balls next to the one on the table. Close your left hand into a fist as your right hand picks up a ball. Turn your right hand palm down over the left, and set the ball on the left fist. Display the ball there briefly, then open the fingers just enough to let it sink into the fist. Do exactly the same thing with the second ball. Mention that someone may be skeptical that both balls are in the left hand. Open the hand allowing the balls to roll into the position shown in photo 14. As you close your hand back into a fist, keep the two balls along the top edge of the middle finger. Hold your thumb on top of the fist as shown in photo 15. You now pick up the third ball and apparently put it on the left fist. Actually you do the Vernon-Pladek-Marlo Roll-up Move. By squeezing both balls in the left hand, you can make them roll up to the top of the fist. There is a “knack” to this, but it’s easily acquired. The right hand picks up the third ball and moves to put it on top of the fist, finger palming its ball with the curled third finger on the way. When the right hand obscures the left from view, roll up the two balls by squeezing the left forefinger in and down (photo 16). Photo 15 Page 22

Photo 13

Photo 14

Photo 16

Scott F. Guinn

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. Photo 17 shows the hands immediately prior to the steal. Move your right hand away with the two balls concealed. The ball on the left fist will be accepted as the third ball. Let this ball sink into the fist, as your right hand also makes a fist. Wiggle the fingers and thumbs of both hands. As you do, work the left hand ball in to Heel Clip (photo 18—bottom view). Turn the right fist upward as you work one ball to the 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. As the right hand moves under the left, allow its ball to sink back into the fist. The left hand drops its ball, letting it hit the right fist on its descent, creating the illusion that the ball fell from the right hand (photo 19). Wiggle the fingers again, work a ball to the top of the right fist, and dump the ball next to the first one. Repeat with the third ball. Apparently, all three balls have passed from one hand to the Photo 19 other. Open both hands, showing them empty. 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. As the right hand comes over the left, roll the two balls down to the left ring finger and leave the third ball on top of the fist. Pause a beat, then pretend to take the ball with the right hand, performing the Top of the Fist Vanish. Put your right hand into your pocket, then remove it and show it empty. Snap your fingers and then open your left hand, showing all three balls. Place the balls in a row on the table. Place the first two balls, one at a time, on the left fist, and let them sink into the fist. Do the roll up move with the third ball. The audience thinks two balls are in the fist and one on top of it. Actually, two are in right finger palm. Take the visible ball between right thumb and forefinger and put it in your pocket, leaving the other two as well. Remove your hand, snap your fingers and open your left hand to show it empty! “I hate it when that happens! Well, 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. The routine only takes about three minutes to perform. That’s three minutes of non-stop magic! This routine is also relatively easy to do. Remembering the sequence will probably be the toughest part. I think you’ll enjoy performing it almost as much as your audiences will enjoy seeing it! Good luck.

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GREAT SCOTT’S TABLE-HOPPING CUPS AND BALLS

T

he Cups and balls is probably the most-performed effect in magic’s long history. However, it is rarely seen by the public these days, especially by table-hopping close up performers. This is largely due to the “bulky” nature of the effect—there are a lot of props for the standard 3-cup, 3ball routine with final loads. Table-hopping magicians aren’t willing or able to dedicate so much precious pocket space to one effect. 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. The performing space required is also minimal (especially compared to the space required for a standard 3-cup routine)—about 6” by 10”. A routine with two cups and (apparently) one ball, my routine is inspired by Gary Ouellet’s The Two Goblets. In addition to significantly fewer props, 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. Here are some other nice features of this routine: • • • • • •

It is relatively brief. It can be done standing. It can be performed surrounded. There are no false transfers. There is no sleeving or topiting. It resets quickly and easily.

Requirements and preparation: In my table-hopping work (which is, after all, what this routine was designed for), I use the miniature two-inch combo cups, available from Bob James’ Magic Shop (www.bobjamesmagic.com). At only 2” high and 1-5/8” at the mouth, these take up very little room, and are still highly visible even at very large tables. For the final loads, I use the silicone balls from my Fakini multiplying billiard balls, two white and one yellow (available from most dealers). They fill the cups perfectly. You can, of course, use standard sized cups and large loads, but this will be at the expense of using significantly more pocket space. The props shown in the photos are the mini cups set and Fakini balls. So, from a combo cups and balls set, you will need the chop cup (CC), one regular cup (RC), the magnetic ball (MB) and one regular ball (RB). Also required are three final load balls, preferably two of the same color (SCL) and one different color (DCL). You will also need an opaque handkerchief and a magic wand. All the props are shown in photo 1.

Photo 1

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Place the MB in the CC and the RB in the RC. Nest the RC into the CC, then stuff the handkerchief into the RC above the RB (photo 2). Put the nested cups in the drawstring bag that came with the cups.

Photo 1

Scott F. Guinn

Place the two SCL in your left pants pocket, the DCL in your right pants pocket, and the wand in your inner breast coat pocket. You should be performing this routine on some type of close up pad or a thick tablecloth, or you can use the drawstring bag as your performing surface.

Photo 3 Photo 1

Method and performance: Begin by introducing the props. Bring out the wand, display it and then set it on the table to your far right. Display the drawstring bag. Open it, remove the nested cups, and place the bag aside, off of the pad. 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. With your left hand, pick up the nested cups and dump the RB into your right hand. Place the RB at the center of the pad. Hold the nested cups in your palm up left hand so that the mouth of the RC faces straight ahead toward the audience, as in photo 3. Grasp the CC at its center with your palm down right hand (photo 4).

Photo 4

Photo 5

Photo 7

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Perform Gary Ouellet’s “Cenotaph Illusion”: Simultaneously pivot the left hand palm down and the right hand palm up (photo 5), causing the cups to rotate 180 degrees in opposite directions, where they nest again with the mouth of the CC facing you (photo 6). Reverse the procedure to bring the cups back to starting position. Explain that each cup can nest within the other. This Cenotaph Illusion implicitly “proves” the cups are empty. It seems very fair, because the audience subconsciously thinks they have seen both cups inside and out. Hold the nested cups briefly in your right hand (photo 7), so that your left hand can regrip the RC (photo 8).

Photo 6

Photo 8

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Separate the cups, their mouths downward (photo 9). Lightly set the CC (which is in your right hand and has the MB clinging inside) on the table over the RB (photo 10). Move the cup slowly in a flowing counterclockwise circle of about a four-inch diameter. Lift the CC off the ball and move it about six inches to the right of the RB, setting it down firmly to dislodge the MB (photo 11).

Photo 9

Set the RC (still held in your palm down left hand) over the RB and move it in a clockwise circle (photo 12). Lift the RC and take the RB with your right hand and set it atop the CC, as depicted in photo 13. Photo 10

Now place the RC in your left hand onto the CC, nesting the cups with the ball between them (photo 14) .

Photo 11

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). Photo 12

Wave the wand over the cups, tap the top cup with the wand and then return the wand to its former resting place.

Photo 13

Do the “Tip-off Move,” credited to Herb Morrissey. In case you aren’t familiar with this move, following is a brief description. Photo 14

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Photo 15

Scott F. Guinn

Hold the CC near the rim with your left hand. With your right hand, tip the top cup forward (photo 16), letting its rim scrape across the bottom cup and dragging the ball off into the tipped cup (photo 17). Set the RC (with the RB inside) mouth down on the table about three inches to the right of the CC. Photo 16

Lift the CC with your left hand to reveal the MB (photo 18), creating the illusion that the ball penetrated through the cup. Pick up the MB with your right hand and set it on the RC, as in photo 19.

Photo 17

As your right hand obtains the wand, your left sets the CC on the RC and slides the nested cups in a circle (photo 20).

Photo 18

Wave the wand over the cups and tap the top cup.

Photo 19

Photo 21

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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. As your left hand carries out this action, the right hand replaces the wand so it can pick up the RC to reveal the RB (photo 22).

Photo 20

Photo 22

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Pick the ball up with your left hand and set it on the CC. Your right hand then picks up the RC and sets it on the CC, as shown in photo 23. As you reach for the wand with your right hand, slide the nested cups to center with your left and circle them as before (photo 24). Photo 23

Wave the wand and set it aside. Do the Tip-off Move, but this time, table the cup (with the ball secretly inside) about six inches to the right (photo 25).

Photo 24

Pick up the CC by the rim with your left hand to reveal the third penetration (photo 26).

Photo 25

Allow the CC to pivot mouth up in your left hand, as shown in photo 27. Pick up the ball with your right hand and drop it in the cup. Photo 26

Grasp the bottom of the CC with your palm up right hand and let go of the cup with your left (photo 28).

Photo 27

Cover the mouth of the cup with your palm down left hand (photo 29). Photo 28

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Photo 29

Scott F. Guinn

Keeping the cup trapped between your palms, turn both wrists to the left so the CC is mouth down (photo 30). 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 30

As your right hand continues to grip the cup, slide your left hand out from under it (photo 32). Release the right hand’s grip and show both hands clearly empty (photo 33). Pick up the wand.

Photo 31

Lightly tap the CC and then move the wand in a rainbow arc over to the RC and tap it.

Photo 32

Set the wand aside. Lift the CC with the left hand—no ball! (photo 34). Photo 33

Lift the RC with the right hand—ball! (photo 35).

Photo 34

Replace the CC at center, dislodging the MB. Move the RC off to the right front and set the RB on top of it (photo 36). Photo 35

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Photo 36

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Obtain the hanky from your pocket and drape it over the CC (photo 37). With the left hand, move the RB from the RC and set it on the covered CC (photo 38). 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. Your right hand picks up the wand and does a wand spin or vigorous wave over the cups.

Photo 37

This gives you plenty of misdirection for your left hand to dip into your pocket and obtain one of the SCL balls.

Photo 38

Set the wand down and lift the RC with your right hand. As you do, move the rim of the cup forward so that it knocks the RB off the CC, sending it rolling forward as you feign disappointment (photo 40).

Photo 39

Meanwhile, as all eyes follow the rolling RB, place the RC in your left hand over the SCL (photo 41).

Photo 40

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).

Photo 41

Close your right hand into a fist around the RB. Turn the fist knuckles up and work the RB into heel clip as your left hand picks up the wand (photo 43). Photo 42

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Photo 43

Scott F. Guinn

Push the wand into your fist until your right hand is holding it at about its center (photo 44). Slide your left hand along the wand, past your right hand to the other end. As the left hand passes your right, drop the RB onto the left fingers (photo 45). Pull the wand from the right end out of the fist (photo 46) and tap the back of the fist and then the CC. Set the wand down as the empty right hand opens (photo 47). Photo 44

Photo 45

Photo 47

Your left hand, keeping the RB in finger palm, takes the hanky off the CC and stuffs it in your pants pocket, where you release the ball with the hanky and grab the second SCL. As the hand comes out of the pocket, your right hand lifts the CC to reveal the MB (photo 48). Pass the cup to your left hand, loading it (photo 49), 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. 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 46

Photo 48

Meanwhile, your right hand (still in the pocket) has released the MB and obtained the DCL. Tap the wand against your pant leg and then against the chosen cup. Place the wand aside. Photo 49

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Photo 50

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As your left hand reaches for the selected cup, bring the right hand out of the pocket with the DCL. Lift the cup, showing the SCL (photo 51).

Photo 51

Under cover of the audience reaction to the revealed large ball, pass the cup to the right hand, loading it (photo 52), and table it front and center as the left hand lifts the other cup to reveal the other SCL (photo 53).

Photo 52

Nest the empty cup onto the loaded one (photo 54).

Photo 53

Pick up the wand, do a spin with it and then use it to tip over the nested cups, revealing the DCL for the climax (photo 55— audience view)!

Photo 54

Set the wand down horizontally behind the cups and final loads for a nice display (photo 56— audience view).

Photo 55

To reset, put both hands into your pockets as the audience is reacting to the final loads. The left hand finger palms the RB, the right the MB. Bring your hands out and take the RC in the left, the CC in the right (photo 57).

Photo 56

As you pivot the cups mouth up, drop the balls inside (photo 58). Photo 57

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Hold the cups mouth up

Photo 58

Scott F. Guinn

Photo 59

and clink them together in a toasting motion (photo 59) as you thank your audience. Drop the left cup into the right and hold the nested pair in your right hand. Remove the hanky from your left pocket and stuff it into the RC. Put the cups into the drawstring bag and close it. 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. It has a nice flow, there are no “dead spots,” all the loads are motivated and it’s very easy! Try it out and see if you don’t agree.

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Scott F. Guinn

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 •

•

M

agic with rings holds a fascination with people—particularly when the ring is a borrowed finger ring. Several of the routines in this chapter use borrowed finger rings. In addition, 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. The leadoff item— my ring and rope routine—is a real reputation maker that can be performed anywhere from close up to stage. It has received rave reviews from audiences, magicians and magic reviewers. 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, and when you insert one into your card/coin program, it will really add a spark of interest.

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Scott F. Guinn

GREAT SCOTT’S RING & ROPE ROUTINE

I

n his book, Impossibilia, John Bannon states, “Ring and rope routines slip in and out of vogue as easily as the proverbial ring slips on and off the proverbial rope.” I have no way of knowing whether now is an “in” or “out” phase of proverbial “vogueaciousness,” but I do know that this routine kicks proverbial BUTT! It can open, mid or close either a close up or platform show; it’s effective in formal, impromptu or strolling venues; all the props fit in your pocket; and, you can borrow someone’s bracelet to use in place of the ring for impromptu performance. In short, this routine is exceptionally versatile! I originally marketed this as a separate manuscript complete with the ring and rope (still do, in fact). I have since added an opening and an extra move and changed the finale. I feel the routine is the stronger for it. In addition, in most routines of this type, the ring penetrates off the rope and is then manually threaded back on, whence it penetrates again. In my routine, it comes off magically and then goes back on magically every time! Plus you can stop after any phase, 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. I think you’ll agree.

Photo 1

Requirements: You need a length of rope or cord (a shoelace is fine) about four feet long, although the length is not critical. You also need a ring. Any ring ranging from about two inches to five inches will do, although a heavier metal ring facilitates some of the moves. Method and performance Phase One: Steve Roth’s “Bluff Off” (from The Chronicles, Number 33) The ring should be secured to the center of the rope with a simple overhand knot. Bring both into view and untie the knot, leaving the ring threaded on the center of the rope.

Photo 2

Hold the rope near the ends in your left hand and the threaded ring in your right as in photo 1. Allow Walt to tug on the ring to prove it is firmly on the rope. Move the ring (bringing the center of the rope along) up to your left hand. Insert the ring between the two sides of the rope (photo 2). As your left middle finger secretly pushes the front side of the rope back through the ring (photo 3), lift the center of the rope off the ring with your right fingers. Let the rope drop to show the ring is still threaded.

Photo 3

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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 rope is pulled downward by the finger until it apparently comes free of the ring. See photo 5. 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. Pull this end free of the left hand and let it dangle. Run your right hand down the length of the rope, stopping about four to six inches from the end.

Photo 4

As the right hand brings this end up to the ring, curl your left ring and pinky fingers into your hand below the ring, pinning the rope against the left palm. 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. Your left first two fingers cover the part of the rope that passes through the ring, creating the illusion that the ring and rope are separate as in photo 7—audience view. (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. The ring magically threads itself at the bottom of the loop! Amazing!

Photo 5

Phase Three: John Bannon’s “The Brass Zero” from Impossibilia Maintaining its hold on the right end of the rope, the right hand picks up the left side where the rope meets the top of the left hand. This end is replaced between the left ring and pinky fingers, such that the end projects from the back of the hand. The right hand now places its end between the left thumb and forefinger, so the right hand can retrieve the still threaded ring. Clip the ring between the right middle and forefingers and then release end of rope with the left thumb and forefinger, such that the rope dangles down. Turn the left hand palm up and slide the ring up along the rope until it rests on the left hand, maintaining the right fingers’ grip (photo 8). Photo 7 Page 38

Photo 6

Photo 8

Scott F. Guinn

Keep the rope firmly gripped between the left ring finger and pinky as they curl into the left palm below the ring, holding both sides of the rope against the palm as shown in photo 9. The left thumb on top and the left fore and middle fingers underneath hold the ring, which is still clipped between the first two fingers of the right hand.

Photo 9

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). As you do this, pivot your hands so the backs are toward the audience. Continue pulling the rope through the ring with the right hand until the ends are about even. Let go of the rope with the right hand and pull the ring out to the tips of the left fingers, as in photo 11. Ask Walt to hold the ends of the rope. After he takes them, tell Vandella you’d like her to hold the ring. Pull the ring to your left, 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 11

Photo 13

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Take the rope from Walt and hold both ends together in the right hand. Bring the ends between the left forefinger and middle finger from the back of the hand, across the middle and ring fingers and then between the ring finger and pinky. Pull until the ends hang a few inches below the hand (photo 12). As you are threading the rope Photo 12 through the fingers, slip the left thumb under the right side of the rope where it crosses the middle and ring fingers. Lift the thumb slightly, 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). Photo 14

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Grasp the bottom of the loop with the right hand. Give the loop a quarter turn counterclockwise and then bring it up to the ring. Place the loop on the top of the ring so one side hangs on each side of the ring. Let the loop slide off. “If I place the rope here, the rope is on the ring, but the ring is not on the rope.” Again, bring the bottom of the loop up and onto 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. By holding the small loop in the left hand firmly in place with the left thumb, one end of the rope secretly threads through the ring. Your right fingers hide the fact that the ring is already on the rope (photo 15).

Photo 15

Pause a beat before yanking the ring sharply to the right, causing it to snap onto the rope. Release the ring, letting it swing back and forth, pendulum style (photo 16). In the style of a hypnotist, say, “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, asking him to hold it tightly. Hold the other end firmly in your left hand. Stretch the rope out horizontally, with the ring hanging approximately at center. “The ring is on the rope.” Reach around the ring with your right hand, grip its left side and twist the ring 180 degrees to your right. This causes the rope to loop itself around the ring. “The ring is now on the rope even more securely!”

Photo 16

Pinch this loop in place with your right thumb and forefinger and release the end in your left hand. Your left hand regrips the rope near your right thumb and stretches it across the diameter of the ring, where it loops it around and back through the ring as in photo 17. 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. Remind Walt to hold on very tightly. Hit the ring hard on its edge with your right hand so that it spins around a few times. “Obviously, the ring is on even more securely, and it can’t come off unless we untie it and one of us lets go of an end.”

Photo 17

Spin the ring again. (When it stops spinning, make sure the rope runs across the top of the ring.) “You can tell it’s really on there, 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). It will seem to melt right through the rope! “…It would look like this!” Photo 18

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Scott F. Guinn

Phase Six: George Blake’s “Toss On” Tie the ends of the rope in a square knot. Drape the rope over your left hand, knot on top of the hand (photo 19), allowing the rope to hang in a loop. 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, as in photo 20. 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), toss the ring forward and down at a thirty-degree angle. The ring flips around in the loop on its way down to the bottom tying itself into a girth-hitch knot. Photo 21 shows the ring in the knot at the completion of the move. Phase Seven: Scott F. Guinn’s “Wring Out the Ring” (an original move based on ideas by Aldo Colombini and Richard Robinson)

Photo 20

“Instead of falling off, the ring has been caught in a knot! But it’s not just any knot in which the ring is caught; it’s a magic knot, believe it or not! Grip the ring in the right hand and release the rope with the left. Display the ring in the knot. 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. Hold the cross piece firmly against the two sides of the rope. With your right thumb and forefinger, grip the ring between the two sides of the rope (photo 22).

Photo 21

Pull the ring up and through the loop, while maintaining the left hand’s hold on the rope. The knot around the ring will double, into a “cat’s paw” knot. See photo 23. “The knot doubles into what is called a cat’s paw. Have you ever seen a cat’s paw? How about a cat’s ma?”

Photo 22

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Photo 23

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Your right hand grips the ring at the point opposite the knot (photo 24) and pushes it back through the loop, as both hands turn over (photo 25). This returns the knot to a single girth hitch, and puts the cross piece on the bottom, as in photo 26. “While it would be pretty amazing to remove the ring from this single knot, I think you’d agree it would be even more so from the double knot. And I’ll add a twist to make it even more difficult!” Pull the ring through the loop of the knot as before, but because the cross piece is on the bottom, the knot unties instead of doubling (photo 27—exposed).

Photo 24

Before anyone can see that, begin twisting the ring clockwise, making sure to hold the loop firmly against the sides of the rope with your left hand. Wind the rope until you are in the position shown in photo 28. “You can clearly see that the ring is definitely on the rope. 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. The ring is free of the rope (photo 29)!

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Photo 25

Photo 26

Photo 27

Photo 28

Photo 29

Scott F. Guinn

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). Photo 30

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.

Photo 31

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!).

Photo 32

Photo 33

Photo 34

Photo 35

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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!”

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Photo 36

Photo 37

Photo 38

Photo 39

Scott F. Guinn

RINGS OFF...RINGS ON

T

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.)

Photo 1

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).

Photo 2

Photo 3

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Photo 4

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Turn the left hand palm up and open it as you gesture and remark that you need a string. Reach into your left pocket, searching for one. Bring the left hand out of the pocket and hold it palm up, in preparation for the world’s easiest Bobo Switch: Move your right hand towards the left. Drop the right thumb behind the right hand under cover of this larger motion and hold the thumb against the palm, pinning the separate rings in place as you drop the linked rings from finger palm into the left hand (photo 5), which immediately closes around them. The right hand instantly reverses direction and goes into the right pocket where it ditches the rings and retrieves the string.

Photo 5

Bring out the string, double it and hold it by the loop. 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. Bring both ends of the string through the loop (photo 6) and pull taut, forming a girth hitch knot as in the preceding routine. Perform “Wring Out the Ring,” as explained in phase seven of my ring and rope routine. Keep the rings aligned as you remove them from the string. Finally, hold up the rings between your right thumb and forefinger, blow on them and let one drop, apparently linking instantly. Allow everything to be examined.

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Photo 6

Scott F. Guinn

GREAT SCOTT’S SYMPHONY FOR RING AND STRING

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y ring and string routine borrows from several sources. (As the old saying goes, “If you steal from one source, it’s plagiarism, but if you steal from several sources, it’s research!”) I have altered some of the moves and left others exactly as they were. Like most of my multi-phase routines, this one comes full circle, with the ring vanishing into the purse frame from which it was produced. This routine uses my own ring. The one that follows this uses a borrowed ring. Requirements and preparation: You need the following items to perform this routine: a string, approximately 36”- 48” long (I use a round red shoelace); a signet ring, which needs to slide easily on and off the ring finger of both hands; a purse frame; a wand or substitute (like a chopstick). Have the string in your left pocket, the ring and purse frame in your right pocket and the wand in either your inner breast jacket pocket or your back pants pocket. Photo 1

Photo 2

Method and performance: Phase One—Dan Fleshman’s Purse Production Remove the string from your left pocket and hand it to Walt to examine. Reach into your right pocket, finger palm the ring and remove the purse frame. Your right hand gives the frame to Walt as your left takes the string, about four inches from the upper end. Ask Walt to open the purse and make sure it is empty. As he does, pivot the ring into curl palm and feed the end of the string through it (photo 1). Hold the string between your right thumb and the side of your right forefinger. Take the other end in your left hand, mirroring the right hand’s position (photo 2). Pull the string firmly between your hands (keeping a firm grip on the ring and both ends of the string), demonstrating that it is solid. Move your left hand to the right and take both ends in the right hand. Grasp the loop at the center with your left hand and tug again. Take the clasp back from Walt, holding it in the crotch of the left hand as in photo 3.

While keeping the right hand closed, use the right thumb and forefinger to open the frame not quite all the way. Raise the string until the bottom of the loop is over the purse Photo 3 frame, and then slowly lower the string through the frame until your hands touch (photo 4). Photo 4

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At this point, 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). Pick up the wand and wave it over the left hand. Table the wand. Take the ends of the string at the right fingertips and pull the string straight up. The center of the loop catches the ring, which comes into view as it emerges from the purse frame (photo 6), much to the shock and surprise of the audience. Replace the purse frame in your right pocket.

Photo 5

Phase Two—variation of Dan Garrett’s “Faustus Ring” Hold the ends of the string in the right hand, the ring dangling at the bottom of the loop. Grasp the left side of the string with the left hand, just above the ring, pinning the string between your thumb and the base of your forefinger (photo 7). Close your left hand into a fist around the ring and both sides of the string. The right hand, still holding the string taut, moves below the left hand as in photo 8. This sequence of moves causes a small loop to form above the ring. The ring rests at the base of the left third finger (see photo 9, where the fingers are opened to give an exposed view for clarity).

Photo 7

Photo 9

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Hold the left hand up, back toward the audience. Release the string with your right hand, which comes up to the left. Grasp both sides of the string and stroke downward. As you repeat this motion, allow the ring to drop out of the left hand, timing the drop of your right hand at the same speed as the descent of the ring. (Refer to photo 10.) Stop when the ends protrude from the right hand about an inch and a half.

Photo 6

Photo 8

Photo 10

Scott F. Guinn

Keeping the string taut, raise the right hand up and to the right until the string is parallel with the floor. As you ask Vandella to take the ends of the string, slide your right hand to the right, engulfing the ends in the right fist (photo 11). This forces her to grip the string between your hands. When she does, move your right hand off the ends, taking the ring with it. 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. Photo 11

Photo 12

Tell Vandella to hold the string tightly as you slowly move your left fist to the left, off the end of the string. The ring has apparently penetrated the string. Meanwhile, your right thumb has slid the ring onto your right ring finger. Slowly open your left hand and act surprised that the ring is not there. Bring your right hand up to point at the left palm. “Notice” the ring on the right hand, do a double take, remove the ring and place it in the left hand. Phase Three—Mark Leveridge “On” penetration The ring is resting on the middle joint of your left middle finger. Hold the looped center of the string in your right hand as in photo 12. As you start to close your left hand into a fist, lift the forefinger above the ring and press down, causing it to pivot so you can pivot it into curl palm. The back of the hand is toward the audience; the thumb side of the hand is up (photo 13). Your fist should be a loose tunnel with the ring acting as a support.

Photo 13

Photo 14

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Lower the loop into the fist, where it passes through the ring as well. Lift your left thumb so your right hand can push the loop in farther. Hold one side of the string with your left third and fourth fingers. Hold both sides of the string with your right third and fourth fingers. Turn your right palm slightly toward the audience as your right thumb goes into the loop below the ring, as in photo 14, which is an exposed view. Raise your right hand, pulling one side of the string out of the right fingers’ grip and through the ring. This end will hang over your right thumb (photo 15). Immediately grip it alongside the other end in your right hand and pull the ends taut.

Photo 15

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The ring is still held in the left fist. Slowly pull the string up until the ring, threaded on the center of the string, emerges from the left hand. Phase Four—Gary Ouellet’s “Ring Drop” While the right hand holds the ends of the string, the left grips the ring (still threaded on the string) in French Drop position. 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, spreading the fingers slightly. The front side of the string goes between the middle and ring fingers (photo 17). Perform a French Drop with the ring, closing the fingers together on the “take.” (This gives a retention of vision.) Your right fingers now grip the string at the spot the ring formerly occupied, as if holding the ring (photo 18). Pull the string up and forward, unthreading the ring (photo 19). Move the right hand toward Vandella, asking her to hold one end in each hand. As she takes the ends, drop your left hand to your side and jam the ring on your finger. Clap the hands together, the right hand above the string, and the left below it (photo 20). Slowly raise the right hand first and then lower the left and turn it palm down to display the ring on the finger. Remove the ring.

Photo 18

Phase Five—Ouellet variation of “Clifton’s Move” from Earl Nelson’s Variations. Ask Vandella to thread the ring onto the string, so that she can be sure it’s really on there. Take both ends in your right hand and let her tug on the ring.

Photo 16

Photo 17

Photo 19

You are still holding the ends of the string in the right hand and the ring is hanging in the bottom of the loop. Place your left hand into the loop and lower it onto the ring as in photo 21. Photo 20

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Photo 21

Scott F. Guinn

As you turn your left hand palm down into a fist, grip the ring with your left pinky as shown in photo 22. Release the ends, letting them hang down from both sides of the left hand.

Photo 22

Take the right side of the rope in your right hand and drape it across the back of the left hand (photo 23). Pass the right hand in front of the left on the way to get the other side of the string. As the right hand passes the left pinky, drop the ring into the right hand (photo 24). In a continuing motion, bring the left side of the string over the back of the left fist to the right, crossing over the other side to form an “x” (photo 25). Under cover of this larger motion, bend the right third fingertip into the ring. As you pull to the right, the friction of the ring sliding on the string helps thread the ring on your finger (photo 26).

Photo 23

When the hand comes off the end of the string, push the ring fully on the finger with the right thumb. Pick up both sides of the string where they meet at the “x.” Raise the right hand up and forward as the left hand opens, empty (photo 27). It usually takes a moment for the audience to notice the ring on your finger. When they do, they flip out!

Photo 24

Photo 25

Photo 26

Photo 27

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Phase Six—variation of Jim Ryan’s “Rope, Ring and Rod.” Place the wand under your left armpit, leaving about two-thirds of it extending forward. Clamp your left elbow to your side to hold the wand in place. Thread the ring onto the string, saying you will tie it on to make the trick more difficult. Tie a slipknot as follows: Hold the string in your palm down hands about two inches away from the ring on either side. Bring your right hand behind your left and pin the right side of the string against your left forefinger with your left thumb. This side of the string now hangs behind the loop you just formed as in photo 28.

Photo 28

Now reach through the loop from the far side with your right thumb and forefinger and grasp the dangling side of the string. 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). Immediately slide your left hand along the string to the left and pull on both ends until the knot is tight. Don’t overdo it, 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.

Photo 29

Re-grip the string on the right side and pull it taut. Grasp the ring and string in your palm down left fist, taking the ring directly into Heel Clip (photo 31). Cross your right hand in front of your left and grasp the string next to the left pinky (photo 32). Slide the right hand along the string about four inches to the left. Ask Walt to take the end in his right hand. Your left hand holds the ring firmly in Heel Clip, but don’t put any pressure at all on the string. As you move the string toward Walt, your right hand pulls the string to the left, dissolving the knot and freeing the ring.

Photo 31

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Photo 30

Photo 32

Scott F. Guinn

As Walt takes the string, move your right hand to the right along the string. Your left hand drops the ring into right finger palm as the right hand passes (photo 33). The right hand, without pause, continues to the right and grasps the other side of the string about four inches to the right of your left fist.

Photo 33

POSITION CHECK: Walt holds the left end of the string in his right hand. Your empty left hand, which everyone assumes is holding the ring, is in a fist around the center of the string. Your right hand has the ring in finger palm and is holding the string to the right of the left hand. Ask Abe to hold the right end of the string in his left hand. Once he takes the string, release it from your right hand. As the right hand moves away, pivot the ring into curl palm. Bring your right hand up to the wand (protruding from your left armpit) and thread the ring onto the wand (photo 34), sliding it to center and removing the wand from the arm in one fluid motion.

Photo 34

The right hand holds the wand and threaded ring in a fist. Lift the string slightly with the left fist and pass the wand under it. Move the wand forward about a foot and position it on a plane about four inches lower than the string. Either have Walt and Abe grip the ends of the wand with their free hands, or if you’d like to involve more people, have Rowena and Vandella hold the wand. Make sure to emphasize that everyone holds on firmly! Ask the boys to pull the string tight. Pull back on the string in the manner of a bow and arrow. As your left hand releases the string, simultaneously snap the right hand off the wand, spinning the ring (photo 35). The illusion is that the ring was shot from the string onto the wand, while the spectators held the ends of everything!

Photo 35

Finale—Tamariz’ “Crossing the Gaze” vanish Take the ring in your right hand. Your left hand goes to the left pocket, searching for the purse frame. Remove your left hand as your head turns to look at your right pocket. Simultaneously perform the false transfer described in “Having a Ball.” Reach into your right pocket, ditch the ring and remove the frame. Hand the frame to Rowena and ask her to open it. Open your left hand over the purse as if dumping the ring into it. Vanish! Retrieve the frame, close it and pocket it along with the string to end, once again coming full circle.

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STRUNG OUT

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he previous routine is my ring and string routine of choice, because I really like the way the ring keeps appearing on the finger (an idea from Gary Ouellet’s Homing Ring). However, there are those occasions when I don’t have my ring with me or the spectator insists that I use her ring, which of course will almost never fit my pudgy finger. What follows is the sequence of moves I perform with a borrowed ring. Phase One—“Ring,” by Ray Grismer. Grip the cord about ten inches from one end between your right thumb and forefinger. The remainder of the string runs over the back of your hand. Your palm is facing you. The left hand holds the ring between thumb and middle finger, as shown in photo 1. Display the ring and then turn both palms to face you. Move the right hand over and up to bring the end of the string above the ring. On the way up, you bump the ring with the right fingertips, causing it to pivot sideways as in photo 2. This condition is hidden from the audience view by the back of your hand. Photo 1

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, apparently through the ring (photo 3). Note that the other end of the string runs over the far side of the left hand. When the right hand meets the left hand, release the right hand’s grip for a moment and then re-grip the near side of the string below the left hand. 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. Continue pulling the string until the ends are even. You will now execute the Grismer Pinch. This concept belongs to my friend and fellow Idahoan, the Legendary Ray Grismer. Don’t let anybody try to tell you otherwise!

Photo 3

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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.

Photo 2

Photo 4

Scott F. Guinn

The Grismer Pinch is displayed in photo 5. Note that the curled middle finger hides the small section of the string on the outside of the ring. The Grismer Pinch exactly simulates the string actually being threaded through the ring. (Compare photo 5 to photo 6, where I actually threaded the ring on the string.)

Photo 5

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. Pivot the right hand up and to the right to the position shown in photo 7. Then give the string a tug as you relax the grip of the right thumb and forefinger. The ring apparently penetrates off the string. Phase Two—Leveridge’s “On” penetration This is explained in the previous routine. Phase Three—Ray Grismer’s “Off” (My apologies to Ray. In the earlier editions of this book, this move was improperly credited.) The ring is still on the string. Gather the ends in your left hand. Your palm down right hand approaches the ring, the middle and third fingers together, forefinger spread, as shown in photo 8.

Photo 6

Photo 7

Photo 9

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The ring is gripped between the ring finger and the thumb. The left side of the string is clipped between the middle finger and forefinger. Let go of the string with your left hand. Turn the right hand palm up as shown in photo 9. Ask Vandella to hold out her hand. Turn both hands so the knuckles face the audience. Bring your left hand below the right between the strands of the string and raise it up, the thumb passing the inside and the fingers passing the outside of the right hand, where they take the string up (photo 10) and grip it near the ends.

Photo 8

Photo 10

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Turn your right hand palm down and move it over Vandella’s hand while retaining your grip on both the ring and the string. The string (except for the center where you hold it) slides through your left fist. Set the ring, still threaded on the string, onto Vandella’s palm. As you do this, patter, “I’m going to try to pull the ring right through the center of the string and drop it onto your hand.” Pull back on the string with the left hand, pulling the ring off Vandella’s hand and letting the ring swing back and forth on the string. This reinforces the fact that the ring is on the string in a subtle manner. Re-grip the ring and string again as in photo 8 and then repeat the sequence to get into the position in photo 9. Hold both hands with the knuckles facing the audience. Again, bring the left hand between the strands of the string and move it up toward the right hand as you did in photo 10, but this time, when the left hand reaches the right, 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). 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). As soon as they pass through, the right fingers close again. This is covered from the audience’s view by the backs of the hands, and looks exactly the same as the previous “setup” motion.

Photo 11

Photo 12

Continue raising the left hand, taking the string with it, which secretly unthreads the ring. Immediately turn your right hand palm down and move it over Vandella’s hand This time, however, you drop the ring, free of the string, onto Vandella’s palm! Let the empty string sway back and forth in the air. 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. Mr. Miller uses this to produce the Photo 13 ring, having secretly obtained it in curl palm. However, I like the move just as well as a simple penetration. If you want, you can preface this with Mr. Miller’s one-handed knot or the one-handed knot from Mark Wilson’s Complete Course in Magic. Otherwise, just tie a loose overhand knot in the string. This knot must be a bit bigger than the ring. If it isn’t, then, as Captain Picard would say, “Make it so!” (Wow! Two Star Trek references in one routine!) Show the ring resting on your left second finger. Close the hand into a loose fist, pivoting the ring into curl palm as you do. (This is exactly what you do in the Mark Leveridge move in the previous routine.) The right hand holds the string at one extreme end. 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). With your left thumb, push the bottom of the knot where it crosses the string against your palm, pinning both the vertical part of the string and the horizontal part of the knot there. Page 56

Scott F. Guinn

Now your right hand pulls up on the string, tightening the knot on the ring. Release the left thumb’s grip, allowing the ring to come up out of the fist, tied onto the string. Phase Five—Steve Dusheck’s “Walkoff” From Magic with Finger Rings by Jerry Mentzer this makes a beautiful follow-up to the Miller move. Slightly loosen the knot around the ring “to give them a better view of the ring actually in the knot.” Photo 14

Hold the string by the end with the right hand, allowing the string to hang vertically. Make sure the knot is configured as in photo 14. If not, bring the other end up to the right hand, seize it, and let the first end drop. 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, partially untying itself as in photo 15. Form your left hand into a fist around the ring and knot. As you apparently pull the knot tighter, push the ring out of the knot with your thumb, hidden by your fist.

Photo 15

Photo 16

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. Then have Rowena hold the ends of the string in her hand. 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. Set the ring down and untie the string. Finale—Peter Samuelson’s “In the Hand-off” Begin with your right hand palm up. Hold the string draped over your hand with the center on the forefinger tip. Hold the ring at the left fingers. Place the ring (if it’s a signet ring, make sure it’s signet side out) onto the tip of your right forefinger over the string. A small loop will protrude through the ring as in photo 16. Grip the loop with your left thumb and forefinger and pull it upward and forward. The far end of the string comes up through the ring, threading it. Grip both ends of the string in your left hand and pull them to the left until the string is taut. Hold the ring between the tips of your right thumb and forefinger, which touch inside the ring (photo 17). This is a fair position that duplicates the Grismer Pinch.

Photo 17

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“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. Grip the string near the ring with the right fingers and pull to the right

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until the string comes free of the ring. “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. The following sequence should appear exactly the same as the previous. Place the string over your right forefinger and the ring over both as in photo 16. Place your left forefinger on the signet (if there isn’t a signet, just place the finger on the outer side of the ring) to provide cover for the upcoming move.

Photo 18

Close the right middle, ring and pinky fingers into a fist, holding the string tightly against the palm. Act like you’re grabbing the loop with your left fingers, but instead slip your left thumb under the string as in photo 18. Move only your left thumb until it hits your left finger. In a continuing motion, grip the string between the left thumb and forefinger and move the left hand upward and forward. The inner side of the string slides between the ring and your right thumb, but you keep some friction on it with the right fingers until it comes free of the right hand, so it appears that you’re threading the ring. (You may want to point the tip of the right forefinger slightly toward yourself to help provide more cover.) Photo 19

Grasp both ends together in the left hand and pull them taut to the left. A bight of string runs around the side of the ring. As your left hand pulls the ends to the left, pinch this bight through the ring between the right thumb and forefinger in the Grismer Pinch. It should look exactly like photo 17, except this time the ring is not threaded on the string. Release the ends of the string. Flip the end nearest you over the right hand. It appears as if the string runs straight through the ring (photo 19). Have Vandella hold out her left hand. Set the ring on her palm, pushing your thumb into the ring (to hide the bight) as your fingers go under her hand (photo 20). Use your fingers to help her close her hand around the ring, pulling your thumb out at the last second.

Photo 20

Ask her to hold the ring tightly. Have Walt take the ends of the lace several inches from each side of Vandella’s hand, where he holds the string horizontal. Tell Vandella to slide her hand back and forth on the lace between Walt’s hands. The bight will slide off the ring. Ask her to open her hand, revealing the release for the big finish.

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Scott F. Guinn

LIPLOCK

A

ll the old books, which, I must agree with David Roth are the best books (EXCEPT FOR THIS ONE!), 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. Here is a transposition effect using a borrowed ring. This trick also involves the “magician in trouble,” another compelling plot. Effect: You borrow Rowena’s finger ring, which you lock on the shackle of a small combination luggage padlock. You surround the lock with a handkerchief, which you form into a bag. This is given to Rowena to hold. You explain that you’re going to perform some magic with her ring, but you’ll put up some collateral. You remove a small hardwood curio box that is latched and locked with a small key padlock. “Inside this box is another ring. It is a family heirloom that has been handed down from generation to generation. With the box in full view and out of my hands, and the other lock with your ring in your hand, I’ll make the rings change places—yours will be in the box, mine on the lock. As a matter of fact, I’ll give you the key right now to guard.” You reach into your pocket for the key and a sick look crosses your face. Your hand comes out of the pocket, not with a key, but with a rather cheap looking ring. “This is my ring!” You look at the audience as if sensing they know it’s a cheap piece of junk. “My family bought stock in Cracker Jack! Shoot! I must have accidentally locked the key inside the box! Ah, let’s forget the whole thing! Go ahead and take your ring off the lock.” 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. Inside the box is her ring! Requirements and preparation: This requires a couple of marketed items: Patrick Reymond’s “Deadlock,” from the Camirand Academy of Magic and a Lippincott Box. (In explaining this routine, I am not at liberty to divulge the methods of these props. If you don’t have them, go buy them!) You’ll also need one of the cheap rings that comes with Deadlock and a handkerchief. In addition, you’ll probably need to get a different padlock for the Lippincott box, 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. You should have no trouble finding a suitable lock at your local hardware store. Place the box, ready to be loaded, in your right outside jacket pocket. Your ring should be in the small ticket compartment inside the same pocket. The key to the padlock is locked on the shackle of the Deadlock. The gimmick is in position. The Deadlock goes in your right pants pocket, the hanky in your outer breast pocket. Method and performance: Borrow Rowena’s ring. Remove the Deadlock with the gimmick showing and the shackle and key hidden in your hand. “Unlock” the gimmick and thread Rowena’s ring onto it. “Lock” the gimmick. Obtain the hanky with your left hand. As you cover the deadlock, allow it to pivot around and grip the shackle through the hank at your left fingertips. Steal away the gimmick and ring as the right hand comes out from under the hanky. Don’t make a mad dash for your pocket or feel “guilty” about holding out the ring and gimmick. As Aldo would say, “You are the only one who knows!” Instead, with the right fingers,

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gather the dangling corners of the hank into a bundle. Release your left hand’s hold of the hanky, letting the enveloped lock swing down below the right hand. Ask Rowena to hold the hanky, gesturing towards the ends with your left hand. Ask her to hold out her other hand, palm up (preventing her from trying to feel her ring through the cloth). Reach into your right jacket pocket, thumb off the gimmick and load the ring into the Lippincott box (this is the work of a second) and then remove the box, all in one motion. As you’re doing this, patter about putting up collateral. Set the box on her palm. Talk about the family heirloom and explain what you intend to do as above in the effect description. Say that you’ll give her the key. Reach back into your pocket, and act shocked as you remove the ring instead of the key. Pretend you’ve ruined the trick and tell her to take her ring back. She’ll set down the box and unfold the hanky to discover the key, securely bound to the lock. Let her use the key to open the lock on the box. Then let her open the box and remove her ring. What makes this trick so stunning is the almost complete “hands-off” aspect of it. No one thinks the lock is gimmicked, so the appearance of the key is a complete surprise, as is the ring inside the locked box! Apparently, even though you’d put the wrong item in the box ahead of time, you did exactly what you said you’d do—the item in the box transposed with the item on the lock. Incidentally, this routine is equally effective for close up and parlor or platform shows.

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Scott F. Guinn

Chapter Three Close Up Magic With Other Stuff A TRUNK FULL OF NUTS ASSERTIVE POSITIVE NEGATIVE •

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he two tricks in this chapter are unusual or “novelty” routines. How often does a close up magician get to produce an elephant? Or how about doing a coin trick without any coins, while predicting what a spectator will do before she does it, culminating in the perfect opportunity to hand out your business card? I have got a lot of mileage out of these two routines. Learn them and you will, too!

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A TRUNK FULL OF NUTS

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riginally devised for children, I’ve found that this trick plays equally well for adults. I don’t remember where I got the basic idea years ago, but the patter is mine.

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). As the peanuts get old and cracked, replace them. You can get a large bag at your supermarket for a couple of bucks, or you can get official “Great Scott!” peanuts from me. The cost for four is $5 plus postage and handling. (You never know…) The props are shown in photo 1. Put one peanut in your left pocket. The other three peanuts and the elephant go in your right pocket. (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. 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, while keeping the one in the left hand concealed. Perform a Shuttle Pass as you toss the right hand’s nuts into the left hand, holding back one nut in finger palm. The left hand turns palm up to receive the other two peanuts, which coalesce with the one in finger palm (photo 2). This should look like you’ve simply tossed three nuts from right to left to display them. Drop the nuts on the table.

“When I was young, I loved to visit my grandpa. Once, he took me down to the basement and showed me this old, beat up trunk. When he opened it, I saw it was filled with, of all things, peanuts! Photo 2 I asked him why he had them. He said, ‘Son, these are magic nuts! You see, I can eat as many as I like, but the trunk always stays full of ‘em! There’s never any less, and they never get stale!’ Then he gave me three and told me to keep them in my pocket. These are those very peanuts! I can eat one or two, but as long as I keep one, I always have three left!” Pick up a nut with your right hand and toss it into your left. Pick up another and toss it, along with the nut in right finger palm, into your left hand. Pick up the last nut, display it on your right palm, and pretend to put it away in your pocket. Actually, when the hand is in the pocket, finger palm the nut and then bring your hand back out as your left hand opens and dumps three nuts onto the table. Repeat the above sequence twice, but on the second repetition, actually leave the peanut in the right pocket and finger palm the elephant. Remove the right hand from the pocket as the left again dumps the three nuts on the table.

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Pick up two nuts at your right fingertips. As you apparently toss them into your left hand, 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, which immediately closes around it (photo 3). The movement will be a blur, and everyone will assume that blur is the two peanuts. Certainly, 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. Remove your right hand and show it empty. “’As sure as you get within sniffin’ range of that packy-derm, he’ll sneak all three away from ya!’”

Photo 3

Open your left hand to show the elephant (photo 4). “’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. I buy a bunch of them at a time, and give one to a kid in the audience each time I perform the routine.

Photo 4

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ASSERTIVE POSITIVE NEGATIVE

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n his wonderful best-selling videotape, Video Mind, Phase Two: Close-up Mentalism, Max Maven teaches a wonderful effect called “Positive Negative.” It is a powerful routine where you write a prediction on the back of your business card, which you then set aside in full view. The spectator chooses one of three imaginary coins, flips it in the air, and tells you what coin she chose and whether it landed heads up or tails up. You show that your prediction on the card was correct. I felt the routine had one flaw: The spectator could answer in one of two ways. One way you could show the entire card and leave it with them, but the other answer dictated that you conceal part of the card and keep it yourself. I wanted to be able to show the whole card and let the spectator keep it regardless of what happened. When I explained the following handling to Max via email, he was very complimentary, and said he had not heard of anyone using it before. Therefore, I am recording it here. However, it is essentially Mr. Maven’s trick, so I take no credit for the effect itself. If you don’t have the video, 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. Method and performance: Basically, 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. If you already know the Maven trick, that’s all the info you need. I’ll briefly explain for those who aren’t familiar with the original.

Photo 1

On the back of the business card, centered near the top, write the word “NO!” Then on the lower half of the card, write, “The nickel is heads up!” See photo 1. Place the card face down on the table.

Ask Vandella to extend her hand. Ask her if she has a good imagination as you pretend to place something on her hand. Explain that you just gave her three invisible coins: a dime, a nickel and a penny. Tell her to pick up any two. “Since the coins are invisible and it’s YOUR imagination, please tell everyone which of the two coins you picked up.” Here you use Magician’s Choice (a.k.a. Equivoque or Hobson’s Choice) to force the nickel. Assume she says she picked up the dime and the penny. You’d respond, “Great, keep those as souvenirs. So, we’re left with the nickel still on your hand. Flip it in the air and let it land on the table.” 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. Ask her which one she gave you. If she says the nickel, tell her she can keep the other two as souvenirs and then YOU flip it and let it land on the table. If she “keeps” the nickel, thank her for the other coin and pretend to pocket it as you tell her to flip the nickel. OK, so the imaginary nickel has been flipped and has landed on the table. Ask Vandella to look at it and tell you if it is heads or tails. If she says tails, proceed as in the original Maven effect: Explain that she is wrong—it’s actually heads—but she’s new at this. Besides, you knew would say that, which is why you Great Scott! It's More Magic!

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wrote on the back of the card (turn the card over and read it aloud, “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. If her answer is “heads,” the trick departs slightly from the original. Here, maven picks up the card, covering the “No” with his thumb to reveal the rest of the prediction. So the prediction is right, but now she can’t keep or examine the card. As I said, 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. Pick up the card so that your hand covers the bottom prediction, but not the word “No!” The prediction is still face down at this point (photo 2). Ask, “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, “No.” Say, “My prediction matches exactly! No!” Turn your wrist up to show the card with just the “no” showing (photo 3—audience view). This will get a laugh. Wait a moment before remarking, “You don’t seem too impressed. That’s why I wrote a second prediction!” Remove your hand, allowing the rest of the writing to come into view for a killer finale! With this small presentational variant, both answers seem to fit the prediction, and you can leave the card with them. Either way, they are absolutely amazed and have no clue.

Photo 2

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Photo 3

Scott F. Guinn

PART TWO

Parlor Platform & Stage Magic

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arger shows such as banquets, school assemblies, churches, etc, can present a challenge for material, particularly when there are adults in the audience. 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. In this section of the book are ten of the things that I use for parlor, platform and stage shows. The all pack small and light, but play for audiences of 25 to 1000 or more. I hope you find a few you can use!

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Chapter Four Parlor, Platform & Stage Magic with Cards, Money & Stuff INVISIBLE CARD IN GLASS THE CARD OR THE CASH VISUAL MATCHUP • BILL IN LEMON •

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ard tricks can play well for large crowds if they are properly routined. The first effect in this chapter is a card trick without cards! It is good for lots of laughs, but still wows them. The second effect combines a card routine with a game show theme and magic with a borrowed bank note. And the final routine in this chapter is my version of the old classic, the bill in lemon effect.

These three routines may well be the strongest, both magically and for entertainment value, of any that I perform.

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INVISIBLE CARD IN GLASS

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his is my version of a marketed trick by El Duco. His routine uses a gimmicked tray. This one uses no gimmicked props and no sleight of hand to speak of.

Effect: You “give” Abe an “invisible deck” (an imaginary deck, not the marketed trick deck known as the Invisible Deck), and ask him to shuffle the cards. He is to fan through the cards and name just the value of a card that catches his eye (for example, 9). He now pretends to go through the deck and removes the four nines. You pick up a small tray and on it you set a stemmed glass, asking Abe to put the nines in the glass and the rest of the “deck” in his pocket. You cover the glass with an opaque hanky. “We’re going to try a little experiment,” you say. “We’ll take turns reaching under the hanky and removing a card, and we’ll see if we can leave your card as the last one in the glass. By the way, which of the nines did you choose?” We’ll assume he chose clubs. You reach under the hanky and come back out with an invisible card at your fingertips. You declare it is the 9H. Abe reaches in and removes an invisible card. “The 9S! Well done!” you exclaim. You reach under the hank again and come out with what you claim to be the 9D. “We did it!” you cry. You seem bewildered by the obvious lack of amazement on the part of the audience. You review all the actions that have taken place: Abe shuffled, pulled out four cards of like value that he freely selected, placed them in the glass and then the two of you removed three cards under cover of the cloth, leaving only the selected card behind. “You don’t find that amazing? Well, I guess some people need proof!” You tell Abe to remove the hanky. One real card is seen in the glass—the nine of clubs! Requirements an preparation: A small tray, a clear goblet or tumbler that will hold a playing card, a large, opaque handkerchief or bandana and a deck of cards.

You will need to arrange the deck in a card index. Rather than using a marketed card index, I arrange the deck into Harry Lorayne’s “Self-Index” from his book, Deck-Sterity. Briefly, take the three through ten of each suit and put them in order, with the three at the face of each packet. Hold a packet face down in Biddle Grip and bow it strongly, as if you were about to do the Spring Flourish (photo 1). Remove the 7-10 and turn them around, replacing them back-to-back with the 3-6, such that the backs of the 6 and 10 are touching with a wide crimp break between them (photo 2). Place the un-crimped two of that suit into the break (photo 3). Repeat this procedure with the remaining three suits. You can now quickly find any card by starting at either end (the 3 or the 7) and counting inward, or by Great Scott! It's More Magic!

Photo 1

Photo 2

Photo 3

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sticking your finger in at the crimp (between the 6 and 10) and counting outward. The most cards you’ll ever need to count will be two. (Of course, if you need the deuce, you just pull the straight card from out of the break.) Set the two red suits in two right pockets, and the two black suits in two left pockets. The threes of all four packets face outward. Method and performance: Bring Abe up front with you and go through the business with the invisible deck as described above. A well-worn but still funny bit you can use here: if he starts shuffling immediately, stop him and tell him it’s easier to shuffle if he removes the cards from the case first. Have him pretend to spread through the deck and ask him to name a value of a card, “...but don’t pick an obvious card like an ace or a face card—everyone always picks those, and it makes things too easy for me.” 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. Instruct Abe to remove the four cards of his mentally selected value. Pick up the tray and rest the glass on it. (If you want, you can have him examine both. I feel this just slows things down and draws suspicion where none would otherwise have been, so I only do this if he asks if he can examine the props.) Have Abe place the “four cards” into the glass and the “rest of the deck” into his pocket. 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). Explain the concept of removing cards, leaving his for last, and ask him which card was his. Position yourself to one side of him and facing him, so that the pocket containing his named card is out of view of the audience. So, going along with the description of the effect above where he chose the 9C, you would stand to his right, facing him, because the clubs are in your left pocket. Reach under the hank with the left hand and pretend to remove a card from the glass. Bring your hand back out from under the hanky, look at the imaginary card and name it. 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. As he complies, 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, letting it hang loosely at your side. The palmed card is blocked from the audience by your body and Abe and Abe’s view is blocked by the props, so there’s no need to worry about it being seen. Besides, no one is watching that hand or expecting you to palm a card out of your pocket. They are watching Abe remove an invisible card from the glass—you don’t even have to be particularly adept at palming. With your empty hand, take the invisible card from Abe and name it before putting it in a pocket on your right (audience) side. Remove the hand and casually show it empty with a gesture as you ask Abe to hold the tray. (This psychologically reinforces the fact that your hands were empty for anyone trying to reconstruct the method later.) Lift the corner of the hank with your right hand, pulling it back toward your body. Reach in with the left hand, drop the palmed card in the glass, and come back out with the last “invisible card.” 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. Go through the business of being disappointed by the lack of the audience’s appreciation, and review all the steps that have taken place. Say, “I guess some people need proof!” Tell Abe to remove the hanky, revealing the selected card in the glass for the climax. Take the card out of the glass, hand it to Abe and Page 72

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tell him to put it back in the “deck.” As an afterthought, remember the “three cards in my pocket,” and reach into the pocket the real card did NOT come from and “remove” the three “cards,” handing them to him as you say, “You’d be playing without a full deck!” This will get a laugh, and again reinforce the wrong pocket. Send him to his seat, but before he gets there, notice the invisible case, call him back up and have him place the cards in it as you ask for a round of applause for him. This will get another laugh and stronger applause to end the routine.

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THE CARD OR THE CASH VISUAL MATCHUP

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y friends told me not to do it. “It’s too good!” they said. “And it doesn’t read well. It sounds complicated, and no one will finish reading it, much less actually learn and perform it.” I had to agree. I’m aware that to most, this routine will simply not seem worth the effort. I mean, you’ve got to go on a near “Close-ian” scavenger hunt. Parts of the routine seem as if they couldn’t possibly fool anyone. There’s quite a bit of set up involved. I am also aware that this is probably the single strongest effect I’ve ever performed, in any venue. And I hate to give it away. So, remembering the old adage that the surest way to keep a routine from being performed is to put it in print, I’m including it here. Feel free to stop reading now. The routine is a combination of three outstanding effects, woven together with some of my touches and handling. It incorporates Ken Brooke’s “The Card or the Cash,” Larry Becker’s “Visual Aid” and a very sneaky variation of Meir Yedid’s “Mental Matchup.” 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, which is a great trick!” The result of combining the above effects into this routine has created a gestalt, culminating in powerful magic involving sleight of hand, mentalism, comedy and audience participation. It has never failed to garner a strong reaction. Many times, the performance of this routine has been rewarded with a standing ovation. But, you’re probably not interested… Requirements and preparation : As I stated above, you’ll have to gather quite a few things to perform this routine. Here’s the list, in no particular order: • A new, standard book of matches (20 matches) • About 20 opaque manila coin envelopes, 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, the KH) • A couple of lottery scratch tickets I’ll go watch Schindler’s List, Saving Private Ryan and The Green Mile while you gather the above accoutrements. Back so soon? Great!

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Separate the envelopes into two stacks of 10. Make sure that all the flaps extend straight out. Take the top envelope of each stack, and with the scissors cut the flap off of it, as in photo 1. Replace the flapless envelopes atop their respective stacks and wrap each stack with a rubber band. The envelopes should be perfectly aligned such that the flap from the second envelope appears to be attached to the top one, and the rubber bands should be around the center of the stacks in identical positions (photo 2). 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). Pencil dot the upper left corner of the top envelope of this stack. Place this stack into your left inner breast coat pocket. 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. Using the ballpoint pen, copy the serial number of the $20 bill onto the tape (photo 4).

Photo 2

Fold the bill in half widthwise, so the fold goes down President Jackson’s face, and his portrait is inside the folded bill. Fold it in half again (meaning the bill is now in quarters) in the same way. Insert the folded bill into the second envelope of the second stack. Place this stack behind the first stack in your pocket. Fold the jumbo bill in the same manner as the real one and put it in your outer coat breast pocket. Next, set up the deck. Remove the KH, placing it with the remaining four duplicates. Place the five duplicates into the deck in the 2nd, 4th, 6th, 8th and 10th positions from the bottom of the face up deck (photo 5). Case the deck and put it in your left side coat pocket.

Photo 3

Finally, put the dry erase marker in your shirt pocket, the matches and clothespins in your right side coat pocket, the lottery tickets in your left side coat pocket and the dry erase board in your case. You’re ready to perform the routine. If you’re still with me, you’re probably beginning to think that,

Photo 4

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Photo 5

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like Dickens, I get paid by the word! Method and performance: “I need to borrow a twenty dollar bill, one of those new ones with the huge portrait of Jackson’s noggin!” Have the gentleman who offers his stand where he is. Unfold the jumbo bill and hold it with the portrait facing you. Explain that this is a visual aid, and you’d like the gentleman to hold his bill up in the same position as yours. Fold the jumbo bill as described in the preparation section above. Do one fold at a time so that the man can follow along with his bill. Invite him to join you as the audience gives him a round of applause. As he approaches, put away the large bill. When he arrives up front, ask the man his name. It’s Walt! What a coeenkeedink!

Photo 6

“I also need a lady who would like an opportunity to win Walt’s $20 bill!” You’ll get plenty of volunteers for this. Pick one. (No way! It’s Vandella! What are the odds?) Have Walt stand to your right, Vandella to your left. Remove the first stack of envelopes and insert the folded bill into the first, flapless envelope (photo 6). 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). Return the stack to your pocket, placing it behind the other stack.

Photo 7

Seal the envelope and then write the word “prize” on it with the marker (photo 8). “It’s time to play ‘The Card or the Cash,’ the exciting new quiz game! Now, here’s your host, me! Thanks, myself, for that wonderful introduction. Today’s contestant, Vandella, will be attempting to win our prize of $20, so graciously donated by Walt! Let’s give them both a big hand.” Remove a clothespin and attach the prize envelope to Vandella’s collar or lapel. “Before we go on, we need to have a playing card selected.” Photo 8 Bring out the deck and fan it face up without exposing the top ten cards. Show it to Vandella and Walt, “proving” it’s a regulation deck. “If I have one of you select the card, the other might suspect me of having set something up ahead of time.” Square the deck, replace it in the case and ask Walt to hold it. Remove the matchbook and toss it over your shoulder into the audience. Instruct the person who caught it (or the closest one to where it landed) to think of a number between 1-10. “Now open the book and remove that many matches. But don’t do it one at a time, because I don’t want to know how many you’re removing. Count the matches while they’re still attached and tear them out in a bunch. Great! But I don’t want anyone to think that you and I are in cahoots, so toss the matchbook over your shoulder.” We’ll assume a lady caught it this time. “Ma’am, I’d like you to silently count how many matches are left in the matchbook. We need a number between one and ten. Don’t tell me how many are left, just tell me Page 76

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if there are more or less than ten.” She’ll respond that there are more. “OK, please add the digits in the number together. For example, if there were 23 matches left, you would add 2+3=5. Understand? Now, whatever total you came up with, tear out that many matches. Close the matchbook and put it in your pocket or purse. Now bring up the matches you tore out and give them to Vandella. Thank you. 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, 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!). “Vandella, how many matches are you holding?” Assume there are six. Ask Walt to deal six cards into a pile on your table. Thank Walt and take the deck from him. Show the 6th card (KH—top card from tabled pile) as the “selection”, and then show the 5th card (new top of tabled pile) and 7th card (top of deck) to be indifferent. This really “sells” the idea that it was a free choice, and any idea of a force is negated. Note: If the number of dealt cards is even, the “selection” is the top card of the dealt pile and you proceed as above. If the number is odd, show the top card of the deck as the selection, and then show the top card from the tabled pile and the new top card of the deck to be indifferent. Leave the KH in Walt’s hand and put the deck away. Remove the second stack of envelopes (the front stack in your pocket). 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. Replace the stack in your pocket. Seal the envelope and write the word “answer” on it. As you attach it to Walt’s collar or lapel with the remaining clothespin, explain the rules of the game to Vandella. This part of the routine is very amusing, but be sure to play it lightly so there is no “sting” for Vandella. “This card, the king of hearts, was chosen at random by two audience members. This card represents the answer to any question I ask you. If I ask you to name the capitol of New Hampshire, or the number of Indians required to make a Rain Dance, or the name of Sir Isaac Newton’s dog—no matter what the question is, the only acceptable answer is, ‘The king of hearts!’ If you answer all of the questions correctly, you win the 20 bucks. Do you understand?” She will most likely say yes. If so, respond, “Obviously not, or you would have said the king of hearts! Well, we’ll give you another chance. Walt doesn’t mind.” (If she answers correctly, just move on.) “Are you ready?” She’ll likely say yes again. Raise an eyebrow and she’ll quickly correct herself, getting a big laugh from the audience. “I almost got you, didn’t I?” Again she’ll likely say yes and then quickly correct herself. “Here’s the money question. Answer correctly and you win the prize. Which would you rather have, the twenty dollars or the king of hearts?” The audience will laugh as they realize the predicament in which Vandella now finds herself. Eventually, she’ll say the king of hearts. Tell her she’s won, and to open the prize. She does to find the king of hearts—exactly what she asked for! (If she insists on saying the twenty dollars, apologize and say she has lost, but you have a lovely consolation prize. Have her open the envelope.) Now ask Walt to open his envelope. He finds his (apparently) $20! This is the first climax, and you’ll get a nice round of applause. Tell Vandella that you feel badly that you put her in a no-win situation, and that you’d like to give her a chance to win up to $10,000. Pause before removing one of the lottery tickets. Give her the ticket and send her back to her seat (more applause and some “ahhhhhs” from the audience), but keep Walt up front. Great Scott! It's More Magic!

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Pick up the dry erase board and marker. Remind everyone that you had Walt fold the bill, with the serial number inside, before he came up front, so you have never seen the number. 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. “No, that’s too fast! Slow down!” Slowly begin to write the serial number on the board (it’s on the tape on the frame, remember?). Stop somewhere in the middle at any number that is NOT a nine. “I’m getting a nine, yet I feel it’s not a nine. In fact, part of me is certain it’s not a nine, 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, there will always be nine matches left. Second Climax! The audience will gasp and applaud. There seems to be no way you could have known this. Turn back to Walt. Finish writing the serial number, but intentionally write an incorrect number on one digit. When you’re done, act uncertain. Look at Walt and ask, “I’m not quite right, am I? Look at your bill and concentrate on the position where I’ve made my mistake.” Move the pen back and forth across the board, as if trying to sense which number is wrong. Finally, cross out the wrong number. “Was that the incorrect number? Good, now concentrate on the correct number.” Wait a moment before writing the right number above the crossed out one (photo 9). “Walt, please read the serial number slowly and clearly directly off your bill.” As he reads each digit, tap it with the marker. Walt will be completely stunned, as will the audience. Final Climax! Everyone will go crazy! Of course, you’ll never know that, because you stopped reading a long time ago…

Photo 9

I know this sounds like a long, drawn-out routine that is tedious to set up. All I can tell you is this: If you take the time to put it together, practice and rehearse thoroughly, and perform it convincingly, you will use it the rest of your life!

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BILL IN LEMON

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here seem to be as many variations of this effect as there are for finding a selected card. Why another? Quite simply, there were a number of conditions that I felt should be met to make the “ultimate” version, and while some of these are met in other routines, I never found one that met all of them. Here are the main considerations: • •

•

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The routine is almost completely “hands-off” on the part of the magician. Once someone loans me the bill, I do a quick gag and then return it, so he can copy the serial number onto a dry erase board. As far as he’s concerned, the bill never leaves his sight. I never touch the bill again. The bill is (apparently) never switched. No going to the pocket under cover of a gag. No thumb tip switches. The bill never seems to go out of view, it is not folded into 16ths or 32nds, or rolled into a little tube, and both hands are shown empty before and after the brief moment the bill is in your possession. A member of the audience burns the bill. It is not put in an envelope or covered by a hanky. 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. The lemon is in a sealed container which is given to a spectator for safekeeping before the show even starts. There is only one lemon—no magician’s choice, no last-minute loads, no corner switches, no “million dollar mystery” stuff. The lemon is cut open, the bill removed, opened and verified by a spectator. Again, the entire audience can verify the serial number from the board. The magician never touches the lemon except to dispose of it after it has been cut open and the bill removed.

I feel that the fulfillment of these conditions combine to make for an incredibly clean, powerful, impossible-to-backtrack routine. I know there are those who say that burning the bill is “too impossible.” My response to this is, “Rubbish!” I’m a magician! I’m in the business of doing the impossible.” Try this routine on a lay-audience, and see if someone comes up to you and says, “Gee, you had me until you burned the bill. Then it was just too impossible!” Certain “Ultimate” versions of this trick berate and belittle any magician who burns a bill. Consider this. If someone took your bill, rolled it up into a tiny little tube, put it in a hanky, put the hanky in a wine glass, and made the bill vanish, to appear rolled up inside a lemon that he picked up and cut open, what would you think? Answer: “He never really put it in the hanky; he palmed it and stuck it in a hole in that lemon that I wasn’t allowed to touch!” And you would be right. Many methods involve putting the bill into an envelope and then setting the envelope on fire. “Why would someone put it into the envelope if they were just going to burn it?” you may ask. And if you thought about it, you would say, “I bet it wasn’t in the envelope when he torched it!” And you would be right again. I think most laymen can figure this out on their own without too much effort. As to the two-bill “million dollar mystery” version, where both halves of the same bill are in the lemon and you do the switch with the two spectators, all I can say is this. I saw one of the biggest names in magic perform this version at a convention at the evening show for the public. Afterwards, I was in the men’s room and overheard a large group of laymen discussing the show. One asked what the others thought about the trick where the bills showed up in the lemon. They all groaned and proceeded to describe the method exactly, exclaiming how obvious and lame it was and that they couldn’t believe the magician thought he’d fooled anyone with it (their words, not mine!). This same magician, on a best-selling video, criticized burning a bill as being

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too impossible. I find this ironic, since this same person constantly preaches that your routines should leave the audience only one possible explanation—magic! (Don’t get me wrong. I admire the magician in question immensely, and think he is a credit to magic. I just find his thinking in this one area to be inconsistent with his philosophy.) In my version, the spectator burns the bill in the open, reading the serial number as it burns! There can be no doubt that the bill is destroyed completely. This adds clarity of effect and conviction. When the spectator removes the bill from the lemon which has been in his possession the whole time, and he proceeds to read off the same serial number, there can be no doubt that it is the same bill. There are those who bemoan the fact that you lose a dollar every time you do the trick. My response is, “So what? It’s only a buck! If you can’t afford it, 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. I disagree. I think a signed bill has more drawbacks than advantages. • •

•

If the bill is signed, you will have to vanish or destroy the bill under cover. They can’t see the bill being destroyed as cleanly, if at all. Result: lower level of conviction. A signed bill means you must load the lemon during the effect. This allows the possibility of a drop or miss-load. It also means a gaping hole is in the lemon, which in turn means you have to handle and cut the lemon. 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. Again, less conviction. Everyone knows that serial numbers are like fingerprints. They are unique; no two bills have the same serial number. Therefore, a signature to identify the bill isn’t necessary. Further, have you ever noticed how hesitant people usually are to sign a bill? That’s not a normal thing to do. Writing down the serial number IS a normal thing to do.

So, I’ll make you a deal. Learn this routine thoroughly and perform it exactly as written, giving it your best effort. If you don’t get a reaction that is all you could hope for, call or write me and I’ll send you a dollar to replace the one you burned. Anyway, you’re probably starting to worry if I’m just going to rant and rave, or actually teach the routine! Let’s get into it. Requirements and preparation: Go to your bank and buy 100 new $1 bills with sequential serial numbers. They may have to order them for you, but they can get them. People get them for birthday and Christmas gifts all the time. Separate the bills in groups of ten (00-09, 10-19, etc.). Remove the bills that have a 3 or an 8 as the last digit, and the bills ending with 30-39 and 80-89. (You’ll have enough bills to perform this routine 18 times. Spend or re-deposit the rest). Group the bills you separated in pairs (for example: K48930623H and K48930628H). Place all but one pair aside. In addition to the bills, you’ll need the following items: • a lemon, • a thin stick or a wood screw, • super glue • an exacto knife or razor blade, • a dry erase board and marker, • a book of matches, • a frying pan, • lighter fluid, • a trivet,

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• • •

Photo 1

a sharp kitchen knife a Sanada gimmick a small case to hold the lemon and knife.

Preparation and set up: Get the pair of bills (in our example from above, the two ending in “23” and “28”). With the exacto knife, carefully scrape away the left half of the “8” so that it looks like a “3” (photo 1). Always remember to do this both on the lower left and the upper right serial numbers of the bill. Fold the bill in half along its width twice and then once in half lengthwise. Carefully pry the pip off the lemon with the exacto knife. Cut a small “x” where the pip was. Poke a hole in the lemon with the stick or screw. (Don’t poke clear through!) Leave the stick in the lemon for the time being.

Photo 2

Fold the ungaffed bill in half lengthwise and then in half widthwise. Roll it up like a sleeping bag, as tightly as possible (photo 2). Remove the stick from the lemon and insert the rolled bill into the hole—a twisting motion will help. Once it’s flush, poke it in another half inch with the stick (photo 3). Replace the pip, securing it in position with the glue. Place the prepared lemon and the knife in the case. The matches, Sanada gimmick and gaffed bill go in your right pants pocket. Have the dry erase board and marker on your performing table or an easel. The frying pan, trivet and lighter fluid need to be readily accessible.Give the case containing the lemon and knife to Rowena to hold at the start of your show, making her promise not to open it until you ask. Since this routine is my closer, I let her know I won’t ask her to open it until the end. I don’t want her to think I forgot about it.

Photo 3

Photo 4

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Method and performance: Offer to demonstrate an interesting quality of paper money and ask to borrow a nice new one-dollar bill. As you patter, put your hands in your pockets. Get the gaffed bill in finger-palm. Then get the Sanada gimmick into position over the bill and remove your hands from your pockets. Meanwhile, Abe has offered you a bill. Take it from him at the right fingertips, showing the hand empty, thanks to the gimmick. Gesture with your left hand to show it, too, is empty as you remark, “I’ll show you how to increase your money!” Fold the bill exactly as you folded the gaffed bill. The backs of your hands face the audience. As you finish the final fold and apparently crease the bill firmly, lift the gimmick, slide the bill under the gaffed bill (photo 4), and remove the gaffed bill, closing the

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gimmick over Abe’s dollar. Hold the bill against the gimmick with your thumb, displaying an otherwise empty hand (photo 5). The trick is now done as far as the method is concerned—it’s all selling it from here. As far as the audience is concerned, the trick hasn’t started yet! Man, I LOVE being a magician! “All you do is fold it three times and wait about ten seconds. When you unfold it, you’ll see your money… in creases!” Even though this is a rather old, lame joke, it always gets a laugh. Photo 5 Give the bill back to Abe, 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. Head back to the front, asking Abe and Walt to come join you. Hand Walt the marker and ask him to write the serial number on the board as Abe calls it off. State that, since Abe is in possession of the bill and Walt is doing the writing, there is no way you can cheat.

Once the serial number is on the board, ask Walt to leave it on the easel (if you have one) or to hold it so everyone can see it. Reach into your right pants pocket, dump the Sanada gimmick and bill, and come out with the matches. Place the trivet on the table and set the pan on it. Bring out the lighter fluid. “Have you heard the expression, ‘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. (This next bit came from a Dan Harlan routine in “The Minotaur.”) Hand him the lighter fluid and ask him to douse the bill. Give him the matches and tell him, “Tear out a match and toss it into the pan.” This instruction is deliberately ambiguous. Abe will do one of two things, to which you will respond: • If he throws the match in the pan without lighting the match, comment, “THAT was exciting! Try lighting it first this time, Mr. Literal!” • If he lights it first, stare at the flames and yell, “I didn’t tell you to LIGHT it, Sparky!” Either way, as the bill is burning, have Abe read off the serial number. After it has completely burned, ask Abe, “Would you be impressed if I could pick up some ashes and restore your bill?” He’ll have to admit he would be. “So would I!” CAREFULLY (the pan is hot!) get some ashes on the end of your fingers and rub them briefly. Look up at the audience. “Ladies and gentleman, 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, this gets an enormous reaction! You may need to find a different line here.) Send Abe back to his seat. Have Rowena stand and open the case. Ask her to remove the larger of the two items inside. She’ll remove the lemon. “A lemon… kinda like this trick, huh, Abe? Give the lemon to Abe as a consolation prize. You know what they say, Abe. When life gives you lemons, make lemonade! Rowena, you’ll find a knife in the case. Please, carefully hand it to Abe. Abe, cut about halfway into that lemon all the way around its circumference.” Abe cuts open the fruit and finds the bill. Ask him to unroll it and read the serial number aloud as you Page 82

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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”).

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Chapter Five Parlor, Platform & Stage Magic with Rings, Rope & Stuff •

RETURN TO THE NEST / EMPTY NEST • GUINNWARD, HO! • RINGS OFF...RINGS ON...AGAIN! • THE MAGIC JUMPROPE

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ffects with rings and rope have been part of the conjurer’s arsenal for hundreds of years. In this chapter you’ll find routines with finger rings, linking rings, 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.

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RETURN TO THE NEST

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he borrowed ring in nest of boxes is, in my opinion, one of the most powerful effects in stand-up magic. I often use it as a closer. This routine uses a gaffed nest. The routine immediately following this one uses an ungaffed nest.

Requirements and preparation: You need a gaffed nest of boxes. The set I use is marketed by Samuel Patrick Smith. It consists of three nesting boxes with a cutout in back, and a Lippincott Box (LB), and sells for around $75-100. You’ll also require a small jewelry ring box, a drawstring bag that the ring box will fit in, and a devil’s handkerchief, 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. The boxes are nested and closed. Lock up the LB, turn it upside down and open the trap. Set this into the cutout of the nest so that the door acts as a slide. Place the key to the LB in the ring box and the ring box in the bag. The nest goes on the shelf of your table with the hanky draped over it. Give the bag to an audience member before you start the show. Photo 1

Method and performance: Borrow a lady’s finger ring. Bring up a little boy, about 5-6 years old, to help you. Show the ring to the boy and then, keeping the ring in full view, get the hanky. Cover the ring with the hank and pick up the fake ring through the hank as you finger-palm the real ring (photo 1). Using the Ramsay Subtlety, show the boy how to hold his hand palm down to take ring through the hanky between his thumb and forefinger (photo 2). Point at the lady who loaned you the ring, again using Ramsay Subtlety, and say, “If anything happens to that ring, you owe her a lot of money.” Address the woman. “Don’t worry! If anything does go wrong, I have a lovely consolation prize!”

Photo 2

Reach into the table for the nest, loading the ring as you remove it and set it on the table. Walk over to the boy, who is still holding the “ring” through the hanky. Take one of the dangling corners of the hanky between the first two fingers of the left hand, the palm facing the audience (photo 3—audience view). Show the right hand empty in a gesture as you ask the boy, “Are you still holding onto Mrs. -----‘s ring?” He’ll say yes. “Good! Now when I count to three, I want you to let go of the ring, ok? One, two, THREE!” The kid lets go of the ring and the empty hanky falls, dangling Photo 3

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from your fingertips. The ring has apparently vanished into thin air. Show the hanky on both sides and then stuff it into your pocket. The kid almost always looks around on the floor for the ring, which gets a laugh. Pretend to look with him for a second, then ask him, “What did you do with her ring?” Another laugh. Have him lock his fingers together and put his hands on his head and then “pat him down” like a suspect under arrest. HUGE laugh. Tell him you’re just teasing and send him back to his seat, leading the applause as he goes. Look at the lady. “Are you ready for this? Your ring is…back on your finger!” She will almost always look at her finger. As soon as she does, say, “Yeah, that would have been a great trick, huh?” (Thanks to Dan Fleshman for this line!) ENORMOUS laugh. Ask the person who has been holding the bag to stand. Have her open the bag and remove the ring box. Tell her to open the box and hold the lady’s ring “high in the air for all to see, and the applause will be tumultuous!” She opens the box and holds up the key. In an audience of some size, part of the crowd will begin to applaud, as they can’t tell that it is not the ring. Eventually, the lady holding the key or the woman missing the ring will point this out to you. Ask the woman with the key, “What did you do with the ring?” Look at the other lady. Well, it’s out of my hands now. It’s between you two! No, I’m just kidding. Would you like to know where your ring really is? No fooling, it’s back on your finger!” If she looks: “I can’t believe you fell for that again!” If she doesn’t look: “Yeah, you’re not falling for that again, are you?” In any event, have the lady with the key give it to the lady missing the ring. Draw attention to the nest of boxes. “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 $1.98 a quart! So I picked some up, just in case.” Open the first box, remove the next and so on. Close the trap on the LB as you remove it. Ask the lady to come up with the key. Have her verify that the box is closed and locked. Ask her if the key fits the lock. When she replies that it does, comment that it wouldn’t be much of a trick if it didn’t! Have her remove the lock, open the LB, remove the ring and verify that it’s hers. Lead the audience in a round of applause, as she returns to her seat. When she puts the ring on, stop suddenly and say, “Your ring is back on your finger!” EMPTY NEST Here’s a version of the preceding routine with an ungaffed nest, although you will still need the LB. Your only other requirement will be a large Banker’s Clasp, available at any office supply store. You will be using this as John Bannon’s “I/O Holdout.” Preparation: Get at least three, or even four or five ungimmicked boxes that will nest together. Discount stores such as Wal-Mart, Fred Meyer, Shopko, Target, etc. sell sets of nested gift boxes at Christmas that will work perfectly (photo 1). Page 88

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Scott F. Guinn

Each box should be locked, tied or banded shut before you place it into the next larger box. Place the key to the LB in the innermost box. The LB, padlocked and with the trapdoor closed, goes into the drawstring bag. Give this to an audience member for safekeeping before you start the show. The Banker’s clasp is attached to your left rear trouser pocket. You must wear a jacket, which will hide the clasp. The prepared hanky is in your outer breast pocket. The nest of boxes should be on your table in full view from the start of the show. Method and performance: Follow the same procedures as in “Return to the Nest” with the following exceptions: 1. After you switch the ring for the one in the hanky (the kid is holding the fake ring), keep the real ring finger-palmed. As you walk over to your table to call attention to the “consolation prize,” your hands drop to your sides and you load the ring under the clasp on your back pocket. You may hitch up your pants casually, to help cover this. 2. Instead of having the drawstring bag opened first, ask the lady who loaned you the ring to come up front. Let HER open the nest to discover the key. Send her to her seat with the key. 3. Turn to the person with the bag. Ask her to open the bag and remove the box. Go to her and take the box. As you display it with your right hand, your left hand, which has been resting on your hip, pivots back and gets the ring from the holdout in thumb palm. Hold the LB so that the trap faces you. 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, your left hand loads the ring into the LB and pushes the trapdoor closed! 4. Take the box to the owner of the ring and let her unlock it and remove her ring. Additional comments: I know, I know… It’s SCARY opening, 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. Or what a thumb palm is. Practice this until you can do it without looking at your hands, and I GUARANTEE you’ll fool ‘em! And you won’t have to shell out the bucks for a tricky set of boxes!

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GUINNWARD, HO!

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his is a linking ring move. It has received rave reviews from lay audiences as well as from magicians at my lectures and at conventions where I’ve performed it. People like Michael Close, Aldo Colombini, Paul Green and Ray Grismer were all very complimentary, and Dan Fleshman called it, “The coolest, most original linking ring move I’ve ever seen!” Jim Cellini has something very similar, but he gets into it differently and does not do the auditory illusion at the end. Requirements and preparation: This is part of my three-ring routine, although it could be easily incorporated into most any routine. But in the context I use it, the key ring and a single routine are in play. Another single ring has been given to a member of the audience. Method and performance: You have done a couple of links and unlinks with the key and a single. They are currently linked, and you’re holding the key in your right hand with the gap near your forefinger. The single dangles from the bottom of the key (photo 1). With your left hand, flip the single up and onto your right forearm (photo 2). Hold your arm in the air to display the single resting on it.

Photo 1

“You can clearly see that one ring is on my arm. If I could pull that ring right through my flesh and bone, would that impress you?” Unless they’re dead, it will. Turn to your left and grasp the single with your left hand (photo 3). Meanwhile, clamp down on the key ring with your left elbow and slide your right hand into the gap as shown in photo 4. (Obviously, the gap must be sized ahead of time so that it fits snugly on your hand.) Focus all your attention on the single and your right forearm as you “strain” to unlink the rings. Suddenly stop as if you feel pain. Release the left hand’s grip of the single, allowing it to slide off the forearm as you turn to face front and hold up your right hand, showing the rings hanging from it. Photo 3

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The gap in the key creates the illusion of the

Photo 2

Photo 4

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ring going right through your hand (photo 5). “Wrong flesh, wrong bone, same trick!” Here comes the first convincer. Grip the key at seven o’clock with your left hand. The forefinger extends along the surface of the ring (photo 6). Slide your left hand up the ring to the right hand, creating the illusion that you’re pushing the ring through the hand. Due this with just a bit of tension on the ring, and it will create a great illusion. Photo 5

Photo 6

Here’s the second convincer: Give the bottom ring a spin and then grip the key and pretend to spin it, giving it just a little jerk as you do. The bottom ring will “hop” as it spins, giving the auditory illusion of the second ring spinning. This is surprisingly effective. Turn to your right and lower your hands, so your body screens them from the audience. Take the key ring into the left hand, slide the right hand out of the gap and turn back to face the audience. Hold up the right hand and show it front and back as you ask, “Can you see the whole through there?” Use your right forefinger to point to both your ears as you ask, “How about the whole through there?”

Notes: I’m very aware that the rings have been exposed on TV a number of times. I’m also aware that my ring routine is one of the strongest and most entertaining routines I perform. Some may say that this move exposes the method. Actually, quite the opposite is true. On several occasions as I progress through my routine, I’ve overheard a “smart” audience member explaining to those around him that one of the rings has a gap in it. When I showed the penetration through the hand, he said, “See?” I then looked him right in the eye and did the fake push-through and auditory spin. Invariably, the response is, “Or not!” This always gets a big laugh. When done with a magnetic locking key ring, the move is even more effective, as you can display two solid rings both before and after the penetration.

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RINGS OFF...RINGS ON...AGAIN!

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arlier in this book is my handling of Aldo’s “Rings Off…Rings On.” Here I have adapted it to parlor and platform performance, where it never fails to have great appeal.

Requirements and preparation: You need a 4-foot length of rope and a five-inch set of linking rings. From this set, you’ll require the linked pair (double) and the two separate, intact rings (singles). You’ll need a table with a solid front or a drape (I use my suitcase table). Drive a small nail or brad halfway into the table near the top on the right in back, or attach a magnet under the tabletop. Hang the double on this nail/magnet. You also need a servante or a pad on your table’s shelf. The rope and singles are on this shelf. Method and performance: Display the singles, one in each hand. Have them examined if you want. Take both rings in your left hand, remarking that you also require a rope as your right hand reaches inside the suitcase table without looking. Rummage about a bit as if you can’t find the rope. Finally, bend down to look for the rope.

The left hand comes to rest on the tabletop, apparently to support you. Actually, only your left thumb rests on the table—the rest of the hand hangs below the table, right at the nail or magnet (photo 1). Your right hand reaches up and takes the rings from the left hand, immediately moving to set them on the shelf, as your left fingers take the double (photo 2). Immediately raise your left hand above the table as if you are trying to keep the rings in view to be fair (photo 3). After another moment, stand up straight with the rope in the left hand. Fold the rope in half. Push the loop through the rings and then pull the ends through the loop to form a girth hitch (explained in “Rings Off...Rings On” earlier in this book). Perform “Wring out the Ring” (as described in my ring and rope routine, also earlier in this book). After the rings penetrate the rope, pause a beat and then let one ring drop, in an apparent instantaneous link. Hand everything out to be examined if you’d like.

Photo 1

Photo 2

Photo 3

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THE MAGIC JUMPROPE

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or the magician who performs parlor/platform for families and kids, and who is looking for maximum impact with minimum effort, here is the routine for you! I originally had planned to use this as a “filler” routine, but it turned out to be a highlight of my show! It has plenty of comedy, uses an assistant from the audience, and “packs small, plays big!” Effect: This is simply my presentation of the old “Patriotic ropes” trick. You introduce 3 short pieces of rope, and ask a little girl from the audience to come up to help you. You explain that you’re going to tell a story about a little girl, and she is to do whatever the girl in the story does. You proceed to narrate a story of a little girl who wanted to jump rope but couldn’t, as the only ropes she had were too short. Along comes our hero, the magician, who saves the day and magically welds the three short ropes into one long one, so the little girl can happily skip rope!

Photo 1

Requirements and preparation: In addition to a large, opaque handkerchief, you will require one rope about five or six feet long, and two ropes about six to eight inches long. Fold the long rope into an “s” shape. Fold the short ropes in half and loop them around the long rope, one at each curve of the “s” (photo 1). Now pull the ropes taut and even so they resemble three equal ropes (photo 2). Tie each set of three ends into a knot (hiding the loops in the knot—photo 3), such that it appears you have three short ropes of the same length tied together. Put the hanky in your right pants pocket, and the ropes in your case or on your table. Method and performance: Pick up and display the ropes. “I’d like to show you a rope trick, but I need the help of someone from the audience.”

Photo 2

Bring up a little girl between the ages of five and seven. She shouldn’t be too shy, or so confident that she’ll try to take over the show. We’ll call her Hannah (because I love that name!). Hand her the ropes to hold. “Hannah, I need you to pretend with me. I’m going to tell a story, and there is a little girl in this story. I want you to pretend that you are the little girl, so you do whatever she does, okay? There is also a slightly overweight but exceptionally attractive magician in this story.” To Audience: “I will be playing myself! “Hannah, you stand right here.” Position her to your far right. “I’m going to stand way over here.” Move to your far left.

Photo 3

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“Just remember, do whatever the little girl in the story does. Page 93

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 Page 94

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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!

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Chapter Six Parlor, 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 •

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ere are three final items that didn’t fit in the other categories. Water Monte will slay virtually any audience—don’t discount it because of it’s simple method. This is followed by my ending for a cups and balls routine performed in parlor/platform shows. It makes a great closer to just about any routine you may already know, and gets away from the standard fruit or large ball final loads. Last is an idea for a popular but somewhat cumbersome prop, the Appearing 10-foot Pole. If you’ve struggled with this production item, I think you may find this idea of value.

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WATER MONTE

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hen performing a gambling-themed effect, it is always wise to take the “sting” out of the trick for the audience. As opposed to a standard, “Make-a-guess-no-you’re-wrong” presentation, in this routine I am the one who gets “stung.” However, there is a tongue-in-cheek comment at the end that makes the whole thing fun for everyone. This is simply an application of slush powder. I got the idea for the routine from Ken Wylie in Billings, Montana in 1991. While I’m sure others have had similar routines, I wanted to include mine, because it gets such a great reaction. This is an updated version from previous editions of this book, developed with the help of my friend Darrin Cook (Raymonde Crow). Effect: You relate a story of how you were “taken” by a conman in a “three-card monte” type of scam, but using cups and water instead of cards. At the end, the water vanishes completely! Requirements and preparation: Basically, this is the three shell game done with plastic cups and water. I use Solo brand disposable cups, which come in a variety of colors, all of which have a white interior. A package of a dozen sells for around a buck at supermarkets. You’ll need six cups. Stack three of them together. This stack is laid on its side on your table before the show starts, mouth of the upper cup facing the audience. Two of the remaining cups have about ¼ teaspoon of slush powder in them. This is invisible due to the white art principle. Stack these cups together and put the last cup into the mouth of the stack. Pour 3-4 ounces of water into this cup and then place the stack on the shelf of your performance table. You also need a clear glass or bottle full of water. Method and performance: As you start your show, 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. Go into your act and do a few routines. When you’re ready to perform this effect, remove the “loaded” stack and hold it in your left hand. Everyone will assume they are the same three empty cups. “I’d like to show you what happened to me one day on the mean streets of downtown Kuna” (local small, quiet “hick” town). “I was walking along, minding my own business, when a guy on the corner stopped me. He stood behind a small table with 3 cups and a glass of water. ‘Pssst! Hey, Buddy!’ he said. ‘How’d you like to win some money playing a little guessing game? Guess right, win a dollar; guess wrong and you owe me a dollar.’ ‘What’s the game?’ I asked. ‘You ever hear of the old shell game, the one with three walnut shells and a pea? Well, this is the same thing. These cups are my shells.’” As you talk, display the cups one at a time, apparently showing their interiors in the following way: 1. With your right hand, remove the bottom cup and tilt it so that everyone can see into its interior. Because both the inside of the cup and the powder are white, it is impossible to see anything but an empty cup from more than a couple feet away. Set this cup to your left on the table. 2. Now take the top cup (with the water) and tilt it slightly toward the audience. Do this casually, as if you really are trying to show them the inside of the cup, but just aren’t paying enough attention to the display to notice that it isn’t tipped forward enough. Since the audience thinks they saw into this cup at the beginning of the show, they won’t suspect anything. Set it at the center of the table. 3. Finally, take the remaining cup, show its interior fairly and set it on the table to your right of the row. Great Scott! It's More Magic!

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Hold up the glass of water as you say, “’And this is my pea.’ “ 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.” Pour about three or four ounces into the cup on your right (the water will instantly gel) and place the glass aside. Start moving the cups around. “He started moving the cups, mixing them up, but he wasn’t too fast, and when he stopped, I was sure the water was in this cup, and I said so.” Point to the cup that you poured the water into. “He said, ‘Sorry, 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.” Pick up the cup with the (previously secretly loaded) water and slowly pour the water into the remaining cup with the slush powder. The audience will be fooled by this, although some will start to suspect that all the cups somehow have water in them. We are going to turn that assumption on them. “‘How’s about another go?’ he asked. I agreed.” Move the cups around a bit again, a little faster this time. After stopping, point to the “correct” cup—the one you poured the water into. “’Tough break, pal, you almost got it that time. You owe me another dollar!” Pick up the cup and tilt it toward the audience, allowing them to see inside it. The gelled water appears to be the bottom of the cup—it looks completely empty. “By this time, I was more than a little frustrated and determined to win my money back. The fellow got an idea. ‘Tell you what,” he said, ‘I’ll eliminate a cup. We’ll go double or nothing.’ Put the cup you’re holding in your table or case. “Well, I figured I had him. Sure, I’d lost twice, but now I was onto him—the water was always in the wrong cup. Besides, now there were only two cups now.” Move the cups around faster as you patter about the man trying harder to confuse you. When you stop, remark that you thought the water should be in this cup (point to the empty cup), so you guessed the other one. Pick it up and “prove” it is empty by showing the audience the interior. “This was driving me crazy! He put that cup away, too (put away the cup you’re holding), but before he had a chance to do anything, I said, ‘Give me just one more chance!’” Look down at the one cup on the table and then up at the audience. “’Gee, I don’t know…’ he said. “’I’ll bet a hundred bucks this time!’ I said. He agreed. He mixed the cup (move the single cup back and forth on the table—always gets a laugh) and stopped. I said, ‘It’s that one! Give me my hundred dollars!’ ‘Not so fast, pal,’ he said, picking up the last cup and showing that it, too was empty. (Do so.) I was terribly disappointed. Not only did I lose $104, but worst of all, no matter how I begged and pleaded, he never would show me how to do that trick!” Page 100

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Toss the last cup away to end. Notes: This trick is extremely simple, but it garners gasps, laughs and lots of applause. After one show, a man approached me holding out two $100 bills, saying they were mine if I’d tell him the secret to the water trick! Trust me, anyone not familiar with slush powder (and that’s most people!) will be blown away by this trick!

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GREAT SCOTT’S CUPS & BALLS FINAL SALT LOAD

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lex Elmsley has a great finale with salt for the cups and balls. One drawback was that he had to have one cup mouth up for the entire routine. I have circumvented that and added to the salt theme.

Requirements: In addition to a standard set of cups and balls, you will need the following. 1. A Magic Salt Shaker from C&M Productions in University Place, WA 2. A Rick Anderson Solid State Salt Pour, also available from C&M 3. A special load gimmick, described below 4. A newspaper 5. 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. The gimmick nests inside a cup. It’s just a little smaller than the cup, and all the seams must be completely covered by the tape so no salt will leak out. The small compartment should be of a size to easily hold the thumb tip from the salt pour. 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. Open the section of the newspaper and cover one half of it with a layer of salt. Fold the paper closed. This will be your performing surface. Set the shaker on your shelf or servante, and the thumb tip gimmick in your waistband. Method and performance: Perform your favorite cups and balls routine. At the end, secretly load the shaker under a cup as you remark that this trick is performed by every magician worth his salt. Lift the cup with your right hand to reveal the shaker, as your left hand gets the load gimmick. Pass the cup to your left hand by bringing it up under the gimmick. In a continuing motion, the left hand sets the cup mouth up on the table. The right hand hitches up the trousers, secretly putting on the thumb tip as you say with mock bravado, “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. Pause a beat before making a crumbling motion and opening the hand to reveal it empty. Reach into the air with the right hand in a grasping motion, closing the hand into a fist and positioning the gimmick for the pour. Lower the fist over the cup and let the bottom of the gimmick fall into the small compartment of the load gimmick. Raise the hand and do the “pour.” Continue the pour for quite awhile, finally lowering the hand and letting the thumb tip drop into the com-

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partment. 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. Move the cups off the newspaper, placing them in a mouth up row. 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. It will more than fill all three cups for an incredible finale!

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AN IDEA FOR THE APPEARING 10-FOOT POLE

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ere is a nice way to produce the ten-foot pole (which was created by Dan Sylvester and marketed by the Sorcery Shop), which keeps it ready to go until you need it and makes the production very smooth and fumble-free.

From your local hardware store, buy a cheap toilet paper holder. It shouldn’t cost more than a buck or two. Then go to a fabric store and buy some heavy duty self-adhesive Velcro. Cut off a square of the Velcro about the same size as the back of the TP holder. Stick the hook side of the Velcro onto the holder and the loop side into a small case. Attach the holder to the case. It is easily removed when you need the case for other purposes. Remove the roller from the holder. Use this to roll the pole around. Hold the pole in place by encircling it with a rubber band and attach the roll to the holder, making sure the end of the pole comes off the top of the roller (is that cause for an argument in your house?). I usually have some silks for other tricks and other small props (Pop-can airborne, T&R newspaper, rope and scissors, silks, etc) in the case as well. I bring the case out, open it and do a few of these other routines first. Then I pretend to notice something as I say, “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. It opens very easily, evenly, smoothly and quickly, with no kinks or fumbling. It also looks very magical. The entire apparatus (besides the case and the pole itself) costs less than three dollars. It makes the working a breeze and is completely portable. You can easily roll a 2nd pole over the 1st and produce two! Give it a whirl!

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LAST WORD

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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, I would have laughed in your face. Who knew? You’d think this would be a real ego boost, and I suppose in a way that it is. But in another way, it’s very humbling. I know I’m not the world’s greatest magician. It is with much fear and trepidation that I put this work out there. These routines are my children. 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, Allan Ackerman, Dan Fleshman, Aldo Colombini, Paul Green and Ray Grismer. All of them are great magicians that I admire greatly, who generously shared magic with me that they wouldn’t reveal in their lectures. They watched me perform some of my routines and critiqued, advised, encouraged and enthused over them. They gave me ideas to make something cleaner here, or get greater impact there. In short, they made me a better magician. That is my goal for you. If a routine in one of these books has given you an idea, or sparked you to create, or become a part of your act, or given you something you could use in another routine; 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, then these writings have attained their purpose. And I’d sure like to hear about it! Thank you for spending time with me in these pages. TTFN (Ta-ta for now) Scott

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Notes

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