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This month will be a trick....

No-Gimmick Scotch and Soda routine

 


 
Simplify! Simplify! Simplify!

Many of the best magic routines can be done without any gaffed props: The Professor's Nightmare, the Miser's Dream, variations on Two in the Hand, One in the Pocket, and a whole boat-load of card tricks.

Trouble is, a lot of magicians aren't happy unless they have to (a) buy a bunch of expensive props or (b) learn a zillion knuckle-breaking sleights.

This offering is an ungimmicked Scotch and Soda routine, based on another ungimmicked routine by Bill Palmer of Texas, in a July, 1995 Linking Ring Parade by Ring 39 in Houston.

For those of you unfamiliar with Scotch and Soda, briefly here is the effect:
The spectator is given a U.S. half dollar and a Mexican 20-centavo piece -- one large silver coin and one smaller copper coin. The magi then turn the centavo into a quarter, right in the spectator's hand.

The gimmicked version of this is well done, with a locking shell half that passes casual examination. The downside is that it is difficult to reset quickly -- and it's expensive.

Bill Palmer's version was done with ungimmicked coins (that solves the price problem) and there was no reset (that solves the problem for table-workers).
The downside (to my mind, at least) was that there were a couple of moves where you could get burned -- no big deal if you were careful, but still I figured there had to be a way around it -- and, sure enough, there was.

NO-GIMMICK SCOTCH AND SODA
Effect: The magus deftly turns the conversation to the economy and the effects of NAFTA, the free-trade deal between the United States, Canada, and Mexico.

The magi points out that, in the U.S., NAFTA stands for: "North American Free Trade Agreement," while in Canada it stands for: we "Never Asked For That Arrangement."

He shows the spectator two coins, a U.S. half-dollar and a Mexican 20-centavo piece, pointing out that they are different metals and different sizes, which underscores the differences between two of the participating countries. He asks her to take both coins, put her hands behind her back, and put one coin in each hand.

He then asks her if she thinks she can identify the coins by feel alone.  She replies yes (we certainly hope). He then asks her to show the U.S. half-dollar and she does so. He then asks her to show the Mexican coin but, when she opens her hand, it has turned into a Canadian two-dollar coin (a "twoonie"). The magician points out that this represents the third member of the NAFTA treaty -- the Mexican coin having disappeared "just like all those jobs that went south of the border."

Working: You'll need a U.S. half-dollar, a Mexican 20-centavo piece and a Canadian two-dollar coin. When you get the coins, you'll notice that the Mexican and Canadian coins are the same size, while the half-dollar is noticeably larger.

Have the Mexican coin in your left pocket, the half and the twoonie in your right pocket. (This is simply for ease of telling them apart; you may come up with an arrangement that suits you better.)

Reach into your pockets with both hands, bringing out the Mexican coin and the half at the fingertips, while the twoonie is loosely finger-palmed in the right hand (the one holding the half).

Drop the coins on the table or give them to the spectator and let her examine them. Take the half back first with the right hand, tossing it into the left; then take the Mexican coin and apparently toss it into the left, too; in fact, you use the Bobo Switch to exchange the Mexican for the Canadian
coin.

Give the half and the Mexican (actually Canadian) coin to the spectator, gently closing her hand around them. Ask her to put both hands behind her back. You demonstrate what you want her to do and, as your hands go behind your back, your right hand ditches the Mexican coin in your back pocket.

You are now clean and can devote the rest of the routine to presentation and showmanship.

Ask her if she can identify the coins by feel; if necessary, remind her that the U.S. -- being the bigger country -- has the bigger coin. Then ask her to show the U.S. coin.

After she does so, tell her that the difficult part is yet to come -- and can she show the Mexican coin. It being the only coin in her hand, she will think you are a little weird but will co-operate. When she opens her hand, however, the Mexican coin has vanished, to be replaced by the Canadian coin.

Take the money and run!

Second Thoughts: The above routine is the one that I use -- although some of you may find it too political. That's okay; you should be coming up with your own routines, anyway.

Besides, it doesn't have to be the U.S., Mexico, and Canada. This will work with any three coins, as long as they are noticeably different in material, one is larger than the other two, and the two smaller ones are the same size.

Some obvious possibilities: Three European coins and a story about the Euro market; any coins with animals on them (the one animal escapes --from the zoo, circus, etc.-- only to be replaced by another one; well, you get the idea.

The Mexican 20-centavo piece can probably be found in the "junk box" at most coin shops (I don't know if the coin is even in use in Mexico any more).

 

You can probably get the Canadian "twoonie" from a friend up here in the True North. (Although, if you're really, REALLY stuck and you really, REALLY want to do this, I'll send you a twoonie for the two bucks plus a buck to cover postage.)

The twoonie, by the way, got its name mostly by accident. The Canadian dollar coin has a loon on the back and was called the "loonie." It seemed a logical step, when the two-dollar coin came out, to call it a "twoonie" (or toonie).  It's a two-part coin, with a brass centre and a silver rim.  Looks good -- but try carrying a pocketful around for a while!

And finally . . . don't underestimate the impact of this routine, simply because it only has one simple sleight and no expensive props to buy.

 

The Muscle Pass

www.coinvanish.com  (password: backpalm)

I was hesitant to put the Muscle Pass in a section on fundamental coin sleights because of its difficulty.  It is however a move coin magicians will try to acquire at one point in time, often to give up on it.  I figured I would give my best shot at giving tips on how it worked for me, and at least it will show you how the pass works.

All the other sleights presented in this "foundations" section are learnable given the proper time to do so.  I have come to find it is not the case with the muscle pass.   Some will simply not be able to do this.

It depends on the size of your hand, the dryness of your hand, the size of the coin, and a prerequisite is a very strong classic palm.  I cannot do it well with moist hands.  I started with a half dollar and I can still shoot a half dollar higher than a silver dollar because the half is a lighter coin.  When I went back to learn with a silver dollar, it felt like starting over from square one because the placement is different in my palm.

What is it?

It is a method to propel a coin from your palm.  With enough force you can actually propel a coin vertical from a few inches to probably not much more than 2 feet.  I average personally probably around a foot.  I can't get 2 feet without slightly moving my hand up as I pass the coin (which is cheating).

Although the muscle pass pre-dates Arthur Buckley's PRINCIPLES AND DECEPTIONS (1948), I believe it is first found in print therein.  It simply states:

"THE MUSCLE PASS WITH ONE SILVER DOLLAR

The success of this coin pass depends on your ability to palm a coin and then exert pressure by the thumb muscle to cause the coin to spring several inches from the palm without any visible movement of the hands that would cause the coin to spring and bridge the distance between the two hands several inches apart.

A coin, seemingly placed in the left hand but palmed in the right (see any of the methods described herein), is vanished, and the left hand shown empty, back and front. The right hand is moved up in front of the left. As the left hand is closed and turned over, the coin palmed in the right hand is sprung and caught by the left hand as it closes and turns over. A moment later the left hand is opened and the coin shown therein.

A very deceptive pass when properly carried out."

The oldest use of it is rumored to be with an English magician from the 1800's named Charles Bertram, though the move apparently pre-dates him.

Present day magician John Cornelius popularized the muscle pass with his routine "The Coin that Falls Up" on Michael Ammar's Classic Renditions #1 tape.

The below description is how the pass works for me personally and my observations on it.  The descriptions assume using the right hand.

If you have a coin in your hand, you will see this is easier said than done.  Many people will wrestle with this for hours with not so much as an inch of movement.  Honestly it did not take me too long to be able to get it to fly out.  BUT I never even knew about it or tried it until I already a good solid classic palm.  In a short amount of time I was able to pop the coin, but I had no control over where it went and did not have much more than 3-4 inches in height.  Practice enabled me to increase the height of it, as well as control the direction of the coin.

Another learning detriment is that it hurts to practice this pass.  Because you exert a lot of pressure on the coin and you are letting the right side of the coin slide on your skin to pop out, this will cause your hand to get a little raw.  I now have a thin callous on the right side of my palm which allows me to perform this painlessly.  When I first decided to practice it, I could only do so for maybe 20 - 30 tries in a day until the hand calloused over.  The callous actually allows the coin to pop easier since it is a harder smoother surface for the coin edge to slide on.

I have dry hands.  This helps for this move.  If your hands are too moist and slippery, it is just hard to get a good clean pop to propel the coin.  More often the coin will just slide forward up the face of the thumb muscle and you don't get the pop you need.  You may want to find ways to get your palms nice and dry to do this.

Well I hope this essay helps to understand what the muscle pass is, and how it can be done.  I cannot guaranty it is something you will be able to learn, but if you are one who can, it is a fun utility sleight to have.  It can be used within a quick impromptu one coin routine, and usually always causes a spectator to "ask to see that again."

Head to the Videos section to view a streaming video of the muscle pass.

September 2005 E-book download

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PERFECT PREDICTION

Your written prediction will match a number selected at random.

Have someone select a three digit number with each digit different, such as 421. Under that number, have them write the number backwards and subtract the smaller number from the larger number (421-124). Now have them turn the resulting number around and add the two numbers together (297+792).

The final answer will always be 1089, which is the number you have written as a prediction! Remember, for this trick to work always use the zeros as shown in the second example.

Examples..

 973            675

-379           -576

 594             099

+495         + 990

1089          1089

DOUBLY

Peter Duffie

An independent spectator helps two other spectators find their previously selected cards.

This uses a standard arithmetical principle, sometimes referred to as the ‘Nine Principle.’ 

WORKING

1. Shuffle your deck then push off 10 cards and give these to spectator A. Push off another 10 cards and give these to spectator B. Hand the rest of the deck to spectator C. Ask all three spectators to shuffle their cards.

Do not draw attention to the number of cards you are giving the spectators. To make the count casual, push over groups of cards rather than counting singly.

2. Ask both spectators A and B to look at and remember the bottom card of their packets. 

Now ask spectator B to replace his packet on top of the deck that C is holding. Then ask A to place his packet on top of all. Spectator C now holds the complete deck. At this point you may want to take the deck and give it a Jog Shuffle, retaining the top 20 cards in place, then give C the deck back.

3. Ask spectator C to remove any number of cards, “say, from 2 to 9,” from the top of the deck. Once he has done that tell him to give the deck to spectator A.

Tell A to deal 10 cards into a face down pile in front of him, then to pass the deck to spectator B, who also deals 10 cards for himself. They must deal the cards one by one so that the order of the cards is reversed. Take the balance of the deck and place it to one side, then ask both spectators to pick up their pile of cards.

4. Ask spectator C to announce the number of cards he is holding. Now tell both spectators A and B to transfer that number of cards, one at a time, from the top of their packet to the bottom - they should do this in unison to avoid errors.

Finally ask them to name their cards. Tell them to turn over the top card of their packets to reveal their selections.

THE PAPER ROSE

THE PAPER ROSE Unfold the napkin and grip it between the first and middle finger (Fig. 1) .

 Wrap the napkin back around the fingers (Fig. 2),   and continue wrapping until the napkin is completely around the fingers.

 Pinch the napkin at the tips of the fingers and begin twisting (Fig. 3)  . Twist for a quarter of its length. Spread the bottom of the napkin and isolate a corner (Fig. 4 & 5)

   Fold the corner back up the twisted stem and form the leaf with

the corner, Fig . Pinch the steam under the leaf and continue twisting until

 finished (Fig 7, 8, & 9).              

 Now for the finishing touches. Reach inside the bowl, grasp the corner between the thumb and

 first finger and twist (Fig 10).   This forms a spiral inside the bowl representing the petals of the rose. Flare out the outside corner of the bowl and the rose is completed (Fig 11 & 12).

 How to Throw Cards

The Grip:
Before throwing a card it is necessary to acquire the proper grip. There are actually a few that work quite well.
In the following verbal descriptions of how to hold the card, it is assumed that the thrower is right handed. Also, the corners and sides are labeled with the card being held so the number and suit are in the Northwest corner, thus the top of the card is North. The method which seems to be the easiest for beginners is the "Moe Method" The card is simply held between the pointer and middle finger, so that the finger tips squeeze the northeast corner of the card (NW for lefty's), and the right edge of the card is partially in between the fingers, and the southeast corner touches the palm of the hand. Keep the hand straight out, as if going to shake hands, and the left edge of the card should run parallel to the hand.

The next method, the "Barney Tanenflik"(named in honor of Barney Tan), is quite similar to the last, in that the card is gripped between the tips of the pointer and middle fingers. The main difference is that the finger tips squeeze the northwest corner. The northeast corner contacts the palm just below the fingers, and the right edge of the card runs down along the palm.
 
 

  (image scanned from 'Cards As Weapons', copyright 1988 Warner Books)

The Throw:
The basic way to throw a card is much like a Frisbee, but it is important to have a very quick flick of the wrist, the arm is not really important. If your card just flutters, it is most likely because the card is not spinning, meaning that you are giving it too much arm and not enough wrist. To fix this problem, hold your throwing arm still and attempt to toss cards using just a flick of the wrist, you will see them spin and fly a few feet. Then slowly work in the swing of the arm, not forgetting the quick flick of the wrist. Also, be sure to start with your hand all the way twisted back, so the top of the card points directly at you.
Once this method is mastered, you may wish to move on to the advanced method, or "YATZ!"(pronounced like yahtzee, without the "ee"). This method is more like a baseball pitch. The hand starts over the right shoulder and comes down and outward. Be sure not to twist the wrist at all during this motion, and the quick flick of the wrist is very important. Also, stepping in with the opposite leg gives an extra boost. (A picture of the starting position)

Note: soon there will be more pictures to easily illustrate the different grips and throwing techniques. 

Tricks

These are some of the things that I can do with ordinary playing cards:

• Card through newspaper (up to 3 sheets the card fly's right through, 5 sheets I can pierce through and the card sticks in)
• Card over house (over the roof of two story houses)
• Behind the back toss I can put cards onto 1 story roofs this way)
• Card slap (card is given a slight toss, with a lot of spin, and then smacked by the finger tips, sending it flying)
• Card kick (like card slap, but with foot. Very difficult)
• Card into Pear (I can't quite do melons yet, but it's a start)
• Card on to HIGH roof (so far, the BonTon at the mall is my highest. Gymnasiums are good too)
• Boomerang card (goes up and out a few feet, then returns to my hand)
• Card from one basket to the other (I can through the entire length of a basket ball court. I have yet to sink any from downtown though)
• Card across big gap (the mall has a large gap where kids can spit over the edge at the people on the floor below, I throw cards across it)

Almost Embarrassing
by A. Altinsel (effect by Hugard)

The Effect

This is one of those wonderful tricks where it seems the magician has unknowingly made a mistake, until a final revelation amazes all.

What you need

One deck of cards.

The Routine

Have a spectator select a card from your shuffled deck. After it is replaced to the top, control it to the bottom, using an overhand shuffle control. Basically, slide the top card off, then shuffle the rest of the deck casually on top of it. After this, simply keep the card on the bottom by pulling it off with the fingers of the hand catching the cards.

Explain to the spectator that with absolute confidence, and extreme concentration, one can cut to a desired card. Tell them they must concentrate, and they must say to themselves "To the chosen card I will cut."

Tell them to cut about a third of the cards off the top of the deck and place them to the right of the deck. Then have them cut half the remaining cards from the deck and place them to the right of the first third.

With three piles in front of you, (the chosen card at the bottom of the left most pile). Explain that there can be no doubt that the selected card has been cut at. However it is not known which card is the chosen card. Ask the spectator to make no indication when the cards are shown. Start with the right-most pile, take it in your hand, show the bottom card, turn the deck back over, and pull the bottom card out, setting it face down on the table. Say, that was not it. Place the stack in your hand on the now right-most stack and do the same with that pile. Show the bottom card, say that wasn't it. Turn over the deck, pull out the card and set it down face down. Place the stack on the final stack.

When you turn over the final pack, you must put on your best poker face and say that unfortunately they were not able to cut to the chosen card, even though that is the chosen card. If anyone says anything while this is going on, take no notice and continue. When you turn the deck over to pull the card out, slide the bottom card back with the fingers holding the deck and pull out the second to bottom card. Place this on the table as if it were the third card.

Now pull out another card above the chosen card and use it as a pointer to point to the 3 cards on the table "one, two, three cards, none of them the chosen card." Tell the spectator that since the card was not cut to, we must find the card another way. Replace the pointer card to the bottom of the deck and show the bottom of the deck casually. This subtle motion shows that the bottom card is not the chosen card. Ask the spectator to choose a number between 5 and 10. Let's say they choose 7. Turn the deck face down, pull the bottom card off, and put it face down on the table, count "One." Next, as before, you will slide the now bottom card (the chosen card) back with the fingers of the hand holding the deck. Now pull off 5 more cards "two, three, four, five, six". Finally, pull the chosen card off and hold it in your hand face down.

Ask the spectator to name their chosen card, the card in your hand. Again acting comes in to play here, pretend to be a bit surprised and casually glance at the 3 cards placed on the table. Act a bit confused and finally announce, "Yes! and here it is!".

Often people will shout obscenities at this point, so if you are sensitive to this type of thing, cover your ears immediately following the revelation.

 RED HOT MAMA'S LIPS
 Comments: "Red Hot Mama," a k a "Chicago Opener" has been variously credited to Jim Ryan, Frank Everhart and Al Leech. Dan Fleshman added the idea of the first selection ending up in a wallet. I have combined these routines with "Lips," an effect by Gary Ouellet and Tony Binarelli. The result is all one
could hope for from a card trick.

 Effect: You spread a blue deck, first face up and then face down. Walt removes a card and signs it, then replaces it in the deck. He taps the deck and says, "I love my card." You spread through the deck and in the center is a card that is "blushing" (red back). You turn it over. It' s Walt's signed  card! This card is placed aside, as you turn your attention to Vandella. "I'll do an even better trick for you. In fact, I'll guarantee it!" You remove your wallet. "You won't even have to touch a card." You go
through the deck until Vandella tells you to stop. Show her that card and then square the deck.

 "A card you are thinking of is now lost somewhere in the deck. Please blow a kiss at the deck. Your card won't just blush like Walt's; it will also have lips permanently embossed on its face. If it doesn't, I will give you twenty bucks!" She blows a kiss at the deck but when you spread it, there's no
red card. Embarrassed, you say, "I don't get it! It worked with Walt's card!" You turn over Walt's card... but it' s not Walt's card! It' s Vandella's card with lips on the face! You look at Walt and say, "I know what you are  thinking. If that's her card, where is your card? Well, sometimes when they get embarrassed like that they hide until they've stopped blushing." You open your wallet, unzip the compartment and remove one blue backed card.  It's Walt signed card! You thank Walt and Vandella for their time and
give the lips card to Vandella to keep as a magical souvenir.

 Requirements: One blue deck, a "lips" card from the Camirand Academy or
most dealers (or draw lips with a red sharpie), a Sharpie, some cash.

 Set up: Assume that the "lips" card is the two of hearts. This card is at the face of the deck, with the blue two of hearts right above it. The bills are folded in half in your left front pants pocket

 Method and performance: Spread the deck face down in your hands, taking care not to reveal the red card at the bottom. Tilt your hands up so the spread faces the audience, covering the "lips" card with your left hand. Bring your  hands back down and ask Walt to remove a card and sign it. Begin to Hindu shuffle until Walt says stop. Have him replace his card on the left-hand packet then drop the right hand packet on top. This places the red "lips" card above the selection. Square the deck. Have Walt tap the deck and say,  "I love my card!" Spread through the deck until you come to the red card and cut it to the top (this brings the blue two of hearts to the face). Double turnover, showing Walt's signed card. Turn the double face down, and then slide the single red card onto the table. Walt's card is now on top of the deck.

Turn to Vandella, top palming Walt's card as you say, "You're thinking, 'Sure, you can fool him, but let's see you try that on the superior female intellect.' Well, I'll make you a wager." Reach into your RIGHT pocket as if going for the money, loading the palmed card. Act confused. Remove your hand, show it empty and take the deck in the right hand. Show the left hand empty, reach into the left pocket, and remove the dough. "If I can't do it for you I'll give you that money. If I succeed, I keep my money. Is it a bet?" Shake her hand.

Overhand Shuffle, drawing off the last few cards singly so that the two of hearts is on top. Slip Force it, show it by pushing it over with the left thumb and square the deck with the two of hearts obviously lost in the middle. Address Vandella.

"A card you are merely thinking of is lost somewhere in the middle of the deck. I'd like you to blow a kiss at the deck. Your card won't just blush like Walt's; it will also have lips permanently embossed on its face. If it doesn't I'll give you the money." Wait until she blows a kiss at the deck. Spread through the cards, getting more and more concerned as you go through the deck. In desperation, ribbon spread the deck face down on the table. No red card!

 "I don't get it! It worked with Walt's card!" Turn over the red card on the table. It's the two of hearts with lips on its face!

 Wait for a few moments. Usually, Walt will say, "Hey! What happened to my card?" That is the ideal scenario. If no one says anything after about ten or fifteen seconds look at Walt and say, "I know what you're thinking. 'If that's her card, where's my card?' Well, sometimes when they get embarrassed like that, they hide until they've stopped blushing." Pat down your pockets, starting with the coat, then the back pants pockets and finally the front pockets. Slowly remove the blue backed card. Turn it over to show Walt's signed selection. Everyone is blown away.

 Pause a beat. Turn to Vandella. "But your card has a kiss permanently stuck to its face. It's never going to stop blushing. I can't go around with a red card in a blue deck, so I'll let you keep that as a reminder of our time together, kind of a little souvenir."

 Additional Comments: For sheer impact and entertainment value on a lay-audience, you'd be hard-pressed to find a better card trick. It has an incredible affect on the spectators.

Learn it and use it. You won't be sorry.

"PRECOGNITION"

This amazing prediction is one of my personal favorites. It's really quite mind-boggling.

pre-cog-ni-tion (pre/kog nish/en), n. Knowledge of a future event or situation, esp. through extrasensory means.

The magician removes three playing cards from an envelope as he announces that he has made a prediction. The three cards are placed, face-up, onto a table and an audience member is asked to touch any of the cards. Regardless of the choice, when the prediction is read it proves to be correct.

 

SECRET: It really doesn't matter which of the three cards is selected because what the audience doesn't know is that you actually have three separate prediction.

To begin with you're going to need three ordinary playing cards, an envelope large enough to hold the cards and a small piece of paper. For explanation purposes, we will assume these to be the ten of spades, the queen of hearts, and the ace of clubs.

Using a marking pen, write the following prediction on the piece of paper: I KNEW YOU WOULD SELECT THE 10 OF SPADES. The second prediction is written on the face of the envelope. It reads: I KNEW YOU WOULD SELECT THE ACE OF CLUBS. The third prediction is written on the back of the queen of hearts and reads: I KNEW YOU WOULD SELECT THE QUEEN OF HEARTS.

Fold the written prediction in quarters and place it into the envelope. Center the queen between the other two cards and place all three, face-up, into the envelope

PERFORMANCE: Introduce the envelope, flap side up with the prediction hidden on its underside. Remove the three face-up cards and place the envelope aside, flap side up. Arrange the three face-up cards in a row on a table and, in doing so, make sure that the queen remains in the center between the ace and ten. Explain that you have made a prediction and have someone touch one of the three cards and, depending on their choice, you bring the effect to its proper conclusion by carrying out one of following actions:

IF THE CENTER CARD THE QUEEN OF HEARTS, IS TOUCHED: Turn over the tow end cards, the ten and the ace, to show their backs. Pick-up the center card, the queen, and turn it over and have the audience member read our prediction.

IF THE TEN OF SPADES IS TOUCHED: Pick up the envelope, open it and have the audience member remove your prediction and read it aloud.

IF THE ACE OF CLUBS IS TOUCHED: Pick up the envelope, turn it over and have the prediction read.

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