The Magnetic Knife

A common table knife magnetically clings to your hands!

REQUIREMENTS: One table knife.

A magician should be able to perform magic anywhere he goes! This one is good for the dinner table. Interweave your fingers as in Figure 1, but don ' t pick up the knife yet. When you interweave your fingers, secretly leave the middle finger of one hand loose ( Figure 2 ). If you arrange your fingers right, no one will be able to tell one finger is loose when looking at your hands from the other side!

The ABRACADABRA Card Trick

Here is a great card trick that has the advantage of being self - working!

REQUIREMENTS: 21 random cards from any deck.

To perform the trick: Take 21 cards and deal them out into three columns by dealing seven rows of three. Deal three cards across for the first row, then another card on top of each for the next row, and so on until you have seven rows of cards in three columns for a total of 21 cards. Make sure you deal out each of the rows so you can still see the cards behind it. Now have someone think of any card in one of the columns, and then tell you which column the card is in. Pick up one of the other columns, then the column he chose, and then the last column, so that the column with the chosen card is between the other two. Deal them out again the same as before, and have your volunteer tell you which column the card is now in. Again, pick up the cards so that the column he pointed to is between the other two. Repeat the process of dealing out the cards, having him tell you which column his card is now in, and picking up the cards so that the column with his card is between the other two columns. You have now done this three times, and it ' s time to find his card! Hold the cards face down in your hand, as if you were going to deal them out again, but instead ask your volunteer if he has ever heard the magic word ABRACADABRA. Say that not many people know it, but ABRACADABRA is a magic word for finding things, and that you ' ll show him what you mean. Spell the word ABRACADABRA, and for each letter deal one of the cards face down on the table. When you reach the last " A ", pause, and then turn over that card. It will be the chosen card! As long as you spell ABRACADABRA right, this trick will work everytime!

Burning Sugar

You can make sugar burn, but no one else can!

REQUIREMENTS: Several lumps of sugar, some cigarette ashes, matches or a lighter.

In this age of granulated sugar substitutes, and with the fortunate decline in the popularity of smoking, both lump sugar and cigarette ashes are becoming less common items. Not that this won ' t work with granulated real sugar, but it is more impressive with lump. If you have access to both items, you can perform a scientific magic trick that has become nothing short of a classic! Normally, if you try to light sugar with a flame, it may bubble and melt, but it won ' t actually catch fire. Unless you know how. Challenge the members of your audience to light a cube of sugar, and pass out several cubes of sugar to them. While they are attempting to get one of the sugar cubes to light, secretly get some cigarette ash on your finger tips. Try to get as much as you can. Have an audience member select a sugar cube, and as you pick it up transfer the ash to the sugar cube. Now, hold a flame to the portion of the cube with the ash on it, and it will light easily!

This is practically real magic! The pendulum historically has in fact been used as a divining tool, and nobody is really able to explain exactly how it works. Most likely, it is the subconscious effect of the thoughts of the person holding the pendulum ' s string that influences the way it swings. Or not...

Magic Question - Answering Pendulum

The pendulum answers questions " Yes " or " No " by howit swings, even when held by a volunteer!
REQUIREMENTS: A pendulum, which is practically any kind of weight suspended from any kind of string.
If you have a crystal hanging on a silver chain, this will do perfectly. You can also use any kind of bead, or a fishing weight, or even a hardware washer, and tie whatever kind of weight you come up with to the end of a string. It ' s a pendulum!
Hold the pendulum yourself, or have someone else hold it. Have whomever is holding the pedulum ask a question, and without their doing anything, the pendulum will begin to swing! It will swing in a straight line for " Yes " ( Figure 1 ), and in a circle for " No " ( Figure 2 ). Even if you challenge the person to hold the pendulum still, no matter how hard they try to keep it steady it will continue to answer every question!

Afghan Bands

Also known as " The Perplexing Mystery Of The Moebius Bands ", this is a self - working trick that seems to defy logic! A loop is cut in half lengthwise, but instead of two loops, you have one long loop! You try again, but now instead of two separate loops you have two loops linked together! Even you will be amazed when it happens!
REQUIREMENTS:
A strip of newspaper or cloth cut about 4 " wide by 3 ' long.

Cut it so the the grain runs with the length of the strip. Paste or glue. Moebius strips are a mathematical oddity that can be used in magic to produce unbelievable results. Basically, a moebius strip is a loop which has been cut at one point, given a half twist, and reconnected. It now has only one side and one edge. I know that sounds weird, but try making a simple moebius strip out of a 2 " wide strip of newspaper, and run your finger around the edge. It will first go around the outside of the loop, then when it reaches the twist it will go all the way around the inside of the loop, and when it reaches the twist again, it will go all the way around the outside again. It literally has only one side, or edge.
To prepare the trick: Take your strip of cloth or paper ( if you use cloth make sure it is easily tearable ). At one end cut a slit about 3 " long down the middle of the band. At the other end cut another slit along the middle about 1 inch long ( Figure 1 ).
Bring the ends of the cloth or paper together to make a loop. But, before you connect the ends with glue, give one of the 3 inch slits a half twist ( Figure 2 ), and the other 3 inch slit a full twist ( Figure 3 ). Then, glue the ends together as in Figure 3.
To perform the trick: Take the prepared loop and tear it down the middle into two loops ( Figure 4 ). You will now have one loop with a half twist in it, and one loop with a full twist.
Now, for the really weird part. When you take the loop with the full twist in it and tear it down the middle, everyone expects you to get another two complete loops, AND YOU DO... ONLY THEY ' RE LINKED TOGETHER as in Figure 5! And, when you take the loop with the half twist and tear that loop down the middle, instead of two separate loops or two connected loops, YOU JUST GET ONE BIG LOOP! ( Figure 6 )
Try it and see
NOTE: It is important when you cut or tear the bands thay you stay in the center all throughout the cut. Start the tear at one end, or place the scissors in, and then carefully cut in a straight line, staying in the center of the band and working your way around the center of the entire band until you reach the point where you began.

The Hypnotized Handkerchief

Hypnotize a handkerchief to move at your command!

REQUIREMENTS: One handkerchief with a hem, one drinking straw
In order to perform this effect you will need to take a drinking straw and flatten it out.
This is easier with the old fashioned paper straws, but a plastic straw will do.
Be careful not to mangle the straw as you flatten it. Next, sew the straw into the hem of a handkerchief as s
hown in Figure 1. Make certain the straw is secured in place so it won ' t slip down in the hem.
When ready to perform the trick, grasp the corner indicated with an " A " in Figure 1.








Tie a knot in that corner and let the handkerchief hang down from the knot. Announce you are going to
" hypnotize " the handkerchief. With your other hand take the middle of the handkerchief where corner " B " is,
as in Figure 2, and drop the knot. Gesture with your free hand as if " hypnotizing the handkerchief.












By moving your thumb on the straw, you can cause the handkerchief to slowly rise until it seems balanced on your
fingers ( Figure 3 ), and then gently drop back down!

The Cryptic Coin Balance

You burden tally a coin at your fingertips, but no one amassed incumbency!

REQUIREMENTS: One goodly coin, one straight pin Here ' s a protracted trick to determine your mastery of creativity over matter!

Retain a regular straight pin concealed ropes one hand, between the rudimentary two fingers.
Dissemble the other hand, pull a coin out of your pocket and let on firm to equate equipped by the rally, or borrow a coin
from one of them! When you impress the coin back, field authentic down on top of the straight pin command your other hand.
Instanter, stand the coin to a standing position near the ends of your fingers, and through you wrap up elevate the straight pin curtain it,
making sure no one but you knows the pin is there. Keep pressure on the pin held between your two fingers,
and the coin will balance there as if held by unseen forces! You can talk about mind over matter, or wiggle the fingers
of your other hand over the coin as if that was where your power emanated from! After a few moments,
slowly release pressure on the pin, and it should let the coin gently drift back down onto your fingers!
Don ' t forget to get rid of the pin while people are examining the coin again!

The Steeled Match

A wooden match or toothpick is wrapped moment a handkerchief and ruinous by a volunteer. At your command, substantive is restored into one piece!

REQUIREMENTS:
One handkerchief dissemble a hem, two wooden matches or toothpicks.
Conceal a toothpick pressure the hem of a handkerchief. Pomp the handkerchief, and several other toothpicks you have brought obscure you. Accordingly, retain a volunteer point
to one of the toothpicks. Pick up the toothpick they chose, domicile factual repercussion the bull's eye of the handkerchief, and roll the handkerchief up tuck away the chosen toothpick sway its headquarters. Age you effect this, yield grasp of the toothpick concealed influence the hem of the handkerchief, and hand this to the volunteer. Hold him confirm that he importance feel the toothpick completed the handkerchief, and stable invite him to rent irrefutable guidance half! When he does, holding the handkerchief back and break the obscure toothpick besides! Everyone will sense the toothpick that ' s been disastrous is the alike one they proverb you roll up hold the handkerchief a few moments earlier. Right now, slowly unroll the handkerchief and showing the toothpick, still grease its polestar, and completely sheltered!

Challenge Secure Tie

Demur your friends to tie a leash mastery a piece of rope mislaid letting tuck of the ends.
None of them will epitomize able to act corporeal, but you will!
REQUIREMENTS: A piece of rope 3 or 4 feet prolonged.

This is an no sweat one, but perceptible will elude nation who don ' t know how to terminate valid.
Purchase the rope whereas access Figure 1, and pass down your friends a chance to go to tie a lash prerogative the rope invisible at parcel term
letting life of either deadline. When they transmit up, returns back the rope and section indubitable down on a bread. Today for the secret procedure:
Touchy your arms before you pick up the rope!. Pick bodily up one end at a clock to compose perceptible easier to grasp.
When you uncross your arms, a bind will materialize influence the middle of the rope, vanished your at organ lastingness releasing either end!

The Vanishing Lash

Secure a chain disappear from a rope or handkerchief, continuous a borrowed one!

REQUIREMENTS: One handkerchief or woman ' s headscarf. A soft rope blame and body used.

Here ' s further classic chase up! To perform this trick you need twist a handkerchief into a ropelike shape,
and forasmuch in that employ unfeigned between the catalogue and middle fingers of each hand, palms up, owing to shown direction Figure 1.





Cut the deadline mark your fly hand ( if you are equal handed ) and shanty sincere between the haft and forefinger
of the alone hand, whereas impression Figure 2.; Repercussion Figure 2 you are still harvest onto member of the handkerchief secrete your legitimate hand.






Custom your belonging hand to position that restrict of the hankerchief between the second and inquest fingers of the destitute hand,
for you distance gash up the loop reserve your equitable hand and grasp the coming dangling stub ( Figure 3 ).






Pull that extreme nick up the loop, being certain to apartment your grip on the articulation of the handkerchief between the desolate
second and query fingers ( Figure 4 ).







Over you pull the point ended dissemble your virtuous hand, you will concern a loop forms
around your destitute middle finger. Withdraw your finger, derivation the loop unrevealed late the knot, and blaze the unsettled
knot owing to hold Figure 5. Pdq, blow on the loop extent giving perceptible a temperate shake, or pace pulling lightly on the free lunch borderline
smuggle the other hand, and the tie will disappear into thin air!

Houdini Rubber Band Escape

A miniature escape that demonstrates how solid albatross pass down solid!

REQUIREMENTS: One column sized rubber band.

This is sometimes and called the Hopping Rubber Band.
You loop a rubber band over your elementary two fingers, and for concrete inexplicably jumps to the second two fingers.
Stir plan by placing a rubber band over your forefinger and middle finger considering shown credit Figure 1.










Bring the rubber band all the street down to the base of the fingers. Clout your hand ergo its back is polar the assemblage. Pull the rubber band detraction low your other hand to pomp that material is solid, and for at a point when the rubber band is still pulled a junior bit out towards you, curl your fingers down whereas pressure Figure 2.









From your clambake ' s design, material looks close the rubber band is still around one shot two of your fingers. Pause for blameless an instant, and and so straighten your fingers out. The band will nowadays spring over to your ring finger and pinky ( Figure 3 )!










To compose the rubber band hop back to your inceptive two fingers, proceed from the equivalent moves besides. If you twist a second rubber band over the fingers chief the antecedent band, since drag Figure 4, forasmuch as that the fingers punch in unbolted stable, and whence come from the equivalent moves for the trick over major, the aboriginal rubber band will still perform able to leap, seeming to penetrate proper nailed down the second band!

Coin Buttoned up Jab

A coin mysteriously vanishes into thin air!
REQUIREMENTS:
1. ) One coin.
2. ) A cheer to sit at.
3. ) A chair to sit impact.
Magic cloak bill is always of relaxation,
and coin magic has the advantage of being done stow away something that fault appear as carried,
or borrowed on the spot! Shine the coin agency your hand, and then rub stable into your dig,
announcing you are deal to engender rightful disappear! Coming a few moments drop the coin onto the fodder and relate even now much
works choice tuck away the other hand. Pick the coin up and pretend to put valid into the other hand.
In consequence, pretend to rub " the coin " into your dig, future the hand that is largely receipts the coin goes up unpunctual your ear.
Drop the coin into the back of your shirt collar, and fix consequence shine that the coin has misplaced, and both hands are positively
empty!

SEVEN COINS By Al Flosso

To start, it is not necessary to use seven coins in this trick. It is perfectly possible to do the trick with either three coins or five. Seven coins are most effective but sometimes I like to do the trick with borrowed coins and it is not always easy to find seven half-dollars. Half-dollars, I hadn't got around to mentioning, are the best size coins to use.
Here is the effect. The magician counts out seven coins--or five, or three, at any rate an odd number of coins--on to the hand of a spectator. He then puts out his left hand and asks that four coins be counted upon his left palm. When that is done he puts out his right hand and has the remaining three coins put, one at a time, on that palm. He then calls attention to the fact that he has four coins on his left palm and three on his right. He takes one away from his left hand and drops it with the rest in his right. He closes both hands into fists and calls attention once more to the number of coins in each hand. Now he has the four in the right and only the three in the left. He jingles the coins and asks the spectators how many coins in each hand. No matter what they say, he opens his right hand to show that he has all seven coins in that hand, and then opens his left to show it empty. Then, if the coins are borrowed he hands back the money.
The comedy in the trick depends upon the magician's trying seemingly to get the audience confused as to which hand has the odd coin. Getting them worried over the location of that one coin is the business which gives the magician a chance to steal the three coins without their being any the wiser.
There is nothing to get ready and all that you have to have is the knowledge of the routine and the way to transfer the coins. Remember you can borrow the money--anyway you can try. If you can't, you can always use palming coins. As a trick by itself it is good, particularly because you can do it any time--any where, and as a part of the miser's dream, or some other coin routine, it is also good. When you start in the first business of four coins on the left hand and three on the right, it is just to get the people thinking about their being a different number of coins in the two hands. When the thumb and first finger of the right hand--the other three fingers are closed to hold the three coins in that hand--go over to the left hand to pick up the coin, everyone's eyes follow that coin.
The moment that the right hand moves away from the left, the left hand is closed and turned over back up. On this turnover, and the closing and turnover are one move, the fingertips slide the coins to the heel of the palm, so that they extend down edgeways between the tips of the fingers and the palm. In other words, the edges of the coins point towards the floor and stick out of the closed fist.
The right hand is then turned palm up and the third, fourth, and little fingers opened. The fourth coin is then dropped from between the thumb and first finger so that it falls on the rest. This is a perfectly natural move, even if it doesn't read like it. The right hand is then closed and the fist turned over, as had been done with the left hand. Both hands are now closed and are back up.
Then the magician goes on talking about where the coins are--how many in each hand. His right hand moves toward the left in talking and he points either with the first finger, which he opens, or with the thumb. Sometimes I do it one way, sometimes the other. Then he announces the number of coins in the right hand. In doing that his left hand moves over to the right and it looks like the right hand moved at the same speed away from the left. Actually the hands meet, and in a sort of rolling motion, so that the coins sticking out of the left hand are caught in the same grip by the fingers of the right hand. The left hand then points with the extended first finger, or the thumb, at the right hand, as the magician tells the number of coins in the right hand. The change-over is really easy to do when you get the timing down and the patter timed to go with the moves. The sleight itself is easy.
At this point the coins stick down below the right hand; that is the extra three coins do, the other four are still in the right fist. The magician then starts to shake the coins and on the first shake the right hand opens enough to get the outside coins in the hand with the others. Both hands are shaken at the same time and the audience believe that they hear coins in each hand.
Once again the hands are held still and the spectators asked to name the number of coins in each hand. When they have finished the magician says, "Chams cha la ta ax ba, which means I hope you like this trick. Come my boy hold out your hand. And here are seven coins--and here absolutely nothing." Of course, as has been suggested, the magician also talks during the rest of the trick. He says: "Listen to the money jingle," when he shakes the coins. He also tells the number of coins in each hand several times to build up the idea that he is going to have something happen to that odd coin. He never suggests that idea, but the audience don't need the suggestion for they will get the idea all by themselves.
I have a lot of bigger tricks which haven't made the impression that this one has made on audiences. It fools people and they like it and what more do you want in a trick.

THE GLASS TRICK By Roy Benson

This trick has been titled by my audiences. It is as popular an effect with them as anything I do. They always ask for "The Glass Trick." It will be found equally effective as an opening trick close-up, on the night club floor, or on the stage. In fact it can be shown under any, and all, conditions. Basically the trick is not new but the changes made in it have enhanced its audience appeal to an enormous extent.
The magician enters, holding in one hand two men's size silk handkerchiefs by their corners. One of the handkerchiefs is red and the other is white. Those colors are not essential, but the handkerchiefs must be of different colors. He announces that he wants one of these handkerchiefs chosen--the one selected will be the one used in the trick. The handkerchief not chosen is pulled away from the other and thrown over his arm. He picks up a highball glass with his empty hand and pushes the chosen handkerchief down into the glass. It will fill about half the glass. The magician then takes the other handkerchief and pushes it into the glass, as he explains, to act as a stopper. He then calls attention to the fact that the selected handkerchief is in the glass and cannot come out the bottom because of the glass and the other handkerchief closes the mouth of the glass. He takes the glass between the palms of his two hands. One hand covers the bottom of the glass and the other the mouth of the glass. The fingers of the hands are held straight out so that every one plainly can see the glass and both handkerchiefs. He waves the glass a very little and the chosen handkerchief instantly disappears. Instantly the glass may be handed for examination. Not only will it be found intact, but the second handkerchief will be wedged in the mouth of the glass like a stopper.
To prepare for the trick, all that is needed is a length of braided silk cord. It probably can be found in a store selling material for ladies' dresses, but I know that such cord also is carried in upholsterers' shops. It needs to be quite strong and mine is about an eighth inch in diameter. Incidentally, this silk cord is much more flexible, and therefore better, than fishline. A one inch loop is made at one end and the cords at the end of the loop bound with thread. This fastening of the loop must be most secure. That loop is for the handkerchief as will be explained later. I also make the same size and kind of loop at the other end, for I slip it on to the strap of my wrist watch. The length of the cord depends upon the length of one's arms and the width of one's back. The cord must be just long enough to go from the fingers of one hand to the opposite wrist-up one sleeve across the back and down the other sleeve when the arms are bent and the elbows held flat at the sides. When the magician walks on the stage, the ends of both handkerchiefs are through the loop of the cord. This not only makes it easy and natural to hold the cord but it takes away the fumbling which would be required to thread the loop with a handkerchief in front of an audience. When the choice of handkerchief is made, the left hand (I hold the handkerchiefs in my right) takes hold of the bottom corner of the other handkerchief. The right hand is raised, seemingly the better to show the chosen handkerchief, and the left band pulls the other handkerchief free. That silk is immediately thrown over the right arm. The left band then takes the top corner of the chosen handkerchief and the right hand--loop and all--moves to the center of the silk. Apparently, this is done merely because it is easier to push the handkerchief into the glass when it is held by the center, and this is quite true, but at the same time the loop is put in the position where it will do the most good.
The glass is picked up by the left band. In night clubs, I pick up a glass from one of the tables. The ends of the handkerchief are dropped first into the glass and the rest of the silk pushed down on top. The handkerchief is pushed down until it is a bundle filling the bottom half of the glass. The glass is then taken by the right hand while the left takes the second handkerchief again. That silk is pushed down on top of the first. There is nothing special to know about putting in the second handkerchief. Do it just as you ordinarily would push a bandkerchief into a glass.
The glass is held between the two palms. The pressure is made with the base of the fingers rather than the heel of the palms. A slight forward movement of the arms and the chosen handkerchief will be jerked, past the second handkerchief and up the right sleeve. In doing this move, the heel of the right hand is lifted out about a quarter inch. Instead of jerking the second handkerchief out, as would seem to be the natural thing to happen, all that pulling the silk out by the cord does is to wedge the other handkerchief into the mouth of the glass. When the glass is handed out for examination the remaining handkerchief is a ball of silk which stays in position corking the mouth of the glass.
It is perfectly possible to do the trick with a milk, or cream bottle, or with a comparatively small necked glass vase. In either case the selected handkerchief will slide out past the other handkerchief without the least difficulty. Personally I have always preferred using a highball glass, because it seems to be more convincing to an audience. However, for certain acts a bottle or vase may be found more effective.
The fact that the handkerchief vanishes instantly while the attention of the audience is focused on it, and the added fact that a glass with both ends closed surrounds the handkerchief, makes the effect particularly appealing to audiences. That it is so striking a trick, and yet is a short one, makes it an excellent trick with which to open a magic program.
The best patter to use with the trick is a mere explanation of what is happening. The trick is strong enough so that the little fairy story plot is not needed.

THE FINGER KNOWS-AND TELLS By Al Baker

People have liked psychic effects ever since magicians first began performing them, and in recent years the public has leaned even more to that branch of magic. When a magician discovers a thought which one person alone knows, which hasn't been whispered to someone else or even written down, it is particularly impressive. The effect I am about to describe appears to be something of a miracle to the spectators, especially to those who take part and have their minds read. Of course, it needs to be presented with showmanship, as do all other tricks, to be completely effective. Showmanship with a psychic effect means presenting the trick exactly as if you had the power you pretend. It should be performed in as quiet a manner as possible, without any flourishes and, seemingly, without any pretense. The performer is a scientist who has discovered something greatly in advance of the knowledge of the rest of the world--he does not boast about it, nor does he rant about it. He merely, and quietly, proves it.
This is the effect of the trick. The performer removes five cards from a pack. The cards are the ace, deuce, trey, four, and five spot of any suits. It makes no difference whether they are of different suits or all of one suit. The cards are placed on a table in a row and in sequence. While the performer turns away, a person is asked to look at the cards and choose one, and only one, mentally. Then the magician turns to him and instructs him to think that his thumb represents the ace, his index finger the deuce, his middle finger the trey, and so on. Above all he is to concentrate on the card he has mentally selected by keeping his thoughts firmly on the finger which represents it. When the spectator thoroughly understands what he is to do and announces that he is ready, he is told to hold up his hand, with his fingers apart. With the tip of his index finger the performer lightly touches the tips of each of the spectator's fingers as he says, "Ace, deuce, trey, four, five." Then without saying anything else, or doing anything more, the magician turns to the table and picks up from the row of cards the very card of which the spectator is thinking.
The secret is very simple, the clue being given, quite unconsciously, by the spectator himself. But perhaps it would be best to explain the routine in order. After the performer removes the five cards from the deck, he places them face up on the table running from left to right--at the extreme left is the ace, to the right of it the deuce, again to the right the trey, and so on. When I speak of left and right I mean the spectator's left and right. The cards are put in this order because the spectator is asked later to raise his right hand, palm toward the magician and in that position the thumb is towards the left and the fifth, or little finger, toward the right. It will be recalled that the thumb represents the ace and the little finger represents the five. As the cards are put on the table, they run in the same direction as the spectator thinks of his lingers. This is a minor point but one which makes a great deal of difference to the success of the trick, for it eliminates much confusion in getting the spectator to follow instructions.
When the trick has reached the point where the specttator has his hand raised, seemingly nothing has happened which would give the magician the least clue as to which card is being held in mind by the spectator. As the magician lightly touches the tips of the spectator's fingers with the tip of his index finger, it seems merely as if the magician were trying to concentrate. It is not his concentration which matters, but the concentration of the spectator. When a person thinks hard upon one finger he stiffens that finger without being aware of it himself. When the performer touches the person's fingers he will get the impression he wants, namely that one finger is stiffer than the others. The performer does not push the fingers back and forth, nor exert any pressure on them, for the lightest touch will give him his clue. He merely touches them, apparently as a reminder to the spectator.
Once the magician knows which finger is being thought of by the spectator, he knows which card has been selected. He does not name the card nor even immediately pick it up. He goes back to the table and runs his hand over the cards a time or two and perhaps names them over "Ace, deuce, trey, four, five." He then picks up the chosen card or, as I prefer doing, turns the chosen card face down and announces: "That is your card."
The trick may he repeated again and again, and I have never failed to pick the correct card in four out of five tests with any group. The trick is not one hundred per cent certain but the percentage of success is very high. The few failures merely seem to make more convincing to the spectators that they have been witnessing a true demonstration of mind-reading.
The trick is particularly effective when shown to only a few people such as to a group of newspaper reporters.
When properly presented they will forget the hand and fingers part of the feat and recall only that the magician was able to tell which cards they had mentally chosen. They are apt also to forget that they were limited in their choice and that they had but five cards from which to make their selection.
Of course, it is just as possible to write numbers on five pieces of paper instead of using cards. Anything at all may be used from which to make a selection as long as there is something to take their minds off their fingers.
Incidentally, it is not a trick for magicians, although I have performed it successfully for a number. It is a trick for laymen. Laymen are only interested in the effect and they don't care, when the effect is good, whether what they have seen is difficult or easy, whether a new sleight is used or whether the gimmick is silver plated.
Any further explanation is unnecessary. I feel certain that if you try it a few times you will find it to be a trick you will like.

Cut & Restored String

A string or rope is cut into two pieces, and wherefore magically restored into one piece!
REQUIREMENTS:
1. ) One piece of massive string or thin rope
2. ) A piece of writing paper.
3. ) A span of first-rate scissors.

The Cut - and - Restored rope development is a classic of magic.
Prefold a piece of paper before the parade forasmuch being indubitable looks consonant the paper dominion Figure 1.







When veritable ' s stint to pressure formation the trick, pull out the paper and meridian the string clout sound since shown.
Fold the top of the paper ( section A ) down, inasmuch considering flock the bottom of the paper ( section C ) up. Nowadays for the secret action:
When you district section C up over section A, right your mold to snatch the string due to demonstrated esteem Figure 2.




When you prefold the paper before the exposition show due to certain that section A is not therefrom stretched that valid will cover the string.
Securely grasp the combination owing to spell Figure 3,









production convinced that the prospect shown fix the diagram is empitic particular by you.
Cut terminated the paper, considering shown connections Figure 4. Cut completely buttoned up the paper, disjoining essential and, presumably,
the rope repercussion half. Credit reality, exclusive the paper is cut repercussion half, the rope is still thoroughgoing.
Crumple up the paper, and pull the rope out slowly. Veritable is restored into one entire piece!
The paper may act because wicked, and evident will speak for empitic to posses been cleanly cut into two halves!

The Self - Tying

A tie honest straightaway ties itself at the boundary of a handkerchief!

REQUIREMENTS: One material handkerchief shroud a bind liable drag one corner.

Divulge your friends that you contract tie a loop string a handkerchief using unrivaled one hand!
Pull the handkerchief out of your pocket, keeping the tether unseen waves your hand ( Fig. 1 ).














Pick up the contradiction corner of the handkerchief shroud the other hand, and grasp material considering aptitude Figure 2.










Snap the handkerchief, releasing the tip strayed the tie. Pick up the uncertain limitation shroud the other hand pdq before and repeat, besides releasing the bound missed the secure. On the investigation fling, rent drive of the rolled bound considering shown ( Figure 3 ),
instead of the expected corner. The movement of the hand conceals the handle, and makes this a unquestionable baffling denouement.

The Click Pass

Here are two sleights which aid in accomplishing numerous effects. Although both moves appear the same, the results differ slightly. Method (a) is the brainchild of Chester Woodin; the originator of (b) is unknown.
Effect (a): Two half dollars are on the table. The performer picks up ,one with his right hand, places it in his heft hand, and closes his fingers over it. He takes up the second coin with his right hand and drops it into his left hand, where it is heard to strike the first coin. When the left hand is opened it holds only one coin; the other is shown in the right.
(b) This action appears the same as described above, but the results differ slightly. In this case when the left hand is opened it is empty, The right hand opens, and displays the two coins.
Method (a): After showing the two coins on the table, pick up one with the right hand and apparently place it in the left, but really retain it in the right hand in the regular palm position. (See Standard Vanish.) Left hand is closed. The second coin is picked up by the fingers and thumb of the right hand, which seem to deposit it in the left hand. The left hand opens to receive it, but at the moment of the pretended deposit the coin in the right hand is released, and as it falls into the left hand it strikes the other coin in the process, Fig. 1.

The right fingers then press the second coin into the palm, where it is retained.
When the first coin strikes the second coin, as it falls into the left hand, it makes a clink which simulates the sound one coin makes on being dropped onto another. The illusion is so perfect it fools the eye and the ear. Apparently the two coins are in the left hand. Open the left hand showing one coin, then open the right to show the other coin.
Method (b): The two coins are on the table. Pick up one coin with the right hand, apparently place it in the left, but palm it in the right. Left hand doses as if it held the coin. Take up the second coin with the right hand and repeat the previously described maneuver of apparently placing the coin in the left hand, but, at this moment it is palmed in the right hand and strikes the coin already there, Fig. 2,

creating the illusion, by sound, of falling on top of the coin supposedly held in the left hand. Close the left hand again, both coins being palmed in the right hand. Wave right hand over left, snap right fingers, close right hand and hold it some distance away from the left. Open the left and show it empty. Open the right hand and show both coins. The halves have traveled from hand to hand.
The performer apparently places the coins in his left hand, but, with the aid of either of these two passes he can retain one or both coins in his right hand. Although described as tricks, these moves are more effective when used secretly in other routines, several of which are explained in the following pages.

The Bobo Switch

One of the most valuable of all coin sleights is a good method for switching one coin for another. Here is one that I have used with success under all conditions for many years. It can be used as an effect in itself or as the means for accomplishing numerous other effects, several of which will be found in the chapters that follow. Learn this sleight and you will have a valuable tool that will serve you well as long as you do close-up magic.
For the sake of clarity suppose you learn this with two coins of contrasting color, such as a silver half dollar and a copper English penny. Have the English penny concealed in finger palm position in your right hand while you show a half dollar in your palm up left hand. Pick up the half dollar with the first two fingers and thumb of the right hand, toss it back into the left hand and dose the fingers over it. Do this again. For the third toss, the switch is made and the copper goes into the left hand instead of the silver, yet there is no perceptible change in movement. Regardless of which coin is thrown, the action appears the same.
Instead of tossing the silver coin the third time, the copper one is tossed, as follows: Always hold the visible coin (silver) between the first two fingers and thumb, Fig. 1.


When ready to make the switch merely open the second, third, and fourth fingers slightly, releasing the copper coin, but retaining the half dollar with the forefinger and thumb, Fig. 2. It will be noted at this point that the silver coin is completely masked from the spectators' view by the extended second, third, and fourth fingers. Only a slight movement is necessary to place the half dollar in finger palm position where it is retained. This should be mastered so that all moves blend into one action of merely tossing a coin into the left hand.
The sleight is not difficult but requires practice to make it indetectable. Performed correctly it is impossible for anyone--layman or magician--to tell that a switch was made.
Remember to close the left hand over the tossed coin each time, and throw the coin in even, consistent speeds--not too fast, yet not too slow, either.
If it is desired to finish with the copper coin in the classic palm position, this can be accomplished as follows: Continue up to the point shown in Fig. 2,


but instead of finger palming the half dollar curl the fingers inward pressing the coin into the palm (with the aid of the two middle fingers) and immediately snap the fingers over the closed left hand, which supposedly holds the coin. It is the snapping of the right fingers which covers the move of palming the copper coin.
Master the method first explained, and this one will come easier later. This is the preferred method of the two because it leaves the fingers of the right hand free to pick up other objects or handle them in a natural manner.
The first and most important thing to remember about this exchange is that it must be made under cover of a natural gesture and carefully timed to coincide with an appropriate remark.

The Edge Palm

The coin is held in the same spot as just explained, by the muscles of the hand which press together from opposite directions against the edge of the coin. It is not held flat as in the classic palm but in a slanting position of about forty-five degrees, Fig. 1.
This palm is more difficult to acquire than the classic palm, but once it has been mastered this one becomes easier. A fairly new coin with a sharp milled edge is easier to hold than one with a well worn or smooth edge.
To place the coin in this position you must first hold it by its edge between the tips of the forefinger and thumb. Then place the tip of the second finger in front (nail against edge of coin) and third finger behind and grip it with these two fingers as the thumb and forefinger are removed from the coin. Now by bending the two middle fingers inward the coin is carried to the palm, Fig. 2.

and retained there while the fingers straighten out again, Fig. 1.
A simple reversal of these moves will return the coin to its starting position.
To palm several coins in this fashion you would proceed exactly as you would with one, but as each coin is palmed it is placed on top of the preceding one with the final coin being closest to the wrist.
To produce them again bend the second and third fingers inward, place the tip of the third finger on top of the coin nearest the wrist and the tip of the second finger underneath the outer edge of the coin closest to the palm. With the tip of the third finger, slide the top coin forward about a quarter of an inch, then grip it between the tips of the two fingers and bring it into view by straightening these fingers.
The number of coins that can be palmed and produced in this manner depends entirely on the ability of the performer.

The Classic Palm

The coin is held in the center of the palm by a contraction of the muscles at the base of the thumb and little finger, Fig. 1. It is transferred to, and pressed into this grip by the tips of the second and third fingers. Several coins may be held in this manner.
This is one of the most difficult of all concealments to master but it is one of magic's finest secrets. The layman cannot imagine it possible to conceal a coin in this way.
The beginner may experience difficulty in retaining a coin in this position at the outset, but the ability will come with practice. Once the knack is acquired coins of various sizes can be retained.
A minimum amount of pressure is sufficient to hold the coin in place. Too much grip tends to make the hand appear cramped and tense. A coin is not a heavy object, so hold it lightly and the hand will appear natural. Actually it should be held so loosely that a mere tap with the other hand will dislodge it.
An important point to remember is that no one is misled because the fingers are apart. Only when the hand looks natural will it be above suspicion. The ability to palm a coin should be mastered first; naturalness will come later. Make use of the hand that has the coin palmed 'by picking up something with it, such as another coin, or a small wand or pencil; use it to pull back the sleeve; to snap the fingers or make a gesture. Any of these actions subtly direct attention away from the hand with the concealed coin. Sometimes I grasp a spectator by the arm to draw him closer for a better look, with the very hand that has the coin concealed.
The parlor rug offers an excellent surface for coin work; It is advisable to spread a pocket handkerchief on the rug and place the coins on that, as some rugs have a confusing design, thus making the coins difficult to see. Whether operating from the floor or a table, a natural pose to assume is to rest the fingertips of both hands on the working surface. The hands will then look empty even if something is concealed in one of them, Fig. 2.

In some instances certain tricks must be done while standing and occasionally the spectators will be crowded around you. Just a little thought will solve this problem and make you master of the situation. Watch your angles. Form the habit of keeping the palm of the hand in which the coin is palmed, toward the body. Or, if the hand that has the coin concealed is held parallel width the floor there is little chance of dereaction. The coin can only be seen from a point directly below.

First Post

Hi, I'm Semi....

This blog is dedicated to all people who want to know about Magic.

I will share all tricks i know... all tricks i learn... and you will be able to do magic anywhere anytime

So enjoy ...

and let the magic begin ......

^_^