the fist. When it emerges from the other side? the additional cap will make it appear that the pan has reversed itself. Immediately take it in the right hand being sure to cover the extra cap. You are taking it into the same position you originally held the pen, only the shaft of 'the pen is reversed.
As you ran.ove the pen from the left fist, secretly wrap the right pinky around the body of the extra cap. This holds the cap firmly while the right thumb and forefinger pull the pen out of the extra cap. When you get used to doing this, there will not be any perceptible movement as far as the audience is concerned. As soon as they are disconnected, the left hand lifts the pen (with one cap) out of the extra cap and out of the fist. The right hand is now finger palming the extra cap. The right first finger and thumb are extended. Use them to remove the real cap from the shaft. You want a smooth, fluid, and natural action for this entire sequence. If you pause unduly, you'11 spoil the whole effect. Once the cap is removed, both hands move in order to place the cap on the back of the pen. If you are seated? now is the time (during this movement) to lap the spare cap. Otherwise, you can regrasp the pen in writing position with the spare cap finger-palmed. Now you can write whatever you were going to write in the first place»
This is not a miracle. It is meant as a cute "quickie«" It is novel and it will fool people if done properly. It's kind of a portable "Tricky Bottles." Between, this and the vanishing pen trick, I have amassed a large collection of pen shafts with no caps at rty house» While you're learning these two tricks. I'm going to go invent a trick using pen shafts.
I came up with this while "R. "and I were discussing "The Travelling Flower" from Bert Allerton1 s The Close Up logician. It may make you consult Bert's book and rig the trick up. (Then again, it may not.) If you don't want to go to the trouble, see Regurgitations for a solution.
Basically, the effect is that the magician.9 s boutineer travels from one lapel to the other instantly. Bert's patter was, "Now I'll give you 'the magician's salute.®" After this, the flower magically jumped. (Bert wasn't much on flowery patter.)
Try this instead. Rig the flcwer up as Bert described. Have it start on the right side and jump to the left. (Use this sometime near the front of your show.) After one of the first few tricks, pause for a moment as you step to the front of the stage ("downstage" for the technicians). "Many of you may have noticed this flower on my right lapel. Did you know that if you wear the flower on the right side it means you're married. If you wear it on the left, it means you're single and unattached. As you can see, I wear it on the right side which means I'm married. As a matter of fact, iry wife is out in the audience tonight." Look around for her and notice that she's no longer there."Well, she must have left early. She was here a minute ago." Start smiling as you look down at the flower on your right lapel. Pause for a second, then look at the empty left lapel. This is so that the audience will appreciate what is about to happen. Finally, look back up at the audience. Wait one to two full seconds before you allow the flower to jump over to the left lapel. From here you can either go on with the show or say something like, "As I was saying, the unattached males wear the flower on the left lapel."
Regurgitations. For those of you who like the trick but don't want to go to the trouble of rigging up the trick, you can manually transfer the flower and still get the laughs. I don't like it as well, but it does put it into the impromptu cl^r-: which makes it an excellent Emcee gag.
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