must appear to be as clean as those that have gone before. Have the spectator call heads or tails. As he does so, lift the hat to reveal the coin. Keep your attention on the coin and say whichever speech is appropriate.
While this is going on, the left hand brings the hat up to the right, which takes it as in Fig.3, loading the swede in the process. Do not, however, bring the right hand out from beneath the coat, until it is completely masked by the hat. The swede is supported by the right fingers behind the hat and is not released at this stage.
If you have followed the above description carefully, you will understand clearly how the audience cannot catch the loading move. The reasons are:
— They have been conditioned to regard the coin as the important object. Consequently they believe that if anything magical happens, it will happen to the coin.
— They have come to accept as natural, a certain sequence of actions and postures on the performer's part. Nothing has differed in any way from the two previous demonstrations, so they are expecting nothing this time.
— They are somewhat perplexed by the trick that the performer is apparently doing. It seems weak and a little pointless, or at best a somewhat barefaced bluff. Their minds are occupied wondering whether or not they have missed the point. They are a little confused so do not have time to worry about the hat.
The coin is picked up by the left hand and tossed in the air, while the right hand places the hat, this time with the swede beneath it, onto the table. The manner of placing the hat down should match exactly what has gone before. Practise making no noise and keep the speed consistent.
Take the coin into the right hand and toss it and catch it. Fake transfer the coin into the left hand, really classic palming it in the right. Close the left hand as though holding the coin.
With the right first and second finger pinch a portion of the coat sleeve just above the left bicep and pull the sleeve up slightly. This is shown in Fig.4.
It will be found that if the right hand is correctly positioned in Fig.4 the palmed coin will be directly above the opening of the breast pocket. Without any delay and with no perceptable movement of the right hand, release the coin so that it falls into the pocket. This is an old move, well known to most magicians. The important thing is to divide your attention between the left hand, which seemingly contains the coin and the audience. Avoid looking at the right hand.
As soon as the coin has been ditched, finish pulling up the sleeve for an inch or so. Bring the right hand over the left and stroke the back of the left hand with the right finger tips. Slowly open the left hand showing that the coin has vanished. Pause for a moment to allow both hands to be seen empty.
Explain that the coin is now floating invisibly in the air and that you will make it become visible under the hat. Reach up into the air with an empty right hand and grasp an invisible something. Slide the hand under the hat allowing it to be clearly seen empty in the process. Withdraw the hand.
Select a lady in the audience, who is likely to be a bit giggly, and ask her to wiggle her fingers over the hat and say, "Diggle, diggle, diggle!" Demonstrate what you mean. When she does so, step back and adopt the Fig.2 position. D^o not try to grab the glass just yet. The glass will be deeper down in the "Topit" than the swede was, so it will not be possible to take it quite so impercetibly; a slight covering action is required. This is done after the lady has done her bit. Lean forward and peer closely at the hat as though looking for something. As you do so, say, "You didn't diggle enough! Diggle some more!" As you lean forward, the hand goes deeper into the "Topit" and contacts the glass. As the lady starts to "Diggle" and we hope giggle a bit, you straighten up getting into the Fig. 2 position, with the glass held in the right hand.
Suddenly shout, "Stop! You've diggled too much! Look!" As you say "look", the left hand grabs the hat by the crown and lifts it off the table revealing the swede.
Pass the hat to the right hand, which takes it in the Fig. 3 position, introducing the glass in exactly the same way as the swede was introduced earlier. Pick the swede up with the left hand and thrust it right under the nose of the spectators, saying, "Where did that come from?" While you are doing this, the right hand places the hat with the glass beneath it onto the table. It does not matter at this stage, which way up the glass is, just get it down as quickly and noiselessly as possible. Hold the swede up in the left hand as though the trick was over.
When the inevitable applause has died down, begin to fold the corners of the scarf up onto the hat as shown in Fig. 5. Do this slowly and deliberately, telegraphing to the audience that there is more to come. Place the left hand palm down, flat on top of the hat, then with the palm up right hand, reach beneath the hat and the scarf until the glass is felt to be resting on the right palm. This position is shown in Fig. 6.
Revolve the hands in the directions shown by the arrows in Fig.6, causing the hat to turn crown downwards. Replace the hat on the table and withdraw the hands. This is just a way of turning the hat over without revealing the presence of the glass. The hat is now crown downwards on the table covered by the scarf. Place your right forefinger in front of your lips, motioning everybody to be very quiet.
With the right hand, reach beneath the scarf, into the hat and feel for the glass, turning it right way up. Then bring the right hand up to the position shown in Fig.7. Wriggle the fingers about a bit as though implying that there might •be a rabbit in the hat. Do not say so, just let them think it. _
Place the left hand on top of the right, but above the scarf, push the right hand down into the hat. Keep the hand wriggling slightly as though it were a live rabbit. When the right hand is level with the brim of the hat, withdraw it from underneath the scarf. At this moment, seize the glass, upright through the scarf, with the left hand and lift the glass and scarf into the air as shown in Fig.8. The right hand comes up and begins to work the rubber cover off the glass. You have plenty of time to do this, as everybody is expecting to see something in the hat. This being the case they will all peer into the hat for a moment. This provides the misdirection for the right hand to begin to remove the cover from the glass. It is not-necessary at this point to get the cover right off, just loosen it.
All of the above stage takes but a few seconds. By the time the audience has twigged that the hat is empty, the cover will be part way off the glass and the hands will have separated momentarily. The performer says, "It's not there! (pointing to the hat) It's here! Cheers!" On this last line, the scarf is lifted off the glass, by the left hand, which also finishes peeling off the rubber cover at the same time. The performer holds the glass of liquid aloft while the left hand stuffs the scarf and the rubber cover into a convenient pocket. Of course, you reach under the scarf with the right hand and hold the glass before removing the cover entirely.
That is the routine as Dick Turpin has performed it for many years. You may ask, what about the borrowed coin, how do you return it? The answer is that if you are a busker, you don't!
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Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.