Open the left hand to show the four coins. Hold one back in the classic palm, while the other three are tossed into the right hand. Open the right hand showing four coins. This is the standard Shuttle Move.
Drop the four coins from the right hand onto the table, well to your right. Pick up one of the coins in the right hand. Show the coin and place it beneath the table top. Tap the coin against the underside of the table. Slap the left hand palm downwards on the close-up mat, roughly over the point where the trapdoor is. With the right hand, snap the coin sharply against the underside of the table and at the same time release the palmed coin in the left. Raise the left hand, showing that the coin has apparently penetrated the table top.
Bring the right hand out from beneath the table, with its coin classic palmed.
Offer to demonstrate how the trick was done. Explain that you need a trapdoor in the table top. Say that as most tables are no longer fitted with trapdoors you are forced to supply your own. Here you fold the mat in half to the right revealing the trapdoor lying on the table.
With the left hand, pick up the trapdoor by the short edges, fingers at the outer end, thumb at the inner. This is the same as the Biddle Grip with cards except that the trapdoor is held nearer to the left hand side so that the whole of its surface is visible. The grip is shown in Fig.2. Rotate the left hand at the wrist so that the trapdoor is brought to chest height and is held with the hinge nearest the floor in an upright position. This is also shown in Fig.2.
Use the right forefinger to poke the trapdoor open. Curl the other fingers inwards towards the palm as you do this, to help conceal the palmed coin. Use the right forefinger to close the trapdoor, then turn the whole thing over and lay it on the left palm, hinge side down, to show that there is nothing concealed on the underside. Do not say that this is the reason, just do it. You are now going to load the palmed coin beneath the trapdoor as you turn it right way up and place it on the table. Johnny uses a variation of a move described by Bob Ostin in his book, "Fingertip Fantasies". The way that it works in this routine is as follows:
The trapdoor lies, hinge side down on the left palm. The right hand, with the coin classic palmed, seizes the door-frame by the short edges (Biddle Grip). This is shown in Fig.3. The whole thing is now turned over, using the right long edge as a fulcrum. The direction of the turn is shown by the arrow in Fig.3. At the finish the trapdoor is hinge side up, lying on the left fingers.
During the turning over of the door-frame, the coin is allowed to drop from the right palm onto the left fingers. This part of the action is hidden by the back of the right hand. At the finish the trapdoor lies on top of the coin. This move was originally intended to load a coin beneath a card. It is ideal for this trick.
With the right hand, lift the trapdoor off the left fingers, taking the coin beneath it and place it down on the table. It should be placed left of centre and well to the front. As you pick the trapdoor up, the right thumb goes on the centre of the door on the top (hinge) side. The other fingers curl underneath and support the hidden coin.
Place the trapdoor down in the position stated above. The hinge side should be to the rear (performer's side). Straighten up the close-up mat and offer to demonstrate how the trapdoor works.
Pick up one of the so far unused coins with the right hand and fake transfer it to the left. Any fake transfer will do, provided that it leaves the coin classic palmed in the right hand. Alternatively the coin could be finger palmed in the right hand and transferred to the classic palm during the next few actions.
The empty left hand goes beneath the table top and taps with the knuckles on the underside. If the performer wears a finger ring on that hand, it can be tapped against the table, giving the impression of a coin.
Bring the empty left hand out from under the table. Position the left and right hands on the short edges of the door-frame as shown in Fig.4. Remember that the right hand has a coin palmed.
Press down on the door-frame with both fingers, simultaneously. This will cause the door to open slightly as it pushes against the coin beneath. As the door begins to open, use the right forefinger to lever it completely open. A coin is revealed framed in the opening.
Pick up the coin, in the left hand, and display it. Pick up the trapdoor with the right hand, by the right corner of the actual open door. That is the corner at the end nearest to yourself.
The left hand places its coin to one side, near the first coin to penetrate the table. The right hand displays the door for a few moments, then returns it to the table, in more or less the same position from which it was picked up. The right forefinger flicks the door shut.
The next two actions take place at the same time, the larger movement of the left hand helping to divert attention from the smaller one of the right.
Firstly the movement of the left hand. It crosses over to the right side of the table and picks up one of the, as yet unused, coins. The coin is picked up by the edges between the fingers and thumb, so that when the hand rotates to a back up position it will be ready for the "French Drop".
The right hand, meanwhile, has just finished putting the door down and closing it. It now draws the trapdoor towards the back of the table, loading the palmed coin at the same time. The position of the right hand and the manner of holding the door are shown in Fig. 5. With the
door so held, simply let the coin drop from the palm, onto the table, then move the door backwards to cover it. Do not look down as you db this move. Keep looking at the audience and talking about the next coin that is going to pass through the trapdoor. If anybody is watching the right hand, it will appear to have moved backwards slightly to avoid colliding with the left.
Hold the left hand's coin, face on to the audience. Place the right forefinger on the extreme right edge of the coin and rotate it 180 degrees in the direction of the arrow shown in Fig.6. This appears to be a way of showing that the coin is unfaked or whatever. More importantly, it justifies or at least provides a reason for holding the coin by the edges.
Mention next, that you can put the trapdoor anywhere that you like. As you say this, move the right forefinger to the centre of the rear edge of the door-frame. With this finger, daintily push the trapdoor forward across the table top to a point slightly right of centre and well to the front. The concealed coin will slide along quite happily beneath the trapdoor.
The right hand comes back and apparently removes the coin from the left. Really the "French Drop" is executed and the coin is finger palmed in the left hand. The empty right hand goes beneath the table and pretends to pass the coin up through the table top. Again, if a ring is worn on that hand, it can, be used to advantage to simulate the sound of the coin striking the underside of the table top.
Bring the right hand out from beneath the table, allowing it to be seen empty. Place both forefingers in the Fig.4 position. This time the coin will be hidden by the left curled fingers. Press down and 'open the trapdoor exactly as before, revealing the coin.
Now comes a very clever loading move, which incorporates a subtle throw off. Leave the visible coin in position, do not remove it from the trapdoor. Refer to Fig. 7. The right hand takes the outer long edge of the door-frame as shown in the figure and using the rear long edge as a fulcrum, rotates the frame backwards through 180 degrees, causing it to end up hinge side down on the table with the door closed. Notice the position also of the left hand in the figure.
As soon as the trapdoor is upside down on the table, it will be in the position shown in Fig. 8.
At this point the right hand moves to the long edge farthest from the performer and again rotates the trapdoor on the rear long edge exactly as before, but this time, because of the position of the left hand, the trapdoor ends up on the left fingers, covering the concealed coin. It will, of course be hinge side uppermost and the coin will be directly beneath the actual door. The whole thing will now be in position to go into the move shown in Fig.9. The hinge will be more or less on the left hand side.
Use the left fingers to slightly open the door. With the right hand, take hold of the partly open door as shown in Fig.9. The thumb is underneath the door, clipping the coin against it. The fingers are above.
By rotating the right hand at the wrist in the direction of the arrow shown in Fig.9, the trapdoor is lifted out of the left hand to the position shown in Fig.9 (performer's view). Allow both hands to be seen empty. This is a very subtle throw off, because for some reason, it seems impossible for anything to be concealed. The principle is rather like that used in the old "Flipover Box".
Tilt the right hand so that the frame swings shut until it hits the thumb. Remove the whole lot with the left hand, fingers at the front, thumb at the rear. The thumb clips the coin behind the door, while the fingers completely close the whole thing up. Place the trapdoor on the table, to the left and near the rear. The hinge is towards the performer.
The right hand picks up the last coin and the performer offers to explain, how it is that the coins are able to come up through the trapdoor without being seen.
Explain that the reason is because you are able to make them invisible. As you say this apparently pick up the last coin with the right hand and transfer it to the left. Really this is a fake transfer and the coin is lapped. Use any method of doing this that you can do well. You can either lap the coin before apparently placing it in the left hand, or you can fake transfer it to the left and lap it from the right hand afterwards. Both methods have their advocates. The important thing is for both your hands to be completely empty, while the audience believe the coin to be in the left hand.
Tell the audience that the coin is now invisible. Open the left hand, showing it empty, but act as if it contained a coin. Place the empty left hand under the table and in the process, pick up the small sponge ball. Tap the left hand under the table (note: do not use the finger ring, if you are wearing one, to simulate the sound of a coin. This would be a dead giveaway!). Bring the left hand out from under the table, keeping the sponge ball concealed in the finger palm and place the hands in the position shown in Fig. 4. Press down on the door-frame with the right and left forefingers as done previously, causing the door to open.
Then repeat the backward loading movement which was shown with a coin in Fig. 7 to 9. This time you are loading a sponge ball but the method is identical, except that you cannot follow through to the Fig. 10 position. When you reach the position in Fig.9, simply compress the ball against the underside of the trapdoor with the left fingers. Do not allow the door to open as in Fig.9.
The right hand takes the trapdoor, with the sponge concealed beneath, from the left. The left hand then, with a large sweeping action, brushes all the coins to one side, while the right hand quietly places the trapdoor on the table. The sponge is beneath the trapdoor and squashed flat by pressure of the right fingers. Th'e larger movement of the left hand diverts attention from the right anyway. And the audience think that the trick is over so they are not paying particular attention.
Look down at the trapdoor and as you do so, slide the right fingers off the actual opening part and onto the frame only. This will allow the door to burst open and the sponge to pop up. A sudden and surprising climax.
Under cover of this unexpected appearance, the left hand quietly drops out of sight below the table top and seizes the large sponge, by nipping a piece of it in the thumb crotch. The hand then comes and rests on the table top as in Fig. 11. The sponge is just below the spectators line of vision.
The performer pretends to be surprised by the sudden appearance of the small sponge and says something like, "I don't know where that came from! But it won't go back there . . . because it's too big!" As this line is delivered the following actions take place.
The performer takes the ball in the right hand and moves it back across the table until it contacts the left. He does not look at the ball during this action but keeps his attention fixed on the open trapdoor as though wondering where the ball came from.
When the right hand meets the left, the position will be that shown in Fig. 12. Notice in the figure, how the right hand is beginning to compress the ball.
When the hands are in the Fig. 12 position, the performer leans forward to get a closer look at the trapdoor. As he does so, both hands quickly turn palm upwards as a single unit i.e. the right forefinger remains in contact with the left little finger throughout the action. This rotation of the hands is shown in Fig. 13 and during the action the small ball is lapped.
The larger ball will come into sight, but will not be noticed for a few moments because the performer is leaning forward and attention is on the trapdoor. Also the audience are not really expecting anything more to happen. Even if they were, they would expect the door to be the centre of the action, not the sponge ball.
The switch of the balls is timed to take place during the line of patter given above. On the punchline, ". . .because it's too big!" the left hand moves over the opening in the rapdoor with the large ball and makes a pretence of finding it impossible to push the ball through. A fitting climax to a routine that has proven its worth over many performances, both before magicians and laymen.
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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.