hank to egg exposed
This method of performing an old classic]
eliminates the need for the usual fake hollow egg although during the explanation? to the audience the performer claims to be using one.
You will require a large thumb tip and a silk handkerchief of a size that can be contained within the tip when it is on the thumb. The finer the
HANK TO EGG EXPOSED by Gaeton Bloom
HANK TO EGG EXPOSED by Gaeton Bloom
texture of the silk the larger will be the silk that can be used. These are placed separately in the right coat pocket and arranged in such a manner that the thumb can be easily and quickly pushed into the tip when the right hand enters the pocket and removes the silk.
Also required is an egg onto which you stick a small piece of silk making it appear to be the usual fake with a corner of the silk showing through the hole in the side. This piece of silk should of course match the handkerchief. Place this prepared egg in the left side coat pocket and with a glass tumbler on the table you are ready to perform.
To commence both hands go into the coat pockets as you remark that for your next trick you will require a handkerchief. Push the right thumb into the tip and grasping a corner of the handkerchief remove it from the pocket and display. As the right hand brings the handkerchief into view the left hand is brought out with the egg concealed in its curved fingers. It should appear to the audience that you are unsure which pocket contains the handkerchief and if the right hand leaves the pocket before the left the attention of the spectators will be centred on the handkerchief and they will pay no attention to the left hand.
The left hand is now brought chest high closing it into a loose fist and the corner of the handkerchief together with the thumb tip pushed into the opening at the top of the fist. Both are left there (Fig.l) and the remainder of the handkerchief gradually pushed through and directly into the thumb tip with the right index finger.
When the whole of the handkerchief is in the tip, close right fingers around the left fist and bring both hands up to the mouth and blow on them. During this action manoeuvre the tip onto the right thumb. Both hands now separate and move away from the mouth and the egg which has been transferred to the right hand is shown to the audience with the piece of silk at the back of the egg out of their view.
You now explain that it is not a real egg — just an imitation plastic one. Bang it sharply on the rim of the tumbler with a force which would break the shell of a normal egg. Actually it is the sound of the thumb tip which the audience hear hitting the glass. You further convince them that the egg is not the real thing by saying that you merely push the handkerchief through a hole in the side as you turn it to show a corner of the handkerchief protruding from the hole (really the piece stuck on the side).
You now offer to teach the spectators the trick in detail. Transfer the egg to the left hand and apparently pull the handkerchief out of the egg. Actually the right thumb is inserted into the top of the left fist which is partially closed and the handkerchief pulled out of the thumb tip through the top of the left fist, leaving the tip behind at the side of the egg.
Explain that the hollow imitation is concealed in the left hand at the outset, and to change the handkerchief into an egg you simply push it into the hole. Demonstrate this by repeating exactly your previous actions — pushing the handkerchief into the thumb tip and getting the loaded thumb tip onto the right thumb as you blow on the hands.
Reveal the egg and caution the spectators that they must take care not to expose the hole in the side of the egg.
Conclude by saying that if you were a real magician it would be possible to change the handkerchief into a real egg. Pick up the tumbler remarking "If I was to tap a real egg on the rim of the tumbler it would break." Suit the action to the words and register disbelief as the egg breaks. Replace the tumbler on the table and let the contents of the egg fall into it. With a puzzled expression registering on your face look at the empty shell (one half in each hand) before dropping them into the glass. Dispose of the loaded thumb tip as you take the applause.
Well, it happened at long last — yours truly finally got to meet your editor Fred Robinson. My wife and I were on Pete Biro's El Cheapo but El Goodo Magic Tour and our first stop was the Magic Circle in London.
Our group showed up about six o'clock and my good friend Pat Page pointed out Fred to me. I ventured over and said to Fred, "You have to guess my name, but I'll give you a big clue." On my lapel I had a pin which read F.F.F.F. (these beautiful pins are new this year and only past attendees at our close-up convention can purchase them), and would you believe Fred said, "It can only be OBIE" — it's nice to know that our four "F" motto is catching on in the magic world — only non-Americans with pins are Anthony Brahams and Jos Bema. Well, to make a long story short, we had a good visit and I only wish that I could have joined the guys for the little session they had on Thursday.
Larry Jennings and Ray Grismer were in our group. So Fred, Eric Mason and Gordon Bruce (who took the train down from Glasgow, Scotland) had an all afternoon and evening session. I can't remember if Howie Schwarzman joined them or not.
Here's something Larry taught me on the trip and he said mention his name if you do it — Well Larry here it is. If you remember, on page 34 of Frank Garcia's Million Dollar Card Secrets he has a trick called "Switchcraft" which uses an extra card. Larry's version doesn't, and I wonder why nobody didn't think of it sooner as it's so simple.
Double lift to show say the ten of clubs — replace card(s) on top of deck — take top card and place it underneath the second card — double lift again to show say five of clubs — say "five of clubs goes on the table with glass qn top of it — ten of clubs goes on top of glass" — now snap your fingers, turn over cards to show five of clubs on top and ten on the bottom — so simple I love it.
Larry showed this many times on out trip and the more I saw it the better I liked it. Try it and you will see what I mean.
We have a great time in Amsterdam with the Dutch Magicians as they had arranged an evening get-together that turned out to be the highlight of my trip, especially as Fred Kaps was there. We had dinner with him on Saturday night along with Pete Biro and Larry Jennings.
On Sunday night Fred was into it — doing tricks along with such other notables as Flip, Dick Kornwinder (car fame) and a lovable gentleman by the name pi Eddie Taytelbaum — not only does Eddie invent precision made tricks but let me tell you guys he can do miracles with the cards — and on top of all this he is a super gentleman. In fact, he stayed to the very end with Howie Schwarzman, Dick Cook (who was also on our tour), the President of the* Dutch Ring (sorry forgot his name), and myself doing tricks till the wee hours of the morning. Next morning we left for Brussels.
How can I call this column U.S.A. Happenings when I'm here in Brussels attending F.I.S.M. I hope you will forgive me this time.
I've got to tell you about some of the people I met during the convention and in the next issue I'll duscuss the close-up contest, if you can call it that.
My first introduction to some super close-up was to Bernard Bilis and J.J. Sanvert. Howie Schwarzman, Larry Jennings and I sat and watched Bernard and J.J. do some great effects of Derek Dingle, Vernon and Mario plus some of their own. It got so crowded with people trying to see what was going on that, would you believe, we had to stop so that people could pass by to look at the dealers. No sooner had we stopped and Juan Tamariz (from Spain) showed up — if you don't know who he is — Ken Brooke has a card trick he. put out called the Tamariz Rabbits which I think is one of the best close-up tricks you can carry in your pocket for children. The only thing extra you have to do is put colour letera film on the apples and rabbits. Mine have red apples, green leaves and yellow rabbits. The yellow makes it stand out for better contrast. If you haven't got it — by all means get it. If guys like Eric Mason, Trevor Lewis, Pete Biro and many more are using it you know it's good; besides Ken will appreciate the business — Right Ken!! ^ ->
Juan sits down and does his three card monte which is strictly for laymen. He brings out four 350 notes — hands two to each spectator and says we will play a game of follow the queen in which each of you make a bet. Well, he gave Howie Schwarzman his two 950 notes and as he was giving the other two to the spectator on his left, Howard switched them for $10 notes. The first spectator bet and lost — as Juan turned, Howard threw out the §510 and the look on Tamariz's face was worth a million dollars. It broke us all up laughing so hard I thought Bilis was going to fall on the floor. Juan went along with the gag and still beat Howard out of his money. This kind of stuff to me was better than the convention.
I've got to digest a little — all during our trip Ray Grimser is doing his ring and rope and showing many people in Europe the actual workings he put in Genii. Go back and read it, you will find it worthwhile as everyone he showed it to was impressed.
Here it's Friday night and we are all at the trade mart for an evening of magic and dancing. Who do I spot with about ten people around him doing card tricks, none other than Ascanio. By the time I rush over to get a front row view, he has started his all backs routine. The handling was beautiful, then into some 4-ace routines and by this time a big crowd has gathered at his table to watch. Something I enjoyed very much. Got to talk to him the next day and for those of you who didn't know, he is now back doing magic and loves it. It would be sure nice if we could get him to the U.S.A. Even if the language causes a little trouble, 111 even leam Spanish!!
Saturday now and after the close-up contest I had some time to kill before the wife got back from shopping so I sat down to visit with Dai Vernon. Christian joined us and after exchanging gossip I got Dai to show me his centre steal. Well, one thing led to another and Vernon commences to open up — seconds — bottoms — the odd middle. Now I get a lesson on seconds without the left thumb and finger holding the top right hand corner of the pack. Vernon's thumb is 1/2 across the left side about half-way down. This is the way seconds should be done according to the Professor. He convinced me, so that's what I've got to practice. To make a long story short, about 90 minutes went so fast and so many people looking on that I hated to leave. If you see Dai get him to show you what he shows kids; the picture of George Washington, it's cute.
I looked around at the large crowd and said "What am I offered for my seat?" Vernon said, "You wouldn't", I said, "Watch me" -Collected $3.00 and left — till next time.
The following was developed as an outgrowth of my Cry Wolf routine (see Pabular Volume 4, number 11). Required are four cards: the Ace and deuce of Spades, and two identical Jokers. At the start, the order of the packet from the face is: AS, Joker, Joker, 2S.
Display the cards, calling attention to their order. Flip the packet face down. State that you'll reverse the order of the cards, to bring the Ace to the top. Siva Count the cards. Double Turnover the top two cards as one, displaying the Ace. Turn the two cards down. Deal the top single card to the table, face down.
State that you'll reverse the order of the remaining three cards, to bring the deuce to the top. In fact, count the cards as follows: hold the packet in Elmsley Grip. Push off the top two cards as one, taking them into the right hand. The left hand's card is now taken on top of the right hand stock — but you steal back the lowermost card of the right hand stock into the left hand. Finally, place the single card now in the left hand onto the right hand stock. The order of the packet is now, from the face: AS, Joker, 2S.
Flip the top card of the face down packet face up, revealing the deuce (as the audience expects). Hold the face up 2S in the right hand. The top card of the face down left hand pair is taken below the 2S. The remaining card from the left hand is placed on top of the deuce. State that you have sandwiched the 2S in between the two Jokers.
Flip the pcket face up, and Eye Count, displaying a face down card between two Jokers. Flip the packet face down. Half-pass the lowermost two cards of the packet.
State that you will cause an unusual transposition to take place. Make a mystical gesture. Spread the packet, revealing the face up card in the centre to be a Joker. Turn the fan over, showing that the cards sandwiching the Joker are now the Ace and deuce. Turn up the tabled card, revealing the second Joker.
AMASON by Eric Mason
A coin changes to another one as it is tossed in the air.
1) Hold a copper coin at the base of the 3rd and 4th fingers, curl the fingers to conceal the coin in the finger palm position.
2) With the palm upwards hold a silver coin on the pad of the 1st and 2nd fingers, the thumb almost covers the whole coin — move the nail of the 2nd finger to the underside of the silver coin, the thumb allows this to happen — clip the sides of the 1st finger and 3rd finger to the edge of the coin and begin to backpalm it (Fig.l) when the coin makes contact with the first knuckle joint of the 2nd finger, release the 3rd finger pressure and allow the coin to relax into the back clip position.
3) The first finger moves gently backwards round the 2nd finger to allow the silver coin to remain flat against the back of the 2nd finger (Fig.2). Now toss the copper coin up in the air and catch it again on the upturned palm — contrive to move the copper coin to balance on the pads of the upturned 1st and 2nd fingers, (thé silver coin remains back-clipped).
Put your thumb on the copper coin and hold it firmly against the 1st finger — use your 1st and 3rd fingers to transfer the silver coin to the finger palm position by moving the 2nd finger to the underside of the silver coin — during this sequence revolve your wrist so that the palm of the hand is downwards, with the knuckles of the hand upwards; this move displays the other side of the cppper coin now held between the thumb and 1st and 2nd fingers and the back of your hand is openly shown to your audience — as you slowly turn your hand back palm up again, throw the silver coin into the air and catch it again on the open palm at the same time back-clipping the copper coin — you are now back to the beginning of the first sequence, etc, etc.
The whole sequence should be timed on a slow count of three; one — display the single coin, two — shows the back of the hand, and three — tosses the coin gently.
The move is capable of streamlining some coins across routines — it evolved out of a handling shown to small children — as follows, with a coin back-clipped close your hand into a fist and ask somebody to do the same as you — open your hand flat — close it into a fist — repeat — then with the hand in the palm up position as it revolves knuckles upwards into a fist secretly transfer the coin into the palm — ask your helper what he has in his hand — nothing? — you have a coin — this was of course the simplest of all effects — but the trick would always act as an icebreaker, cause a smile, especially when you gave your coin away to him afterwards.
The F.I.S.M. Convention held in Brussels this year resulted in scores of magicians breaking their journey by dropping off in London either on their way out or on their way home — some did both.
As can be expected the close-uppers broke away and sessions were soon in full swing. During one of these Ray Grismer showed a version of the Paul Fox Miracle Gimmick in which the performer finds several mentally selected cards. This brought an observation from Larry Jennings that in his opinion it was more effective to divine one card and showed one x
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