Working

Start by removing the scarf from the inside pocket. Open it out and spread it on the table to represent a cloth. Next ask for the loan of a suitable hat and a silver coin. Place the hat on the table, crown upwards slightly to your left. Take the coin in the right hand and toss it into the air and catch it. There is a certain bit of psychology in doing this. It is necessary to get the attention of the audience onto the coin rather than the hat. It is the coin that appears to be the important object and the one that they should be watching. The hat should be casually put down as though it is of no significance and without looking at it; while the coin is tossed in the air and caught and the performer follows its motion with his eyes. Dick will often seemingly forget all about the hat at this point and perform a short impromptu sequence of vanishes and productions with the coin. This is optional, but if it is omitted, the coin should be tossed up and caught several times.

Finally the coin is tossed and caught in the , right hand, which immediately turns palm down ( and slaps the coin onto the table, in the middle of the scarf. The hand remains on top of the coin, concealing it, while the left hand picks up the hat and places it over the coin and the right hand. As soon as the hat covers the spot where the coin is, the right hand is withdrawn. A spectator is now invited to guess whether the coin is heads or tails up. One important detail to mention here, is that at no point has the performer shown the hat to be empty. Nor should he do so. When covering the coin as just described, simply pick the hat up in the left hand, by the crown. Do not even look at it or mention it. Just place it over the coin with the minimum of movement.

While you are inviting the spectator to guess whether the coin is heads or tails, take a step backwards, away from the table and adopt a stance similar to that shown in Fig. 2.

Notice in Fig.2 how the performer's hands are positioned. The back of the hand is on the waist. The fingers point to the back of the performer. Also notice how the jacket hangs. Although it is open and being held open by the wrists, it will automatically hang so as to conceal the "Topit". In this position it is the easiest thing in the world for the right finger tips to seize the load. However, this is not done just yet. You are just getting the audience used to seeing you adopt the pose. This time you do nothing.

When the spectator has made a guess at the coins position, the performer moves forward slightly and lifts the hat by the crown, with the left hand. The hat is immediately passed to the right hand, which holds it as shown in Fig. 3.

Notice how, in Fig.3, the thumb only is visible and the hat is crown towards the audience. This is the position that it will be in after loading the swede later. Again you are familiarising the audience with the position. Incidently, when picking up the hat and transferring it to the right hand, allow it to be clearly seen that both hands are empty. Do not comment on the fact, or in any way draw attention to the hands, simply ensure that everybody sees them during the course of the action.

As soon as the left hand has placed the hat into the right, it returns to the table and picks up the coin. The left hand tosses the coin in the air and catches it while the right hand replaces the hat on the table, slightly to your left.

It is important that when you first pick up the hat to reveal the coin, you give the impression that some magical feat has taken place. Should the spectator call heads and the coin is heads, say, "See I can make it whatever you say!"; if it were tails you would simply have said, "See! Whatever you say, I make it different!" Obviously this is a barefaced bluff, but if it is done in a positive manner the audience will accept it at its face value.

Offer to repeat the trick and take the coin in the right hand. Toss the coin in the air, following its progress with your eyes. Catch it in the right hand and slap it on the table, covering it with the hat exactly as before. Once more adopt the posture depicted in Fig. 2, and invite the spectator to try again. Whatever he calls, lift the hat exactly as previously taking it in the right hand as in Fig.3. The only difference this time is that you are not quite so particular about allowing the audience to see your hands empty. Use the same speeches as given above, to cover either eventuality, when the coin is revealed.

By now the audience may begin to suspect that you are just bluffing, when you claim to be controlling the coin. But even so, they cannot be altogether sure. This is psychologically important as it keeps their minds on the coin rather than the hat.

Toss the coin with the left hand and place the hat down exactly as before. Offer to repeat the trick once more. Repeat the tossing of the coin and the placing of the hat over it. This time, however, when you get into the position shown in Fig. 2, the right fingers get hold of the swede and lift it slightly out of the "Topit".

Move the swede very slowly and carefully, as the right hand gets a firm grip on it. It is important that you do not disturb the cloth of the jacket and cause it to move. The actions

Was this article helpful?

0 0
Fundamentals of Magick

Fundamentals of Magick

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.

Get My Free Ebook


Post a comment