This tugging action also creates a gab petween the band and your wrist. Use your right second finger to get in underneath the other (tucked in) strap. Pull that strap away from the wrist with your second finger as you pull the buckle ertcl toward you with your right hand. The result looks remarkably like the
normal process of removing a watch from the arm. At the conclusion of the action, you will be holding the watch by the buckle in your right hand with the ring resting on the time piece. See figure 4.
Regurgitations. I don't have anything to add to this other than that you shouldn't overlook it. It has a strong effect and it will fool people. From the first moment they see the ring dangling from the watch, there is no thought that the ring is not linked on the band.
You do want to practice your movements so that there is not a noticeable pause when placing the palmed ring over the buckle. By moving a little slower than usual you should be able to deposit the ring without slowing down.
Written, illustrated, edited by Steve Beam
Copyright 19V2 by Steven /.. Beam
Published by: Trapdoor Productions 407 Carrington Drive Knightdale, NC 27545
Cover illustration by Lisa Weedman
Cover illustration by Lisa Weedman o0wyc , o0wyc ,
where you can raise the watch up on its left edge. Once the watch is on its edge, continue pushing the sleeve up the arm (and the watch out of the way) as shown in figure 1. Note that this is the exposed view. The spectators should view the back of your wrist from dead on. In this position, with your right side toward the audience, the spectators get a clean view of your "empty" left wrist. The timepiece itself is almost pivoted over onto its face.
When ready for the appearance of the watch, simply release the pressure of the right third finger. The watch will snap back into place on your wrist. The result is an instant visual appearance of the
This is a little piece of magic to put between bigger pieces of magic. It can add a little spice to otherwise unentertaining segments of your show. In effect, the magician raises his left sleeve to check the time. His watch is missing. "Oh, I left my watch back in the car." Instantly the watch appears on his arm. "Time flies when you're having fun."
This should pacify those of you who do not wear a leather watch strap as needed for Scott's watch trick. And the effect is not exaggerated. This is an instant visual appearance of a watch on the arm.
You must wear one of the metal stretching watch bands. My band is made by Spiedelm and is of the variety they use to call "twist-o-flex." This is a metal band which will twist all around and can even turn inside out. They are available at all jewelry and department stores.
Place the watch on your left wrist as you would normally do. The timepiece itself is on the back of your wrist. You must see to it that your shirt is not covering the watch. You can either unbutton the cuff and fold it up one fold or you can just slide your whole sleeve up toward the elbow until the watch is free to move. Put your coat on and you are ready to perform.
The Work. When ready to perform, bring your right hand over to lift your coat sleeve out of the way as you would normally do to look at your watch. Your right forefinger should catch the edge of the cuff at the back (top) of the wrist. Gently slide the cuff up your left arm until your right third finger can engage the right edge of the watch. You engage the right side of the watch at the place where most watch stems are located.
When you have made contact with the edge of the watch, press down on the wrist. This is an effort to get the edge of the right third finger in a position -764
If you would like, you can delay the appearance of the watch. That is, you can lower the sleeve without the instant reappearance. Later, when you wish, raise the sleeve showing the watch has appeared.
Regurgitations. I remember a lecture about ten years ago by Karrell Fox. He pretended to place a borrowed watch (with the stretching band) into abag. Actually, he slid the watch up his wrist until it was behind the sleeve while in the action of bagging the watch. He was then prepared for the standard watch trick where the borrowed watch is destroyed. At the conclusion of the trick, he reveals the borrowed watch on his wrist. The above appearance would be the ideal way to finish that version of the classic.
If you have trouble using your right third finger to lever the watch up on its left side, you may wish to wax something to right underside of the watch. This will lift just the right edge slightly above the back of the left wrist. This will give you the space needed to get your third finger in.
When performed with the right rhythm, this transposition between four aces and four kings is as smooth as the backside of a Tally-Ho deck. I encourage those of you with my Card Tricks From Mount Olympus (1979) to consult Visual Transposition to see how I accomplished the same effect.
Setup. Arrange the four aces with the black aces between the red aces. Place the four kings on top of the four aces in red, black, red, black order.
The Count. Hold the packet of eight cards face up from above in the right hand. Obtain an Erdnase break above the bottom card of the packet. That is, arrange to pinch the left edge of either your right third or fourth finger between the bottom card and the packet above it at the far right corner. See figure 1 for an exposed view. I prefer to use the third finger to allow the cards to sit higher in the hand for greater visibility. Also, note in the illustration that the break is invisible from the spectator's point of view. The break exists at the corner, not for the width of the card. The right fingers help to hide the break from the audience.
You are now going to perform the a variation of the Veeser count. (For another variation with the Erdnase break, consult the book referenced above and Maeby-Veeser Variation.) Pull the top card over into the palm up left hand. Follow with the second and third cards, reversing their order.
As your right hand moves over for the last king to be taken, your right third finger pulls its card away from the rest of the packet. The left hand adds its cards to the broken card, possession of the left hand's cards being transferred to the right hand, between the thumb and third finger. This action is shown in figure 2.
As this is accomplished, the right second finger kicks the cards above the break into the palm up left hand. See figure 3. This is similar to the action of the Hamman count. At the conclusion of the count, you apparently have four kings in the left hand and four
aces in the right. Actually, you have three aces with a king on the face in the left, and three kings with an ace on the face in the right.
Point to the "kings" in your left hand with your right forefinger. Then, curling the same finger downward, point to the "aces" in your right hand.
The Warm Up. You are now going to execute the K-M move, stealing the ace on the face of the right packet onto the face of the left hand's packet. Place the right edge of the right hand packet flush with the right edge of the left hand's packet. Your left fingers rest on the face of the right hand packet as shown in figure 4. As soon as the fingers gain purchase on the face of the face card, the left hand rotates palm down and to the left. The right hand remains frozen as the face card slides onto the face of the left packet. This action is shown in figure 5. As soon as the steal is complete, drop the right hand's three remaining cards onto the table directly in front of you.
Continue the left hand's rotation until the packet is in dealing position. Take possession of the packet from above in the right hand. Reverse count the five cards as four into your left hand. At the conclusion of the count, pick up the top card with your right hand and show its face. It is the only king in this supposed king packet.
After showing the card, flip it face down and place it on the bottom of the packet, picking up a left pinky break above it. Take possession of the packet in the right hand again, your right thumb picking up the break at the near edge. --766
The Wind Up. Pull off the top card of the packet into your palm up left hand. As you do, rotate the right hand palm up to show the face card of the packet, a king. Be careful to ensure your thumb break isn't so large that you risk exposing the aces behind the king. Rotate your right hand palm down again, adding back the left hands card to the bottom of the packet. You now hold a thumb break above the bottom two cards. Rub the face of the packet on the left sleeve.
The Pitch. You are set for the change. The following kings will change to the aces on a four count. After the rub on the sleeve, the left fingers and thumb milk the top and bottom cards of the packet off into the left hand. The left thumb pushes the top card
forward as shown in figure 6.
Two things are going to happen at once. You are going to show th at the top c ard of the left h and' s cards has changed to an ace while you drop off the king below yourright thumb break on top of the tabled king packet. Move your left hand forward. Push the top card off to the right and release it so that it is resting on the far right corner of the left hand's remaining card. The right edge of the card rests on the table top. As you move into this position, lower your right hand so that it rests immediately above the tabled king packet.
Use the lower card in the left hand to lever the upper card up and over, face up onto the table. One. Simultaneously, release the right thumb's grip on the king beneath the thumb break. The action of turning the ace over face up is more than enough misdirection to cover going south with the king.
For the second ace, bring both hands together. Peel the top card of the right hand's packet over onto the left hand's card. Keep the two cards in the left hand spread slightly. Rub the face of the right hand's remaining card on the face of the tabled ace. Flip this card over face up to the count of, Two.
Bring both hands together. Take one of the left hand's cards into the right hand. Rub both briefly on the faces of the tabled aces. Flip them over one at a time to the count of three and four. Pause for just a second. Snap the fingers of your right hand over the face down tabled packet. Slowly turn them face up and drop them onto the table. Slowly spread them out showing the fan of four kings.
for his pack of cigarettes. Seeing the package is empty, he proceeds to crumple it up and toss it to the table. Reconsidering his actions (and his addiction) he picks up the crumpled packet and blows into the opening. This inflates the package. When it is fully inflated, the magician removes a cigarette from within. He offers cigarettes to his companions. Where possible, this is even stronger with someone else's empty package.
The inspiration for this is Jeff McBride's Subsequent Smoker from The New York Magic Symposium. Collection Five.
The Get-ready. By keen observation you notice that someone in your group is down to one or two cigarettes. Excuse yourself to the restroom. While gone, you surreptitiously purchase a new pack of the same brand. Open it and return to the table with the pack concealed in your pants pocket. At your leisure, transfer the pack to your lap to await the opportunity to ring it in.
When the moment arrives, drop your right hand to the lap andpick up the new pack in the Tenkai Palm as shown in figure 1. Pick up the wadded packet from the table in your left hand. Display it on the open (palm up) left hand. Bring your two hands together in front of you, keeping the back of the left hand in contact with the table edge.
Bring your right hand directly above the wadded packet, curling your right fingers slightly to cover the packet from view. As soon as the packet is out of view, use your left thumb to kick the wad into your lap. As soon as the wad is lapped, raise the new pack
This is an ideal gag for an impromptu performance. In effect, the magician (seated in arestaurant) reaches
to your lips. Cover this pack tightly with your hands and fingers. Start blowing into your hands as if trying to inflate the pack. Puff out your cheeks as if you are blowing hard. As you do, slowly relax your grip on the pack. It will appear that the contents of your hands are increasing in size just by spreading your hands slighdy.
Finally, collapse your cheeks at the same moment you open your hands to reveal a full pack (gripped at the corner nearest your mouth by the first fingers and thumbs of both hands). Remove it from your lips and return it to the spectator without comment.
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