bill. Just as the coin is about to drop completely from the tube the right hand uses the bill to flick the back edge of the coin up, tumbling the coin over and onto the innermost phalanges of the left fingers as shown in Figure 16.

Pause a beat to let the coin's appearance register completely. Then lift the right thumb from the bill's outer end so that it starts to unroll. Clip the loose end of the unrolling bill between the left first and second fingers and let it finish unrolling as the right fingers release it (Figure 17). Notice that about one quarter of the bill's length should extend above the left fingers. Also note that this natural position shields the just produced coin from the audience's view.

Roger now says, "But wait a minute...That's only fifty cents worth of silver." He apparently dumps the half dollar from the left fingers into the right hand and pockets it. Actually, a simple but convincing Fake Transfer is made. The coin is held back. It is in perfect position to be Finger Palmed by the left hand. The right hand pretends to receive the coin and to put it in the right pants-pocket. The loose change in that pocket is jingled, giving a strong illusion of the half dollar having been pocketed. The right hand comes empty from the pocket. This should not be proven. It is implicit in your actions and attitude.

As this pocketing action is being done, the left thumb comes down on the upper end of the clipped bill and pulls the bill back over the fingers enough so that the coin is hidden beneath it when the hand is brought palm-up again. The left forefinger shifts to join the other fingers beneath the bill.

The right hand grasps the near end of the bill — fingers above, thumb below — and pulls it up through the left fingers until the coin approaches the forward end of the bill. Then the bill is doubled over and forward into the "V" formation of Figure 12. The coin is slid under the doubled bill and into the right fingers as the left hand brings its end down and back, straightening the bill once more. You are merely displaying the bill on both sides again.


Repeat the entire sequence of rolling the bill around the right first and second fingers, as just described for the first production. Use the same actions to produce the coin again from the rolled bill. Allow the bill to unroll and clip it between the left first and second fingers.

The same actions are followed for the transfer of the half dollar from the left hand to the right; however, you genuinely take the coin in the right hand this time. Ask, "May I keep these?" and place the half dollar into your pants pocket. Then snap the bill briskly several times between the hands as a sort of finishing gesture. Say, "And this is yours," and toss the bill toward the spectator who loaned you it.

It is important to understand that Roger's handling throughout this piece is very casual. None of the moves look like moves and they all flow together smoothly. He is merely toying with the bill, trying to remember his grandfather's trick fold. It is this presentation that really hooks the attention of the audience and "sells" the handling. Due to its nature, it has taken much space to get the actions of the routine across, but they are not difficult and the whole thing takes a minute or less to perform. Don't take the second production of the same coin from the bill lightly. When Roger does this, there is no other thought than that two coins have been produced. This is an exceptional bit of impromptu magic.

This plot is the brainchild of Bill Herz, who showed it to Paul in March of 1984. The method described here, though, is original with Paul, and he has used it with terrific success.

Have a card selected and control it to the bottom of the deck. Paul uses Frank Simon's Versatile Outjog Control (Versatile Card Magic, p. 12) because the chosen card is so cleanly and deceptively brought to the bottom.

Hold the deck for an Overhand Shuffle and "milk" off the top and bottom cards counting "two" to yourself. Run six more cards, mentally counting to eight, and pause, asking your spectator to think of a number between ten and twenty. Continue running cards and injog the thirteenth. Outjog on the count of seventeen and Shuffle Off. Square the deck without disturbing either jog; then push the outjogged card into the deck using any technique that obtains a break above it.

Paul uses J.K. Hartman's Friction Jog here (Means and Ends, p. 13). Briefly, the deck is held in lefthand dealing grip. The left thumb extends straight out, alongside the outjogged card but making only light contact with it. The left forefinger rests at the outer right corner of the pack, lightly touching the right edge of the outjogged card. The right hand comes over the deck, fingers at the outer end, thumb at the inner. The right fingers contact the outjogged card and push it evenly into the deck. These fingers do not attempt to angle-jog the card. Rather, the left forefinger accomplishes this by tightening its pressure on the outer right corner of the deck. See Figure 1 for an overview of this position.

Paul Cummins

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