The motivation for this comes from a Bob Hummer effect in Bruce Elliott's deceptively titled book, "Professional Magic Made Easy." His effect is a startling coin penetration through the back of the performer's hand. I've taken Hummer's basic penetration and converted it into an unusual flash production. I then took this flash production and expanded it into a full-length routine.
E-FFE-CT - The close-up entertainer casually mentions that many normal quarters are actually worth $1.75. This is due to an accident at the mint when someone accidentally dropped a batch of half-dollars into the quarter machine...creating quarters that had three half-dollars trapped inside. The performer's reputation as an authority of the strange is now at stake...he borrows a twenty-five cent piece to prove his claim.
The quarter is placed on the back of the performer's left hand, which is covered by the performer's empty right hand. When the right hand is lifted a half-dollar is revealed to have appeared under the quarter.
The quarter is set aside, the half-dollar covered with the empty right palm, and when the right hand is lifted a second half-dollar is seen positioned under the first!
An invisible coin is now plucked from the air and a third half-dollar is seen to have materialized. The three half-dollars are squeezed into two. The two remaining half-dollars are squeezed into one. and the last half-dollar is transported back inside the borrowed quarter -which is then thoughtfully returned to the spectator.
6E.T-UP - You'll only need two half-dollars. One goes into a right-hand pocket and one is retained classic-palmed in the right hand.
6TE.P ¿?NlE- - Direct the spectator to place his quarter onto your palm-up left hand. Place your palm-down right hand over your left as your right thumb and forefinger grasp the quarter (FIG. 1).
Move the quarter to the left over the base of the thumb and allow the concealed half to drop onto the left palm under cover of the right hand as in FIG. 2.
5TE.P 1^0 - The actions up to this point have shown both hands to be empty with the exception of the borrowed quarter. Place your right fingers flat against the quarter on the back of your left fist (FIG. 4).
Lift both the left and the right hand upwards sharply, the right hand still hovering over the back of the left fist, and let the concealed half fly up off the tips of your left fingers. The right hand, acting as a stop, raises slightly, then comes down on the coin forcing it to land on the back of the left fist as in FIG. 5.
When the hands make their sharp upward movement the quarter is thrown against the inside of the right fingers, allowing the thrown half to land under the quarter. Once the coins are in position the hands freeze, where the right hand slowly draws back to reveal the half-dollar which has been "shaken loose" from the quarter (FIG. 6).
While getting the knack of this move, just practice with the half. Once you understand what's going on you can easily learn to get the half positioned under the quarter.
5TE.P TilE-E-L - Remove the quarter with your right fingers and place it in your right pocket. Secretly palm the second half-dollar. Toss the left-hand half into the air by snapping up your left fist, then catch the coin on your open left palm. Remove your right hand from its pocket (along with the concealed half) and use your right fingers to place the visible half onto the back of your left hand in the same manner as you did before with the quarter.
The half from the right hand is once again loaded into the left hand as the first half is removed. Produce the second half under the first by performing the same "penetration move" used to produce the first half.
6TE.P F£7UR. - Remove the two halves with your right fingers and place them onto the open left hand as in FIG. 7.
right fingers, then toss the "coin" into your left hand. As the imaginary coin is tossed, close the fingers of your left hand, producing a loud clink as the two coins touch. To your audience this clink is the sound of the third "coin" being tossed into the left hand. Visible proof of the third coin's existence is supplied by the following "Han Ping Chien" move:
6TE.P FIVE - Reach into your left fist with your right thumb and forefinger to openly remove a coin. Wrap your right fingers around this coin, placing it in a quick release position at the tabled end of your right fist (FIG. 8).
As you slap the left-hand coin onto the table, allow the right-hand coin to join it as you move your right fist a few inches to the right (FIG. 9).
You have now shown three coins - one is apparently in your closed right hand while the other two are on the table.
5TELP 5IX - Pick up the two tabled coins with your left fingers and drag the coins across the fingertips of your closed right hand. Drop the two halves, then open your right hand to show its coin has vanished - having been absorbed by the first two coins. Pretend to place one of the tabled coins into your left hand, but actually retain it in the right-hand classic-palm. Pick the second coin up on the fingertips of the right fingers and pretend to place that coin into the closed left hand - actually execute a click pass, allowing the classic-palmed coin to clink off the finger-palmed coin and drop into the left hand. Use your right fingers to openly remove the quarter from your pocket, at the same time ditching the half-dol-lar.
iTELP ¿EVEN - The quarter is dragged across the fingers of your left fist (which supposedly contains two coins). Dump the single half-dollar from your left hand onto the table, the missing half having been "replaced" back into the quarter. Pretend to place the quarter into your left hand, actually classic-palming it in the right. Pick up the half between your right thumb and second, third and little fingers in preparation for the "Goshman Pinch."
This move will switch the half-dollar for the quarter in the action of tossing the coin to the table (FIGS. 10. 11, 12).
The quarter will now be on the table while the half remains concealed behind the right hand, pinched flat by the right little and third fingers (FIG. 13).
As you open your left hand to show it empty (the quarter having absorbed the half by long distance), secretly revolve the hidden half back into your right palm (FIGS. 14, 15, 16).
This action is done under cover of your right fingers which pick up the tabled quarter and start to place it into a pocket (where the second concealed half is then ditched), but you then remember it's the spectator's quarter and return it to him.
(A more complete description of the "Goshman Pinch" can be found in "Bobo's Coin Magic.") This is a super utility move and worth the serious effort it will take to master.
If you're not that serious, any one-handed switch that exchanges one coin for another can be substituted for the "Goshman Pinch."
(A combination of my "Stretch," "Inner Circle" and the classic Rubber Band Haunted Pack.)
In certain gambling circles if someone is suspected of being too skillful, she is only allowed to deal the cards if the deck is secured with a rubber band. Only the insane would attempt sleight-of-hand in an impossible situation like this. You wrap a rubber band around the deck, stretch your face into an insane elastic smile, then begin a twisted demonstration of the legendary rubber-room gambler.
ELFFE-CT - A rubber band is clearly wrapped around the deck. The band visibly disappears and is found in the center of the pack encircling an Ace. The Ace is removed and the band double-wrapped around the pack. A second Ace is visibly pulled right through the band in slow motion. You replace two Aces back in the pack and secure it with the band. A spectator puts a finger on top of the banded deck...and when she lifts her finger the top half of the pack insanely spins around and spits out all four Aces. Your spectator vows never to play cards with a rubber band again.
5E.T-UP - You need a really spongy, stretchy rubber band. The band should comfortably fit around the pack but easily stretch to three times the size. Position the four Aces on top of the deck and you're ready to go...
6TE-P - ("Inner Circle") Do a quick false mix if you feel guilty about setting up four Aces and then get a large Tilt-like break under the top card. Position the rubber band around all your right fingers and thumb. Stretch it out big. You will now apparently encircle the whole pack from the back, but actually you put the lower strand of the band under the top card as in FIG. 1. (Slight downward pressure on the band insures that the top strand appears to encircle the entire deck.)
5TE.P T\J0 - Grasp the sides of the deck with your right middle finger and thumb (FIG. 2A). Use your left thumb and forefinger to pull the band off of your right thumb, allowing it to snap against the side of the deck. Now use your left thumb and forefinger to pull the band off your right first and second fingers, allowing it to snap against the right side of the deck. Hold the rubber band against the sides of the pack with your right thumb and forefinger (your right second finger conceals the extra length of band against the side of the pack) and it looks exactly as if the band is around all of the cards (FIG. 2B). /tv
use your left hand to snap the band against the top of the pack. Turn the pack face up into the left hand, and let go of the band with your right. The band instantly disappears as you spread the entire deck between your hands. Your left middle finger should be covering the band at the back of the spread so you can break the spread in the middle and flash both sides as in FIG. 3 (exposed view).
Put the right-hand cards under the left and square up. The band is around an Ace in the center of the face-up deck.
•5TE.P fOUiZ - Cut the deck at the rubber-banded Ace and complete the cut. Remove the single-banded card by slipping all four of your right fingers palm up under the band and lifting it off. Pin the card against the table with your left index finger and slide the band off of it with your right fingers.
5TE-P pIV/E. - ("Stretch") Put your right thumb into the band and stretch it into a big circle (FIG. 4). Secretly pull down the bottom Ace with your left pinky. With your right hand palm down stretch the band around the deck and above the pulled-down card as in FIG. 5.
Twist the right hand palm up and snap the band around the width of the deck (and above the pulled-down card) a second time (FIG. 6A, 6B, 7). As you release this second loop, secretly slip it over the tip of your left third finger (FIG. 8). Your right hand immediately grasps the deck from above to cover this action (FIG. 9).
6TE.P 6IX - From this position move the deck straight to the left (stretching the rubber band with your left third finger (FIG. 10). (Your right fingers conceal the secretly stretched band.)
Turn the deck face down from right to left (as if closing the back cover of a book) into your left hand (FIG. 11, 12). Grip the deck tightly to prevent the single card from flaring out. When the deck is face down in the left hand your left thumb covers the left edge of the deck and the sides of the two strands. To your audience, you've simply wrapped a rubber band twice around a face-up deck and turned it face down.
above by its ends with your right fingers and slowly pull it away from the deck. At the same time allow the concealed loop to pop off of your middle finger. The card will instantly and visibly penetrate the two strands of rubber band.
You should make it appear that you are pulling the card up from the center of the pack (FIG. 13).
5TE.P EjgJT - ("The Rubber Band Haunted Deck") Remove the band from the deck and drop the two tabled Aces onto the top. Spread off the top four cards and get a left little-finger break under them as they square. Re-grip the deck with your right hand, fingers in front and thumb in back and pick up the break with the thumb. Turn the deck face up and once again take it in your left hand, and pick up the break with your left pinky. Get the rubber band around the right fingers and thumb as before.
5TEP NINE. - Snap the rubber band around the deck except for the four bottom cards (FIG.
14). Pull the top half straight to the right (FIG.
15) and turn it face down as in FIG. 16. The face-down half is folded under the face-up half as in FIG. 17. Put the deck face down on the table and have a spectator press a finger firmly down onto the deck. When she lifts her finger the top half of the deck will spin around and spit out the four Aces (FIG. 18).
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E-ffE-CT - A selected card rises out of the deck while balanced on the back of the performer's outstretched fingers!
6TE.P ¿?l\lE. - Control a selected card to the top of the deck. Place the deck upright, with its face to the audience, on the backs of the fingers of your outstretched right hand. See FIG. 1.
The end of the pack should be positioned just behind the nails of your right first, second and third fingers - while just in front of the tip of your right little finger. Under cover of the pack, raise your right little finger and allow the deck to lean up against its tip (FIG. 2).
The little finger should be positioned on the right side of the back card, about two-thirds of the way down. The best finger position for you will only be discovered by experiment.
■5TE.P J\s/0 - When you release the deck with your left fingers, it should remain balanced upright (thanks to your kinky-pinky) on the back of your right fingers. After your left fingers have released the pack, pick the cards up off the floor and try it again.
6TE.P TtlR-EL - Slowly raise your right little finger toward the top end of the deck, pushing up the selected card (FIG. 3).
When viewed from the front, the rise appears to be utterly impossible. As the rising card reaches its full height, grasp the deck by its sides from the front with your left fingers as in FIG. 4.
6TE.P r^UE. - Lower your right little finger to the same level as the rest of your right fingers; then remove the deck. Remove the up-jogged card with your right fingers to conclude the effect.
For just a modicum of work in front of the mirror, you'll get a spiffy little rising card effect - with no strings attached.
Your left fingers help conceal the secret kink action by hanging around and moving in the general vicinity of FIG. 2.
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