A Review of the Topit (Page 2)
‘The Bottle Production (Page 3)
Coin in Bottle (Page 4)
JC's Super Closer (Page 5
Incredible Business Machine (Page 8)
Hard Cash (Page 9)
‘The Floating Bill (Page 10)
Coins through the Table (Page 12
‘The Difference Between Gambling & Magic (Page 14)
‘The Self Printing Business Card (Page 16)
ilk to Egg (Page 17)Michael Ammar Lecture Notes -Tour 2000
Coptic outlined in white for
The original Topt was aback bag, which you would safety-pin into
your ceat. Then you would pin the oppesite side ofthe bag to your
shirt or pants in order to hold the bag open, Almost immediately [
realized the safety pins were a hassle. Tomake matters worse, coins
would fall between the pins, ruining an otherwise good throw.
So the first modification was to eliminate the pins. The frst set of
pins was easy. Tsimply sewed a layer of cloth into the coat 10 be:
come the bag, But I even wanted to eliminate the pins to the body.
Inmy search to do this, I tied Velero, snaps, hooks, and magnets
Eventually, [just tucked some of the exira cloth from the bag into
my pants as T would my shirt This formed a sort of safety net
which expanded upon, So the idea for a tucked-in ‘Tal’ became
the second modification.
The thied modification was to add_« back drop, just where the coat
curved around the side, In theory, this would caich almost anything
thrown inside the coat. Make stre there isnt a big gap between the
‘Tuck-In Tail and the Back Drop. The Tail and Back Drop should be
joined for several inches.
(Tuckee-n tail)
“The Topitis one of the most powerful weapons available to the magician
‘who performs while standing. Its potential use is limited only by your
imagination, In fact, once you learn the basic techniques, you have to
caution yourself against using ital the time!
Originally known as the Poacher's Pocket, the Topit was first used by
shoplifiers. About 1930, Herold Comden introduced the Topit to the
magi Periodically, someone would come along who m:
tered the use of the Topi, and for a while everyone would be excited
about tis new ‘rediscovery.” Gus Davenport made waves with ts use 40
‘and 50 years ago. Then Patrick Page added to its fame. I personally
‘became inspired to pursue the Topit after seeing Fred Kaps use it backin
1078, at Al's Magic Shop in Washington, D.C
Arriving back home in West Virginia after Fred's lecture, I ordered a
“Topit from Magic, Inc, slong with Pat Page's hook on the topic, and T set
abouttrying o learn how to use the Topit. Along the way, Leame up with
the four modifications wo the basie Topit to create the Topit which Enow
use
on to the traditional style came mare by acc
dent than design, Several times I had the experience of thinking T
Felt acoin in my lef coal pocket, only o be footed, because the coin
was actually in my Topit. After reaching into my ceat pocket to
take out that coin, I realized a layer of cloth separated me from the
coin, soit wasn't a quantum leap of creativity to figure out that if
there was slit in that pocket, [ould reach through the slit and into
the Topit
‘The idea of entering imto the Topit by means of a slit is one devel
‘oped independently by several people, and represents the best prac-
tical solusion to the issue of secretly unloading the TopitMichael Ammar Lecture Notes - Tour 2000
| BOTTLE PRODUCTION
Inspired by Bob Read’s production
ofa wine boule, I eventually found
that the bottle could be produced
quite casily from the Topit. With
the bottle resting in the Topit, the
right hand removes the handker-
chief
The nght hand holds the comer of
the handkerchief between the fin-
gers, leaving the thumb free to hold
onto the mouth of the bottle. Also,
the fingers spread the handkerchief
a bit, holding it to eventually hide
the bottle
I remove my watch, and as the left
hand prepares to place it into the
left coat pocket, the right hand
braces the left side of the coat.
Notice that the right hand is hold-
ing the edge of the coat at the per-
fect haight to allow the bottom of
the boule to clear the top of the
Topit.
As soon as the left hand enters the
pocket, it goes through the slit in
the coat, to the bottom of the bot-
tom. Pushing from the bottor
the bottle, the left hand “gives” the
bottle to the waiting right hand.
of
The right thumb pinches the mouth
of the bottle, which is hidden by
the handkerchief, The left hand
reaches out, as if the bottle is just
expected to appear. The right hand
flicks the handkerchief in front of
the left hand, letting go of the bottle
as it does,Michael Ammar Lecture Notes - Tour 2000
In order to steal the folding coin quickly and easily, !tear playing cand in half
along its length, thea fold it in half along its width. By taping the side and
bottom together, I form a litle pocket which can hold a folding coin
shut, and yet I ¢an easily remove the coin in folded condition. With
ddouile stick tape, 1 can position this carcboard pocket so that it delivers,
the folding coin as I place the coin purse away.
-gin by handing out a coin purse which contains an American Half
and an American Penny, while asking another person to examine
my pocket handkerchief. Producing the bottle from the handkerchief, I
ask the person with the purse to hand me the coin which they think will
NOF goinside the bottle- the larger half dollar, or the smaller penny. As
I'm asking this, I place the coin parse away, stealing the folding coin as
To. Photo 1
Teking the half dollar, | place it directly on top of the folding coin, Photo 2. Hold-
ig the bottle by the neck as in Photo 3, say “It wasa trick question, because I'm
not going to put the coin into the bottle this way...” As I tap the Half against the
of the bottle, 1 push the folding coin inside. Without changing g
¢ he bottle clockwise, in order to tap the bottom with the Half. “I’m goin,
put it in THIS way, through the thickest part ofthe glass.” As
the bottle is turing I cover the mouth with my left litte fi
r,t0 make sure the folding coin doesn’t fll out. Photo 4
The left hand changes its grip on the neck of the bottle, this
time covering the mouth with the left thumb. As the righ
hand strikes the bottom of the bottle, be sure to hit the
ortle with the palmed Half Dollar. This pushes the coin
deeper into palm pesiticn, and prevents you fiom bruising
your hand. Photo 5.
This causes the folding coin to drop into the bottle. As the
left hand shakes the bottle, the right allows the palmed coin to
drop to fingertip rest. The right hand should be in perfect
Position to toss its coin intothe Topit. As the left hand tosses
the bottle to the right, the right quickly turns palm up. As it does,
the coin at its fingertips goes into the Topit, Phato 6,
Handing the botle to the spectator with the coin, [ ask them 10
place the Penny inside to join the Half Dollar. As they fail to do
this, I secretly retrieve the coin from the Topit, and transfer itto the
right hand. “Ahh... So you see! It WAS a trick question, because
5 Be) veither coin actually fitsinto the bottle. But ifasmall coin can’t fit
then s
y a Half Dollar can’t
6 To remove the cain, the bottle is held in the left hand, with the
‘mouth pointing to the right, The right hand kes the mouth of the
bottle as shown in Photo 7, with the middle, ring, and litle fingers
7 a curled tightly around the exira coin, The index finger and thumb
‘wrap around the mouth ofthe bottle
Ask the spectator to cup his hands in front ofhim, When the bottle
p downward shake, the folding coin comes out of the
hly curled middle finger.
is givena sh
bottle, where it runs into thet
Palling it from the bottle, the folding coin is
clipped at the base of the index finger and
thumb asthe fingers open, dropping the extra
coin into the spectators hand,
2 Toconelude, the right hand tosses the folding
‘in into the Topitas itturns palm up to catch
the bottle, which is tossed from left to right
as beforeMichael Ammar Lecture Netes - Tour 2000
JC WAGNER'S
Td like to thank JC and L & L Publishing for permission to feature this outstanding effect in these notes, and on Basy
‘To Master Card Miracles, Vol. 4. Itis a beautiful combination of ideas, structured together to produce an amazing
routine, Begin with the cards prearranged as above.
“To set your deck, remove the four Aces, the four Kings, and separate the rest of the deck into their suits. From the
FACE of the deck to the TOP, you begin with any two Aces, followed by all the Diamonds, any | card from the Clubs,
King of Diamonds, King of Clubs, King of Hearts, King of Spades, all the Spades, all the Hears, all the Clubs, and
finally the last two Aces. With the deck facing yourself, divide it onto the table in four piles, as below.
Stack 4 Stack 3 Stack 2 Stack 1
All the Clubs, All the Hearts Allthe Spades From the bortom
and the top 10 two Aces through
Aces. all four Kings,
As you shuffle Stack 4, ask the spectator to shuflle Stack 3. As you shuffle, kecp both Aces on top! The spectator is
shufiling a stack of all Hearts, so he doesn’t affect anything! Replace those packets, then hand the spectator Stack 2
to shuffle, which is made up of all Spades. As he docs, you shufile Stack 1. Reverse the top 5 cards to the bottom in
an overhand shuffle, as you bring the two Aces from the bottom to the top of the Stack. This is done secretly, as the
spectator shuffles his cards.
Now fora clever bluif by Tan Baxter!
At the same time, move the top cards.
from Stacks | and 4 forward, and into
the center as shown in photo 3. Mov-
ing smoothly, pick up Stacks 1 and 4
and place them on top of Stacks 2 and
3, then move those combined packets,
outward, as shown in photo 4Michael Ammar Lecture Notes - Tour 2000
Then smoothly take the top card from cach pack and move them forward
as shown in photo 5. With a smooth pace, it seems as if you've taken a
card from each of the shuffled packs and moved it forward. Actually,
you've taken two cards from each end pack. Show these to be the four
‘Aces, and place the Aces face-up as shown - Clubs, Hearts, Spades, Dia-
monds.
Gather the deck, and with the face to-
wards yourself, place four Stacks onto
the table, leaving some cards for your-
self. Place all the Hearts behind the
Ace of Spades, all the Clubs behind
the Ace of Hearts, all the Spades be-
hind the Ace of Diamonds, the four
Kings behind the Ace of Clubs. You
keep the stack of Diamonds, plus the
one extra Club card
Now JC is setup to perform the incredible Gene Finnel Free Cut Prin-
ciple. Pull the Ace of Clubs back onto the face down Kings. Allow the
spectator to shuffle the pack behind the Ace of Hearts, and to cut any
number of those cards onto the Ace of Clubs Photo 8, The remainder is
replaced behind the Ace of Hearts, which is then pulled backed and onto
those cards, just as the Ace of Clubs had been pulled back onto the four
Kings.
‘The spectator then shuiMles the stack of cards behind the Ace of Spades
and cuts any number of those cards on top of the face-up Ace of Hearts,
‘The remainder of those cards are replaced behind the Ace of Spades. ‘Then
pull the Ace of Spades down onto those cards, leaving the Ace face-up,
and up-jogged a bit, just as you have with the previous two Aces.
Again, the spectator shu{fles the pile behind the next Ace, and cuts any
number onto the Ace of Spades, as shown in Photo 9. Pulling the Ace of
Diamonds back onto the cards which remain in the packet behind it, you
place the pack of cards you've been holding onto the face-up Ace of Dia-
monds. (The single Club card should be on the bottom of the packet
you've placed onto the Ace.)
The Ace of Diamonds pack is placed onto the Ace of Spades pack, then
this combined pack is placed onto the Ace of Diamonds pack, which is
place onto the Ace of Clubs stack. Photo 10. Allow the spectator to square
the cards. Photo 11, Now, incredibly, you are set to spell to each Ace!
Each pack the spectator shuffled was a set number of cards, all made up of
one suit, And although he was allowed to cut any number of cards onto
each Ace, he was cutting from right to left. By picking the cards up from
right to left, each suit of cards is rejoined with the cards the spectator just
cut off! The pick up nullifies each cut in a very subtle way!Michael Ammar Lecture Notes - Tour 2000
Spell Ace of Diamond, placing a card onto the table
with each letter, as in Photo 12. The last card will
be the face-up Ace. Then spell Ace of Spades, Ace
Of Hearts, and Ace of Clubs. You arrive at each
‘Ace on the final leter. Photo 13. You'll be left with
four cards, which will be the four Kings.
‘The Kings are now ready to do the Down and Under count. Spell CLUBS,
taking a card from the top to the bottom with each letter, as in Photo 14.
‘The card on top when you reach ‘S" will be the King of Clubs. Repeat this
counts you spell Hearts, then show the King of Hearts. Repeat for Spades
showing that King, and finally show the King of Diamonds.
‘The only thing out of place now is that single Club card, which helped you
have enough cards to spell Diamonds. During the reaction, so it won't be
noticed, pick up the final card from the Diamond packet. As Photo 15
shows, use that card to scoop up the Club packet, as you show all
those card to be Clubs. Then show all the Hearts, Spades and Clubs
to conclude a wonderful routine!Michael Ammar Lecture Notes - Tour 2000
Incredible Business Machine
Photo 1
[came up with this method of performing The Haunted Deck
with business cards while working with Paul Harris on the
Magic Tricks with your Business Cards video, produced by L
& L Publishing. The best partis that the hookup is perma
rently part of your business card case, so you don’t have to
attach the opposite end of the thread to yourself
Punch a hole in the center of five or six business cards,
Attsch one end of a thread to one card, then run the thread
through the other cards. Then run the othe: end of the
thread through the inside center fold of your business card
1 tie a note so the thread deesn't pull
ck through
The length of this thread should be just long enough to pro-
‘duce two cards. Spreading the cards out as shown, push each
cea in between a pair of eards with the thread running through
them, Photo 2. Then place so
ie extra cards on top of the
‘entire stack. When done, you should have just enough spare
card case.
thread to allow you to gather the stack, and place it into the
Asyouremove the stack of cards, allow the thread
to go between your middle and rng fingers, as in
Photo 3. The left hand closes the case, and holds
itbeneath the night hand, as in Photo 4, The thread
is now perfectly concealed behind the right hand!
By moving the left hand towards your body, along
the back of the right hand, the thread causes the
stack of cards to move forward in a mysterious
way. Continuing the backward movement of the
Jefi hand, the stack then returns to its onginal po-
sition, leaving one card forward for someone to
move! Photo 5,6 and 7.
Ifyou only need to hand out one card, simply re-
turn the cards te the case, and you are ready to
repeat theeffect. If you hand out both cards at the
same time, you'll need to reset later on, by mov-
ing a card fiom the top of the stack vo berweea the
threaded cardsMichael Ammar lecture Notes-Tour 2000
HARDCASH
You begin with a Silver Dollar secretly
held beneath a stack of business card with
arubber band. The left hand holds onto
the coin as the band is removed. Photo
LA spectator touches any card and you
move it forward, then touches a second
card, which is also up-jogged.
As the left hand removes one of the se~
lected cards, it also takes the coin from
below the stack. Photo 2.
‘The right hand turns the stack over, plac-
ing the second card facedown onto the
first card. Photo 3,
Setting the stack to one side, the palm
down right hand takes the facedown card,
and tums it face up. As the images in
Photo 4 show, the right hand secretly
takes the coin below its card as it passes
the left
In a continuing movement, the lef fin-
gers then flip their card facedown. Phato
5
‘Then moving together, both theright and
left fingers tum outward, as in Photo 6.
‘The hands then turn back palm-up, show-
ing the faces of the business cards,
‘This tar of one card, followed by tum-
ing the other, and concluded with a back
and front show with both hands is very
convincing. Yet if done smoothly, it
doesn’t come across @s ‘over-proving”,
‘The coin goes between the cards as you
place them together, where itis allowed
to appear. Photo 7.
As you place the coin away, retain it in
fingerpalm. Taking the stack of busi-
ness cards on top of the coin, again put
the rubber band around the stack so that
it retains the coin, and you are ready to
repeat any time you hand out a card!
9Michael Ammar Lecture Notes - Tour 2000
Over the years I’ve seen several versions of the Floating Bill in
print, some from over 89 years ago. But it was John Kennedy
who taught it to me 20 years ago. Most published versions of
the effect use some form of two point, horizontal hookup. In my
case, one end is secured with tape, and held inside the mouth
between the gum and cheek.
If T want to be mobile as | perform the effect, I might tape the
opposite end of the hookup to a napkin wrapped around the
ou must
botiom of a glass. ‘To keep the thread from tan
know where the center of the thread is at all times. | hold onto
the center of the thread with my left thumb, as in Photo 1, until
I'mable to set the glass down, and begin to perform. Sometimes
T'll hook one end of the thread to the far side of a performance
then I°ll steal the other end, and load it into my r
rm,
int as the mi
As impor janies of executing the effect, is the
structure ¢ Yor must be care-
fully positioned, in order to create the maximum effect. Rather
than to jump right into a full floating effect, the spectator must
the routine. The mind of the spect
‘come to appreciate movement, then animation, suspension, and
finally, the full floating effect.
Photo 2 shows the bill lowered onto the thread, as the bill is
rubbed on the pants. Folding the bill around the thread, move it
to one side until you feel the tension of the thread on your lip.
Photo 3.
Photos 4 - 6 show how to hook up in such a way that you can
move the bill along the thread, if you like, and take the bill on
and off the thread without breaking it. The right hand holds the
bill firmly, with the thread along the valley of the fold, inside the
bill. The right hand squeezes firmly as the left twists back to-
wards yourself. As photo 6 shows, the fold of the bill is curved
just enough to not slide up and down the thread. If the curve is
tight, the bill won’t move at all. If you need to adjust its position
on the thread, just loosen the curve. If you want to secure it on
the thread, just tighten the curve,Michael Ammar Lecture Notes - Tour 2800 ———_____
Phase One
The be,
inning serves two purposes. First, it helps them to appreciate the mystery
of just causing the bill to more. It also begins to convince them the bill is attached
to the right hand, Each time the right hand comes near the bill, it begins to move.
Eventually it stands up. Finally, I allow it to cling to the tip of the index finger, as
shown in photo 7. Slowly the left hand moves from below the bill. Atthe peak of
suspense, then remove the right index finger for just a moment. Casually look at
your fingertip, ignoring the floating bill, as you say some-
thing like “Static does it
Quickly return your finger to the bill, eventually removing
the bill from the thread, by reversing the fold
shown in photos 4 - 6. Hand the bill out for examination.
g process.
Phase Two
Offer to repeat the effect. Again wrap the bill around the
thread as shown in photos 2-6. This time, hold the right
hand several inches above the bill, and allow the bill float
up to the waiting right hand. You cause the bill to float up-
wards by simply moving your body back, as you stand erect.
This looks exactly as if the bill is being lifted from above -
which is good! The beauty of the horizontal hookup is that
you can prove it isn’t being supported from above or below!
Just as the bill is about to reach the outstretched rig
both hands move out and away from the bill, and the
to pass above and below the bill as in photo 8.
Allowing the bill to return to your left hand, act as if youare
simply twisting the folds into the bill. Actually, as you tighten
the curve, you also secretly break the thread, just on the far
side of the bill. Photo 9. Now you are free to move around,
because the hookup is just between you and the bill
Final Phase
‘Twice before you have tricked them into thinking the bill is
somehow connected to the right hand, only to prove that it
wasn't, Now itis time to actually use the right hand to float
the bill! Allowing the thread to travel over the right thumb,
begin to separate the hands, allowing the bill to float be-
tween them. Photo 10. To conclude, the right hand reaches
‘out, as if to catch the bill. When it reaches the bill, gently
push the bill along the thread until it pulls free. You can
then hand out the bill for examination
"1Michael Ammar Lecture Notes - Tour 2000
This is a very functional routine which can be done standing and surrounded,
Uses no extra coins, and contains a surprise or two along the way.
Apparently toss the four coins into the left hand,
but retain one in theright. Photo I shows the Fric-
tion Palm, to retain one coin. The right hand con-
tinues down to tap the top of the table, The right
then goes below the table, snapping its coin against
the bottom, indicating the first coin has passed
through the table, Photo 2.
‘The right hand picks up the three coins, and shows
themat the tips of the fingers. Dropping them onto
the left palm, hold onto the top coin with the index
finger and thumb. Photo 3. Again the right hand
‘goes below the table, and a second coin passes
through.
AS the right hand comes from below the table with two coins, ask the
spectator to pick up the two coins on top of the table, As she does, perform
click pass, as shown in photo 4. This leaves one coin secretly in the right
hhand, as the audience believes both are in your left. The right hand goes
below the table, and positions the coin it held against the bottom of the
table.
Photo 5 shows the hidden coin held against the bottom of the
table, Ask the spectator to place her hands below the table, into
your hand, To cause the coin to magically appear in her hands,
just let go with your thumb. Show you have only one coin above,
as she brings three coins from below the table.
Mike Gallo’s Coins Through Table Kick
5 Mike Gallo is one of those talented friends I wish I could see
more often! Almost 20 years ago, he allowed me to print this
great ‘kicker’ in ENCORE 3,
Clearly show three coins on the flat palm of the left hand, with
‘one coin in the right hand. Photo 6. Both hands should be
visible above the table, because you need to create some
suspicion forthe right misdirection. As the left hand begins
to move under the table, the right hand makes a quick, sus-
pricious move as it closes to move over the table, Photo 7.
12 =Michael Ammar Lecture Hotes - Tour 2000
Actually, nothing happens. However, as soon as the lefthand
is below the table, it quickly gathers the coins into a stack,
held at the fingertips. Photo 8. The right hand is closed,
above the center of the table. Act as if you detect their suspi-
cion. The right hand, palm down, opens and moves back to
reveal the coin on the table. Attention will be focused on the
coin on the table. At the same instant, the left arm curls
back, and places the three coins directly into the right hand
classic palm. Photo 9.
This only takes an instant. Theright hand immediately moves
away from the edge of the table, to the tabled coin. Photo
10. Finally, slap the top of the table, allowing the three
coins to appear on top of the coin already resting on the table
Photo 11
Coin From Spectators Hand
Depending on the situation, I might do a false transfer of a
single coin, retaining it in my right hand, while holding my
lefthand closed. Picking up the other three
coins, Pl add the fourth coin to them as T
give them to the spectator Causing my
ish, Ihave them open their hand
to find it has traveled inside their hand.
T'll do this while talking about how the
coins could have traveled anywhere, not
just through the table.
coin tov
Then 1 offer to repeat the effect, only in
reverse. Holding two coins in each hand, |
place themonto her palm one at atime. The right hand places
the first coin, then the left. As the right places the third coin
onto her hand, you actually hold onto the coin. Photo 12 &
13, With the right fingers secretly retaining the coin, the left
hand counts the ‘fourth’ coin into her hand. Photo 14. The
right hand then closes into a fist. This helps block her view,
8 you demonstrate how you want her to close her hand.
Turn her band palm down. Clearly show your left hand
emply, close it into a fist, and wm it palm down. Rub the
back of her hand, and as you move to the back of your own,
ask her to turn her fist palm up. Timing your instructions
just right, she should be occupied as you execute the Re-
vyolve Load into your closed left hand.
Rub the back of her palm up fist, then rub your own. Saying
“T've got itt”, show that you've caused the coin to vanish
from her hand, and appear insiée your own!
13Michael Ammar Lecture Notes - Tour 2000
In LAS VEGAS CLOSE-UP, Paul Harris printed the idea of using a can fora solid cup type ending ta ball and cup
routine. Building on that idea, I constructed a routine that accomplishes a lot in a very short time, and developed a
presentation that helps the props and routine make sense
unopened and still full, is to
ike to use the most compact ean possible, so the loads don’t have to be too big. This ¢
one side with a plastic lid on it. There are several types of plastic lids that reseal cans, but it’s nice to use one that has
itoff the can. Place one final load in your right coat pocket, and one in
atab to help pu
your left, Secretly fingerpalm a small ball in your left hand.
“{ recently consulted on a movie set, and during a lunch break two of the crew won-
dered if magic could help thom win at gambling. Tuming my lunch kit into a prop. 1
showed them the difference between gambling and magic. Itworked so well, I wanted
to share it with you, the same way.”
Place the can into the left hand, on top of the palmed hall. The right
hhand takes the lid from the can, as in photo 3, as the left hand allows
the ball to drop to the table. Place the lid to theupperright. Ifit has a
tab on it, the tab should be pointing to the lower right.
“For example, if you were to bet there was something
inside the can, that would be gambling.”
‘The left hand shows the ball on its palm, as the right
seems to place the can over the ball. Photos 4 and 5.
Holding the ball and can together, the left hand turns
up and down a couple of times, as if rolling the ball
back and forth, Be careful not to allow the contents of
your can to make noise. Then in a quick move, the left hand
‘will toss the ball and ean to the right hand, closing quickly as
it docs. Photo 6. Actually, the ball travels under the ean and
into the right fingerpalm, but it seems as ifthe ball should be
in the can or the left hand,
“If you were to bet that the ball was inside the
hand, orstill inside the can, that would be also
be gambling.” Open the left hand showing it
cmply, then Seem to roll the ball from inside
the can by placing the right hand against the
table, and flicking towards the left. Photo 7
“But if | were to put the ball into the can, only to
magically remove it - leaving the can empty ~
that would be magic.” Theright
hand tilts the can forward as the
left approaches with the ball
pinched between the fingers and
thumb. The ball rolls beneath
the can and into the right
fingerpalm. Photo 8 & 9,Michael Ammar Lecture Notes - Tour 2000 ————__
Tap the can with the wand, then seem to pluck the ball from the
wand. Photo 10. Onchand picks up the can as the other brushes the
table beneath it to indicate nothing is there. Retum the can to the
table, and fake transfer the ball into the left hand.
“Of course, if the ball disappears from the hand, only to reappear
inside the can, that would also be magic.” Tap the hand with the
wand, and show the ball gone. Photo 11. The right hand then
to roll the ball from the can, as in photo 12
magician put the ball in his pocket, it would return to the can.”
Seem to place the ball in the left hand, retaining itin the right. As the
left goes to the pocket, the right again flicks the ball from ‘inside’ tl
can, Photo 13,
“He could even put the lid onto the can, before putting the bal into
his pocket..." As the right pushes the can ento the lid, the lefthand
is secretly stealing the final load from the pocket. Photo 14. PI
the can into the left hand, directly on top of the final load. The right
hand picks up the ball, and takes it to the right pocket, While there,
steal the final load from that pocket, Photo 18.
But then, ifa Tomato appears inside the can and then ifa Lemon
comes out of that same can, you would KNOW it was magic!” The
right hand, holding out a final load, pulls the plastic lid from the can
as the left lets go of the load it was holding. Photo 16. Immediately
pass the can to the right hand, covering the load it holds. Pick up the
Tomato with the left hand, and tap the top of the cup as the right
releases the second final load. Photo 17.
“Now let's see if you can tell the difference. If I place the plastic lid
in my pocket, and make it reappear on the can, would that be magic
‘or gambling? It depends. If you bet I couldn't do it, that would be
gambling. But if T snapped my fingers, and made the lid reappear
not the plastic one, but the SEALED lid AND the entire contents -
not only would that be good magic, it would bea decent meal!” The
final line is a favorite of mine fiom the original Paul Harris routine.
15Michael Ammar Lecture Notes - Tour 2000
hile working on the Business Card
20, Pa 's pointed out that em
bossed cards placed face to face act as
if they have ‘rough and smooth’ applied to them.
That is, the cards stick together somewhat. Here
is his beautifully elegant solution to the self-print-
ing business card premise.
With a stack of embossed cards alternated face-up
and face-down, as in photo I, you can spread the
cards ina fan, and the embossed faces will cling to
cach other, The result seems like a stack of blank
cards. Photo 2.
Show both sides of the fan, then cut the fan any-
where, bringing a new card to the top. Photo 3.
‘Square the cards, and lift two cards as one in the
right hand, as photo 4 shows. As you seem to rub
this card onto the card below it, photo §, allow the
bottom card to fall from the right hand onto the
cards in the left hand.
‘When you separate the hands, it will look as if you
have printed two cards at the same time
16Michael Ammar Lecture Notes - Tour 2000
I've always loved the Silk to Egg. Peeling the hole off the ‘fake’ egg is one of the really great moments in
magic, but for this moment to be really astonishing, the audience has got to BELIEVE, beyond any doubt, that
the egg is fake. ‘The following routine was structured to not only show the egg as fake, but to continually
reinforce that impression until the moment the hole is peeled from the egg and placed onto your forehead.
After breaking the egg, you then pull the scarf back out of the hole on your forchead! This funny visual takes
any potential edge off of the traditional sucker-type of ending,
This routine uses two 18 inch silks, a round
sticker whose color matches the silks, a hol-
low plastic egg with a hole cut in it, and a
real egg similar in size to the fake. Years
ago, the real egg accidentally broke in my
coat pocket during an earlier routine. Want-
ing to design something that would protect
the egg, I also wanted to position it in the
ie perfect spot for me to steal it during perfor-
mance. I drew up my idea for Ramon
Galindo, Austin’s Godfather of magic, ask-
ing if he could possibly make it for me. At the next meeting, he arrived with
a beautiful, elegant solution - a modified pill bottle! Photo 1. Just cut the
bottom off, some of the top, a portion from the middle,
and tum itupside down. Slowly carve the cemter gap of
the bottle until the sides gently hug the egg in place, yet
give you room to easily remove the egg when necessary.
This holder goes in the upper, front corner of the coat
pocket, with the original mouth of the bottle pointing
down. I have used various methods for attaching the
bottle to the pocket - double stick tape, Velero, and cur-
rently a flap of cloth which is sewn down on the bottle,
witha snap onthe top. This way Ican easily remove the
holder when I want. But more important, this holder
allows me to steal the egg without having to place my hand into my pocket.
The round
size as the hole on your fake egg. Place this sticker onto the real egg, which
iicker, whose color matches the silks being used, must be the same
goes into the holder. Place both silks in the right coat pocket, in such a way that
they can be removed one at a time. The fake egg goes into the left coat pocket.
7Lecture Notes - Tour 2000
To perform, each hand goes into its coat pocket. The left hand fingerpalms the
fake egg, as the right hand pulls the silk from the pocket. The left hand closes
intoa fist, with the hole in the fake egg pointing towards the
gap between the index finger and thumb. The silk is pushed
into the left fist, going directly into the fake egg.
Indicate that the magic has happened, then open the left hand
to show the egg. Just pause briefly, then show the handker-
chief has reappeared inside the pocket. Photo 3. Put the
silk over the left arm as you “explain how it was done.”
Holding the egg up near your face, the right hand takes the
egg with thumb on top, middle index on the bottom, and
tums it end for end. Photos 5 & 6. This puts the egg right
by your face at its most interesting moment - the instant you
reveal the secret
Find the tip of the silk stuffed into the egg, and pull as much
of the silk from the egg as you can, while still being able to
let go of the e}
g. Photo 7. This really reinforces the fa
this egg is fake! “One scarf you stuff inside the fake egg.
ket. Il leave ithanging out
asa visual aid in what’s happening!” While the
the other you hide in your pe
gg dangles
from the silk held at one comer, place the tip of the second
silk into the right coat pocket. Photo 8.
“You hide the egg in the secret Two-Finger Tuck position.”
The left hand clearly takes the egg from the silk into an awk-
ward fingerpalm, as photo 9 shows, so the audience is al-
ways able to account for where the fake egg is. “In order to help
the hand look nz
you hold the right hand in the same awkward position. Photo 10.
tural, both hands should look the same, ..”, as
Stuif the silk into the egg in a rather awkward way, basically keep-
in view at all times,
ing the
you finish, push the index
finger into the egg deep enot
Photo 11. “Opps! Don’t do that! Of course you know that, but
to pull the egg from the left hand.
some people you have to tell everything! You actually have to tell
them to
w the egg in the hand first, and then show the handker-
chief is in the pocket.” Photo 12Michael Ammar Lecture Notes - Tour 2000
Don’t ake the silk from the pocket at this moment - just point atit. Then relax your
whole body as if nothing else has to happen, With a slight turn to the right, I say
“You even have to tell some people not to show this side of the egg!”
The left hand lifts the egg up towards the face, turning the hole of
the egg towards the audience. As you show them the hole in the
egg, the right hand reaches down to take the silk hanging from the
pocket. As you pinch the silk, the middle finger goes into the top
of the pocket, and slips the egg out of the holder. Photo 14
The silk drapes over the front of the right hand, which holds the
real egg in fingerpalm. Relax your body after showing the hole in
the egi
g, allowing your left hand to drop to your chest, with its
back to the audience. “One guy even used a different color
scarf...” As you say this, the left thumb goes into the egg hole,
as it reaches for the visible silk. Photo 15. Timing is crucial
it hand,
here, as the fake egg goes behind the real egg in the
photo 16, where it remains as the left hand takes the silk and real
egg. Photo 17. The left hand gestures with the silk as
you say “...different color
The sentence continues “....hidden in the
14
pocket....” As you mention the pocket, the
right hand retakes the silk, and gestures
with it towards the pocket. The left keeps
the real egg visible as this happens, but
during this gesture, secretly slip the fake
g into the pocket. Photo 18
“Than the scarf he
stuffed inside the egg!”
Immediately after
ditching the fake egg.
the right hand comes
up to the fake egg held
atthe left fingers. Asa
final convin
as you
say “...you just stuffed inside the egg!”, with the right
ers extended, the right
index finger seems to poke all the way into the hole in the egg. Actually, the finger
bends back to the knuckle against the sticker on the egg. Photo 19, The left hand
twists the egg back and forth a couple of times as if really pushing the silk into it.
1920
vy
}
z
Michael Ammar Lecture Notes -Tour 2000
“He said it made the trick hard to follow! But the best part
when you snap your fingers - then peel the hole off the egg!”
Photo 20. This is a
moment! As you try to throw the
hole’ away, it seems to stick to your fingers. Finally, press it
onto the center of your forehead.
Lift the egg up to your face with your right hand, just as you
did when you first revealed the secret hole. Photos 21 and 22.
This is a funny contrast, since everything looks the same as
before, only now the hole is in your head and not in the ege!
The left hand lifts a glass, as you break the egg to prove it is
real.
During the reaction, you seem to be placing the glass and silk
away, as you prepare for the next effect. Actually, you are
quickly gathering the visible silk into the right hand. I like to
accordion pleat the silk into my right hand. . Photo 23, Alan
Greenberg, a friend who has performed this routine for some
time, likes to wrap the silk around two fingers. Either way,
make sure you will be able to quickly grab the end of the silk
thered, act as
when you need to, Once g you place the silk
back into your right pocket, but hold onto it.
“Don’t worry about the other scarf. Anytime you want, you
can take it back out of the hole, and use it for another effect.”
As you say this, both hands move to the spoton your forehead
at the same time. The right presses against the sticker, as the
lef
pull. Photo 24. This looks exactly as if you are pull
fabs the end of the silk, and the sticker, and be
silk from out of the hole on your head! It is such a funny sight
that it gives a nice feeling at the end of a very puzzling effect!