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00:00:30If I take the coin and I fold it back in like this, it goes through the material inside
00:00:49of the pocket.
00:00:50I rub this way and rub this way and snap, it happens.
00:00:56I got it.
00:00:57That's the one from the center.
00:00:58Let's see if I got it, let's see if you have four left.
00:01:05There you go.
00:01:12If you break it, just like this, you don't get two quarters yet, you still get two halves.
00:01:19You can do it as often as you want.
00:01:25You can actually cause the coin to go straight to the table.
00:01:42Hi, we're going to cover the basics of professional coin magic in a series of layers that progress
00:01:50logically with each new layer of information building on the previous.
00:01:55We'll present these layers in an order that makes learning natural and fun.
00:02:01Gather a few coins so you can follow along with what I'll be demonstrating.
00:02:05If you have small hands, begin with quarters.
00:02:08If you have medium hands, such as I have, begin with half dollars.
00:02:14It takes a large hand to work easily with silver dollars, but it is possible and you'll
00:02:18know when or if large coins will work for you.
00:02:24The information is divided into three basic sections, applications, secrets, and major
00:02:31secrets.
00:02:33We'll cover the most important, natural, yet versatile techniques in each category, spending
00:02:39extra time on the special knowledge that makes magic deceptive yet entertaining.
00:02:45Later, we'll talk about effective ways to practice, but after going all the way through
00:02:51the information, find one, maybe two routines that you practice to perfection.
00:02:58Being able to perform just a few really well is more important than simply knowing how
00:03:03a thousand things are done.
00:03:06Finally, we'll give you some sound advice that will serve you well in all sorts of situations.
00:03:12Now, with coins in hand, let's look at our first secrets.
00:03:17Magicians frequently refer to the act of hiding a coin or coins as holding out, and the ability
00:03:23to comfortably hold out is the most fundamental building block in coin magic.
00:03:28Fortunately, it's also one of the easiest to learn.
00:03:36The easiest and frequently most natural method of hiding a coin is called the finger palm.
00:03:43The coin rests at the base of the fingers, but simply curl in enough to hold the coin.
00:03:50This can be done with either hand and held either by the second and third fingers or
00:03:56the third and fourth fingers.
00:03:59All fingers should taper naturally, giving the hand a soft, comfortable look.
00:04:06You can add to the deception by using the hands to do something else.
00:04:13You could even turn the palm upward while still concealing the coin.
00:04:18The late John Ramsey popularized the idea of holding the palms outward, giving a convincing
00:04:25display of an empty palm while still concealing something in the finger palm.
00:04:33This method of holding a coin in your palm is the classic image that comes to mind when
00:04:39magicians use the term palming.
00:04:42With practice, a hand can grip small objects between the base of the thumb and along the
00:04:49heel of the hand.
00:04:51When you find the right spot, you won't need to curl the thumb around or your little finger
00:04:57in to secure the object.
00:04:59It takes a little thoughtful examination and practice to find the spot that works best
00:05:05for you, but when you find it, you'll be able to hold on to the coin while still using your
00:05:11fingers for other things.
00:05:14Maybe holding the fingers straight isn't deceptive.
00:05:19A relaxed, natural hand looks deceptive.
00:05:23The best way to make the classic palm look natural is to do something with the coin and
00:05:29the hand, holding a coin, a pencil, a straw.
00:05:33Use the fingers to pull back the sleeve, to snap the fingers, to make a gesture.
00:05:39You could even pull someone closer with the hand while holding a coin.
00:05:45When a spectator sees your hand occupied with something, they won't think it's possible
00:05:51to also be holding a coin.
00:05:55With experience, you'll learn what people can see and what they can't see.
00:06:01When holding another coin, for example, people feel as if they see inside of the empty hand.
00:06:08That upward flash of the palm while still concealing something that's classic palmed
00:06:14is known as the capped subtlety, and a more advanced application of that would be to actually
00:06:20flip a coin while palming another one.
00:06:24Quietly catching the coins on the fingers certainly implies that the hand is otherwise
00:06:30empty.
00:06:32To put a coin into classic palm, touch the tip of the thumb to the tip of the index finger
00:06:40and curl the coin into the palm with the middle and third fingers.
00:06:46Training yourself to keep the thumb and index finger touching will prevent the thumb from
00:06:52kicking out during the palming process.
00:06:56If you kick out your thumb as you palm, you can see that across the room, and it's completely
00:07:02unnatural.
00:07:04But once you find the ideal position in your palm, practice picking a coin up, curling
00:07:12the fingers in, and putting the coin into palm position as you turn the hand palm up.
00:07:18Also, if you were to pick up several coins in a stack, you can put the bottom coin into
00:07:23palm position as you turn the hand palm up.
00:07:29Learning to put the coin into classic palm is important for a variety of reasons.
00:07:36One reason is because when at rest the hand actually looks more natural, the palmed coin
00:07:43is allowed to drop onto the curled fingers, right at the tips.
00:07:50That way the hand can be truly soft, and yet when you want to move on, the coin is quickly
00:07:57re-palmed as the hand is put to use.
00:08:01The thumb palm is not as versatile as the finger or classic palm, because you have to
00:08:07occupy the thumb in order to hold the coin.
00:08:11Remember that holding something visible helps to camouflage a hand which is holding out.
00:08:17Well, it's not quite as easy to do in thumb palming, but there are times when it's useful.
00:08:24To place a coin into thumb palm, you can either hold the coin at the tips of the fingers,
00:08:30and turn it over as it goes into thumb palm, or you could slide it down the thumb with
00:08:40the index finger until the thumb can hold onto it.
00:08:46The back thumb palm is a more exotic method of hiding a coin, and while it isn't that
00:08:52practical or common, your hand certainly looks empty when you're using it, getting the coin
00:09:00into and out of back thumb palm takes considerably more practice than those we've just covered.
00:09:09One way to get into position is to hold the coin so that it extends from the tip of the
00:09:14first finger.
00:09:16As you curl the fingers in, the coin goes directly into back thumb palm.
00:09:22To get the coin back into the hand, you'll need to flick the hand sharply, counterclockwise,
00:09:29as you close the hand, and the coin will land inside of the hand.
00:09:36I remember how delighted I was when I first learned the downs palm.
00:09:42My hand really looked empty, and yet I could pull a coin out of someone's ear.
00:09:49For the coin to be hidden, the coin should be flat, in line with the spectator's line
00:09:56of vision.
00:09:58If the spectator is taller or shorter than you, tilt the hand accordingly.
00:10:04If your hand is at their exact eye level, the coin should be flat to the floor, with
00:10:09the thumb hiding the coin from view.
00:10:13By touching the tip of the thumb to the tip of the first and second fingers, you could
00:10:19even show the front and back of the hand.
00:10:24If you are already moving the fingers a bit, you could also curl in the index finger over
00:10:31the coin as you turn the hand over this way.
00:10:36To put the coin into downs palm, hold the coin at the tips of the fingers, then, clipping
00:10:42the coin between the first and second finger, the coin flattens out as the fingers curl
00:10:48in, where the coin is held between the thumb and the base of the index finger.
00:10:55Learn to do this as you give a little toss of the hand, makes it seem as if the coin
00:10:59disappears.
00:11:01To reproduce the coin, the fingers curl in and clip the coin.
00:11:07As the fingers extend, the thumb pushes it quickly into view.
00:11:13So the coin disappears, ta-da, and the coin is reproduced.
00:11:20Arthur Buckley developed a particularly magical retrieval from the downs palm.
00:11:26Instead of just pushing the coin into view with the thumb, he allowed the thumb to pivot
00:11:32the coin into back finger clip.
00:11:37The tips of the index and second finger held on to the coin and the thumb concealed the
00:11:43front edge.
00:11:44To produce the coin, the thumb presses on to the front edge as the index finger flicks
00:11:49out of the way, so it looks something like this.
00:11:56To conclude our section on hiding coins, we're going to talk about the back clip.
00:12:03This particular clip, sometimes known as the Gossman pinch, is probably the most popular
00:12:09of the back clips, although it isn't the only method of back clipping a coin.
00:12:16You could also clip a coin at the front of the fingers, or you could squeeze a coin through
00:12:21the base of the fingers, but clipping the coin between the little and third fingers
00:12:28seems to be the one most often used by coin manipulators.
00:12:33Finally, on the back clip, you can get one coin into and out of the back clip while holding
00:12:40another coin at the same time.
00:12:43Of course, some of the palms, specifically the finger, classic, and downs palm, allow
00:12:51you to palm more than one coin in the same grip.
00:12:55This is a good exercise when developing these techniques, as it helps to strengthen muscles
00:13:00that you rarely use otherwise.
00:13:03Congratulations, these first secrets are just the tip of the iceberg, and yet you can already
00:13:09create some amazing magic.
00:13:12While the techniques that accomplish these seem simple, never underestimate the power
00:13:18of even the most basic magic.
00:13:29Say something interesting.
00:13:30If I fold my pants down just like this and snap, there you go, I get a little money for
00:13:36my trouble.
00:13:37Make sure it's what it seems to be, an American half dollar.
00:13:40Of course, if I take the coin and I fold it back in like this, it goes through the material
00:13:45inside of the pocket.
00:13:48Here's kind of an interesting thing, if I place it here, even though you can see it
00:13:50straight through the material, boom, it comes straight through just like that.
00:13:57Good job.
00:13:58Pretty much like any deck of cards you might have at home, I'm going to have you touch
00:14:01two cards, one at a time.
00:14:05There's one, and a second one.
00:14:08Good job.
00:14:09Now it doesn't matter which cards we've got, but if you'll hold on to those, we'll check
00:14:13them out.
00:14:14Let's see, the three of clubs and the five of spades.
00:14:17I could turn these cards over and mix them up like this, but the point is, it doesn't
00:14:22matter which card is where, because cards aren't for fooling people, they're for, hold
00:14:26out your hand for me, see, they're for making money.
00:14:29If I do this, there you go.
00:14:32You know, I need to phone home, would you happen to have any coins on you?
00:14:37No, no, I know probably, oh, wait a second, it's okay, I forgot, I have my phone home
00:14:42ink pen with me.
00:14:44The great thing about this is, if you'll hold on to that, all I need is the cap, because
00:14:48that's what I use to keep my money in.
00:14:53You know what's interesting about a half?
00:14:56If you break it, just like this, you don't get two quarters, you actually still get two
00:15:00halves.
00:15:01You can do it as often as you want, but that's the interesting thing about halves.
00:15:04Well, I thought you might appreciate something done under challenge conditions.
00:15:09Make sure that's what it seems to be.
00:15:12Here we go.
00:15:14I'll place that right into the middle of the handkerchief, so there's no question, cover
00:15:20it up just like that, I'm going to cast, wait here, no, no, make sure it's still in there.
00:15:25I don't want you to think I'm, okay, make sure it's still in there, I don't want you
00:15:29to think, okay, everybody gets a turn, okay, there you go, it's still in there.
00:15:33Now, if I cast a shadow just like this, the magic happens, it completely disappears, it's
00:15:41not there, it's not, okay, now, it's not in there now, right, it's not in there now,
00:15:45if I put a little crease right there, I turn it over, okay, all I have to, I'll make sure
00:15:51it's not in there, I don't want you to think I'm going to do any of the funny stuff while,
00:15:56you know, nothing's in there, but if I take a shadow, pass it over the coin just like
00:16:02this, voila, it comes right back, isn't that neat?
00:16:08Look right there, you see, it may seem like it's invisible now, but if I push it in this
00:16:12here and pull it out this here, it becomes a half dollar, wow, nice tile, look at there,
00:16:21tiny invisible thread, here, let me see if, yeah, but the interesting thing is at the
00:16:25end of every invisible thread, there's a coin, there you go, each of these effects and many
00:16:31more are done with the techniques for concealing coins you've just learned.
00:16:37First routine begins with one coin in finger palm and a matching coin in your right pants
00:16:43pocket, after calling attention to what you're going to do, shift the coin from finger palm
00:16:51to fingertip rest and fold that coin in along with the cloth, do something to indicate the
00:17:01moment of magic, snap your fingers, wave or rub, then dramatically pull the coin from the fold,
00:17:09spend a moment letting them see the coin, establish its presence, then as you seem to
00:17:18fold it back into the pants, pull the coin out and into the left hand finger palm,
00:17:27delay a moment, then show the coin is gone, without delay at that point, show that the coin
00:17:35has traveled to the pocket, by showing where the coin is gone, they quit wondering about where it
00:17:42might be, by giving your routine a bit of momentum, you don't give them long enough to analyze what
00:17:51they've just seen, put the coin back into the pocket and push it outwards, so that the coin
00:17:58is sharply outlined and as the left hand brings its finger palmed coin over the outline, the right
00:18:06hand pinches that coin through the pocket, the illusion that the coin has passed through the
00:18:13pocket is perfect, to produce a coin from two cards, begin with the coin in finger palm and ask
00:18:22someone to touch two cards one at a time, move them forward as I do, now take the cards from the deck,
00:18:32covering that coin in finger palm as you set the deck down, pinch the coin below the cards,
00:18:40showing one card at a time, you could even switch the coin from one hand to the other,
00:18:52eventually sandwich the coin between the two cards, so that you can magically make money with cards,
00:19:06with cards,
00:19:10to perform the phone home pin, begin by putting a dime into finger palm position,
00:19:15followed by the quarter, that kind of locks it in, then wait till the ideal time to perform the effect,
00:19:23shake the pin, then pull off the cap with the left hand, and as you mime the action of shaking
00:19:32something out of the cap, allow the two finger palm coins to fall into the palm upright hand,
00:19:43I put this in at this point to make you think, if you didn't catch the finger palm which
00:19:48accomplished this effect, it's because you were looking in the wrong place,
00:19:52isn't the performer who executes the finger palm, it's a secret assistant, that's right,
00:19:58a friend who secretly makes the magic happen, this is one time you personally are going to be
00:20:05completely innocent of trickery, so emphasize how fair the coin or ring, watch, or other small object
00:20:15is inside the handkerchief, have a couple of people check the situation, then finally let
00:20:23your secret helper check, as she does, she just finger palms the object, while confirming that,
00:20:31yes, it is still there, then dramatically make the object disappear, to make it reappear again,
00:20:42indicate where it's going to go, cover up, have a couple people confirm, and again,
00:20:50stop at your helper last, and she simply places the object back in your hand,
00:20:56obviously, you want to practice passing the object secretly, so that ultimately,
00:21:02it makes its impossible reappearance, you can produce one coin, two, or as many as you can
00:21:11comfortably handle, to drop one coin at a time from the classic palm, I push the bottom coin back
00:21:19until it breaks free, then hold it in fingertip rest, as the left hand approaches with the coin
00:21:26at its fingertips, keep the tip of the fingers between the coin, and press the coins together
00:21:35with your thumb, as you pull the fingertip out, the coins snap together, sounding as if you've
00:21:40broken the coin in two, the second coin, of course, is handled the same way, drops onto the tips of
00:21:47the fingers, the tip of the finger stays between the two coins, as you then snap them together,
00:21:54to create the illusion that you've just broken the coin in half,
00:22:00and using the down's palm, to pull a coin from a person's ear, you must be aware of his line
00:22:08of vision, so that the thumb can conceal the coin from view, if you wanted, you could just point at
00:22:15his ear with your right hand, saying something like, what's that behind your ear, and as you reach
00:22:22behind to produce the coin, but I structured this little sequence with two hands, pointing first
00:22:31with the down's palm, then taking something imaginary with the left hand, which happens to be
00:22:37in the same sort of grip as the right hand, which then approaches the person's right ear,
00:22:44a little toss, and then the right hand takes the coin from the other ear, I put it together this
00:22:53way, because I found that although the down's palm is a great concealment, if you reach close to a
00:23:01person's face, they tend to look very closely at that approaching hand, after all, the face is such
00:23:08a personal space, but with the two-handed approach, the obviously empty left hand
00:23:15takes most of the heat, as the right moves to produce the coin.
00:23:25I used the back clip for the coin from Tai, but you could perform this cute effect with a variety
00:23:32of other concealments. The empty left hand approaches first, picking up the Tai as the
00:23:40obviously empty right hand joins it. Holding the Tai at its end, you begin with the old gag of
00:23:48pulling an invisible thread from someone's Tai. If you really pulled a thread from a Tai, the Tai
00:23:55would wobble as the thread pulled out. To create the illusion that an invisible thread is pulling
00:24:01out, the right fingers just wiggle the Tai from below. This is cute for a moment, but then, as a
00:24:10surprise, seem to pull a coin free as you release it from the back finger clip. The view for the
00:24:18person who wears the Tai is terrific. We've seen how even basic techniques, such as hiding coins,
00:24:27can create a lot of different magical effects. Now, let's go beyond the technical aspects of
00:24:33magic to the cerebral, the intellectual aspects of deception. Dissecting magic theory so it can
00:24:41be analyzed and explained is a little like describing a color or drawing a map of smoke, but
00:24:47it's worth our time because that's the knowledge that transforms simple things that you do with
00:24:53your hands into feelings of astonishment. You know, it sounds so simple, but being natural
00:25:02requires thoughtful examination as to what natural actually is, and then it requires practice for you
00:25:10to act that way without also communicating that something extra is going on at the same time.
00:25:17Being natural can refer to the tone of your voice, how quickly you move, or how much tension you have
00:25:24in your shoulders or your arms, but foremost to coin magic is that the hands look natural.
00:25:33At rest, the hands are soft and tapered, never straight or rigid. The natural thumb is loose and
00:25:42inactive. The thumbs and fingers are slightly curled, tapering in, with the little fingers
00:25:50curling in the most, but don't fully open or fully close your hands. As you palm or hold out,
00:26:01remember the image of naturally soft, curled fingers and practice making your hands look that
00:26:09way. Later, we'll talk about the magic wand. Now, holding a wand or any other object is your greatest
00:26:18aid when it comes to making the hands look natural. If holding out coins could be compared to putting
00:26:25your toe in the water to see if you like it, this section on false transfers is like jumping
00:26:33totally into the world of sleight of hand. Don't worry, the water's fine. We'll make sure that you
00:26:39never end over your head. Our first false transfer is called the simple take because you simply take
00:26:50the coin. Of course, the false transfer, it only seems as if you're taking the coin. As you remember,
00:26:59acting natural is the first rule of sleight of hand, so always really do what you're going to
00:27:06be imitating several times. You must understand the timing of the reality in order to act that
00:27:14way convincingly as you do the false transfer. After all, the only way you can act natural
00:27:23is to know beforehand what natural actually is. So, after you do it a few times to find the timing,
00:27:30remind yourself of that image of natural looking hands and then simply fake the action of picking
00:27:38the coin up with the right thumb. As the right hand lifts and closes, the left hand curls into
00:27:44finger palm and drops naturally to the table. Be sure to act as if you have the coin and then
00:27:51pretend it disappears. The simple put is just as easy as the simple take, only here the false
00:28:02action is one of putting a coin into the opposite hand. Again, you use the finger palm along with
00:28:09timing and acting to create the deception. Just as before, you'll want to really do the action
00:28:19so you can fully understand the timing and the rhythm. Remember, both the simple take
00:28:26and the simple put can be executed with either hand. The Schneider vanish
00:28:35is a version of the simple put, except that in the Schneider vanish the finger's a little more
00:28:41straight while the coin, or any small object really, is held back with the thumb as the
00:28:49opposite hand acts as if it receives the object. One of the oldest known false transfers is La
00:28:59Tourniquet or the French drop. As with the others, you can perform this with either hand.
00:29:08The coin is held by the edges between the fingers and thumb and the opposite hand seems to take the
00:29:15coin into its fist. Actually, as soon as the fingers block the view, the thumb allows the coin
00:29:25to drop inside the hand. Without breaking its flow, the right hand closes and moves away.
00:29:32Allow a brief glimpse of the empty space between the thumb and the fingers as the hand drops away.
00:29:43And as always, really take the coin a couple of times to get the timing down and then strive
00:29:51to duplicate that timing. Another way to perform this would be to pick the coin off the table in
00:29:59the necessary grip as you do sort of a combination of putting and taking as you execute the false
00:30:07transfer. The false transfer that I developed for my own use is just a loose version of the reverse
00:30:17French drop. The coin is taken and shown at the fingertips, but it's not held by the thumb.
00:30:25To add movement to the coin so that it seems as if it's traveling someplace, the first and second
00:30:31fingers cause the coin to flip over as the opposite hand seems to take it away. I've never seen this
00:30:40particular move imprint, but there are as many variations of these moves as there are people
00:30:47who have performed them. People always adapt things as their hands and personal style dictates,
00:30:55so feel comfortable doing the same. As soon as you understand why something is done the way it is,
00:31:04modify it any way you like, as long as it gets the job done. The classic fake transfer should
00:31:12make a person feel as if he sees the coin in the hand as it closes. Persistence of vision causes
00:31:21the eye to retain the image of the coin as the hand closes, and that can be very deceptive.
00:31:28Many performers have variations of this, depending on how they hold the coin or approach the hand or
00:31:36whether you set the coin down this way or that way, but basically you want the coin to catch
00:31:42their eye, so show as much of the coin as you can. Approach the palm up hand with the coin and flash
00:31:51the face of the coin, and most important is that the fingers begin to close over the coin before
00:31:59you begin to take the coin back out. The closing fingers block their view of what happens while
00:32:07implying that the coin has been taken. As soon as the view of the coin is covered, the fingers
00:32:15extend, allowing the coin to rest on their tips. As the hand continues to close, the fingers draw
00:32:24the coin back into the hand. Di Vernon made the point that pivoting the fingers up at the base of
00:32:34the hand provides more cover than simply curling the fingers, and the proper timing, as always,
00:32:43is easier once you really do the move a few times. Another persistence of vision false transfer
00:32:52is the slide vanish. The coin sliding down the hand sure looks like it's going into the opposite hand,
00:33:01but time the turning of your hand so that just as the coin reaches the fingertips,
00:33:06there's enough friction to keep it there as the opposite hand closes and moves away as if it's
00:33:13taken the coin. The friction palm, as the name would imply, also uses friction as part of the
00:33:23method. This particular application takes place when using three or more coins, and for all
00:33:29practical purposes works by itself, allowing the coins to rest in a stack on the fingers,
00:33:37shove more than toss the coins into the opposite hand, and the bottom coin will stay behind,
00:33:47stuck to the fingers through friction. All you have to do is keep contact with the bottom coin,
00:33:55and then allow the hand holding out to drop naturally to the table as the receiving hand
00:34:03draws the attention. The spider vanish combines technique with acting, timing, and psychology
00:34:12to make it seem as if the coin disappears completely. Duplicating the actions of the french
00:34:21drop, actually take the coin into right hand classic palm, and then mime the actions of throwing the
00:34:30coin away, allowing the right hand fingers to be seen empty through that tossing action. Now,
00:34:38normally it would be difficult to create belief that a hand which still held the coin was now
00:34:47empty, but here's where the psychology comes in. With just a slightly unnatural grip of the left
00:34:55hand, they will immediately suspect that the coin is actually over there. Now, don't overact here,
00:35:03just move slightly quicker than normal and slightly close the left hand. Now, as soon as it
00:35:12seems the right hand is empty, they will reflexively suspect anything that's unnatural.
00:35:20Then, just casually show the left hand empty as the right moves on to some continuing action,
00:35:27and they won't have any chance to reconstruct what just might have happened. Once you understand
00:35:35the nature and timing of acting like you put a coin someplace, any of the basic holding out techniques
00:35:45can be used as a fake transfer. Just putting the coin smoothly into thumb palm as you fake putting
00:35:52it into the other hand is a false transfer. Sliding it down, clipping, and doing this.
00:36:00The same is true of the classic palm. Just retaining a coin in classic palm as you mimic
00:36:07the act of putting it into the other hand can be a very deceptive false transfer of a coin
00:36:14from one hand to another. The techniques you've learned are true building blocks,
00:36:27which can be put together in all sorts of different ways to create all sorts of different effects.
00:36:33For example, it might seem as if these false transfers are only good for making a coin seem
00:36:40to disappear, but that's just the beginning. For example, by having something held out in one hand,
00:36:48you can use these false transfers to change one item into another. For example, you could have
00:36:57four quarters finger palmed in the left hand as you fake putting a silver dollar into that hand.
00:37:05Make some gesture to indicate that magic happened and then show the four quarters.
00:37:12Of course, any combination of this type of change making effect is possible,
00:37:19such as when doing a false transfer with a half dollar while holding out five dimes.
00:37:27I'm just looking, you know, every table has a soft spot. If you can, if you can find it,
00:37:33that seems to be where it is. If I can actually cause the coin to go straight to the table,
00:37:40it's that spot there. You can use any false transfer for the coin through the table
00:37:48You can use any false transfer for the coin through the table.
00:37:53As you direct attention to the hand above the table, the hand holding out goes below.
00:38:01Tap the bottom of the table with the coin in unison with the hand above the table.
00:38:09Roger Klaus came up with a nice touch of adding the sliding sound and snap to emphasize the moment.
00:38:19That the coin passes through.
00:38:24You know, if I take a little something from here, a little something from here, and I squeeze,
00:38:30it changes into a half dollar. Now, make sure that's exactly what it seems to be,
00:38:34just an American half dollar. Of course, if I take the coin and give it a squeeze like this,
00:38:39it disappears and comes out my knee. Got a trick knee. If I take and squeeze,
00:38:44it could come out my elbow just like this. Of course, sometimes I take the coin,
00:38:48I toss it away completely. Wait, there you go. Examine this.
00:38:57Doing several effects linked into a quick progressive sequence,
00:39:01it's become known as a flurry. Here, the finger palm produced the coin.
00:39:07Then, use your favorite fake transfer to make the coin vanish, reappearing behind the knee.
00:39:15Again, it disappears, comes out the elbow, and now the spider vanish goes well in this sort of tight
00:39:21sequence and then blowing the coin out the nose is sort of a theatrical punctuation mark to conclude.
00:39:31Now, there are many ways to conclude a coin flurry. For example, you could cause the coin
00:39:37to travel invisibly to your pocket, as we saw earlier, and then as it comes through the coin
00:39:44through the pocket, you could at the same time, as your hand leaves the pocket, secretly remove
00:39:51something else. And then, you could use a fake transfer to cause that coin to change.
00:39:58Transfer to cause that coin to change into anything else you want. Now, it could be a
00:40:04bigger coin, it could be a cookie, or even an engagement ring. Here, the idea is to transform
00:40:15to conclude. Another idea is to maybe have someone blow a kiss at your hand, only have the
00:40:21coin change into a Hersey's kiss. So, use your imagination. Have fun. I'm going to use these
00:40:29four coins to do an interesting demonstration of an amazing principle of physics. If I take
00:40:35these four coins and I roll my thumbs, one of them vanishes from over here, only to reappear over here.
00:40:43Now, I'm not permitted to divulge the secret as to how that works because it's so complicated that
00:40:50I don't even understand it myself. But as soon as I realized that I could take two coins over here,
00:40:56two coins over here, and cause the coins to travel across, I would laugh and laugh.
00:41:03But you had to be there, I guess. Do me a favor, hold on to my wrist this time and take these three
00:41:09coins, hold on to them, turn your hand upside down, go ahead and close it. I'll do it the hard way.
00:41:14Just wiggle your thumb like this. Hey, it worked. See, mine's disappeared. Turn your hand over,
00:41:19give them a count. That's one, that's two, that's three, and that's four.
00:41:26Causing four coins to magically travel is one of magic's great plots, and this version begins
00:41:34with the friction palm into classic palm to make the first coin travel. Wiggling your thumbs to
00:41:43indicate the moment the first coin goes across. Then pick up the three coins, allowing one to
00:41:50go into classic palm, and hold on to it as you dump two as if three into the left hand.
00:41:58A nice touch here is to hold one coin on the fingertips and to allow the classic palm coin
00:42:05to fall against it. The sound implies that the coin just arrived at that moment.
00:42:13Be sure to release the classic palm coin without moving the thumb, and then false
00:42:21transfer into the left hand, which then moves to pick up its second coin. Classic palm this one
00:42:32as you pick up the two and cause the third coin to travel. Now, in the routine that you've just
00:42:41seen, I held on to the last coin as they held my wrist. Then I added the coin to the three as I
00:42:52picked them up, and then put them into the spectator's hand. Now, that's rather bold,
00:43:00and you'll want to move confidently while helping them to close their hand. Turning their hand palm
00:43:07down will keep them from opening their hand too soon as you make the final coin reappear in their
00:43:15hand. Now, if that ending makes you nervous, then by all means conclude the routine by having the
00:43:24final coin reappear just as the others did audibly and in your own hands.
00:43:32Misdirection, our second major magic secret, is what helps us fool the mind as well as the eye.
00:43:41Misdirection is the act of controlling a spectator's attention during a performance.
00:43:46I say controlling their attention because it isn't just making them look away when you want them to.
00:43:52It's important to manage their focus at all times so they can appreciate what seems to happen while
00:43:59seems to happen while at the same time not noticing how it actually happened.
00:44:07To misdirect someone, you must occupy their eyes or mind with something interesting.
00:44:13Fortunately, that isn't very hard. Your eyes and face are very important. People will usually look
00:44:22where you look, so never look at your own hands as you execute a move. But you can also misdirect
00:44:30without eye contact. Even people who are staring at your hands will look up if you ask them a
00:44:36question, and no one can pay close attention. They're laughing at something. And when it comes
00:44:44to technical practice, one reason you want to be absolutely certain of your techniques
00:44:50is so that you can do them while still paying close attention to where your spectators are looking.
00:44:57Ultimately, if you learn to lead each technique with your eyes or a comment,
00:45:04question, or a joke, you will be using one of the major secrets of magic.
00:45:10The magic wand is both symbol and source of power. But the secret reason a magician uses a wand is
00:45:18because holding a wand makes a hand, which is holding out, look more natural. After all, it's
00:45:25vital for our hands to look natural when we secretly hold out. And holding a wand makes even
00:45:32a cramped hand look natural. And the good news is this. It doesn't have to be a wand. Anything you
00:45:38hold will help your hand look more natural. So whenever you palm, always give that hand something
00:45:45to hold or do. Pull back your sleeve. Hold someone else's wrists. Hold a pen or a pencil. Display or
00:45:54flip another coin. Or pick some coins up from the table. Remember, the real secret of the magic wand
00:46:03has always been to make your hand look natural. So construct your routines so that you're able
00:46:09to hold on to something whenever you're holding out. The false transfers we just learned give us
00:46:17The false transfers we just learned give us many ways to make a coin disappear. Now we're going to talk about ways to make a coin appear inside of a closed fist.
00:46:31Close your hand into a fist. As you do, the index finger can leave room for the thumb to move out of
00:46:40the way, giving access to the fist. Holding the fist palm down, approach with a coin in classic palm
00:46:52and rub the back of the left fist. As both hands turn over, allow the palmed coin to drop into the fist.
00:47:03Keep the fist as still as possible, resisting any temptation to open and grab.
00:47:11But continue to rub and then act as if the coin just appeared. Now you could do the Le Homme Masqué
00:47:24revolve load with a coin held in thumb palm to begin. But if you have the coin in thumb palm,
00:47:33you might want to load the fist as the professor did, with the fist palm up. As you wave the hand,
00:47:42the fingers just lift slightly, allowing that coin to re-enter the fist. Again, you'll want to
00:47:53minimize the movement of the left fist so that it seems as if the fist were truly clenched.
00:48:01Now you could also load a coin into your hand as it closes as you just wave, using either the classic
00:48:08palm or the thumb palm. Release the coin under the cover of a magical wave. Of course, you have
00:48:17to perfectly time the release of the coin with the closing of the hand. And be sure to let some time
00:48:24pass before revealing the coin. Let enough time pass and they won't even remember that the hands
00:48:33came close together. Years ago, when I was first learning these techniques myself, I noticed that
00:48:41by seeming to place an invisible coin into my hand, I could secretly load the hand directly from the
00:48:48classic palm without any waving motions. By twisting the left fingers in, they go right under the right
00:48:57hand and directly onto the palm coin. As the hand closes, the coin went directly into the fist,
00:49:06while the right hand prevented any spectator from seeing the action. Then I noticed that you could
00:49:12do the same things with as many coins as you could comfortably palm. Now the best part is that you
00:49:21don't have to control the release of the coins from the classic palm. The left fingers literally
00:49:29take the coins from the palm position by pushing them back until they drop. You might want to start
00:49:39out with one coin already in the left hand finger palm, which you can produce first. Now, as you
00:49:49start to remove that coin, you begin your multiple production.
00:50:02This copper coin comes from England, and this is an American half dollar. Watch as I hold the copper
00:50:10tight. Silver, silver, silver, change. Now it's copper, the silver having traveled invisibly
00:50:23inside the fist. Using any two coins that are clearly different, false transfer so that the
00:50:30coin ends up in classic palm. Make certain they understand what coin is left. Silver,
00:50:39silver. Then thumb palm that coin. The fingers which curl one coin into thumb palm can then
00:50:49carry the other coin out of classic palm. Then briskly load the coin into the other hand,
00:50:58pause just a moment, then conclude the effect.
00:51:02The simple act of producing a coin from nothing can be quite magical, and when you complete the
00:51:09circle by making it disappear, you performed a one-act play. You already know how to make the
00:51:16coins appear. Now, to make the coin disappear, you'll need to be wearing a jacket or a shirt
00:51:23with a breast pocket. To make this easier, you can hold the pocket open with a handkerchief.
00:51:29You can hold the pocket open with a handkerchief or a cloth. Then do the thumb palm transfer,
00:51:37leaving the coin in right hand thumb palm. They'll think it's here,
00:51:41and under cover of pulling back the sleeve, drop the coin into your breast pocket.
00:51:49Although this method of making a coin disappear has been around for a long time, it will still
00:51:56professional magicians if used at the right time. Timing can be put to such valuable use
00:52:05that's considered one of magic's major secrets. Timing is used in humor, giving punch to a joke,
00:52:12but timing is also important in deception. For example, we've already seen how through
00:52:18misdirection magic techniques are easier to conceal during an offbeat, but that's just
00:52:24the beginning. One of my favorite quotes comes from expert at the card table,
00:52:31the resourceful magician. Failing to improve the method changes the moment. This eloquently tells
00:52:39us to experiment with time. When should you perform, and what is the best moment to execute
00:52:46the techniques? If you need to hide coins in your hand, waiting to perform, how far ahead
00:52:54can you be ready with those coins? When asked how long you should be willing to wait for the right
00:53:01time to do something, magician Max Malini said, you wait a week. So consider time a weapon. Also,
00:53:13be ahead, but always be willing to wait and be willing to think about what might be the most
00:53:19effective moment to execute any technique. You've learned to hide coins to fake transfers, and
00:53:30you've learned to secretly load a closed fist. Now we'll talk about coins that are definitely
00:53:39inside the fist, and even though no fingers move, the coin disappears. This is the first
00:53:47of several techniques, all of which begin with a coin in a fist held palm down. The coin is
00:53:57secretly moved until it's pinched by the tips of the fingers against the base of the fist.
00:54:05Keep finger movement as minimal as possible, and occupy their mind by saying something
00:54:11interesting. As you point with your right hand, the thumb is against the middle finger.
00:54:20Time the positioning of the right hand with the turn of the left hand, and the right thumb can
00:54:29clip the coin without being seen and without moving a finger. Another way to steal a coin
00:54:38which is clipped is to cover the stealing by pointing at the hand. This time, as the fingers
00:54:48of the pointing hand extend in order to take the clipped coin between the ring and little fingers,
00:54:57it's the point that covers. Now this is a fairly bold steal by pointing. You're drawing attention
00:55:07to where the move is actually taking place at the exact moment that you do it, so timing and
00:55:14technique have to be perfect, and you can still draw attention away by not looking there yourself
00:55:21as you do the move. Now this time I want to move so slow that you'll know that I'm not going to
00:55:27cheat. You know that the coin is in the hand. Nothing here, nothing on the back, no fingers move,
00:55:34but if I give it a little squeeze like this, did you see? It changed.
00:55:42I'll never forget being shown this trick as a little boy by someone in a magic shop.
00:55:49For weeks, I would daydream about metal that could magically change its shape.
00:55:55Now when I finally discovered that the real secret was much more simple than my daydream
00:56:02methods, I wasn't disappointed because I could still remember what the effect could be on someone
00:56:09watching. As it turns out, the key is cleverly hidden, partly behind the coin and partly behind
00:56:20the thumb. As you close your fingers around the coin, it sure looks as if nothing but the coin is
00:56:31there. Now notice that I don't say, see the coin is still there, as that subtly telegraphs that the
00:56:40coin might disappear while giving a slight challenge to the situation. It might be good
00:56:46to call a different kind of attention to it by saying, even though it looks normal, by closing it
00:56:53into my hand, and then you work the coin into clip position, being careful not to make any noise,
00:57:02and then steal the coin away as you point. Act out the magic a little, and then show the
00:57:11transformation. One thing that I like to do to kind of add to the deception is, after the coin
00:57:18goes into the hand, you see the key would be down here. When I do the steal, I take the coin out,
00:57:26and then for the transformation, I shift the key, so that when the hand turns over, it seems as if
00:57:34the key doesn't even fit inside of the hand. If I close my hand, and you know that the coin is in
00:57:42the hand, here I tell you what, you can even hold on to my wrist. To make it really disappear, I need
00:57:47something special. I need a little bit of woofle dust, gathered from a dusty woofle. If I just
00:57:55dribble it like that, did you see? It disappears.
00:58:02With gone, you do a similar sort of steal, only it's completely gone. As you close the hand,
00:58:09and you work the coin to the heel of the hand, as you ask the spectator to hold your wrist,
00:58:16you actually take the coin into the right hand, as you say, hold on to my wrist,
00:58:22and from that point, you can drop it into your pocket, you can reproduce it from somewhere else,
00:58:28or in some cases, you could even go ahead and drop that coin into your sleeve,
00:58:33as you tell them to hang on to your wrist, as the coin completely disappears from a closed fist.
00:58:42That's my minute man coin. It is? Yes, you know why I call it my minute man coin? No. Well,
00:58:47it just takes a minute, and I'll show you what I mean. See, if I were to take this coin,
00:58:52and place it into my hand, and close it slowly, nothing happens. You know why? Why? Because a
00:59:00minute hasn't passed. But if a minute had passed, here, I'll tell you why, why don't you go ahead
00:59:04and hold on to my wrist. See, if a minute had passed, I just cast a little shadow, watch and
00:59:10listen. Did you hear it? There it is. Yeah, that means the coin is gone. See, it's disappeared
00:59:21completely. Let's see, and here is where it went. There you go. That's why I call it my minute man
00:59:29coin. What I like about this application is that the coin doesn't just reappear, it reappears in
00:59:39what seems to be, for all practical purposes, an impossible location. Granted, it isn't as
00:59:46impossible a location as maybe being baked in a loaf of bread or something like that, but
00:59:51it seems impossible because they feel they've been watching everything, which would naturally
00:59:57include watching your watch. This time, the coin is dropped from clip position
01:00:06into the right fingers, just as the fist is being turned palm up. The coin slides along the
01:00:14turning fist, where it's then pushed underneath the wrist watch. Now, my watch has a countdown
01:00:24alarm, so I can use that as part of the effect. And if your watch has a lot of metal that can
01:00:31make a sound as you load, you might want to use double stick tape to cover the back of your watch
01:00:37with velvet. Once you do, every time you wear your watch, you'll be ready to perform a mini miracle.
01:00:50Practice does not make perfect. Practice makes permanent. The secret to effective practice
01:01:00is to understand what it is that you're practicing. Do the move in reality, in order to
01:01:06know what the timing is really like. Then practice it 10 times in a row. Always give something at
01:01:14least one set of 10 tries, and if you need to, do another set of 10. When your false transfer
01:01:21looks the same as your real transfer, you'll know you're there. To make sure what you're doing looks
01:01:30natural, practice in front of a mirror or a video camera. For technical practice, put coins into and
01:01:38out of all of the grips we've studied. As exercise, keep coins in your hand during the day and move
01:01:46them from position to position. If you practice thoughtfully, you will get better at anything.
01:01:54To improve your classic palm, palm a coin all day long. Palm as you drive, work, and socialize.
01:02:01Once you can forget you're palming a coin, you'll know you've got a good palm. And finally,
01:02:09while you may not want to write a script for social performances, always know what you're
01:02:15going to say as you go into a performance and what you'll say to conclude it. Otherwise, it's
01:02:23practice that will make you comfortable enough to improvise what you say if you need to.
01:02:31One, two, three, four, five coins. I wonder which one of your hands is the quickest.
01:02:38Your right hand? Let's practice once. I want to drop a coin into your hand.
01:02:43Close your hand as quick as you can. Let's see how fast you are. That's very fast. You're the
01:02:47perfect choice for this. I'm going to put all five coins into your hand, one at a time, so
01:02:53there's no question. When the fifth coin gets in, I want you to hold them tight, okay? There we go.
01:02:58So one, two, three, four, five coins. Turn your hand upside down. I'm going to hold my hand as
01:03:06tightly as you hold your hand. Now, what I want to try and do now, I'm not going to go after the
01:03:10coin against your fingers because you're holding it so tight. And not the one against your palm
01:03:16because, well, the Lord knows where that's been, right? That coin. Now, the one in the center,
01:03:22that's the one I want to go for. Coin number three. All I have to do is rub the back of your
01:03:27hand. Now, turn your hand over. If I rub this way and rub this way and snap, it happened. You see?
01:03:33I got it. That's the one from the center. See if I got it. See if you have four left.
01:03:38By golly, I got the one I got. People love to be part of the magic, making a coin disappear out
01:03:48of someone's hand. Hits them right where they live. In fact, this simple effect is the kind
01:03:53of magic that people talk about years after the experience occurred. All you need is a spectator,
01:04:01five coins, timing, and a little nerve. After you've done it a couple of times,
01:04:08you'll realize that nerve is less important than timing. After the spectator examines the coins,
01:04:17take three in your left hand and two in your right. Begin counting the coins into their hand
01:04:25and, with a rhythm, alternate hands. Now, on the fourth coin, one, two, three, four,
01:04:35the right hand doesn't let go of the coin. You just make a sound with it,
01:04:41then pull it back into your hand as if doing the classic false transfer. However, the sound of the
01:04:48coin combined with the timing creates a perfect illusion. Then, on the final coin, the left hand
01:04:55releases from just a few inches above their palm. One, two, three, four, five. Because you've
01:05:05conditioned them to quickly close their hand, they'll be so busy concentrating on that that
01:05:11they never even consider, much less notice, that one coin isn't there. After all, you haven't told
01:05:19them a coin is going to disappear out of their hand. Only after they've closed their hand and
01:05:26you've moved the coin into classic palm do you begin to noticeably consider which coin you're
01:05:33going to remove from their hand. The intent of the presentation is to make them remember
01:05:40that a specific coin disappeared from their hand and reappeared inside your closed fist.
01:05:49Close your hand, palm down, just as they've done, and then rub the back of their hand.
01:05:56You're going to revolve load your hand as you occupy their mind with misdirection. So, rub their
01:06:05hand, and so the timing of the misdirection will be right, tell them to turn their hand over as you
01:06:13move towards your own. That way, go ahead and turn your hand over, they should be occupied with
01:06:19turning their hand over at the exact moment that you do the revolve load. To be sure your
01:06:26misdirection is properly timed, always occupy their mind before you do the secret move. I'll show you
01:06:33once more, go ahead and turn your hand over, there you go. To conclude, emphasize that it,
01:06:40a specific coin arrived in your hand. As they discover they only have four.
01:06:48Try this out, you'll be surprised by the reaction. I'm going to use these coins to illustrate a
01:06:55famous story about a magician who had six sheep, so be these six coins, and there were two thieves
01:07:01in this story, and these will be the thieves. Now, the thieves wanted to steal the sheep, so they hid
01:07:07in the magician's barns. The magician had two barns, so one thief in each barn. Now, I want you to watch
01:07:13everything that this barn does. Now, you're watching that one, and you watch this one closely,
01:07:20and here's what happened. They hid inside the barn, and they waited, and then they started sneaking out
01:07:28and taking the sheep one at a time, and it looked like they were going to get them all, but then they
01:07:36heard something. They stopped to make sure that the magician wasn't coming. Actually, they said, look,
01:07:40maybe we better put them back, just to make sure. There you go, and we'll wait, and they waited and
01:07:46waited, and they said, now's our chance, and sure enough, they started sneaking back out, taking the sheep,
01:07:54hiding them in the barn, ready to take them. One final look to make sure that nobody was coming,
01:08:00and they snagged the last sheep, but before they realized it, the magic happened. There, in an
01:08:07instant, both of the thieves end up locked in one of the barns, while safe and sound, all six sheep
01:08:15were in the other barn. Isn't that neat? This great little routine requires no sleight of hand, so you can
01:08:25focus entirely on clearly communicating what seems to happen. Using only eight coins that are the same,
01:08:35start with one coin in each hand, representing the thieves. Begin with the left hand,
01:08:44picking the coins up, the left, alternating with the right, and stop when one coin is left.
01:08:56Then, begin putting back with the right hand.
01:09:02The alternating left and right rhythm implies even distribution, but since your pickups began with the
01:09:14left hand, and your givebacks begin with the right hand, things are not even. Again, begin the second
01:09:28phase with the left hand. You begin with two in the left, and when you alternate like this, and
01:09:38during this pickup, the left hand gets three, and the right hand two. Pause a moment as you look for
01:09:49the magician. They forget it's now the right hand's turn, so the left hand scoops up the last coin, and
01:09:59the end result is so amazing, two in the right, six in the left, that I'm going to give you a 30-second
01:10:08review on how that just happened. Again, one in each hand, six in a row, begin with the left,
01:10:23stop with one showing, and then put back, beginning with the right.
01:10:29Now, with apparently one in each hand, actually two only in the left, the left begins again.
01:10:43Stop with one showing, and take the final coin with the left hand, make the magic happen, and
01:10:53then show the thieves in the right barn, while all the sheep are safe in the left.
01:11:04Repetition is important to learning, so practice often, and review all this information frequently.
01:11:12You'll be surprised at how much new information you'll see with each viewing,
01:11:17but before you go, I wanted to share a few final thoughts you might find handy. First,
01:11:25when it comes to magic, people are going to say, how did you do that, or do that again?
01:11:32Now, sometimes when they say this, they actually want you to do it again, and sometimes they
01:11:38actually care about how it's done, but most of the time, they just don't know what else to say.
01:11:44You don't have to meet either of these questions head on. You can volunteer to show another trick,
01:11:51or say the person who taught you made you promise to only do it once. Now, if you'd like,
01:11:59you can make me that promise now, so you'll be telling the truth. And you can toss back,
01:12:05how did you do that, by saying, hey, I'm glad you liked that. You know, what did you like about it?
01:12:11Or, hey, that's pretty neat, isn't it? One cliche is to say, can you keep a secret? So can I.
01:12:18Now, ultimately though, you can minimize problems by using presentations that keep magic fun,
01:12:26as opposed to being a challenge, and be ready to turn certain reflexive questions
01:12:32into friendly conversation. Professional Courtesy. You may not be a professional magician,
01:12:40but you now possess professional secrets. That's only fair to treat them with respect.
01:12:48Never reveal secrets just to profit, or be popular, or to satisfy curiosity. But while
01:12:56that side of Professional Courtesy is typically obvious to everyone, there is another, less
01:13:02obvious type of Courtesy. With this magical information, you can perform magic almost
01:13:10anytime, anyplace. You could even perform while sitting in the front row of a professional
01:13:18magician's performance, but it's not even polite to perform in the lobby of another magician's
01:13:25venue. Even in the loose atmosphere of a magic bar, the polite thing is to ask if you can perform
01:13:33something when you're on another magician's turf. When I was younger, I was so passionate about
01:13:38magic that I eagerly performed whenever I could, and wanted to meet every magician I saw. But
01:13:44looking back, you know, I know I was too eager at times. And I now realize the protocol of
01:13:51respecting the space of a professional is simply the polite thing to do.
01:13:57The final Courtesy I'd like you to consider is that if you can't find something nice to say
01:14:02about other magicians, try not to say anything. Once your friends recognize your interest in magic,
01:14:10they'll always ask your opinion of magicians they see on television or on stage.
01:14:15If that magician was bad, it should go without saying, but if there's something good to say,
01:14:22why not say it? In the end, I'm not saying you should mislead people, but every time I've seen
01:14:30a magician criticizing another magician in public, both people end up looking bad.
01:14:36Constructive criticism in private has its place, but I've never seen negative criticism
01:14:43achieve positive results. Practice improves any performance, but you can never break the law of
01:14:53gravity. Even professionals drop coins. So if you drop a coin in a performance, don't get flustered.
01:15:01Nobody's offended if somebody makes a slip, but if they see that it has made you uncomfortable,
01:15:09then they get uncomfortable. Put things quickly into perspective with some reflexive response,
01:15:17such as, hey, did somebody turn up the gravity in here? Or, you know, I just washed those coins and
01:15:22I can't do anything with them. Or, you know, that's the first time that's happened again.
01:15:27Or, wow, thank goodness that floor was there. That might still be falling.
01:15:33There are also some classic techniques for dealing with coins on the floor.
01:15:39You might pick the coin up only to make it disappear completely. Here, you just step close
01:15:46to the coin. As you seem to pick it up, just flick it underneath your foot. Then pretend to throw it
01:15:53away. Bad coin. But if you need to actually retrieve the coin, you could act as if you drive
01:16:02the coin all the way through your body only to have it reappear under your foot. Another
01:16:08approach to a coin on the floor is to make it disappear only to reappear behind your knee.
01:16:15Here, as you pick up the coin, toss it between your legs into the other hand. Now, there's a
01:16:21rhythm to this, but they won't expect you to be doing something at that point. If you want to
01:16:28reproduce the coin, you can do so from any place, or you could secretly drop the coin into your
01:16:34pants pocket. Most important is that you keep everybody comfortable by showing that you've got
01:16:42something to do or say even under what seems like unexpected circumstances. And you can do this by
01:16:50being prepared for the fact that, yes, gravity does happen. Now, if you get nervous as you perform,
01:16:59use it as a learning experience. Study the feeling. Maybe it's just adrenaline, which is
01:17:06nature's way of giving you a little extra juice so you can do your best. So don't mistake excitement
01:17:13for fear or the thrill of the event with butterflies. Or you might decide that all you
01:17:20need is more practice. Confidence, like muscles, can be built up. Practice until you know that
01:17:29routine perfectly and everyone, you included, will have a good time. With a few deep breaths
01:17:37and an opening effect you're certain of, you'll find the opening moments will fly by and you'll
01:17:43be surprised how comfortable you'll feel. In the end, you'll either realize that what you feel
01:17:50isn't butterflies, it's nature's energy, or you practice until your butterflies are flying in
01:17:57formation. Or you could set those butterflies free by remembering to just have fun. After all,
01:18:06having fun is the whole point. Have fun as you practice and have fun performing and sharing your
01:18:12magic. Magic is meant to be shared. So strike up a conversation with a stranger if you have to
01:18:19and when you do, be natural. Thanks for being here.
01:19:49you
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