Destroyers Troy Hooser

"Destroyers is filled with ‘kiflé‘rkr‘ndgtc’
practical. Learning Troy‘s mater“ I ' I

‘
BY JOSHUA JAY
Table of Contents
inTROYduction
................................. 9
Com menta ry
Commentary
................................. 1 1
The Style
................................ 1311
in the Hands ............................... 15

Troy Touch
.............................. 15
Subliminally Signed
........................
A Troy Ploy
............................... 17
COI ns
Coins
........................................ 2119
A_ Charming Chinese Challenge
................... 26
Link
Mid—Air
..............................
Throw Penetration
......................... 2729
exTROYdinary
................................ 34
Alternative Sequence
................... 36
. . . ._
End Clean
...............................
Redirection Coins Across
........................ 4337
The Flipper Coin
.............................. 43
Flipper Coin Properties
...................... 44
The Flip Display .
.........................
.‘
Table Flipper
............................. 4548
A Touch of Brass ........................... 49
Squeezed Away
Hooked on Coins .......................... 51

........................... 55
Coin Melange
.................................
Count—er Point
................................ 61
Count-er Point Substitution
.................... 62
Copper—Silver Transmutation
................. 6264
Count—er Point Coins Across
.................. 67
Coinfusion
...................................
Poor Man’s Production
...................... 68
Coinfusion interlude ......................... 71
Poor Man’s Vanish 7O
........................ 73
Triple Transformation
....................... 75
Three Fly Simplify
.............................
Cards
Cards
.................................... 8179
Cool as Ace
.................................. 87
Weight your Tum
.............................. 93
Double Decker Plus
............................
Zombie Change
...............................10197
Slip Stream
................................. 101
Moveless Sandwich
....................... 103
Card to Number ......................... 104
Universal Control
Ultimate lllogical Cut .......................... 105

..........................
Any—Cut Card—to—Box
........................... 13 1 1 1
Reversed Name—a—Number
.................. 115 1
Closed Open Prediction
.........................
Open Open Prediction
..................... 11719
Displ-Ace
................................... 121 1
One-and-a-Half—Pass
....................... 123
Pendulum Cut
...............................
Pendulum Transfer
........................ 125
124
Jokers Squared................................ 127
Winged Card
..............................
Throw Switch Experimentation .................. 135
Bogus Tom and Restored Card 131
................... 135
Easy Control
............................
Direct Sandwich
.......................... 139
136
Triumph Display
..............................
Cu riosmes
Cr .................................. 143
Curiosities
........................... 150
Mask in Motion 145
Mask Metamorphosis
......................
........................... 151
Nectar of the Cards
A Dexterous Ditch
............................ 153
153
..........................
Ditching a Coin
.......................... 154
Ditching a Card
............................. .156
Billet Switch
Bogus Tom and Restored Card Cleanup
155
...... 157 .
The Locker
.................................. 159
,
In the Round
................................
Index
................................... 163
inTROYduction
Troy Hooser lives somewhere between Burbank and West Salem, Ohio, a fair-
ly unassuming hometown for one of magic’s finest technicians. Fortunately for
me, his house is about an hour from mine, door to door. I made the journey to
Troy’s house at every available opportunity and will be forever grateful for both
his help and friendship.
Troy is an inventor for magicians and a performer for lay-people. As a part-
time professional, Troy is a busy magician. He has found time, however, to win
many magic contests, publish an abundance of original material, and help raise
a family.
When not performing walk-around at hospitality suites or corporate events,
one may find Troy enveloped in a magic book or working with coins and a deck
of cards. It is between hundreds of hours of physical rehearsal and even more
time pondering the magic that Troy comes up with new routines.
In this first hardbound effort, we will be releasing many new routines for the
first time. We will also be printing several already—published works for a more
complete examination of his magic. Some of these routines are published in
hard—to—find manuscripts, and others lacked thorough explanations. Some pub—
lished effects have been revamped and refined into drastically different routines.
So, if you recognize a title or trick, please read through the entire explanation to
find nuances or added subtleties. Along with the explanation of each effect is the
reasoning behind various moves and actions. Troy is a deep thinker and puts this
meticulous attention to detail into every step of his magic. I have passed on this
insight in each description.
As am sitting at my desk, completing Troy’s introduction, l am plagued with
I
thoughts of other books of this type. Reading through a magic book can be like
reading an instruction manual for a VCR. Too many times there is no trace of
emotion. We read aimlessly through trick after trick, unfamiliar with the mind
behind the magic. Troy’s magic cannot be fully appreciated in the trick/expla~
nation format. Understanding Troy is essential to understand his magic.
Perhaps the best way to describe Troy is with a story from my own experi—
ence. Several years ago on route 77 toward the Richfield Coliseum, my dad and
I
were on our way to see a basketball game; the Cleveland Cavaliers vs. the
Chicago Bulls. The Cavs were one of the worst teams in the league, but still con—
9
tained enough spark to excite an eight-year—old boy. But I was even more
enthused about watching the absolute best team in the league, led by the finest
basketball player to ever play the game, Michael Jordan.
As we arrived at the stadium, my mind was filled with thoughts of the
upcom-
ing game, the sounds, the action...and Michael Jordan. My dad’s mind was more
consumed with thoughts of a decent parking spot and a nice, juicy hot dog.
Sometimes kids ask very general questions, hopelessly expecting a specific
answer. I was no exception to this rule. “Dad, what makes Michael Jordan so
great?” At the moment that I asked this lightweight question, my dad’s attention
was already occupied by signs. lane changes, and traffic directors. The question
hardly seemed timely, but my dad has always had a gift for doing a lot of things
at once and doing them well. He thought for a moment, parked the
car, and
—
looked me in the eye.

9».
“Joshua, Michael Jordan is a great basketball player. But there are a lot of
great basketball players. The difference is when Michael Jordan plays basketball,
he makes everyone around him better. He takes his teammates to a higher level.
It’s a rare thing, and it’s really, really
special. Now, why don’t you and I find the
nearest hot dog vendor?”
In all the years that l have known Troy, don’t think he
has helped
ketball skills one bit. However, Troy does have the ability to help others my His
1
bas—
grow.
style differs greatly from everyone else, and watching him work helped
open my
eyes to uncharted areas of magic. Watching Troy perform is having access to a
special lens that allows one to look and think beyond the boundaries of the estab—
lished. I sincerely hope that you use many of the routines in this book. But
more
importantly, use this book as a lens. Let Troy’s varied approaches inspire you to
create, change, and improve your magic. His work has helped sculpt my
approach to magic and made me a better thinker. Let go of your preconceived
opinions on magic. Allow Troy to captivate your senses and help you take the
step to a higher level.
Please enjoy reading desTROYers. Learn the routines properly and
them to your own performing style. This collection is a monument to Troy’s adapt
life-
time of insight and invention. Look around, stay awhile, and enjoy.
Joshua Jay
1999
Canton, Ohio
10
Commentary
?‘l
“K
All good magic is purposeful. That is, there is sound reasoning behind each
decision, sleight, or phase in an effect. Troy’s material is no exception, and I want
to make absolutely sure that you are fully aware of the “why” behind the “how.”
Many magic books fail to give a comprehensible explanation of this integral
facet of someone’s magic. Consequently, the tricks may lack identity or depth.
By understanding Troy’s underlying motives, you might better understand his
logic in specific effects. A more thorough understanding of his style will often
rationalize the flamboyance and flourishes that he integrates into his magic.
...The Style
In an effort to explore the inner-workings of Troy Hooser, it is necessary to
dissect both the structure and performance of his routines. Troy is a subtle per-
former. He doesn’t manifest a different character when performing; instead, he
projects his own personality through his magic to connect with the audience.
Troy also has a distinct performing style. Although his material encompass-
es cards, coins, mentalism, and beyond, the style with which he presents his
magic is the same. He steers clear of one—moment magic tricks in which the
whole effect results in one magic occurrence. Hooser’s routines are filled with
magic. Something is happening at all times. He incorporates a lot of magic, but
strives to keep every important detail sharp in the mind of the spectator.
11
desTROYers - The Superlative Magic of Troy Hooser
c2
Troy purposely structures his routines to fit this fast-paced, visual style.
Throughout a performance, the magic is happening around him. Magic fills each
moment and surrounds him. His role is simply to bring this magic to the audi-
ence. Hooser accomplishes this by keeping every second in a routine action—
packed. There is a constant flow of magic from the fingertips. The routines are
not cluttered, however. Rather, all of the magic that Troy structures has a specif-
ic goal or objective. Each part is relevant and significant, and there is a definitive
beginning, middle, and end to each routine.
He implements the element of surprise in much of his work. Although each
routine has a goal, i.e. the vanish/production of three coins, locating a selected
card, etc., there are many offbeat surprises along the way.
When Troy creates a routine, it may be short or multi-phased. No matter what
type of routine, all the plots Troy uses are simple. Troy focuses on making the
course of events visual and direct instead of obscuring the magic with unneces—
sary twists of plot.
Technically, Hooser is an extremely gifted performer. He is a knuckle-buster.
However, along his journey to technical mastery, he hasn’t lost sight of the prac—
ticality of other techniques. He combines difficult sleights with self-working effects
to create the most effective magic.
The principal element that Hooser effectively implements is the use of the
body. Too many times, magicians conduct all of their tricks on a table or at the
waist, looking straight down throughout the trick. Troy uses all of his body to cre—
ate the aura of magic and limitless possibilities in his tricks. The spectator is treat—
ed to a highly visceral, physically demanding demonstration. There are large
movements of the upper body to emphasize the magic and to misdirect. By lean-
ing forward and bending at the waist, Troy is able to accent magic taking place
at chest level. A slight crouch or shrug of the shoulders is an indirect indication
of confusion or hesitation. Most importantly, Troy has learned to use eye contact
as a tool of emphasis, misdirection, and timing. Troy looks into the audience for
opportunities to interact. If a vanish is taking place at the elbow, a gaze will pref-
ace any movement of the hands. By shifting his gaze, he can control what the
audience can see and even control their perception of an event. With his feet sta—
tionary throughout most of his routines, the movement begins at the waist and
continues through the neck and shoulders. Troy’s posture is always impeccable,
and his calculated movements send out vibrations of power and control. All of
these principles are illustrated in the routines.
By remaining natural in all body movements, Troy’s keeps his magic flowing
timelessly to the conclusion. There aren’t steps, stops, or phases during his rou-
tines; there is a constant pace that is carried throughout. His hands are never
jerked or dropped, they have a soft touch and an elegant range of movement. His
routines also have a distinct pace. Troy’s magic is quick, not rushed. Focal
moments are slow and deliberate, contrasted by other events which happen rap—
idly.
12
o
Commentary
in each routine that Troy constructs, he designs each ending and each mag-
ical happening with a goal in mind: to make the moment memorable. Years after
seeing a performance, one easily recalls show highlights. Every time something
magical happens, it is better, bigger, or more impressive than the last event. You
will notice this characteristic in all of the routines explained in this volume; the
magic is memorable and has a staying power that gets locked into the brain like
the refrain of a good song.
...Troy Touch
Although Troy has been remarkably kind to me both as a magician and as

a friend, this book must maintain a high degree of integrity. Therefore, I must
comment on something that I despise about Troy and his magic.
Everything always looks better in Troy’s hands! Troy can pick up a pack
of cards, a coin—filled purse, or even a set of car keys, and he can cause those
objects to take on lives of their own and look magical. Simple tasks, such as
spreading the pack for a selection, look different in Troy’s hands. It bothers me
how easily he can convert a rigid sleight into a soft, rhythmic movement, often
without any practice.
Regretfully, there is no way to pass on something as personal as touch or an
approach to sleight of hand. However, pay close attention to every observation
recorded herein, and use these valuable tips to file down the rough edges in your
magic.
The first noticeable difference in Troy’s work is his unique touch. He grips
objects with an effortless, light grip that actually produces the illusion of weight—
lessness within the handled objects. It is often surprising to examine heavy silver
dollars after Troy has performed because they appear like feathers in his hands,
jumping about in an animated fashion, as if carried by the wind.
in addition to having an appealing look, a light touch is also practical. For
years I performed utility moves (i.e. Retention Vanish, Double Lift, Pass, etc.) with
my fingers flexed, extended, and with a degree of pressure between the digits.
This approach resulted in a less than efficient outcome, and often muddled an
otherwise well—executed sleight. Troy has helped guide me toward a more delicate
execution of sleights.
The first step toward a lighter touch must be an in-depth examination of the
props with which we work: cards, coins, sponge balls, rubber bands. Collectively
they weigh less than one pound. Wearing a watch and a few rings probably
requires more effort than holding the props necessary for the effects described in
this book.
13
desTROYers — The Superlative Magic of Troy Hooser
7’
.2
Another important factor in maintaining a light touch is to understand the
hand’s natural range of movement. Troy’s fingers do not perform contortionist
feats, and they never stray far from a relaxed condition. His hands are in a rest
position at all times.
Right now, while in the midst of this particular paragraph, you are going to
perform an experiment. I want you to transfer this book so that it is gripped only
with the right hand. Extend the left arm outpalm up, keeping it as stiff and straight
as possible. Now relax the wrist, allowing it to hang off the arm without any con-
trol or strain. The hand should currently be in a natural, flaccid position. Notice
the slight curvature in each finger and the linear position of the thumb (fig. 1).
Note how easily a deck of cards would fit into the hand with almost no adjust-
ments (fig. 2). Each finger need only supply a minimal effort to retain a deck of
cards.
Keep the hand completely limp. Observe how the fingers do not make direct
)
,-
contact with the palm. Instead, they are posed in a curved position. All hands will
" differ slightly, but you will notice that certain fingers curve more than others. In
my case, the pinky curves in and down a bit more than the other fingers and the
thumb rests naturally on the index finger. Find the nuances specific to your hand
and learn how to duplicate them within your magic. While the hand is inverted,
notice how easily a coin or small object would fit under the fingers. With or with-
out an object, the grip would be identical. In addition, you will find that the natu-
ral amount of torque in the fingers at this position is sufficient to hold an object
in finger palm. -
Troy’s touch is also a fine balance of contrast. He conditions his audience to

a very light handling, and then sprinkles his effects with the occasional brisk and
powerful movement. This calls attention to his actions, and often serves as the
“magic” gesture. Imagine the light grip Troy employs on a deck of cards as it is
transferred from one hand to the other: Then his fingers tense just long enough
14
,1
Commentary
c2
for a crisp, firm snap. A second look at the deck will reveal the appearance of a
selected card. The empowered gesture, though short and incongruent with the
other movements, signified the magic for the audience. They can pinpoint exact—
ly when and where the magic took place. Troy uses this to his advantage, insti-
tuting misdirection wherever necessary. Learning a light touch is the first step
toward mastering the sacred laws of tension and relaxation.
...In the Hands

Troy is not the first walk-around magician to realize how cumbersome tricks
become if they require a table. While reading through this book, you will notice a
focused effort on making tricks “in the hands” and without the aid of a table.
One interesting result of his efforts is the unusual choice of effects. That is,
many plots that formerly required a table have been altered so that they can be
performed in any setting. However, Troy has brought some newer plots to this
realm including “Open Prediction,” “The Color Changing Deck,” and “Tom and
Restored Card.” These plots were almost always reserved for formal affairs and
were often difficult to convey in a restaurant setting. Throughout the book, you
may see effects that may be simplified with the use of a table. If this is the case,
and you have the freedom to use one, adapt accordingly.
The other great advantage of working sans table is that the magic occurs at
chest height. All the magic happens in a specific box or frame, and the conven—
ient backdrop is always the face of the performer. It is Troy’s intention that the
spectators remember not only the magic, but the face behind the magic as well.
...Sublimina|ly Signed
“Subliminally Signed” is not a routine that can be injected into your reper—
toire minutes after reading it. Instead, it is an interesting ploy that, when attached
to a fitting effect, will heighten the magic and sharpen the impact.
After concluding an effect that reveals a selected card, Troy will often close
with the following patter: “Can you do something for me? I want you to take
this pen and sign your name in big, bold letters across the face of your card.
Bring that card back here next Monday night, any time between seven and
nine o’clock, and I’ll do something even more amazing with it. Thanks for
coming and enjoy the rest ofyour meal.”
It sounds simple enough, but let’s examine the fine points of this super—sub—
tle scam. The first thing to note is that the trick performed right before giving the
speech did not require a signature. In fact, Troy almost always performs an effect
15
e
desTROYers ~ The Superlative Magic of Troy Hooser
that requires a duplicate, something far too impossible to perform with only a
regular deck of cards (see “Any—Cut Card-to—Box”).
Troy rattles off the above patter before moving on to the next table. As an
afterthought, he asks the spectator to sign the selected card, paying no mind to
the actions at hand. Troy has just created an instant memento for his assistant. It
is a tangible memory that serves as a reminder of Troy and his show. More impor-
tantly, the spectator will keep the card.
The other interesting part of this scam is the anticipation factor. Having just
performed an incredible feat, the spectators are intrigued by the thought of some-
thing even better. Their curiosity entices them to come back to the restaurant the
following week, hoping to see more magic. This is excellent for two reasons. First,
as a magician, you are doing your job by bringing in repeat customers to the
restaurant. You are drumming up business for your host: a noticeable and com-
mendable task. Second, a willing audience who has come specifically to see you
perform is a much healthier environment. A blasé audience, more concerned with
receiving their steaks medium—rare than remembering a selected card, makes for
a frustrating performance.
Lastly, there is a subliminal beauty to this ploy. imagine the scenario from a
spectator’s viewpoint. It is hours, days, or even months after the fateful encounter
with the magician. All that remains is a signed playing card and the
memory of
its utterly incredible location. It is easy to make the false connection that the effect
was performed with a signed card, when in truth, it was not. This is a subtlety that
will turn good effects into truly masterful pieces of
subterfuge. It is completely
motivated, and chances are good that the spectators will not consciously come
to terms with the signed card. In time, the linkage between the signature and the
miracle will become blurred, and the trick will appear far more impossible than it
really was. Legends are built in these ways.
The last issue of “Subliminally Signed” is the clean-up. The spectators return
)
and they believe you to be superhuman with your pseudo-signed card to impos-
sible location. 80 now what?
At this point, Troy asks that they take out the signed card and usually pro—
ceeds with an “Ambitious Card” routine or any other card effect that uses a signed
card (see also: “Tom and Restored Card”).
...A Troy Ploy
This book will give you a specific and accurate portrayal of Troy’s style and
magic. In contrast, this next ruse is not very Troy-esque. It was probably spawned
by his continued interest in the field of mentalism.
The first time Troy did this for me, he floored me. In turn, I did it three times:
16
e
Commentary
once for Mom, once for Dad, and once for Uncle David. Mom and Dad were com-
pletely fooled. It didn’t work at all for Uncle David, and I can only imagine how
foolish looked to him. The description that follows will explain both the proce-
I
dure and preventative precautions to avoid embarrassing outcomes.

As illustrated above, this is not 100% foolproof. By going in with a back-up
plan, you will save yourself from the grim fate that I suffered with Uncle David.
This idea was developed through constant trials and experimentation and is well
worth filing away for the proper moment.
Simply stated, you are hoping that when asked to name a favorite four-of-a—
kind, the spectators will name the Sevens. Troy has several methods to narrow
the spectrum, subliminally force a range, and cancel out certain numbers. While
Troy is not the first to experiment in this area, his combination of standard and
not—so-standard techniques is noteworthy.
Begin with the four Sevens on top of the deck or in any convenient produc—
tion position. Patter "1 want you to name your favorite number between one
and ten, and we’ll use that four-of-a-kind. Fives? Sixes?”
Let’s examine this ruse on a more intimate level. First, Troy narrows the bank
of choices by requesting a number between one and ten. Court cards are elimi-
nated, but they are done so very discreetly. ln rereading the statement above, it is
hard to make the correlation that court cards correspond to positions eleven,
twelve, and thirteen even though it is mentioned that they are to choose four—of-
a-kind. It flies right by them. Numbers one and ten are also eliminated as Troy
requests a number between one and ten. If someone should name a cancelled
number (although I cannot imagine this happening often), I suggest pointing out
the number as inadequate or to simply stop performing the trick for small chil—
dren.
There are two other numbers cancelled out in the above statement. Almost
as an example, Troy stumbles through the numbers five and six. By naming these
3 numbers, you dramatically reduce the chances of anyone naming them. Any lay—
men presented with a free choice will not want to be confined to suggested num-
bers, so they will name a different number of their own accord.
According to many experts, seven is the most commonly named number. I
suspect that by asking ten people to name a number between one and ten with—
out any other psychological influence, at least half would name the number
seven. 80, chance is on your side throughout this whole experiment, regardless
of the additional affirmations you supply.
Troy has found that by suggesting the number five, then six, then pointing
directly at the spectator’s chest, they will make a sequential choice of seven. This
sounds elementary, but delivered casually, it is actually very subtle. Counting
from one to ten, note the inflection in your voice; there is a slight increase in tone
and volume as the numbers progress. Implement this variance with the numbers
five and six, and you will be happily surprised with the resuits.
17
’2‘)
' r’
The most integral part of this scam is the delivery. When you ask a specta-
tor to name any card in a deck, she will usually ponder a bit before committing
to one card. Strive to get an immediate answer from the spectator. Force the spec—
tator to allow her subconscious mind to decide on a number. Without rational
thought, seven is the most logical choice, and your best bet for success. By ask-
ing the question in a slightly more aggressive manner, you’ll receive a quicker
answer. Come closer to the spectator as you recite the above lines. Point directly
at her, focusing all attention on her decision, in hopes of receiving a quick answer
that will relieve her pressure.
If and when she names “Sevens,” don’t miss a beat. The hardest part of “A
Troy Ploy” is getting used to success. There is a sudden urge to stick your tongue
out at the spectator and shout “Got ya!” For best results, resist this urge. When
Troy performed this for me, he went right into the effect, and I thought his query
for a number legitimate. He located the Sevens using his favorite method (see
“Cool as Ace”) and l was just as amazed by his zeroing in on my choice of sev-
ens as by the pinpointed location.
My own disappointing experience with this trick was due to my lack of
preparation. Go into this bit of psychological sorcery with an indifferent attitude.
Be ready to cull the named cards and perform a back-up effect if things do not
work out. Once again, don’t hesitate. Flow with the named number and continue
with the effect, retaining the Sevens’ position if possible. Several tricks later, play
out the ruse with another spectator, hoping for that lucky seven.
18
Troy had several problems with what was considered the “industry standard”
in coin magic. Coin magic has changed dramatically over the last decade. What
was historically performed at a table, Troy prefers elevated to chest height. What
was normally done with a large amount of coins (four, five, or six) Troy has tried
to reduce to three or less. In his routines, he has replaced repetition with varia—
tion, and as a result, his work has a strikingly visual element.
Coins have always been considered a limiting medium. Closed-minded crit-
ics fail to look beyond the tiny pool of overworked plots. But Troy has chosen to
challenge the known and venture abroad. He opted for fewer coins and more
magic. This is evident in almost every routine in this chapter. For plots such as
“Coins Across” and “Coins through Table,” using a large number of coins does
not necessarily improve the trick. This requires extreme focus by the spectators.
Throwing an unnecessarily large number of coins into the equation does not clar-
ify anything to the spectators. Repeating the same procedure multiple times is
relying solely on the mechanics of a move, and this is often dangerous. Moreover,
there is no dramatic build in repetitious magic. By decreasing the number of
coins, Troy has constructed routines with unique phases that build to an often
unexpected climax.
One other thing that Troy has omitted from his coin work is isolation. That
is, Troy’s effects are not singularly identifiable occurrences. Taking a silver coin
and changing it to a copper coin is an isolated feat. It is quick, simple, and often
19
i, )(33
‘<
too forgettable. Troy’s routines transcend the isolationist plot. They are more
involved, yet they have maintained their simplicity. Rather than vanishing a coin,
Troy has interwoven productions and vanishes in a tight, action-sequenced web
(see “exTROYdinary”). By reading his attempt at changing one coin into anoth-
er, you will notice it is performed with three coins. The impact of the metamor-
phosis is tripled in the effect entitled “A Touch of Brass.”
One dangerous trap when eliminating isolated moments is obscuring a rou—
tine’s purpose, diluting the intent. If the effect is not defined, then expansion is a
grave danger, making the effect meaningless and forgettable.
In all of the routines in this chapter, you will see that although Troy has
extended various plots to lengthen or prolong the magic, he has never lost sight
of the overall objective. Every plot is clear in method, effect, and in the minds of
the spectators.
20
A Charming Chinese Challenge
é)
ACharming Chinese Challenge

Effect:
Three Chinese Coins visually penetrate a length of ribbon, each penetration
more striking and deceptive than the last.
Let’s start off with a bang. “A Charming Chinese Challenge” takes place in
Q the spectator’s hand, which is characteristic of many of Troy’s effects. It is also
quite easy to perform. The most difficult part of this trick is probably obtaining
the four Chinese coins and ribbon.
This routine was inspired by a trick from Nathaniel Lane, of Carrolton, Ohio.
The routine utilizes a few standard “Ring on String” moves, including Clifton’s
Ring Move (Variations, 1978). Harvey Rosenthal’s “Melt-Thru” (Melt-Thru, 1978)
and Sol Stone’s “The Strung Coin” (Apocalypse, March 1978) are both fine coin
and string routines that predate “A Charming Chinese Chaiienge.” All three of
these routines contain excellent penetrations and are worth your consideration.
Setup:
To perform this routine, you will need, four Chinese-style coins that have a
hole in the center. Half—dollar size washers will also work. Additionally you will
need a small cloth or satin ribbon, approximately two feet long and a quarter—inch
wide. Steer clear of any plastic ribbon that will curl or crease easily. Place the rib-
bon in the left pants pocket and the four Chinese coins in the right pants pocket.
Performance:
“1would like to show you something strange. Some might call it magic,
but it’s actually an old Chinese puzzle.” Put both hands into each of their
respective pockets, bringing out the string in the left hand and the coins in the
right. While the right hand is still in the pocket, maneuver one of the coins into
finger palm. Bring out the other three coins. Hand the ribbon and the three coins
to the spectator, concealing the palmed coin.
“The puzzle uses these three Chinese coins and this ribbon. Please
thread the coins onto the ribbon for me. ” Take back the coins with the left hand,
allowing the ends of the ribbon to hang below. The coins are gripped in a stack
at chest height. The first and middle fingers grip the coins in the front and the
thumb supports the stack from the back. Slide the thumb upward to spread the
21
.1w
5)“
‘ QJ
stack into a fan. Display the threaded coins to the audience.
“The idea of the puzzle is to remove the coins from the ribbon one at a
time. I know it sounds easy, but there’s one catch, you can’t slide the coins
off the ends.” Bring the right hand up to the fan of coins. In the action of squar—
ing the fan and transferring the stack to the right hand, the finger-palmed coin is
added to the stack. The right fingers contact the bottom coin of the fan, and the
right thumb slides the palmed coin between the bottom and middle coin (fig. 1).
Continue squaring the fan and transfer the stack into right—hand spellbound posi-
tion, gripping the stack at its edges, thumb on top, fingers below.
“Luckily, I ’ue figured out the secret of the puzzle. 1 use magic.” While pat-
tering, the stack is transferred back to the left hand in spellbound position. To exe-
cute this action, the left thumb is placed on the stack behind the right thumb. The
left fingers move in front of the right thumb. By inserting the extra coin in the
spread earlier, a small portion of ribbon is pushed to the edge of the stack (fig.
2). The left first finger covers this spot of ribbon, concealing it from view. The left
hand now pulls the top three coins of the stack up and away from the right hand,
leaving a threaded coin concealed. As the left hand pulls away, it twists clockwise
slightly so that the left palm faces up and the coins are parallel to the floor. The
eyes follow the stack throughout the transfer of the hands.

The right hand naturally strokes the ribbon down, and as it does, the fin-
ger—palmed coin of the right hand is unthreaded. Repeat the stroking action again
for a natural rhythm. Grip both ends of the ribbon with the right hand, still con—
cealing the extra coin (fig. 3). Each of the above is done casually. Each action is
motivated and nothing should attract attention. ‘
For the first penetration, simply drop the stack of coins onto the left palm.
At the same time, pull the ribbon slowly and gently toward yourself. One coin will
22
.}
e
f
remain on the palm while the other two crawl off the palm and dangle below (fig.
4). This is an eerie penetration and must be done slowly and gracefully. Display
the coin in the left hand.
“That’s the first coin. But
with each coin, the puzzle
becomes more challenging. I’ll
need your help to solve the next
part.” With the left hand, place
the penetrated coin into the spec-
tator’s right hand for exami-
natyion. The left fingers grab the
ends of the ribbon and pull back,
dragging the two linked coins into
if) the hand, secretly on top of the
finger-palmed coin. “Please hold
f“
out your free hand.” Instruct him to hold out his left hand by gesturing a pinch-
ing action, utilizing only your thumb and first finger. Holding the right hand palm
up, extend the index finger to allow the left hand to contact the three coin stack
from the front of the hand (fig. 5).
The left hand pinches the top and bottom coins together, pulling them for-
ward. During this action, the right hand, along with the middle coin of the stack,
remain stationary. The above actions are a natural way of apparently handing the
spectator the two threaded coins. Place the coins in the left hand into the pinch-
ing grip of the spectator. The lower coin is actually not threaded on the ribbon,
but appears to be when viewed from all sides.
23
)
For the second penetration, give a firm tug on the ends of the ribbon with the
right hand. The bottom coin in her hand will remain pinched while the second
coin is pulled away with the string, dangling like a pendulum. “That was perfect;
you’ve helped solve the puzzle. Great job! ”
Grasp the middle of the doubled ribbon with the left hand and lift it out of the
right hand to display the coin remaining on the cord. This will automatically
unthread the right hand’s finger-palmed coin. During this action the right hand
remains stationary.
The right hand reaches up to grasp the ribbon, allowing the left fingers to
grip the threaded coin in spellbound position. Allow one end of the ribbon to hang
over the left side of the hand, while the other end of the ribbon is draped over the
right side of the hand (fig. 6).
You will now do an interesting application of the classic Spellbound Change
with the threaded coin and the palmed coin in right—hand finger palm. Usually, two
coins of contrasting size or color are exchanged. However, in this instance, the
credibility of the penetration depends on the. audience’s conviction that the
exchanged coins are identical. Upon observation, the only thing that changes is
the status of the ribbon (linked and then unlinked).
3 Put the right thumb against the finger-palmed coin, supporting it against the
hand. Move the right hand in front of the threaded coin in the left hand. Release
the grip of the left thumb. The threaded coin should fall onto the fingers of the left
hand, out of view. Immediately grip the coin in the right hand with the left fingers
and thumb, still in spellbound position. Gracefully slide the right hand to the right.
Casually show the right hand empty. The change must be done quickly. When
executed correctly, the ribbon visually falls off the coin, laying draped across the
left fingertips. It should appear as though the threaded coin never went out of
view. “The puzzle is difficult because it’s like an illusion. It looks like the coin
has penetrated the ribbon.”
Snap the coin up to the fingertips, gripping it near an edge with the left fin-
gers and thumb. Take the ribbon into the right hand. In this action, the right
24
r..
l
i‘
f t)
"
thumb secretly contacts the

Fig.7
concealed, threaded coin.
Slide this coin into the right4
hand in the action of pulling
the ribbon from the left fingers
(fig. 7). After the ribbon has
cleared the left hand, you may
wish to pull the ends even with
the left fingers.
Now you will repeat the
above change. The handling is
exactly the same, but this time
the condition of the coins is
reversed. When completed, a
threaded coin should be dis—
played in the left hand, spell-
bound position. The extra coin
is concealed behind the
threaded coin, on the left fin-
gertips. it rests directly behind
the linked coin in view. “You
see, it’s an illusion. The coin
is actually still on the ribbon.
Now you can see why this puzzle is so difficult.”
The spectator now has a coin in each hand. To get her to bring the coins
together, ask the participant to hand them to you. Take the two coins from the
spectator with your left hand, adding the palmed coin to the other two. “There’s
still one more piece to the puzzle. This time, the coin will penetrate inuisibly.
I won’t even touch the other coins.” Hand the coins back to the spectator, plac-
ing them in her left hand. Close her fingers onto the three coins and instruct her
to turn her hand over. You will perform the Clifton Ring Move to make the last coin
disappear. Briefly described, the
threaded coin is placed on the
palm of the left hand, each end of
the ribbon dangling over the sides
of the palm. Close the left fingers
and turn the hand over. Secretly
push the coin out of the fist slight-
ly (fig. 8 is an exposed view). This
will make the steal easier in a
moment. The right hand moves
under the fist to grasp the outer-
left end of the ribbon. While
under the fist, the right hand
"A
‘14
{
g
steals the Chinese coin, concealing it in the hand. Still moving, the right hand car— ”
ries its end of the ribbon out and across the back of the fist (fig. 9). Allow the rib- "
bon to rest on the back of the left fist and continue moving the right hand down-
ward until the coin secretly clears the ribbon. Without hesitating, the right hand
grasps the closer right end of the ribbon and mirrors the previous action by again
laying the ribbon across the left fist.
Still in motion, the right hand moves about four inches above the clenched
left fist. The right hand mimics the action of grabbing an invisible coin from the
air and tossing toward the coins in the spectator’s fist. This gesture is used as
cover to push the concealed coin in the right hand into classic palm. It is com—
pletely natural and will go by unnoticed if the right hand remains in motion
throughout the steal, the draping of the ends, and the gesture. The most impor-
tant part of this phase is to move at a slow, deliberate pace. Any quick, harsh
5.4:} movements will indicate trickery and arouse the spectator’s suspicions.
Open the left hand slowly to show that the coin has vanished. Grab the rib-
bon with the right hand and pull it through the fist. This emphasizes that the hand
is completely empty and it also gives the right hand something to hold,
making
it easier for the right hand to conceal the coin and gives a
more natural appear—
ance.
“The coin hasjumped off the ribbon inuisz'bly
and crept into your hand.
Open your hand.” The spectator will open her hand and see all three coins in her
fist. “We’ve solved the puzzle, whew!”
Visual Link #1 — Mid-Air Link

This move is a descendant of a
trick invented by Jay Sankey called
“Leaving Home” (Genii, June 1999).
Chad Long also uses this move in
'3} several linking/penetration effects.
'
(A-l Convention at the Capital
Highlights, video, 1999).
The move is used in place of the
second Spellbound Change (the re—
link). Begin directly after the last coin
penetrates off the ribbon using a
Spellbound Change. The hidden coin
in the left hand is stolen into the right hand as described. To visually re—link the
coin, the left hand, openly holding a coin, reaches into the slightly curled right
hand and pulls a loop of the string up and out of the fist about three inches (fig.
10 is an exposed view). Throughout this move, be careful not to flash the coin in
the right hand. Use the right fingers to maneuver the coin to the opening of the
fist, nearest the extended_loop.
26
)
The left hand tosses its coin straight up into the air. The coin need not be
spinning, but it must be tossed at least three feet in the air. The right hand does
two things at once. in an upward motion, the right middle, ring, and pinky fingers
catch the tossed coin. At the same' time, the right thumb pushes the linked
Chinese coin out of the right fist, allowing it to fall to the end of the loop. If the
right hand stays in motion, it will appear as though the coin links in mid—air.
There are several finesses to linking the coin as described. Troy throws the
coin flatly so that it does not rotate, making for a more convincing link. The right
hand must also make a quick, downward motion both to conceal the move and
to give the appearance of a genuine link. This is one move that is so deceptive
you will fool yourself every time you perform it!
To complete the routine, use the original handling. The only change occurs
during the last phase. The last coin must be loaded from the right hand instead
of the left hand. Either way, the coin is ultimately placed into the spectator’s fist.
Visual Link #2 —-Throw Penetration:

The effect of this penetration is the same as Norman Houghton’s
“Neweraljia” (Hugard’s' Magic Monthly, February 1963) but Norman’s handling
used a large ring instead of a Chinese coin. Troy’s inspiration for this Throw
Penetration was inspired by a ring and rope routine performed by David
Williamson (Sleight of Dave 2, video). David, in turn, credits Bruce Allen for the
construction of most of the routine. The handling has been changed quite a bit to
fit the routine and change of props. This move can be substituted at virtually any
point to link a coin.
Display a Chinese coin at the left fingertips. The right hand holds the ribbon
and conceals a threaded coin in finger palm. (There are several points in the rou-
tine that present this position.)
Allow the ends of the ribbon to drape over the hand, protruding from both
sides of the slightly curled right fist. Push the concealed, linked coin to the upper
edge of the right hand. Bring the left fingers near the right and grasp one end of
the ribbon with the left pinky.
As this happens, the right hand
further secures its grip on the
ribbon with the right pinky. The
hands should mirror each other
(fig. 11).
i
2,
i'
r,
i
i ,
Sr
f 27
Pretend to transfer the coin

in the left hand to the fingertips
of the right hand. Instead, allow
the left hand’s coin to drop onto
the fingers as the right hand
extends its coin. During this
False Transfer, be sure to keep
the right first and middle fin-
gers over the spot where the
ribbon shows on the coin. Fig.
12 shows the exposed view of
the current position.
To link the coin, simply toss the coin toward the left fingertips,
aiming for the
middle of the ribbon. It will appear as if the coin instantly jumps onto the ribbon.
Be sure to allow some slack in the ribbon between the hands. The
handling will
vary depending upon the point in the routine where this link is used.
28
exTROYdinary
exTROYdinary
Effect:
Three coins materialize in the hands from various locations on the body. One
by one, they dissolve, vanishing completely from the fingertips. To conclude, all
three coins return, each one produced at a different location on the body.
Setup:
Two half dollars and one matching shell are required to perform the trick.
Place the face of the shell against the fingers and then nest a normal coin into the
shell. The other half is finger palmed in the left hand.
Performance:
The Production
Begin the routine by looking around your body, tugging at various points on
the shirt with the fingertips. This conditions the audience for future actions and
also gives the hands something to do, making them appear natural and empty.
“Some people carry Change in their car or piggy bank; others carry their
coins in their pocket. I carry mine all around me.” While pattering, both hands
come up to chest height, fingers curled and index fingers extended. The hands
should mirror each other. This is natural body language that, thanks to Ramsay
Subtlety, allows the spectator to see into the palm of both hands while still con—
cealing the palmed coins.
Look around the body, tugging once or twice at each
side of the shirt, as if looking for a coin. “! keep one coin
over here. " Reach over to the left sleeve, above the biceps,
and produce the shell/coin unit from the right fingertips.
-
Produce the coin with the face of the shell toward the audi—
ence. Treat the unit as one coin, keeping the shell with the
coin. Bring the right hand back to a display position. With
the help of the left hand, regrip the unit by placing it in
spellbound position, holding it by its edges with the thumb
and fingers (fig. 1).
By relaxing the grip, the nested half~dollar will fall from the shell onto the
right fingertips. Next, snap the shell back to an upright, display position by slid—
ing the thumb down the back of the shell to grip the bottom with the thumb and
fingers. Transfer the shell into the left hand, holding it with the thumb and first fin-
ger. The left hand is still concealing its coin in finger palm.
29
)
To produce the next coin, go back to the same area on the sleeve with the
right hand and produce the second coin. In some settings, "l“roy prefers to pull the
coin from the spectator’s sleeve or ear. He never fails to get a powerful response
with this bit of audience interaction. “You just never know where coins are
going to pop up. There’s the second coin.”
'
Take the produced coin and place it into the left hand, above'and behind the
shell coin, starting a little fan of coins. Transfer these two coins to the right hand,
keeping the coins and the grip the same.
Reach up to the right sleeve with the left hand and produce the palmed coin.
Place this coin below and in front of the other two coins in the right hand, com-
pleting the fan. The order of the coins is normal, shell, and normal. The thumb
grips the fan by the top coin, fingers contacting the bottom coin (fig. 2).
The Vanish
To vanish the first coin, bring the left hand next to the fan of coins. It will look
as though the top coin of the fan is transferred to the left hand. Hold the left hand
up, with the back of the hand toward the audience. Bring the fan of coins to the
left hand. When the top two coins are out of audience view, begin to close the left
hand. As the hand is closing, the right thumb slides down, dragging the top coin
of the fan into the shell. Immediately draw the fan out from the left fist. lt is the
perfect illusion of transferring one coin to the other hand. It is also easy to accom-
plish.
Turn the left wrist over so that the fingers are toward the audience. “I don’t
know if you’ve ever noticed this, but if you squeeze a coin the right way, it
vanishes.” To vanish the coin, open the hand in a gentle tossing motion. The toss
should be toward the audience. When completed, the fingers should be pointing
up with the palm facing the audience. Troy has discovered that vanishing a coin
at chest level, putting action on the vanish, and moving the wrist in a circular
motion is much more effective than opening the hand on a flat, horizontal plane.
Take the nested shell/coin into the left hand, leaving a normal coin on dis-
play in the right hand. Grip the coins in each hand at the lower edges with the
thumbs and fingers. Casually show only two coins left. Maneuver the nested unit
30
$5“.
exTROYdina ry
,
between the thumb and base of the first finger. It is clipped
only by its extreme edges, allowing most of the coin to pro-
trude from the hand (fig. 3). The right hand aids the
shell/coin into this position.
By gripping the shell/ coin this way, the left fingers still
have the capability to open and close. Take the remaining
coin in the right hand and execute a Retention Vanish,
keeping the coin in right—hand finger palm. Troy does not
emphasize the Retention Vanish. Instead, it is done casual—
ly; the coin is almost dropped from the fingertips to finger
palm. A slow and deliberate Retention Vanish, no matter
how convincing, would tamper with the flow and timing of
the routine, interfering with the actions that follow.
Take the unit protruding from the closed left
fist, keeping the other half-dollar in finger palm. Use
this shell/coin as a magic wand, waving it toward
the left fist. Open the hand in the same manner
described above to reveal the vanish of the second
coin. “There goes coin number two. ”
Transfer the unit at the right fingertips to the
left hand. Produce the coin in right—hand finger
palm by bending the left arm at the elbow, and rais-
ing it so that the left hand contacts the shoulder at
the base of the neck. Produce the coin in the right
hand at the tip of the elbow, eyes following the right
hand’s action throughout the sequence (fig. 4).
“That coin didn’t actually vanish, it jumped to
”
my elbow.
While the coin is being produced, the left hand
deposits the shell/ coin on the shoulder base, rest-
ing it there temporarily (fig. 5 is an exposed view).
The coin will rest there as long as the body remains
stationary. The misdirection is powerful for this
temporary ditch, and the unit will go unnoticed.
Bring the left hand back down to chest height,
keeping the left fist tightly clenched. While this is
going on, the right hand takes its produced coin
and rolls it down the fingers once. Go into the fin-
ger—roll right after the coin is produced. It will take
any undue heat off the left hand. It also puts action
..
on the coin, filling the moment with efficiency and

style.
.,~.-,.W.W~mw-wfl¢<
31
f)/\
Bring the coin in the right hand to spellbound
position. You will now execute Chris Kenner’s One—
Handed Vanish (Totally Out of Control, 1992).
Briefly, the right thumb releases its grip on the coin,
allowing it to fall onto the right fingers. As this action
occurs, the right wrist rotates the hand counter-
clockwise. The coin is gripped in finger palm as the
wrist is turned. Throughout the move, the fingers
and thumb remain in their original positions. At the
end of the vanish, the fingers are above the thumb,
palm toward the audience. The coin is finger palmed
from above and the spectators can see directly into
the hand, which appears empty due to Ramsay
Subtlety (fig. 6).
As soon as the right hand’s coin has vanished, shift your gaze from the right
hand to the clenched left fist. Open the left fist with the palm toward the audience.
As the left hand is revealed empty, the right hand drops to the side. lts coin is
pushed into classic palm. The two vanishes must be done in one motion, not two
separate moves. During the vanish, Troy patters, “If I squeeze too hard, all the
coins vanish.”
The Reproduction
After the two coins have vanished, the hands move immediately into a hand
wash sequence. There must be no time delay between the opening of the left
hand and a convincing hand wash. At this point, any showing of the hands would
work, as long as the coin that begins in right-hand classic palm ends up in left—
hand finger palm.
Troy uses a combination of ideas on hand washing. Specifically, he employs
a Bob Kohler sequence from John Bannon’s “One is the Onliest” (Smoke and
Mirrors, 1991) and a washing technique used in Gary Kurtz’s “Flurious”
(Unexplainable Acts, 1990). The left hand is turned palm up, slightly above
waist level. The right hand contacts the left hand, gripping it loosely with the
thumb across the base of the left palm. The right fingers rest below the left hand,
contacting the back of the palm. The classic—palmed coin in the right hand should
not be visible. The right hand strokes the left hand away from the body in a grace—
ful, outward motion. When it reaches the tips of the left fingers, the right hand
turns palm down. The left hand also turns palm down simultaneously. The fingers
of both hands are given a quick flex, extending in a pulse for one second. A
decent classic palm helps sell this phase of the wipe. The left hand begins to turn
palm up again. As it is turned palm up, the left fingers contact the coin concealed
32
exTROYdinary
.
f)“
m_v.y-_q.._.....“.,.u...
in the right palm, covering all of the coin (fig. 7).
The coin is released from the right palm as the right
hand turns up. By sliding the flat left hand to the
....._m
right and moving the right hand to the left, the coin
..
m. is concealed as the right hand is turned over. This

hand wash is not extraneous. It is elegant and must
be completed at a comfortable but deliberate speed.
Both hands are pulled apart, each hand turning
down as it moves. Bring both hands up. The left
hand comes up with the fingers curled around the
coin, concealing it. The pointer finger is extended
(fig. 8). The right hand should mirror the left.
Casually open the right hand while pattering. “I’m
9
Fig.7
left with nothing, but that’s okay because I keep
-
my change all around me.”

Look toward the right sleeve and follow with the left hand. Produce the coin
in the left hand at the right sleeve and then transfer it to the right hand. Roll the
coin down the fingers, again putting action and motion into the moment. Transfer
the coin back to the left hand, gripping the coin at an edge with the thumb and
fingers. “There’s a coin on my sleeve.”
Reach with the right hand to the left shoulder. Grab the shell/coin that was
ditched earlier in the routine. Instead of producing the unit at the shoulder, Troy
raises his right hand, producing the coin from behind his left ear.
The hands now work
together to transfer both
coins to the right hand. The
right hand places the
shell/coin unit behind and
below the coin in the left i,
hand. Without pausing, both
coins are transferred to a
spellbound position in the
right hand. The coins are not
squared, but remain jogged
slightly (fig. 9).
By easing the grip of the
Fig.8 Fig.9
right thumb on the unit, the
coin will fall out of the shell
and onto the right fingertips. The left fingers now grasp the two coins in view, shell
and half, and hold them at the left fingertips, keeping them spread so that they
remain in View.
33
)/\
((231 é
The eyes wander toward the left sleeve. Produce the last coin from the left
sleeve with the right hand. Place this coin in a fan with the other two to display all
three coins. Naturally gesture out with the right hand to signify the end of the rou—
tine.
Alternate Handlings
Troy has many variations of this routine and it has been the influence for
many other coin effects. The structure and flow remain the same, but there are
minor changes in the handling and course of events.
Variation #1 Alternate Sequence
—
The setup for the routine is the same. In fact, the three coins are produced
in the same manner as described above. At that point, the coins are fanned ver-
tically, normal coin, shell, and normal coin. The same vanish is used as per the
description. The thumb nests the top coin of the spread into the shell as the left
hand pretends to grasp it; the left hand is then shown empty.
Take the coin/shell unit in right—hand spellbound position. The other coin is
held at the left fingertips. By easing the grip of the right thumb, the coin will fall
from the shell onto the right fingertips. Snap the shell to fingertip display position
and place it under and in front of'the coin in the left hand.
Produce the coin from right-hand finger palm at the left sleeve. As a second
thought, you will pretend to force this coin back into the sleeve. With the pro—
duced coin at the fingertips of the right hand, go back to the place from which it
was plucked. Allow the coin to drop on the base of the right fingers. To cover this
action, the right fingers pinch the material on the sleeve and pretend to massage
the coin back in. Your eyes watch these actions intently.
The combined misdirection of the production, vanish, and eye contact with
your hands is cover for the left hand’s dirty work. While forcing the coin back into
the sleeve, the left thumb and fingers come together, allowing the shell and coin
to nest. This is an interesting move because it is done right in front of the spec-
tators, yet the attention is focused on the upper arm and the move goes unno-
ticed.
After vanishing the coin back into the sleeve, display the left hand to show
that the second coin has vanished. Shift your gaze from the sleeve to the hands,
leaning forward slightly. This body motion helps to accentuate the vanish. Instead
of discovering only one coin in the hand, the eyes and body help to make it look
as if the coin vanishes at the precise moment the gaze shifted.
As described previously, the coin in the right hand is produced at the elbow.
As it is being produced, the left hand deposits the shell/coin at the base of the
neck. The left hand returns to a natural position but closed in a fist. Wave the pro—
34
exTROYdinary
,
duced coin in the right hand at the left fist. Open the left hand to reveal that the
coin has vanished.
The way the left hand is opened is impor-
tant. The left fist is held at chest level with the
fingers toward the audience. As the wrist makes
a small, clockwise rotation, the thumb moves
down, the palm extends, and the fingers move
up. The left fingers remain touching and slight—
ly bent (fig. 10).
Next, the coin in the right hand will vanish.
To make this coin disappear, a concept invent-
ed by Larry Jennings called “The Hook” will be
utilized (The ClassicMagic of Larry Jennings,
1986). It is a feint vanish, meaning that the
spectators are intentionally allowed to follow
what they feel is the solution to the magic. They
are purposely led down a false path, surprised
to find their convictions hollow. In this case, the right hand feeds its coin into the
left hand. It is placed directly into a deep left-hand finger palm at the base of the
middle and ring fingers (fig. 11). In actual performance, your position should be
identical to fig. 10. The left hand executes the same tossing and turning action
described above. If done properly, this action can be completed without flashing
the coin (fig. 12 is an exposed view). As the left hand opens, concealing the coin,
the eyes look through the hand in an unfocused gaze. Because the hand is not
really empty, it is done with relative speed.
During the preceding actions, the right hand purposely tenses. Allow the
right hand to rest at your side, but keep it slightly unnatural, flexed and straight.
After showing the left hand, bring the right hand back up, opening it slowly to
35
[3
place emphasis on its emptiness. Make a small pointing gesture at the right palm
with the left index finger and push the coin into classic palm with the left
fingers.
You have apparently shown both hands empty.
Troy ends the routine by bringing both hands to shoulder level, palms in, and
making a shrugging motion with the shoulders. The hands are fully extended and
angled toward your face. This allows the classic—palmed coin to rest on the left
hand (fig. 13). Conclude the routine by producing the coins one last time in the
same manner described in the original routine.
Variation #2 — End Clean
To end clean, you will need a third regular half—dollar. It is placed under the
watch before performing. During the last sequence, produce this coin instead of
de—nesting the shell/coin unit. Place all three coins in a stack in the right hand
w}
‘
with the shell/coin on top. in the action of handing the coins out for
examination,
palm off the shell coin.
36

Effect:
Three coins are rubbed, one at a time, against the sleeve. They instantly and
visually vanish, reappearing at the performer’s fingertips. To conclude, all three
coins travel at the same time from the sleeve to the hand.
Troy has various ways of interpreting an effect. Sometimes he changes
moves, phases, or patter. In other instances he may use different props or try a
trick in a new setting. For this trick, Troy has actually manipulated the structure.
Using Jonathan Townsend’s “Fingertips Coins Across” and Chris Kenner’s “Three
Fly” (Totally Out of Control, 1992) as his starting point, Troy has altered the flow
and feel of the trick.
Originally, the trick’s plot was for three coins to travel visually from one hand
to the other. Taking a step back to look at the trick’s skeletal compositions, it had
a horizontal, back and
forth direction. Coins trav—
eled from hand to hand,
and the eyes looked from
right to left, then left to
right (fig. 1). “Redirection
Coins Across” has inter-
rupted this pattern. The
coins start high on the
arm, and travel down to the
awaiting fingertips. The
routine still contains the
appealing visual nature of
.,
“Three Fly” but has repositioned the

audience’s viewing path. This rou—
tine happens on a vertical, linear line
that causes the eyes to absorb the
trick in a logical, downward motion.
The coins start higher and farther
away, and they reappear closer and
lower to the audience (fig. 2).
The mechanics of this routine
have been altered only slightly from
other “Coins Across” routines. [t is
,
the appearance and structure that has been changed to elicit a very different
response. “Redirection Coins Across” is not the first coin effect with a backward—
forward coin movement. Gordon Bean’s “Silver through Sleeves” (Genii, August
1978) tackles the “Coins Across” plot in a similar manner.
Setup:
The only preparation for this effect is to obtain four identical coins. Troy
prefers dollar pieces because they are easier to manipulate. Set these coins in a
nearby pocket or purse. When ready to perform, bring out all of the coins in the
left hand, holding the coins in the fist so that the actual number of coins is indis—
tinguishable.
Performance:
Begin by tossing three coins into the right hand. it should appear as though
all of the contents of the left hand were tossed into the right, but one coin is
secretly retained. Although any friction palm would work here, Troy prefers to
retain one coin with his thumb. That is, the left fingers open slightly to allow the
stack of coins to spread forward. The left thumb contacts the bottom coin in the
stack, holding it in place (fig. 3). Turn the left hand palm down to allow the
remaining three coins to fall into the open right hand. The fourth coin is secretly
pinned against the left fingertips. Transfer this coin to a finger palm.
With the right fingers, move the three coins to a display position, fanning
them vertically so that the highest coin is also closest to your body (fig. 4).
Extend the left arm out to the audience so that it is aimed at the chests of the
spectators. The left hand’s coin is held finger palmed in position for an inverted
Ramsay Subtlety. This means that the left hand is palm up and the spectators can
see into the left hand without catching a glimpse of the concealed coin. Move the
right hand to the top of the left biceps (fig. 5).
L
')
The premise that legitimizes the coins travel-
ing is a patter theme of the coins traveling down the
sleeve. Using this patter as a base, proceed with the
various sequences as explained.
To make the first coin vanish into the sleeve,
the right thumb need only retract about an inch. By
moving down and to the right, the upper coin in the
fan is dragged out of view, concealed by the other
two coins (fig. 6). Done without any form of misdi—
rection, the move is sorely lacking. However, com-
bine the right thumb’s actions with a rubbing ges-
ture into the sleeve, and the move looks like pure
magic. Troy does not move the right hand back and
forth slowly and deliberately. Rather, it is one quick
jerk of the wrist, and in that up and down move—
ment, the coin is moved behind the others. During
the right hand’s actions, the left hand moves its
coin into view (fig. 7). Be sure to keep the left arm
absolutely stationary throughout this sequence.
Done simultaneously, it looks as though a coin
from the right hand journeyed invisibly to the left
hand.
In an apparent gesture, you will secretly trans—
fer the next coin into the left hand. Move the coins
in the right hand next to the left hand’s coin. Under
the guise of clicking the coins together, allow the
left hand’s coin to fall into the fingertips. At the same time, the left fingers re-grip
the lowermost coin in the right hand (fig. 8). Push up with the right thumb, caus-
ing the coin concealed in the right hand to pop back into view. Move the hands
M apart. At this point, there is one coin hidden at the base of the left fingers and one
w) on display at the left fingertips. In the right hand are two coins, fanned in a verti-
cal position so that the highest coin is nearest the body.
‘14 9x
(Q
For the second coin, the right hand
the next coin vanish, it is simply droppedmoves back up to the left bicep. To make
into finger palm. Tilt the right hand back
so that the coins are directly above the right
ment as described above, allow the lowermost coin fingers. In the same jerking move-
This action is covered as the right to fall onto the right fingertips.
fingers smear into the material of the
jacket.
As the second coin is vanished, the left
view and below the coin fingers push the concealed coin into
already displayed at the fingertips. Do this action with
slight jerk of the wrist. It should now a
appear as if two coins have traveled.
left hand’s fan of coins (fig.

9). Again, the coins are fanned so that the
coin is nearest the body. This time the uppermost
coin will travel down the right sleeve.
\ Extend the right arm, keeping the coin
ed Ramsay Subtlety position. Move the concealed in the right hand in the invert~
w“
left
for the last coin (fig. 10). The left thumb hand to the right biceps in preparation
slides the uppermost coin back behind
the spread of coins as the right fingers
push the finger palmed coin into view.
Without hesitation, you will now

for shoving the third coin back down re—reverse the hand position in preparation
the left sleeve. Extend the left hand, keep—
so that the coin is positioned directly over the

fingers. In a quick motion, the right
fingers release their grip on the coin. At the
quickly. If done proper] , the released coin willsame time, move the right hand up
not fall; instead, the right hand will
on it a bit.
40
)
As the last coin vanishes, the left thumb
extends, pushing the concealed coin back to the top
of the spread and into view. Under the shock of the
reappearance, the right hand will ditch its coin in the
left breast pocket. The hand is already in position
and at the same level as the pocket’s opening. By
moving slightly to the right, the fingers can deposit
the coin into the pocket without any extraneous
movement or attention (fig. 11 is an exposed View).
For the final phase of the routine, transfer the
fan of coins to the right fingertips. Pretend to take the
uppermost coin with the left hand, but again execute
g '
the concealment of sliding the coin behind the oth—
ers. Clench the left fingers, miming the action of tak- '
5:59.11
ing the coin, and move the hand up to the right
biceps. Pretend to push the coin into the sleeve. this
time showing the hand empty afterward. Everyone expects the coin to reappear
at the right fingertips, which is precisely why this action is not carried out. Act
puzzled, commenting that the coin must be stuck.
Apparently take one of the two
displayed coins into the left hand.
Secretly take both displayed coins, and
at the same time, push the concealed
coin into view with the right thumb and
fingers. The left hand takes both coins
in view, but only the upper coin is dis-
played. The fingers briefly cover all the
coins, and while this happens, the lower
coin of the spread is pushed into left—
;}
“My
hand finger palm (fig. 12 is an exposed
view). By separating the two coins, you
emphasize the vanish of the third.
Place the coin at the left fingertips back into the right hand, above and
behind the right hand’s coin. Extend the right arm and move the left hand back
to the right biceps. Produce the coin concealed in the left fingers at approximately
the same place from which it vanished. The production should look similar to the
vanishes, as it is covered in the larger motion of the left hand waving against the
jacket sleeve.
Place the produced coin atop the fan. Offer to try again. Pretend to take the
top coin in the left hand, but slide it behind the others with the right thumb.
Pretend to knead it into the sleeve, and then as the left hand is displayed empty,
the right hand releases its grip on all the coins, allowing them to fall into the fist.
41
desTROYers —
;-—--———3
The Superlative Magic of Troy Hooser
9m
ECG;
Re—grip, pushing all the coins into a fan to
display the appearance of the third
coin. This last sequence is performed accordingly to mask
the secret action of
the right thumb. Too much exposure to the move the
may tip method, so this
slightly different approach works well for the final
reappearance.
Position all three coins in a stack and hold
them in spellbound position in the right hand (fig.
13). By executing a French Drop with multiple
coins, you will actually reap the benefits of a Click
Pass without the extra work. The left hand moves in
front of the stack. The left fingers pretend to
the stack, clenching to the palm. At the same grasp
time,
the right thumb releases the stack of coins, allow-
ing them to fall onto the base of the right fingers,
E
»
out of sight. They will fall with a loud clink. This
noise apparently comes from the left hand as the
coins are taken, when in fact they are retained in
the right hand.
Move the left hand up to the right biceps,
ready to push all three coins down the sleeve. As
the eyes follow the left hand, the right hand maneu—
vers the stack into a grip associated with Geoffrey
Latta. The third finger curls around the stack to
allow the other fingers to move independentlyl (fig.
14).
Apparently rub all three coins into the sleeve with the left hand and then
show the hand empty. At the same time, release the
stack of coins into the right
hand, clasping them all in the fist. Re—spread to show that all three coins have trav—
eled at the same time.
This routine, although long-winded in explanation, is
actually quite fast in
J}
~”
performance. Watching the routine, the magic happens so rapidly
impression that it is happening around the performer.
that it gives the
42
x
An in-depth study of the Flipper Coin
f)/\
An in—depth study on the Flipper Coin

The term “flipper” is more commonly associated with the celebrity dolphin
than a coin gimmick even with magicians. Yet, this grossly overlooked utility
—
item is often the shortest route to utterly impossible magic.

For the next few routines, you will need to be familiar with this gimmick and
a few basic sleights that Troy has devised with it. A flipper coin consists of a shell
coin (not expanded) and two insert pieces that are connected with a rubber band.
One piece is permanently attached, allowing a portion of the insert to fold out.
L} This creates the illusion of two coins (figs. 1-2).
For these routines, you will need to know where the flap is without looking at
the back of the coin. For this reason, it is best to attach the short flap alligned
with the top of Kennedy’s head. By pinching the coin in this region, you will auto-
matically be in position to open the coin. Also, when you purchase a flipper, the
rubber band is new and tight. While this makes for a quicker snap—back, it also
creates added difficulty in opening the flipper gimmick. Work with the coin as
much as possible, allowing the band to stretch out and open with ease. By grip—
ping the coin at Kennedy’s head, the flipper should open automatically (fig. 3).
Flipper Coin Properties

After fiddling with the flipper for a short amount of time, you will notice some
unique qualities. Unfold the flipper coin so that it appears as if you are holding
two coins. Lightly toss this gimmick toward a table. it will instantly become one
coin. Surprisingly, this can be done on a close—up pad, tabletop, or an out—
stretched hand. The flipper coin is durable, and won’t break upon light impact.
Also, it does not have the awful “tin” sound so common in conventional shells or
l
gimmicks. Instead, it is a dead coin. If you drop a regular coin to the table at the
l
g
43
l
desTROYers ~ The Superlative Magic of Troy Hooser
f{)x
a“
g
same time as the flipper, the regular coin may spin, slide, and Clank
flipper will always drop and stop with relative inactivity. it also has thearound. The
of having two normal sides in its nested advantage
position.
Another feature of the flipper is the unique method of
closing.
are several ways, one of the more convincing is done with the Although there
held in an
upright, un—nested position in the right hand (fig. 4). Move the flipper
left hand in front
of the coin. Using the left thumb, slowly
guide the insert piece back into the coin
(fig. 5). The right thumb controls the
speed of this move. This move is also an
important tool in the following routines.
The flipper coin is not the most popular utility item, but after
tines, I hope you’ll see its merit and use in commercial coin trying these rou—
work.
The Flip Display
80 named by Steve Beam, the Flip Display is
a necessary sleight that will be
used in every routine involving a flipper. It is a
switch.
displacement of coins almost a
—
Begin with the flipper coin gripped by Kennedy’s head in

Holding another coin at the left finger-
the right hand.
tips, the left hand will rotate down,
covering the palm up right hand (fig.
6). Under cover of the left hand, the
right middle and third finger will reach
under the flipper coin and unfold the
insert. As this is done, the left hand’s
coin is pulled out of view by the left
thumb and pushed into left—hand fin-
ger palm. After the coin is pushed into
palm, the left fingers grip the unfolded
flipper, fingers in front and thumb
44
Table Flipper
w 9d
‘3)
behind (fig. 7). The hand is then moved up to
display position at chest height.
While this is Flip Display in its simplest
form, there are often multiple coins in each
hand. This should not complicate the switch,
however. It actually makes it more deceptive.
Table Flipper
This intriguing “Coins through Table”
routine has several moments of sheer impossibility. The flipper coin eliminates
much of the difficult handling without sacrificing the magic. Unlike many “Coins
through Table” routines, you may perform this routine without sleeves, while
standing, and without a tablecloth.
David Roth uses a folding coin in his “Folding Coins through Table” (Expert
Coin Magic, 1985) and takes advantage of the same immediate display of the
coins remaining on top of the table.
Setup:
Besides a flipper, this routine also requires two normal coins a purse, and
some ball of blue tack. Blue tack is a sticky substance comparable to magician’s
wax, except that blue tack has the unique property of peeling free from such sur—
faces as coins and cloth without leaving any residue. You can purchase blue tack
in any office supply store.
Place the coins in the purse so that the flipper is on top of the stack. Adhere
the blue tack to the left fingers. Hold the purse in the left hand, giving the fingers
a reason to be closed and slightly curled.
;) Performance:
Begin by tossing the purse on the table. Make a fist with the left hand around
the blue tack and knock the top of the table, emphasizing that it is solid and
impenetrable. It is helpful to spot some kind of scratch, mark, stain, or insignia
on the table at this point in the routine. Reach under the table with the left hand,
tapping on the underside, again for emphasis. While under the table and out of
view, stick the blue tack on the underside of the table, directly below the noted
marking. This way, you will always know where the blue tack is without having to
feel for it.
Bring the left hand back above the table, casually gesturing to show it empty.
Open the purse and remove the coins. Place the two normal coins in the left hand
and take the flipper in the right. Hold the flipper in position to un-nest it.
l
45
l
)/\
(Clo f
Execute the Flip Display, placing one of the left-hand coins into left finger
palm as the flipper is un—nested. After the other normal coin is added, it should
appear as though you have transferred all the coins to a fan in the right hand (fig.
8). Using the left hand as an aid, regrip the stack so that it is held parallel to the
table, thumb on top and fingers beneath (fig. 9).
Go under the table with the left hand and stick

an edge of the coin into the blue tack (fig. 10).
Knock under the table, testing the solid tabletop, UNDERS'DE 0F TABLE
and then bring the hand back above the table. The
tapping on the table may seem excessive, but this
is covered with patter about the complete fairness
of the whole procedure. Move the empty left hand
under the table.
Two things will happen simultaneously for the
first penetration. First, the right hand will drop the
fan of coins from a position about two inches above
the tabletop. Upon impact, the flipper will nest,
leaving only two coins. The legitimate coin will
{:3 often bounce or spin, creating a fair amount of noise. The flipper will
" always stop
dead upon impact, but because of the genuine coin’s noise, both coins sound
regular. The other action that takes place is that the left hand, now under the
table, removes the coin held by the blue tack and
snaps it against the underside
of the table, creating a noise simulating that of a penetration.
Bring the left hand into view, displaying the penetrated coin. Pick the
other normal coin with the left hand and pick up the flipper with the rightuphand.
Execute the Flip Display move, apparently placing all three coins back in the
hand. Transfer the bottom (regular) coin from the fan into the left fingertips, right
being
careful not to expose the other coin held in finger palm. The un—nested
flipper is
still displayed at the right fingertips.
46
Table Flipper
)
(30 under the table with the left hand. Release the right finger’s grip on the
flipper coin, allowing it to nest as it falls into the right fist. Smack the left fist
against the underside of the table, and at the same time, allow the left hand’s
coins to make contact with one another, creating a loud “clink.”
Bring the left hand above‘the table and reveal both coins before opening the
right fist. After showing the second penetrated coin, an increased amount of heat
will shift to the right fist. Dramatically open the right hand to reveal only one coin.
Roll the coin down the knuckles to emphasize its singularity.
Execute the Flip Display once more. Instruct the spectator to draw an invisi-
ble “X” on the table where they would like the coin to penetrate. While they are
doing this, the left hand makes a fist and taps on the top of the table. This not
only emphasizes the solidity of the tabletop, but it also allows the left hand to act
naturally while palming a coin. Go under the table to tap the underside, once
again pushing the palmed coin’s edge into the ball of blue tack.
Holding the fan of coins in the right hand, your left hand will move toward the
fan to apparently take the top coin. As described earlier, the thumbs of each hand
work together to nest the flipper (fig. 11). Mime the actions of taking the coin into
the left hand, clenching the fingers together. Place the remaining two coins singly
onto the table with the right hand. “We won’t even use the other coins.”
Show the right hand empty and go under the table. Move the left fist to the
spectator’s indicated spot. Pretend to push the coin through the table, showing
the left hand empty (fig. 12). At the same time, remove the coin adhered to the
blue tack and snap it against the underside of the table. Bring the right hand into
view to cleanly display the last coin.
The clean—up of the routine depends upon the performance situation. Ideally,
the ball is left under the table, and will remain there camouflaged as abandoned
gum. Otherwise, a last gesture of tapping the table will warrant a final trip for the
hands under the table. The blue tack can be palmed off inconspicuously in the
offbeat.
47
a“ 9d
QJ
Squeezed Away
Probably the most potent use of the flipper coin is in conjunction with a shell.
By combining these two elements, Troy has devised a unit that
can, be displayed
as three coins, but can collapse into just one.
Setup:
Begin by un—nesting the flipper coin and placing it in a coin
purse. Place the shell behind the un—nested flipper inside the
purse so that the mouth faces away from the flipper (fig. 13).
Performance:
Open the coin purse and remove the contents with the right fingers (fig. 14).
Take the shell in the left hand and then replace it in front of and below the
un-
nested flipper coin. This will display a fan of three coins (fig. 15 is exposed view).
You will now close the gimmick in

two phases to vanish all the coins. The
first coin seemingly melts away as the
right hand moves backward and then
forward. Under cover. of this wrist
action, the thumb allows the flipper to
nest, leaving only two coins displayed
(fig. 16).
48
Squeezed Away/A Touch of Brass
f)
Making the same wrist action, the thumb will secretly slide the flipper coin
into the expanded shell, leaving only one coin displayed at the right fingertips.
The final coin is maneuvered into a palm created by Geoffrey Latta. Move the
right hand backward, then forward. During this
'
action, position the coin to a parallel position

with the floor. Curl your third finger around the
coin, curling the other fingers for continuity (fig.
17).
At this point, you can relax both hands and
end the sequence. If you wish to end clean, exe-
cute the Dextrous Ditch with the remaining coin
(see chapter titled “Curiosities”).
This one handed triple vanish is useful for
several routines. Applying it to a “Coins Across”
or “Coins through Table” effect will allow you to
carry out an entire routine without any transfers, palms, sleights, or changeovers.
A Touch of Brass
Effect:
Three silver coins change into Chinese coins one at a time, under increas—
ingly stringent conditions.
This “quickie” is a feast for the eyes, and serves as the perfect lead—in to “A
Charming Chinese Challenge.” All the magic takes place at eye level, and direct-
ly following the trick’s description, methods to end completely clean will be
explored.
‘
Setup:
Begin by placing an un—nested flipper inside a coin purse.
Place an expanded shell in the purse behind the flipper so that
the mouth faces away (fig. 18). This routine also requires the
use of three Chinese coins. Place one Chinese coinin left—hand
finger palm and the other two Chinese coins in right—hand finger /
f\
\\\\Iu- 5“
' :‘X
palm.
Fig.18
Performance:
Again the previous routine, you must get into a position showing three half
dollars in the right hand. To do this, reach into the purse and remove the contents
49
3“.“
$2
i;
it
it:
4,
with the right fingers. Take the shell

S.
from behind the flipper in the left

hand and then place it in front and
below the un—nested flipper in the \ ’
right hand (fig. 19).

The first transformation is done
slowly. Move the left hand to the top
of the right hand’s fan of coins and
mime the action of taking the top
coin. Using the thumbs to gauge the
speed, allow the flipper coin to nest.
Clench the left fingers around the finger-palmed Chinese coin, pretending to hold
one of the half-dollars. Move the left hand away from the right, make a magical
gesture, and open the hand to show the first transformation into a Chinese coin.
Hand this coin out for examination. This change is especially convincing because
the left hand is otherwise empty.
Transfer the remaining two coins (flipper and shell) to the left fingertips and
move the hand away from the body. The next change is done more quickly than
the previous, and relies more on fluidity and speed than on the accuracy of the
sleights. Move the right hand toward the outstretched left hand. As the right hand
approaches the left, the right thumb pushes one of the Chinese coins to the fin-
gertips in an exposed position. The coin should come into view just as the right
hand reaches the left hand’s spread of coins. Simultaneously, the left thumb and
fingers work together to nest the flipper into the shell. The right hand never stops.
Instead, it changes directions after reaching the left hand and comes back toward
eye level, near the face (fig.
20). Done smoothly, it should
look as if the right hand has
taken one of the left hand’s
coins and instantly changed it
to Chinese currency. Hand
the second Chinese coin out
for examination.
Using the right hand as
an aid, reposition the nested
flipper/shell so that the
mouth of the shell faces
toward the audience (fig. 21).
This unit is held in left—hand
spellbound position.
50
Hooked on Coins
..
.
t)
.
For the last coin, you will execute a Spellbound Change. Move the right fin—
.....MM..WMW...
gers in front of the left, keeping the right thumb against the concealed Chinese
coin to pin it against the fingers (fig. 22). Under cover of the right fingers, allow
the unit to drop on the left hand as the right fingers place the Chinese coin
....
. between the left thumb and fingers (fig. 23). Stroke the coin, pulling the right
hand away to reveal the last metamorphosis.
F'9'23
Fig.22
At this point, you can take back the other two Chinese coins and toss every—
thing into the left hand. However, if you would like to end clean, there are several
options.
The most obvious way to end clean would be to use Troy’s Dextrous Ditch,
explained later in the “Curiosities” chapter. it you are using this routine as a pre—
cursor to “A Charming Chinese Challenge,” then simply hand the last Chinese
coin out for examination. Go into your pocket with the left hand to retrieve the
necessary ribbon. At that time, ditch the flipper/shell unit and retrieve the extra
Chinese coin.
Hooked on Coins
Effect:
Three half dollars are displayed and, one by one, are hung invisibly on trans—
parent hooks. After all three coins have vanished, the magician reaches into the
air to produce a real hook! The hook, now visible, is held perfectly still by the per—
former. With the other hand, some invisible coins are gathered from the air and
tossed toward the hook. They immediately turn visible, threaded onto the hook!
This surreal effect uses nothing more than the flipper/shell gimmick
explained in the preceding pages and the steal of a specially prepared hook. In
‘
this trick, the patter theme of invisible hooks is literal!
51
”QR
w QJ
Larry Jennings was the first to use an actual hook in the context of “The
Hook” (The Classic Magic of Larry Jennings, 1986), and this was the starting
point for “Hooked on Coins.”
Setup:
Besides a flipper and shell gimmick, you’ll need a small
hook. The hook should be about three inches long (fig. 24).
This routine also uses three half dollars with holes drilled
through the center. Thread the three coins onto the hook, Fig.24
keeping them in a stack. Tuck the bottom of the hook into the
waistline of your pants, just left of center
(fig. 25). The stack of coins rests against
the top of the pants, parallel with the floor.
With a jacket on, the hook and coins are
completely concealed.
(In—nest the flipper and place it inside
a purse. Place the shell behind the un—
nested flipper so that the silver sides of
the coins all face the same direction. This
is the identical setup used in other flipper
effects. Just before performing “Hooked
on Coins,” remove the coins from the
purse, repositioning the coins into a fan so
that the shell is in front of and below the
un—nested flipper.
Performance:
“I’ve got three coins. I would like to demonstrate something, but unfor-
tunately, it involves divulging a secret. As a magician, I’m not really sup-
posed to do that. Do you mind?
“Coins don’t actually vanish. Sorry to spoil that for you. Instead, they
turn invisible. But it’s more complicated than that. After they turn invisible,
I hang them on sky hooks. But you see, the sky hooks are transparent. Hey,
you’re looking at me like I’m crazy. I’d better demonstrate.”
You will now perform “Squeezed Away” (see above) to vanish the three
coins. Each apparent coin is nested until you are left with only one visible coin.
Instead of vanishing the coins, pretend to hang them on invisible hooks.
Take the last coin into your left hand in the same way you pretended to grasp
the previous two coins. Feed the flipper/shell gimmick into left-hand finger palm.
52
Hooked on Coins
9m
(QB)
Immediately turn the hand up, miming the action of hang-
ing the last coin (fig. 26). Make all of the vanishes look the
same. Even though the last coin is still in left-hand finger
palm, the spectators can see into the palm of the hand,
giving the appearance that it is empty.
After all three coins have been hung, you will pretend
to gather them up, one by one. Reach into the air with the
right hand, pretending to grab a coin. Mimic placing the
invisible coin in the left hand. The left hand should be in a
loose, relaxed fist, still concealing its coin. After all three
invisible coins have been placed into the left hand, you will
apparently place them into your left jacket pocket.
The left hand moves into the pocket as the right hand
contacts the left side of the jacket. While in the pocket, the
left hand ditches the
flipper/shell. The right index fin—
ger goes in front of the jacket

while the other fingers are fed
inside, contacting the hook (fig.
27). As the coins are put away,
the right fingers grasp the stack
of coins by their edges between
the thumb and middle finger.
The index finger secures the
hook from the top (fig. 28 shows
an audience view).
The steal must be made during the offbeat.
Placing invisible coins in your pocket is ridiculous,
and should add closure to the routine. Because the
spectators perceive the trick as completed, they
willbe relaxed. Remember not to look at the pock—
et while accessing it; that is too much focus near
the book’s area.
“ljust showed you invisible coins. Here is
an invisible hook!” Reach up into the air with the
right hand and then slide the ring and pinky fingers
back to reveal the hook (fig. 29). At this point, the
coins are still concealed. The steal and production
are not separate actions; instead, they are fluid and
done consecutively and without hesitation.
53
a“ f)x
"QJ
“And these are the coins I hang on the hook! ” For the final
the empty left hand reaches into the air, pretending to phase of magic,
scoop a handful of coins.
The left hand mimes the action of tossing the coins toward the hook. At the same
time, the right fingers ease their grip on the stack of coins, allowing them to fall
to the base of the hook. The appearance is loud and instantaneous. There is
need to cover the coins’ appearances by movement with the no
hold the wrist stationary so that the only movement is the
right wrist. Instead,
stack of coins. At this
point in the routine, everything is examinable.
54
Coin Melange
Coin Melange
Effect:
This is a collection of vanishes and productions. As with all of Troy’s coin
routines, it is fast moving and contains an abundance of magic.
This trick was originally printed in Tom Craven’s “Havenly Close—Up” column
(Linking Ring, July 1997). However, due to space restrictions, the routine was
described in an abbreviated fashion. That year, “Coin Melange” won first place in
the “Best Trick” category.
One interesting facet of the routine is in its ease of handling. By using a clev-
erly prepared coin, Troy eliminates the need for a convincing false transfer, reten—
tion vanish, or production. This routine will make a relative beginner look like a
consummate coin worker.
“Coin Melange” is fast paced in nature, requiring minimal patter. Magic is
occurring constantly with the coins and complicated stories and phrasing would
only clutter things and tarnish the magic. For this reason, the routine is described
without patter presentation.
Setup:
This routine requires four coins; Troy prefers to use silver dollars. A small
amount of blue tack is also necessary to perform the trick (men-
tioned previously in “Table Flipper”). Smear blue tack across the
back of one of the coins, making a semi—circle that covers about
half of the coin (fig. 1). Place another coin under the headpiece of
your watch.
When not performing, Troy stores the blue-tack coin by stick-
ing another coin on top.
Performance:
Begin by removing'the three coins, two normal,
and one with blue tack. The blue tack coin should be
on the bottom of the stack, blue tack facing away
from the audience. The coins should be fanned out in
a display position in the right hand (fig. 2). The coins
are spread by pushing up with the thumb, making
the blue tack coin the highest coin in the spread.
55
‘3’L
The next action should look as though the fan of coins is tossed into the
left
hand. instead, the lowermost coin in the fan is retained by the
right hand. This
coin is dropped from the fan onto the right fingertips, hidden from
view. This
move is done as the right hand moves slightly up and to the right. Without
ing, the right hand throws the two remaining coins into the paus-
opened left hand. The
coins are tossed in a downward motion of the right hand, allowing the blue
side of the prepared coin to make contact with the left tack
palm. As soon as the coins
hit the palm, the left hand closes. This is simply a
one coin retention done at the
fingertips, chest level.
Explain to the audience that the first coin
has disappeared. Open the left hand to display
only two coins. Push the two coins up to a display
position, holding them in a two—coin fan between
g the left thumb and fingers. Be sure to keep the
prepared side of the blue-tacked coin toward
yourself.
Produce the coin in right—hand finger palm
by bending the left arm at the elbow, and raising
it so that the left hand contacts the shoulder
at
the base of the neck. As the left hand rises, the
left thumb maneuvers the top coin, without blue
tack, to the fingertips. As soon as the elbow is
raised, the right hand moves toward it, revealing
its coin by plucking it from the elbow. While this
production is taking place, the left hand deposits
the coin at the fingertips onto the shoulder (fig.
3). The coin will rest at the base of the neck safe-
ly as long the body remains stationary. The mis-
)
direction for this move is powerful. it is a moti—
vated load and has a natural flow. Eye contact
\ '
makes the move work. Your eyes must follow the

right hand as it produces the coin from the elbow.
By bending the head down to see the coin and
honing in on the production, a frame is formed
around the coin being produced (fig. 4). It
becomes the focal point, giving the temporary
shoulder—ditch perfect misdirection.
Return both hands to chest height, keeping the left hand
closed. Toss the
coin in the right hand into the air and catch the coin in the left
hand. Allow the
tossed coin to contact the hidden blue-tack coin in the left hand. This is
sound illusion; the spectators believe there are three coins, a perfect
yet there are only two.
56
Coin Melange
f)“
{9)
To vanish the next coin, wave the right hand over the closed left fist,
snap,
and open it to show only two coins.
Take the blue-tack coin into the right hand, keeping the blue tack toward
your
body, out of sight. The other coin is held at the left fingertips, gripped only by the
tip of the coin with the side of the thumb and fingers. The coin should protrude
from the hand as much as possible. You will now execute a Retention Vanish while
pinching the normal coin in the left hand. The pinched coin is protruding to the
left, giving the left fingers the ability to open and close (fig. 5). This retention van~
ish is done quickly to keep with the pace of the routine. It is also an
easy reten—
tion vanish because the right thumb is pressed against the blue tack in the action
of placing the coin into the left hand. To draw the coin out of the left hand, sim-
ply retract the thumb (fig. 6). Close the left fist, keeping the hand palm up.
in the action of taking the coin protruding from the left fist, the right middle
and ring fingers work together to push the blue tack coin against the palm of the
}
m
A
hand, causing it to secretly adhere to the right palm. Take the normal coin from
the left hand and use it as a magic wand, waving it toward the left hand. Open the
left fist to display that the coin has vanished.
Drop the coin in the right hand onto the left palm. At this point, the right
hand looks shockingly empty because there is no palming or gripping. The right
hand’s coin is attached! Move the right hand toward the right knee, bending slight-
ly at the waist. The body turns toward the left. As the right hand moves toward the
knee, the right fingers contact the coin and dislodge it from the palm. This coin
is then produced from the knee. As the right hand moves toward the knee and
produces the coin, the left hand naturally goes behind the body, even with the left
back pocket. The hidden coin in the left hand is ditched into this pocket (fig. 7).
The left hand’s actions are natural because it follows the course of actions in pro—
ducing the coin from the left knee. The shoulder naturally moves back, giving jus—
57
)(/\
6‘
Q Q
, i
tification for the left hand to be in position for the ditch. After the move is com-
plete, remember to keep the left hand in a fist, pretending to hold a coin.
Bring the right hand up to waist height, displaying the produced, gimmicked
coin. Wave this coin over the clenched left fist and open it to reveal the disap-
pearance of the second coin.
Execute another Retention Vanish with the remaining, prepared coin. After
the retention, the coin is pressed back onto the right palm under the cover of a
wave of the right hand. The retention and the wave should be melded into one
fluid motion. This is a convincing retention vanish because the right thumb uti-
lizes the blue tack again. In addition, the right hand is squeaky clean throughout
the whole sleight. It is outstretched while waving, proving there are no coins con-
cealed in the right hand (fig. 8).
v} After waving the right hand, without hesitation open the left fist to show it
empty. Turn both hands palm down and extend them, almost in a throwing
motion to show that all coins are gone. The blue tack does all the work here, mak-
ing this the strongest moment in the routine.
Bring both hands up to chest height, keeping the palms toward your body,
out of audience view. Make a shrugging action with the shoulders, a sign of com-
pletion with body language (fig. 9),
As an afterthought, reach to the outerrright pant leg at knee level with the
right hand. While moving to the knee, dislodge the coin from the right hand with
the right fingers, holding it in finger palm, blue tack side out. Tug at the fabric of
the pant leg as if looking for a coin. Using this action as a cover, stick the blue
tack coin to the pants. Bring the right hand up and away from the pants, making
a tossing motion with the right hand, apparently throwing an invisible coin to the
left hand. This move helps to put a time delay after the hands have contacted the
knee. Make a catching action with the left hand and then immediately open it,
revealing no contents. At this point, both hands are absolutely clean and can be
casually displayed empty.
58
Coin Melange
é)
w‘®
You will now reproduce the three coins in the cleanest possible manner. The
hands are shown unmistakably empty before producing each coin. To reproduce
the first coin, the right hand moves across the body to retrieve the coin at the
base of the neck. Instead of producing from the neck, Troy produces the coin
from behind the ear by grasping the coin and then moving the right hand up to
the ear, then pulling the coin forward into view. The ear is a more recognized and
distinguishable spot than the base of the neck, making for a more memorable
and impossible appearance.
Transfer this coin to the left hand. The right hand now reaches back down to
the right knee, retrieving the coin from the pants. Produce this coin and transfer
it to the left hand, holding both coins in a fan. As an alternative, sometimes Troy
will secretly load this coin back on his palm. Instead of producing it from the
(1‘; W
knee, he brings the right hand back up, producing it from the shirt in the chest
region. Although it involves another move, it is another convincing show of an
empty right hand before the coin is produced.
“And if you’ve been watching carefully, you know exactly where the last
coin is.” The left hand turns palm down, pointing the face of your watch toward
the spectators. The right fingers slowly and cleanly remove the last coin from
under the watch. This coin is transferred to the left hand with the others and
fanned out in a display position.
This trick, if nothing else, should demonstrate the valuable lesson that sim-
ple plots do not always equate to simple methods. The plot, a vanish and repro-
duction of three coins, is brief, clear, and simple. The method, although direct,
relies on simultaneous manipulation of the coins. This book includes many three-
coin routines, but the blue tack helps make this one easier to perform.
59
An in—depth study on Count—er Point
9d
u QJ
An in-depth study on Count-er Point
Count-er Point is a false count. Unlike the Elmsley, Hamman, or Jordan
Count, Count—er Point uses coins instead of cards. Jay Sankey’s “The Mexican
Jumping Coins” (100% Sankey, 1990) utilized a false count with coins. Michael
Ammar’s False Count with Coins (Richard’s Almanac, Autumn, 1985) displays
not only a visual illusion of more coins, but an auditory illusion as well. Greg
Webb’s take on a false count with coins is similar to counts with cards (see “The
Odd Coin” Feen—X Magazine, May 2000). Other noteworthy counts include Peter
Lamont’s count used in Paul Wilson’s “Penihook” (Chaos Theories, 1995) and
Mike Close’s “Too Ahead” (Workers 5, 1996).
Troy’s count has many of the attributes of other coin counts with the added
feature of being performable while other coins (of other sizes and denominations)
are concealed in the hands. While some brief routining ideas are mentioned, this
move has not yet been exploited to its full potential. We’ll leave that up to you.
After a thorough explanation of Count-er Point, I’ll take you through some appli—
cations that can be immediately applied.
Begin by holding two similar coins in the right hand. Casually flash the coins
so that the audience can see there are coins but cannot distinguish the exact
number. Curl the right hand into a relaxed fist and move it up to chest height. Tilt
the hand back toward the body and curl in the pinky and ring fingers. Secretly
maneuver both coins to a high finger palm position.
The action of the count is to
point to each coin before dropping it
into the left hand (hence the title).
For the first coin, move the right
hand next to the left. Swing both
wrists toward each other as the right
thumb pushes one of the coins out
of the fist and into View. As the coin
comes into view, the left index finger
makes contact with the face of the
coin, gesturing to it and making
contact (fig. 1). Tap the left index
finger against the coin two or three
times and then lower the left hand. Drop the displayed coin onto the outstretched
left fingers.
You will repeat this procedure with the second coin. Swing both wrists in as
the second coin is brought into view. As it is pushed up, it is met by the left index
61
it)
$9)
<"\
finger and tapped several times. The other left fingers are closed around the left
hand’s coin. Drop the second coin on top of the first, allowing them to clink
together. Keep the right hand in the same loose fist, as if it contains another coin.
You will now apparently count a third
coin. Although the actions are exactly the
same, the mechanics are different. Move
the wrists in together as before. As they
rotate toward each other, the right thumb
moves into its fist, miming the action of
pushing a coin into view. In truth, it sim—
ply slides against the other fingers. As this
happens, the left fingers work together to
position a coin on the pad of the left index
finger. This coin is propelled against the
finger as it extends toward the right
thumb (fig. 2).
The coin is carried over and pushed into position, on top of the right fist. If
done with relative speed, it will look as though the coin came from within the right
fist. Drop this coin onto the outstretched, slightly curled left hand, creating anoth-
er “clink.” You have apparently counted three coins.
Obviously, the count does not have to be a two-for—three count. You can use
any number of coins, or execute the Count-er Point move any number of times.
As with any false count, much of the sell is in the reference. Sometimes a
casual reference to “three coins” is more convincing than any count or sleight.
Count—er Point Substitution ,

,.
Besides using this sleight to secretly show an inaccurate number of coins, the
_,
..
move can also be used to show three like coins when using varied coinage.
_._.,_,..
”.14
Begin with two copper coins below two silver coins in a stack. Place the stack
in the right fist in preparation for Count-er Point. Execute a two—for—three count to
awn”...
show three silver coins. Secretly, you have retained two copper coins and are in
perfect position for any “Wild Coin” or “Multiple Change” routine.
were-1
~:
...,,_..
M.
Copper-Silver Transmutation
..,..
Effect: twawminnwmvygwywwax.“4,3,
Three silver coins are taken from a purse and shown. The first one changes
to copper with a squeeze of the performer’s hand. The next two silver coins are
, distributed in different spectators’ hands. Alas, they still change to copper coins.
62
Copper-Silver Transmutation
f)
w ‘ ’\
‘3
Setup:
Begin by placing two silver coins in a coin purse and put the purse in your
left trouser pocket. Place a copper coin in this pocket, so that it can be retrieved
with the purse. Place two other copper coins in your right trouser pocket.
Performance:
Begin by reaching into your trouser pockets with both hands in search of the
purse. Finger palm the copper coin in the left hand and bring out the purse.
Seconds after the left hand leaves the pocket, finger palm the two copper coins
in the right hand and remove the hand from the pocket, allowing it to rest at your
side. The eyes will focus on the left hand if it is removed first. Also, it holds the
coin purse, an object that will attract more attention than a (supposedly) empty
right hand.
Open the purse with the right hand and take out the contents, placing them
in a high finger palm position in the right fist (in preparation for Count-er Point).
Table the purse. Refer to the number of coins as three, even though the specta-
tors are unaware of the actual number of coins.
Execute Count—er Point with the two silver coins in the right fist. Drop the first
one legitimately into the left hand, but keep this hand closed slightly, as it is still
palming a copper coin. Be sure that the first silver coin does not contact the cop-
per coin as it is dropped. You may wish to finger palm this coin lower than usual,
clipped only by the pinky finger.
Count the second coin the same way, and execute the actual move on the
third coin. You have apparently counted three silver coins from the right hand to
the left. Squeeze the left hand into a fist, adding the finger—palmed copper coin to
the two half—dollars.
Squeeze the fist, make a magical pass, and open to show that one of the
coins has changed to copper. Pick up the two silver coins with the right fingers
and display them (fig. 3). Display the copper coin in the left hand in the same
position. The hands should mirror each other.
f)/\
\QJ
As the copper coin is handed out for examina—
tion, you will execute a Palm Change to exchange
the two coins (CoinMagic, 1981). Extend the left
hand to a spectator to hand her the coin. Drop the
right hand to your side. Push both silver coins into
the classic palm. If done properly, these two coins
will not interfere with the finger-palmed copper coins
(fig. 4). After the silver coins have been maneuvered
into classic palm position, the right fingers push the
finger-palmed copper coins to the fingertips.
Carefully transfer one of these coins to the left
hand and immediately place this coin into a specta-
tor’s fist. During this action, the spectators should be
unaware that the coin is copper. The left fingers
cover the coin, and the coin is placed into the spec-
tator’s fist so she cannot see it. The same procedure
is repeated with the copper coin in the right hand.
The coin is placed onto a spectator’s hand and she is instructed to make a fist.
Make a magical pass and instruct the spectators supposedly holding the sil—
ver coin to squeeze their fists. The spectators are then invited to open their hands,
only to discover that the coins have changed! To clean up, pick up the purse with
the right hand and place it in your right pocket, ditching the palmed coins.
Count-er Point Coins Across

There are several added finesses to the original Count—er Point explained
within this routine, so grab three coins and follow along!
Performance:
Begin by showing all three coins and two otherwise empty hands. Hold the
three coins in a stack in the right hand, making a loose fist. Begin the Count-er
Point procedure, legitimately counting the first coin into the left hand. The same
action is repeated for the second coin. For
the third count, the index finger brings the
second coin back up to the top of the
thumb, executing the Count—er Point move.
As the third coin is apparently displayed,
the right fingers push the remaining coin in
the right fist into classic palm (fig. 5). This
allows the coin counted as third to be rolled
down the right knuckles in a casual but
elegant flourish. More importantly, it is a
subtle convincer that the right hand is
empty. Roll the coin off the pinky, allowing
64
Count—er Point Coins Across
f)
itto fall into the left hand, making contact with the left hand’s coin. Apparently,
three coins are in the left hand.
Transfer the classic-palmed coin in the right hand back to finger palm, and
then extend the right index finger, instructing the audience to watch (fig. 6). The
coin is hidden in Ramsay Subtlety, and it gives the appearance of the right hand
being empty. At the same time, push the contents of each hand into View, dis¥
playing two coins in the left hand and one in the right. The first coin has traveled.
You will use the Count—er Point move as a switch to prepare for the next coin.
Allow the coins to enter back into their respective hands and secretly classic palm
the right hand’s coin. In a casual gesture to the first coin that has traveled, the left
index finger will apparently point to it. Secretly, the left index finger will execute
Count—er Point, bringing one of the left hand’s coins to the top of the right fist..This
} is done as before, with the right thumb miming the action of pushing its coin up
to a display position. If done casually, it should appear as a simple gesture.
Allow the coin at the top of the right fist to enter inside, stowing it in finger
palm. At this point, you are set to cleanly make the next coin travel. However, in'
preparation for the last coin’s journey, this coin is handled differently than one
might expect.
Make a magical gesture, then open the left hand to show only one coin. It
should appear as if the left index finger points to the two coins in the right hand.
In truth, Count—er Point is executed, but with two coins. The right hand’s finger-
palmed coin is pushed into View as the left hand’s coin is secretly pushed onto
_
the coin displayed in the right hand (fig. 7). This time it is necessary to make two
pointing gestures, one to each coin.
)
v
,,_
C43) ‘;$‘¢IT>2=‘¢$‘°N¥770
Admittedly, you have sacrificed the cleanliness of the second coin for the last
phase. Although in position for a concise moment of magic (one coin in the left
hand, two in the right), the routine was structured to build to the last coin. The
current position allows for the strictest conditions.
The last coin travels by making a tossing motion with the left hand. Show the
left hand empty. Keeping the right hand perfectly still, allow the classic-palmed
coin to fall onto the coins held at the fingertips, making a loud “clink” as they
make contact. The audience even hears the last coin!
66
Coinfusion
é)
Coinfusion
This experimental concept is a lesson in simplification. To produce, vanish,
or change multiple coins, some magicians use complicated sleights or tech-
niques. Often, Troy follows suit. “Coinfusion,” however, accomplishes all of that
and more with only a slight movement of the fingers. Anyone who lacks the abil—
ity to perform many of the effects in this chapter will be pleased with this utilitar—
ian gimmick.
“Coinfusion” is a coin gimmick that consists of three coins fused together in
a fan. The idea of a multiple coin gimmick belongs to George Starke and is used
in “The Ghost Coins” (Hugard’s Magic Monthly, November 1944) and was later
revived by Gene Gordon with “Shortchanged” (The New Modern Coin Magic,
1952). David Neighbors experimented with a three—coin gimmick similar in con-
struction to “Coinfusion,” (The Las Vegas Lecture Notes, 1997) but there are sev-
eral key differences between the two (“Coinfusion” is an arced shape, the retrieval
is different, etc.) David Neighbors demonstrated some of his routines for Troy at
a Columbus Magi-Fest several years ago. A two—coin gimmick was recently
brought into use with Michael Gallo’s “Siamese Coins” (Siamese Coins, 1996).
Mike has also experimented and published a routine with a three-coin gimmick.
Lastly, Dorian Gray uses a three—coin gimmick as a secret switch in his “Slydini
Revisited” (Slydini Revisited, no date). The concept behind this gimmick has
certainly been exploited before Troy’s efforts, and names like Rocco, Milt Kort,
Timothy Wenk, Ed Marlo, Roy Johnson, and John Mintz represent just a few pio-
neers with this gimmick. However, Troy stores, steals, and uses the gimmick dif—
ferently than others and has also repositioned the coins for several new possibili-
ties.
Setup:
“Coinfusion” is made possible by
soldering three coins together (fig. 1).
Notice that the coins are fanned in an
arc. Coin one is the uppermost in the
fan, followed by coins two and three.
Similarly, coin one is below coin two,
which is below coin three. The lower—
‘
most coin in the fan is also situated at

the top the stack. When affixing the
coins, overlap coins one and two.
Apply coin three to the left of the other two to create a more natural fan of coins.
When fanning three coins at the fingertips, most practitioners do not spread the
coins perfectly vertical. The lowermost coin is slightly jogged.
67
'7:
.
f)/\
If
k9)
soldering the coins is not possible, use a potent glue. Be warned, however,
that soldering is the most dependable method of preparing the gimmick.
Everyone drops coins once in awhile, but the first time you drop the “Coinfusion”
gimmick will be your last if it is not well constructed.

For this sequence, begin with the gimmick in right-hand Tenkai Palm posi~
tion (fig. 2). The gimmick is pinned between the pad of the thumb and the palm.
In this position, all of the fingers have a wide range of motion and will not
expose
the gimmick.
Troy always begins with a variation of a hand-washing action developed by
Gary Kurtz in “Flurious” (UnexplainableActs, 1990). Turn the left hand palm up
and run the right fingers down the hand, showing it empty. The right thumb goes
beneath the left hand, and the gimmick should remain concealed (fig. 3). Move
the right hand above the left and in the action of turning the right hand palm up,
release the gimmick into the cupped left fingers (figs. 4-5).
"“,'¥
a)“
@734
After the right hand turns over, mirror the
previous actions by running the left fingers down
the right palm. The gimmick is concealed on the
left fingers beneath the palm-up right hand.
Separate the hands in preparation for the
first production. The first coin is produced just as
one might pluck a solitary coin from the sleeve.
The gimmick is held in the left hand with the
uppermost coin nearest the left index finger (fig.
6). Move the hand up to the right sleeve and slide
the fingers back to expose just the upper coin
(fig. 7). Move the left hand back to chest height.
The second coin is a bluff. With the empty
right hand, move up to the left sleeve and pre—
tend to grab a coin. Hold the fingers in a slightly
clenched position, as if they were actually hold-
ing a coin. Bring the hands together to apparent-
ly transfer the coin to the left hand. Under cover
of this action, the left fingers pivot the gimmick
so that the second coin rests below the first.
Remove the right hand to show both coins (fig.
8). Now it is easy to see why the third coin was
slightly jogged. lf the coins were affixed in a ver—
tical position, there would be no intermittent
showing capabilities.
Transfer the gimmick to the right hand by
pinning it against the right fingers and then
regripping with the right thumb (fig. 9). The
spectators should be unaware of the third coin
and catch no flash of it during this transfer.
The third production relies heavily on misdi-
rection. With the left hand, reach down toward
the knee in search of the last coin. Bend at the
waist and focus all attention on the lower body.
Grasp some material from the pant leg as if
grabbing a coin. During this action, the right fin—
gers pivot the gimmick counterclockwise so that
all three coins are in view. Show the left hand
empty, correct your posture, and casually turn
your head toward the fan of coins. Shockingly
discover the third coin’s appearance with the oth—
ers.
69
6)
By using “Coinfusion,” you can achieve within minutes that which takes
many magicians years to perfect.
Poor Man’s Vanish

Once again, “Coinfusion” aids the sleight-impaired with an astonishing three-
coin vanish. I will assume that you have just completed “Poor Man’s Production”
and the gimmick is displayed in the right hand.
Show the left hand empty and then move it to the fan of coins. Briefly cov—
ering the fan, the left fingers mime the action of removing one coin from the
spread. The left fingers actually pivot the gimmick in so that the bottom coin is
once again hidden from the spectator’s view (figs. 10—11). Move the clenched left
fingers away and crumple the “coin” into oblivion.
v} This procedure is repeated with the second coin. The left hand moves in
again, pivots the gimmick so that only one coin is visible, and then moves away
to vanish the coin.
There are several alternatives for the last coin. lf Troy is wearing a jacket, he
will perform one of two vanishes. The most preferable vanish is a simple
Retention Vanish with the last visible coin of the gimmick. He then moves direct.
ly into his own Dexterous Ditch described in the last chapter, “Curiosities.” If not
this ditch, he will execute a False Transfer, pretending to place the last coin into
the left hand. Then, in an effort to pull up the left sleeve, he will ditch the coin in
the upper-breast pocket of the jacket (fig. 12 is an exposed View). In either case,
both hands can be shown empty.
Fig-‘1
'
Fig.10 Fig.12
If none of these options are feasible, you can settlefor the lesser alternative
of executing the False Transfer and then positioning the gimmick into Tenkai
position, only to repeat the opening hand—washing sequence.
70
Coinfusion Interlude
)
Coinfusion Interlude
Moving into a more commercial use, “Coinfusion” is most wisely used in
moderation. Envision any three—coin routine, and then picture a split moment
when all three coins travel from one place to another, vanish, or appear instantly.
By combining devious sleights with a gimmick like “Coinfusion,” no one will be
able to follow the mechanics.
This routine also features a useful way to
ring in the gimmick. Troy experimented with
various pulls, clips, and holdouts, but found
that the best method for getting the gimmick
into play was to position it as explained.
Open the flap of any card case (deck still
within) and place it in the inner—left jacket pock—
ft} et. The top edges of the cards should be
exposed. Now insert the bottom coin of the
gimmick between some cards inside the box.
This will effectively hold the gimmick in place,
above the pocket, and without any undue has-
sle (fig. 13 is an exposed view).
I will
assume that you are using this gim—
mick in conjunction with your favorite three—
coin routine (Shame on you if you don’t have
one; there are at least ten in this very chapterl).
Position all three coins in a stack in right—hand
spellbound position (fig. 14). By executing a
French Drop with multiple coins, the noise will
work to your advantage. This auditory subtlety
is first mentioned at the end of the description
for “The French Drop (Le Tourniquet Vanish)”
(The New Modern Coin Magic, 1952). Move
in with the left hand and pretend to grasp the
stack. As the left fingers start to close around
the coins, the right thumb releases the stack,
allowing the coins to fall onto the right fingers. The left hand continues to close
and then moves away. Pretend to crush the coins in the left hand and then show
the hand empty. This is not the most deceptive move ever devised, but it is bet-
ter that the spectators at least partially follow these actions. By encouraging them
to follow, they will convince themselves that “Coinfusion” actually uses the same
coins throughout.
Without hesitation, move the right hand into the left side of the jacket. The
'
three loose coins are finger palmed, enabling the thumb and index finger to move
independent of the grip. Grasp “Coinfusion” from the deck of cards and bring it
71
‘14
é)/\
<
‘BJ
i
i
into view. It should appear as though the coins were vanished in the left hand,
l
l
reappearing behind the jacket. Stick with this trick; it is about to get really good.
3
As an added convincer, you will apparently transfer the coins in view to the
left hand. In truth, the finger—palmed coins are thrown into the left hand as the
gimmick is pushed into right—hand Tenkai. The finger—palmed coins will automat-
ically fall from the right hand onto the left fingers as the three-coin unit is maneu-
vered into Tenkai Palm. Position the left hand beneath the right and catch the
loose coins as they fall.
Without pausing and in one fluid motion, the right fingers contact the loose
coins in the left hand. The left hand turns palm down, finger palming the loose
coins as the right fingers push the gimmick into a display position (fig. 15).
Move the gimmick up to the left biceps. In a rubbing action, the right hand
3'"? moves up and down. Under this cover, the fingers push the gimmick back into
""V
Tenkai palm and out of view. At the same time, the left fingers push the three
loose coins into an upright fan, closely matching that of “Coinfusion.” Drop these
coins back onto the palm and repeat the above actions, once again vanishing all
three loose coins into the right sleeve and making them reappear at the rightfin—
gertips.
That is the basic idea of this intermittent sequence. Anything above and
beyond the aforementioned descriptions might be considered overkill. Troy usu-
ally cleans up by ditching the gimmick in his outer—breast pocket during the sec—
ond vanish/reappearance. This is an easy matter because the hand is already in
position, situated next to the left biceps. Because this bit of trickery is strong
magic, you may also wish to end your three—coin sequence with “Coinfusion.”
72
i-
é)
One interesting property of the gimmick that occurs in the routine above is
worth reinforcement. lf coins are finger palmed in the right hand and the gimmick
is on display at the right fingertips, putting the gimmick in Tenkai will result in an
automatic release of the finger-palmed coins. Troy also uses this principle to
change three coins into three different coins. Begin with three Chinese coins in
right—hand finger palm. The gimmick is on display at the right fingertips. Move the
left hand below the right in preparing to catch the falling Chinese coins. Put the
gimmick into Tenkai palm, allowing the loose Chinese coins to fall into the hand.
When you open the left hand, it will be discovered that all the coins have changed
with no apparent manipulation.
If you would like to use this change, begin with “Poor Man’s Production,” per—
”) forming it with the Chinese coins in finger palm. Execute the change, ditching
“Coinfusion” in any of the methods outlined above.
am putting an emphasis on options here because “Coinfusion” is merely a
l
gimmick; the possibilities are limited only by your imagination.
73
Three Fly Simplify
Three Fly Simplify

This streamlined handling of Chris Kenner’s original “Three Fly” (Totally
Out of Control, 1992) and Jonathan Townsend’s “Fingertips Coins Across”
takes only thirty seconds to perform. A similar routine, “Spanish Fly,” was pub—
lished by Paul Wilson (Chaos Theories, 1995) and again in the July, 1999 issue
of Genii Magazine. You’ll need four coins to perform this effect.
Performance:
Begin with the four coins in the left hand. Casually refer to them as “three
coins.” No preliminary counts or proving is done to show three. Apparently toss
all the coins into the right hand, but retain the extra coin in left-hand finger palm.
This is done by placing the left thumb on top of the lowermost coin in the stack
(fig. 1). As the left hand rotates to toss the coins into the right hand, the left
thumb pins the extra coin against the palm, allowing the fingers to remain con-
vincingly natural.
Fan the three coins in the right hand, gripping
them between the thumb and fingers (fig. 2). The
uppermost coin of the fan should be closest to the
body.
The most important detail in any “Fingertips
Coins Across” routine is the delay. The inherent beau—
ty of a visual “Coins Across” routine is that the mind
completes what the eye does not see. A coin vanish—
es from one place to appear in another. By seeing the
coin vanish, and then witnessing its reappearance, it
is easy for the mind to connect the invisible path of
the traveling coin. This theory is based solely on the
proper delay between vanish and appearance. Don’t
perform them simultaneously, lest the trick becomes
nothing more than a race between the spectator’s
eyes and the performer’s hand. Perform the vanish
first, pause a beat, and then perform the reappear-
ance. The split second between is filled in by the
imagination of the audience.
9A
@Qa
For the first coin's journey, the right thumb simply retracts, moving the coin
downward (fig. 3). The coin is hidden behind the fan of the remaining two coins,
leaving only two coins in view (fig. 4 is an audience view). The right hand moves
back and then forward as the vanish is taking place to diffuse the heat of the right
>
;
thumb’s action. ‘
Fig.3
After a brief pause, the left hand pushes its finger~palmed coin into view in a
similar back—and—forward movement. The first coin has traveled.
You will transfer the next coin under the guise of tapping the contents of each
hand together. This transfer should not be treated as a phase or even part of the
handling; it should appear as a subconscious tic adequately accompanied by pat-
ter. Bring the right hand’s coins to the left hand. Turn the left hand upward slight—
ly in preparation for catching the coin gripped at the left fingertips. Release the
grip of the left hand’s coin, allowing it to fall to the base of the fingers and out of
view. As this happens, the left fingers grip the lowermost coin in the right hand
(fig. 5). As soon as the left fingers have a grip on the lower right»hand coin, the
right thumb pushes its concealed coin up and back into view. This action creates
the sound of coins clicking against each other. Separate the hands, still display-
ing one coin in the left hand and two in the right. Secretly, the second coin has
v) been transferred to the left hand.
The next coin’s ability to travel will rely
more on the choreography of the hands
than on sleights. As you patter that you
have two coins in the right hand, the right
hand moves forward and the eyes follow
the right hand. “And I have one coin here.”
Move the left hand forward to display one
coin as the right hand moves back and out
of focus. As the eyes drift to the left hand,
76
Three Fly Simplify
a“
f)/\
‘ Q)
the right thumb pulls the upper coin down and
toward the palm (fig. 6).
Move the left hand back toward the body and
shift the gaze to the right hand. As the right hand dis—
plays apparently only one coin, the left fingers con—
tract, bringing the concealed coin into view (figs. 7—
8). To reveal this coin, the left hand moves forward as Fig.6
the right hand moves back. During this phase, the
audience’s focus should always be on the hand furthest from the body.
Bring the hands together casually during the offbeat. While apparently click-
ing the contents of each hand together, the right thumb pushes its concealed coin
behind the left hand’s two coins (fig. 9). The right hand clicks the coin it holds in
view against the left hand’s coins during this procedure to cover the secret trans-
fer. Separate the hands in preparation for the last vanish.
Execute Chris Kenner’s One—Handed Vanish as per the description in
“exTROYdinary” to make the last coin disappear. One beat after the coin has
gone, the left thumb pushes the concealed coin into view, above the other two
(fig. 10). The gaze should shift to the left hand just after the thumb has pushed
the last coin into view. Pause only long enough for the last sequence to sink in,
and then toss the fan of coins into the right hand. A prolonged amount of time in
the final position may lead spectators to the extra coin concealed in the right
hand.
desTROYers —‘The Superlative Magic of Troy Hooser
)
The trend has always been to use “soft” coins for routines of this type. Well—
worn or “soft” coinage won’t make as much noise when slid against one another.
However, Troy performs all the routines in this chapter with fairly current coins in
relatively good shape. There is a small amount of noise as the coins rub against
each other, but this noise serves as an advantage. Whenever a coin slides in or
out of View, you can actually hear the coins vanish or reappear. It is certainly an
issue of preference, but nonetheless one to consider.
78
A deck of cards is loy’s medium of choice.
,
es
s confided in me several
times his fascination with the possibilities of cards, an. it is evident in his work.
Troy handles cards gently. For him, they are not just representations of a
number and suit, but they are also pieces of paper that can be torn, twisted, and
tinkered.
Having developed a diversified style with a deck of cards, his material is sure
to please a wide spectrum of readers. Although he performs with a smooth,
flashy edge, his true influences are Larry Jennings, Paul Harris, and Jimmy
Grippo (most more or less natural-styled performers).
Most of the plots deviate from the norm, while some are variations on more
conventional plots (“Triumph,” “Open Prediction,” “Tom and Restored Card”
etc.). Every trick has an emphasis on routining; most, if not all of the routines are
multi—phased.
Before proceeding with the card section of this volume, I must warn you: the
most controversial area of Troy’s work is his approach to card magic. As you will
see in many of his effects, he fancies flourishes. Many of these effects display an
enormous amount of skill, and can therefore be categorized as sleight of hand (as
opposed to real magic).
79
—
_
K}
For years, magicians have worked hard to eliminate any telltaie signs that
they were using manipulation to accomplish their feats. Dai Vernon is most often
quoted with reminders to be natural. It has become fashionable to dismiss any—
thing that appears overtly dexterous or rehearsed, and even more trendy to criti-
cize others who integrate flourishes into their magic.
Considering his influences, Troy’s style is surprisingly flashy. Watching Troy
perform is quite a retreat from the “natural” magician. Cards move in bizarre ways
that are seemingly impossible. The indescribable positions and movements that
the cards undergo during a shuffle or cut is puzzling. It is not magic, but it is puz—
zling.
I
am not writing with the intent of glorifying or casting aspersions on the use
of outward skill in the performance of magic. Magic is an art, and there is not one
universal method to achieving success. Anyone ordaining or condemning a cer—
tain brand of magic does not realize the appeal in diversity. Claiming that all magi—
cians should shuffle cards the same way is like insisting that impressionism is the
only correct form of painting. There are thousands of ways to capture an image
with a paintbrush. Similarly, there are myriad ways to entertain an audience with
a deck of cards.
Whether you employ the more flamboyant approach to the effects described
is a decision only you can make. However, make the decision based on personal
taste and experimentation, not on the limiting belief that the flourish-genre is infe—
rior. Further, every effect can be stripped of the glittery components and altered
to a more conservative, “natural” presentation. As you will soon discover, the
tricks stand alone and are powerful in the hands of both slick sleight-of-handers
and in the hands of an unassuming conjurer.
i
J‘
80
Cool As Ace
Cool as Ace
“Cool as Ace,” so named by Chris Kenner and Homer Liwag, is a rapid fire,
finger—flinging, fancy—flourish Ace location. The locations are quick, visual, and do
not require a table. These elements are crucial for the working professional.
Setup:
Begin with three Aces on top of the deck and one Ace reversed on bottom.
For explanation purposes, we will assume that the reversed Ace is the Ace of
Hearts.
Performance:
Begin by shuffling the cards, taking care not to disturb the position of the
Aces. Grip the cards by the fingertips of each hand in preparation for the Hindu
Shuffle. Under the guise of squaring the deck, obtain a right thumb break on the
inner long end of the deck above the reversed Ace of Hearts on bottom (fig. 1).
You will now perform a variation of the Pop Out Move (The Gen, July 1964).
Although this method is not explained in his notes, Piet informed me that he
developed this way of executing the Pop Out Move around 1967.
With the left fingers, peel small packets of cards from the center of the deck
as per the standard, Belly Hindu Shuffle (fig. 2). When approximately half the
deck is in the left hand, pause for a beat.
Jerk the right wrist forward and across the left hand’s packet, cocking the
wrist to the right in one quick movement. At the same time, the right thumb
releases the break, freeing the Ace of Hearts. The momentum of the wrist’s move—
ment will propel the card forward and into view.

The Ace is trapped between the bottom of the
right hand’s packet and the index and middle fin—
gers of the left hand (fig. 3). Done rapidly, the
Ace will snap into view, seemingly of its own
accord.
Separate the hands, allowing the first Ace to
fall to the table. lf'a table is not accessible, hand
the Ace to a spectator. Place the right hand’s
cards on top of the left—hand packet.
Holding the deck in left-hand Dealer’s Grip,
riffle down the pack with the thumb approxi-
mately halfway. The right hand now grasps the
upper portion of the deck from above and begins to take it off of the remaining
half-deck. As this happens, the left thumb contacts the top card on the deck and
retains it as the right hand moves the top half away. You have just executed a Slip
Cut to retain an Ace on the top of each packet.
Regrip so that each hand holds half of the cards by the long ends, thumb
above and all four fingers below (fig. 4). The thumbs, working simultaneously,
release their grip on their respective packets. They stretch out, contacting the
opposite sides of the packets so that they are in direct contact with the fingers
(fig. 5). You are now in proper position for a modified Reverse Charlier Cut. Split
the packets by pulling back half the cards in each hand with the thumb, while
keeping the bottom packets in place with the fingers (fig. 6). The fingers alter
their positions slightly to accommodate the preceding actions. The middle and
ring fingers move on top of the bottom packets as the index and pinky fingers
move below the packets. You can now independently grip these portion of cards
without the aid of the thumb. Extend the fingers, pushing the bottom packets to
upright positions (fig. 7). The thumbs now release small packets of cards, allow—
ing them to fall onto the palm of the hand. The fingers now curl in, dropping their
packets on top of the cards on the palms (fig. 8). Lastly, the thumbs release their
grip on the remaining cards, causing them to fall on top of half—decks. Done with
both hands, this cut will appear random and flamboyant will not disturbe the top
stock of either packet. This cut is basically Jean Hugard’s Variation of the Charlier
Pass (Card Manipulations, 1934). To maintain the top stock, however, Troy sim-
ply stops halfway through Jean Hugard’s description.
To reveal the Aces on top of each packet, Troy has devised a dexterous
method, which is also quite difficult to explain. Regrip the cards in each hand so
that they are straddled between the index and pinky fingers (fig. 9). Move the
thumbs toward the little fingers and allow it to rest on the top cards. Pull the
thumbs back toward yourself, angling them slightly from the rest of the packets.
82
Cool As Ace
Reposition the thumbs so

that they contact the edge of the
angled Aces. Pivot the thumbs
out and away from the packets,
swiveling the top Aces out and
around their packets (fig. 10).
Allow the thumbs to slide down
the faces of the Aces until the
index fingers and the thumbs are
in direct contact. In this position,
the Aces can be easily placed
face up, back on top of the pack—
ets (fig. 11).
83
To display these Aces further, Troy pulls down on the Aces with his index fin—
gers against the front edge of the packets, causing them to lever up, perpendicu—
lar to the half—decks (fig. 12). Allow the cards to drop back onto the packets and
then deal them onto the table with the thumbs. Levering a card with the index fin—
ger was first utilized by Cliff Green in the context of his Push—Pull Double Lift
(Professional Card Magic, 1961).
In continuing with this effect’s recurring illogical theme, you will now perform
a bizarre series of cuts to find the last Ace. The remaining Ace is currently on top
of the right hand’s packet. This packet is gripped in the same manner shown in
fig. 5. The left hand holds its cards in Dealer’s Grip, but the left wrist turns the
hand upside down in preparation to receive small packets of cards fromthe right
hand. The right fingers now peel small packets of cards from the bottom of the
right hand’s packet. To do this, the right index and pinky fingers are positioned
on the bottom of the packet as the right middle and ring fingers are inserted into
the pack, five or six cards from the face. This small packet is now gripped
between the middle and ring fingers and
the index and pinky fingers. The packet is
levered face up from under the right
hand’s packet and fed onto the top of the
inverted left hand’s cards (fig. 13). This is .0...“
.7) repeated several times at a brisk pace, ..
‘ and each time the small packets are

turned face up by the right fingers before _,,.,,WM......W
they are fed onto the left hand’s cards.

These packets are placed, one on top of q.
the other, on the left hand’s packet.

Because the left hand is upside down, it is
properly situated to receive face up packets. To complete this cut, the right fin— .
,
gers grasp all of the remaining cards in the right hand, pivots them through the l
.
described cycle, and they are eventually placed on top of the left hand’s cards,
..
,.
w;
completing the deck. This cut must be performed with speed and accuracy. Troy
performs this cut with such grace and agility that the viewer is unable to follow
the fast series of packets, and his hands appear machine—like.
vlgwmmwfvwflflmw
84
Cool As Ace
Troy completes the routine with Ben Harris’ “SFUC” (Of/'— the Wall, 1988) to
display the top card. Holding the deck in right-hand End Grip, hold the right hand
above the left. Dribble the cards from the right hand onto the left, letting all the
cards fall onto the left hand except for the top card. This will take some practice,
but it will quickly become easy to feel one card, and then retain it. The face down
Ace remaining in the right hand-is now sprung onto the deck. The right index fin-
ger presses in the center of the card, bowing it into a concave position. The card
is then released from the right fingertips. It will immediately flip over and land on
top of the deck, face up. These actions must be done quickly. At proper speed, it
should look as though the Ace popped on top of the deck face up without any
extraneous movement of the hands.
Some Ace locations are long and involved. This one is quick. After perform—
ing “Cool as Ace,” you can be sure that audiences will be watching you closely. lt
w} swiftly establishes skill without being overbearing and overly pompous.
85
Weight Your Turn
Weight Your Turn

Effect:
A spectator is invited to select and replace a card, then cut off a small pack—
et of cards. This packet is handed to the magician, who “weighs” the cards. The
magician cuts a packet from the remainder of the deck, and both the spectator’s
cards and the magician’s packet are found to contain the same number of cards.
The feat is repeated as the magician cuts a packet from the center of the
deck. This packet contains the same amount of cards as the initial packets, and
the last card counted is found to be the selection.
Bob King’s original “l’ll Guess Your Weight” (More Magician Foolers, 1990)
was Troy’s starting point for “Weight Your Turn.” However, the predecessor to all
routines that use the Faro procedure described below is Alex Elmsley’s
“Penelope’s Principle” (The Collected Works of Alex Elmsleg, Volume 2, 1991).
Bill Herz and Paul Cummins published “Counting on it” (New York Magic
Symposium Three, 1984). This routine also has several important refinements
and was published before Bob (King’s routine.
While keeping the same principle of the previous routines, Troy has altered
much of the trick to fit his performing style with suggestions and help from Mark
Tams. “Weight Your Turn” is one of Troy’s favorite tricks to perform.
Setup:
You’ll need a complete fifty-two card deck for this effect. In one of the cards,
make a reverse breather crimp (The Vernon Chronicles The Lost Inner Secrets
—
Volume 1, 1987). That is, hold the card face down by the outer left corner with
your left thumb and fingers. Place your right thumb on top of the card and the fin—
gers below. Starting in the upper left corner and moving toward the lower right,
pinch the thumb and fingers together, creasing the card diagonally. Regrip, hold—
ing the card at the outer right corner, and do the same thing in the opposite direc-
tion. Pinch the card at the outer right corner with the left thumb above and fingers
below. Pull toward the lower left corner, creasing the diagonal length of the card.
This causes a concave “X” on the card. When in the deck, this card is easily cut
to the face of the pack, but hardly distinguishable.
Begin with the breather card in the twenty-seventh position from the top of
the deck.
87
..
K
\/
‘ I
r
41/
Performance:
You must have a card selected from the portion of cards below the breather.
To accomplish this, begin with the deck in right—hand End Grip. Dribble the cards
slowly onto the outstretched left hand, asking the spectator to call “stop.” Upon
her word, stop dribbling and instruct her to take the top card of the left hand’s por-
tion. While she looks at her card, dribble the remaining cards onto the left hand,
square up, and then lift all the cards above and including the breather in the right
hand. Have the selection replaced on the left hand’s cards and complete the deck.
The selection is now directly below the breather card.
“We’ll get back to your card momentarily. First, I’d like you to cut offa
rrr
small number of cards— say between ten and twenty. Don’t cut off too many
or you might accidentally cut to your card. I’ll shuffle the rest of the deck to
fl,
thoroughly lose your card.”

After the spectator has cut off a small number of cards, you will perform the
following shuffle with the remainder of the deck. Holding the cards in a raised
Dealer’s Grip, you will take all the cards above (and including) the breather into
the right hand. Take these cards and interweave (Faro Shuffle) them into the cen—
ter of the larger packet (fig. 1). Weave the cards about an inch, but don’t square
up all the way. Release the left fingers’ grip on the packet of cards, allowing them
to fall onto the palm of the left hand (fig. 2). Keeping a grip on the right hand’s
portion, slide all the right—hand cards and the cards woven between them out from
the remainder of the deck (fig. 3). To do this, the left thumb must extend, mov—
ing out of the right-hand packet’s path. As the cards are slid out, the left thumb
contacts the lowermost woven card and holds it back, peeling it from the right
hand’s packet (fig. 4).
.
mm.
WWW
..-....w.-..-....~m~mm
88
Weight Your Turn
Slide the packet completely out of the deck. The Selection should be the top
card on the left hand’s packet and the breather should be the lowermost card in
the right hand’s packet. Drop the woven packet in the right hand on top of the left
and cascade the cards flush. This places the breather above the selected card,
and also ensures that the number of cards below the breather is equal to the num-
ber of cards initially cut off by the spectator.
Instruct the spectator to hand her packet to you. Take the packet in your left
hand and pretend to weigh it. Hand the packet back to the spectator and regrip
the remainder of the deck in preparation for Dan Garrett’s Swivel Monte False Cut
(Minotaur, March 1990).
Pick up all the cards above and including the breather with the right hand.
Break this portion in half by lifting up on half the cards with the right index finger
(fig. 5). You will now grip the cards remaining in your left hand between the right
ring finger and thumb. Using the left hand, position the inner end of the left
hand’s packet against the thumb and then feed the outer end onto the pad of the
ring finger (fig. 6). When completed, the remainder of the deck is held entirely in
the right hand, broken in three parts.
flj/z/fi
Move the heel of your left

thumb to the right thumb and
press the lower right edge of
the center packet against the
left hand (fig. 7). Move the
left hand forward as you
move the right hand back,
releasing the bottom packet
from the right thumb (fig. 8).
This will cause the bottom
packet to spin one—hundred
and eighty degrees clockwise
directly into Dealer’s Grip.
Without pausing, place the
right hand’s lowermost pack-
et on top of the left hand’s
cards, outjogged approximately half its length. Place the remaining right-hand
packet on top of the left hand’s cards, squared with the bottom packet (fig. 9).
The selection is now the top card of the outjogged portion, while the breather is
at the bottom. The outjogged packet should contain the same number of cards
as the spectator’s packet.
Strip out the outjogged packet and table the talon. Count the cards in the
packet onto the table one at a time. Besides giving you an accurate count of
cards, it also reverses the order, placing the selection on the bottom of the pack—
et. Instruct the spectator to count her packet, and it will equal the same number.
90
Weight Your Turn
While she is counting her packet, drop the remainder of the deck onto your
tabled, counted pile. Pick up all the cards and casually lift up at the breather,
obtaining a left—hand pinky break below it.
“You’re probably thinking that I just got lucky. I’ll do it again.” You will
now perform a variation of Troy’s Pendulum Cut, explained elsewhere in this
chapter. Transfer the deck to right-hand End Grip, transferring the pinky break to
a thumb break. Swing Cut approximately half the cards above the break into the
left hand (fig. 10). Turn both hands so that the cards are horizontal and upright,
and take all the cards below the right hand’s break with the left index finger and
thumb (fig. 11). Turn the right hand palm up and take the lowermost packet
between the index finger and middle finger, in a scissor—like fashion (fig. 12).
Fig.10
)
Rotate the right hand palm down, placing
the packet in right—hand End Grip injogged and
on top of the left hand’s cards (fig. 13). The
remaining packet, gripped between the index
and middle fingers, is placed below the other
cards (still face down), injogged with the upper
packet. This leaves the center packet protrud-
ing about an inch.
Strip out the protruding packet and table
the rest of the deck. Slowly and methodically
count the cards from the packet to the table.
Again, it will be the same number of cards that
the spectator originally cut off. Retain the last
91
card dealt in your left hand. “Finding the right number of cards isn’t the hard
part. The hard part is finding your selected card!” Reveal the remaining card
in your left hand to be the selection.
This effect encompasses a lot of magic and a lot of flourishes. However,
these flourishes can be easily replaced with straight cuts if your style is more
“naturalistic.” Any way you perform it, the duplication of packets is a stellar feat
that is impossible (even for magicians) to reconstruct.
92
Double Decker Plus
l‘o'
\/ a/
‘ 1
Double Decker Plus

Effect:
A red deck of cards is removed from the box and a card is selected and
replaced. The cards are put back into the box. The magician explains that there
are actually two decks in his card box! He reaches back into the box and removes
a blue deck. The deck is spread to show that all the cards have blue backs and
one is reversed: the selection. But when the selection is pulled from the spread
and turned over, it has a green back!
J} When Paul Harris published “Double Decker” (Close—up Fantasies I , 1980),
Troy was immediately drawn to the plot and built-in presentation. He has added
the ending of the odd-backed selection, which catches lay people and magicians
alike. Troy has also utilized Larry Jennings’s “Transmutation” (The Classic
Magic of Larry Jennings, 1986) as an influence for the color-changing deck
sequence.
Setup:
To perform this effect, you’ll need a blue deck of cards, two red cards, and
another odd-backed card. When Troy performs this routine, he uses green—col-
ored Bicycle cards. The odd-backed card should match one of the red cards. For
explanation purposes, let’s assume that the card is the Five of Spades.
Place an indifferent blue—backed card into the card case so that it faces
toward the thumb notch cutout on the bottom of the box. Fold the flap of the box
in front of the indifferent card, secreting it against the side of the box.
Place the odd—backed Five of Spades face up on top of the deck. Place the
indifferent red—backed card face down on top of it. Finally, place the red—backed
Five of Spades face down on top of everything. Place the deck in the red case,
keeping the flap folded inside, on the indifferent blue-backed card.
Performance:
Begin by removing the deck from its case, keeping the indifferent blue-
backed card inside the box. This is easy because it is separated by the box’s flap.
After the cards have been removed, casually reach into the box and correct the
flap so that it is no longer folded inside the box. This allows the indifferent card to
lay freely in the box, but at the same time conceals it from View.
Turn the deck face up to give the cards a quick mix. Perform a Hindu Shuffle,
maintaining the three-card stack on top of the deck. To do this, simply grab cards
from the center of the deck between the right thumb and middle finger, then pro—
93
ceed in the standard manner (fig. 1). This is known as a Belly Hindu Shuffle.
Turn the deck over and hold it in left-hand Dealer’s Grip. Riffle down the outer
edge with the left thumb, being careful not to expose the blue-backed cards. Stop
approximately halfway, and Slip Cut the top card of the deck onto the lower por—
tion with the left thumb (fig. 2). The right hand holds the upper half of the cards
from above, allowing the left thumb to slide the top card onto the top of the lower
half without exposing the blue-backed cards. if this move causes you worry, sim-
ply lift the hands so that the backs of the cards are out of audience view.
x.
mi
Kw
You will now Faro Shuffle the two halves together. The shuffle need not be
perfect, but the top few cards must weave correctly. Make sure that the lower por-
tion of cards is woven below the top card of the upper portion. Upon completion,
the order of the cards should be as follows: red—backed indifferent card, red-
backed Five of Spades, green—backed Five of Spades (face up), rest of blue deck.
This Faro Shuffle is not necessary, and the routine can easily be altered to
skip this phase. However, seeing an apparently red portion of cards woven into
another red portion of cards is the perfect non—verbal indicator of the deck’s color.
it may sound minor, but the visual image of red into red is strong. When cascad-
ing the cards after the Faro Shuffle, grip the deck deeper than usual in the right
hand. Cascades tend to be messy, and there is a chance of flashing blue cards. It
is best to keep the cascade tight. The idea of shuffling the cards as described
belongs to Bill Goodwin and is used in the context of his “ColorChanging Deck”
(Picking the Carcass Clean, 1986).
To have a card selected, hold the deck face up in left—hand Dealer’s Grip.
Obtain a pinky break above the bottom card. With the right thumb and middle
finger, pinch approximately thirty cards off the bottom of the deck. Pull these
cards from the pack, allowing the card below the left pinky to remain in the left
94
Double Decker Plus
hand (fig. 3). Execute a Hindu Shuffle, asking the spectator to indicate when to
stop.
After she has asked you to stop, slap the remainder of the right hand’s cards
onto the left hand’s packet, injogged about an inch (fig. 4). Turn the deck end for
end, being sure to keep the step between the packets intact. The face-down deck
should still appear red, as the top card on each packet has a red back.
To remove the selected card, you will execute the Annemann/Christ

Alignment Move. The right fingers grip the upper portion of cards in a modified
End Grip. The grip is deeper than usual, situating the pads of the right fingers on
top of the lowermost red-backed card (Five of Spades). Move the right hand for—
ward, pushing everything as a unit (figs. 5-6). The right fingers slide the card they
contact forward as the upper packet is pushed fluSh with the lower packet. The
result is an outjogged, red-backed Five of Spades.
95
Although you may not have noticed (understandably), you have secretly
positioned the odd—backed card face up in the center of the deck. The trick has
barely started, yet almost all the work is done.
Take the outjogged Five of Spades from the deck and show it to the specta-
tor. To apparently bury the card in the deck, perform Ed Marlo’ s Tilt move
(Tilt,
1962), situating the red- backed Five of Spades second from the top.
Put the deck back into the case so that the indifferent blue-backed card ends
up face down, on top of the face-down deck. Explain to the audience that you
have brought another deck of cards, but you keep it in the same case.
Remove all the cards from the case. The deck will now appear blue. With
some creative patter accompaniment, the image of removing a “second” deck is
actually somewhat logical (but still impossible).
Casually dribble the cards from hand to hand, showing the backs of every
card as blue. A quick dribble will not flash the reversed card. Spread the cards
onto the table from left to right, but be sure to leave the top few cards square. By
leaving these cards square, you will not flash the two red backs on top of the
deck.
The spread will display a blue—backed deck with one card reversed, the selec—
tion. Invite the spectator to remove the selection, gesturing with your hands to
indicate sliding the card forward, insuring the spectator won’t pick the card up,
thus allowing the green back to remain concealed. The small finesse of allowing
the spectator to physically remove the green—backed card is important. Later on
she will remember touching the card while it still had a blue back. Then, without
the magician touching the card, the back changed color.
After allowing the magic of the color changing deck to sink in, instruct the
spectator to turn over the selection to find the green-backed card. While doing
this, you can discreetly pick up the spread of cards, palm off the top three and
ditch them1n a pocket. Troy motivates this ditch by reaching for his pen in prepa—
ration for his “Subliminally Signed” (chapter one, “Commentary”).
96
Zombie Change
Zombie Change
The “Zombie Change,” so named due to the zombie-like effect this change
has on an audience, is a rarity. It is a double change, meaning that three cards
melt away visibly, one into the other.
Troy has combined his own additions to John Cornelius’ original Winter
Change (Apocalypse, September 1978) and Jerry Andrus’ Startling Color
Change (Andrus Card Control, 1976). Dorian Gray showed Troy a triple change
that resembles the “Zombie Change” in appearance. Having been present when
Dorian showed Troy the change, I can attest to the extreme difference in handling,
mainly concerning Dorian’s use of Erdnase’s Color Change as opposed to Troy’s
combination of the aforementioned ideas of John Cornelius and Jerry Andrus.
Since Erdnase describes several Color Changes, it may not be clear to the read—
er which change I am referring to. Originally invented by Houdini, the full title of
the change is “Transformations: Two Hands, First Method” and can be found in
The Expert at the Card Table, (1902). Barry Price published “Double Take,”
something similar to the Zombie Change (Lecture 3, no date).
More than anything, this change requires a light touch. The cards cannot be
forced into position. Instead, rehearse the move, making adjustments according
to your own hands and movements. This move is best viewed from directly above.
Setup:
Obviously, Color Changes do not require
setups. However, for maximum color and value dif-
ferential, place the Queen of Hearts on top of the
deck, the Nine of Hearts on the face, and the Ace
of Spades on top of the Nine.
Performance:
Begin with the face—up deck in left~hand
Dealer’s Grip. Turn the right hand palm up, flexing
the fingers to show the hand empty. Turn the right
hand palm down and grip the deck from above.
Push the Queen of Hearts into the right palm with
the left fingers (fig.1 is an exposed view).
97
The Queen is pinned in place by the left 1
middle finger. While in this position, the right

hand can hold the deck in a very free manner
without the restraint of palming a card.
The right hand releases its grip on the
deck and extends into a flat position. Move
the right hand over the deck and to the left.
The left middle finger follows the right hand,
keeping the Queen pushed in position. Allow
the right palm to contact the left thumb,
which is lying across the face of the deck.
Push the Queen on top of the thumb, taking
care not to flash it from underneath the right
hand. The Queen is now held in position by
the left thumb, enabling the left middle finger
to retreat to its original position under the
deck.
The thumb will act as tracks for the right
hand. As long as the Queen is pinned to the
palm by the thumb, the right hand can move
up and down the left arm naturally. The Ace
of Spades is the current face card on the
deck. Move the right hand to the left, using
the thumb and thumb base as support for the
hidden Queen of Hearts (fig. 2).
Begin to move the right hand back over
the deck. As the hand approaches the deck,
move the left thumb to the outer left corner of
the deck (fig. 3). The right palm briefly hovers
over the face of the deck, covering it from
D
__
view. During this moment, the left thumb

pushes the Ace of Spades slightly to the right.
The left fingers help press this card against
the right palm, below the hidden Queen.
There are now two cards pinned in the right
palm, held in place by the trusty left middle
finger. Continue to move the right hand to the
right, allowing the left middle finger to secret-
ly accompany the right hand from below. The
right hand’s movements should be fluid and
free of rigid stops. A slow, delicate pace is
preferable.
98
Zombie Change
As the right hand moves away to reveal the first change, the Nine of Hearts
will be the face card. Wiggle the right fingers, keeping the hand in an extended,
flat position. The right hand should appear unmistakably empty at this point.
For the final change, hover the right hand over the packet one last time. This
time however, both cards pinned against the palm are released onto the face of
the deck. The left middle finger returns to its grip on the deck as the right hand
pulls back in a diagonal motion the right (fig. 4). Slowly turn the right hand over
to display its legitimacy.
99
...._._..W..-M-.
Slip Stream
Slip Stream
This is an extremely versatile control. Not terribly difficult, it is a utility sleight
to control any card to any position. “Slip Stream” is used in conjunction with
Hofzinser’s Culling Technique (Hofzinser’s Card Conjuring, Sharpe Translation,
1931). Frank Simons’s Versatile Cover Steal (Versatile Card Magic, 1983) also
uses the Hofzinser Culling Technique and a similar method for taking the cards,
but the actions of the hands are different. Slip Stream is meant as a casual,
almost sloppy run—through of the pack.
Troy’s sleight is most impressive when used in the context of a sandwich
plot. Consequently, the move will be explained within the description of a straight-
forward, streamlined sandwich effect.
Application #1 — Moveless Sandwich

Effect:
Two Aces are placed face up on top of the deck. A card is touched, remem—
bered, and lost in the pack. Without any moves or hesitations, one card appears
between the Aces...the selection.
Performance:
Remove the two red Aces and place them face up on top of the deck, keep—
ing them squared together, and jog them to the right about half an inch. Spread
the cards from hand to hand for a selection, keeping the Aces squared on top (fig.
1).
Have a spectator touch a
card. You will be executing Allan
Ackerman’s A Card Pass (Effects
from the Magic Mafia, 1970). In
turn, Ackerman’s sleight is based
on Edward Marlo’s Convincing
Control (Hierophant No. 3, March
1970). Break the spread at the
touched card, keeping the selec—
tion on top of the left hand’s pack~
et. Spread over two cards, obtain-
cm...
ing a break below the selection and the indifferent card to the left of it. Feed these
two cards onto the face of the right hand’s spread, keeping them as one. Lift the
right hand to diSplay the “selection” (it is actually the card below the selection).
101
Lower the right hand to waist level in preparation for Allan’s control. The left
thumb contacts the uppermost card of the right hand’s double and it from
the spread. As this occurs, the right fingers contact the selection outjogs
(lower card of
the double) and drag it beneath the spread in cull position (fig. 2). Done proper—
ly, this move is undetectable.
The audience believes the out—
jogged card to be the selection,
when the selection is actually sit—
uated beneath the spread.
The right fingers slide the
selection to the extreme right
side of the spread. The Aces
should still be squared and in
the fork of the right thumb. The
Aces are gripped in this position
and pulled clear of the spread
approximately six inches. The
selection is secretly stolen
beneath the Aces as they are
taken away (fig. 3). Although
this may read like vascular sur—
gery, the handling is actually
loose and unstructured. If the
face~down selection shows next
to the Aces, it will still appear
that you just accidentally took
too many cards from the top.
Immediately after the selec—
tion and Aces have been pulled
from the spread, they are
brought back to the pack. The
(j
ggggg
" I
left thumb shoves another pack-
et of cards under the three cards in the right hand. Again, the right hand
moves
away from the spread with all of its cards. In a continuing action, the right hand
meets the left, more cards are added on, and the sequence continues. Spread
through the entire deck, breaking the pack at various points to camouflage the
original steal, then square up. The selection is now below the two .Aces on of
the deck. An indifferent card, believed to be the selection, is outjogged in thetopcen—
ter of the pack. Troy usually covers this steal with generic patter such “You
could have Chosen any of these cards, but you settled on this one.” as,
As the deck is squared and placed into left-hand Dealer’s Grip,
below the top three cards. With the left thumb on top of the get a break
uppermost Ace, pull
102
Slip Stream
out the remaining two cards (Ace, selection) as one in right—hand End Grip (fig.
4)..Use this double card to push the outjogged card flush (fig. 5). This small
finesse justifies the right hand’s actions and motivates the sandwich loading.
Place the double back on top of the deck.
%
Snap your fingers, make a magical pass, and show that the selection has
i
risen in the pack and is now sandwiched between the two red Aces.
Application #2 — Universal Control

The same handling for the above sandwich effect also makes for an excellent
control. This handling can control a card to almost any position in the pack. For
explanation purposes, we will assume the selection’s desired position is seventh.
Begin by spreading the deck from hand to hand in preparation for a selec—
tion. Get a pinky break under the sixth card and square up. Grip the cards above
the break in right-hand End Grip and jog them to the right about half an inch.
Proceed with the handling as explained above. Steal the selection below the
K) six cards, and then continue breaking the spread intermittently.
Application #3 — Card to Number

Effect:
A spectator is invited to select a card. While the selection is still in view, the
spectator is asked to name a number between one and ten. Without any moves
or fumbling, the card is revealed at the appropriate position in the pack.
This effect, similar in handling to the second application, is not as sure fire,
but possibly more mystifying.
103
Performance:
Using the aforementioned control, Troy positions the selection at the seventh
position in the pack. Through extensive experimentation, Troy has found that the
most commonly named numbers are seven and five. If the named number is
seven, he carries out a truly astonishing miracle.
the named number is less than seven, he will pass the appropriate number
If
of cards to the bottom of the deck. For instance, if the named number is three,
he will get a break under four cards, pass them to the bottom, and reveal the
selection at the third position. If the named number is greater than seven, Troy
will use his own “Pendulum Cut” to add cards from the bottom of the deck to the
top.
104
Ultimate lllogical Cut

This cut, which Troy devised many years ago, is currently used by magicians
worldwide. It really is the ultimate illogical cut. Unfortunately, the countless num—
ber of magicians who have published variations on the move have forgotten
Troy’s original cut and its predecessors.
Bill Goodwin brought Bill Kalush’s name to my attention with regard to the
history of cuts of this kind. “Kalush’s Cut” (Magic Manuscript, December
1982/January 1983) was a precursor to all cuts of this type.The Ultimate lllogical
Cut was first printed in The Minotaur (December, 1990). The cut looks complex,
and would probably read even worse were it not for Marv Leventhal’s meticulous,
step-by-step instructions. The same clear, concise, and easy to follow write—up is
reprinted here with Marv’s blessing.
Ultimate lllogical Cut as described by Marv Leventhal

The Ultimate lllogical Cut has its roots in Gianni Mattiolo’s lllogical Shuffle,
which isn’t really a shuffle at all but a flourishy two—handed cut that keeps the top
and bottom portions of the deck intact. It was published in the November 1985
issue of Apocalypse. Some time later, Troy saw Jay Sankey’s handling of The
lllogical Shuffle, which keeps the order of the entire deck intact. While Troy’s
Ultimate lllogical Cut incorporates some of the handling of The lllogical Shuffle
andis a full deck false cut like Sankey’ s, it takes them both a couple of steps fur—
ther, hence its title.
Begin by holding the deck in your left hand parallel to the floor, thumb along
the left long side of the deck, index finger at the outer narrow end, remaining fin—
gers along the right long side. Your left index finger should be to the right of the
center of the outer narrow end, its tip just peeking over the top of the deck (fig.
1). While maintaining your left hand grip, grasp the middle of the narrow ends of
the deck from above between your right thumb and index finger (fig. 2).
105
,
To start the cut, your right thumbtip

lifts up approximately the upper three—
quarters of the deck at its inner narrow
end. At the same time, the tip of your
right index finger lifts up approximately
the upper half of the deck at its outer nar-
row end. This should almost instantly
result in a “Z” formation (fig. 3). For
instructionalpurposes, the three packets
forming the “Z” in figure 3 have been
labeled A, B, and C. By the way, you
might try using your left little finger to pull
down the lower quarter of the deck (fig. 4)
in order to make lifting the upper three-
quarters with your right thumbtip a little
easier. Alternatively, you could first obtain
a left little finger break above the bottom
quarter of the deck and then lift up the Fig-4
cards above the break with your right
thumbtip to start the formation of the “Z.”
However you do it, once the “Z” is
formed, place the tip of your right ring
finer on the outer right corner of packet C so that your right index finger can kick
cut the top half of C toward the left (fig. 5). That is, the tip of your right index fin—
ger lifts the upper half of the outer narrow end of C and moves the outer narrow
end of this newly'formed packet, labeled D in figure 5, toward the left. Also, as
you kick cut the upper half of C, extend your left index finger forward, causing
your right hand and B, C, and D to move’slightly forward (fig. 6).
106
Now rotate both hands clockwise

a quarter turn. A bird’s eye View of the
resulting situation is shown in Figure
7. Continue by turning your right hand
at the wrist away from you so that the
outer narrow ends of C and D are tilt—
ed slightly downward. How far down-
ward should become clear in a
moment (I hope).
Without pause and without drop—
ping packet A, release your left middle
finger’s and left thumb’s grip on A.
Packet A should now be held only by
k} your left ring and little fingers along
one long side and by the fork and
base of your left thumb along its other
long side. With your left thumb and
middle finger now “free,” use them to
grasp C near its outer corners. That is,
grasp the outer narrow end of C by
placing your left middle finger on the
upper long side of C near its outer nar-
row end (fig. 8). The edges of A and B
may brush against each other slightly
during this action.
Next turn both hands at the wrist
slightly away from you until the narrow
ends of C are parallel to the floor.
Then move your right hand slightly
;
} upward and forward, relinquishing
your right thumb’s hold on C and
moving the inner ends of B and D for—
ward until they are clear of C.
Continue by moving your right hand
to the right and then back toward you
until C lies to the left of B (fig. 9).
Packet C should remain in place, held
only by your left thumb and middle
fingen
Continue by pushing B toward you with your left index finger, causing your
right hand along with B and D to move toward you until your left index finger
touches at about the middle of the outer long side of C (fig. 10). The outer long
107
side of C most likely will brush against

the face of B as this happens. Continue
by moving your left middle finger off C so
that C is held between only your left
thumb and left index finger. Your left
thumb may almost automatically slide
slightly toward the middle of the side of C
as you do this.
Now turn your left hand at the wrist
away from you until the long sides of C
are almost parallel to the floor. Then
grasp the outer narrow end of C between
your right middle, ring, and little fingers,
middle and little fingers resting against
C’s long sides, ring finger resting against
its outer narrow end (fig. 11).
At this point, simultaneously move
your left hand in toward you as your right
hand moves forward. Do this until the
narrow ends of B are parallel to the floor.
Your left thumb and left index finger relin-
quish their grip on C to accommodate
this action. Don’t worry though — C
should still be firmly held by your right
middle, ring, and little fingers. Now
extend your right middle, ring, and little
fingers and tilt your right hand slightly to
the right so that C clears the outer end of
B (fig. 12).
9 By tilting your right hand back

toward the left to its previous position,
your right middle, ring, and little fingers
should be able to maneuver C so that it is
back to where it started from between B and D (fig. 13). Now move
forward and upward until the long sides of B are once again your left hand
parallel to the floor.
If you like, you could end the cut at this
point. Just turn your left hand palm
up as you turn your right hand palm down, place B, C, and D on top of A, and
square the deck. Even though all you have done up to this point is switch the
positions of B and C and then switch them back again, it’s a pretty good looking
false cut, but it’s only semi—ultimate. For the rest of The Ultimate
lllogical Cut, con—
tinue from where you left off in the previous paragraph as follows.
108
\/
‘
. O 1
73/
You are now'going to switch the positions of B and C once again. To do this,
turn your right hand at the wrist away from you so that the outer narrow ends of
C and D are tilted slightly downward. Regrip the outer narrow end of C with
your
left hand by placing your left middle finger on the upper long side of C on or near
the outer corner next to your right middle finger and placing your left thumb on
the bottom long side of C on the side of your right little finger nearer to you. Then
switch the position of the packets as you did before. That is, move your right hand
slightly upward and forward, allowing B and D to clear C. Continue by moving
your right hand to the right and then back toward you until C is to the left of B
(fig. 9 again). Then push B toward you with your left index finger until your left
index finger touches at about the middle of the outer long side of C (fig. 10 again)
and move your left middle finger off C.
Now it’s time for the first of two displays. Immediately place the tip of your
left middle finger on the outer lower corner of D and use it to pull roughly the left
third of the outer end of D to the left, thus forming packet E (fig. 14, a'bird’s eye
view). This is most easily accomplished by moving your hands apart slightly.
Continue by placing your right ring finger on the lower outer corner of E and kick
cutting the right half of it upward with your right index finger in a similar manner
to that depicted in Figure 4, thus forming packet F. The resulting position is
shown in Figure 15 (yet another bird’s eye view) a pretty impressive display of
—
six, count ’em, six separate packets.
To enhance this display, spread your fingers and hands as far apart as pos—
sible in order to get as much distance as possible between the six packets. To fur—
ther enhance this display, turn your left hand palm up as you swing your right
hand in an arc directly above your left hand, turning your right hand palm down
in the process (fig. 16). Packets E and F should pivot toward the left, while pack—
ets B and D should pivot toward the right as your hands move. These motions will
help create the illusion that all six packets are sort of swaying to and fro.
109
For the second display, move your

hands back to their previous positions
(fig. 15) and allow D, E, and F to coa—
lesce into one packet as you do so.
Hold the resulting packet (D in fig. 10)
by only your right index finger and
thumb. Now simultaneously turn your
right hand palm up and your left hand
palm down as you move your hands
apart. Move your hands apart until the
long sides of B are parallel to your
body. Looking down at the cards, you
should now see the display depicted in
figure 17. However, since you are dis-
playing these four packets to your
spectators and not yourself, tilt the
whole thing so that the faces of the
packets are toward your spectators.
To enhance this second display,
move your hands slightly toward each
other and then apart a couple of times.
This again conveys the illusion that the
packets are swaying, hopefully grace—
fully, to and fro.
Well, it’s finally time to complete
the cut. Turn your hands back the way
they were previously (fig. 10). Then
turn your left hand at the wrist away from you and grasp the outer end of C
between your right middle, ring, and little fingers again (figs. 12-13) and end as
in the semi-ultimate description. That is, turn your left hand palm up as your turn
your right hand palm down, place B, C, and D on top of A, and square the deck.
ln performance the whole sequence of cutting actions from beginning to end
should flow smoothly without pause, and when it does, it is a very pretty thing to
watch. If you ever happen to meet Troy, ask him to perform this cut for you, and
you’ll see what I mean.
110
Any—Cut Card—to-Box
Any-Cut Card-tO-Box
Effect:
The spectator Selects a card in the fairest possible manner. She looks at the
card and shuffles it back into the deck. The magician takes the deck, and it is
spread to show that one card is missing. The spectator’s attention is shifted to a
box that has been resting on the table‘throughout the entire effect. The spectator
discovers the selected card inside the box.
J}
w
After watching this effect for the first time,'l was completely fooled. Who
would have known that Troy would secretly employ the use of a duplicate, and
then an unsuspecting ditch of one card? lt was a beautiful moment, and one that
reminds us all that the simplest methods often lead to the most direct plots.
Setup:
Begin with a duplicate card, say the Six of Clubs, inside the card box. Using
the Six of Clubs from the deck with which you will be performing, create a.
breather card using the method previously described in “Weight Your Turn.”
Begin with the breather card in the twenty-seventh position from the top of the
deck. Troy gets into this mildly annoying position with Ed Marlo’s “Faro Check”
(The Faro Shuffle, 1958). Split the deck in two halves of twenty-six cards in
preparation for a Faro Shuffle. By gaugingtwenty—six, he can add the Six of Clubs
in the ‘correct position in a fairly quick, innocent manner.
Performance:
Begin by setting the box to your right and then giving the deck several false
) shuffles and cuts. By nature, this trick has a colorful flash to it, and Troy feels that
fancy shuffles are not out of place. Ask the spectator to name a number between
twenty and thirty.
Through performance experimentation, Troy has found that the most com-
monly named number is twenty—seven. If she should name twenty-seven, hand her
the deck and have her count down to the twenty—seventh card (the breather),
remember it, and then shuffle it back into the deck. Should the spectator name a
number greater than twenty-seven, Troy will Double cut the appropriate amount
of cards from the bottom of the deck» to the top. For instance, if the named num—
ber was twenty—nine, Troy would cut two cards to the top of the deck, putting the
breather card in the twenty-ninth position. If the named number is less than twen-
ty—seven, Troy will casually cut off the required number of cards. If the moment is
right, he might even institute a Pass, blasting a small packet of cards to the bot-
tom of the deck. Either way, the breather should be in correct position within sec-
onds after the spectator names her number.
111
Hand her the deck and ask her to count to her named number, dealing one
card for each integer. She is to note the card at the named number. She will count
down to the breather card and remember it. Invite the spectator to shuffle and cut
the cards. Afterward, kindly ask for the deck.
When any trick is performed a considerable number of times, a variety of
things start to occur. Sometimes freak accidents lead to truly magical moments
that are impossible to duplicate. Other times, however, we can discover vulnera-
ble points in a routine that happen too often to ignore. This next bit of informa—
tion is one such occurrence. Troy has found that when asked to shuffle the deck,
the spectators will often unknowingly shuffle their card to the bottom or top. This
is both because it is a card separated briefly from the others and because it is a
breather card. Either way, the possibility is worth noting. For this reason, Troy
always glimpses the top and bottom cards of the pack before continuing the rou-
tine. lf fate is with him on that performance, he may use this freak accident in an
extra phase, playing out the trick as if the effect was that the spectator shuffled
her own selection to the top (or bottom). This bonus effect packs in an added ‘
impossibility before finishing the effect. This is a small detail, but certainly one
worthy of your consideration.
Cut the deck at the breather to bring the selected card to the bottom. Do not
focus any concentration on finding the breather. Should it take three or four cuts,
all the better. it looks far more natural to cut the deck randomly than to stare
intently at the deck in search of something.
Having followed the path this far, we are now presented with a fork in the
road. The ultimate goal is to ditch the breather card. If you are sitting, this is a
simple matter of lapping. If you are standing, there are other options.
For those who will be performing this effect while seated, Troy has choreo—
graphed the following movements to lap the selection. Holding the deck in right—
hand End Grip, get a break above the bottom card. Call attention to the box on
your right. Reach for the box with your left hand. As the left hand crosses over the
right, allow the right hand to move to the table’s edge nearest the left side of your
body. As you point to the box, release the right hand’s break, allowing the card to
fall safely and secretly into your lap. It is crucial that the
eyes follow the left hand’s
path and even the body should be accented a bit toward the right, putting sharp
focus on the tabled object.
If you are standing, there are several routes to ditch the card. The
preferred
would be Troy’s ditching techniques, as described in the chapter titled
“Curiosities.” The card can also be ditched by palming it off, going to the pock-
ets to retrieve the box, and then discovering that it is on the table. The card is
ditched in a frenzy to find the box, and the box is then discovered in plain view.
Not only does this provide competent motivation for ditching the card, but it also
functions as a subliminal reinforcement of the fact that the box has been in view
and untouched by anyone since the effect began.
112
Any—Cut Card—to—Box
To conclude the effect, ask the spectator..for the name of the selected card.
Spread the deck to show that the card has vanished, and then allow the specta—
tor to open the box, discover her selection, and ponder over the impossibility of
that which has just transpired. This, incidentally, is an excellent opportunity to
implement Troy’s “Subliminally Signed” from chapter one, “Commentary.”
Reversed Name-a-Number
Effect:
A number is named between twenty and thirty. The card lying in the position
of the named number is shown to be the only reversed card in the deck. This card
is then turned over to reveal a different colored back!
1”“
A similar effort to the preceding effect, Troy achieves a different outcome
with this handling. It has a sneaky ending that is sure to throw even the most
skeptical audiences.
Setup:
Begin by placing an odd-backed card in the twenty-sixth position in the deck,
reversed. Again, the aforementioned “Faro Check” would work well here.
Performance:
After reading “Any-Cut Card-to-Box,” the explanation for this effect is almost
unnecessary. As explained above, simply add or take away cards to make the
reversed card lie at the named position.
Allow the spectator to count down and discover the reversed card. This puts
the selection in her hand. Simply ask her to turn the card over. This is an excel—
lent performance situation, as the spectator will reveal to herself the odd-backed
card. Allowing her to discover the varied back on a card that she has been hold—
ing is quite a presentational advantage over other color-changing back
sequences.
113
»‘o‘
\/
‘
L
fi/

Effect:
A card of unknown identity is removed and tabled. The spectator names a
number. The card lying at the named position is revealed to be the mate of the
isolated prediction.
Despite its utter simplicity, this startling effect has bedazzled many top—notch
card workers. This is Troy’s take on Paul Curry’s classic “Curry Unsolved Card
Problem” more commonly known as the “Open Prediction.” Ed Marlo was the first
to publish a method that met Curry’s challenge with “Open Prediction” (The
Cardician, 1953) but Stewart James had a whopping eighty methods devised at
that time. Those methods were published at different times but can all be found
in Stewart James in Print The First Fifty Years, (1989).
—
“Closed Open Prediction” does not follow James’ set parameters by any
stretch of the imagination. Instead, the routine has a different appearance due to
the order in which the effect is unraveled. Troy attempted to simplify and adapt a
method by Larry Jennings entitled “Devious Open Prediction” (Genii, April ‘
1999).
The ridiculous title is appropriate for this take on the “Open Prediction” plot
because although the trick is based on the same procedure, the prediction is not
revealed prematurely. It is a “closed” prediction that is to be revealed only after
the dealing process is complete. Normally, the card is tabled face up, thus serv—
ing as the “open” or predetermined prediction card. In this version, the tabled
card remains face down and unknown until the trick’s climax.
Performance:
Take back a thoroughly shuffled deck and spread through it so that the audi—
ence cannot see the faces. Starting at the face of the pack, count down to the
twenty—seventh card. By spreading three cards at a time, this is not such a tedious
‘
process. Note the twenty—seventh card, say, the Four of Hearts, and continue
spreading through the pack.
After passing the Four of Hearts, begin to search for its mate, the Four of
Diamonds. Half the time you will find that the mate will be past the original and
half the time it will be before it. Knowing what card is twenty-sixth from the top of
the deck (or twenty-seventh from the face) is an integral part of the trick. If the
mate is before the original, it will not interfere with the top twenty—six cards. If this
is the case, remove the mate, table it, and proceed with the effect. If, on the other
hand, the mate exists in the upper portion of cards, you must substitute one card
into the top stock from the bottom portion as follows.
115
With the cards spread at chest

height, upjog the Four of
Diamonds. Using both thumbs,
manipulate the face card of the
deck across the spread and directly
to the left of the upjogged Four (fig.
1). Break the spread at the
upjogged Four, retaining the extra
card with the left thumb (fig. 2).
Using the right fingers, remove the
Four of Diamonds from the spread
and table it without revealing the
identity. By reassembling the deck,
the stolen card will be secretly
added in the Four of Diamond’s
position.
In continuing with the effect,
ask for any number. The trick is
weakened by limitations, yet it
works well with numbers between
twenty and thirty. By asking for a
number casually, you can downplay
an illegitimate number. “You know
what, thirteen is way too easy —
give me something difficult per- —
haps between twenty and thirty.”

The force card is now in the
twenty-sixth position. Should the subject name twenty-six, slowly and methodi—
cally count down twenty—six cards and reveal. the Four of Hearts. If she mentions
a number greater than twenty-six, Double cut the appropriate amount of cards. If
she names a number less than twenty-six, perform the Pass or cut off the num-
ber of cards necessary to maintain the correct position of the force card.

This version, more closely related to the original, is a slight variation that
may appeal to the purist readers. The only significant change is that the predic—
tion card remains unknown during the selection procedure. Though similar in
method, the routines have two totally different presentations, thus appearing dis—
similar to the audience.
'
After taking back a thoroughly shuffled deck, proceed to note the twenty-
sixth card from the top of the deck, say, the Six of Clubs. As per the description
116
above, remove the mate. Again, you might have to displace the mate with anoth-
er card to maintain the Six of Club’s twenty-sixth position.
Table the mate face up and ask the spectator to name any number. Target a
number between twenty and thirty through the method already described, and
then adjust the pack accordingly.
When the Six of Clubs is successfully positioned to the named number, hand
the deck to the spectator. Have her deal cards onto the table face up, but when
she reaches her named number, she is to deal one card face down. She is to con-
tinue past her selected number, dealing the cards face up again so that the only
face—down card in the pack is the Six of Clubs. As the dealing
progresses, the
spectator will notice the absence of the open prediction’s mate. Triumphantly
reveal the face-down card to match the prediction, and leave the spectator to
ponder a mystery that has just taken place in her hand.
117
Displ—Ace
DispI-Ace
Effect:
Four Aces are inserted into different parts of the deck. With a simple twist of
the pack, the Aces turn face down, still dispersed throughout the pack. The Aces
are removed and placed atop the pack. With a snap, they leave the top, instantly
jumping back into different places in the deck, reversed.
Troy devised this effect to accompany his use of Jim Swain’s “Vanishing
Aces, The Sequel” (Don’t Blink, 1992). This trick is not for the weak of mind or
skill. Because it is dependent on several standard moves, you must have a work—
ing knowledge to understand the description of this item. You must also have a
proficient Pass, as it is performed under more scrutiny than usual.
His influences for this effect were Bill Goodwin’s “Slap Exchange” (At the
Expense of Grey Matter, 1986) and Ernest Earick’s “Jacksyna(ps)ces” (By
Forces Unseen, 1993). A version of this effect appeared in Trapdoor Magazine,
but it has been altered and refined considerably since that time.
Setup:
To begin, remove four Aces from the deck. There must also be five face-up
cards on top of the face-down deck. You can either begin in this condition or per—
form Ken Krenzel’s Mechanical Reverse (Epilogue, Special issue Number 2) with
the deck. At any rate, begin with the deck in the left hand and the Aces set aside.
Performance:
Begin by dispersing the Aces into the
deck, face up. The spectators will believe the
deck to be face up, when in truth it is face
down excluding the top stock of cards. Slide
each Ace into a different position in the deck,
but be sure that no Aces are inserted in the
uppermost, reversed five cards. When insert-
ing, riffle the outer edge of the pack with the
left thumb gently to prevent exposing the
secret, reversed condition of the pack. Leave
the Aces protruding for about half their length
(fig. 1).
119
As the Aces are pushed square, casually allow the top few cards of the deck
to spread. This subtly shows the face—up Aces going into an apparently face-up
deck.
You will now correct the deck beneath the top card using Henry Christ’s
Christ Twist (The Classic Magic of Larry Jennings, 1986). Briefly, obtain a
break beneath the top card. The reversal takes place as the cards are swiveled
end for end. Specifically, the top card is gripped from above in right—hand End
Grip. The left fingers support the pack from beneath by the long sides. As hands
begin to rotate the entire deck in a clockwise direction, the left fingers drop down
slightly, separating from the top card. By curling inward, the deck is rotated to a
vertical position beneath the top card (fig. 2). The top card provides cover for this
secret maneuver, and the rotating move—
ment of the deck adds motion to the
move, rendering it invisible. The left fin—
gers continue to rotate the deck beneath
the top card until it they are once again
flush with the top card. Without stopping,
the left fingers regrip and continue to
rotate the entire pack end for end. While
performing this sleight, comment that
turning the deck causes all four Aces to
reverse in the pack.
Keeping the deck face up, spread the
cards until you reach the first face-down
Ace. As you come to each Ace, you will be
performing a reverse-culling procedure created by Larry Jennings and used in
“The Bonus Trick” (The Classic Magic ofLarry Jennings, 1986). As you come
to the first face~down Ace, slide the bottom card of the deck ( a reversed indiffer-
ent card) beneath the spread and to the right of the reversed card. Break the
spread at the Ace, taking both the reversed Ace and the secretly stolen card in
the right hand’s portion. Outjog the face—down Ace and reassemble the hands,
effectively adding the reversed indifferent card beneath the Ace. Repeat this pro-
cedure three more times, inserting a reversed card from the bottom of the deck
beneath each reversed Ace. After this procedure is complete, the deck is squared,
leaving the four Aces outjogged.
To make them magically jump back to their original places in the deck, you
will perform Troy’s original One—and-a-Half-Pass.
120
One—and—a—Half—Pass
One—and-a-HaIf-Pass
Mathematically speaking, this is a One-and-a-Half—Pass. That is, it has the
properties of both a Pass and a Half—Pass. This sleight was inspired by Randy
Wakeman’s “Thrtowing it in Reverse” and Ed Marlo’s Wrist Turn Pass (Special
Effects, 1987).
Begin by stripping out the Aces and
placing them face up on the deck. As they
are placed on the face of the pack, get a
break below all four. In one brisk motion,
the right hand moves over the right side of
the deck. As this happens, the left fingers
extend, maneuvering the Aces to an
upright position, concealed by the right
palm (fig.2b is an exposed View). Secretly
reposition these cards, allowing them to
slide to the bottom of the pack, reversed
(fig. 3). The Aces should be face down on
the bottom of a face—up deck. Maintaining
a break above the Aces, grip the pack with
the right hand in End Grip, allowing the left
hand to move away from the pack. Show
this hand empty, pointing with the right
index finger.
Transfer the right hand’s thumb break
to a left—hand pinky break and move the
right hand from the deck, showing it
empty. Again, point to the empty right
hand with the left index finger (fig. 4). You
have secretly completed the One—and—a~
Half-Pass, reversing the passed cards to
the bottom. Viewed from above, the spec-
tators should see the top cards (Aces) melt
away. The cleanup for the move is done as the hands are shown empty. Done
quickly, it is impossible to trace.
Continuing with the routine, spread the deck from hand to hand. As you
spread through, you will discover four face-down cards. Outjog these cards as you
come to them, and miscall them as the four Aces. After all four cards have been
outjogged, square up the deck so that only the four face—down cards protrude. Be
sure to run through the cards slowly to match the actions of the previous run-
through. Before, this action was slower due to the intense trickery going on
beneath the spread.
121
You will execute Derek Dingle’s version of Dai Vernon’s Strip-out Addition
(The Complete Works of Derek Dingle, 1982) to switch the four Aces on bottom
for the four outjogged, indifferent cards. Begin by moving the left hand forward
and under the four outjogged cards. As the hand moves forward, the fingers
secretly bring the four Aces flush with the other outjogged cards (fig. 5). Keeping
the left pinky finger above the four Aces, strip out the indifferent cards above the
Aces and obtain a break between them (fig. 6). The deck is regripped in right-
hand End Grip]
5‘-
13"
Turn the deck face up. In the action of spreading the remainder of the deck
on the table, the right hand will pass directly over the left hand. During this split
second, steal all four indifferent cards above the break to the face of the right
hand’s cards. Without pausing, move to thetable and spread the cards from left
to right. This leaves only the four Aces in the left hand. Slowly and methodically
deal these cards face up onto the spread for an eye—pleasing display (fig. 7).
The One-and-a-Half-Pass gives the appearance of an instantaneous change.
In fact, this Pass is quite slow in operation. The change happens visually, but the
cleanup is spread out over the action of showing the hands empty. This psychol-
ogy works well for the move, because after the 'change, the audience believes the
magic to be over. During the offbeat, the sneaky cleanup is easy to accomplish.
122
Pendulum Cut
.‘o'
\/
4
I
44/
Pendulum Cut
There are several false cuts included in this book. This cut, although appear—
ing complex, is quite easy to perform. It is a full deck false cut, retaining every
card in its original order. It is an “in the hands” false cut, and like most of Troy’s
work, does not require the aid of a table.
Performance:
Begin with the deck in right-hand End Grip. With the index finger, swivel the
top third of the deck into the outstretched left hand. Turn the right-hand packet
end for end so that the right thumb is closest to the audience. Riffle half of the
remaining cards from the right hand’s packet and grip these cards with the left
thumb and middle finger (fig. 1).
Contract the right hand and rotate the wrist so that the cards are once again
held in Biddle Grip. Transfer this grip slightly by pinning the right hand’s cards
between the thumb and third finger, freeing the right index and middle finger to
perform other tasks. Using these two fingers as pincers, grasp the cards in the left
palm (the top third of the deck) with the middle finger below and index finger
above (fig. 2). Pull this packet out of the left hand and allow the left hand’s
remaining cards to fall into a Dealer’s Grip.
The right hand moves the packet gripped between the thumb and ring finger
above the left hand and deposits it on top of the left hand’s cards. The right wrist
turns in positioning the packet pinched between the index and middle finger
above the remaining cards. This packet13 dropped on top to complete the deck,
eeping every cardm its original order.
123
Pendulum Transfer
Besides a false cut, this sleight can also transfer cards from the bottom of
the
deck to the top. A Double Undercut will perform the same function, but used
the right moment, the Pendulum Cut appears more random and at
complex.
Get a break above the desired amount of cards
you wish to transfer from bot-
tom to top. For explanation purposes, we will assume you are transferring
card. Holding the deck in End Grip, transfer the break to the one
right thumb.
Just as before, swing cut the top third of the deck into the left hand. Before
turning the right hand’s packet as explained above, the right hand hovers over the
left hand for a brief moment. During this moment, the right thumb
on the break, allowing the bottom card to fall on top of the left—hand
eases its grip
portion of
cards. By proceeding with the Pendulum Cut, you will discover that the transferred
card(s) are now on top of the deck.
The same is true with a transfer from top to bottom. After
third of the deck into the left hand, obtain a break below the cutting the top
amount of
cards. Steal the cards above the break on the bottom of the proper deck before pro—
ceeding with the cut.
124
Winged Card
Winged Card
There are many methods of shooting a card from the deck, most notable are
probably Daryl’s Hot Shot Cut (Secrets of a Puerto Rican Gambler, 1980) and
Lennart Green’s Top Shot (Card Technique, video, no date). This alternative is
more difficult, but has a completely different feel. The card functions as a high-
speed projectile, zipping from the deck into the left hand. It is one of the quickest
card—shots, and learning the sleight will test both your sleight—of—hand skills and
your juggling abilities.
Tom Craven invented the cut used during the move. Troy has changed little
from the original cut, but has added the card-shot to the sleight.
Setup:
The card that you wish to shoot from the deck should be on the bottom of
the pack.
Performance:
Hold the deck in right-hand End Grip, but turn the wrist so that the edge of
the pack faces up. Move the pinky under the deck to help support it from
beneath. With the index finger, swivel the top half of the deck up, angling it slight—
ly. Keeping the packet angled, regrip the half—deck portion with the right middle
finger (fig. 1).
Move the index finger to the center of the deck’s edge and grip the lower por—
tion of the deck between the index finger and pinky (fig. 2). The thumb moves to
the edge of the lower packet and pivots it to a perpendicular position with the
)
,
other packet (fig. 3).
125
Fig.4 Fig-5
Gripped between the thumb and index finger, this packet is pivoted over the
upper packet as the right hand turns palm up. This packet is released onto the
palm of the right hand. The other packet, straddle—gripped between the index and
ring fingers, is still supported without the aid of the right palm (fig. 4).
Using the thumb, peel back the bottom card of the upper packet (fig. 5).
Slide the thumb in between the upper packet and its bottom card and grip this
packet between the thumb and index finger. Pivot the packet to the right with the
thumb, exposing the single card (fig. 6). The single card is gripped between the
index and ring fingers. By moving these fingers together, the card will start to
bend and build tension. When the card is ready to spring, allow it to shoot off the
ring finger a split second before the index finger. This will shoot the card toward
the left with amazing speed and in an efficient linear path. By adjusting the grip
slightly, you will find that you can control the card’s speed and rotations. The
hardest part of the move is catching the card in the left hand. Sheer practice is
the only way to master this part of the revelation.
Tom Craven’s cut is the perfect lead—in to this method of shooting a card. It
is impressive, but takes quite a bit of practice to master. Because the revelation is
so quick, it is probably best suited to a multiple location routine.
126
Jokers Squared
Jokers Squared
Effect:
Four Jokers are introduced and then distributed into four separate piles.
Three indifferent cards are added to each in the classic Assembly position. One
by one, the Jokers vanish from each pile and reappear together, in one pile. Then,
with no extra moves, sleights, or fumbling, the Jokers instantly jump back into
their respective packets.
1} Ed Marlo published an effect called “Aces in Reverse” (Let’s See the Deck,
W
1942). The effect was that four Aces started together and ended dispersed
among four piles. This effect was shockingly creative for its time but was largely
ignored for years. Enter Phil Goldstein. Bringing this idea to the forefront, he pub-
lished a truly novel plot of a Reverse Assembly effect titled, “secA rouF” (Card
Tricks for People Who Don’t Like Card Tricks . . . and Some for Those Who
Do, 1974). This effect’s focused plot is an undisputed improvement on Marlo’s
original notion, and this has led authors to credit Mr. Goldstein with the origina—
tion of the modern Reverse Assembly.
Phil Goldstein’s other contribution to this plot that has relevance to Troy’s
“Jokers Squared,” is his use of Jokers instead of Aces. This notion has‘the
advantage of eliminating suit discrepancies and making the trick easier to follow.
Phil first published as “Diminishing Returns” (The New Tops, December 1981).
David Solomon also utilized the instant reverse as a surprise climax to the
)
Ace Assembly in his “Dis—Assembling Aces” and “Two-Faced Disassembly”
(Sessions, 1982).
All of these credits are important to the history of the effect. However, Troy’s
only conscious inspiration for “Jokers Squared” was Allan Ackerman’s
“Reassembled Finale” (Close-up Fantasies 2, 1980).
There have been many Reverse Assembly effects in print since the landmark
versions mentioned above. Three versions that I found particularly inspiring were
Jack Carpenter’s “Carpenter Reverse Assembly” (Modus Operandi, 1992),
Dominique Duvivier’s “Back—Firing Queens” (Magie Duuiuier, 1996), and David
Solomon’s self-altered “Reverse Assembly with A, 2, 3, 4” (Solomon’s Mind,
1997). All these versions tackled and solved the discrepancy of trying to pass off
the same card as two different cards. They also improved the somewhat ineffec—
tive phase of inserting the leader card among a group of indifferent cards to
demonstrate its magical properties. Some eliminated these problems through
127
sensible patter and others through smart technique. Troy tackled these problems
in a different way.
The cards assemble first and then disperse as in David Solomon’s original
“Two—Faced Dis-Assembly.” Another similarity with David’s method is that “Two-
Faced Dis-Assembly” used gaffed cards. Since the routine contains more Jokers
than provided in a normal pack of cards, “Jokers Squared” is not impromptu.
However, it is also not gaffed.
The routine’s only true sleight is James Swain’s J.S. Count (Don’t Blink,
1992). Troy’s Assembly/Disassembly is fast-paced and contains only a minimal
amount of extra work. My research has led me to believe that, based on the
straightforward handling and the replacement of subtlety for sleights, this version
will not be forgotten.
Setup:
To perform, obtain four identical Jokers and twelve indifferent cards, prefer~
ably red spot cards. Place all four Jokers on the face of the packet of red cards.
Performance:
Begin by spreading the packet of cards from hand to hand to show all four
Jokers on the face of the pack. Obtain a break below the fifth card, the indiffer-
ent card immediately following the bank of Jokers. Pick up this five-card packet
and place it in the center of the table, face up.
Take the remaining eleven cards face down in the left hand. Thumb over
three cards into the right hand. Briefly show these cards to be indifferent, and then
square them against the left thumb. During this squaring action, the three dealt
cards are briefly positioned right above the remaining cards. As the cards are
squared, leave one behind. Troy does not use a break to ditch the third card,
though you might find it easier to do so. Because the packet is squared, specta-
tors are not able to distinguish exactly how many cards are actually in each pile.
Take these two indifferent cards and place them behind the packet of Jokers,
near your body. Spread another three cards into the right hand in the same man-
ner described above. Square these cards as previously described, but legitimate—
ly take all three, and place them to the left of the packet of Jokers. Repeat this
two more times, placing three indifferent cards to the right and in front of the
packet of Jokers. The current status is pictured in fig. 1.
Pick up the packet of Jokers and turn it face down. Deal off the top card, pre-
sumed to be a Joker, and slide it under the left—most packet, keeping the card face
down. This card is actually an indifferent card. Take the next face-down card, a
Joker, and slide it face down under the outer packet. Repeat this with the packet
to your right, but after dealing the Joker off of the left hand’s cards, be sure to
hold the remaining two Jokers as one card. Lastly, take the remaining two cards
as one and slide them to the bottom of the packet nearest you. Immediately after
inserting the double to the bottom of the last packet, spread to show fourcards.
128
Jokers Squared
To vanish the Jokers from the

outer three packets, you will employ a
vanish by Jim Swain. Pick up the pack-
et to the left and hold it in left-hand
Dealer’s Grip. Execute a Block Push—
off, thumbing over the top three cards
as one and then flipping the packet
face up to display an indifferent card.
Flip the three cards face down by grip-
ping the packet with the right hand,
thumb above and index finger below.
Push over all three cards as one toward
the left with the right thumb. Using the
bottom card, lever these cards face
down (fig. 2). As these cards are
flipped face down, the right thumb and
index finger snap the bottom
card up and out from below
the others. If all of these
motions are combined, it
should appear as if the face
card displayed was taken into
the right hand. In truth, the
right hand’s face-down card
was never divulged.
Keeping relative speed,
the right hand drops the face—
down card onto the table. Push
over the top card of the left
hand’s packet and flip it face
up to display another indifferent card. Turn it face down and table this card on top
of the other. To break up the monotony, take one of the remaining cards in each
hand, flash the faces, and then drop them on top of the tabled cards. Pick up all
four cards, casually flash all four faces to show that the Joker has vanished, and
then set them back down to the left. The somewhat unnecessary process to legit-
imately show the absence of a joker is performed as a feint, used to condition the
audience for future displays.
Pick up the packet furthest from your body and hold it in left—hand Dealer’s
Grip. Repeat Jim Swain’s count as per the explanation. This time, however, you
will be concealing the Joker on the face of the packet. After all four cards have
been dropped to the table, simply square the packet, leaving it on the table.
Repeat this process for the right—hand packet.
129
To show that the Jokers have assembled, pick up the last pile (the one near-
est you), and hold it in left—hand Dealer’s Grip. The pile consists of two indifferent
cards above two Jokers. You will now perform a diminishing lift sequence. Turn
over the top three cards as one. This Triple Lift is quite easy if you use a Block
Push-off, pushing over all the cards with the thumb. Turn these cards over to dis-
play the face of a Joker.
Turn the triple back over, keeping the cards squared as one. Thumb over the
top card and allow it to fall face down onto the table. Repeat the Block Pushpff to
turn over the top two cards as one, again displaying a Joker. Turn the double
back over and table the top card on top of the other tabled card. Both of the
remaining cards are Jokers. In keeping with the technique of the other packets,
take one card in each hand and flash the faces of the Jokers. This gives the spec-
tators an opportunity to see the face of more than one Joker at a time.
Drop the right hand’s Joker on top of the other two tabled cards. With the
left hand’s Joker, scoop up the remaining cards by inserting the Joker beneath
the packet. In this position, the two Jokers are sandwiching the two indifferent
cards. This packet is now held in left—hand Dealer’s Grip.
For the amazing and unexpected backfire, get a break under the top card in
the left hand. Simultaneously move the right hand to the right-most packet and
the left hand over the left—hand packet. As the right fingers turn its packet over to
display a Joker on the face, the left fingers manipulate the left—most, tabled pack-
et on top of the packet in the hand. By maintaining the break of the top card in
the left hand’s packet, you will automatically add the Joker to the face of the left
packet. In one motion, turn the left wrist over and lay the upper packet back down
so that the added Joker is displayed on the face. At the same time, the right hand
turns its packet over to display the face of another Joker.
Keeping the left wrist turned, move its packet back to its position nearest
your body, and lay it on the table so that the Joker on face is exposed. To con—
clude, turn over the packet furthest from your body to display the last Joker.
130
Bogus Tom and Restored Card

Effect:
A playing card is torn into four separate pieces. The pieces are singed by a
lighter, and then restored one by one. At the conclusion of the effect, the card is
completely restored and can be examined.
One of the more difficult tasks in writing a book is choosing a format. opted
1
for a traditional layout divided into chapters. Each chapter would explain a differ—
\} ent part of Troy’s magic. By apportioning the book in this manner, I had an
opportunity to methodically analyze each type of magic and discuss the ration—
ale behind his tricks. I am quite pleased with the results of the format, but this rou—
tine is probably the only item in the book that may suffer because of it.
This routine is an oddity because it involves two components from other
chapters. The ditch during the routine is explained in the chapter on non-card
material (“Curiosities”), and the signature ruse is explained in the opening com—
mentary (see “Subliminally Signed”). By explaining all three elements here, I am
sure that the other applications for the sleights would have been overlooked.
Rather than have the reader endure repetitive phases of tricks, I have opted to
refer to chapters containing detailed description of handling. Hence, this trick will
probably have a bland read. However, it is actually a commercial “Tom and
Restored Card” effect. The bluff restoration resembles Jay Sankey’s “The
Cardboard Contortionists” (Sankeg Pankeg, 1986) in appearance, but varies
greatly in method.
it seems that the newest fad in close—up magic is card restorations. Many new
} revelations have been made in recent years. While this version may not live up to
the purists’ standards, it is a useful routine to perform. What may appeal to read-
ers is its extreme ease of handling. It is an easy torn and restored card, as there
is but one move (if it is even considered a move) throughout the routine. I feel bad
that this effect is a casualty of the layout, but rest assured that it is the only item
in this collection that fell victim to circumstance.
Setup:
You must be wearing a jacket toperform the trick. However, there are alter-
natives to wearing a jacket that require only a minor adjustment in handling.
These will be obvious as you read on.
131
—
\,, ;
This effect also requires a duplicate card.

Fold the duplicate into fourths. The folds
should not be perfectly aligned. instead, allow
the edges to overlap slightly (fig. 1). Begin
with the duplicate card finger palmed in the
right hand.
Performance:
Remove the card matching the con—
cealed duplicate and display it in the left
hand. Fold the card into fourths, heavily creas—
ing each fold. Now tear the card along its
folds. The creases in the card should make
the tearing procedure quite easy, resulting in
four pieces. Display these pieces by laying
them across the left fingers (fig. 2).
You are going to execute a False Transfer
to switch the torn pieces for the concealed
duplicate. Turn the right hand palm down as it
moves toward the outstretched left fingers. As
the hand turns down, the right thumb pins the
duplicate to the fingers.
Move the right fingers over the torn pieces so that they make contact. In one
action, the right hand moves palm up and pushes the duplicate into view.
Because the duplicate is folded unevenly, it will look like a small stack of pieces
and should be treated as such. At the same time, the left hand moves palm down,
finger palming the torn pieces.
At this point in the routine, Troy ditches the torn pieces in a most deceiving
manner. To learn his exact handling, turn to “Dexterous Ditch” in “Curiosities,”
the chapter on non-card material. The ditch is diversified and can be used for
ditching coins, cards, dice, and many other objects. Using this switch requires a
jacket.
if you choose not to use Troy’s preferred ditching method, you may opt for
the “lt’s—not-as-good—as—the—other—one—but—it’ll—do” method of switching. For this,
simply reach into the left side pocket to retrieve a lighter that was previously
placed in position. While in the pocket to retrieve the lighter, leave the torn pieces.
Wave the lighter around the edges of the card, creating small singe marks around
the edges. Pocket the lighter.
Continuing with the restoration, the folded duplicate needs to be held in the
left hand. Regrip the folded unit so that it rests behind the fingers and out of view
132
(fig. 3 is an exposed view). This conditions the audience for the complete bluff
sequence that is about to follow.
Pretending to transfer a torn piece to the right hand, the left hand deposits
the entire card into the right fingers. The card is held the same way, concealed by
the fingers. Retain the same po$ition in the left hand so that it appears that there
are now torn pieces in both hands, even though nothing is in view (fig. 4). This
sequence is performed in less than a second.
Move the right hand up to the left biceps and

rub the card against the sleeve in some sort of a
magical gesture. Bring the right hand back down
to the left. In the apparent action of rubbing the
pieces in each hand together, the folded card is
transferred to the left hand (fig. 5). Again, be sure
that both hands mirror each other, each one pre—
tending to grasp torn pieces.
Now move the left hand up to the right
biceps to match the previous action of rubbing
the card against the sleeve. To the audience, it
a) will appear as if the card is actually a collection
of pieces. Bring the left hand back down to the
right, apparently rubbing the contents of each
hand together. (.lnder cover of this action, open
one fold of the card and regrip at its edges (fig.
6). It appears that the pieces have fused back
together. In order for this to be deceptive, the
hands must work fairly quickly, remaining in
motion throughout. This sequence borrows heav-
ily from Jay Sankey’s original method.
You will now repeat the same sequence to
completely restore the card. Take the card in the
133
right hand and turn the card on edge so that the crease is
toward the left (fig. 7). Rub it against the left biceps, transfer
it to the left hand as before, and continue rubbing against the
right biceps.
For a more speedy restoration, try to prepare while at
the right bicep. This is easier if the duplicate is folded off—cen-
ter. While rubbing, insert the left thumb between the folds in
the card (fig. 8). Bring the left hand to the right and rub the
fingers together, apparently restoring the card. By moving
the left thumb to the right, the right half of the card will be
pressed out and to the right and it will look like a flash
restoration (fig. 9).
The beauty of this method is that the card can be immediately examined.
Nothing is palmed off and the card is truly whole no secret tears. (.lpon close
—
examination, spectators may even notice the singe marks from the lighter. This
only adds to their convictions of the lighter’s help in fusing the pieces together.
Having explained this much, I should point out another facet of the routine.
What if I told you that this could be done with a signed card? It can’t, but it is quite
a thought. Troy’s “Subliminally Signed” (found in the first chapter,
“Commentary”) is an excellent method of achieving this thought in the specta-
tor’s mind. Obviously, the use of this ruse dramatically increases the impact of
this routine.
134
Th row Switch Experimentation
<5“I ‘3/
/
4
I
Th row Switch Experimentation

Certain moves and sleights intrigue Troy more than others. When he finds
one that appeals to him, he picks it apart, assembling it backwards or upside
down, often improving or expanding on the original handling. John Mendoza’s
Throw Switch (Throwing the Switch, 1982) is one such move.
The grandfather of this sleight is Ed Marlo’s take on adding cards below four
Aces under the guise of flipping them face down on top of the pack (Expert Card
Conjuring, 1968). Around the same time that Mr. Mendoza published Throwing
the Switch, John Carney published his variant on Mario’s move. Carney’s sleight,
titled the Versa Switch (Carheycopia, 1992), is similar in technique to the switch-
es by Ed Marlo and John Mendoza. What differentiates these switches from one
another is the motivation. Marlo’s motivation was turning down an evenly spaced
fan of Aces. Carney’s logic was tapping a small packet on the table to square it.
Mendoza’s reason for executing the switch was to use the deck to square a small
packet against.
Troy has experimented extensively with Mendoza’s Throw Switch, probably
because it is the most natural for situations where you are standing and without
the aid of a table. He has many ideas with the move, and l have highlighted some
of them here.
Application #1 — Easy Control

This is a simple, direct sandwich effect to bring a selection between two
Aces. Begin with two Aces on top of the deck. Troy has found it is best not to call
attention to the Aces until the trick progresses. Consequently, he culls the cards
secretly to the top before the trick begins, and follows up with some false shuffles
and cuts.
Begin with the deck in left-hand
Dealer’s Grip. Riffle the outer left corner
of the pack with the left thumb and invite
a spectator to call “stop.” At her com-
mand, stop riffling and lever all of the
cards above the riffled point face up into
the right hand. The right hand spreads
these cards slightly in a vertical position
between the thumb and fingers (fig. 1).
135
Raise the left hand to chest height and push over the selection, .displaying it
to the audience. As the cards are brought back to waist level, obtain a pinky break
below the selection. To apparently lose the card in the deck, the right hand’s fan
moves above and to the left of the left hand’s cards. The fan is then dragged down
and over the left-hand packet. The fan provides cover for the right fingers to prop
the selection up and off of its packet to a perpendicular position. By gripping the
chosen card between the pinky and the other fingers, the card can be moved as
the fingers straighten. Insert the fan between the now vertically positioned selec—
tion and the rest of the left hand’s cards, being careful not to expose the chosen
card (fig. 2 is an exposed view). Before dropping the right hand’s cards, allow the
left thumb to push the top card in its packet forward a bit. Although an indiffer-
ent card, it is believed to be the selection.
Square up the deck, leaving the indifferent card outjogged. Perform a Double
Lift to show the top card’s identity as an Ace. Regrip this double between the right
thumb and fingers and use it to flip over the new top card, the second Ace (fig.
3).
Square up, burying the outjogged card in the deck. Snap your fingers and
spread the pack to show that the selection has appeared between the Aces.
Another unique aspect of this particular sandwich effect is that the selection
appears face up, as it is more commonly seen reversed between the Aces. As to
which orientation is more effective, I am not sure. However, the face-up sandwich
plot does provide another mystery in the explanation of both its situation (sand-
wiched) and its direction (reversed).
Application #0.. — Direct Sandwich

This sleight, which is a close relative of the previous effect, is only for the
bold. This extension on the throw switch is interesting to note, but difficult to exe—
cute. lt does, however, provide an instant solution to the sandwich plot.
136
Throw Switch Experimentation
Begin with two Aces reversed on the top of the deck. ln displaying the Aces,
casually injog the top Ace about three quarters of an inch (fig. 4). Holding the
deck in left-hand Dealer’s Grip, riffle your thumb down the outer left corner of the
pack, stopping upon the spectator’s request. With the right hand, grasp all of the
cards above the riffled point from the left edge of the pack (fig. 5). Turn this pack-
et over, fanning it vertically. While fanning, insert the pinky between the top two
Aces, in a modified Wedge Break (fig. 6). Note that the pinky is positioned deep—
er into the break than with the standard Wedge Break position.
Lift the left hand’s packet and display the top card as the selection. To con—
trol the card, you will execute Mendoza’s Throw Switch into the right hand’s break.
Instead of slipping the card to the top of the deck, it is inserted below the top card,
and is effectively set between the two Aces.
Square the cards, being careful not to expose the phantom card between the
two Aces prematurely. Now, without any hassle or trickery, spread the Ace pair to
reveal the selection trapped from above and below.
137
Triumph Display
Triumph Display
Effect:
A card is selected and lost into the pack. The cards are clearly shuffled face
up into face down. With nothing more than a snap of the fingers, the cards right
themselves, all facing the same way, except for the selection.
Larry Jennings and Bill Goodwin invented a remarkable subtlety for the
“Triumph” technician. It was first demonstrated on Larry Jennings’s tapes
(Thoughts on Cards, Video, 1995) and a more thorough study of the concept
was explored in issue #62 of Trapdoor Magazine. Troy has eliminated all the
extraneous work in getting into display position, making the move more practical
for performance. Steve Freeman, however, approached this display in a similar
way. He also executes Tenkai’s Optical Revolve in conjunction with the afore-
mentioned display. Steve Beam’s effort, also recorded in the issue of Trapdoor
cited above, is also similar to Troy’s handling.
Performance:
Spread the cards from hand to hand and have one removed by a spectator.
As the selected card is shown, obtain a break below the top two cards of the deck.
Take back the selection and execute the Tilt move (Tilt, 1962), inserting the selec—
tion into the break. It should appear to the audience that the card is inserted into
the center of the pack, when in truth the card is situated in the third position.
Readjust to accommodate the inserted selection and maintain a break under
three cards.
In a casual sequence, you will show the spectator that her card is not on top
or bottom. Turn over the top card to reveal its indifference, secretly holding the
pinky break under three cards. Lifting all three as one, pick up the block with the
face-up indifferent card on top. Turn the remainder of the deck over with the left
hand and gesture to the free card to show that it is not the selection. Place the
right hand’s three cards on top of the face-up pack. The present condition is a
face—up indifferent card, a face—down indifferent
card, the face—down selection, and a face-up deck.
Turn the deck back to a face—down position.
As you comment about the shuffling proce-
dure to the spectators, obtain a break above the
bottom two cards of the deck. This is done as the
~.Mw
deck is transferred from left-hand Dealer’s Grip

into right—hand End Grip (fig. 1).
139
'
III-— desTROYers — The Superlative Magic of Troy Hooser
With the index finger, Swing Cut about half the cards into the
outstretched
left hand. Place this packet below the right hand’s cards and add the two
below the break to the top of the bottom packet.
hands so that the direction of the packets is reversed. The right hand turns
cards
Maintaining the break between the two packets, you will now rotate both
palm
up (fig. 2) as the left hand turns palm down (fig. 3). Putting the two movements
together and keeping the left hand’s packet above the right, your hands should
be in the position demonstrated in fig. 4. This is Tenkai’s Optical Revolve.
In the current situation, the left hand is
holding about half the cards. These
cards are face up with the exception of the bottom card, which is face down. The
top card in the right hand is the face—down selection, and beneath it are about half
the cards, face up. Riffle or Faro Shuffle these cards together, but only weave the
w: packets to a depth of about an inch (fig. 5). The shuffle need not be perfect, but
\w
after the shuffle the right hand’s top card must be on top and the left hand’s bot-
tom card must remain on bottom.
140
Triumph Display
‘x'ou can now go directly into the

Jennings/Goodwin Display. Holding the deck
in the left hand, riffle the outer packet with the
right index finger (fig. 6). Be sure to riffle
upward, and start at about the center of the
packet. If you start at the very bottom, you
will expose the reversed card. It will appear as
if you are riffling through a totally face—up por—
tion. Now flip the deck end for end and regrip
in the left hand. Repeat the same riffling pro—
cedure with the new outer packet. The orien-
tation of this half should appear completely
face down.
Upon completion of the display, square the packets together, finishing the
shuffle. It should appear as though face-up cards are intertwoven with face-down
cards. Flip the deck over. The current status of the pack is a face-down selection,
face—up deck, and a face-down indifferent card on bottom.
With the left thumb, riffle
approximately halfway into the
deck and lever this packet into
the right hand. As the packet is
transferred, it is rolled in one
complete rotation so that it
ends up facing the same way it
began (figs. 7—8). Turn the left
hand’s packet over, comment-
ing that the cards are randomly
facing all directions.
Holding the left hand’s
packet in dealing position,
thumb over the top card (it is
face up) to the bottom of the
left hand’s cards. Immediately
flip the right hand’s cards over
as they are placed back on the
left hand’s packet. This leaves
the selection face up in the mid—
dle of an otherwise face-down
deck.
141
Snap your fingers and re—spread to show that the selection is the only card
reversed in the pack. If you are a walk—around performer in need of a “Triumph”
routine that does not require the aid of a table, this routine will be a great asset.
142
Curiosities
The novelty of magic without cards or coins is becoming increasingly popu—

lar in today’s magic fraternity. Any variation in traditional apparatus is embraced.
Unfortunately, it was through this mindset that a plethora of substandard gim-
mickry was introduced to the magic scene. Ill—motivated props surfaced simply
because they had not been used before.
When Troy creates, he envisions the final goal, which happens in the minds
of the spectators. Cards are often the quickest path to the desired outcome.
Doing tricks that don’t involve conventional props is not necessarily a step
in the right direction. I can already hear your inner—monologue, and frankly, I find
that kind of language offensive. “What exactly does all of this rationale have to do
with a chapter that focuses on non—card material?” Glad you asked.
As I have explained, Troy is not out to introduce new props and objects to
the magic world. The reason for using alternate props is that it is the quickest way
to Troy’s desired effect. The routines are logical, and they amply justify your
efforts in learning them.
143
Mask in Motion
Mask in Motion
Effect:
An enchanted coin—size mime mask appears, vanishes, and magically jumps
from place to place of its own accord.
This effect is as whimsically bizarre as it is deceptive. The mask is an eclec-
tic item and there is something mysterious about the routine. Although the exact
same handling can be adopted for performance with a coin, the animated mask
is somewhat of a novelty.
The routine’s best feature is its ease of handling. “Mask in Motion” involves
no palming and a minimal skill level. Before each appearance and after each van—
ish of the mime mask, both hands are shown completely empty.
Setup:
Our original intent was to market this item separately. Fortunately for you,
the mime masks required for the trick were enormously difficult to find. Troy orig—
inally bought a small packet of mime magnets from a craft store and then devised
this routine for his own use. The craft store no longer carries the masks, and my
personal efforts to find a suitable alternative supplier have come to no avail.
Because of the scarcity of this item, you will probably have to make one yourself,
or have someone make it for you. The mask is made of wood and is flat on the
back. The front is carved like a face (figs. 1-2) and is brightly painted.
lfigJ 5492
FRONT BACK
The more convenient alternative to making your own mask is animating a

different object. As mentioned above, a coin will work perfectly - however, there
is great intrigue with the mask, and finding an object with equal mystique would
be time well spent.
Once you have obtained a mask, apply a thick coating of blue tack to the
back of it. It eliminates palming and allows the hands to move in ways impossi-
145
\e $1
ble while palming an object. Each phase of the routine is
The mask will stick to the palm and most other places withoutincreasingly deceptive.
the aid of the fin—
gers. lt functions like a Hook Coin, yet has the added advantage it can be used in
the hands without stabbing yourself.
Finally, use caution when performing this trick. The blue tack is
used pri-
marily in conjunction with the hands, but there is a point in the routine where it
is stuck to the pant-leg. lt may leave traces of blue tack
on the pants, depending
on the brand of blue tack and the fabric of the pants. If this is a
tine can easily be altered to avoid that phase. concern, the rou-
When ready to perform, stick the mask to the right
palm, on the heel of the
thumb. Be sure the mask is facing up (fig. 3).
Performance:
“Most magicians use livestock in their acts: bunnies,
also have a little helper. He’s very shy, so I’d better warm doves, or tigers. I
him to you.” up before I Show
The hands are shown empty in a series of
"1) preliminary stretches. Extend and flatten the
fingers of the left hand, keeping the palm up.
Bend the hand down at the wrist, allowing the
left fingers to point toward the floor. ln an
effort to stretch out the left hand, bring the
right fingers on top of the left fingers and push
down slightly in a stretching action (fig. 4).
Bring the hands together, interlacing the
fingers at waist height (fig. 5). The mask will
_
be secretly transferred from the right palm to
146
V
Mask in Motion
—
the left. To do this, the left thumb moves
behind the mask, allowing the fleshy thumb
base to contact the long edge of the mask
(fig. 6 is an exposed View).
By simply moving the left hand forward
and the right hand back, the mask rotates
180° and is deposited on the left thumb
base, stuck to it. The movements should be
smooth and gentle allow the blue tack to
—
do the work.
After the mask has been transferred,
repeat the above stretching with the right
hand. Turn the right hand palm up and
point the fingers toward the floor. Push on
the right fingers with the palm-down left
hand, gently flexing them downward. By
executing these stretches, the audience is
subtly allowed to see the empty palm of
both hands while still concealing the mask.
To further stretch, grip the right thumb with
the left fingers. The right palm should be
vertical and facing the audience, fingers
held apart from one another. These stretch-
es should be done casually or during a pat—
ter line.
To produce the mask, the left hand
should be palm in, still gripping the right
hand by the thumb. Keeping the left hand
stationary, reach into the left palm with the
right fingers, grasping the lower end of the
mask with the index finger and thumb.
Rotate the right hand, dislodging the mask
from the left palm and turning it so the
mask side faces the audience. All of this is
executed behind the cover of the left hand.
Stroke up with the left fingers, keeping
the right hand stationary. When the left fin—
gers are lifted, the mask will appear at the
right fingertips (fig. 7). “This is my magic
pet. Like most pets, he does tricks. Allow
me to demonstrate.” Try to grip as little of
the mask as possible. This allows the spec—
tators to see a larger portion of the mask.
147
03%?
It will now appear as though the mask is placed in the left hand. Place
the
mask into the left palm and close the left fingers around the mask, keeping hold
of the mime mask with the right thumb and first finger. As the left fingers close,
the right first and middle finger clip the mask at its upper edge (fig. 8).
The right hand is drawn out as the left fingers close into a fist. To show that
the mask has vanished, the left hand is opened at waist level, keeping the palm
flat. Immediately after it opens, the right hand grips the left palm. The right thumb
goes across the palm and the curled fingers below. This action naturally places
the mask flat against the back of the left hand. By applying pressure with the
right thumb and fingers, the mask will stick to the left hand (fig. 9 is an exposed
view).
After the mask has been stuck to the hand, stroke the left hand with the right
fingers by moving the right hand forward. Mirror this action with the left thumb
and fingers on the right palm, being careful to conceal the mask. This vanish is
especially deceptive because both hands are shown unmistakably empty after the
mask has disappeared. The vanish is best when everything is kept moving in a
steady rhythm. While vanishing the mask, “I told you my pet was shy, he seems
to have run away.”
To reproduce the mime, reach under the left hand with the right fingers,
again gripping the mask by its extreme bottom edge. Rotate the left hand by turn—
ing it over and up. As the left hand moves, the right hand rotates so that the front
of the mask faces the audience. It is revealed in the same manner as before; the
left hand strokes up to leave the mask in view in the right hand. “There he is. He’s
really quick and you never know where he’ll go next.”
Keeping with a steady rhythm, the mask is apparently transferred to the left
hand. You will again perform the retention vanish described above. After pre~
tending to place the mask in the left hand, the hand should be clenched in a fist
and the mask should be clipped in the right hand. Instead of sticking the mask to
148
Mask in Motion
the back of the hand as described above, it is pushed back onto the heel of the
right thumb, in its original starting position. The cover for positioning the mask is
a waving gesture with the right hand over the left fist. Immediately after execut-
ing the Retention Vanish, the right hand begins to move back and forth. In its
backward motion, the middle and ring fingers pin the mask against the palm until
it sticks, and then immediately extend to complete the waving action. It should be
done smoothly and with relative speed. Again, the blue tack enables the right
hand to move in ways never possible with a palmed object.
To reveal the vanish of the mask, open both hands palm down, facing the
floor. Also, give the left hand a slight throwing action, as if the mask fades into
nothing as it is tossed away. “Every once in a while he runs away. I can never
find him.”
Bring the right hand to the outside of the right knee,
being careful not to expose the mask. On its journey to the
knee, the mask is dislodged from the right palm with the
right fingers. The right fingers palm the mask temporarily
by allowing it to rest on the fingers. The right index finger
and thumb grasp some material from the pants and pull
them out slightly. Using this action as cover, the remaining
right fingers push the mask against the pants, allowing the
mask to stay there on it’s own (fig. 10).
To cover the ditching of the mask and motivate a rea—
son for moving to the pant leg, pretend to produce the
mask with the right hand. After ditching the mask, come
up with the right hand, keeping the fingers loosely closed
as if holding the mask. Give a toss from the right hand to
the left and then open both hands to discover that there is
actually no mask. By leading the spectators’ attention from
the pant leg to the right hand, and ultimately to the left
hand, there will be no focus or emphasis on the pant leg.
Because they expect to see a mask, there will be shock
when no mask is found.
At this point, the hands can really be shown empty,
front and back. By giving a casual display of the hands at F'g'w
_
chest height, it brings closure to the routine. The audience

will believe that the routine concluded with the vanish of the mime mask.
Look around, as if having second thoughts about the mask. Reach back
down to the outside of the right knee with the right hand. However, don’t look
directly at the hand or the knee. This production is cleanest if the spectators for-
get that the hands have already been in contact with that spot on the leg. Grab
the mask off the pants with the right fingers and bring it into view to conclude the
clean and mysterious “Mask in Motion.”
149
‘— desTROYers
tack on the alternate mask.

To perform a change at
— The Superlative Magic of Troy Hooser
@522
Mask Metamorphosis
Troy has also devised a clever change from one mask to another.
There
many wonderful ways of changing one object into another, and virtually are
“Spellbound” move can be applied to the masks. In order to
ular change, obtain a duplicate mask with the perform this
any
partic-
same size and shape but varying
colors. To perform this change, you will need to
apply an equal amount of blue
the finish of the routine, start the routine with the

alternate mask stuck to the left side of the body. Place the
the left fingers when rested at the side of the body. The mask
“Mask in Motion.” At the finish of the routine, steal the
body under the cover of producing the mime mask from the
direction is strong because the body must bend
mask at the level of
behind the front of the body to hide it from the view of the should go slightly
spectators. Perform
alternate mask from the
right knee. The mis-
slightly to get the mask. Also, all
attention will follow the right hand as it begins the journey toward the
ly before the left hand moves.
knee slight—
Bring the mime mask into view at chest height with the
hand conceals its mask in the left fingers by pushing right hand. The left
with the left thumb. While holding the against the face of the mask
right hand’s mask by its lower edge with
the thumb behind and fingers in front, bring the left hand
the left hand as a cover, the right fingers release the up to the right. Using
grip
allowing it to fall onto the palm, sticky side down. Immediately
on the mime mask,
mask in the same position with the right hand. The left hand grasp the alternate
left to reveal an almost visual change of masks. To strokes back to the
clean up, the right fingers
press the mask against the right palm in the actiOn of placing the alternate mask
into the left hand. Now both hands can move freely without
the concerns of palm-
ing. This change adds a more satisfying climax to the
original routine.
150
Nectar of the Cards
‘7
Q?
\r
Nectar of the Cards

Effect:
Walking up to a table in preparation for a walk—around performance, the per—
former is carrying only a deck of cards and a close—up mat. Setting the cards
down, he comments, “Of course, if you don’t like card tricks, maybe I can
entice you with a drink! ” From the folds of the mat, a large bottle is produced.
Establishing credibility is probably the second hardest part of a walk—around
magician’s job. The hardest part is finding a good icebreaker that is quick, visu—
al, and magic that leaves them wanting more. “Nectar of the Cards” solves both
of these problems. Within seconds of your arrival, you produce a large-scale
object from nowhere. It is a workable production, and it serves as a nice ice-
breaker for walk-around engagements. Readers are urged to review Bob Read’s
“Bottle Production” (Thanks to Pepys, 1973) to compare the similarities and dif—
ferences.
Setup:
You must be wearing a jacket to pro—
duce a bottle in the described manner.
Tuck the bottle between the pants and the
shirt (fig. 1). The bottle must be situated
on your left side so that the left side of the
jacket covers it. Troy sometimes performs
in jeans and a sport coat, and this is ideal
because of the flat pocket feature on most
jeans. If you have the luxury of horizontal
”.9 pockets, tuck the bottle into the pockets.
It’s a tight fit, but some things are worth
the sacrifice. Dress pants tend to have
pockets slit at an angle inconvenient for
inserting the bottle. If the pockets are not
accommodating, tuck the bottle into your
Waistband as illustrated. Either way, the left
side of the jacket must cover the bottle
from view.
Place a deck of cards in your outer-left
jacket pocket and approach the table with Fig-1
the close-up pad in hand.
151
Performance:
After walking up to the table and
introducing yourself, gesture with the mat,
flipping it to the front and back to show
the hands empty and the pad legitimate.
At the conclusion of the display, the right
thumb and index finger should pinch the
mat so that it drapes over the backside of
the hand (fig. 2).
In this position, the right hand moves
up the approximate level of the bottle’s
to
top. Shift your gaze to the left side and
move the left hand into the side pocket to retrieve the deck. Under the guise of
this action, the right index and middle finger pinch the left lapel, allowing the ring
and pinky fingers to make contact with the top of
the bottle (fig. 3). The bottle is gripped between
the ring and pinky fingers, and by pulling the fin-
gers toward the palm, the bottle is freed from the
pants/pocket. Try to minimize hand movement, as
this is a visual indication of the steal. The fingers
are completely concealed between the mat and
the jacket, and any movement therein is invisible
to the audience.
Toss the deck to the table with the left hand,
and at the same time, move the right hand away
from the jacket. Pause, instituting the patter about
offering the spectators a drink. This time misdirec-
tion is key to the production. After sufficient time
has gone by, move the left hand to the lowest cor-
ner of the mat and pin it against the bottom of the
concealed bottle (fig. 4). Grip the bottle with the
left hand and then release the right hand’s grip of
the mat. The pad will drop, draping over the left
hand, exposing the bottle. This is a guaranteed
surprise to all audience members (with the possi-
ble exception of those on the extreme right side).
152
A Dexterous Ditch
A Dexterous Ditch
This gem is a utility method for ditching unwanted objects during a routine.
A universal item, Troy makes good use of it in all of his magic, be it card, coin, or
miscellaneous. The only prerequisite is that you must be wearing a sport—coat that
has side pockets.
The ditch is covered in the action of gesturing to your jacket. By opening the
jacket slightly to show no secret devices or pockets, the desired object(s) is
relieved from the concealment of the hand. Although the rationale of opening
. your jacket may seem eccentric, it is delivered in the same mindset that one
c} might explain, “This is an ordinary deck of cards.” The mechanics of the ditch
vary slightly depending on the application. Other valid excuses are to button or
adjust the jacket, remove something from the inner pockets, or put something
away in the inner pockets. First I will take you through the basic maneuvers, and
then explore some other uses.
Ditching a Coin
Although the ditch can be done in the right hand, left hand, or both at the
same time, it will most commonly be applied toa coin in right-hand finger palm.
Begin with the coin in this position.
. After the completion of a routine, pause for applause, or possibly to hand out
the remainder of the coins for examination. During an offbeat, perhaps to adjust
your coat or show it
empty, grip the front
edge of the jacket
j
with both hands (fig.
,4 1). Notice that a
good portion of fab—
ric is pinched in
each hand and it is
gripped between the
index fingers and
thumbs. Because of
this grip, the remain-
der of the fingers are
positioned closer to
the pockets (fig. 2).
Fig.2
is
In an effort to pull the coat open slightly, the hands extend, allowing the fin-
gers dip into the side pockets (fig. 3). The action of opening the coat com—
to
pletely covers that of the ditch, and this is illustrated in fig. 4. The cleanup, very
simply, is to release the grip on the jacket, allowing it to fall back to its natural
position.
The most important facet of this sleight is the symmetry involved. Gripping
the jacket with only one hand would warrant suspicion. It is the mirroring of the
hands that makes this move deceptive.
Ditching a Card
This ditch is also easily adaptable for ditching
palmed cards. It is a completely beguiling way to
get rid of a seiection or duplicate during the course
of an effect. Let us assume that the card(s) to be
ditched is palmed in the right hand.
L) As before, the right fingers grasp the fabric on
the right opening of the jacket, forcing the remain-
der of the hand to go on the outer right side of the
coat, just above the pocket (fig. 5). If the sleight is
used during the course of any “Travelers” or “Card
to Pocket” effect, a gesture with the right hand
toward the inner—left pocket may be appropriate
(fig. 6).
.
During the gesture, the right hand relaxes,

holding its current position, but releasing the grip on the palmed card(s). The
card will fall swiftly and silently into the pocket.
154
A Dexterous Ditch
Troy uses this ditch in the course of Larry Jennings’s “Travelers” effect (The
Classic Magic of Larry Jennings, 1986). He ditches three selections in the pock—
et, later bringing them out as one. From there, he palms off the remaining cards,
revealing them in various pockets about his person.
Billet Switch
Troy’s fascination with'mentalism may have instigated this use of “Dexterous
Ditch.” With this handling, the operator can switch two small packets. Even bet-
ter, a folded playing card can be cleanly switched in or out.
3
Begin with the card or billet concealed in right-hand finger palm. The card to
be ditched is displayed on top of the left fingers. Pretend to pick up the displayed
card with the right fingers. As the right hand turns palm down, the right thumb
pins the concealed card against the fingers. Lay
the right fingers on top of the left hand’s card,
} keeping the right thumb pressed against the
concealed card.
in one action, the right hand turns palm up,
raising to chest height and pushing its card into
View. At the same time, the left hand’s card is
finger palmed as the left hand turns palm down
and moves to a rest position at the body’s side
(fig. 7).
The actual ditch of the left hand’s contents
is done under the guise of searching for some—
thing. Should the switched items need a signa—
ture, the excuse is to obtain a pen from inside
the jacket. If the billet is to be burned, a lighter
is a logical item. You’ll need to consider the use
for this switch before determining a logical
excuse to perform it.
u} Let us assume you are searching for a pen.
The pen should be placed into the right side
pocket of the jacket. Begin by stating the need
for a pen. This way, when you go to the pockets,
the spectators are aware of the reason and will
not be overly curious regarding your actions.
Forgetting where you placed the pen, you will
first check the inner-left jacket pocket. To do
this, the left hand pulls the left side of the jack—
et open, ditching the switched card in the
process. Be sure to look intently into the jacket,
focusing all attention on the pocket and away
from the ditch (fig. 7). After a failed attempt at
155
@539
locating the pen, release the left hand’s grip on the jacket. Transfer the substitut—
ed card to the left hand and reach into the right side
pocket to the pen.
Proceed with the routine, now able to show the hands absolutely remove
empty.
Bogus Tom and Restored Card Cleanup:
The “Tom and RestOred Card” effect explained earlier in this volume is
rather
meaningless without the “Dexterous Ditch.” That is, this ditch makes the routine
deceptive. Using the exact switch described above, rip a card into fourths, laying
the pieces on the outstretched left fingers. Execute the switch, then
go to the
pocket for a lighter in hopes of fusing the pieces together. As you search for the
lighter, ditch the torn pieces.
Run the lighter across the edges of the substituted card, then unfold it
show the restoration. Both hands are absolutely clean, and this switch to
m has made
:2} a good effect “great!”
156
The Locker
The Locker
Effect:
Two rubber bands link together visually. The performer comments, “These
bands are really linked together. You could even say they’re locked together.”
Without any fumbling or moving, a small padlock appears between the two
bands, permanently “locking” them together.
This is a logical ending to Dan Harlan’s “The Linking Rubber Bands” (The
Magical Arts Journal, May 1988) that utilizes a phrase coined throughout the
effect. This unexpected ending may be adapted into any linking rubber band
effect.
Setup:
Because this effect is only useful to those already performing linking rubber
band effects, only the ending will be explained. You may have to adapt your rou—
tine of preference to encompass the grip needed for “The Locker.”
Begin by closing two rubber bands in a small padlock. Place the padlock in
finger palm so that it is gripped by its top and bottom (fig. 1). Grip the two rub-
ber bands between the index fingers and pinky fingers in each hand (fig. 2). You
will treat these rubber bands in the same manner you would treat any bands.
Ignoring the palmed padlock, perform any standard linking band effect, being
careful not to expose the concealed object in the left hand.
157
CV$®7
Performance:
During Harlan’s routine, the bands are displayed in a linked position between
the hands (fig. 3). By releasing the fingers grip, the bands unlink. This phase is
accompanied by the patter, “You could even say they ’re locked together.”
Without hesitation, allow the left fingers to release their grip on the padlock,
but be sure that both bands are still gripped between the index and pinky fingers.
This will catapult the lock directly between the bands, dangling (fig. 4). It happens
so quickly that the eye is unable to see the lock travel from the palm. For maxi-
mum impact, emphasize the word locked during the patter and release the lock
while stating the word.
Fig.4
158
in the Round
In the Round
“ln the Round” is a Collection of sponge ball vanishes, productions, and
changes. The hands can be shown empty before and after each application. This
is due to the clever use of a thumb tip. However, the thumb tip is integrated intel—
ligently, so no one should suspect any foul play.
Troy was directly inspired by Tom Gagnon’s extensive work on using a
thumb tip in conjunction with vanishing a coin (Sleightly Original, 1981). Others
have used a thumbtip in conjunction with a sponge ball routine. Gen. Grant’s
“Favorite Sponge Routine” (The Sponge Book, 1960) was probably the first to
\} see print. In 1972, Steve Spillman caused quite a stir with his challenge sponge
ball vanish (Magick, #43, 1972). For a more modern routine, students are
encouraged to read Roger Klause’s “Sponge and Sleeve” (Roger Klause in
Concert, 1991), a routine in which a sponge ball traveled invisibly to a spectator’s
sleeve. Technically the moves described below are similar to Tom Gagnon’s work
with a folding coin, but the substitution of sponge balls gives the mechanics new
applications and a different appearance.
Setup:
In addition to a thumb tip, you will need two contrasting sponge balls of equal
size (Troy uses one—and—a—half—inch balls). Let’s assume the colors are red and yel—
low. ~
The Vanish
The thumb tip begins on your right thumb and the sponge ball is on a table.
The vanish occurs in the right hand as it performs a swaying action reminiscent
of dice stacking. The right hand’s movement occurs in the wrist, not in the fin—
3
’
gers. Additionally, this trick is more decep—
tive if performed with an unusually light
grip. The fingers should be almost limp and
motionless throughout the whole routine.
Move the right hand down to the table,
just to the right of the sponge ball. The
hand should be rocking back and forth as it
approaches the ball. As it moves down, the
right thumb extends between the index and
middle fingers. The thumb tip is clipped in
this position, and the thumb immediately
retracts. moving out of the tip (fig. 1).
159
$1?
Now move the right hand directly over the sponge ball. The ball will be
scooped into the tip. This is done by lifting the ball off the table, gripping it
between the thumb and the mouth of the thumb tip. As it is lifted off, the thumb
pushes the ball into the tip. This is done as the ball is lifted off the table. This way,
you can use the table’s surface as an aid while pushing the ball into the tip.
Continue moving the hand back and forth, lifting the hand to chest height.
Retract the right thumb again, allowing the thumb tip to stay nested onto the
thumb. The ball should be secreted on the lower side of the thumb tip, in direct
contact with the pad of the thumb. Try not to push the ball all the way into the
tip, as retrieving it will be difficult.
Continuing with the routine, the ball will now be crumpled away. To do this,
simply move the index finger onto the thumb tip making a kneading action, as if
rolling the ball away. Move the hand back down to the table, casually brushing
away the particles that may not have vanished. Even though there is no sponge
ball visible, the right hand cannot be viewed under scrutiny without exposing the
thumb tip. Thus, the action of brushing the particles away puts less focus on the
hands and more focus on the vanish.
This vanish can easily be altered so that it does not require a table. The exact
same actions can be performed by initially placing the sponge ball onto the left
hand.
The Production
lf you have just performed the above van—
ish, you are in position for the production. The
production is automatic and completely self—
working.
Begin by again clipping the thumb tip
between the index and middle fingers. In the
same action, retract the thumb. Because the
ball is resting against the pad of the right
thumb, the ball will come out with the thumb,
falling directly into finger palm (fig. 2).
Keeping the actions melded together, the
right thumb moves back into the tip, then grips
the ball between the tip of the thumb tip and
the tip of the middle finger, displaying it in the
right hand (fig. 3). After performing the vanish,
simply removing the thumb from the tip will
result in the above production. In performance
speed, the sponge ball should take only two or
three seconds to produce.
160
In the Round
The Change
To change one ball into another, you’ll need to perform a combination of the
vanish and production described above. Begin with the yellow ball in the tip, rest-
ing on the pad of the right thumb. The red sponge ball rests on top of the left
palm.
As the right hand moves to pick up the red sponge ball, it executes the pro-
duction described above, retrieving the secreted yellow ball in finger .palm.
However, in this context the ball is not exposed at this point. Instead, it remains
concealed within the curled right pinky, ring, and middle fingers. The thumb tip
should still be clipped between the index and middle fingers.
Pick up the red ball from the left hand, immediately shoving it into the tip, as
described in the production. During this action, the right thumb nests into the tip.
W) After it has trapped the red ball in the tip, the thumb moves directly onto the yel—
'
low ball. The right fingers uncurl, bringing the ball into view (fig. 4).
Pick up the ball and hold it in a display position in the right hand, support—
gig" ing the ball from behind. The final position is deceptive because, unlike the van-
\ ish or production, the spectators can look into the right hand without seeing the
thumb tip. The yellow ball gives the right thumb something to do, giving it a more
natural appearance. In addition, the red ball is nowhere in sight. Because this
whole routine utilizes only one hand, the change seems even more impossible.
161
Index
For your convenience, the following index is cross—referenced concerning only artists to their creations.
Bold—facedpage numbers indicate where the item’s primary description is located and only appear when
more than one page is referenced.
100% Sankey, 61 Cardician, The, 115

Cards, 79—143
-A... Carney
“...A Troy Ploy,” 17 John, 135
“Aces in Reverse,” 127 See also: Versa Switch
Ackerman, Allan, 101, 127 Carneycopia, 135
See also: A Card Pass, “Reassembled Finale” Carpenter
Acknowledgements,5 Jack, 127
Allen, Bruce, 27 “Carpenter Reverse Assembly," 127
“Ambitious Card,” 16 Chaos Theories, 61, 75
Ammar, Michael, 61 Charlier Cut, Reverse, 82
See also: False Count with Coins “A Charming Chinese Challenge,” 21-28, 49, 51
Andrus Mid-Air Link, 26
Andrus Card Control, 97 Throw Penetration, 27
Jerry, 97 Chinese coin, Tricks using a, 21—28, 49-51, 73
See also: Startling Color Change Christ
Annemann/Christ Alignment Move, 95 Christ Twist, 120
“Any—Cut Card—to-Box,” 16, 11 1-113 Henry, 120
Apocalypse, 21, 97, 105 Classic Magic of Larry Jennings, The, 35, 52, 93,
Aspiazu, Mark, 5 120, 155
At the Expense of Grey Matter, 119 Click Pass, 42
Clifton’s Ring Move, 21, 25
_B_ See also: Variations
“Back-Firing Queens,” 127 Close, Michael, 61
Bannon, John, 32 See also: Too Ahead
See also: “One is the Onliest” “Closed Open Prediction,” 115-116
Beam, Steve, 44, 139 Closeup Fantasies
Bean, Gordon, 5, 38 Volume I, 93
See also: “Silver through Sleeves” Volume 2, 127
“The Bonus Trick,” 120 “Coin Melange,” 55-59
Block Push-off, 130 Coinfusion, 67-73
Blue Tack, 45—47, 55-59, 145—150 Poor Man’s Production, 6869
“Bogus Tom and Restored Card,” 131—134 Poor Man’s Vanish, 7O
“Bottle Production,” 151 Coinfusion Interlude, 71-72
Breather Crimp, 111 Triple Transformation, 73
Reverse Breather Crimp, 87 CoinMagic, 66
Burdick, Paul, 5 Coins, 19-78
By Forces Unseen, 119 “Coins Across,” 19, 37—38, 49, 75
“Coins through Table," 19, 45, 49
_C_ Collected Works of Alex Elmsley, The, Volume 2,
Card Manipulations, 82 87
Card Pass, A, 101 “Color Changing Deck,” 13, 94
Card Technique, 125 Commentary, 11-18, 113, 134
“Card to Number," 103—104 Complete Works of Derek Dingle, The, 122
“Card to Pocket,” 154 Convincing Control, 101
Card Tricks for People Who Don’t Like Card “Cool as Ace,” 18, 81-85
Tricks...and Some for Those Who Do, 127 Cornelius, John, 97
“The Cardboard Contortionists,” 131 See also: The Winter Change
163
Count-er Point, 61—66 -13-
An in-depth study on Count—er Point, 61-62 False Count with Coins, 61
Copper-Silver Transmutation, 62-64 False Transfer, 28, 55, 70, 132
Count-er Point Coins Across, 64—66 Faro
Count-er Point Substitution, 62 Faro Check, 111, 113
“Counting on it," 87 Faro Shuffle, 87-98, 94, 111, 140
Craven, Tom, 55, 125-126 The Faro Shuffle, 111
Cummins, Paul, 87 Faust, Joe Clifford, 5
See also: “Counting on it” “Favorite Sponge Routine,” 159
Curiosities, 49, 70, 112. 131-132, 144-161 Feen-X Magazine, 61
Curry, Paul, 115 “Fingertips Coins Across," 37, 75
See also: “Curry Unsolved Card Problem” Flipper coin, 43—54
An in-depth study on the Flipper Coin, 43
__D_.
Flipper Coin Properties, 43
Darek (Hooser), 5 The Flip Display, 44
David, Uncle, 17 “Flurious,” 32, 68
Daryl (Martinez), 125 Folding coin, 45
See also: Hot Shot Cut Forton, Piet, 81
Dexterous Ditch, 49, 51, 70, 132, 153-156 See also: Pop Out Move
Billet Switch, 155-156
Freeman, Steve, 139
Bogus Tom and Restored Card Cleanup, 156 French Drop, 42, 71
Ditching a Card, 154—155 ”The French Drop (Le Tourniquet Vanish)" .' 1
Ditching a Coin, 153154

Dimining Lift Sequence. 130 _G_
“Diminishing Returns," 127 Gagnon, Tom, 159
Dingle, Derek, 122 Gallo, Mike, 5, 67
“Dis—Assembling Aces,” 127
See also: “Siamese Coins"
“Displ—Ace," 119
Garrett, Dan, 89
Don’t Blink, 119, 128 See also: Swivel Monte False Cut
“Double Decker," 93
The Gen, 81
“Double Decker Plus,” 9396
Genii, 26, 38, 75, 115
Double “The Ghost Coins,” 67
Lift, 13
Givens, Joel, 5
Undercut, 124
Goldberg, Aaron, 5
Dunn, Tony, 3, 5 Goldstein, Phil, 127-128
Duvivier, Dominique, 127 See also: “secA rouF,” “Diminishing Returns"
See also: “Back—Firing Queens" Goodwin, Bill, 5, 94, 105, 119, 139
_E_ See also: “Color Changing Deck," “Slap
Earick, Ernest, 119 Exchange,” Jennings/Goodwin Display
See also: “Jacksyna(ps)ces” Gordon, Gene, 67
Effects from the Magic Mafia, 101 See also: “Shortchanged”
Elmsley Grant, Gen., 159
Alex, 87 See also: “Favorite, Sponge Routine”
See also: “Penelope’s Principle" Gray, Dorian, 67, 97
Count, 61 See also: “Slydini Revisited”
Green
Epilogue, 119
Erdnase Cliff,84
Color Change, 97 See also: Push-Pull Double Lift
Lennart, 125
Expert Card Conjuring, 135
Expert Coin Magic, 45 See also: Top Shot
“ExTROYdinary,” 20, 29: 77 Grippo, Jimmy, 79
Alternative Sequence. 34 —H—
End Clean, 36
Hamman Count, 61
The Production, 29
Harlan, Dan, 157-158
The Reproduction, 32 See also: “The Linking Rubber Bands”
The Vanish, 3O
164
Harris
Ben, 84 Kalush
See also: “SFUC” Bill, 110
Darryl V., 5 Kalush’s Cut, 110
Paul, 79, 93 Kenner, Chris, 32, 37, 75. 77
See also: “Double Decker" See also: One—Handed Vanish, “Three Fly”
Havenly Close-Up, 55 King, Bob, 87
Heirophant, 101 See also: “1’" Guess Your Weight”
Herz, Bill, 87 Klause, Roger, 159
See also: “Counting on it” See also: “Sponge and Sleeve”
Hindu Shuffle, 81, 93, 95 Kneitel, Ashford, 5
Belly Hindu Shuffle, 81, 94 Kohler, Bob, 32
Hofzinser Kort, Milt, 67
Culling Technique, 101 Kranzo, Nathan, 5
Hofzinser’s Card Conjuring, 101 Krenzel, Ken, 119
Hook Coin, 146 See also: Mechanical Reverse
“Hooked on Coins,” 51—54 Kurtz, Gary, 32. 68
Hooser, See also: “Flurious”
Darek, 5
Julian, 5 -L-
Merelene, 4 Lamont, Peter, 61
Roger, 4 Lane, Nathaniel, 21
Hot Shot Cut, 125 Las Vegas Lecture Notes, The, 67
Houghton, Norman, 27 Latta, Geoffrey, 42, 49
See also: “Neweraljia” Lecture 3, 97
Hugard, Jean, 82 Let’s See the Deck, 127
See also: Variation of the Charlier Pass Leventhal, Marv, 5, 105
Hugard’s Magic Monthly, 27, 67 Linking Ring, 55, 75
“The Linking Rubber Bands," 157
.1. Lisa (Hooser), 5
lllogical Shuffle, 105 Liwag, Homer, 81
In the Hands, 15 “The Locker,” 157
In the Round, 159-161 Long, Chad, 26
The Change, 161
The Production, 160 _ M-
The Vanish, 159-160 Magic Manuscript, 110
lnTROYduction, 9 Magical Arts Journal, 157
_J._ Magick, 159
Magie Duuiuier, 127
“Jacksyna(ps)ces,” 119 Marlo, Ed, 67, 96, 101, 111, 115, 127, 135
James, Stewart, 115 See also: Tilt, Convincing Control, Faro Check,
Jay “Open Prediction,” “Aces in Reverse"
Jeff, 5 “Mask in Motion,” 145-149
Joshua, 3 “Mask Metamorphosis." 150
Joshua Jay’s Magic Atlas, 2 “Matrix,” 130
Trisha, 5 Mattiolo, Gianni, 105
Jennings, Larry, 35, 52, 79, 93, 115, 120, 139, 155 See also: lliogical Shuffle
See also: “The Hook,” “Transmutation,” Maven, Max, 5
“Devious Open Prediction,” “The Bonus See also: Goldstein, Phil
Trick,” Jennings/Goodwin Display, “Travelers” Mechanical Reverse, 119
Jennings/Goodwin Display, 141 Melt-Thru, 21
Johnson, Roy, 67 Mendoza, John, 135
“Jokers Squared,” 127—130 See also: Throw Switch
Jordan Count, 61 “The Mexican Jumping Coin," 61
J.S. Count, 128—129 Mid—Air Link, 26
Julian (Hooser), 5 See also: “A Charming Chinese Challenge”
Mink, Barry, 5
165
Minotaur, 89, 105
Roger Klause in Concert, 159
Mintz.John, 67 Rosenthal, Harvey, 21
Modus Operandi, 127
See also: “Melt—Thru"
Montes. Trini, 5
Roth, David, 45
More Magician Foolers, 87
Moveless Sandwich. 101-103
See also: “Folding Coins through Table”
“Multiple Change,” 62
Multiple Location Routine, 126
_8_
Sankey
Murphy. Mark, 2
Jay,26,61, 105,131,133
See also: “Leaving Home." "The Mexican
_]\{_
“Nectar of the Cards." 151-152 Jumping Coins," “The Cardboard
Contortionists”
Neighbors, David, 67
New Modern Coin Magic, The, 67, 71 Sankeg Pankeg, 131
Schreiber, David, 5
The New Tops, The, 127 “secA rouF,” 127
New York Magic Symposium Three, The, 87 Second Deal Bulletin Board, 5
Secrets of a Puerto Rican Gambler, 125
“The Odd Coin," 61
-0- Sessions, 127
“SFUC,” 84
Off the Wall, 84 Shell, Tricks using a, 29-36, 48—54
One-and-a-Half-Pass, 120, 121 Siamese Coins, 67
One-Handed Vanish. 32 Simon. Frank, 101
“One is the Onliest," 32 See also: Versatile Cover Steal
“Open Prediction,” 13. 79 “Slap Exchange," 119
“Closed Open Prediction,” 115-116
Sleight of Dave 2, 27
“Open Open Prediction," 116-117 Sleightlg Original, 159
Optical Revolve, 139 Slip Cut, 82, 94
Slip Stream, 101-104
.13. “Card to Number,” 103-104
Palm Change, 64 Moveless Sandwich, 101-103
Pass,13,111,116,121 Universal Control, 103
Half Pass, 121
Slgdini Revisited, 67
Pendulum Smoke and Mirrors, 32
Cut,91, 104, 123, 124 Soft coins, 78
Transfer, 124 Solomon
Picking the Carcass Clean, 94 David, 127—128
Poor Man's Production. 68-70, 73
See also: “Dis-Assembling Aces,” “Two-
Poor Man's Vanish, 70
Faced Disassembly," “Reverse Assembly
Pop Out Move, 81 with A, 2, 3, 4"
Price, Barry, 97 Solomon ’3 Mind, 127
See also: Double Take “Spanish Fly,” 75
Professional Card Magic, 84 Spellbound Change, 24, 26, 51
Push—Pull Double Lift, 84
Spillman, Steve, 159
Sponge Book, The, 159
-R- “Sponge and Sleeve,” 159
Ramsay Subtlety, 29, 32, 3840, 65
Ransom. Tom, 5 “Squeezed Away," 48-49, 52
Starke, George, 67
Read, Bob, 15]
See also: “The Ghost Coins”
See also: “Bottle Production" Stewart James in Print: The First Fifty Years, 115
“Reassembled Finale," 127
Stone, Sol, 21
“Redirection Coins Across,” 37
Retention Vanish, 13, 31. 34, 55, 57—58, 70, 149
See also: “The Strung Coin"
“The Strung Coin," 21
“Reverse Assembly with A, 2, 3, 4,” 127
Style, ...The, 11
Reversed Name-a-Humber, 113
“Subliminally Signed,” 15, 96, 113, 131, 134
Richard’s Almanac, 61
Swain, James, 119, 128429
Riffle Shuffle, 140
See also: “Vanishing Aces, The Sequel,” J.S.
“Ring on String," 21
Count
Rocco, 69
166
. —T—- _(_1_
“Table Flipper," 45-47, 55 Ultimate lllogical Cut, 5, 105
Tams, Mark, 87 Unexplainable Acts, 33, 68
Teen ’5 Routines, A, 2 Universal Control, 103
A Teen ’3 Routines Updated
—
and Expanded
Edition, 2 —V—
Tenkai “Vanishing Aces, The Sequel,” 119
Optical Revolve, 139-140 Variations, 21
Palm, 68, 70-73 By Earle Nelson
Thanks to Pepys, 151 Vernon
Thoughts on Cards, 139 The Vernon Chronicles The Lost Inner Secrets
“Three Fly,” 37 Volume 1, 87
“Three Fly Simplify,” 75 Vernon, Dai, 80, 122
Throw Penetration, 27 See also: Stripout Addition
Throw Switch Experimentation, 135-137 Versa Switch, 135
Direct Sandwich, 136-137 Versatile Card Magic, 101
Easy Control, 135-136 Versatile Cover Steal, 101
Throw Switch, 135
Throwing the Switch, 135 _W_
Tilt, 96, 139
Wakeman, Randy, 5
Top Shot, 125
“Tom and Restored Card,” 15—16, 79, 131 Webb, Greg, 61
Totally Out of Control, 32, 37, 75
See also: “The Odd Coin”
“A Touch of Brass," 20, 49 “Weight Your Turn,” 87, 111
Townsend, Jonathan, 37, 75 Wenk, Timothy, 67
“Wild Coin,” 62
See also: “Fingertips Coins Across”
“Transmutation,” 93 Williamson, David, 27
Wilson, Paul, 5, 61, 75
Trapdoor, 119, 139
“Travelers,” 154—155
See also: “Penihook,” “Spanish Fly”
Wimhurst, Andrew, 5
Triple Lift, 130
Triple Transformation, 73 Winged Card, 125
Winter Change, 97
“Triumph,” 79, 139, 142
Workers 5, 61
Triumph Display, 139—142
Troy Hooser’s Silver Surf, 2
—Z—
Troy Touch, 13
“Two-Faced Disassembly,” 127-128 Zombie Change, 97
167
Acknowledgements
I have always cringed at the horror stories that authors convey when they
give the real scoop behind a book. Tales of forgotten deadlines, under-developed
photographs, and computer mishaps are sufficient reminders of why I have prom-
ised myself I would never take on the monumental task of writing another magic
book but I did it anyway..
—-
This project, unlike so many books, was a joy through and through. I
enjoyed filming the tricks, writing, and proofreading the book (okay, maybe not
proofreading). The fluidity with which the project was completed is due in part
to the many people who have helped along the way.
Thanks to Troy Hooser for allowing me to work on this project. He gave me
the creative control and the freedom to experiment with different approaches. He
was easy to work with and timely. I only hope that this book does his work the
justice it deserves.
Thanks to Troy’s family, Lisa, Darek, and Julian, for allowing me to bombard
your house for months on end to film and discuss matters with Troy. Jeff Jay,
my father, is to thank for helping out at practically every step of this project. Just
about the only thing he didn’t do was write it.
This manuscript was transformed into something technically acceptable by
a small but active staff of proofreaders and researchers. Joel Givens helped me
research the vast body of text to ensure proper crediting. Trisha Jay (thanks
Mom), Paul Burdick, Tony Dunn, Bill Goodwin, Thomas Wayne, Tim Trono, John
Lovick, and Joe Clifford Faust all did a wonderful job proofreading the book. I was
also honored to have Tony Dunn as illustrator and graphic artist. As usual, Tony
was a pleasure to work with. Thanks to Gordon Bean for researching and solving
four important crediting problems and to Marv Leventhal for granting me per-
mission-to reprint his write-up of Troy’s “Ultimate lllogical Cut.”
‘
Lastly, I would like to thank the following members of the Second Deal
Bulletin Board (http://www.theseconddeal.com) as well as some other friends for
their help with some difficult crediting issues: Mark Aspiazu, David Schreiber,
Trini Montes, Ashford Kneitel, Paul Wilson, Aaron Goldberg, Darryl V. Harris,
Nathan Kranzo, Barry Mink, Andrew Wimhurst, Randy Wakeman, Mike Gallo, Max
'
Maven, and Tom Ransom.
‘

Destroyers Troy Hooser

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Destroyers Troy Hooser

Uploaded by

Copyright:

Available Formats

"Destroyers is ﬁlled with ‘kiﬂé‘rkr‘ndgtc’

practical. Learning Troy‘s mater“ I ' I

in the Hands ............................... 15

Hooked on Coins .......................... 51

Ultimate lllogical Cut .......................... 105

looked me in the eye.

Although Troy has been remarkably kind to me both as a magician and as

Troy’s touch is also a fine balance of contrast. He conditions his audience to

...In the Hands

...A Troy Ploy

dure and preventative precautions to avoid embarrassing outcomes.

ACharming Chinese Challenge

eyes follow the stack throughout the transfer of the hands.

A Charming Chinese Challenge

thumb secretly contacts the

Visual Link #1 — Mid-Air Link

Visual Link #2 —-Throw Penetration:

Pretend to transfer the coin

on the coin, filling the moment with efficiency and

m. is concealed as the right hand is turned over. This

my change all around me.”

Redirection Coins Across

“Three Fly” but has repositioned the

Redirection Coins Across

left hand’s fan of coins (fig.

Without hesitation, you will now

so that the coin is positioned directly over the

An in-depth study of the Flipper Coin

An in—depth study on the Flipper Coin

item is often the shortest route to utterly impossible magic.

Flipper Coin Properties

Begin with the flipper coin gripped by Kennedy’s head in

Go under the table with the left hand and stick

You will now close the gimmick in

action, position the coin to a parallel position

with the right fingers. Take the shell

from behind the flipper in the left

right hand (fig. 19).

this trick, the patter theme of invisible hooks is literal!

ger goes in front of the jacket

makes the move work. Your eyes must follow the

Count—er Point Substitution ,

Count-er Point Coins Across

most coin in the fan is also situated at

desTROYers — The Superlative Magic of Troy Hooser

Poor Man’s Production

Poor Man’s Production

Poor Man’s Vanish

gimmick; the possibilities are limited only by your imagination.

Three Fly Simplify

ment will propel the card forward and into view.

Reposition the thumbs so

.7) repeated several times at a brisk pace, ..

‘ and each time the small packets are

they are fed onto the left hand’s cards.

the other, on the left hand’s packet.

Weight Your Turn

thoroughly lose your card.”

Move the heel of your left

Double Decker Plus

To remove the selected card, you will execute the Annemann/Christ

The Queen is pinned in place by the left 1

middle finger. While in this position, the right

view. During this moment, the left thumb