Half and Half Trick

Like most mentalist tricks, the Half and Half trick gives the audience a false choice before revealing that the magician is a master of mind reading.
The Effect
The magician holds aloft a large sheet of cardboard. Along either side five cards are held in place with an elastic band, backs to the audience. At the top is a clip. The magician declares he will read the mind of a spectator and asks that one step forward. The magician takes a marker and writes on the side of the card board closest to him - “My prediction” he says. At this point he asks the spectator to point to one of the ten cards. The magician takes the card and places it under the clip on his side of the board and then turns it to show that the card chosen matches his prediction written large and bold before hand.
The Secret
The false choice created by making ten special cards in advance is the secret here.
Materials
Ten special cards are made (instructions below) and either a large clipboard with a notepad or a sheet of cardboard and a clip. Elastic bands and a marker round out the materials.
Preparation
The magician creates the special Half and Half cards and then places them in the bands. The notepad should be attached to the clip and the marker placed nearby.
This trick is more effective with a sheet of cardboard and a clip, but using a large clipboard with paper allows for reusing it for the next show. There are two parts to this trick - creating the cards and then performing Half and Half.

Creating the Cards

This trick requires ten identical cards and ten indifferent cards – the magician should make sure that one of the indifferent cards is not the same as the ten identical cards. Each of the indifferent cards should be cut across the width; about a third of the card is required. Each indifferent third is then glued atop one of the ten “force cards”, so called because the magician is forcing the spectator to chose this card unbeknownst to him. When done the card should be two thirds force card and one third indifferent card.

Performing the Trick

1. The ten cards are placed under the elastic on the back of the cardboard sheet. From the magician’s point of view only the indifferent end should be visible.
2. The magician chooses a spectator and then declares he will look into the future and make a predication about which of the ten cards the spectator will chose. The magician then writes the force card on the cardboard sheet, out of view of the spectator.
3. The magician allows the spectator a free choice, but not to touch the cards. After the choice is made, the magician allows the spectator one chance to change his mind and make a new choice.
4. Once the choice is made, the magician takes the card (back facing the spectator) and clips it under the clip at the top of the cardboard. The indifferent end is hidden under the clip, and only the force end is visible.
5. The magician then turns the board around to show that his prediction did, indeed, come true.

Magical Tip

Do not make the clipping of the chosen card into a performance - the more natural and quickly you can do it, the more believable this trick is.

Next - Half and Half Trick

Ball & Silk Mistery

By Richard Robinson The magician picks up a silk handkerchief from his table and opens the handkerchief out to display both sides at his finger tips. The handkerchief is draped over his left hand. Slowly and mysterious a large red ball rises up out of the center of the handkerchief. The ball is wrapped in the handkerchief, the handkerchief is tossed into the air and the ball vanishes ... as if it had never existed to start with. Props A ball approximately 1-3/4 inches / 45 mm in diameter as used in the Multiplying Billiard Balls and other stage manipulations. A ball made of wood or hard plastic is recommended. An 18 inch / 33 cm square handkerchief. The ball and handkerchief should be of contrasting colors. The silk handkerchiefs sold by magic dealers is ideal, although any cloth square of light weight and good drape will do. Setup The bunched handkerchief is on the table with the ball behind it. Handling

The ball is behind the bunched handkerchief on the table. The left hand picks up the handkerchief and ball, concealing the ball. The hands open out the handkerchief, the ball is held in the left hand. Performer's view of the ball concealed as the handkerchief is displayed. The arms shift to the right, moving across the body. The ball is held between the base of the left hand and chest, allowing the hand to move forward and open. The arms cross, showing the back of the handkerchief. The ball palmed in the left hand is not visible. The handkerchief is draped over the left hand. The right hand 'adjusts' the drape. The right hand goes behind the handkerchief, then under it, the thumb guiding the way, and the ball is dropped into the right hand. Performer's view of right hand catching ball. The right hand, first finger extended, moves over the top of the handkerchief. At the same time the right thumb presses against the ball. Exposed view of the palmed ball. The right first finger pokes an indention into the top of the handkerchief. As this is done, the left thumb moves from in front to behind the ball under the handkerchief. The first finger appears to press down the center of the handkerchief. Exposed view of the ball, ready to rise, but as yet not visible to the spectators. The ball mysteriously rises up out of the handkerchief. This action is controlled by the left thumb and fingers gently squeezing the ball. The right hand takes hold of a back corner of the handkerchief and raises it. The left hand opens under the handkerchief and slides forward, the ball on top of the handkerchief traveling with it. The ball and hand approaching the front edge of the handkerchief. The right hand does not move during this action. The handkerchief travels back, the ball rests on the open left hand. The performer pauses so the spectators can focus on the ball. The handkerchief is then draped over the right hand. The left hand approaches with the ball and tilts back as if rolling the ball into the waiting handkerchief covered right palm. In fact, the left hand classic palms the ball. Exposed view of the ball classic palmed. The right hand closes and turns over, the handkerchief falling down so that it appears the right hand is holding the ball through the handkerchief. The right hand shifts position grasping the handkerchief below the center as if trapping the ball. The handkerchief is tossed into the air, caught and shaken open by the right hand to show that the ball has vanished, then opened out between the hands. The handkerchief is bunched with the ball concealed behind it in the left hand and returned to the table.

Routine Phase 1 The left hand reaches over and picks up the handkerchief, at the same time taking hold of the ball so that it is held loosely in the palm of the hand. This hold is similar to the classic palm without any pressure being exerted on the ball. Facing the spectators, the left and right hands come together in front of the upper chest and to the right of the center of the body. The left and right fingers unfold the handkerchief until one corner can be clipped between the left first and second fingers. The right fingers then slide along the edge of the handkerchief, moving to the right at the same time, until they hold the adjacent corner. This opens the handkerchief out so that it is being displayed between the hands. As the handkerchief is opened out, the magician turns his shoulders slightly to the right. The left hand moves back to the chest and presses the ball between the palm of the hand and the chest. The left fingers open out and the left hand is moved toward the right. The ball, trapped between the palm and the chest, rolls along the back of the palm. This movement stops when the ball is positioned between the heel of the left and and the chest. With the ball out of view, the left fingers can be spread apart. The right fingers also open out. The magician looking toward the right hand, gives the handkerchief a slight shake. Phase 2 The left hand moves back so that the ball rolls into the palm of the hand where it is classic palmed. The right hand follows the left hand's movement. The front of the handkerchief is kept parallel to the spectators. With the ball in a classic palm, the left and right hands continue moving to the left until both arms are extended. The magician's shoulders turn left and tension is maintained by the hands to keep the handkerchief open taut between the hands. Although the left palm is now toward the spectators, the left fingers are curled over it and the edge of the handkerchief covers them, hiding the ball. The left hand releases its hold on the handkerchief and moves down behind the handkerchief to its center and then starts moving up. The right hand lets go of the handkerchief. The handkerchief is now draped over the left hand. The top of the left hand should be at shoulder height, the left arm half extended to the left of the body. Phase 3 The right fingers pretend to adjust the corners of the handkerchief hanging down around the left hand. As the this is done, the left arm swings to the right until the handkerchief draped left hand is at the center of the chest. The right fingers have moved as well, getting a light hold on the hem of the handkerchief closest to the magician and working their way under the handkerchief until the right hand is under the draped handkerchief. The left hand releases its hold on the ball, dropping it into the right hand which classic palms it. The right hand moves back down to take hold of the handkerchief hem. The left arm swings to the left, the right hand moving with it so that the back of the right hand remains toward the spectators. The left hand then swings back to the right, the right hand moving up until it is directly behind the left hand. During this movement, the left hand opens out so that it comes to rest on the back of the right hand, almost cupping it. The right hand, now hidden from the spectators, turns palm toward the left hand so that the ball rests on the handkerchief and through it on the left palm. The right fingers open out and point up, then curl down over the left thumb, as it pushing the center of the handkerchief down into the left fist. In fact the right fist and second fingers have arched over the left thumb and moved down to contact the top of the ball through the handkerchief. The right thumb is pressing against the bottom of the ball. Once the right fingers and thumb are supporting the ball, the handkerchief covered left thumb swings around the left of the ball and behind it, pressing the ball through the handkerchief against the left palm. The right hand moves away. The ball is now below the top of the handkerchief covered left fist, held in place through the handkerchief by the left thumb, and not at all visible to the audience. Phase 4 The left hand moves up to eye height, extended a foot or so in front of the magician's face. The left hand stops. The left fingers and thumb now slowly work the ball up until it is resting on top of the left fist. The ball appears to rise up out of the handkerchief. Once the ball is visible, the right fingers take hold of a corner of the handkerchief and move up. The left hand lowers a few inches. The left hand opens palm up under the handkerchief. The right hand pulls the handkerchief slowly back and up. This causes the ball to roll down the handkerchief and come to rest in the open left palm as the handkerchief is pulled away. Vanish The ball rests on the open left palm. The right hand holds the handkerchief. The right hand moves to the left hand so that one corner of the handkerchief can be clipped between the left first and second fingers. The right hand then moves right to open out the handkerchief so that it can be displayed front and back. In one continuous motion, the right hand releases its hold on the handkerchief, the hand opens and swings toward the front center of the handkerchief. The left hand releases its hold on the handkerchief. The result is that the handkerchief is now draped over the right hand, the hand itself being palm up under the handkerchief. The left hand moves to the right, back of the hand turned toward the audience and appears to drop the ball onto the handkerchief covered right palm. The right fingers curl up as it holding the ball through the handkerchief. In fact, the ball is simply classic palmed in the left hand. The right hand turns over and grasps the supposed ball through the handkerchief. With practice this can be done so that the handkerchief bunches enough at the center to momentarily look as if the ball is inside the handkerchief. The handkerchief is tossed into the air and caught by the right hand. The ball has vanished. The right hand shakes out the handkerchief. Then the right and left hands take hold of the top corners and show the handkerchief back and front, using the moves described in the production phase to keep the palmed ball hidden. The right hand bunches up the handkerchief and places it on top of the ball in the left hand as the left hand opens. The right thumb presses the ball against the back of the bunched handkerchief and raises both slightly so the open left hand can be titled toward the audience. The right hand uses the bunched handkerchief to dust off the left fingers. The left hand takes hold of the bunched handkerchief and ball and sets them down on the table, ball to the back. Performance Notes The moves used here are easy to master, most of the manipulation being hidden by either the handkerchief or body position.

Next - Ball & Silk Mistery

Beadazzled

By Doug Edwards Two large beads, one red, one green, are threaded on a shoelace or length of cord. Closing his hand around the beads, the magician wraps the ends of the shoelace around the hand. A spectator is asked to choose one of the beads, the magician moves his free hand over the top of the closed hand, then moves it away to show that one bead is now resting on top of the closed hand. He opens the closed hand to show that the other bead is still threaded on the shoelace. I like the finger ring steal move in Earl Nelson's book 'Variations' (1978) but, because I already use a borrowed finger ring when performing Ring Flight, I wanted to adapt the move to a different premise. Beadazzled is the result. You'll need a 24 inch / 60 cm white or black shoelace and two different color, hefty, round, 1 inch / 25 mm diameter plastic or ceramic beads with a hole through the center of each. The holes must be large enough for the shoelace to run freely. Wooden beads are fine as long as the holes drilled through them are sanded so they are smooth.

The beads are threaded onto the shoelace. The right hand holds the ends of the shoelace, the left hand moves between the loop formed to close around the beads. The right hand releases the ends so they fall to either side of the closed left hand.

Let's assume one bead is red and the other green. Openly thread the shoelace through both beads. By holding the ends of the shoelace with the right hand, a loop is formed with both beads hanging adjacent to each other. Move into this loop with your palm down left hand, close your fist lightly around the beads, and let the ends fall down at their respective sides.

The right hand picks up the lace end at the thumb side of the left hand ... ... and throws it over the top of the left hand. The right hand now moves under the left hand to take hold of the opposite lace end, at the same time getting hold of the bead closest to that end. The right hand, concealing the bead, wraps the lace end around the closed left hand, in doing so the bead is secretly removed from the lace. The right hand moves away finger palming the bead ... ... then moves over and down onto the top of the closed left hand.

With the right hand, grab the strand that hangs from the side of the left thumb and toss/throw it over the back of the left fist. Now grab the other strand that's hanging from the left pinkie side and secretly steal the red bead in the act of wrapping this strand around the back of the fist in the opposite direction of the first strand. This steal is easy and almost self working as long as you relax the grip at the moment the bead is stolen. The bead simply drops into your waiting right hand.

The spectator selects one of the beads by color, then the right fingers slowly open ... ... and the right hand moves away showing the bead is now on top of the closed left hand, free of the shoelace. The left hand turns over and the fingers open to show the other bead remains threaded on the shoelace.

As the above steal is made, ask a spectator to name either color bead. Regardless of the answer, move the right hand (with the concealed red bead) on top of the left fist and slowly open the right hand. If the red bead is indicated, show that it has magically penetrated upwards through your left hand. Should the green one be selected, state that you'll magically remove the red bead leaving the selected green bead still trapped on the shoelace. Either way, the effect is truly magical and memorable.

Next - Beadazzled

The Holmes Production

By Richard Robinson The magician walks onto the stage. He is holding a large sheet of colored paper which is shown on both sides. The paper is formed into a cone. He makes a mysterious gesture over the cone and suddenly it is filled with red roses which cascade out of the cone in magical abundance. This effect is based on a clever method of hiding a load and then invisibly introducing it into a paper cone which appears to have been the invention of early 20th Century magic dealer Donald Holmes. After Holmes committed it to print it was promptly forgotten, which is remarkable considering that Holmes had provided a very workable solution to secretly loading a paper cone, a problem that magicians have struggled with since De Kolta first tipped a cone forward to show it was magically filled with flowers. Props A rectangle of stiff paper measuring about 18 by 24 inches / 45 x 60 cm. The construction paper used by school children is ideal and available at most art supply stores in a variety of colors. The paper must have enough substance to hold the cone shape once it is formed and not to become distorted when the load is introduced. Newsprint or other paper of that nature will not work. A quantity of compressible objects for the production. Silk handkerchiefs, spring flowers or other items of this kind can be used. In this instance, spring flowers are used. The flowers are held in place by a long strip of cardboard which is wrapped around them in a complete circle. An elastic band is then used to secure the cardboard holder and the compressed flowers within it. A loop of thread. The exact diameter of the loop will depend on your body dimensions. After you've read the handling, you can work out the general size and then adjust it more exactly after practice. While the photograph shows the cardboard holder covered with green paper to match the leaves the flowers so that it is not noticed as it falls out of the cone. The thread is run under the top of the cardboard and then tied into a loop. This leaves the cardboard holder hanging from the loop.

The strip of green card and a red rubber band used to contain the spring flowers. The cardboard strip is wrapped around the package of compressed flowers. The rubber band is looped around the strip to secure the package. The loop of line is run under the top of the cardboard strip. The load is lowered into the side pocket of the jacket. The arm then goes through the loop.

Setup The load is placed in the left outside jacket pocket. The left arm goes through the loop of thread. Since, as magicians sometimes like to say, this is but the work of a moment, you can have the load in place and then, just before performing the effect, get your arm through the loop as you pick up the sheet of paper. Handling

The loop arm hold the paper at the top. In moving the paper up, the load is pulled out of the pocket and swings behind the paper. The cone is wrapped around the load. The hand inside the cone positions the load at the bottom of the cone. The hand at the point of the cone holds the load and presses it to release the flowers. An interior view of the compressed load. The flowers blossom up out of the cone.

Performance Hold the top edge of the paper with the left hand. The top edge of the paper should be just below shoulder height. Since the load is still in the pocket at this point, you must make the thread loop large enough in diameter to allow this amount of movement. Turn the paper forward and back, showing it for what it is. The right hand can come in and participate in this display. For all practical purposes the thread is hidden by the twisting and turning of the paper and at the same time the hands and paper are seen to be unprepared. Now twist the paper into a cone. This must be done neatly and without hesitation. Practice making the cone until you don't have to think about it. The left hand holds the top (18 inch side) of the paper, left of center and raises it up to the top of your head. This action, pulls the load out pocket and leaves it hanging from the arm behind the paper. The right hand goes behind the paper and moves down to the lower left corner. The right hand is palm forward, the right thumb going under the bottom edge of the paper, the right finger tips pressing against the paper from behind. The right hand rotates up and forward, turning the bottom edge as it does so until the right thumb and lower left corner of the paper (with the front side of this corner now facing you) are about even with the middle (top to bottom) of the paper. The left hand now brings the top left corner back and down. Without stopping the left hand warps the top left corner around the turn made by the right hand. The result is the pointed end of the cone with the right arm inside the cone. During this process the load has arrived inside of the newly formed cone without the audience being the wiser. Now all that remains is to give the cone a mystic pass and a tap or two as you tilt it forward to shake the load out of it. There is some work involved in releasing the load and depending on the objects you plan to produce you'll have to practice releasing the load neatly while it is inside the cone. This is an important point since the load must be held securely enough to survive being pulled out of the pocket and landing in the cone, but must be able to be released without the audience wondering what you're doing which would quite spoil the magic. In the case of the spring flower load described, a slight squeeze through the sides of the cone against the ends of the cardboard holder will release the flowers. Performance Notes At some time in his or her magical career nearly every magician becomes enchanted with the idea of duplicating Buatier DeKolta's Flowers From The Paper Cone. On delving into the mechanics most magicians soon decide that there is just too much work involved to produce the effect. In fact, the elegance and simplicity of what the audience sees is matched by the elegance and simplicity of the method ... although it is a method that could hardly be described as self working. Donald Holmes' loading method provides an excellent and relatively easy approach to introducing the first load into the cone. The trick is to secure the load so that it does not release prematurely. In using spring flowers on the stage, it is a good idea to obtain a quantity of these props in the same color, preferably red with green leaves so that the audience is at least given the opportunity to believe that flowers are appearing magically from the empty cone.

Next - The Holmes Production

Goldin's Cup & Ball Sleights: The Cup Steal

By Richard Robinson

The ball on the table is covered by the cup. The cup is lifted, the ball has vanished. The cup is set down and lifted again, the ball has returned.
The Cup Steal
Horace Goldin's method of stealing the ball from under the cup is unique in that there is no movement of the fingers as the steal takes place. He describes the move as giving the ball a slight knock with the inside edge of the cup in the action of covering the ball, the cup being placed down at a slight angle, this allows the ball to be driven right into the palm of the hand, making it possible to replace it immediately if necessary.

The cup is brought down so the inside front rim of the cup can contact the ball and send it rolling back. The cup is at a slight angle, exaggerated in the photographs for clarity. The kicked of the ball back must be done so the path of the rolling ball goes directly under the palm of the hand. As soon as the ball is set in motion and clears the back rim of the cup the cup is set down and the ball classic palmed by the hand.

With the ball classic palmed, the cup can be lifted to show the ball is no longer under it. In placing the cup down again the ball can be reloaded under the cup by releasing it from the classic palm with a forward motion so it rolls under the cup as the cup is set down.
Final Loading
Goldin manages the loading and revelation of large balls under the cups in a continuous action where the cup is lifted to show a ball under the cup, the cup is put down and lifted again to show the ball gone, the upright cup is taken by the other hand, turned mouth down, the lifted to reveal a large ball.
Discovering the balls under the cups, I remove them secretly by the above move and twist the cup's mouth upwards on the table showing all clear, boldly bringing the hand containing the ball down flat over the cup I introduce the ball by a little swinging movement, turn the cup over smartly, centrifugal force keeping the ball in.

The ball is vanished from under the cup by using the cup steal described above. After the cup is lifted, the cup is turned mouth up and the hand classic palming the small ball moves away. At the same time, the opposite hand, which has stolen the large ball and palmed it, moves forward over the top of the mouth up cup.

In one continuous action the large ball is dropped into the cup, the cup is revolved in the hand to land mouth down on the table, then immediately lifted to show the large ball.
Performance Notes
From the handling he describes, Goldin appears to change each small ball into a large ball, one after the next, keeping an upbeat tempo rather than pausing after loading all three large balls and then revealing them.
Turning the cup mouth up while classic palming the small ball requires some attention to angles so the ball isn't flashed.

Next - Goldin's Cup & Ball Sleights: The Cup Steal

Sponged Out

By Richard Robinson The magician holds a large red sponge ball between his right first and second fingers. He places the ball on the palm of his open left hand which closes around it. On opening the hand, the sponge ball has vanished. Sponged Out is a convincing vanish which creates a rather unique persistence of vision effect since it is the fingers holding the ball that are persistent rather than the ball itself. It can be worked with any sponge ball, even a larger 2 inch / 50 mm ball. Handling

The right hand, palm forward, displays the ball between the first and second fingers. The ball is placed on the open left palm. The left fingers curl up to close around the ball. The right first finger raised and the left fingers opened out to show the position of the right thumb between the right first and second fingers. The right thumb presses down on the ball and drags it back to the left wrist. The hands' position to the left of the body as the right thumb drags the ball back. Note position of the third and fourth right fingers. The tips of the third and fourth right fingers grip the ball and swing into the right palm as the right thumb moves away. Front view with the right first and second fingers still trapped under the left fingers. The left hand remains stationary as the right fingers are pulled out from under the left fingers. The right hand moves back, the left hand moves up. The right second finger curls in so only the right first finger points towards the left hand. The left hand is opened to show the ball has vanished. The position of the ball concealed in the right hand.

Presentation Facing the spectators, display the ball by holding it between the first and second fingers of the right hand. The hand is held up at shoulder height and turned back and front to display the ball. The left hand opens and turns palm up at just above waist height. The right hand is palm towards the spectators. The right hand moves down towards the left palm, the right third and fourth fingers curl up slightly towards the right palm as the ball is placed on the left palm just at the base of the left fingers. The left fingers curl up to close over the ball, pausing as they come into contact with the right first and second fingers. As soon as the ball is masked by the left fingers, the right thumb moves down between the right first and second fingers until the right thumb tip touches the left palm. This causes the top side of the right thumb to press down on the ball. The left and right hands swing to the left, the body turning to follow the hands. The left arm is raised and the left hand revolves to the left until the partially closed left hand is positioned with the thumb up with the left fingers towards the spectators. The arms are now extended out to the left. As this shift in position is carried out, the right thumb presses on the ball and slides it back across the left palm to the left wrist. The right third and fourth fingers swing up and the ball is pinched between the third and fourth finger tips which swing back into the right hand. The back of the right hand is towards the spectators by this time, the right first and second fingers trapped by the closing left fingers. The movement of the arms stops. The right hand pulls back to the right, pulling the spread apart first and second fingers out of the left hand. The left fingers finish closing over the left palm and apparently over the ball. Continuing to look at the closed left hand, shift the body to the right so it is closer to facing the spectators. Move the right arm at the elbow to the right. As the right hand travels right the right second finger curls into the hand, leaving only the right first finger pointing at the left hand. The right hand gestures at the left hand which opens slowly to show the ball has vanished. Performance Notes Sponged Out works equally well as a close up or platform manipulation. The timing of the coordinated movements has to be practiced until it appears that the ball is placed by the two fingers into the other hand which closed around it as the fingers are extracted. With a good deal of practice and a fairly stiff coat sleeve it is possible to use the thumb sliding action to slide the ball across the left hand and into the coat sleeve for a both hands empty vanish.

Next - Sponged Out

Stanyon's Torn And Restored

By Richard Robinson

The magician displays a long, narrow strip of paper between this outstretched hands. In doing so he also makes it obvious his hands are otherwise empty.
The strip of paper is torn in half and in half again, until the magician is holding a bundle of torn pieces which he fans open at his finger tips.
The magician squares up the torn pieces and suddenly pulls his hands apart to reveal that the strip of paper has been restored to its original state. Again, his hands are seen to be otherwise empty.
Props & Setup
Needed are paper paste and sheets of heavy tissue paper or any other light weight, pliable and easily torn paper. Avoid paper that tends to crack or break at the folds.
Cut the tissue paper sheets into strips 1 inch / 2.5 cm wide and about 3 feet / 90 cm long. The easiest way to do this is to roll the sheet of paper snuggly around a small diameter dowel, pull it off the dowel keeping the layers flush at the ends, then cut off sections of the proper width.
Two strips of paper are used for each performance: the strip to be torn and the strip eventually exhibited in its place as the restored strip.
To prepare the restored strip, fold it zigzag fashion so each folded section is about 3 inches / 7.6 cm long. This length generally matching the final torn lengths of the original strip.
Fold over one end of the original strip and paste the end of the folded over strip to the strip proper to create an open sided pocket into which the restore strip is placed prior to the performance. The restore strip should fit snugly into this pocket.
As you work with this, you may want to modify the paper strip dimensions. Working closer up, the strip can be half the width and of a shorter length.
Handling

The restore strip is neatly pleated zig-zag fashion into a compact package.
One end of the tear strip is folded up and taped or pasted closed to create an open-sided pocket into which the folded restore strip is placed.

Above left, the folded restore strip inside the tear strip pocket, ready for performance.
The tear strip is displayed between the hands, the end containing the restore strip held loosely in the left hand.

Stanyon's handling continuously folds the tear strip in half, running the finger up to its center to break it.
As the tear strips are torn in half again and again, the torn pieces are approximately the same length.

The torn strips, now about the length of the folded restore strip, are kept in front of the folded restore strip until the strips switch hands.
The pocket holding the restore strip is torn open and the fingers appear to begin to spread the torn strips apart. See the presentation below for the handling details.

In fact, the fingers and thumb pull the torn pieces into the hand, crumpling them together.
The tops of the restore strip folds are fanned out. From a distance they appear to be the torn strips.

The paper strip fan is closed and the hands brought together. The right fingers take hold of one end of the restore strip.
The hands spread apart to show the torn strip of paper magically restored.
Presentation
Pick up and display the strip of paper. The gaffed end is held in the left hand, the left thumb and fingers pressing on the pocket, the hands open to show they are empty.
With the right hand, tear the paper in half and in half again, continuing this process until the torn strips are approximately the length of the folded restore strip.
As this tearing proceeds, the end of the strip with the pocket should be kept at the back of the torn strips. The torn pieces and the pocket end are displayed at the tips of the left fingers.
The final tear is actually not a tear at all.
Insert the right finger in the top of the pocket and break it open, then swing that section down and then up and around the torn pieces.
Move the torn stock and restore strip from the left to the right hand, in the process turning the papers around so that the restored packet is now at the front toward the audience.
Fan out the top ends of the folded restore strip.
Once this fan is made, the right hand can steal the torn stock and hold it crumpled in the hand as the fan of paper is moved to the left hand.
The concealed torn pieces can be gotten rid of at this point by picking up a wand or other magical object, dumping the torn stock at the same time, and touching the fanned strip in the left hand.
Or it can simply be held concealed in the right hand until the end of the effect.
Close the fanned out strip, take hold of the ends and spread the arms apart to reveal the restoration of the strip of paper. The restored strip should be held with some tension so that the creases caused by the folds are not visible.
In putting away the restored strip, do not crumple it up or fold it, rather drape it across a table or chair before proceeding to the next effect.
Performance Notes
Once upon a time a magician from Asia performing on a music hall stage in London tore a long, thin strip of paper into several pieces then instantly restored the paper to its original state.
This late 19th Century illusion was quickly appropriated by Western magicians and has, in the ensuing hundred years, resulted in several minor industries. One industry was based on the gimmick used. What was called at the time a finger thimble is today the thumb tip which is available in various shapes and sizes from every magic dealer. Another industry was based on the effect. The torn and restored paper strip evolved into a variety of paper tears as magicians began tearing up tissue squares, paper napkins, magazines and newspapers with abandon.
In the early days of this theft of method and effect, several magicians concentrated on simplifying the working by eliminating the need for the finger thimble. The method presented here is based on a description by Ellis Stanyon tucked away in a treatise on paper tearing he wrote in 1904. It is the earliest example I've found of the use of a pocket in the paper to conceal the duplicate paper. In this case it is the restore paper that is hidden in a pocket to start, rather than the torn paper hidden in a pocket to finish.

Next - Stanyon's Torn And Restored

Memunculkan Botol Dari Tas Kosong

The Effect :
You walk out in front of the audience holding a small, folded paper lunch bag (sack). After rapping it on your fingers a few times, you deftly open it up. Following some jokes and audience interaction, you proceed to produce a full bottle of beer from inside the bag.



Background :
Anyone who ever saw Bob Read produce a bottle of wine, knows the incredible audience impact of producing a real bottle seemingly from nowhere during your performance. For the magician who does not work with doves or other livestock; a bottle is the kind of item you can produce that is above suspicion, since the audience recognizes that it doesn't fold, collapse, compress down, etc.
The method that follows does not use a "body load" and requires just a paper lunch bag, adapted to suit our needs of course, and a bottle of beer or any other bottled beverage that is the right size (a couple of inches shorter than the bag) and shape. Oh yes, you'll also need a table or other flat surface to conceal the bottle prior to the steal. The bottle is placed to the back of the table with a few taller props in front. You must have enough space between the bottle and the props to comfortably set down the bag in front of the bottle. If you're right handed, the bottle should be toward the left edge with you standing on the left side of the table. Watch your angles. While the handling isn't difficult, it does take practice to do smoothly. What's more, the timing and misdirection are critical to the success of this effect. More on that in a moment.

Preparation :
Cut a circular shape - about 3" in diameter (about 1/2" larger than the bottle) - from the back of the bag. The "back" being the side of the bag that the bottom does not fold in front of. The cut-out should be centered as much as possible and be about 4" from the bottom, as shown in Photo 1.

Handling

We'll assume the bottle is set-up on your table, as already discussed. Fold the prepared bag in half, cut-out covered by the fold. To perform, walk out holding the bag or pick it up at some point in your performance. Rap the folded bag against the fingers a few times to reinforce that it's just an ordinary paper bag and it's clearly empty without saying so. Grasp the top of the bag and allow it to unfold downward. Then, reach inside the bag with your right hand and open the bag out. Once that's done, transfer the grip to your right hand - fingers go inside the bag with the thumb on the outside. Take care, of course, to keep the bag level with the front to the audience (cut-out facing you). If you go in for tongue-in-cheek comedy, you can mention that since you're using a paper bag for this trick, "no expense has been spared" to entertain the audience this evening.

You're now ready for the steal; which must be done smoothly, without looking, and with strong misdirection (in the form of a diversion). We'll leave that up to you. You can ask a spectator in the audience a question, request something, etc. Make sure to look directly at the spectator and establish eye contact. The audience's eyes will follow yours. Also, remember to keep any request logical and consistent with your presentation. Any other stratagem that will divert the audience's attention for a few seconds will also work.

Here are the meics of the steal. With the right hand, place the bag over the bottle - so the neck goes into the hole. Photo 2 shows your view with the right hand removed for clarity. Next, push down with the right thumb and then grip the bottle - pressing it with the right fingers against the interior of the bag. See Photo 3. This action with the right thumb assures that the bottom of the bottle will not show from underneath - by raising up the point at which the bottle is held. As mentioned earlier, keep the front of the bag to the audience. The angles aren't bad, but you must be mindful not to turn your wrist to the side and flash the bottle.

After the steal, step away from your table and create some time misdirection between the steal and the production with patter, audience interaction, etc. In other words, don't be in a hurry to produce the bottle. The more time you take, the more amazed your audience will be.

To produce the bottle, your left hand grips the bag from the left side, and your right fingers pull the bottle upward. As soon as your right thumb clears the back of the bag, it too helps grip the bottle as it is pulled the rest of the way out of the bag. See Photo 5. One point here, a more natural way to produce the bottle might seem to rest the bottom of the bag and bottle (behind) on the left fingers, as the right hand reaches inside and produces it. However, that action can cause you to flash the bottom of the bottle from under the bag prior to the production.

Next - Memunculkan Botol Dari Tas Kosong

Trik Dasar Menghilangkan Orang

Diambil dan Dikembangkan dari Buku Pintar Sulap oleh Bagaz The Master of Trick

Effect :

Anda bisa menghilangkan orang dengan menutup bagian depan orang itu.

Prosedur :

1. Suruh asisten anda berdiri di atas tempat yang telah dipersiapkan.

2. Tutup asisten anda dengan kain. Biarkan beberapa detik.

4. Bukalah kain, maka asisten anda telah menghilang.

5. Rahasianya adalah, sebenarnya anda telah membuat meja khusus dengan ada kain kecil di bagian belakang bawah meja yang warnanya sama dengan background panggung sehingga bisa untuk sembunyi.

Tampaknya, trik ini cukup sederhana dan mudah, namun efeknya di atas panggung sangat luar biasa.

Next - Trik Dasar Menghilangkan Orang

Trik Dasar Memotong Tubuh

sumber ; http://www.bagazmagictrick.blogspot.com/
Diambil dan Dikembangkan dari Buku Pintar Sulap oleh Bagaz The Master of Trick

Effect : 

Anda mampu membelah tubuh manusia menjadi 2.

Prosedur :

1. Perkenalkan asisten anda dan bantu untuk masuk ke dalam peti.

2. Kemudian anda seolah menggergaji tubuh asisten anda dan memasukan 2 bilah pisau ke dalam bekas gergajian tadi. Dramatisirlah situasi dengan rintihan asisten anda.

3. Dan inilah rahasianya ! Sebenarnya di meja tempat peti itu berada sudah ada orang lain dibawahnya. Lebih jelasnya perhatikan gambar.

Next - Trik Dasar Memotong Tubuh