Michael Ammar's
Third National Tour
Notes
CONTENTS
Ring on Rubberband
Broken and Restored Rubberband
T.V. Thumbtip Finesse
Haley's Comet
Coins Thru Silk
Pencil Thru Quarter
Continuing the action, the left hand lets go of the ring, as
the thumb pushes the rubber band away from you. with the
thumb above the ring, as in Figure 2. The right thumb and
index finger now pinch together, and twist clockwise. When
you do this, the end of the band slips off of the right thumb.
Michael Ammar
RING BAND-IT
Effect
A ring is borrowed and a rubber band is examined. After it has
been confirmed that everything is as it should be. the ring is
then visibly linked onto the rubber band, and then visibly
snapped off three different times. In each case the linking is
done in full view, and the ring is clearly seen to be linked onto
the band.
To conclude, a pseudo explanation is given as to how the
ring links onto the band, by breaking, and then visibly
restoring the rubber band. Everything, of course, is examined
at the end. with nothing to ditch or conceal.
Comments
This has grown into my favorite impromptu routine these days.
The concept belongs to Bill Kalush. who showed me his
Rubber Ringer routine years ago. and which Richard Kaufman
printed in Richard's Almanac in September. 1983. I loved the
effect, but could only remember the key grip he used to create
the illusion of the ring linked to the rubber band.
I toyed with the handling for some time, and eventually
came up with six different phases for linking and unlinking the
and onto the index finger, giving you the position shown in
CONTINUED ON PAGE 3
Figure 3. As you will notice, the band creates an x as it is
pinched between the thumbs and forefingers of both hands,
ring, each with their own strengths and weaknesses. 1
with the ring resting inside the left section of the x |
eventually narrowed it down to the three phases included here.
The right middle finger now goes into the section of the x
The great news is that after 1 showed these to several friends,
that contains the ring, and works it over to the right, as in
they in turn improved further on the ideas to the point that I
Figure 4. (Don't go into the right side of the x. as I constantly
am ecstatic with the results. Everything fits together just as 1
tried to do. because this won't work. For a long time 1 was just
like it to. with each phase building upon the next, both
a quarter of an inch away from The Missing Link!") This
confirming links and cancelling techniques. If you only work
allows the right thumb and index finger to gnp together what
on one new impromptu, close-up/stand-up routine this year.
will be the two ends of the band. When done correctly, you will
make it this one!
end up with the situation shown in Figure 5.
Procedures
The ideal rubber band to use for the routine is a # 19. 3-1/2"
(9 cm) in length by 1/32"(I mm) by 1/16" (2 mm). Certain
finger rings are better than others for the most deceptive
linking. I do not use rings with large stones, or large class
rings. These, because of the way you have to hold the ring and
band during the linking, prevent a clear view of the rubber
band passing through the center of the ring. The best rings are
also relatively thin at their most narrow points, allowing you to
easily pinch the rubber band around the ring for certain
displays.
Phase One
This is the phase I worked hardest to perfect, yet I still fell prey
to Vernons observation  "Magicians stop thinking too
soon!"
It took Mike Giles from Visalia. California, to come up with
what was literally "The Missing Link". Basically, you will be
doing the handling from Harry Lorayne's "Snap" from
Reputation Makers, but doing it with the ring on the center of
the rubber band.
Begin with the ring on the tip of the right index finger, and
the rubber band stretched between the index finger and thumb
of the right hand. The left hand moves the ring to the middle of
the rubber band, as shown in Figure 1.
Essentially, what you have done is to take the two loop ends Figure 8 shows a slight difference between this grip and the
of the rubber band between the index finger and thumb of the Kalush Grip. You will now bring the right fingers back up to
right hand, and the center of the band between the pinched grip the lower strand of the band on the side of the ring closest
thumb and index finger of the left hand. By stretching the I to you. However, instead of putting all three fingers through
band tight and kneeding it between the fingers, you will work the band, you will only insert the middle and third finger back
the two strands of the band together so they appear to be a through the band. In this way. when you get into the final
single strand. It will take a bit of work to make sure the
display position, the band will apparently be looped around the
strands of the band are flush together, creating the perfect
illusion, but when the knack is acquired, you will be well
rewarded.
As I manipulate the rubber band and ring into this position.
I patter: "What I am about to do is to create a beautiful, but
temporary, piece of magic. Beautiful because all I have to do is
toss, and the ring visibly links onto the center of the rubber
band. As you can see. the ring is unquestionably on the center
of the rubber band, and the band is definitely through the
center of your solid ring.
"But I also said the magic is only temporary, because just
as quickly as the ring went onto the band, it also melts back
off. leaving the rubber band perfectly unharmed." The position
shown in Figure 5 is the one which "sets up" all the other
links, because in the next two phases you will be unable to let
the ring clearly dangle on the center of the band. As 1
mentioned, each phase has its own strong and weak points,
and all compliment the others.
I should also mention why 1 stress the temporary aspect in
the presentation. I do this because in many close-up situations
you might be asked to hand out the ring and band in a linked
condition, to be examined. Under structured performing
situations you might not be asked to do this, but the illusion is
so strong, it would seem a natural next step to hand it all out.
However, by qualifying it up front as a temporary illusion, you
don't need to side step the issue later on.
To unlink the ring, gather the whole works into the left
hand, make a flourishy gesture, and reach into the left hand
with the right fingers. Quickly encircle all the fingers of the
right hand with the rubber band and remove the band from the
left hand with it stretched wide, still clearly unbroken. For
some time 1 ended the first phase by acting as if I had to break
the band, letting the ring slide off one end. having the band
(with both strands pulled taut as one...) snap back into the
other hand. 1 then made a gesture to restore the band, and
continued with the next two links. After long thought,
however. I'm now certain this breaking and restoration is
much, much better when saved for the kicker at the end.
Please resist the temptation to use it too soon.
"But. for all bad news, there is also good news. Although the
illusion is temporary. I've found I can do it as often as I like, so
1'll do it again for you. just in case you weren't sure about what
you may have seen."
right little finger, instead of disappearing for no reason into
Phase Two
the right hand. 1 find this small difference to be quite
In this phase, you will basically use the Kalush Grip, but with a
important.
different lead in. penetration, and hold onto the band. Begin
Holding onto the ring and band in this way. you will find .
with the ring deep on the left little finger, with the band
that you will be able to conceal the bottom strand of the band
stretched between the left little finger and thumb.
along the right thumb and index finger, creating the
The right thumb and index finger take the ring by its most
impression that only a single strand of the band passes
narrow point, and move it off the finger and onto the center of
through the ring. I think Kalush's concept behind this grip
the band between the two fingers  Figure 6. Still holding the
(which motivated further thoughts on the effect itself) is true
ring by the thumb and index finger, the right hand places the
genius. Aside from the fact that the right hand has to retain
middle, third, and little fingers over the bottom strand of the
hold on the ring, this creates the perfect illusion of a borrowed
band. This is done through the middle of the band, in the
ring linked onto the center of a rubber band  Wonderful!
section on the far side of the ring from you  Figure 7. Insert
the fingers through this section, all the way up to the second
joint of the fingers.
To unlink the ring, let go of the bottom strand of the band
on the side of the ring nearest you  Figure 11. Keep hold of
the ring with the right hand, as you also let go of the rubber
band with the left thumb. This will allow both sides of the band
to pass back through the ring. However, as you will notice, the
right index finger is contacting the band against the far side of
the ring. Keep pressing this finger and the piece of the band
against the ring. The left thumb now swings down inside the
band, where the three right fingers are still keeping it open.
The fingers move out of the way. as the left thumb pulls back
the end of the rubber band.
The right hand will need to slightly regrip the ring and band
at this point for the final display. What you have actually done
is to have maneuvered the band out of the ring and around the
back side of the ring. Now you will need to pinch the band
through the center of the ring, creating the impression that it
still passes through the center of the ring. This is actually the
same grip used in many ring and string or rope routines.
The left hand now stretches the bottom strand away from
you. causing the top. pinched strand to stretch, as if you were
going to shoot the ring from a sling shot as in Figure 12.
With the ring pointed directly at the spectators, the top of the
band seems to be pressed against the upper inside edge of the
ring. To cause what seems to be a visible penetration from the
front side of the ring, simply release the pressure on the band,
allowing it to quickly shoot around, free from the ring. Be sure
to hold the ring firmly here! When done correctly, the illusion retain the tension on the lower section of the band with the left
is perfect. fingers. Release the upper strand, and you will find the section
between the thumb and first finger to have the majority of the
slack the band has to offer.
Hold the ring by the index finger and thumb of the right
hand, as Figure 13 shows, but do not have the very tips of the
fingers pressed together yet. They are. in fact, poised to press
together, because you are about to pinch the band through the
center of the ring once again.
To get into the grip with a minimum of motion, press down
on the strand of band between the index finger and thumb of
the left hand, the section which you worked the extra slack
into. As Figure 14 shows, press down on the strand with
enough pressure to allow you to tightly pinch the band with
the tips of the finger through the center of the rubber band.
Your grip on the ring should be such that the very tips of the
fingers meet right at the center of the ring.
As soon as you have the band properly pinched, return the
top strand to a parallel position between the index finger and
thumb. Pause for a beat, with the strand passing right through
the very center of the ring. Again, you are in one of the
traditional grips for the standard ring on rope moves, yet as
you are here using the rubber band, you are able to perform a
beautiful addition to the deceptiveness of the grip. Figure 15
shows how the ring can now be passed back and forth along
the rubber band, apparently showing the band traveling freely
through the center of the ring. What actually takes place is that
the band is stretching and contracting on either side of the
"But just in case you still aren't convinced. I'll do it fust one
more time. But before 1 do. let me show you the band on all ring, where you have it pinched. However, because of the slack
sides, the nng. and both hands. Now. just by touching the ring in the strand, the illusion of the band remaining stationary as
onto the band. I make it melt through the band, creating a the ring passes along it is flawless!
perfect link. But as always, it is a temporary illusion, because
just as quickly, it pops back off and into your hand." Conclusion
To conclude, once again perform the unlink as described in the
The Final Phase second phase, and drop the borrowed ring back into the hands
Hold the band stretched around the left fingers as shown in of the spectator who loaned it to you.
Figure 13. Notice that the left middle finger is on the outside 1 certainly hope you practice this well, because if you do.
of the band: this is to help hold the band with tension on it in a you will have a priceless routine for use any time, any place,
certain way. Once you get into this grip. pull the strand for groups of up to 100 people as well as for one on one!
between the left index finger and thumb very tightly. and MICHAEL AMMAR *
Michael Ammar
BROKEN AND RESTORED
RUBBER BAND FINESSE
4. You will need to move the two looped ends
1. The rubber band is stretched between the
until they are pinched between the Index
Index finger and thumb of the right hand.
finger and thumb of the left hand. To do this,
the right Index and middle fingers completely
open up the section of the looped bands that
the tip of the Index finger occupied.
5. The left fingers help the right fingers
completely open up their opening, moving the
2. The left hand pushes the middle of the
two looped ends between the pads of the left
rubber band away from yourself, as the right
thumb and Index finger.
Index finger and thumb pinch together.
6. The rubber band Is doubled over on Itself,
with the looped ends pinched between the
pads of the left thumb and finger. There Is a
double strand of rubber band held together so
3. The right hand pivots away from yourself,
they appear to be a single strand looped
transferring the loop of the band from the
around the right Index finger.
thumb to the Index finger.
7. The Illusion is made better by moving the
10. The right index finger and thumb move
point where the looped top and bottom of the
down and pinch the rubber bands right next to
bands meet from the far end to the mlddle of
where the looped ends are plnched together
the top strand. To do this. the left little flnger
by the left fingers. Notlce the difference
moves to the middle of the lower strand and
between Figures 10 and 6: The location of the
clips it.
looped ends has been transferred from one far
end to the middle position of the top strand.
6. The right hand completely lets go to re-grip
11. If the looped ends are taken over by the
the band In a slightly different position. The
right index flnger and thumb, the hands can
looped ends are pinched between the left
"wind up* before seemlng to snap what seems
index finger and thumb.
to be an unbroken loop of rubber.
12. The left Index flnger and thumb move
down, quickly pinching the left side of the
doubled band as close to the loops as
9. The right little flnger moves up to clip the
possible. By swinging the left hand back
double strands In about the same location
toward yourself. and the right hand away from
previously plnched by the lndex flnger and
you, each taking their looped ends pinched
thumb.
between their index flngers and thumbs, you
create the perfect Illusion of breaking the loop
of rubber.
13. The middle and third flngers of each hand
are curled all the way In, providing a perfect
view of the band. as the little flngers continue
to hold the double strands in what seems to
be an oblong loop.
15. After the left hand seems to push its end
together with the right hand's end, let go of
everythlng exept the looped portion pinched
by the right hand. Continue to pinch the band
together for a moment before revealing the
restoratlon.
14. To emphasize the break in the band, both
hands move up and down Ilke a draw bridge.
finally moving together, as if reattaching the
two ends together.
Michael Ammar
TV THUMBTIP FINESSE
Comments Why is this worth all this thought? The Professor asked me
Mike Koslowski's One Hundred Dollar Bill Switch caused once what effects in my repertoire would I still do if I were
quite a stir when it was published over ten years ago. I really magic. After a full evening of thinking, the only things I
remember getting his manuscript as soon as it came out, and I would still do, after all these years as a magician, would be
immediately added the effect to my show. In an old press kit I The Hundred Dollar Bill Switch and The Miser's Dream.
had a review of a dinner theater show I did, and the photo These effects appeal to people on a gut level. It hits them
that ran with the review was one of me doing the Hundred where they live. It is one of the few effects they have ever seen
Dollar Bill Switch, and that was in early 1978. any magician do that they would like to be able to do
Since that time I have seen many magicians perform the themselves! This makes it worth great attention to detail, as
technique, and I even printed Roger Klause's handling in far as I am concerned.
ENCORE 3. In Roger's hands, his handling looks as real to The whole point behind the handling you will now read is
magic as it gets, and I have always felt that the best effect with the attempt to keep the forward bill in view the entire time.
this technique, outside of changing a one into a hundred, was To be able to say during the technical phase, "Don't take your
developed by Roger and printed in ENCORE 3. His effect. eyes off the bill. Not even for a second. I've already told you what
The Name Is The Same, is probably the most underused gem the effect is going to be, so don't even blink. I'll move slowly,
keeping the bill right at the tips of the fingers. Don't take your eyes
of the book.
What you will read here is certainly not new technique. In off it..."
fact, the technique I use is still the one I learned from Mike's I've found the key moments in the bill switch are during the
original manuscript. After all, I had used it for four years removal and replacement of the thumb tip. It is here that most
before Roger showed me his method. What I explain here is people take the bill out of sight. For the longest time, I
detailed finesse definitely not explained in print anywhere thought this was unavoidable. Finally, after practicing it for
else. (If you have a copy of Doug Henning performing the bill the video camera, I discovered the secret What secret? The
switch on The Tonight Sham you will see him using the finesse secret to taking the tip off and replacing it without the bill
and gestures you will read here, which I taught him for his going out of sight Oh happy day!
use on television.) The reason the bill goes out of sight in most cases is because
If you think about it, the Hundred Dollar Bill Switch is the left fingers go too far to the right as the thumb tip is taken
actually a technical marvel. In the simple process of folding a off and replaced. The big secret? By breaking the process of
bill four times at the fingertips, you take off a thumb tip, taking the rip off and putting it back on into two movements
switch one bill out of the thumb tip for the one at the instead of one, the left fingers never have to cover the bill.
fingertips, and then put the thumb tip back on. And you do Pretty simple, huh? Now for the nitty gritty details on how to
this undetected, right under the nose of the spectator, while do that in such a way that the most critical observer can video
saying, "Don't take your eyes off the bill..." Wow. This is the tape your TV appearance, and play it over and over without
sleight-of-hand worker's version of the whoopee cushion. being about to explain it, much less do it themselves.
But, let's take a look at the effect of changing a borrowed one TV BILL SWITCH FINESSE
dollar bill into a hundred dollar bilL Let's jump into the We will begin with the assumption that you are already
pocket of a layman going home after your show, as he says to capable of doing either the Koslowski or the Klause switch.
a friend "...you wouldn't believe it. He took my bill, folded it into a Begin by folding the bill into quarters, ready to be folded into
little packet, and when he unfolded it, it was a one hundred dollar eighths. While all the other folds should be made as perfectly
bill!" What do you think the perceived method would be? as possible, this, the third fold, should be slightly off center.
"Big deal. He switched it..." I mean, come on guys, I hate to As Figure 1 shows, the right edges of the bottom portion of bill
burst any bubbles, but people don't believe in magic. The should extend more to the right than the top section. The
effect screams for a method so simple. illustration will make more sense of this than this written
But, what if you were to completely remove switching as a portion. However, this slight overlapping will come in very
method? What if it were done so cleanly that the witness to handy during the unfolding of the bills, so not only should
your show could follow up to his friend's comment with "NO! this overlapping exist in the bill in the tip, it should also be
I know that wasn't how it was done. My bill never left my sight! I done on the borrowed bill as well Figure 1.
swear, he kept it in full mew all the time, right at the tips of his No matter whose method you are using, the borrowed bill
fingers!" Now we have something interesting. Keep in mind must be pre-folded and creased along the same lines you will
the spectator doesn't have to have the conversation with be folding during the switch. I still pre-fold the bill using the
someone else for the effect to be diluted if they could possibly same patter presentation printed in Encore 3, where I talk
explain it away by saying "he switched it." But, if they can't about the first trick I ever learned. "...I learned it on the back of a
say, "he switched it..." you'll have given them something to talk box of cereal. It's the one where you fold a dollar bill four times
heads up, and when you unfold it, it's upside down!"
about for years!
4. The right hand moves away from the left
1. Notice that the right edges do not line up
without allowing It to complete the fold. The
during this next to the last folding of the bill.
bill from Inside the thumb tip Is retained behind
the right section of the quarter of the bill, and
the right fingers do not yet move to hold down
the section of the bill just folded forward.
Essentially, the left hand just starts the fold
forward, taking the tip off the right thumb as it
does so, followed by a gesture with the right
hand.
Load the bill to be switched in inside the thumb tip, borrow
a bill, and begin by folding it into quarters. (Depending on
whose method you are using, this would involve slightly
different folds.) Once the borrowed bill is in quarters, the
technique begins to vary. Follow along with thumb tip and
bills in hand, and look at the illustrations closely.
The hands are up in front of your chest, with the backs of the
fingers pointing toward the audience. The thumb tip is on the
right thumb, loaded with the bill to be switched in. The back
2. The right hand, with the tip and bill on the
of the left fingers push the back of the left half of the bill
right thumb, show the visible bill folded Into
forward, bringing the pad of the left thumb against the nail of
quarters. The left hand approaches, folding
the thumb tip Figures 2 and 3.
the left half (from your view) of the bill forward.
Notice that by pushing the back half of the bill forward with
Notice the fold forward Is Initiated from about
the back of the left fingers, the fingers never fully cover the bill
the mid-point of the back side of the bill.
from the front. It's very important to start this forward push
Basically, the back of the left fingers push the
from the middle of the back, so at every opportunity we
back half of the bill forward.
expose as much of the bill as possible.
The instant you get into the position shown in Figure 3, the
left thumb moves over to the far side of the thumb tip, and
pulls it off the right thumb and into the left hand. Figure 4.
At the same time, the right hand gestures with the bill, taking
it away from the left hand before it can complete the forward
fold. The right thumb holds onto the bill from inside the
thumb tip, pinching it between the right half of the quartered
bill and the right middle finger. "I'll keep the bill right at the
fingertips..."
Figures 5 and 6 show the left hand held motionless, with the
thumb tip held loosely between the base and tips of the
fingers. Notice the borrowed bill is still not folded into eighths
as the right hand gestures with the bill from the thumb tip
held by the right thumb, "...right at the fingertips..."
Immediately following the pause and gesture, the right hand
places the bill back into the left hand, completing the fold into
eighths. In order not to expose the bill concealed behind the
borrowed one, the right thumb pushes it to the left, where the
3. By pushing the back half of the bill forward,
left thumb takes over holding it Figure 7. As the right hand
the fingers never fully cover the bill from the
is shown clearly empty, your patter continues "..50 don't take
front. Also, the left thumb comes into contact
your eyes off the bill..."
with the thumb tip on the right thumb.
5. The thumb tip is supported In the left hand
by the tips of the second and third fingers and
8. This Is your view of the left hand
their base, as the right hand gestures with the
arrangement as the right palm is being shown
bill. The left thumb is free.
empty. The bill to be switched In has been
pushed more to the left so all the edges of the
forward bill are clean.
6. The spectators' view. It seems as If In
mid-forward fold you casually stop, gesturing
as you emphasize fairness.
9. The bill has been switched in during the
process of the final fold of the bills Into
sixteenths. Immediately after the new bill
comes Into view the bill Is unfolded into
eighths and the rear bill Is pushed slightly to
the left. In this figure you are about to take
advantage of the slightly off-center fold, as the
very tips of the right fingers move to the
furthest right edge of the forward bill, pushing
the front eighth of the bill forward.
The right hand comes forward for the final fold, which will
bring the new bill into view and put the borrowed bill behind
it. Depending on which method you use, at this point you
will either fold the new bill into view during the fold into
sixteenths or during the unfolding process. Whichever
7. Immediately following the pause and method you use, immediately unfold the forward bill into
gesture, the right hand places the bill back eighths, moving the borrowed bill slightly to the left Figure
9.
Into the left hand. The bill to be switched in
Continue the unfolding process by pushing the furthest right
has been pushed more to the left as the left
edges of the new bill forward with the tips of the right
hand takes it, so that no edges flash from
fingers Figures 9 and 10. This is where the slightly off-
behind the forward bill. The right hand is
center fold comes in handy. This particular forward fold is the
clearly shown empty during the emphasizing
one most important to be done without fumbling, and without
"...don't take your eyes off the bill..."
the off-center fold, this is the fold most likely to be difficult.
As the right fingers move the front section of the bill
"...off the bill, even for a second..." Figure 8 shows the left hand
forward, the right thumb moves the borrowed bill to the left,
holding onto the thumb tip with the fingers, and the two bills
into the mouth of the tip. The bill moves into the tip just
held by the thumb and index finger.
enough to support it against the base of the fingers. The left
12. This is the audience view of the left fingers
10. By pushing forward with the very tips of the
pulling the front section of the bill around to
right fingers, the thumb comes into contact
the left. The right thumb Is supporting the tip
with the rear bill, which is slid to the left just
between the end of the rear bill and the base
enough for Its left side to begin to enter into
of the left fingers.
the thumb tip. Do not push it all the way Into
the tip. This would cause the left fingers to
move so far to the right that they would have
to cover the bill entirely from the front. As soon
as the tip is supported by the edges of the bill
held by the right thumb, the left fingers release
their support, and move forward to complete
the unfolding the right hand initiated.
13. The left fingers have just finished unfolding
the bill Into quarters. The left thumb Is on the
far left tip of the thumb tip, which has still not
been pushed fully onto the right thumb.
is also moving the borrowed bill into the thumb tip,
supporting it between the bill and the base of the left fingers.
The left fingers are free to pivot the left half of the folded bill
11. The right hand supports the visible bill with around to the left The tip still isn't loaded onto the right
thumb, and although the nail of the tip is supported by the
the middle and third fingers and the thumb.
base of the left fingers, do not use this for support in
The thumb also supports the rear bill and the
pushing the tip further onto the thumb Figure 12.
tip. Still the tip is not loaded onto the thumb.
In Figure 13, the left fingers have just finished unfolding the
The left side of the tip is supported by the base
bill into quarters. The left thumb is on the far left side of the
of the left fingers, but do not use the base of
thumb tip, which still has not been pushed fully onto the right
the left fingers for support in pushing the tip
thumb.
onto the thumb, that would result in the left
fingers covering the front of the bill. The left
fingers continue pulling its section of the bill to
the left.
fingers, free from having to support the tip, move forward to
take the edges of the bill just moved forward by the right
fingers Figure 10.
Don't push the bill all the way into the thumb tip at this
point. If you were to push the tip ail the way onto the right
thumb at this point, the right hand would have to move so far
to the left that the left fingers would cover the bill from the
front.
In Figure 11, the right hand supports the new bill between
the middle and third fingers and the thumb. The right thumb
New Trade Show Ending
#1 The coin is permanently on the
pencil, but is concealed behind
the right thumb and first finger.
#2 The borrowed coin is displayed
in spellbound position in the LH.
The R fingers conceal the coin on
the pencil.
#3 The borrowed coin is allowed
to fall into the LH. The left
thumb moves to hold the top of
the coin on the pencil.
#4 Spectators view. The borrowed
coin is in the left fingers.
#5 The first time you do the
penetration, you can seem to
remove the pencil from the coin
before causing them to
permanently join together.
The RH regrips the pencil in
front of the attached coin,
concealing it. The left thumb
moves down to the coin concealed
in the fingers.
#6 The right hand seems to pull
the pencil free of the coin,
while actually concealing the
coin on the pencil, as the left
thumb pushes the borrowed coin up
to the fingertips.
To finish, repeat the
penetration, only this time
allow the spectators to see the
coin permanently on the pencil.
Haley's Comet
Within the last year Michael Ammar has, without a
doubt, been the most visible close-up magician in the
United States. Numerous appearances on The Merv Grif-
fin Show and a recent performance on The Tonight
Show (with Johnny Carson playing the ideal spectator)
have brought Michael's charming West Virginian style of
expert magic before millions of eyes. This is a happy
circumstance, for Michael is a performer of which magic
can be proud. Michael Ammar's long association with
the New York Symposia blossomed this year with the
addition of his day-length seminar. Michael, in partner-
ship with the symposium's founder Adam Fleischer, has
also begun a new periodical, The Magical Arts Journal.
In these ways and others, Michael Ammar continues to
prove himself one of magic's major forces. And he
shows no sign of slackening his pace.
This year Michael contributes a sterling opening ef-
fect for either a stand-up or close-up act. He has used it
The lighter is held in the left hand  or it may be
for just that purpose on both the Carson and Griffin
placed in the left coat-pocket, ready to be removed as
shows. It is the perfect introduction for a magician  a
soon as you have taken the stage. Finally, the coat you
flashy effect that is visual, fast and impressive. It can't
are wearing must be equipped with a Topit pocket (see
help but catch the eye and establish your credentials as
Michael's book) on the left side.
someone beyond the ordinary.
Make your introductory statement, and then turn your
EFFECT: The performer steps before his audience
full attention to the lighter in your left hand. Hold it just
and greets them. He removes a cigarette lighter from his
above waist level in front of you as you light it. The right
pocket and lights it. Suddenly a ball of fire appears in his
hand also assumes a casual posture in front of the body,
hands and falls to the ground. Hitting the floor, it
if it has not already done so. Bring the flame of the lighter
bounces back up, changing somewhere during the
behind the right hand, igniting the flash-paper tail on the
journey into an ordinary rubber ball. The ball is caught
ball. The instant the paper begins to flare up, two actions
and then bounced on the floor a second time. On the
happen simultaneously: The right hand throws its flam-
third bounce it vanishes as suddenly as it appeared.
ing ball to the ground near your feet; and the left hand,
Then the cigarette lighter disappears from the hands as
remaining stationary, extinguishes the lighter.
well, leaving the performer free to present his next trick.
The visual effect to the audience is that of the sudden
METHOD: Michael and John Carney collaborated on
appearance of a ball of fire. It is both startling and eye
the creation of this instantaneous miracle, with televi-
catching. When the ball bounces off the stage and back
sion particularly in mind. It is an elaboration on Bob
up. catch it neatly in the right hand. By this time the flash
paper will be consumed and the ball safe to hold.
Fitch's bouncing ball vanish (ref. The Topit Book, pp.
80-81).
Display the ball briefly in the right hand, then bounce
it again on the floor. Catch it once more in the right hand.
Needed are a rubber ball, a cigarette lighter and a
As this is done, lean forward slightly on your left foot or
piece of flash paper. The ball should be as large as pos-
slightly raise your left shoulder. This will cause your coat
sible, for the sake of visibility, yet small enough to be
to hang a bit away from the body on the left side, open-
comfortably hidden in the hand: Something around two
ing a passage to the Topit.
to two-and-a-half inches in diameter will suit most
hands. The piece of flash paper must be about three
inches by two-and-a-quarter inches; approximately
cigarette-paper size (a single sheet from the small
flash-pads commonly sold is perfect).
Accordion pleat the flash paper first parallel to its
width and then down its folded length, forming a zig-
zagging strip. Attach one end of this strip to the ball with
a bit of magician's wax. This is the entire preparation.
When ready for your stage entrance, finger palm or
cup the ball in your right hand, the flash-paper fuse stick-
ing from the side of the ball farthest from the fingers. See
Figure 1. The right hand and arm are held loosely and
casually at your side or crooked in front of the body at
about waist level. Your purpose is to hide the palmed ball
in a hand that looks relaxed and unoccupied (in both
senses of the word).
The vanish of the ball into the Topit occurs on the
follow-through action of the right hand as it catches the
bouncing ball. The catch is made just a bit below waist
level. The right hand assumes a palm-up position the
instant the ball is caught, the ball being loosely cupped
in the upturned fingers (Figure 2).
With no pause in the hand's motion it and the arm
sweep up in preparation to bounce the ball again. Dur-
ing this upward arc of the hand the ball is allowed to roll
or trip off the right fingers, nearest the thumb side of the
hand. Centrifugal force causes the ball to leave the
hand: no extra throwing is necessary or desirable. This
rolling-tossing action of the ball occurs just as the right
forearm comes parallel with the floor (Figure 3).
The ball, of course, goes directly into the Topit. The left
arm has remained crooked horizontally in front of the
body, stationed in a natural manner to hide any flash of
the ball's journey from the left angle.
Not the slightest hesitation should be allowed as the
the ball is tossed into the Topit. The right hand continues
smoothly upward to shoulder height, as if it still held the
ball (Figure 4). From there it travels straight down,
mimicking the action of throwing the ball once again to
the stage (Figure 5). The eye follows this motion, the
perception of the ball's absence occurring seconds
after the actual vanish. The illusion is created of the
ball's disappearance somewhere in mid-bounce.
Pause for several moments to let the vanishment reg-
ister. Then openly take the lighter, still in the left hand,
with the right. Hold it by its ends between the thumb and
second fingertip, displaying it clearly (Figure 6). "Well, I
guess I don't need this any longer either." Bring the
hands together in front of the body, apparently taking
the lighter back into the left hand. However, the instant
the lighter is obscured from the audience by the back of
the left hand (Figure 7), it is shot into the Topit. This is
accomplished as follows: First turn the right hand palm-
inward at the wrist, bringing the back of the hand au-
dienceward. Then sharply squeeze the lighter between
the thumb and second fingertip, allowing it to slip off the
finger. This action, rather like that of the Pinch or
Pumpkin-seed Vanish, propels the lighter under the coat
and into the Topit.
The left hand closes around the space where the
lighter was an instant before, then crumples the space.
The left hand almost immediately opens to reveal the
lighter's disappearance, and the hands are dusted
against each other, palm to palm, in a gesture of finality,
showing both obviously empty.
This is as quick and visual a sequence as could be
desired to open an act. Those who have seen Michael
perform it in person and on television will need no
further urging to learn it.
Coins Thru Silk
#1 The scarf is over the
left hand. The right hand
displays the three coins.
#2 The right first and
little . fingers clip the
first coin as the others
are dumped in the left.
#3 The RH continues by
covering the two coins in
the LH.
#4 The LH tosses the two
covered coins back into the
R, covering the third coin.
#5 The bottom coin (outside
the scarf) is sandwiched
between the other two.
#6 & 7 The middle coin is
outside the scarf, as all
three coins are pivoted
over, showing all sides.
8 The middle coin
penetrates the scarf.
#9 - #13 This shows the
click pass I use. The RH
2nd and 3rd fingers clip
the outer coin, as the left
hand turns palm up. The
coin visibly held by the
thumb and first finger is
allowed to fall against the
clipped coin, clicking as
it does. The RH continues
by covering the LH coin
with the scarf .
It 14, #15 The RH loads its
hidden coin behind the
covered coin, as both are
placed back into the RH.
#16, #17 This is a simple
fake transfer for the final
coin. The LH is covered by
the silk as it is seems to
take the coin from the R.
The R just lets the coin
flip over.
#18 The RH continues,
loading the coin behind
both layers of silk, under
cover of brushing it.
#l9 The coin is out of the
scarf, behind both layers.
The RH grasps the bottom of
the coin, creating a ledge
of cloth the coin will
later rest on.
#20 The coin is tightly
wound into the scarf,
further locking in the
ledge. The coin/scarf is
then allowed to unwind, as
if that is the ending. The
ledge keeps the coin from
falling. You seem to have
failed.
# 21 The coin is placed in
the spectators hand, which
is closed, for the final
penetration. Be sure the
coin is free from the edges
of the scarf, so it doesn't
catch as the scarf is pulled
from their hand.
Pencil Thru Quarter
#1 The gimmick is
clipped, gimmick side
up, between the R 2nd
and 3rd fingers.
#2 - #5.The gimmicked
coin is switched for
the borrowed one using
a variation of Bob
Elliott's Flipswitch.
The gimmicked coin is
moved under the left
hand, whose first
finger has scissored
out of the way. Then
the R thumb pinches
the borrowed coin
between itself and the
middle finger, as the
coin is apparently
turned over. Actually
the gimmicked coin
pivots up, and the
right hand retains the
borrowed coin.
#6 The R 3rd finger
moves up to clip the
borrowed coin in the
same way the gimmicked
coin was originally.
#7 The borrowed coin
is clipped in the RH,
as the L is shown.
#8 & 9 The gimmicked
coin is held in the LH
spellbound position,
as the RH (clipping
the borrowed coin)
pushes the pencil thru
the coin.
#10 The first time, the pencil is
allowed to pass through the coin,
and down between the 2nd and 3rd
fingers. The L thumb then pushes
the end of the pencil on thru the
coin into the RH. The left thumb
prevents the flap from clicking
as it snaps closed.
#11 The coin has been penetrated
a second time. You are now ready
for the final switch. First, the
coin must be firmly held between
the thumb and middle finger of
the LH.
#12 The L 3rd finger has started
to move up in order to move the
flap down behind itself. The RH
holds the end of the pencil. The
L thumb and middle finger hold
the coin.
#13 The flap is now behind the L
third finger.
#14 The RH moves to the front
end of the pencil, in order to
pull it forward and out of the
coin. This naturally brings the
borrowed, clipped coin in front
of the left first finger.
#15 The left thumb moves from
the gimmicked coin to clip the
borrowed coin in the RH. The L
3rd finger has kept the flap from
clicking back; in fact, it has
clipped the coin onto the finger.
The right hand continues to pull
the pencil forward, along the
borrowed coin for a perfect
illusion of pulling the pencil
out of the borrowed coin.
#16 The left fingers have curled
in, concealing the gimmicked coin
as the right hand pulls the
pencil forward. The left hand
holds the borrowed coin between
the thumb and first fingers.