BAR

by Ron Jaxon

T

ricks

A

nd

B

its

Contents

Introduction

Card in Beer Bottle

preloaded duplicate
signed card with friend
signed card by yourself

Modern Camera Card

Table Signs

Finger and Arm Tricks

the arm puzzle

Thumb Off

Invisible Chair

Changing Color Napkin Rose

Bic Sticker

two lighters

1

2
2
3
4

8

9

10
11

13

15

16

19
20

BAR

T

ricks

A

nd

B

its

Ron

Jaxon

2006

©

edit

and

design

by

r

edpen

K

.

com

Introduction

While performing at bars and parties can be fun, I am not suggesting that you
should perform in these venues or that you should drink alcoholic beverages.
That’s a decision you should make. I will say that it is not a good idea to
drink while you are performing. Not only can it impair your ability to drive, it
also affects your ability to entertain. Take it from me. It is easy to become an
alcoholic if you get hooked on drinking while you perform and spend a lot of
time in bars. Remember, you don’t have to drink alcohol even if you are in
those settings. Also be aware that people can get rowdy when they are drink-
ing. Have fun but stay safe.

Now that we’ve got that out of the way, let’s talk about the venues this materi-
al is intended for.

Although most of the material in here can be used in other places, the pre-
sentations and some of the props are focused on things you are likely to find
at a bar or party. In this atmosphere it’s nice that you can just hang out and
also happen to be a magician. There is no pressure to be the center of atten-
tion or watch the clock and perform at a scheduled time. You can just have
fun and work with the people.

I hope you find some of these Tricks And Bits useful. I perform all of these on
a regular basis with success. Give them a try the next time you’re out with
your friends. Please feel free to contact me at www.magicjax.com with any
questions or comments.

Ron Jaxon

1

Card in Beer Bottle

EFFECT

A lost selection, sometimes signed, magically appears inside a beer bottle that has been
on the table the entire time.

METHOD

There are a number of ways to pull off this trick in a bar atmosphere. Your key weapon is
the fact that no one suspects the beer bottle is playing any part. This means that a card
can be loaded inside a beer bottle on the table long before you reveal it is there.

Here are the three main ways to accomplish this effect.

Preloaded Duplicate

This is the simplest way to cause the selection to appear inside
a beer bottle. You simply have a card loaded in the bottle before
you start the trick then force a duplicate card on the spectator.
You can not use a card signed with this method. Regardless, it
is a powerful piece of magic and spectators react strongly to it. I
find it best to use this method in a multiple selection routine
such as card/s to pocket.

To begin, have three cards selected. Find the first two in different pockets and act like you
forgot that there is one more selection you haven’t found yet. Act dumbfounded as you try
to think of a way to find the last selection. Make a wide-eyed face that indicates you got an
idea and riffle the cards onto the table near the loaded bottle. The spectators will look at
you as if you are an idiot for a moment because they still won’t see the card in the bottle.
Slowly pick up the bottle with the tips of your fingers and show them the card inside. Act-
ing out that you have an idea helps hide the fact the preloaded card in the bottle.

You have to use your own bottle to do this effect. I don’t suggest you put anything in a
stranger’s bottle. If you are performing for friends who won’t mind, go for it. It’s your call.

I find it best to use this

method in a multiple

selection routine such

as card/s to pocket.

2

Card in Beer Bottle

If you can find an empty bottle you can load the card and subtly place it on the table. It
needs to be the same brand as most people are drinking. When the trick is over, they’ll
assume it was one of their empty bottles.

Signed Card With a Friend

In this method you have a friend do the dirty work for you. You palm the signed selection
and discretely give it to your friend. While you perform some other part of the trick your
friend will load the signed card into the bottle. The friend will also put the bottle on the
table. Because all attention is on you, no one will be watching your friend. You are in the
same position as the Preloaded Duplicate method except the card in the bottle is now a
signed card.

Let’s go into more detail on how to pull this off. First of all, it is best to do a multiple card
selection with these card in bottle methods. Finding the other selections gives you time
and misdirection. While your friend is doing the dirty work, you have to keep spectator’s
attention so they won’t catch your friend. Let me take you step by step with a two-card
selection routine.

Have your friend positioned behind you to the right. This assumes you are right-handed
and palm cards off the top of the deck with your right hand. Your friend is posing as a
spectator and is holding a bottle of beer that is the same brand as the one you are drink-
ing.

Have two cards selected. Hand one of the spectators a marker and have them sign the
face of their card. When they are done have them put their selection in the deck and
secretly control it to the top. As you gesture for the other spectator to sign their card, palm
the first signed selection off the deck and sneak it to your waiting friend. Place the deck on
the table right away and pick up your beer to take a drink. This is a natural action while
you are waiting for the second selection to be signed. It also sets you up for what comes
next.

3

Card in Beer Bottle

Hold the beer in your right hand. Your left hand picks the deck up from the table. At the
same time, your right hand goes behind your back where your friend swaps your beer
with the loaded bottle. Bring all attention to the cards in your left hand. Subtly place the
loaded bottle on the table as the second selection is placed into the deck. Control this
second selection and you are ready to make the card appear in the bottle. I usually
perform a card in mouth or a card to pocket or wallet with the other selection.

Signed Card By Yourself

Now we’re getting to the really gutsy stuff. In this method you will cause a signed card
to appear inside a bottle without help. You will load the bottle in front of your spectators
so your acting skills and misdirection must be strong. While this isn’t the easiest trick in
the world, it is not as hard as it seems at first. The hardest part is secretly getting the
bill rolled into a tube so you can load it into the bottle.

You’ll have to use misdirection and get the palmed card behind your
back or under the table to roll it into a tube. A good time to do this is
after the selection is lost in the deck. The selection is actually con-
trolled to the top. You can palm off the card and then hand the deck
to the spectator to shuffle. While the cards are shuffled, it is pretty
natural to put your hands behind your back as you wait patiently (Fig.
1). The tube must be smaller then the opening of the bottle.

While the spectator is shuffling, subtly pick up your beer bottle and take a sip. Then
hold the beer in front of you (Fig. 2). The end of the card is being inserted into the bot-
tle at this point (Fig. 3).

Fig. 1

This shows the

position of the rolled
card.

Fig. 2

Hold the beer in
front as the end
of the card is
being inserted
into the bottle.

Fig. 3

Hold the beer in
front as the end
of the card is
being inserted
into the bottle.

4

Card in Beer Bottle

Once the end of the card is inside the mouth of the bottle push it in with the palm of your
hand (Fig. 4). You should also be talking to the spectator who is shuffling the cards to
divert attention from yourself. You might comment on their shuffling skills or make a joke.
Do whatever it takes to keep the attention away from yourself.

Once the card is inside the bottle you will want to insert your finger and push it as far
down as you can. It is better to use a fairly full bottle. Once the card reaches the liquid it
will go deeper into the bottle. You want the card to pass the neck and enter the body of
the bottle. If it doesn’t, leave it in the neck. The end result might not be as pretty but it will
still be a powerful effect. That’s better then risking the chance of your spectators seeing
the unnatural action of pushing the card deeper.

The dirty work is done. The next thing you will do is subtly place the loaded bottle onto the
table without drawing any attention to it. Your misdirection will come from getting the deck
from the spectator with your other hand. Bring attention to the spectator and the deck as
you casually place your bottle on the table.

Also notice that the entire palm, roll, and load sequence should only last a few seconds.

Fig. 4

Push the card in
with the palm of
your hand.

Fig. 5

Exposed view of
inserting the
card into the bot-
tle.

Fig. 6

Insert your finger
and push the
card down as far
as you can.

5

Card in Beer Bottle

You should spend some time practicing rolling a card behind your
back so you can do it quickly. Notice that the loading action isn’t
unnatural. If you follow the three explanatory images you will see
that it does not look suspicious. It should simply look like you are

casually holding the bottle as you patiently wait. It only lasts for a few seconds.

After the loaded bottle is on the table and the deck is in your hand you
are ready to reveal the card in the bottle. You can do this however you
wish. I spend a little time using misdirection so spectators forget that I
had the bottle in my hand a moment ago. I sometimes do this by finding
another selection like in the last two methods. Or I might purposely find
the wrong card a couple of times before giving up and riffling the cards
on the table (Fig. 7). They’ll laugh at this outburst. I act surprised as I
reveal the card in the bottle.

It is not always a good idea to riffle the cards all over the table if there are
food or drinks. Here is another way to present it. Place the deck on the
table. At the same time grab your beer bottle so your hand prevents the
crowd from seeing the card inside (Fig. 8). Have your spectator look at the
top card of the deck. Ask them if it is their card. They will say no. Have
them put it back on the deck. Tell them that you are going to make their
card to rise through the deck and appear on top. Then tap the top of the
deck with your beer bottle as you see in the images on the left. Have
the spectator turn over the top card to see if it’s their selection. When
they tell you it isn’t, repeat the entire process but tap a little harder with the bottle.

On your last failed attempt tap the deck pretty hard (Fig. 9). Act frustrat-
ed because the trick isn’t working. Then realize what has happened and
say something along the lines of: "I tapped it too hard. The card rose
above the deck and look! It went right into the bottle!"

Fig. 7

Reveal the hid-

den card by riffling
the deck.

Fig. 8

Grab your bot-

tle to to hide the
card.

Fig. 9

Tap the deck

with the bottle.

You should spend some

time practicing rolling a

card behind your back so

you can do it quickly.

6

Card in Beer Bottle

Recently I’ve been putting a full beer bottle in my back pocket. With this approach, you
load the card into the bottle while the spectator is shuffling. Then I casually pull out the
bottle and place it on the table. If you don’t call any attention, the spectators won’t either.
Continue the performance as it is outlined above.

7

Modern Camera Card

I was performing for an IBM banquet recently when this trick came to mind. Someone in
the front row was taking pictures of the show with their digital camera. I noticed it was the
kind that had a LCD screen. I’m not sure where the
trick originated but it used to be done with the instant
Polaroid cameras. So many people carry digital cam-
eras and cell phones with cameras that it can be
done impromptu.

The effect is simple. Have your picture taken with
someone (Fig. 10). The person in the picture doesn’t
know that you are holding a card next to their face.
Force that card on the spectator. Have the person with the camera show the photo to the
spectator. They’ll look at the picture and gasp when they see the their card.

8

So many people carry digital

cameras and cell phones with

cameras that it can be

done impromptu.

Fig. 10

Have your picture taken with someone. The person in the picture doesn’t know that you are

holding a card next to their face.

Table Signs

Bars and restaurants often have these stand-up signs on the tables
for advertisements, menus, or reservations. These are a great place
to find a lost card (Fig. 11). The presentation is almost like card
through window or card in bottle. The simplest method is to have a
duplicate preloaded. Sometimes you can use a presentation similar to
the card in bottle method found in this E-book where you have a
friend do the dirty work for you (See card in bottle). I have also made
use of menus enclosed in clear plastic for this effect.

Always keep an eye out for other objects you can use in your act.
When performing in a bar or at a party you can keep it fairly casual.
You do not have to be the center of attention the entire time. You can
be a magician who is hanging out and do a trick once in a while. In
this setting you can get away with a lot more then you could if you
were in front of a scheduled audience. So, take a look around the
room and see if any ideas come to mind for using common objects.

Also, be aware of anything that might happen to give you an advan-
tage. For instance, someone may arrive while if you are in the middle
of a card trick. If everyone stops paying attention to greet the new-

comer, it could open up some interesting possibilities for you. It might
give you a few seconds to load an object under something on the
table to be produced later. Grab something off the table and use it for

a pick-pocketing type presentation. Be careful if you attempt that. You never know what
could be possible when you keep an open mind and take advantage of the situations that
arise. The Table Sign is a perfect example. You might even be able to load a signed card
in there.

9

Fig. 11

Stand-up signs

are a great place to
find a lost card.

Finger and Arm Tricks

I have entertained audiences for more than 10 minutes using nothing but finger and arm
tricks. I think there is an underlying psychology with this trick because everyone knows a
variation for pulling off a thumb or finger. When they see a magician take those simple
tricks a step further, it is comfortable. They know the principle of replacing a portion of one
finger to look like it is part of another to create the illusion. However, it is a pretty magical
thing to witness someone taking it completely off when you are not using a familiar
method.

Most of the finger tricks I use were learned from Meir Yedid (Fig.
12). I am sure most magicians know him from his finger tricks and
the famous twisting the arm illusion. I don’t teach all of these tricks
here because they aren’t mine to give and they are readily avail-
able from Meir Yedid. I am going to share some ways to present
them and put them into an entertaining act.

Before we begin, let me discuss some reasons why these tricks

are useful tools. If
you are in a bar, at a
party, or anywhere
else, someone could
request that you
show a trick. The first
thing most magicians
do in this situation is
search their pockets

for a prop while they figure out what they
should do. This pocket search is a way of
stalling. When you have an idea, you go to
your pocket and pull out the props you need.
The funny thing is that the prop is probably

10

Fig. 12

Go to

http://www.mymagic.com/y
edvideos.htm to visit Meir
Yedid’s site and purchase
his great DVDs. Also
check out his arm twisting
trick. Or you can go to
www.mymagic.com and
search for them.

At the time of this writing there was a
popular news story about a woman who
claimed to have found a finger in her
bowl of chili at a Wendy’s restaurant.
She was later arrested for fraud. As long
as that story is known you can use this
line.

"I was eating a bowl of
chili at Wendy’s for
lunch today and look
what happened."

Finger and Arm Tricks

in the first pocket you searched a moment ago. Maybe it’s just me but this does not seem
entertaining or professional.

If you know a good finger trick, you can do it right away. There is no searching and no
waiting. When they ask, you can hold your hand up minus one finger and say, "Just a
minute, I lost a finger". Search your pocket, actually looking for your next prop, and act like
you found your finger and pretend to put it back on your hand. This is more entertaining.
You have done magic for them before you even said you would.

The Arm Puzzle

After you’ve performed Meir Yedid’s finger tricks, you can
move onto something else that will get your spectators
involved. Although David Copperfield did this on one of his
most recent television shows, it is actually a very old trick.
It is more like a puzzle than a trick. It is great because it
gets the audience involved. This puzzle attracts not only
your spectators but also people who may be standing
nearby. When they see a group of people sticking their
arms out, they start laughing. It is hard for onlookers not
to participate. You can repeat it a few times and more people will join in. Audiences usually
ask me to do it over and over again as they try to do it themselves. If someone happens to
figure it out then that’s great. It gives you an opportunity to congratulate them. It is not
exposure because it isn’t a trick. It’s a puzzle and when you can congratulate someone for
figuring it out they feel special. You can encourage those who don’t figure it out to keep
trying. A fun line to use here is: "I can just see you all in bed later tonight with your arms
pointing toward the ceiling saying, ’How the heck did he do that?’"

Here’s how it is done. Figure 13 will walk you through the actions. The secret is that most
people will turn their wrists in opposite directions. When you do it turn your wrists in the
same direction.

11

This puzzle attracts not

only your spectators but

also people who may be

standing nearby.

Finger and Arm Tricks

Ask your spectators if they can do it in four moves. Get as many people as you can to join
in. If only a couple do, don’t worry. Others will join in the second time you do it. And they
always ask to do it again.

Following the Figure above:

1. Hold your arms out in front of you like you see in the first image above.
2. Cross your arms so your right arm goes under your left.
3. Both your thumbs are now pointing up toward the ceiling. Now turn both of your

hands clockwise. This is to the right from your view. They must both turn clock
wise or it won’t work. It will take some practice to get used to this position. Lock
your fingers together and hold your arms in this position until everyone else
catches up with you.

4. Now bring all attention to your arms and rotate them clockwise again, which is to

the left, until you have reached what you see in the last image above.

Your spectators won’t be able to do this last part because of how their arms are locked together.
Watch them giggle and ask you to do it again. Repeat the movements after announcing that you
are going to do it very slowly. Tell the crowd that you want them to watch you closely to make
sure you don’t do anything sneaky. There is no trick here. Repeat it very slowly. They still won’t
figure it out. If someone figures it out, congratulate that person and move on with your show.

Don’t be fooled by how simple this is. Give it a try. You won’t regret it!

12

Fig. 13

If someone happens to figure it out then that’s great. It

gives you an opportunity to congratulate them.

Thumb Off

EFFECT

The performer comments that he is going to per-
form the very first trick he ever learned. He then
performs the old taking off the thumb trick. This
entails grabbing your thumb and removing it from
your hand. Since everyone knows this trick, they
are not amazed. The performer comments that he
knows it’s not a great trick, but it was his first trick. He says that since he has been doing it
for so many years, he’s got it perfected. To the surprise of the spectators, your thumb pops
completely off your hand and falls on the table.

METHOD

As you may have guessed, all you really need to perform this routine is the old reliable
thumb tip. Get the T tip on your right hand thumb just like you normally would. When
you’re ready, remove the T tip from your thumb and hold it in finger palm just as you would
when vanishing a silk. This allows you to use that same hand to do the old taking off the
thumb trick. So it’ll seem that you are removing your left thumb.

While you’re performing this, look at the faces of the audience as if they are supposed to be
astonished. When you realize they are not at all amazed, look at them and say something
along the lines of: "I’ve been practicing this trick for years". While you are talking, put the T
tip back on your thumb and hold it as if you were still doing the old thumb trick (Fig. 14).

Get closer to one of the spectators. Try and choose the one most likely to scream. Then

13

This effect was recently published

in Linking Ring Magazine. I get

more screams from this effect

then the marketed effect The

Web. It can be done anywhere

and at anytime because most

magicians carry this prop with

them. If you doubt the reaction

this gets with laymen, give it a try.

Fig. 14

While you are

talking, put the T tip back
on your thumb and hold it
as if you were still doing
the old thumb trick.

Thumb Off

draw attention to your thumb again. Make a removing the thumb action as you allow the T
tip to fall to the table or floor. As the thumb falls off make a surprised noise.

This loud sound will heighten the effect of the surprise and will cause them to scream a lit-
tle more.

AFTERTHOUGHTS

Don’t let the simplicity of this effect fool you. It is a very funny and memorable moment,
especially when you get a real screamer. If you are performing this in a restaurant or club, it
is a good idea to make sure no one has a drink in their hand. Someone could get pretty wet.

Some may question if it is proper in magic to let spectators see a thumb tip out in the
open. Similar questions have been posed in regards to other magician’s props. Doc
Eason’s effect with a double facer comes to mind. In his effect two cards fuse together as
one. The props exposed aren’t exposed as a method. So it doesn’t fall into the realm of an
exposure. In this effect, the T tip is actually a site gag. So the usage as a prop isn’t
exposed. If you are really worried about it, you could substitute the Thumb tip for a fake
thumb from a toy or something. I have never been called on it in the five years I’ve been
performing this trick.

14

Invisible Chair

I’ll throw one more bit in because it uses no props. All you need is
your body and a table. I usually do this bit if I’m in a bar and some-
one invites me to perform at a table. Sometimes I even use it as an
opening to a larger show. I like to give my audiences some eye candy
right from the beginning and this always allows me to do that.

I’m not sure where this bit actually originated. I first saw it performed
by Dick Van Dyke on a TV special years ago when he was doing an
impersonation of Stan Laurel. Although it’s not meant to be a fooler it
does create the illusion that you are sitting on an invisible chair. Fig-
ure 15 will explain it all. All my body weight is held on my elbow
which is resting on the table.

15

Fig. 15

It is not meant

to be a fooler but it
does create the illusion
that you are sitting on
an invisible chair.

Color Changing Napkin Rose

Magicians have been making origami napkin roses out of plain white
napkins for years and they’ve always been neat item to give away. A cou-
ple of years ago a magician named Michael Mode released these custom
printed napkins that make the roses even more unique (Fig. 16).

If you perform on a regular basis I strongly urge you to pick up some of
these little gems. People love them. Visit www.napkinrose.com to get
some. He also has a great DVD loaded with many wonderful ideas and
tips.

Every since I first found out about these custom napkins I’ve wanted to

devise a way to turn a white napkin rose into a colored one. I played
around with some sleight of hand methods but napkins are fragile so they
are hard to work with. Finally, a logical idea hit me and this trick is the
result. All you need is a small stack of white napkins and one of the cus-
tom printed napkins from www.napkinrose.com.

EFFECT

The magician places a small stack of napkins on the table. He picks one of them up,
makes a napkin rose, and hands it to a spectator to keep. After they marvel over this
little unique item, you tell them that you’ll wrap it up for safekeeping. After all, you
wouldn’t want it to get damaged on the way home. You lay the white napkin rose on
the stack of napkins still resting on the table and roll the rose up so it is completely
enclosed.

The magician places the bundle on the table and brings all attention to it. He pulls the two
exposed corners of the napkin. When it’s completely unrolled the napkin rose is visible
and they see that it has changed into a colored rose! This rose is handed to the spectator
to keep.

16

Fig. 16

Visit

www.napkinrose.com

to get Michael
Mode s custom
printed napkins.

Color Changing Napkin Rose

METHOD

The secret is an old trick that is usually done to change a spoon into a knife using a dinner
napkin. You might have seen Mac King expose this method on one of the World’s Greatest
Magic television specials.

You start out with the premade colored rose under the stack of napkins. You’ll want to use
a few napkins so the spectators can’t see the colored napkin underneath. I made the nap-
kin transparent in this image to show that the napkin rose is laying diagonally under the
white napkin (Fig. 17).

In a real performance spectators should not be able to see the rose

under the stack.

Pick up one of your napkins and make a rose. Detailed instructions on how to make the
rose can be found at www.napkinrose.com. Hand it to a spectator to look at. Take it back
and place it on the stack of napkins as you see in this image to the right.

Grab both roses at the same time and start to roll them up as you see in Figure 19.

17

Fig. 17

Start with the

colored rose under the
stack of napkins.

Fig. 18

Place a white

rose on the stack of
napkins.

Fig. 19

Color Changing Napkin Rose

Next you are going to flip the entire napkin over so the two exposed corners switch places.
Figure 20 illustrates this. The corners marked A and B will switch.

Now all you have to do is grab the two corners and pull. The
napkin will unroll but this time the colored rose is on top and the
white one is underneath (Fig. 21).

Pick up the colored rose in one hand. With
the other hand, wad up the napkins with the
white rose inside (Fig. 22). You are getting rid

of the evidence. Spectator attention will be
on the unexpected colored rose at this point
so they won’t suspect anything. But, it is nice
that you get to end clean.

18

Fig. 20

Fig. 21

The colored rose is

on top and the white one is
underneath.

Fig. 22

Wad up the

napkins with the white
rose inside to get rid
of the evidence.

Bic Sticker

EFFECT

The magician causes the sticker on a Bic lighter to vanish

and appear at will. You can even cause it to travel from

one lighter to another or onto a different object such as a

glass or bottle. You will actually perform this effect slightly

different each time you use it. I included it here to share the

concept. If you use your imagination some neat routines can

be accomplished.

METHOD

This effect is easily accomplished with the paddle move. The paddle move is a well-known
concept. I am assuming you already know how to do it. That should tell you how to cause
the sticker to vanish and appear on the lighter because they come with a sticker on one
side. But how do you cause it to move onto other objects such as a glass? You obviously
need an extra sticker. But to take things a step further, I’ll explain how to make a gimmick
that allows you to do this trick whenever you wish as well as making the effect more
deceptive and logical.

The Gimmick

You’ll have to find a thin vinyl window decal like you see in Figure 23.
You can find them in all shapes and sizes. What you need is one that
has a clear section as large as the sticker from a lighter. Remove a
sticker from a lighter and stick it to a portion of the vinyl that has no
printing on it. Cut the excess vinyl away so you’re left with a sticker that
looks normal but the sticky side is covered with vinyl.

This is your gimmick. It’ll stick to a lighter just like it sticks to a window.
It’ll also stick to any smooth surface such as a bottle or glass. It allows you to peel the
sticker off a lighter.

19

Fig. 23

Vinyl window

decals come in all
shapes and sizes.

Bic Sticker

Using the gimmick

If you are going to be using your own lighter then the sticker can be pre-
loaded. What you will end up with is a lighter that has stickers on both
sides. From here you can openly peel the gimmick off. Stick it in your
pocket or onto a glass as you pick it up. Then use the paddle move to
make the sticker reappear on the lighter (Fig. 24). You can make it
appear and vanish a few times. At the end make it vanish and magically

reappear on the glass on the table.

If you borrow a lighter you can start with the gimmick palmed in your left
hand as you see in the image on the left. This assumes that you are

right-handed. Notice that the sticky side is up because in a moment you are going to stick
it to the borrowed lighter.

Place the borrowed lighter directly on top of the gimmick. If the lighter already has a stick-
er on one side you will want to stick the gimmick on the other side. You will end up with a
sticker on both sides of the lighter. If the borrowed lighter doesn’t have a sticker you can
put the gimmick on either side.

Now peel the gimmick off right in front of them. If there was a real sticker on the other side
it is a simple matter of using the paddle move to show both sides to be blank. After show-
ing this, cause the sticker to reappear.

Two Lighters

If you use two lighters you can peel a sticker off one and stick it onto the other. The audience

20

Fig. 24

Use the

paddle move to
make the sticker
reappear on the
lighter.

Fig. 25

Place the bor-

rowed lighter directly
on top of the gimmick.

Fig. 26

Peel the gim-

mick off right in front
of the spectators.

Bic Sticker

will believe one of the lighters has a sticker on both sides and the
other has no sticker. This sets you up to do a color changing knife
type routine. You will put the sticker lighter in one hand and the
blank lighter in the other and make them switch places.

In this setup both lighters have a sticker on one side. Do the pad-
dle move to show that one has no sticker and that the other has

two. It is a simple matter of using the paddle move to show the stickers traveling between
the lighters. They can travel one at a time or both at the same time.

I suggest you make the gimmick and give this a try. Even though I perform this on a regu-
lar basis I don’t have a full routine because I do it slightly different each time. The gim-
mick isn’t always necessary. I included it here so you can make use of it as you wish. You
can stick the gimmick to a laminated card in your wallet when it is not in use. If the vinyl
gets dirty it won’t stick very well.

21

Even though I perform

this on a regular basis I

don’t have a full routine

because I do it slightly

different each time.