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THE SPONGE BOOK By an assortment of prominent Sponge Ballers Edited by Frances Marshall
How To Do Sponge Ball Tricks
Contents GOSHMAN’S SPONGE ROUTINE ..................................................................................... 5
The Ghost Balls............................................. .............................................................................................. ...................................................................... ..................... 11 THREE BALL TRICK ............................................................................ ........................................................................................................ ............................ 12 BIG AND LITTLE BALLS............................................. .............................................................................................. ...................................................... ..... 17 SILVER AND SPONGE ................................................................................. ..................................................................................................... .................... 19 LEAPING LEPRECHAUNS.......................................... LEPRECHAUNS........................................................................................... ..................................................... .... 26 PASSE TRICK ........................................................................................ .................................................................................................................... ............................ 29 SPICY SPONGES ........................................................................... ............................................................................................................... .................................... 32 CRANDALL'S CRANDALL'S ORIGINAL ROUTINE .................. ..................................................................... ............................................................. .......... 35 AROUND THE THE BLOCK ................................................ ................................................................................................... ..................................................... .. 41 FAVORITE FAVORITE SPONGE ROUTINE........................................... ....................................................................................... ............................................ 43 SURPRISE FINISH ........................................................................................................... ........................................................................................................... 45 MULTIBALL...................................................................................................................... ...................................................................................................................... 46
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ALBERT GOSHMAN GOSHMAN
GOSHMAN’S
SPONGE ROUTINE
In demonstrating his routine for this book, Al Goshman emphasized that fundamentally it was not new, but, he said, there is a right way and a wrong way of doing it, and that was the important thing. Anyone who has seen Al Goshman perform this in his table routine will agree that his is the right way. The routine is short and to the point, and has a strong impact on the watchers. Do not dismiss this description because superficially it appears to tell you moves you think you already know. Study it carefully for the subtle points of presentation and handling, and the psychological manipulation of the assisting spectator. spectator.
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Setting Up: Four sponge balls and the frame from a small money purse are required. For maximum impact the sponge balls should be as large as you can handle. Goshman uses balls 2 1/2 inches in diameter. He has two ways of setting up, according to how he is dressed. If he is wearing a tuxedo, he places three balls in his outside left coat pocket, one in the right coat pocket and the purse frame he tucks into his cummerbund on the right side. If he wears a lounge suit, the placement of the balls is the same, but the purse frame is placed in the right coat pocket along with the single sponge ball. Routine: (1. Cummerbund) He leans slightly back in his chair and while beaming conspiratorially conspiratorially at the spectators, he plunges both hands into his coat pockets as though feeling for something. Immediately the left hand grasps the three balls, squeezing them together into a compact bundle, and then the right hand comes from the pocket, feels at the cummerbund and produces the frame, which he taps firmly on the table as he says: "This is a purse!" In the meantime, the left hand comes from the pocket with the three balls secretly secretly held. (Frame in Pocket) The action is the same except that the right hand produces the frame from the pocket and taps it on the table, the left hand (with the stolen balls) coming out of the left pocket a second after the right.
The left hand rests casually on the table as the right hand displays the frame held delicately at the fingertips (Fig. 1) The moves should be smooth and correctly timed so the steal of the three balls will not be suspected. Remember the frame is produced a second before the hand with the balls comes from the pocket, and the frame is tapped on the table and then displayed as the left hand with the concealed balls rests on the table. 2. The left fingers are opened so the concealed balls are pressed flat on the table. The right hand turns the frame so it is parallel with the table and pushes it, fastener side outwards, into the crotch of the left finger and thumb as in Figure 2.
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Immediately the right fingers open the frame wide, reaches inside and pinches the three balls out, dropping them on the table. The frame frame is then closed and this also is tossed on to the table. I might mention that often Al Goshman pinches out two balls first, then goes back to the purse for the third. Do not put the purse frame away at this point. Figure 3 shows the balls being "pinched" from the purse.
3. The spectator is asked to extend his right hand and the performer turns it palm upwards and asks the person to hold his hand open. Note that the handling of the spectators' hand should be done delicately with the fingertips. Never maul the person about, an action which will offend many. Then one of the balls is placed on the spectator's palm. 4. The right hand picks up one of the balls from the table and "passes" it to the left hand (really retaining it in the right). I must say, "use your favorite pass" for this, and if you do not have one, then there are plenty described in this book. The important thing is not the sleight used that counts, but the manner in which it is executed. Convince yourself that you are putting the ball into the left hand, and the onlookers will also be convinced. 5. The right hand picks up the ball from the spectator's spectator's palm to draw attention to it for a moment, then adds it to the one already palmed, squeezing them together so they appear like one (figure 4), then places them firmly on the spectator's palm, closing the spectator's fingers over them, and then holding the hand closed with the performer's thumb underneath and second second finger on top as illustrated in Figure 5.
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6. Left wrist is placed lightly over the spectator's (right fingers are still holding spectator's fist closed) and the performer says: "Say 'go!'". The spectator should be lead into believing that it is his ball that will vanish. When spectator says "Go", the performer opens his left hand to show his ball has vanished. "My ball has gone", he says, "Has yours?" Spectator opens his hand and the two balls are there. 7. At the moment the balls appear, the right hand very casually picks up the frame and puts it away in the right coat pocket, stealing out the fourth ball. The steal of this ball is perfectly covered by the misdirection of the surprise of the appearance of two balls in the hands of the spectator. 8. Both balls are now picked up from the spectator's hand, taking one ball in each hand, In displaying them to emphasize to the audience that there were two balls in the spectator's hand, the left hand moves slightly forward and sideways, while the right hand moves a little toward the body and squeezes the visible ball and the palmed one together. Figure 6 shows this taking place.
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Immediately, and with a smooth flowing action, the hands are moved together, the single ball placed with the double and then all three (supposedly ( supposedly two) are placed into the spectator's hand, and the left hand gently strokes the spectators hand closed and turns his hand over so knuckles are upward. (In this position, the spectator is unlikely to open his hand prematurely. (Figure 7)
9. The right hand picks up the ball from the table and makes a "pass" as before befo re to the left hand. The right hand casually drops to rest on the table while the left hand appears to hold the ball over the spectator's hand. 10. Again the spectator says "Go", opens his hand to show the ball has gone, and then the spectator opens his hand to have three balls spring out. 11. Finally, to clean up, both hands pick up the balls and put them away, putting three in the left pocket and one in the right, so you are all set to repeat the effect when required.
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Note: The drawings were made by Eric Lewis from photographs taken of Al Goshman's hands as he demonstrated this routine.
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The Ghost Balls Recommended as a good "first" routine to acquaint you with sponge ball work if you have not been doing it before. For this routine you need four small sponge balls, about one inch in diameter. Three balls are displayed on the table, the fourth ball being secretly hidden in the right hand under the curled third and fourth finger. Pick up one ball with the thumb and first finger of the right hand. Hold left hand with palm upwards, drop ball into left hand, quickly closing left hand. Pick up second ball from table and drop into left hand as before, but this time let the hidden ball fall also. To the spectators, it looks as if you have merely placed two balls into your left hand, but in reality you have three there.
Now pick up the last remaining ball from the table and place it in your right pocket. Secretly palm it as at the start of the trick (hiding it under the curled third and fourth fingers.) Ask spectator how many balls are in your left hand. The answer should be "two". Open your hand slowly and show three balls. Roll on to table. Remark to the effect that perhaps he did not understand you correctly and you will show it to him again. Repeat the same process, but this time when you supposedly place the last ball in your pocket, really leave it there. Ask how many you have. Again roll three onto the table. Now tell them that you will do it once more. As you place the first ball into the left hand, secretly work it into the curled palm position under the right third and fourth fingers. The left hand fingers mask this. Do the same with the second ball, pretending to place it also in the left hand, but retaining it in the right along with the first ball. Openly place the third ball into your pocket and at the same time get rid of all the balls in the right hand. Now ask them if there are two or three balls in the left hand. Whichever they answer, answer, just remark: "You are only guessing" as you open your left hand and show it empty.
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THREE BALL TRICK by L. L. Ireland Ireland When rubber sponge ball tricks come into use during the late thirties, Laurie Ireland was one of the first to use them. A natural born manipulator with a fine talent for such work, he evolved a number of routines including his now famous "Ireland Cups and Balls" routine, which utilizes eight large sponge balls. The "Three Sponge Ball Trick" will interest the true student of the sponge ball field, because it takes a little serious study. Three large sponge balls are shown and counted on the table, or for a more extensive audience, they are placed on the bottoms of three upside down water tumblers. As explained at the beginning of the book, the sponges must be soft, and the word "large" is relative. Use the largest size your hand can manage. Performer shows his left hand empty, closes it into a fist and puts Ball #1 in it, then Ball #2 likewise is placed in the fist. But Ball #3 is placed in the right coat pocket. He squeezes the balls in his fist and out of the opening of the fist rolls Ball #1, #2 and #3. Again the two balls are pushed back into the left fist and the third one into the coat pocket. Then again a little squeeze on the balls in the left fist and again out rolls one, two, three balls. Once again two of the balls are placed back in the fist and the third one in the pocket. This time when the fist is opened, the balls have all disappeared. Now for the method: Four balls are required, cut of soft sponge rubber. Mr. Ireland used balls approximately approximately two inches in diameter. There are several different moves and sleights used in the routine, so we number each one as we go along and if later the same move is repeated, we refer back to it by number.
Fig. 1 shows the three balls as they are placed on the table. Figure 2 shows the fourth or extra ball palmed in the right hand, a bit of it being clipped under the thumb. The first ball is picked up off the table with the right hand as in figure 3 and the palmed ball and the ball picked up first held as in figure 4, then the fingers are closed over them as in figure 5. Keeping the tips of the fingers pressed very firmly against them, they are rolled out in position 6, when the thumb is placed on them as in figure 7, and they are then shown as in figure 8, being held together as one ball. These moves line the balls up evenly, together, quickly and perfectly. Later on this same move is done with three balls.
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They are then placed in the left fist by pushing down into the fist as in figure 9 (and figure 10). The second ball is picked up and pushed into the fist in the same manner. The third ball is picked up by the right hand and placed in the pocket. The hand remains in the pocket (it is still holding the ball).
Now one ball is squeezed out of the left fist. Then out comes Ball #2 and another little squeeze and out comes #3. This one you do not drop on the table, but continue to hold
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as in figure 11 and the right hand is removed from the from the pocket and with it the palmed ball. In figure 12, the right hand comes down over the fist to pick it up, bringing the palmed ball directly down on top of the other, so that the palmed ball pushes the other ball back into the left fist, and the palmed ball is exactly in the same position as was the other ball. It is at once picked up by the right fingers and tossed in the air. The left fist remains closed over the other ball now concealed in it.
As performer catches the tossed ball, he again places it on the fist and pushes it down into the hand as in figure 10, along with the other one. (The move just described makes it appear as if only one ball were being used.) Then the next ball is taken from the table and also goes into the fist. And Ball #3 again, from the table, goes into the coat pocket, this time really being left there. And now, from the the left hand comes one one ball, two balls, balls, and finally the third ball, ball, all three of which are dropped on the table.
Again showing the hands empty, one ball is picked up with the right hand and pushed into the left fist. To the audience it appears exactly as done before as in figure 9, but this time the second finger of the left fist has closed in against the left palm as tightly as possible, so that the ball when pushed into the fist does not go past it, but is compressed in the top of the hand. A slight opening of the left forefinger would cause the ball to spring out as shown on the next page in figure 13. In making this last move use the right forefinger and push on center of ball as in figure 9. Leaving the ball thus concealed in the left hand, the second ball is picked up from the table in the right hand, as in figure 7 and is brought directly over the top of the left fist (figure 14) and just as this is done, it is palmed in the right hand, and the ball in the left hand allowed to spring into position as in figure 13.
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It appears to the audience that the ball has merely been placed on top of the fist. (But in reality the balls have been switched). You now apparently proceed to poke it, also, down into the fist.
The hands come together for a brief second as in figure 14, as it appears to the audience. Figure 15 shows the top view of how the second ball is palmed off by clipping it with the thumb of the left fist along with the other ball in the right hand, so that both balls are now in the right hand as in figure 4.
Then the right forefinger (figure 17) pokes into the left fist as though it were poking down the ball. The third ball is picked up from the table, figure 3 and the three balls are held as in figure 16, care being taken that only one ball is seen by the audience. Now the hand closes on them (figure 5) and the tips of the fingers press very tightly against them and roll them out into the position shown in figure 6. The thumb then presses down on them and they are shown as in figure 7. They appear as one ball (as the sponge compresses) compresses) and are placed in the coat pocket as such. If you find this move a bit difficult, it may be possible you are not using a soft enough sponge. It will however take a little practice to keep the balls lined up perfectly. Now when the left hand is opened, it is empty.
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(In preparing sponge balls for this effect, it will be found that a somewhat "shaggy" surface is to be desired to aid in the deception of two or more balls appearing as one. Let there be a well-defined round ball shape, but do not try to trim it down into a "well mowed lawn" perfection.
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BIG AND LITTLE BALLS by L. L. Ireland Ireland Two sponge balls are shown and dropped on the table. One is a two inch sponge ball and one a one inch sponge ball. Performer's hands are unmistakably empty. Spectator is asked to point to the smaller of the two balls, which performer performer picks up in his right hand and passes to his left fist. Then the right hand is turned over as in figure 5 and performer remarks that by rubbing the big ball it becomes small (which it does) and is now dropped on the table as in figure 7. By rubbing the small ball (here performer rubs ball in his left fist, then reaches in and pulls the ball out as in figure 11) it become large (which it does). Both hands are now shown unmistakably empty. Note: By way of explanation to those who are just learning sponge work, we will say here that a pass means to pretend to put an article a certain place; to place it means that the article is actually put there. Working: Only two two balls are used. The small small ball is picked up in the right right hand, and then passed to the left hand, being placed in the left palm as in figure 1, which shows it being held between the right thumb and forefinger. Left fingers now close over the ball as in figure 2 (next page). As left fingers cover the ball, the right hand is drawn away, carrying the ball with it as in figure 3. (See dotted line for position of the ball in the right hand). Left hand is kept closed still apparently holding the ball.
Right hand now is brought down directly on top of the large ball on the table. The large ball is picked up as in figure 4 and turning the hand over as in figure 5, the ball is squeezed in the fist. The rubbing or squeezing motion brings the two balls into the position shown in figure 6. The little ball is now allowed to drop on to the table as in figure 7, the large ball being kept concealed in the right hand. Now performer starts squeezing supposed ball in the left hand. The right hand middle fingers at this point turn in to the right palm, the second finger on top of the large ball and the third finger underneath it, as in figure 8.
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The right hand comes over to the left fist, the forefinger going into the left fist as in figure 9. At this juncture, the hands are quite close together. The middle fingers of the right hand very quickly open out, taking the large ball with them into the palm of the left hand as in figure 10. The left fist has been opened to receive this ball and immediately closes again. Now the right thumb and forefinger at once start bringing the ball out of the left hand as shown in figure 11. As it comes out first, it appears as a small ball, but it grows larger as it comes into view.
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SILVER AND SPONGE by L. L. Ireland Ireland One of his feature sponge effects, Laurie Ireland surprised many a layman (and magician) with this routine. It is well worth the effort to learn it and polish it up so you can do it as well as he did. Effect: In this close up trick, a nickle is shown, changes into a silver dollar, then the silver dollar disappears and a small sponge ball makes its appearance. The small sponge ball passes thru the pocket, out thru the trouser leg, and the performer then wets the sponge with his moistened finger. This of course makes it swell up and become quite a bit larger. It disappears from the left hand and is found under the vest. It again disappears and then once more wetting the ball with a little water, it swells up to four times its size. (On bars and at house parties and hospitality rooms, etc. where this type of magic is most frequently used, anything wet in a glass can be used for the tiny dab of "water" wanted.) Parts of the trick. Needed is a special holder for the large ball which you can make, rubber bands for holding the sponge ball on the holder, a large sponge ball (really large, as big as a large orange or small grapefruit, if you can manage it), a medium sponge ball, a small sponge ball, a silver dollar dollar or dollar size size palming coin, coin, and a nickle. nickle. Preparation. When ready to perform the the small ball is in the right trouser pocket, pocket, and the medium ball ball is in the left trouser pocket. A rubber band is slipped around the large ball and over the wires as explained in Move 1. This not only compresses compresses the ball (thus doing away with a bulge under the coat) but also holds the ball securely until the left hand grasps it and strips it off the wire. If a small rubber band is used, when the ball is pulled off, it will drop unseen to the floor. The large ball is thus prepared on the holder, which is hooked to the left back trouser pocket or on the belt. Routine. References are here made to various moves, all of which are described in detail later. Essentially, Essentially, this is a close up trick. Performer borrows a nickle. This he shakes in his left closed fist and remarks that he can shake heads or tails at will. In fact, he can shake anything the spectator merely thinks of. He demonstrates this once (move 2). Then demonstrating demonstrating it again, the audience is surprised to find that the nickle has changed to a silver dollar (moves 3, 4 and 5).
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Performer offers the spectator another guess (move 6). He replaces the dollar in the left hand (move 7) and on opening the left hand, the dollar is seen to be gone and the performer finds it behind his right knee (moves 8 and 9). Now the dollar is momentarily placed in the left fingers (move 10) for just a second, and then taken again in the right fingers and placed in the pocket. The performer remarks that this - pocketing the coin - is the best trick he does. Continuing talking, he says that if he wishes to get the nickle back (move 11) he has but to close his fingers (he thrusts into the air with the left hand, closing left fist) and the nickle returns. He strikes the left fist, with the right hand, but when he opens the left fingers he finds no nickle, but a small sponge ball (move 12). The right fingers pick up the small ball momentarily off the left palm and replace it in the left hand. The left hand apparently places it in the left trouser pocket (move 7) but it is a "very penetrating ball" and it at once passes thru the leg of the trouser, being pulled out by the right forefinger and thumb (move 13). The small sponge is taken in the left hand (move 14) where it is shown first on the outstretched fingers, then the fingers are closed around ball as in figure H. Now the performer taps the ball with his right forefinger and remarks that it is just a piece of sponge, "and you know what happens to a sponge when you wet it". (Here he wets his finger in a glass of water and and rubbing the wet finger on the ball, it starts to swell (move 15) until it becomes twice its regular size. It is now shown freely on the palm of the outstretched hand or can be tossed into the air. It is momentarily taken into the right hand and replaced (move 16) in the left hand, where it is seen as it is being placed in the left pocket. It again penetrates the pocket, right hand pulling it out same as before in move 13. It is now passed to the left hand, rubbed on the left knee where it disappears, being at once reproduced behind the right knee. It is again passed to the right knee, rubbed on the left knee, this time being found under the right lower edge of the vest, which is lifted up to show it. Right hand again takes it from under the vest (move 17) rubs it into the right knee. It disappears, and this time is found behind the right knee. Again wetting the fingers in the glass of water, performer wets the ball. It now swells up to a size that everybody can see and "see exactly how the trick is done." It swells to four times its size and it is freely shown, being held out on the outstretched palm of the left hand and then tossed in the air. Moves and Working. Move 1. The preparation (described (described in the first f irst part of this trick). The big ball is attached to the wire as shown in the drawing.
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(The "shepherd's crook" type of holder is bent out of an old coat hanger or any wire, as shown to the left) Move 2. The tossing of the nickle for heads or tails is merely to create interest in the trick and it is immaterial whether heads or tails show up when the hand is opened. Move 3. The left hand is again closed over the nickle and again shaken. This movement of the hand shaking is very good cover up for sleeving the nickle. The hand is empty, but still kept closed and ready for Move 5. Move 4. Before starting the trick you have thumb palmed a silver dollar in the right hand.
Move 5. The left hand, now empty after sleeving the nickle is turned so the fingers are upward. As the right hand passes over it (with a magical gesture) the left fingers open just a little at the back (invisible from the spectator's spectator's view) and the right hand while passing over the left, allows the dollar to drop into the left fist invisibly. Then when the spectator again chooses heads or tails, he is surprised when the left hand is opened and reveals a dollar. (Note: In case you don't sleeve - and you should, because it is a most useful acquitment and not hard to learn -- this part can be eliminated as it is only buildup for the trick. trick. If you leave it out, start start with a silver silver dollar. Move 6. Holding the left hand level (so the nickle does not fall out of the sleeve) the right hand picks up and shows the dollar and at once apparently replaces it in the left fist, using the Audley Walsh sponge ball move, which we will describe here as move 7. Move 7. The dollar is held between the thumb and forefinger of the right hand. The other fingers are turned into the fist, the fingers being held open as in figure D. The fingertips point to the floor. Now the hands come together as in figure D and just as the left fingers close over the dollar, now out of sight of the audience, the right second and third fingers open out and reach into the left palm and grip the dollar. It is at once
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drawn back into the right palm as in figure E, still being gripped between the second and third fingers. Then the right forefinger is slowly withdrawn from the left fist. After the performer rubs his left fingers over the supposed coin, he opens the hand and it seems to be empty.
Move 8. Reaching down behind the right knee, the dollar is brought into view with the right hand. Move 9. While reproducing the dollar as in Move 8, the left hand drops to the side so the nickle falls from the sleeve into the left fingers. Move 10. Raising the left hand, the right hand places the dollar into it as in figure F, performer's view. The concealed nickle is gripped under the fingers and then as the dollar is again taken in the right hand, the nickle is dropped from the left hand into the right, the right hand coming under the left hand to facilitate this.
The right thumb and forefinger hold the dollar while the other fingers hold the nickle. Same as figure F only with the right hand instead of the left hand. Now the dollar as well as the concealed nickle are placed in the right trouser pocket. Performer is finished with them. Move 11. While the right hand is still in the pocket, it thumb palms the small ball as shown in move 4, using same handling as for the silver dollar, and brings the ball unseen out of the pocket.
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Move 12. Performer here remarks that if he wants to get the nickle back he reaches for it (here he grabs in the air and closes his left fist over the imaginary nickle). Now the small ball is loaded into into the left hand, using using the same tactics tactics as in move 5. Then, when the left hand is opened, the performer is surprised to see the ball. He picks it up with his right thumb and forefinger and after looking at it apparently replaces it in the left hand, using the same pass as move 7, and at once the closed left fist apparently carries the ball into the left trouser pocket. The left hand stays in the pocket a moment while the performer performer remarks remarks that the ball is "very penetrating" penetrating" and proceeds proceeds to prove it. Move 13. Now the left hand is still in the left pocket. The forefinger of the right hand points to the pocket or rather side of leg, and this forefinger (with the aid of the hand in the pocket) causes a fold in the trouser leg, and on tapping leg again, the second and third fingers quickly introduce the sponge under fold of trousers, out of sight for a brief moment, until the right thumb and forefinger slowly pull it out into view. Move 14. As the left hand comes from the left trouser pocket it brings out the medium sized ball concealed in the thumb palm. As the small ball is taken in the left hand, the medium ball is passed to the right palm (change over palm move, but swing the hands from right to left. )Similar to move shown in drawing F. The idea being that the medium ball is secretly secretly brought from the the left pocket and and secretly transferred transferred to the right palm. Move 15. As the right forefinger taps the ball, the right hand moves up and down toward the audience two or three times, and on one of these moves, the medium ball from the right hand (gripped as in figure E is brought down on top of the small ball (figure G) forcing the small ball down into the fist (figure H) and at once the left fist compresses the medium ball to the same size as the small ball.
Now performer wets his right fingers, showing that hand unmistakably empty, and he now rubs his wet fingers over the ball, while at the same time the left hand opens enough so that the medium ball opens to its full size, and while the right fingers are rubbing the ball, the small ball is secretly transferred from the left palm to the right palm.
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Move 16. The medium ball is shown on the outstretched fingers of the left hand and the small ball is brought almost to the tips of the fingers of the right hand, but still held by the thumb. (Almost like the drawing of the right hand in figure G.) Now the medium ball is picked up off the left hand and shown (right palm toward audience), the two balls being compressed together and appear only as the medium ball. Performer apparently places this medium ball in the open outstretched hand, but really only the small ball goes into the left hand, the medium ball having been gripped between the thumb and forefinger of the right hand and remains hidden in the right palm, but the left hand comes up revealing part of the small ball as shown.
Audience imagine imagine this to be the medium medium ball as most most of it is concealed by the fist. The left hand visibly carries this into the left pocket and it likewise apparently penetrates the pocket as the other ball did before in move 13. The medium ball this time apparently comes comes out thru the side of the pocket when pulled by the right hand. The medium ball is apparently again placed in the left hand and upon rubbing on the knee, it disappears and is found behind the right knee. This is accomplished by the pass in move 7. Again the ball is placed on the left hand but disappears behind the left knee. (Move 7). It is found this time under the lower right edge of vest. Move 17. (Credit is here given James Kater Thompson for ideas on concealment with the lower flap of the vest. Most close up performers these days wear the bright colored or plaid vests offered by all the smart men's shops, as they are a real boon to close up magic.)
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To thus produce it from the vest, the right hand with the ball finger palmed as in figure E, points to the lower corner of the vest and raising it a bit, right fingers quickly introduce the ball under the vest, pushing it up (figure K) and at the same time both hands raise the corner of the vest revealing the ball which is now held by the left fingertips as in figure L.
The left forefinger holds the ball against the stomach for just a moment as in figure L, the right hand palm now opens, reaches for the ball, covering it from view, and closes over it and pretends to take it. But just at this moment the left first and second fingers push the ball high up under the vest and the right hand is moved away from the vest, apparently retaining the ball. This supposed ball is now rubbed on the right knee and slowly disappears. While the rubbing is taking place, the left hand pulls the large ball off the holder at the back of the coat, but keeps it compressed to the same size as the medium ball (most of it being out of sight in the closed closed fist). As the medium ball ball disappears at at the right knee, the left left hand carries the large ball down down in back of the leg and produces it from behind the left knee. It is still compressed and appears to be the medium sized ball. It is held as in figure H. Again wetting the ball from a glass of water, it now swells up to the large size so that everyone can see exactly how the trick is done.
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LEAPING LEPRECHAUNS by Hugh Lambert Lambert Mr. Lambert is from Dublin, Ireland, hence the Irish title. The "leprechauns" "leprechauns" referred to are our old friends, the sponge balls. The routine is a combination of new moves tied up with a few old ones, but it gives a fast moving sequence that will take just a minute to perform, leaving the beholders floored, not bored. Effect and moves are described simultaneously, so get: a glass tumbler, a tabloid size sheet of newspaper, put three sponge balls in your right coat pocket and one in your trouser pocket. With a pair of scissors, hollow out a hole in the large ball sufficient to take the hollow ball with a hole in it used in the "silk to ball" effect. (See the directions for hollowing out sponges elsewhere in this book). Push this gimmick into the large sponge ball so that the opening in the gimmick and the opening in the sponge ball coincide, and so that the small balls used may, in due course, be pushed into it. This is placed in the same pocket as the three small balls, at the back end, so as not to impede taking out the others. Routine: Have finger palmed the small ball from the trouser pocket in the right hand, lay the glass on the sheet of newspaper newspaper and roll the paper around it so as to form a cover for it, at the same time dropping the ball into the rolled up paper so that it lies next to the bottom of the glass.
Now twist the paper into a spiral, to prevent it unrolling and being careful not to nip the ball in it, as the ball must be free in its hiding place. Place this set up on the table, with the glass mouth down (figure 1). All this is done as you patter without direct reference to what is being done, done, allowing the audience audience the privilege of assuming assuming that they have eyes! Take out one of the small balls from the coat pocket (and another unknown, finger palmed) and place it to the left of the covered glass. Raise the paper cover about two inches as you comment on the glass, and then drop the cover back down again. Now
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raise both the glass and cover together in the left hand, as you comment on the cover. Transfer them to the right hand (figure 2) and as you point to the ball on the table, load the palmed ball into the glass. Place it down as before, beside the visible ball. This may be done easily without the loaded ball making a premature appearance. appearance. You're two moves ahead of them now! Pick up the ball from the table in the right hand, seem to pass it to the left hand, but actually palm it in the right hand, and make a tossing movement toward the glass with the left hand. Hand is seen to be empty.
Raise paper cover with the left hand a few inches (figure 3) showing that the ball has arrived under the glass. Drop the cover again and immediately lift both the glass and cover and transfer them to the right hand, while the left hand picks up the ball from the table. Place ball down again, load second ball from right hand into glass, and place them over the ball on table. Take another ball from coat pocket and vanish it as above. Keep this ball palmed in the right hand and use this hand to raise the glass and cover and show that there are now two balls on the table (figure 4). Cover these balls again. Go to coat pocket for a third ball, but actually bring out the one palmed. Seem to transfer it to the left hand as before, palm it in right hand actually. "Toss" it from left hand toward glass. Now, right hand raises glass and cover together, dropping the palmed ball at the same second, and lifting the glass and cover with a flourish, so that the balls "scatter", helping to cover up if the dropped ball rolls away (figure 4). Thus three balls are disclosed. Cover two of these. Take the third in right hand, vanish it as before. Raise the cover and two only are seen. Lift cover right off the glass and the third ball is seen to have arrived, all right, on top (or bottom) of the glass! (figure 5). 5) . The glass and cover are now finished with and may be placed aside.
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Part II. The three balls are placed in a row and the fourth one is still palmed in the right hand. Say: "I'll put one ball into my left pocket, two balls into my left hand and third into my pocket." The right hand lifts the balls from the table and places them into the left hand, but the palmed ball is dropped in with the second ball and the third ball is not really left in the pocket, but retained palmed in the right hand. The three balls are rolled out of the left hand on to the table. This is repeated, but this time the right hand leaves the third small ball in the coat pocket and comes out with the large ball concealed by the hand merely being cupped about it (figure 6). The three balls are taken, one at a time, and pushed into the right fist (actually, of course, into the large ball (the wooden or metal "lining" supplied by the fact that you have the hollow billiard or golf ball in there, facilitating this. A large version in plastic of a ping pong ball would work as well, if a hole were cut in it). The right hand is held down on the table, then slowly opened, back up, and withdrawn, and lo and behold, there's one large ball! Turn to the right and toss the large ball into the air with the left hand (the small ones cannot fall out). Repeat this throw with the left hand, meanwhile bringing the right hand to the point of the start of the throw. On the third throw it is passed to the right hand from the left, which now makes another toss in the air. All eyes will follow this as you quietly pocket the large ball in the coat pocket on the far side from your audience and you're clean as a whistle!
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PASSE TRICK by Martin Gardner Gardner Probably the best basic sponge routine available, this trick was devised by Martin in the forties, when he was doing post graduate work at the University of Chicago. We had a convention coming up, and he asked permission to sit in the Ireland Magic Company book and sell a new sponge trick. Permission granted, Martin cut sponges by the hour, between demonstrations, demonstrations, and did a very nice business on his new trick. Convention over, we bought the rights from him and have sold it ever since. Any book on "How To Do Sponge Tricks" from our firm would have to include this classic. With a new set of drawings, we hope many more magicians will study the trick and have the fun of doing it. Effect: Two soft sponge rubber balls, each about an inch and a half in diameter, are shown. One is placed in the left hand and one in the right. Left hand is opened and the sponge is gone. Right hand rolls the two sponges to the table. The sleight is designed for close-up table presentation. Spectators may be on all sides. The sleight may be repeated again and again without fear or detection. DO NOT BE MISLED BY THE APPARENT SIMPLICITY OF THE MOVES. The misdirection is subtle, and if the sleight is correctly performed the effect on a lay audience is difficult to exaggerate. It is one of the most startling and baffling sleights in modern magic. Method: In basic principle, this sleight is an adaptation of some moves first shown to Martin Gardner several years before by Leslie Hunt. Those moves were performed with matches and given to Martin for printing in his book, "Matchic" (page 8). The use of sponges, however, makes possible several important features which are not applicable to other objects. Exhibit the two sponges freely, then place them on the table in front of you. They should be about one foot apart. Place the left hand, palm upward, over the ball on the left as shown in figure 1.
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We will call this ball "A". The fingers point to the right, the thumb to the audience. The ball is beneath beneath the fingers as indicated. indicated. Pick up the ball on the right (which ( which we shall call "B") and hold it on the palm of the right hand as shown in figure 2. Notice that the thumb is extended to the right and does not touch the sponge. The ball is held in the palm by the tip of the middle finger. Right hand pretends to place the ball in the left hand, but actually retains it. This move is made as follows. Bring the right hand over to the left, turning it over, and place it on top of the left palm as shown in figure 3. As the right hand turns over, the thumb is placed alongside the index finger and clips the edge of the sponge. After pretending to drop the sponge into the palm of the left hand, raise the right hand a few inches (holding the sponge with the thumb) and move it about six inches to the left. As the right hand moves away, the fingers of the left hand close as though the left hand contained the sponge. Figure 4 shows the position of the hands at this point.
Note that Ball "A" is now exposed to view. This provides misdirection for the sleight. The attention of the spectators is directed to the ball just exposed and therefore is not focused on the sleight which is being performed at the same instant that ball "A" is uncovered.
Right hand now picks up Ball "A" and moves to the right. The fingers are opened and apparently one ball is shown. Actually, the middle finger squeezes the two sponges together enabling you to exhibit them as a single sponge. Figure 5 shows this position The move must be practiced until it can be executed rapidly and without fumbling. As soon as Ball "A" is taken by the right hand, the middle finger compresses them together
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into the palm. The hand is then turned over and all the fingers are opened with the exception of the middle finger, which holds the sponges in place. Close the right hand. The left hand now makes a motion as though it were going to roll the sponge across the table to the right, opening as it does so. But the sponge has vanished. Figure 6 shows the position of the hands. The right hand now makes a similar throwing motion to the left, rolling out the two sponges as shown in figure 7.
When performing, it is good practice to execute the moves fairly at first, actually placing the sponge in the left hand. With the two fists closed, call attention to the fact that there is a sponge in each hand, then to prove it roll out the left sponge first, then the right one. Repeat the moves, but perform the sleight, retaining both balls in right hand. If correctly executed, the moves should look exactly like a repetition of the moves you made at first. Then open the hands to show that a transposition has taken place. The moves need not be made rapidly. However, they should be made rhythmically and gracefully, each move properly timed. It takes a little practice to get the swing of it, but the final effect is well worth the effort. If you wish to perform the sleight with - out the aid of a table, you can do so by clipping Ball "A" on the back of the left hand, holding it between second and third fingers. (See figure 8). The moves are the same as before. When the left hand is closed, merely take Ball "A" from the fingers which clip it. Make a throwing motion with left hand and open it to show it empty. Then open the right hand to disclose the two sponges.
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SPICY SPONGES by Frank Derrick Derrick This is a bar trick - or suitable for certain home parties where the guests will go along with the fun. The opening moves of the trick are exactly the same as Passe Passe Sponge Trick, so the illustration numbers follow in sequence after those of the last trick. Required for the Spicy Sponges are two WHITE sponge balls, size as in Passe Sponges. White sponge is not usually usually found on bath supply supply counters, or in household household goods, but it is used for upholstering, etc. It may be slightly off-white but will be close enough to work for the trick. Also, you may have to use another texture - something more like sponge foam rather than the porous sponge recommended recommended at the beginning of the book, because that is the most common way to find the white color. Also needed are two rubber sponge bra forms sold for f or about 39c in the dime store, and two lengths of white tape big enough to go around the forms when they are folded down, as explained later. Each tape as a snap fastener at either end so the tape can be snapped around the folded down bra. Action: Perform the Passe Passe Sponge Trick with your two white sponge balls. Then repeat the action once more and on the final time, put both balls as one into the spectator's hand. Tell him to throw them out on the table and he will be surprised to see that the one ball has now become two. Pick the balls up, one in each hand as if finishing the trick and casually run hands into pockets. As an afterthought - as if you really had intended to end the trick, but thought of something else, remark: "You know, I could even put the balls away and make them appear back in your hands, but better yet, let's start with them in your hands." Bring the two hands back out of the pockets, still holding the sponges (actually the falsies now) and press one folded falsie into each of the spectator's hands. As soon as you let go, they begin to open and he will drop them, or open his hands. In either case, he gets a big surprise at this strange turn of events. In the years this item has been used by Mr. Derrick, he has gotten gales of laughter from hundreds of spectators - we know you can do the same. Preparation of the "falsie" load: Figures 9, 10, 11, 12, and 13 show you how to go about folding the falsie finally putting the tape band around it in figure 13. Note that point A in figure 13 is also point A in figure 14 - that is the part of the folded packet you show the spectator when you bring them out of the pocket.
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If you want to use the jacket pocket, the small taped bundle can be left lying in the pocket, or the side of the tape away from the snap fastener can be pinned with a tiny safety pin to the side of the pocket. You then just leave the tapes thus pinned, hanging inside the pocket when you take out the load. For those who do their magic standing up (like the bartenders) you can eliminate the tapes, and after folding the load down to figure 12 position, fit it tightly into the small area at the very top of the trouser pocket. Due to the fact that the load will not stay folded indefinitely, this method must be used shortly after load is put away in pocket. (When you go for the load, the two balls drop in pocket). Note: Although drawing #9 shows the lips of the bra cups placed rather evenly together before the fold is made, actually have them uneven, one back about an inch from the other, so the final, folded bundle does not get too bulky. We suggest the props for this trick be washed in detergent now and then to keep them white. (Nylon sponge sponge is not affected affected by it)
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CRANDALL'S ORIGINAL ROUTINE This is a revised and rewritten version of a routine I have used for over fifteen years, says the Senator. I included it in the lecture I gave for the Magician's Guild in 1952. I feature it in all my close up performances. It is very commercial and good magic besides. This routine is well received by any audience -- what more can you ask of a routine? Many magicians use sponge balls with Cups and Balls. I don't because I believe a routine with the sponge balls is a separate effect, and the climax of having a large solid rubber ball appear in the cups is much more effective than that of a large, easily compressed compressed sponge ball. The set of balls required for this routine consists of four small round sponge balls, a large hollow cube which will change to a large ball when turned inside out, a small sponge cube, and a spiral sponge snake. (Details on how to make these items are in an opening chapter of this book). This combination allows you to do many routines and effects, all good. The following steps will assist you in handling the sponges. Step No. 1. To convert the large cube to a large ball. Hold the sponge with the opening down. Use both hands, with the finger tips at the opening and both thumbs on top. Press down with the thumbs and firmly fold the sponge up and around. Don't pull on the edges of the opening.
(Illustration has a dotted line to indicate an X-Ray view into the sponge cube to show how it is hollow inside) Just fold it over as you tuck the sides and top into the ball shape. When shown, the ball should always be opening down. Step No. 2. To return the large ball back to a large cube. Take the large ball in the right hand by the tips of the fingers at the opening. The right thumb is at the top. The ball will stick out over the ends of the right fingers. Place the right fingers, still holding the ball, into the palm of the left hand near the inner edge. Press upwards and over with the left hand and at the same time, press down firmly, with the right thumb. Pull upwards with
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the right fingers. This action will cause the ball to be turned inside out. Don't show the change yet. Just keep the sponge in the closed left hand. Don't worry if some o f it shows. Slowly open your hand and reveal the large cube.
Step No. 3. To enclose the small cube or small ball inside the large ball. Hold the large cube as in Step No. 1. Place either the small cube or a small ball between the thumbs and the large cube. The action is the same as explained in Step No. 1. Now a smaller shape will be concealed inside the large ball. Fold the sponge so that none of the enclosed smaller sponge shows.
Step No. 4. To enclose either the small cube or the small ball inside the large cube. Hold the large ball as shown in Step No. 2. Place the small sponge between the right thumb and the large ball. Follow the same actions as described in Step. No.2. This conceals the smaller sponge inside the large cube.
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Step. No. 5. To put the sponge snake inside the large ball:Coil the snake up tightly and follow Step No. 3. Pull the sides of the large cube around as you press down. Tuck it in. Now suppose you have one of the smaller sponges inside the big ball. If you follow Step No. 4, the small sponge already inside the large ball will be pushed out and the other small sponge is then enclosed in the large cube. This is used in routines later. ROUTINE NO. 1 One small ball is in the right trouser pocket. Two others are on the table. A lady is the best to help with a sponge ball routine routine as the reaction reaction seems to be better. "Let me show you something amazing. These two small objects are not rabbits. Rabbits have ears. These are sponges. This is the right one, and this is the left one, but of course from where you are sitting, this may be the left one and this one, the right one, right?" Indicate them as you explain. Pick them up and move them around as you patter. Keep them attentive from the start. "There is an easy way to tell right from left. Please pick up either sponge - any one that's right. Then this is the one that's left. . .right? That's the way to tell left from right." (It may sound corny on paper, but it's a good line of patter to start out the trick. I use it. It gets laughs. "Place your sponge in the palm of your hand and close your fingers over it. Fine. Now, please place the other one in my hand." As the spectator follows your instructions, instructions, extend your hand and close her fingers over the sponge. Close her fingers tightly, then turn her hand over. Continue the grip for a second. This will cause her to keep her hand closed. . . and her mouth open. "Will you please close my hand the same way? I haven't been well. Thank you. Did you happen to notice what color the sponges were? Red, blue or green?" As you say this, turn your hand containing the sponge, over, and extend the forefinger. Tap her closed fist with this finger. No matter what color she says, show the sponge you were holding. "Please open your hand and see if the sponge is still there." During this patter, drop your right hand to the pocket, and get the sponge previously placed there. Conceal it in a finger grip position by curling the second and third fingers over it. The hand comes out of the pocket as you continue: "That wasn't too amazing, was it? Put your sponge back on the table and I will do the same. We'll start all over again." Pick up one of the sponges with the right thumb and right forefinger. Keep the palmed sponge concealed by pressing down with the second and third fingers. The two sponges are pressed together between the thumb and first
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two fingers. This is not easy to do without suspicious movement. Mask it by using the hand to gesture. Move the hand back and forth, directing her actions. This motion is a perfect cover-up. "Open your hand. Put your fingers out straight and hold this sponge tightly. Don't let it get away." Place the two sponges, compressed as one, into her palm at the base of the fingers. Press them there. The right thumb comes away and grips the back of her hand. The sponges are pressed tightly by the first two fingers. Bring your left thumb over and press on the sponges as the left fingers come away. Curl her fingers over the left thumb and the sponges. "Please give my thumb back. I'll need it to get back home tonight. Hold it tightly, or it will vanish completely." Grip her fingers tightly a moment, then turn her hand over. It adds to the illusion of only one sponge being in her hand. She will unconsciously keep the grip tight. With her hand held back up, there is less tendency to peek and spoil the trick. I've heard some magicians say: "Hold this sponge tightly and don't let THEM get away." This is sure way to tip off the climax. "The most difficult part of the trick is to change the color of the sponge. I'll start with this one first. Watch." She has "one" sponge in her hand. Pick up the other one and "place" it in the other hand. You may have a favorite method of doing this. I do it this way. It's simple. Hold the sponge with the thumb and the tips of the outstretched fingers of the right hand. The left hand comes over, palm down, and seems to take the sponge. At the same time the right fingers close over it. The right hand is turned over back up and the ball is concealed between the right fingers and the palm. The right forefinger is extended into the left palm. It is drawn out as if the ball has been taken. Place your left closed hand on her closed fist. Tap the hand with the extended right forefinger. The ball is still concealed in the right hand. "What color did you say the sponges were? Do you remember?" As you say this, drop the right hand to the side. At the first opportunity, place the ball in the pocket. Tap the spectator's closed closed fist a few times with your closed left hand. "Hold your sponge tightly and I will try to make it go from your hand to mine. You have one and I have one - right?" Gesture with the open right hand, showing that it is empty. Tap a few more times with the left hand. Then open it and show the sponge has gone. "I'm afraid I've failed. I've lost the sponge I had." (At one time I used to reach into the pocket and say: "No, here it is." This assures her she still has only one but it also draws suspicion to the presence of three sponges after she sees the two in her hand. Do it, however, if you wish.) "Turn your hand over and open it slowly; perhaps it has flown away, also." When she sees the TWO sponges in her hand, be prepared. . .she will probably scream and throw
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them into the air. I have the fourth ball handy, just in case. It saves time in looking around for them, until the follow-up routine is finished. ROUTINE NO. 2 Have the large sponge ball in the left trouser pocket. Actually this is a continuation of the routine above. As the two sponges are revealed in the spectator's hand, your left hand goes to the left pocket and takes out the large ball. Compress it as tightly as you can. Don't worry if it protrudes a little. At the peak of the reaction, pick up one, any one of the small sponges, with the right fingers. Bring up the left hand and place the small ball on top of the left fist, fist, just as the hand comes comes up. The large ball will will be covered by the small ball. Press the sponge down on the larger one and hold both. "If I place one ball here, in this hand (do the above move) and the other one on it (do so with the second ball) how many do I have in my hand? Two. . .that's right. If I place one in my pocket, how many in my hand now?" Compress the two sponges, on top of the fist, between the thumb and the first two fingers of your right hand. They are removed as one. Relax the left fist so that some of the large ball will show. Both sponges are then placed in the right pocket. "You are absolutely correct. . . only ONE!" Open the left hand and show the large ball. This is the second (if you have done Routine No. 1,) surprise. Routine 2 may be done as a separate short effect, using the transformation transformation that follows. "This is the only trick I do that's on the square. . ." Change the large ball into the large cube as explained in Step No. 2. Show the large cube. This is the third surprise and the climax to the routine. Keep the opening down, out of sight. Alternate Climax Climax for Routine No. 2. Have the small cube inside the large ball as per Step No. 3. The large ball has been shown as a climax. Follow the action as described in Step. No. 2. The small cube will be pushed into the hand and both cubes compressed. Show them with the same line as above: "This is the only trick I do that's on the square." Pick up the small cube as you say: "Or nearly on the square...anyway." Another Climax Climax for Routine No. 2. Have the sponge sponge snake inside the large large sponge ball as explained in Step No. 5. As the large ball is shown, take one of the small balls from the pocket. "I didn't mean to fool you like that, so I'll show you how I did it. One large sponge and one small one. If I place them both in my hand, cover them up, the big ball vanishes." Follow Step No. 4. The sponge snake will be pushed into the left hand. The small ball will be inside the large cube. Show the large cube with your punch line, but retain the snake in the closed left hand. Pretend it's the small ball. Quickly press it into the spectator's hand. Close her fingers around it.
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"Hold this sponge tightly and I will cause it to vanish from the hand and go to my pocket. Count, 1, 2, 3, and then open your hand quickly. 1, 2, 3, open!" As she opens her hand, the coiled rubber snake pops out. Go man! ROUTINE NO. 3 Have the small ball inside the large ball as per Step No. 3. The small cube is also used. This is a good effect for a kid show. It will get the little moppet's attention. attention. "I would like to test your eyesight. I'll need your help as I do some tricks. You'll have to watch closely. You'll also need besides eyesight, a very good memory. Now for the test. Here is a large ball and a small cube. Will you please repeat after me, a large ball and a small cube." As the assistant assistant repeats it, have all the other kids, kids, (if it is a kid show) repeat it along with the assistant. "I'll place the two sponges in my hand and say the magic words (I don't know any magic words, but if you do, say them) and the sponges will change shape." As the kids repeat, "A large ball and a small cube," follow Step No. 4 and make the transformation. "No, you're not watching. I have a large cube and a small ball. I'm afraid you don't have too good a memory, etc." ROUTINE NO. 4 This is the alternate climax for Routine No. 2. It may be used as a separate routine. A local hypnotist uses this routine to show how difficult it is for his "hypnotized" subjects to remember shapes. He's very sick. These routines should give you a very fine sponge program, but don't use them all in one performance. performance. Vary the routines, so that several effects are shown at different times. The four small sponges that you make for this routine can be used for the Cups and Balls, but I'm still against it. A good starter routine for the amateur is this: One ball is palmed. Pick up one ball, counting: "One." Place both in your palm. Pick up the second, counting "Two", place it in the palm. Put the other ball in the pocket. You actually retain it in your hand. Show the three balls in the palm. This is repeated with variations as long as you can hold the spectator's attention. Do not allow the spectators to handle any of the special sponges in these routines, particularly particularly the large cube. The illusion will be lost, and it is too easily damaged if pulled p ulled roughly.
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AROUND THE BLOCK by Senator Crandall Crandall (Who calls himself a "world famous sponger".) These sponges are cut by hand because I can't hold the scissors with my feet. Sponge shapes that may be turned inside out to form other shapes are not new. A set to perform this trick should be made with two colors of sponge -- not necessarily the colors named here-- but for example, a large green cube (hollow), a small pink ball and a small pink cube. A large green ball is formed as follows: The large cube is held opening down with the tips of the fingers near the opening and the thumbs at the top. (Reference to illustrations in the previous Crandall routine will help on this). Tuck in the corners, press down with the thumbs and pull up with the finger tips. Roll the sides around to form a ball. To change it back into a cube, place the ball on top of the fist and push down with the opposite thumb. Grip the sides of the ball so it is turned wrong side out again. Practice a little and take it easy - don't tear the opening. Either one of the two small shapes may be folded inside the large green ball by placing it on top of the large cube and turning it inside out as explained above. First Effect: Show the large green ball (the small pink ball has been placed in the pocket) in one hand and the small pink cube is shown in the other. Place the pink cube in the pocket. Press the green ball into the left fist. Show that it has changed into a large green cube. Take the small pink ball from the pocket. Second Effect: Have the small pink cube inside the large green ball. Show the small pink ball and place it on the green ball. Push it into the fist. Thus the two ball "change" into cubes. Third Effect: This is the best of the three, I think. Start with the small pink ball inside the green ball. Hold this in the left hand, Show the small pink cube on the right hand. Patter: "Repeat after me, a small pink cube and a large green ball. Once more, a large green cube and a small pink ball." Place the pink cube on the green ball as you intentionally miscall them. It is quite apparent you are mixed up a little as you now show -- a large green cube and a small pink ball. It is a good transformation. These effects can be done entirely with the familiar brown sponge if you cannot find colored sponge in the right texture. Texture is more important than color in making sponge ball sets. An idea: Have a round red silk (make one by cutting off the corners of a square red silk and hemming it) about 10 inches in diameter. Ball this up and have it inside the green
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ball. Place them in the left pocket. Show a 10 inch green silk and the small pink ball. Wrap the square green green silk around the pink ball. Make Make it as compact as possible. possible. Show it in the right, as you steal the green ball from the pocket, keeping it concealed in the left hand. Push the silk and ball into the fist and into the green ball, turning it back to a cube and at the same time pushing out the red round silk. Show the change, which is surprising. This is just an idea, but fun to play with, and somebody might do something with it.
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FAVORITE SPONGE ROUTINE by Gen Grant This is a new and novel routine for table workers. Before working you will require the following set up. Two white sponges are placed in the slide part of a penny match box. (Drawer of box may be open slightly to allow this.) Two more white sponges are in the right coat pocket. Ten or twelve sponges of any color are in the top of the right side trousers' pocket. In the change change part of the right coat pocket is a hand dye tube with a red sponge in same. A thumb tip is in the lower vest pocket and one large sponge is in the right hip pocket. This completes the preparation and the routine follows. Take the match box and remove a match. As you close the box, the two sponges are loaded into the hand. Hold the lighted match under the hand and open the hand slowly revealing the two sponges. Drop them on your table and as spectators look them over, palm another white sponge from the right coat pocket. Have a spectator point to one of the sponges on the table and as you pick it up, add palmed one to it. Press the two sponges - apparently one - into spectator's hand, closing his fingers around them. Place the other sponge in your pocket, but secretly bring it out again palmed in the hand. The spectator now opens his hand and finds two sponges instead of the one he thought he had. He drops them on the table. You pick up one adding the palmed sponge to it. Now pretend to pull the sponge apart, giving you one in each hand. Drop these on the table beside the other sponge. While they are looking the three over, palm the other white sponge from the pocket. Pick up a single sponge from the table with the right hand and deposit in the left. Pick up another sponge with the right hand, this time adding the palmed sponge to it, and place as one into the left hand with the first one. Pretend to place the third sponge in the pocket but really palming it out again in the right hand. Then throw the three in the left hand onto the table. Repeat all the moves in this paragraph again. The sponge from the pocket apparently apparently insists on joining the two in the left hand. This is very deceptive. Leave one white sponge on the table and place the rest in the right coat pocket. At the same time steal the dye tube from the change pocket. Now using the regular dye tube thru hand moves, push the white sponge thru the hand and it changes to red. Now show the right trousers' pocket empty, using the top of the pocket concealment dodge. Then secretly get thumb tip on thumb and vanish the single sponge by aid of the thumb tip. Reach in trousers pocket and pull out missing sponge. Then in rapid succession keep pulling the sponges one at a time from the empty (?) pocket. Lastly, you quickly go to the rear and pull out the large sponge for a laugh finish.
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This routine may not read so well, as it is difficult to judge any routine until you take the props in hand and do it. I have used this many times and know that it goes over splendidly. splendidly. It can even be used before a small audience, as well as for close up.
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SURPRISE FINISH by Don Alan The Multiplying Rabbits, sold in all magic stores and novelty shops, are quite likely to be the first "sponge" work you ever try. In fact this little trick has gotten many people into magic. The sponge used in making them is a fine pored Nylon sponge, very soft and not suitable for sponge ball tricks, really, but fine for rabbits. In your set of Rabbits are two large (mother and father) arid four small ones (babies). To do the Don Alan surprise, you need several sets. Put the large ones away for future replacements, replacements, and use about ten babies. Follow the routine as given with the set, the spectator always having what he doesn't expect in his hand. But each time have him hold his fist with knuckles up, and tell him to open his hand and drop the contents when you touch the knuckles with your extended forefinger. Use this method during each phase of the trick, so as to set it up for the finish. When you have the spectator loaded with both parents and several babies (the regular finish) get your own right hand loaded with all the other babies, having your fist closed as before, right forefinger extended. The signal for him to open his hand and drop its contents is when you say "Go!". Come forward with your hand, touch with the forefinger on his knuckles and say "Go!" and in the same downward swing, drop your load as he drops his. The rabbits will mingle in the fall, and he has, indeed, a large family of rabbits lying before him on the table.
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MULTIBALL by Dr. Jaks While this trick is called a "ball" trick and the word "balls" is used in describing it, the trick is actually done with tiny cubes, cut from various colored sponges. These need not be the large pore sponges such as "Softie" but can be Nylon bath sponge, cosmetic sponge or any other soft sponge. Chop them up in cubes about a half inch square. Make thirty to forty of them. As Bruce Elliott Elliott describes the effect: This close up table effect of Dr. Jaks will delight any audience, be it sophisticated magically or naive. Beginning like the classical sponge ball trick, except that the balls are tiny, two new elements are involved. One, the spectator can feel the balls growing in his clenched fist and two, when he opens his hand, 30 or 40 balls cascade down onto the table! Notice that one sponge ball does not become two, or two become three, but two balls multiply multiply incredibly! incredibly! Easy of execution, execution, you'll find this delightful delightful to perform. perform. Assuming you have cut your balls from various colored sponges, lay three on the table, each a different color. The remainder of the balls are placed in your lap, at your crotch. If necessary, pull up the cloth of your trousers at the crotch thus making a sort of impromptu pocket there. Your wand is on the table to your right. right. Have the spectator spectator examine the little balls. balls. As he does so your right hand drops to your lap and picks up four more of the balls. These are held between the right thumb, index and third fingers, #1. Right hand comes back on the top of the table and picks up the wand which serves to hide the balls.
Take the spectator's right hand with your left hand and hold his hand palm up as in figure 2. Drop the wand on the table (retaining the hidden balls) and using the very tips of the right fingers, pick up a ball from the table and comment on its color, then placing it on the outstretched palm of the spectator. Pick up the second ball and place it on the spectator's palm, adding the four hidden balls as you do so. To do this, at the moment when you place the visible ball in the spectator's hand, shift your left hand as shown in figure 3 to the position shown.
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The two action occur at once, you place the visible ball and the palmed ones into the spectator's hand, and at once, use your left thumb to force the spectator's fingers tightly closed. Keep his hand pressed together for a moment as you emphasize that he must not open it until he is told to, then turn his fist over so that it is now back up. Your hands are now clean. Pick up the third, visible ball at the right finger tips and pretend to place it in your left hand. The ball is so small that you can just pinch it between the thumb and finger tips of the right hand as you close your left hand, or you can do the French Drop with it if you prefer. In this case, pick up the ball with the right finger tips and thumb, #4, and as your left fingers approach it as in #5, drop the ball out of sight into the waiting cradle of the right fingers, #6. Close the left hand as though it contained the ball.
In either case, pick up the wand with the right hand and slide it thru the loosely clenched fingers of the left hand as shown in #7. Drop the wand to the table and hold your left fist over the spectator's spectator's fist. Slowly crumple your left fingers and open your hand, showing that the ball has vanished, then drop your right hand out of sight, below the edge of the table. Next comes the crucial point of the entire routine. Don't attempt to pick up all the balls from your lap. Pick up as many as you can comfortably and rapidly. Right hand retaining this load of balls comes back onto the table, #8 and picks up the wand. Simultaneously, your left hand grabs the spectator's right wrist and you tell the spectator to be sure and hold his fist clenched until you say the magical word of command.
At this point you pause and say "Move your fingers a trifle. Can you feel the third ball appearing in your hand by magic?" Naturally he can, for when he does as he is told he
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can feel the extra four balls expanding a little. This is a very subtle point and one that the spectator will remember later. You tell the spectator that you are going to tap the back of his fist three times with your magic wand. On the third tap, the spectator is to open his hand, palm down, over the table. Using your left hand, be sure that his fist is at least a foot off the table at this point. Now for the climax. Your moves must be perfectly synchronized with his. Tap his hand once, twice, three times with the wand. At the third tap, wait until you see his hand beginning to open and just as it does, open your right hand fingers, allowing the hidden load in your right hand to drop out just after his balls drop into view. When we say just after, the effect to strive for, is that both hands open at once, but in practice, you act a split second after he does. (This is to prevent any fiasco with an unwilling spectator who may try to trap you.) Your hand is close to his as in #9 so that when the amazing number of balls cascade into view, no one can tell that the balls are not all coming from the spectator's hand.
If you have ever seen the late Dr. Jaks perform this, you know that the effect is perfectly astounding, and that the balls do seem to multiply right in the spectator's hand!
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