Clasificación de intenciones

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over and down (Figure 3). Third, fold the left half of the bill again to the right (Figure 4), and finally, fold the top half down once more (Figure 5). Flip the bill over, top for bottom (so the solid creased edges are to your left and at the bot-tom) and place it in your thumbtip as in Figure 6. The tip then goes on your right thumb, the bill being trapped between the inner wall of the tip and the ball of your thumb. Fold a one-dollar bill in the same manner (to precrease it) and unfold it. Your preparation is complete.

For the change, hold the one dollar bill between your hands, Washington’s portrait facing the audience. Make the first fold in the dollar as your left thumb comes to rest on the end of your thumbtip and loosens it on your right thumb (Figure 7). Make the next fold as in Figure 8, where your right fingers push the top half of the bill over and down. Note here that the tip further loosens in this action.

For the third fold, push the left half of the bill over and to the right with your left fingers (Figure 9). This will place the thumbtip in perfect position to be stolen into your left hand as in Figure 10, where it moves into a finger-palm position.

The $100 bill stays behind the lower half of the one-dollar bill, concealed from the audience’s view. Your right fingers make the next and final fold as they push the top half of the bill over and down (Figure 11).

During these folds and through the following movements, the bill has never left the audience’s sight. This is a critical point to remember when performing the technique.

The spectators must be certain that the bill was in their view during the entire fold-ing and unfoldfold-ing process. To reveal the change, unfold the $100 bill, swfold-ingfold-ing its front half out and down (Figure 12). The one-dollar bill will ride with this half of the $100 bill, until it ends behind it and concealed behind its lower half (Figure 13).

Next, you’re going to load the tip onto the left end of the one-dollar bill. To prevent any hangups, however, you must do it in a specific manner. Place your left

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thumb on the open end of the thumbtip as in Figure 14 and pull it away from your fingers slightly. This happens as you push the next fold of the bill open with your right fingers (Figure 15). Once this fold of the bill is sufficiently open, your left fin-gers take over and open it the rest of the way. During this, move the thumbtip onto the end of the hidden one-dollar bill (Figure 16). Move the tip further onto the bill and partially onto your right thumb as you open the third fold of the $100 bill (Fig-ure 17—it is here that the audience realizes that the change has occurred). As you

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open the last fold in the $100 bill (Figure 18), push the tip a little further onto your thumb. Finally, turn the bill around, end for end, as in Figures 19, 20, and 21 to show the other side. As your right hand travels behind the bill to take its end (Figure 20 again), shove the tip securely onto your thumb with your right second finger.

That, then, is the basic technique of Roger’s $100 Bill Change. Again, we rec-ommend a study of the technique as outlined in Roger Klause: In Concert, as many more details are to be found there on the handling of this idea. For now, though, here is John’s routine . . .

THE INCREDIBILL ROUTINE

For this, you will need a one-dollar bill, a flash-bill, a paper clip, a thumb tip, a cigarette lighter, and a small, square piece of flash paper. Fold the one-dollar bill as for Roger’s Bill Change. When the creases are firmly set in the paper, unfold it completely and then fold it in half once, bringing its ends together (Figure 22).

Roll the bill into the shape of a cigarette (Figure 23—in progress) and twist the ends slightly (Figure 24) to keep it from unraveling. Place this bill and your ciga-rette lighter in your right jacket pocket.

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Next, fold the flash bill as for the Bill Change and place it into your thumbtip.

Place the paper clip on the tip and bill as in Figure 25 to keep the paper from fall-ing out or turnfall-ing inside the tip (you will easily remove it durfall-ing the performance).

This assembly also goes in your right jacket pocket. Finally, place the flash paper in your left jacket pocket and you’re ready to go.

Begin bantering with your audience, saying, “Can anyone here offer me the loan of a

$1,000 bill? No? And you call yourself professionals? Okay, how about a hundred? A fifty?” At a convenient time before or during this patter, reach in your right pocket, partially insert your thumb into the tip, and slide the paper clip off, letting it fall in your pocket. Place the tip the rest of the way on your thumb. Gently cajole someone into lending you a bill—the larger the denomination, the better. Let’s assume your assistant offered a fifty-dollar bill.

Say, “Many of you don’t know this, but in my lifetime, I’ve become very attached to certain high-level government officials. Usually at the wrists and ankles, but that’s another story. Anyway, I’ve been asked by the Treasury Department, as I travel around the country, to demonstrate to you how you can tell if a bill is counterfeit or not. All you have to do is fold your money in a tight bundle like this. . . .”

Take the spectator’s bill and begin folding it by way of example, using the mechanics of the $100 Bill Change to exchange his bill for the flash bill. Here,

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you are not going to unfold the flash bill, so in the guise of folding the flash bill one extra time, push his bill to the left into the thumbtip, and then load the tip back on your right thumb (Figure 26). Say, “Now you need a light source . . .” Gesture with your right hand to show it empty and reach in your right jacket pocket. Push the thumbtip off and leave it there as you come out with the cigarette lighter. Continue, saying, “. . . which you just hold under the bill, and if you look very close you can see some little threads running through your money . . .”

As you’re talking, turn toward the audience for a moment, not paying any attention to the bill you hold.

Inadvertently, set fire to it and throw it away in surprise

as it bursts into flames and vanishes. “Whoa,” you say, “you know what that means?

That was a real one! You could have spent that one!”

When the laughter subsides, say, “Well, so much for your twenty bucks! Oh, I’m sorry.

Fifty dollars? Whatever. Would you like to see a rope trick instead? I didn’t think so. Well, how about a trick with this piece of paper?” Place the lighter in your left jacket pocket and come out with the piece of flash paper. Show both hands otherwise empty and roll the paper into the shape of a cigarette. “Watch,” you say, “a trick with a piece of paper and a lighter.” Reach in your right pocket, apparently for the lighter, and clip the rolled-up one-dollar bill between your first and second fingers (Figure 27).

Apparently failing to find your lighter, a moment’s confusion crosses your face and you come out and take the paper with your right hand as in Figures 28 and 29 so your left can search for the lighter in your other pocket. Note that your head turns to look at your left pocket just before your hand starts to travel there, fore-shadowing your intent. The rolled-up dollar bill is securely hidden in fingerclip position.

Say, “Watch the wonderful illusion as the paper appears to burn and turn into your ten-dollar bill! Fifty? Whatever.” Light the end of the flash paper and as it burns, move your right thumb under the hidden bill and push it to your fingertips as in Figures 30 and 31. A slight upward shake of the wrist will further conceal the movement. The

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paper will appear to have transformed to the bill in a flash of fire.

Say, “Sir, would you unroll this and verify that it is, indeed, your bill?” Turn to your audience. “Let’s give him a big hand for being such a sport!”

As they applaud enthusiastically, casually place your lighter in your right jacket pocket and secretly place the thumbtip back on your thumb before bringing your hand back out. Only now do you apparently realize that your assistant’s reaction is one of dismay. “What’s the matter?”

you ask him. When he points out that he has only a one-dollar bill, take it from him and look at it strangely for a long time. “Huh,” you finally mutter. “What a bummer.”

Try to hand it back to him.

“Well,” you say, “that’s the first time that’s ever happened . . . again. Just look at it this way—think of how much enjoyment you’ve given everyone here tonight and it only cost you a few dollars. You’re the life of the party! You’ve been such a good sport, I’ll show you one more trick. I’m going to show you how to INCREASE your money.

First, make sure you have nothing but the one bill . . . .”

Show your hands empty except the bill you hold. Begin folding the bill, executing Roger’s Bill Change in the process, as you say, “. . . and then you fold it this way, and this way, and this way, and this way, and when it’s unfolded in a minute, it will be ‘IN CREASES!’”

After the groans let up, complete the Bill Change as you say, “No, no, it increases until it becomes YOUR fifty-dollar bill! Would you verify for the audience that it is your bill?” Hand the bill to your helper. “Thanks for helping me, and you all have been a great audience!” Lead the applause as you honor your helper and don’t be guilty enough to ditch the tip right away. Hold onto it for a while as you ges-ture or use your hand to do anything but dive for your pocket. You have all the time in the world to clean yourself up.

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arketed items seem to come and go.² Several years back, one effect titled “In Space” made its appearance and caught John’s eye. This method, a collabora-tion between John and Allan Ackerman, can be performed with an ordinary pack of cards.

In effect, the spectator looks at a group of five cards and mentally selects one. The performer lays the cards on the table and asserts that he already knows the spectator’s card. To prove it dramatically, he will place it in a specific position in the deck. Picking up a card and placing it some-where in the deck, the performer then asks the spectator to name his card. When he does, the magus deals cards from the deck, spelling the name of the selection as he does.

When he reaches the last letter, he turns over the corre-sponding card—it is the mental selection! Of course, the spectator will wonder what would have happened if he had thought of a different card. The performer then reveals that the choice was destined, as he turns over the other cards from the group and shows that they are now the four Aces!

Beforehand, place the following cards on top of the deck, from the top down: Ace of Spades, Two of Clubs, King of Clubs, Jack of Hearts, Seven of Hearts, Ace of Hearts, Ace of Diamonds, Ace of Clubs. Next, take the bottom nine cards of the deck and put a downward

lon-gitudinal bridge in their center as in Figure 1. When they are placed on the bot-tom of the pack, there will be a slight gap, as in Figure 2, which will make it easy