I want to use a T&R tissue effect, but I would like to do this simultaneously in the spectators hand (where both sets are restored). I think I have a method, but would like some guidance and pointers on doing a sw***h. So, I would like to know if this has been taught somewhere.

I would also like comments on the T&R tissue, UNDIVIDED by Martin Lewis, or Torn and Restored Tissue by Bob White. Do they cover new ground that's not already in sources giving a T&R or T&R sucker effects.

Thanks;
John

Have you looked at Ramsay's Triple Restoration? It can be played as a "You do as I do" and even ends with the entire tissue restored for a climax.

I'm not sure if this helps, but there is a torn and restored tissue effect in Joshua Jay's Magic The Complete Course.

-Vinny

When you say "the entire" instead of "both tissues", prompts me to ask if both the specs and the magi's tissue will be restored.

I think I can modifiy a sucker T&R to accomplish the mechanics, but I could appreciate it if someone has worked out the elements of misdirection - I'm thinking along the line of the misdirection used in the arm twisting illustion could be used to accomplish the spectators restore. For my restore, I may do the usual, or use a newspaper type of restore.

Vinny: I look again at Jay's approach, but I thought it was either a single restore, or a sucker restore (which I have through Wilson's Complete Course)

John

The routine starts with the performer being a little surprised to find they have only one sheet of tissue - and then making due by tearing it in half.

So then does the spectator get one half to tear, as the magi tears his half?

John

Torn and restored (tissue)paper!
I have done this for 12 years! The reactions are big! I have many different routines. I love the routine I developed over the course of evolution as a magic thinker and lots of experience (performing over 300 shows per year).
I think I can answer your question. I will share my routine with you. I do this on stage and close-up, in a restaurant setting for example.

My volunteer and I have each hold a napkin or tissue in our hands. I, of course have another preset piece held secretly in my right hand. Together, at the same time, we tear the piece in half. We place the pieces vertically together (front and back). We rip them in half and place the 4 pieces on top of each other (in strips held vertically together. Then we tear the pieces in half (the other direction). I demonstrate to her how I roll the pieces together in a ball. I show her the paper ball. The volunteer does the same. I ask hear to really squeeze on the piece till it gets the size of a quarter. As I do this agin I switch one for the other. My right hand is held high with the preset piece and the left hand is held low and naturally to the side with the ripped up piece. I tell her to hold up the paperball nice and high as I demonstrate and tell her to reach in her pocket (left pocket with left hand)and pull out some magic glue. And you know what magic glue does? It puts things...like paper, back together again. I dump the ripped piece in my pocket and sprinkle the magic dust over the paperball in my right hand. I open it up and to the amazement of the volunteer and the audience, it is completely restored. (quicklaugh and gasp from audience)I casual saying and gesture, I say that I am done with this (I put it in my right pocket and palm it back out and point to her paper ball), let's see how you did.(usually audience laughter here) After she finds out, without much surprise, that it did not work, I take her piece at the tips of my right fingers. Remember the preset piece that I supposedly dumped off in my right pocket is als in my hand. I squeeze the pieces together as one and casually show both hands. I say that she forgot to sy a magic word, I'm sorry, I have been doing magic for so long I sometimes just think of a magic word in my head. So just repeat the magic words. You are (as she says... you are)... the greatest (the greatest)...magician (magician)...I have ever seen (I have ever seen). Well thank you (I say)! That is the sweestest thing I have ever heard! Isn't she adorable and thougtful? (quick laugh from the audiece). This talking serves as a great time to switch the pieces. I give her back the paper ball and it is now magically restored. When she opens the paper ball to find it is now restored (big surprise, laugh, and gasp of amazement by the audience and volunteer) I put both hands casually to the pockets. I dump her ripped unrestored paperball piece in the pocket. I quickly palm a 2 inch supersoft spongeball (I have 3 in the right pocket from the get beginning) in my right hand. I say Congratulations! You did it! It just goes to show that if you put your mind to something, you can dojust about anything. I take her piece and show that it is indeed fully restored. I say this will serve as a good souvenir from the show, something to remember this experience by. I then roll up the paper into a ball again, but I insert the the spongeball into the middle of the paper ball. I have her holdonto the paper ball at the tips of her fingers in full view for the audience. I say...Before you go I want to show you one more trick. I pull out a (sponge) ball for the audience to see. I actauall pass the ball from one ear of the audience member quickly through the head and out the other ear of the audience. (Laughs from the audience. I cleanly and simply vanish the sponge ball with sleight of hand. I ask her to open her paper ball and THE BALL APPEARS INSIDE! This gets the biggest laugh so far and is most magical to the audience. As she opens the paper ball I reack in my right pocket and palm a ball in my right hand. I ask her to hold onto the paper ball again with the "one inside it. I of course put two inside. This is repeated one to two more times. Each with a bigger response from the audience and volunteer as before. When the volunteer gets her well deserved applause, I place the items in my suitcase table/hat or whatever...just that it is out of sight. This isn't the end believe or not. I palm a 60 dollar Nielson very lifelike latex dove in my right hand. I pick up 2-3 tissues from the tissue box that has been sitting on the table the whole time. I say, Now sometimes it is good to use our imagination (as I roll the pieces into the size and shape of an egg). For example this is kind of shaped like an egg. And in magic shows, what kind of bird do we see appear often? The audience responds..A dove! Right (I say)! But, as a magician, I shouldn't have to use my imagination. I should just be able to make a dove appear. I begin to slowly unravel and open the layers of tissue paper. I say...Gilbert (that is apparently the name of my bird), show yourself to the audience! (This Nielsen bird is so amazing! It goes from verly small to life size in a second and is so life like).

At this point the audience has been on a roller coaster in the dark. They have no idea where the tracks are going but they are having fun along the way. They are about to have 2 enormous, but different emotions.

When I pull that bird out of that paper the audience goes bazerk! I have had people fall out of chairs, scream and gasp as loud as they can! It is an instinctual response. It is pure magic to their eyes. Thas the first reponse.

I have to fit this to my style and personality. I am about to drop a bomb on them. I make this pigeon...I mean dove walk up my arm (12 years of working with Rocky the Racoon will do that to you). I give it 7 seconds for this REAL BIRD to set in. Then I make some comment and poke the bird in the back and the bird compresses. The audience has been taken on a ride. This totally knocks the socks off of everybody. I have had sections of restaurants (and I am doing this for only one table) stand up and give me standing ovations. I am not kidding. My wife does not believe me. Stage/parlor audiences eat it up! They are now able to laugh at themselves. They have been fooled! They have been entertained!

It is pure... simple... comedic... and magical! I love it!

I would love to hear feedback!

Jim

Magicjim: WOW what a GREAT ROUTINE. I bet you could do a DVD on this and SELL THOUSANDS OF THEM! Thanks for posting. I assume since you posted it we can use your concept? If not, let us know.

Wow, I'm glad I checked back here. That sounds like an amazing routine.

In regard to the switch, I was thinking of accomplishing that as part of "helping" the assistant squeeze the paper together, harder. I was also thinking of doing that before the spec. opens the papers. Your method gives the routine an extra phase (and then some).

John

For the switch, the best combination (because it shows that the hands hold only one ball when the additional one is there as well) consists in doing first a Shuttle Pass (changing a ball for the other as the transfer is seemingly justified by allowing the right hand to do something else) and then, with the ball in the left palm (not finger palm) to do a Change Over Palm to display the ball to the audience, flashing the right palm to be really empty.

This is a deadly combination, which I use in several routines (coins, Cups and balls, sponge balls, golf balls, cigarettes...): we prove without statement that the hands only contain one ball and the concealed one changes hand which is mighty convenient.

Laurence:
Do you have a reference for the change over palm?

There are many of them. It all started as an horizontal secret rolling of a ball between the palms.

Then came the Professor who made a version for it with coins as follows:
A coin is secretly in the right finger palm. Another coin is on the left fingers as the result (for example) of a Shuttle Pass. The left fingers flip the coin into the left palm to display the other side of the coin. Now the right hand comes palm down over the palm up left hand at a 90° angle in order to take up the coin. Now, in order to take the coin the right fingers have to extend slightly, dropping the coin in left finger palm (the left fingers slightly curling) as the right first finger and thumb take up the coin. Then, as the right hand moves up to display the coin (larger move), the left rotates slightly palm towards the chest in a relax position (smaller move). Just make sure that the right palm is really flashed as the hand shows the ball.

When you want to do it with a ball, instead of flipping it into the palm, just gently close the left hand in a loose fist after the Shuttle Pass and reopen with the ball in the palm (not on the fingers).

This move can be done from Classic Palm but then the left has to point more towards the right and the right towards the left (for the hands to get across over one another in a straight line instead of at a right angle). Michael Ammar is demonstrating this move in his Topit DVD.

Hope this helps

Thank you!

This thread is not what I was looking for, but I am glad I found it. I am goin to try this.

I just got this book today, and looked at his DVD. Seeing how he used two spectators did give me an idea how a switch could be done - not what Jay was doing, but what it could have been.

That makes two of us....cool routine here

Wow!, its been almost 2 years, and I finally got back to this. I appreciated all the thoughts.

My method starts with both hands empty, I introduce the pieces of paper, and let the spec take one, and I the other. We tear simultaneously, and then we each crumple them up into a ball, simultaneously. Both hands, simultaneously, can be openly shown, no shuttle pass is used (but I do like that idea, but my method allows me to openly show both hands completely empty, or with just one piece of paper). While we each hold our wad of paper, I then go to my pockets just once, to retrieve a wand of course ) I wave it over my piece, it is restored, I then wave it over the specs hand, and he opens it to find it also restored. It is very clean.

I would like thoughts on patter. I could present it as just me teaching the spec how to do this, but thought there must be some interesting ploys to incorporate.

John

Jim,

Your routine sounds fantastic. I'd love to see a video of you performing it in a restaurant setting. Sounds like you slay them.

I guess it has been awhile since I have responded to this thread, or been on themagiccafe for that matter.

I would like to market this effect...there are a lot of technical moves and options for different types of performing environments. I really like the combination of effects to make an enterataining routine. It requires skill, audiences respect that, its a good fooler and marketable for all audience types, and most of all it ends with a big laugh.

I perform this routine in all my stage and standup shows. I don't perform in a restaurant on a regular basis now, but I used to pull the full routine out about once every 15 minutes when I performed in the restaurant 2.5 hrs a night.

John your method sounds interesting... can you give us any clue about the change of the spectator's paper ball?

Lautaro.